1.

, ,

1.

.
2.

, .

Stylistics, sometimes called l i n g u o - s t y 1 i s t i c s, is a branch of general

linguistics. It has now been more or less definitely outlined. It deals mainly with two
interdependent tasks: a) the investigation of the inventory of special language media which
by their ontological features secure the desirable effect of the utterance and b) certain
types of texts (discourse) which due to the choice and arrangement of language means are
distinguished by the pragmatic aspect of the communication. The two objectives of
stylistics are clearly discernible as two separate fields of investigation. The inventory of
special language media can be analyzed and their ontological features revealed if
presented in a system in which the co-relation between the media becomes evident. The
types of texts can be analyzed if their linguistic components are presented in their
interaction, thus revealing the unbreakable unity and transparency of constructions of a
given type. The types of texts that are distinguished by the pragmatic aspect of the
communication are called functional styles of language (FS); the special media of
language which secure the desirable effect of the utterance are called stylistic devices
(SD) and expressive means (EM).
1.

The first field of investigation, i.e. SDs and EMs, necessarily touches upon such general
language problems as the aesthetic function of language, synonymous ways of rendering
one and the same idea, emotional coloring in language, the interrelation between language
and thought, the individual manner of an author in making use of language and a number
of other issues.
The second field, i.e. functional styles, cannot avoid discussion of such most general
linguistic issues as oral and written varieties of language, the notion of the literary
(standard) language, the constituents of texts larger than the sentence, the generative
aspect of literary texts, and some others.

In linguistics there are different terms to denote particular means by which utterances are
fore grounded, i.e. made more conspicuous, more effective and therefore imparting some
additional information. They are called expressive means, stylistic means, stylistic markers,
1

stylistic devices, tropes, figures of speech and other names. All these terms are used
indiscriminately and are set against those means which we shall conventionally call neutral.
Most linguists distinguish ordinary (also: substantial, referential) semantic and stylistic
differences in meaning. In fact all language means contain meaningsome of them
contain generally acknowledged grammatical and lexical meanings (see p. 58). others
besides these contain speific meanings which may be called stylistic. Such meanings go
alongside primary meanings and, as it were, are superimposed on them. Stylistic meanings
are so to speak de-automatized. As is known, the process of automatization, i.e. a speedy
and subconscious use of language data, is one of the indispensable ways of making
communication easy and quickly decodable.

But when a stylistic meaning is involved, the process of de-automa-tization checks the
reader's perception of the language. His attention is arrested by a peculiar use of language
media and he begins, to the best of his ability, to decipher it. He becomes aware of the
form in which the utterance is cast and as the result of this process a twofold use of the
language mediumordinary and stylisticbecomes apparent to him. As will be shown
later this twofold application of language means in some cases presents no difficulty. It is
so marked that even a layman can see it, as when a metaphor or a simile is used. But in
some texts grammatically redundant forms or hardly noticeable forms, essential for the
expression of stylistic meanings which carry the particular additional information desired,
may present a difficulty.

What this information is and how it is conveyed to the mind of the reader can be explored
only when a concrete communication is subjected to observation, which will be done later
in the analyses of various stylistic devices and in the functioning of expressive means.

In this connection the following passage from "Investigating English Style" by D. Crystal
and D. Davy is of interest: "Features which are stylistically significant display different kinds
and degrees of distinctiveness in a text: of two features, one may occur only twice in a text,
the other may occur thirty times,or a feature might be uniquely identifying in the
language, only ever occurring in one variety, as opposed to a feature which is distributed
throughout many or all varieties in different frequencies."

What then is a stylistic device? Why is it so important to distinguish

it from the expressive and neutral means of the language? To answer these questions it is
first of all necessary to elucidate the notion ex-pressiveness'.
2

The category of expressiveness has long been the subject of heated discussions among
linguists. In its etymological sense expressiveness may be understood as a kind of
intensification of an utterance or of a part of it depending on the position in the utterance of
the means that manifest this category and what these means are.
But somehow lately the notion of expressiveness has been confused with another notion,
viz. e m t i v e n e s s. Emotiveness, and correspondingly the emotive elements of
language, are what reveal the emotions of writer or speaker. But these elements are not
direct manifestations of the emotions-they are just the echoes of real emotions, echoes
which have undergone some intellectual recasting. They are designed to awaken coexperience in the mind of the reader.

