сопоставительный анализ английского и русского идиоматического выражения

Periphrasis Periphrasis is a word-combination which is used instead of the word designating an object. Every periphrasis indicates the feature of a notion which impressed the writer and conveys a purely individual perception of a given phenomenon. As a result of frequent repetition periphrasis may become well established in the language as a synonymous expression for the word generally used to signify the object. Such word-combinations are called periphrastic synonyms.

In contrast to periphrastic synonyms genuine periphrasis is created in the process of writing and is an element of the individual style of a writer. Periphrasis may be logical and figurative. Logical periphrases are based on logical notions. Figurative periphrasis may be based on metaphor and on metonymy. Euphemistic periphrasis is a variety of periphrasis which substitutes a mild, delicate expression for

one which seems to be rude or unpleasant. Euphemistic periphrasis has some features in common with euphemisms. Periphrasis is used for various stylistic purposes, usually to achieve a humorous or satirical effect. e.g. He bore under his arm the instruments of destruction. THE USE OF PHRASEOLOGICAL UNITS AND ALLUSIONS Phraseological units, such as proverbs and sayings, as well as various kinds of allusions may be used for stylistic purpose.

A proverb is a brief, witty phrase of generalizing nature characterized by the completeness of the thought and generally expressing the wisdom of the people. e.g. He laughs best who laughs last. A saying is a common phrase differing from a proverb in that the thought is not completely expressed. e.g. to kill two birds with one stone. Proverbs and sayings are mostly used by writers in the direct speech of characters to individualize

their speech, and also as laconic, expressive and emotional ready-made phrases, they are often used both in the speech of characters and the author’s narrative to clarify and conform the thought. Epigrams are brief witty phrases resembling proverbs but created by men of letters. They are rhythmically arranged, sometimes rhymed and alliterated. Their aim is to convey some generalized idea in a laconic and expressive form.

Allusion is reference to well-known historical, literary or mythological sources. The stylistic effect of an allusion can be achieved only if the facts and personages alluded to are well known to the reader. Aposiopesis A sudden break in speech often occurs in the oral type of speech. It is caused by strong emotion or some reluctance to finish the sentence. In belle-letters style a break in speech is often used in dialogue to reflect its naturalness.

A sudden break in the narration when used in written speech for certain stylistic purposes, creates the stylistic device of aposiopesis. Aposiopesis is marked graphically by a series of dots or a dash. It is often used in represented speech. Graphical expressive means, such as dash and dots are indispensable in aposiopesis. e.g. I still don’t quite like the face, it’s just a trifle too full, but –“ I swung myself on the stool. Rhetorical Question Rhetorical question presents a statement in the form

of a question. A question appealing to the reader for an answer, is emphatic and mobilizes the attention of the reader even when the latter is not supposed to answer anything, when the only possible answer is implied within the boundaries of the question. The form of a rhetorical question is often negative. Rhetorical question preserves the intonation of a question, though sometimes the assertive sentiment is so strong that both the intonation and the punctuation are changed to those of the exclamatory sentence.

Rhetorical question is an indispensable element of oratorical style, but is not confined to it only, more and more penetrating into other style. So it is widely employed in modern fiction for depicting the inner state of a personage, his meditations and reflections. Through frequent usage some rhetorical questions became traditional (for example, What business is it of yours? What have I to do with him? etc.)

Such questions usually imply a negative answer and reflect a strongly antagonistic attitude of the speaker towards his interlocutor or the subject discussed. e.g. Can anybody answer for all the grievances of the poor in this wicked world? Litotes Litotes presents a statement in the form of a negation. The stylistic device of litotes is used to weaken the positive characteristics of a thing or phenomenon.

It is based upon discrepancy between the syntactical form, which is negative and the meaning which is positive. E.g. “She said it, but not impatiently” We have here an assertion of a certain positive fact but its form is negative. The obligatory presence of the particle “not” makes the statement less categorical and conveys certain doubts of the speaker as to the quality he mentions.

