Morphological level

includes: <onomatopoeia>, <morphemic repetition>, <stylistic use of articles>, <negation>, <tense of verbs>, <perfect continuous passive>, <continuous participle>, <continuous infinitive passive>, <perfect infinitive passive>

See: <phono-graphical level>, <syntactical level>, <Stylistics>

(direct) onomatopoeia

звукоподражание

the use of words whose sounds imitate those of the signified object of action (V.A.K.)

e.g. babble, chatter, giggle, grumble, murmur, mutter, titter, whisper; buzz, cackle, croak, crow, hiss, howl, moo, mew, roar; bubble, splash; clink, tinkle; clash, crash, whack, whip, whisk

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a combination of speech-sounds which aims at imitating sounds produced in nature (wind, sea, thunder, etc.), by things (machines or tools, etc.) by people (sighing, laughter, patter of feet, etc.) and by animals (I.R.G.)

e.g. hiss, powwow, murmur, bump, grumble, sizzle, ding-dong, buzz, bang, cuckoo, tintinnabulation, mew, ping-pong, roar

e.g. Then with enormous, shattering rumble, sludge-puff, sludge-puff, the train came into the station. (A.Saxton)

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использование слов, фонетический состав которых напоминает называемые в этих словах предметы и явления – звуки природы, крики животных, движения, сопровождающиеся каким-нибудь шумом, речь и различные звуки, которыми люди выражают своё настроение, волю и т.д. (I.V.A.)

e.g. bubble, splash, rustle, purr, flop, babble, giggle, whistle

e.g.... where white horses and black horses and brown horses and white and black horses and brown and white horses trotted tap-tap-tap tap-tap-tappety-tap over cobble stones...(Ш.О’Кейси)

See: <indirect onomatopoeia>, <phono-graphical level>, <morphological level>

Alliteration

аллитерация

the repetition of consonants, usually in the beginning of words

e.g.... silken sad uncertain rustling of each purple curtain (E.A.Poe)

e.g. The furrow followed free. (S.T.Coleridge)

e.g. The Italian trio tut-tuted their tongues at me. (T.Capote)

e.g. Nothing so exciting, so scandalous, so savouring of the black arts had startled Aberlaw since Trevor Day, the solicitor was suspected of killing his wife with arsenic. (A. Cronin – Citadel)

Source: <V.A.K.>

e.g. Deep into the darkness peering, long I stood there wondering. (E.A.Poe)

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a) a phonetic <stylistic device>, which aims at imparting a melodic effect to the utterance;

b) repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words;

e.g. “Gaunt as the ghastliest of glimpses that gleam through the gloom of the gloaming when ghosts go aghast”-poet parodies his own style. (Swinburne - Nephelidia)

e.g. The possessive instinct never stands still. Through florescence and fend, frosts and fires it follows the laws of progression”. (Galsworthy)

e.g. Deep into the darkness peering, long I stood there wondering, fearing, // Doubting, dreaming dreams no mortals ever dared to dream before”. (E.A.Poe)

Source: <I.R.G.>

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1) повтор согласных или гласных звуков в начале близко расположенных ударных слогов

e.g. Doom is dark and deeper than any sea dingle. (W.Auden)

2) повтор начальных букв

e.g. Apt Alliteration’s artful aid. (W.Auden)

Source: <I.V.A.>

e.g. ”Dead Dufton,” I muttered to myself. “Dirty Dufton”, Dreart Dufton, Dispicable Dufton” – then stopped. (J.Braine) – «Душный Дафтон, – бормотал я себе под нос. – Допотопный Дафтон, Дрянной Дафтон, Дохлый Дафтон …» – и умолк.

See: <repetition>, <phono-graphical level>, <assonance>

Assonance

ассонанс или вокалическая аллитерация

the repetition of similar vowels, usually in stressed syllables (V.A.K.)

e.g. Nor soul helps flesh now // more than flesh helps soul (R.Browning)

e.g. Dreadful young creatures – squealing and squawking. (D.Carter)

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повторение ударных гласных внутри строки или фразы или на конце её в виде неполной рифмы (I.V.A.)

e.g. Tell this soul, with sorrow laden, if within the distant Aiden, // I shall clasp a sainted maiden, whom the angels name Lenore -- // Clasp a rare and radiant maiden, whom the angels name Lenore? (E.Poe - Raven)

See: <repetition>, <phono-graphical level>, <alliteration>

Euphony

эвфония

a sense of ease and comfort in pronouncing or hearing (V.A.K.)

e.g. … silken sad uncertain // rustling of each purple curtain … (E.A.Poe)

See: <alliteration>, <assonance>, < rhythm>, <rhyme>

Cacophony

a sense of strain and discomfort in pronouncing or hearing (V.A.K.)

e.g. Nor soul helps flesh now // more than flesh helps soul. (R.Browning)

See: <alliteration>, <assonance>

Graphon

графон

1) intentional violation of the graphical shape of a word (or word combination) used to reflect its authentic pronunciation, to recreate the individual and social peculiarities of the speaker, the atmosphere of the communication act (V.A.K.) (– стилистически релевантное искажение орфографической нормы, отражающее индивидуальные или диалектные нарушения нормы фонетической.) (I.V.A.)

e.g. I had a coach with a little seat in fwont with an iwon wail for the dwiver. (Dickens) – с гашеткой впегеди для кучега.

e.g. You don’t mean to thay that thith ith your firth time. (D. Cusack)

2) all changes of the type (italics, CapiTaliSation), s p a c i n g of graphemes, (hy-phe-na-ti-on, m-m-multiplication) and of lines (V.A.K.)

e.g. ”Alllll aboarrrrrrrd”.

e.g. “Help. Help. HELP” (A.Huxley)

e.g. ”grinning like a chim-pan-zee” (O’Connor)

e.g. Kiddies and grown-ups too-oo-oo // We haven’t enough to do-oo-oo. (R. Kipling)

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Имена нарицательные пишутся с Заглавной буквы при обращении или олицетворении, что придаёт тексту особую значительность и торжественно-приподнятую окраску. Приподнятость может быть иронической, пародийной.

e.g. O Music! Sphere –descended maid, // Friend of Pleasure, Wisdom’s aid! (W. Collins)

e.g. If way to the Better there be, it exacts a full look at the Worst. (Th. Hardy)

Целые слова могут быть набраны большими буквами и выделяются как произносимые с особой эмфазой или особенно громко.

e.g. I didn’t kill Henry. No, NO! (D. Lawrence – The Lovely Lady)

e.g. ”WILL YOU BE QUIET!” he bawled (A. Sillitoe – The key to the door)

Курсивом выделяются эпиграфы, поэтические вставки, прозаический текст, цитаты, слова другого языка, названия упоминаемых произведений (необязательно) и вообще всё, что по отношению к данному тексту является инородным или требует необычного усиления (эмфатический курсив).

e.g. ”You mean you’d like it best.” Little Jon considered. “No, they would, to please me.” (Galsworthy - Awakening)

e.g. Olwen (smiling at him affectionately): You are a baby. … Gordon (furious, rising and taking step forward): You are a rotter, Stanton. (J.B. Pristley)

Source: <I.V.A.>

See: <phono-graphical level>

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