Expressiveness is a broader notion than emotiveness and is by no means to be reduced to

the latter. Emotiveness is an integral part of expressiveness and, as a matter of fact,
occupies a predominant position in the category of expressiveness. But there are media in
language which aim simply at logical emphasis of certain parts of the utterance. They do
not evoke any intellectual representation of feeling but merely serve the purpose of verbal
actualization of the utterance.

The expressive means of a language are those phonetic, morphological, wordbuilding, lexical, phraseological and syntactical forms which exist in language-as-asystem for the purpose of logical and/or emotional intensification of the utterance.
These intensifying forms, wrought by social usage and recognized by their semantic
function, have been singled out in grammars, courses in phonetics and dictionaries
(including phraseological ones) as having special functions in making the utterances
emphatic. Some of them are normalized, and good dictionaries label them as "intensifiers".
In most cases they have corresponding neutral synonymous forms.

Passing over to some preliminary remarks op the morphological expressive m e a n s of

the English language, we_must point to what is now thr impoverished set of media to
which the quality of expressiveness can be attributed. However, there are some which
alongside their ordinary grammatical function display a kind of emphasis and thereby are
promoted to EMs. These are, for example, The Historical Present; the use of shall in the
second and third rson; the use of some demonstrative pronouns with an emphatic
meaning as those, them ("Those gold candles fixed in heaven's air"Shakespeare);
3

some cases of nominalization, particularly when conversion of verbal stems is alien to the
meaning of the verbs or the nominalization of phrases and sentences and a number of
other morphological forms, which acquire expressiveness in the context, though this
capacity is not yet registered as one of the latent properties of such forms.
Among the w o r d - building means we find a great many forms which serve to
make the utterance more expressive by intensifying some of their semantic and/or
grammatical properties. The diminutive suffixes -y (-ie), -let, e.g. 'dearie', 'sonny', 'auntie',
'streamlet', add some motional colouring to the words. We may also refer to what are
called neologisms and nonce-words formed with non-productive suffixes or with Greek
roots, as 'mistressmanship', 'cleanorama' (see p. 92).
At the l e x i c a l l e v e l there are a great many words which due to their inner
expressiveness constitute a special layer (see chart on p. 71). There are words with
emotive meaning only (interjections), words which have both referential and emotive
meaning (epithets), words which still retain a twofold meaning: denotative and connotative
(love, hate, sympathy), words belonging to the layers of slang and vulgar words, or to
poetic or archaic layers. The expressive power of these words cannot be doubted,
especially when they are compared with the neutral vocabulary.
All kinds of set phrases (phraseological units) generally possess the property of
expressiveness. Set phrases, catch words, proverbs, sayings comprise a considerable
number of language units which serve to make speech emphatic, mainly from the
emotional point of view. heir use in every-day speech is remarkable for the subjective
emotional colouring they produce.
It must be noted here that due to the generally emotional character of colloquial
language, all kinds of set expressions are natural in everyday speech. They are, as it were,
part and parcel of this form of human intercourse. But when they appear in written texts
their expressiveness comes to the fore because written texts, as has already been pointed
out, are logically directed unless, of course, there is a deliberate attempt to introduce an
expressive element in the utterance. The set expression is a time-honored device to
enliven speech, but this device, it must be repeated, is more sparingly used in written texts.
In everyday speech one can often hear such phrases as: "Well, it will only add fuel to the
fire" and the like, which in fact is synonymous to the neutral: "It will only make the situation
worse."
Finally, at the s y n t t i a l level there are many constructions which, when set
against synonymous neutral ones, will vel a certain degree of logical or emotional
emphasis.
In order to be able to distinguish between expressive means and stylistic devices, to
which we now pass, it is necessary to bear in mind that expressive means are concrete
facts of language. They are studied in the respective language manuals, though it must be
4

once again regretfully stated that some grammarians iron out all elements carrying
expressiveness from their works, as they consider this quality irrelevant to the theory of
language.
Stylistics studies the expressive means of language, but from a special angle. It
takes into account the modifications of meanings which various expressive means undergo
when they are used in different functional styles. Expressive means have a kind of
radiating effect. They noticeably colour the whole of the utterance no matter whether they
are logical or emotional.
What then is a stylistic device? It is a conscious and intentional intensification of
some typical structural and/or semantic property of a language unit (neutral or expressive)
promoted to a generalized status and thus becoming a generative model. It follows then
that an SD is an abstract pattern, a mould into which any content can be poured. As is
known, the typical is not only that which is in frequent use, but that also which reveals the
essence of a phenomenon with the greatest and most evident force.