The structure of litotes is rather rigid: its first element is always the negative particle “not” and its second element is, too, always negative in meaning, if not in form. If the second element of litotes is expressed by an adjective or adverb, it has as a rule a negative affix. If the form of a noun or a word-combination, presenting the second component of litotes is not negative, its negative meaning is implied. The final result of litotes is always the assertion of a

positive, though weakened quality or characteristics. e.g. She said it, but not impatiently. Repetition Repetition as a stylistic device is a direct successor of repetition as an expressive language means, which serves to emphasize certain statements of the speaker, and so possesses considerable emotive force. It is not only a single word that can be repeated but a word combination and a whole sentence too. As to the position occupied by the repeated unit in the

sentence or utterance, we shall mention four main types, most frequently occurring in English literature: 1) anaphora – the repetition of the first word of several succeeding sentences or clauses (a …, a …, a …); 2) epiphora – the repetition of the final word (… a, … a, … a); 3) anadiplosis or catch repetition – the repetition of the same unit (word or phrase) at the end of the preceding and at the beginning of the sentence (…a, a …);

The combination of several catch repetitions produces a chain repetition. 4) framing or ring repetition – the repetition of the same unit at the beginning and at the end of the same sentence (a …, … a). Stylistic functions of repetition are various and many-sided. Besides emphasizing the most important part of the utterance, rendering the emotions of the speaker or showing his emotive attitude towards the object described, it may play a minor stylistic role, showing

the durability of action, and to a lesser degree the emotions following it. Repetition, deliberately used by the author to better emphasize his sentiments, should not be mixed with pleonasm – an excessive, uneconomic usage of unnecessary, extra words, which shows the inability of the writer to express his ideas in a precise and clear manner. Morphological repetition, that is the repetition of a morpheme, is to be included into the stylistic

means. e.g. I might as well face facts: good-bye, Susan, good-bye a big car, good-bye a big house, good-bye power, good-bye the silly handsome dreams. Climax Climax presents a structure in which every successive sentence or phrase is emotionally stronger or logically more important than the preceding one. Such an organization of the utterance creates a gradual intensification of its significance, both logical and emotive, and absorbs the reader’s attention more

completely. Climax may be of three main types: 1) quantitative, when it is quality or size that increases with the unfolding of the utterance. 2) qualitative, when intensification is achieved through the introduction of emphatic words into the utterance, which fact increases its emotive force. 3) logical, the most frequent type, in which every new concept is stronger, more important and valid. A peculiar variety is presented in those cases when a negative structure undergoes intensification.

As counterpart to climax stands Anticlimax, where emotion or logical importance is accumulated only to be unexpectedly broken and brought to a sudden cadence. e.g. Silence fell upon Closter. Place, peace, oblivion.” Antithesis Antithesis is a stylistic device presenting two contrasting ideas in a close neighbourhood. The phenomena opposed to one another can be pictured in an extended way.

Or else the contradictory ideas may intermingle, thus creating the effect of not only the contrast, but also of the close unity of the contrasting features. E.g. The smell of life and richness, of death and digestion, of decay and birth, burden the air. e.g. The smell of life and richness, of death and digestion, of decay and birth, burden the air. Asyndeton The connection of sentences, phrases or words without any conjunctions is called asyndentic.

Asyndeton helps the author to make each phrase or word sound independent and significant. Asyndeton generally creates an effect that the enumeration is not completed. Asyndeton also creates a certain rhythmical arrangement, usually making the narrative measured and energetic. e.g. She watched them go; she said nothing; it was not to begin then. Polysyndeton Polysyndeton is the connection of sentences, phrases or words based on the repetition

of conjunctions or prepositions. The repetition of the conjunction “and” before each word or phrase stresses these enumerated words or phrases. Polysyndeton is sometimes used to retard the action and to create the stylistic effect of suspense. Besides, polysyndeton is one of the means used to create a certain rhythmical effect. e.g. He put on his coat and found his mug and plate and knife and went outside.