The word style is derived from the Latin word 'stilus' which meant a short stick sharp
at one end and flat at the other used by the Romans for writing on wax tablets. Now the
word 'style' is used in so many senses that it has become a breeding ground for ambiguity.
The word is applied to the teaching of how to write a composition (see below); it is also
used to reveal the correspondence between thought and expression; it frequently denotes
an individual manner of making use of language; it sometimes refers to more general,
abstract notions thus inevitably becoming vague and obscure, as, for example, "Style is the
man himself" (Buffon), "Style is depth" (Darbyshire); "Style is deviations" (Enkvist); "Style is
choice", and the like.
2.

It follows then that the term 'style', being ambiguous, needs a restricting adjective to denote
what particular aspect of style we intend to deal with. It is suggested here that the term
individual style should be applied to that sphere of linguistic and literary science which
deals with the peculiarities of a writer's individual manner of using language means to
achieve the effect he desires. Deliberate choice must be distinguished from a habitual
idiosyncrasy in the use of language units; every individual has his own manner and habits
of using them. The speech of an individual which is characterized by peculiarities typical of
that particular individual is called an idiolect. The idiolect should be distinguished from what
we call individual style, inasmuch as the word 'style' presupposes a deliberate choice.
It follows then that the individual style of a writer is marked by its uniqueness. It can be
recognized by the specific and peculiar combination of language media and stylistic
devices which in their interaction present a certain system. This system derives its origin
from the creative spirit, and elusive though it may seem, it can nevertheless be as5

certained. Naturally, the individual style of a writer will never be entirely independent of the
literary norms and canons of the given period.
This peculiarity in the manner of using language means in poetry and emotive prose has
given rise to the notion of Style as Deviance.
1 Most illustrative of this tendency is George Saintsbury's statement made as far back as
1895: "It is in the breach or neglect of the rules that govern the structure of clauses,
sentences, and paragraphs that the real secret of style consists..."
The same idea is expressed by G. Vandryes, one of the prominent linguists of today, who
states that "The belles-lettres style is always a reaction against the common language; to
some extent it is a jargon, a literary jargon, which may have varieties."
The idea has a long history. In the 1920s there arose a trend which was named formalism
in literature and which has crucial relevance to present-day endeavors to analyze the role
of form in embodying matter. Several literary critics representative of this school as well as
a number of writers maintained the idea that language sometimes imposes intolerable
constraints on freedom of thought. Hence all kinds of innovations were introduced into the
language which sometimes not only disagree with the established norms of the language,
but actually depart from them in principle. The result in many cases is that the language
steps over the threshold of the reader's ability to perceive the message.
The essential property, indeed, merit of a truly genuine individual style is its conformity to
the established norms of the language system in their idiosyncratic variations. This
uniqueness of the individual style of an author is not easy to observe. It is due not only to
the peculiar choice of words, sentence-structures and stylistic devices, but also to the
incomparable manner these elements are combined.
One of the essential properties of a truly individual style is its permanence. It has great
powers of endurance. It is easily recognized and never loses its aesthetic value.
What we here call individual style, therefore, is a unique combination of language units,
expressive means and stylistic devices peculiar to a given writer, which makes that writer's
works or even utterances easily recognizable.

2.
.
1.
-

-
.

2.
.
3.
.

.

, -
.
, ,
, , ,
. .
,
-
.

-
: ,
; , .
- .

1.

.


. .
: A door had opened; words articulated themselves.

[...] bien tort, mon ami, si tu crois que je suis ton esclave. Je ferai ce que je voudrai.

Moi aussi. Monsieur uttered a harsh, dangerous laugh.

 .
: Wait, said Charlie excitedly, straightening the paper so he
could see the front page. WARDROBE MURDERER GETS SECOND CHANCE, it said.

(. . 64).
,
,

.

,
,
, ,
.

.
, , ,
:

Sir Joseph grunted. said:

You surprise me! I should have said you'd have had no end of women pestering
you about their pet dogs.

That, certainly. But it is the first time that 1 am summoned by the husband in the
case.

Miss Carnaby murmured faintly:

So you know?

Hercule Poirot nodded.

.
:

Edna jumped from the car, and as she jumped shrieked;

But where's my baby?

I never saw the baby, ma'am.

: The mystery was awful and complete. Abandoned perambulator!
Total disappearance of a baby! Rapine! Brigandage! Ransom! Horror! Martyrdom!
Death!

, ,
, , :
No ... I can't find him. Nobody'll ever tell me where he is... We were on a ship together...
an' ... His voice tailed off (S. Barstow).

-
. ,
.
,
, .
, -
: I have just been thinking, and I
have come to a very important decision. These are the wrong sort of bees.

. , ,
, : HELP! PIGLIT (ME),
IT'S ME PIGLIT, HELP HELP.

9

 : AS I WAS SAYING, said Eeyore

loudly and sternly, as I was saying when I was interrupted by various Loud Sounds, I feel
that . , .
: BANG !!! ??? *** !!!

, ,

,
. .
( , )
: Angleterre, Les Salles d'Or, salle a manger, au revoir,
langoustines . .
.

, , ,
, , ,
,

.

:
, , , , , ,
, .

, ,
- .

.
:

,
10

. !

. The Locust Tree in Flower

:

, -

Among

of green

stiff

. ,

old

bright

, (. -

broken

. 58).

branch

11

came (. . 63),

white , /

sweet , -

, . Lie-

again
.

, ,
.

Now

when

. , -

I wake from sleep

. -I can see
soap: The whole general

my brother

effect reminded him of someone or something

asleepbut for the moment he could not recollect who

in

or what it was. A memory stirred dimly. A long

12

the

time ago in Belgium something, surely, to

other do with soap, , -

room ,

,
:

Yes, indeed, he's such a good watch dog. (A. Christie).

Yes, it was wicked wicked (A. Christie).

.

,
, : What can any woman mean to a Man in comparison
with his Mother? Therefore, it was plain that she was next-of-kin, and that all
George's possessions, including widow's pension, should come to her only (R.
Aldington); It is so important to know how to kill. Indeed, unless you know how to kill
you cannot possibly be a Man, still less a Gentleman (R. Aldington).

: I looked at myself with affectionate misgivings. So
beautiful and so Put-Upon; Then I saw his eyes narrow; he looked at me in rather a
Pointed Way as if he were about to ask for a slice. Why do you gaze on me like
that? I cried (L. Durrell).
13

 .: (Win-nie-the Pooh) was

getting rather tired by this time, so that is why he sang a Complaining Song; [...] he was
doing his Stoutness Exercises in front of the glass; If I know anything about anything, that
hole means Rabbit, he said, and Rabbit means Company, he said, and Company
means Food and Listening-to-Me-Humming and such like.

: Well, how did she strike you? or are
you not one of those who size people up very quickly? (H. Bates);

Of course you can go on if you had to go on "you'd go on very well. (J. Cary).
She said, I know, I know, the policeman said it wasn't your fault. (B. Glanville).

-

, , . .
.
: tyke take, gal girl, mah my, git get, luv love
: mos' most, acrost across, readin' reading.
- , :
'cause because, dis this, ,
: so-numbitch son of a bitch, helluva hell of a, more'n more that, gonna
going to, wanna want to.

:
,
,
. -
.

2.
,
,
.
14

 .
.
, .

, ,
.
( to work worker, to read
readable, name namely, workman workmanship) ( boy
boys; live lived, is living has lived). ,
, ,
.
(boys,
lived, comes, going), (has invited, is invited, does not invite),
(write wrote, meet met)
(go went).

, ,
,
, , /. , ,
, , , , . .

,
,
.
.
, ,
.
:
,, , writer scribbler, charger jade,
.
, , .
,
, .

( )
, |
.

15


do ( came
did come, lives does live),
(Come! Do cornel),
(Don't
forget Don't you forget) . ,

,
.

,
,
. :

)
-")
.(/, , ^
sand, water, time
. sands, waters,
times,
, . :
to see, to know, to feel
,
, . . -ing,
-] ,
-j : I am seeing a good many churches on my way south
(L. Hartley).'
. , English Language Teaching
: If you are dining out very often
there isn't the time to study official papers : If one dines out very
often, one has, alas, no time left to study state documents adequatly, ,
, ,
to dine .

)
!
,

,
16

. .
, ,
,
[...] ,
, , ,
, [...].
, . .
,
.,
, [...] . . [46, 317]. ,

.

,

,
.

3.

1.
.
2. .

17

3. , , , .
4.
.

.
, ,
, . ,
, - , ,
() - ,
, (), ,
, . .
1.

2.


.

.
,
.
:
,
, , ; ,
, ;
, , , .

,
,
, . ,
, ,
.

, /,
^ ,
, ,
18

 ", ,
:

)
,

,
- , .

-, ,
;

)
, ,
-
, .

, , ,
,
, ,
.

,
[14, 335, 342],

:
3.

1.
, - , :
1. , . .

, , : foe ()^- enemy (.)

; zoo ()-*- any jungle or jungle area (.)-*- ; fat cat (.)-*- a
provider of money for political uses (.)-*- . 2. . 3. ,
, ,
. 4. . 5.
. , , (, ,
, alien, brine, Albion), (, , , bension, buss, claut),
( ,
, spiv, schiz, to luck-up, know-how),
19

(, , , bon mot, parvenu, ad ovo), (, ,

abode, absonant, catenate)
- ,
,
.

, , ,

.
,
, ,
,
. : josser (.), fool, fellow; livin (.) lighting.
:, ,
, , , ,
, , , , . J

2.
, - ,
: 1. . 2. . 3. . 4.
(: )
. 5. . , :
( , , , , phoneme, ohm, joule, deep structure,
verb),

:
,
, , , -, ;
: air-craft carrier, man-of-war, destroyer, cruiser, torpedo-boat,
submarine), (, , , , a squire, an olderman,
witangemot), (, , , , spacecraft, lander, link-up, reactor), (, , ,
, , , , , ) ,
, -
, .

, ,
. ,
, ,
. -
,
20

 ,
(: depression, . [...] (MeteoroL). lowering
of barometer or atmospheric pressure, esp. center of minimum pressure or system of
winds round it; putto (Anglo-lad.) Fabric, plain or patterned, produced in Cashmerg from
coarse goat wool).
4.
1.
.
2.
.

3.
.

,
,
. ,
, ,
.
( . , .
').
1.

,
- .
,
, ,
.

, ,
,
, , -
.
,

(
,
, ). ,
, .
21


.

- , ,
.
,
.
.

, , ,
.

,
.

,
,

,

.

1)

, ;

2)

, ;

3)
,
.
22

(. . ),
:

1.

, , .

,
.

2.


.
, .

,


:

1)
,

;

2)
,

;

23

3)
,
.

2.
,

(. ellipsis)
, .
, ,
.
: ) - ; )
- ; ) ,
.

,
-
.
.

, .

, ,
, ,
,
.

. :

Augustus. Hullo! Who are you?

24

The Clerk. The staff.

Augustus. You the staff I What do you mean man? [...] Where are the others?

The Clerk. At the front. (B. Shaw).

, , , ,
-
, .

,
-
,
.

{. aposiopesis, stop-short, pull-UP) ,

,
().

,
.

- .
, , ,
.

25

 , ,
: I do apologise, Madam, I feel so I...] I would not have
troubled [...] (S. Hill).

- , ,
, .! Something like despair ravaged the heart of his
watching Fleur. If she left him for Winf-ridl But surely no her father, her house,
her dog, her friends, her her collection of of she would not could not give
them up! (J. Galsworthy).

, ,
, , , ,
,
, , ,
.

, (. asynde- ,
.
-

,
.
-- ,
.
:

Fathers mothers, uncles, cousins, -Cocking tails and pricking

whiskers, Families by tens and dozens,
-Brothers, sisters, husbands, wives Followed the Piper for their lives -(R. Browning), .
,
, : Who makes fame?
Critics, writers, stockbrokers, women(S. Maugham); Beatie: Watcha got this year? Jimmy:
26

Had spuds, carrots, cabbages, you know. Beetroots, lettuces, onions, and peas (J.
Osborne). spuds, carrots, cabbages... ,
. ,
: Beetroot, lettuces, onions, and peas.
and , ,
.

{.
enumeration)

, .
,


[88, 116]. ,
,
.
, .


, -
. , ,
, ,
.
(. syntactic tautology)

.
( , ,
, )
.

, ,
, : Well,
Judge Thatcher, he took it and put it out of interest, and it fetched us a dollar a day a piece
all the round. The widow Douglas, she took me for her son [...] (M. Twain).

: That Jimmy Townsend he and the job were made for
each other (J. Wain).
(. polysyndeton) ,

. , ,
27

 ,
.
,

,

. :
,
.
(. inversion . inversio ;
) .
: .
( -
) : Does it surprise you?
(S. Maugham); What are you doing here? (J. Galsworthy), Can't you put it off? (J.
Galsworthy).
/ '
( ) -
. ,
()
: ,
, . . ,
,
.
,
.
,
, .
(. detachment, isolation) -

.
.
,
.

28



. , , i
.

.
-
, , ,

.

,
, .
, ,
: It was a terrifying experience for us who were in
our mind's own true senses; I hardly dare to think what it must have been for Art, strapped,
helpless and immobile (S. Chaplin); Mr Browne, led his charges thither and invited them all,
in jest, to some ladies' punch, hot, strong and sweet (J. Joyce).

5.
1. .
2.
.
3. .
4.
, .
5.
.
.

.
-
1.

29

 , . . . , ,
: The woman who wears this rare perfume wears a
liquid jewel jewel, perfume,
, .

,
( ) ( , ,
, , he Is a brick, a log, a bear),
( , . . ,
, . . , I like Goya, . . I like Goya's pictures, called
for three tots (=three drinks), cars full of moustaches (= men with moustaches).
2.

. .
:
, ( , . . ,
), ( , . . ,
). , ,
.
,
, .
, ,
. ,
:
,
.

,
,
, :
1.

.
: (), (),
(), , ; the apple of the eye, the leg of the table,
the arm of the chair, the foot of the hill.
, ,
30

, , , , ,
, .
,
.

2.

, ,
: (-, -) , ,
, , , , , ; black night, water, heat,
linen, despair, deed, curse, heart, sins, moment, look, lie .
: (
), ( ), ( ); an uneasily mild day that
had died; the dim glow of light [...] took his attention; his mind wrestled heavily with
the problem; the river ran between the mills; the footpath led under the bridge; the
thought had already come to her (S Barstow).

,

.
. .
3.
%
: ,
, ,
, .
,
, , , ,
. .

.
.
4. ,

, ,
. , ,
, . ,
.
. :
Musgrave, Hoppner, Pratt, Brown [...] all names now famous to Interpol, but then
unknown. They were all fledglings (L. Durrell). His mates at the factory said Christie
31

was only elevenpence-ha'penny in the shilling and had been ever since the war (S.
Barstow).
.
, , ' ,
,
. ,
, ,
, . :
/ , /
/ (. - ).
,
,
, ;
, , :
.
: ,
,
,
[...] (. ).
: I thought I
heard a voice. Then I thought perhaps it was the noise of the machinery. Stresses and
strains make conveyors talk. They scream curses, they grumble and complain. When they
can take the load they whistle like butcher boys used to whiste when there was meat for
the butcher boys to deliver (S. Chaplin), talk
. , Yes, Mary was like a large dark
moth, and you might suspect that if she lifted her wings to fly she would uncover brilliant
red purple underwings in a dazzling contrast to the ashy ambiguously patterened pair
which she exhibited when at rest (D. Garnett),
,
.

, , , . pa
,
. ,

.
, ,
,
, , , ,
,Oh, this is becoming an awful bore for you, These girls are an awful
32

responsibility (H. Bates), to cast a glance, to fish for compliments

, , .
. . [103, 1921941.

, - ,
- ,
- (. ,

; ,
- ). ,
,
, ,
, .
,
,
,
( )
, ,
.
.
: (
, , .

^ , ,
, .

,
. . . :
(, , )
, ,
[85, 147].

,
, ,
. , , boy, bob Buobo,
academy ,
33

, burke . Burke -,
1829 , derrick XVII
, Derrick, pasquil 1501
Pasquino ( Pasquillo),
, , .
. (
): browning, Maxim, Mauser, Lewis,
mackintosh, hooligan, ohm, ampere, volt .
, .

,
- .
. :
)
: This of course caused ears
to prick up and ribald comments to form on various lips; Across country we went like
the wind followed by a couple of black cars full of moustaches; The other voice
shook his head and said [...] (L. Durrell);
)
, ,
: I remember nothing of her, except that the gangway through which the
fairy frock brushed was held by labor at a penny an hour.
1

: ( ) , , .
? (. );
)
: [...]
my early determination [...], to make the pen my instrument, and not my idol (B.
Shaw); He was not sure whether he altogether approved of mascara and eye-shade.
Of course, lipstick was all right (D. Garnett).

(. synecdoche) ,
,
, ,
,
: Since I left you, mine eye is in my mind (W.
Shakespeare).

34

() (. periphrasis) ,
( )
.
,
, .

, . :
, (), (),
(), , a gentleman of the long robe (lawyer), the better (fair)
sex (women), a man about town, the man in the street (ordinary person), my better
half (wife).

: At this time, as some old readers may recollect, the
genteel world had been thrown into a considerable state of excitement by two
events, which as the papers say might give employment to the gentleman of the
long robe (W. Thackery).

, ,
,
. .

- .
: -
(weak/fair sex, strong sex)
(instrument
of distruction = pistol, guardian of public order = policeman).

:
root of evil = money, to tie the knot = to marry, young blood = enthusiast: A young
blood from Cambridge chanced to enter the inn at Chipping Norton, while Sterne
was seated there (R. Stevenson).

35

 ,
(, ;
; ).

- ( t ),

, - (
):
; - ; .

,
. ,
.
, . .
( ,
( ), ( ),
() . .

,
.

3.

- . ,
, .
.

- , ,
, , .

- ,
.
36

1. ,

, -
, .

2.

,
,

( }, , ,
( ).

3.

4.
.

5.
, , ,

.

, ,

,
.

6.

37

4.

6.

1.
.
2. .

3. .

38

I.

II.
. ,

: - -.

, - ,
, - , ,
, , , ,
( . . 3638). ,
() ()
, . ,
39

 , .
: , , ,
, .,
, , , - , , , , .
,
, ,
. ,
. , ,
.
,
. , ,
,
, .
,
, ,
, , ,
.
,
.


.
,
.
, . :
1.

,
;
2.

, , , ;

3.
,
;
4.
,
;
5.
,
;
40

6.
,
,
.

.
.
, ( ,
) , .
, , ,
, :
, , .
: ,
, . . ,
.
, ,
.
,
,
(- -),
,
( ),
.
. ,
.
.

,
,

.

,
.
, ,
,
,
, , , , , , ,
, . . , ,
41

 ,
(). () ,
, , , , ,
(, ) ;

[48, 60].
,
.
(
) .
, , , , ,
, ,
(, , .),

(,
), .

, :
1.
. ,
,
,
, , , , ,
, , , .
: ( ,
, , ),
( , ,
: ).
2.
, .
-.
: ) ,
;
; ) ,
, ,
, .
3.
.
,
.
. , ,
,
.
42

 ,
,

, , ,
, .


.
,

, . , ,

/ , ,
.
, , :
- . -
, ,
()
.
-
.

, .
- ,
, .
.
,
.
.
-
.

,
.
.
, .
- .
, ,
.
.
43

 ,
,
. , ,
,
( )
.
III. ,
.
- .
( )
:
, -, , , ,
. (
) , (
)
.
, .

,
, .
.
,
.
.
,
, , . , ,
, , , , .
, , .
,
.
, , , -,
.
:
-, -
.

44


. ,
.
. , -
, , , ,
, . ., , , ,
, . ., , , , ,
, , , , ,
, , , , .
,
-
.

-
, .
,
VII . VIIVIII

()
.
,
, .
-,

,
, ,
.
-, , .
-, -
. -
. :
,
, ,
, ,
, .
, ,
45

, , ,
.

7.
1. .
2. .
3. .

46