Parallel constructions

Antithethis

Exercise 1. Distinguish between types of repetition according to the position of the repeated unit in the utterance, comment on their stylistic functions.

1) She bit her lips, lips without make-up, waiting for his reaction. (J. Fowles) 2) We’ve got to make this somehow ordinary or we won’t be able to bear it. Please. Please. Please. (I. Murdoch) 3) If you hear in my voice – I don’t know that it is so, but I hope it is – if you hear in my voice any resemblance to a voice that once was sweet music in your ears, weep for it, weep for it! If you touch, in touching my hair, anything that recalls a beloved head that lay on your breast when you were young and free, weep for it, weep for it! (Ch. Dickens) 4) The beach was a desert of heaps of sea and stones tumbling wildly about, and the sea did what it liked, and what it liked was destruction. (Ch. Dickens) 5) Thirty – the promise of a decade of loneliness, a thinning list of single men to know, a thinning brief-case of enthusiasm, thinning hair. (F.S. Fizgerald) 6) He waited for some minutes listening. He could hear nothing: the night was perfectly silent. He listened again: perfectly silent. (J. Joyce) 7) And she returns to her field walking. Walking in silence in unison with the silent earth; the silence of dust, the silence of soil, the silence of trace elements, the silence of phosphates, the silence of those who are now guiding her steps across the silent fields. (P. Ackroyd) 8) ‘I like roofs,’ said Clarice; ‘they are something I like more than most things because they are on top of the houses they cover, and Cora and I like being over the tops of things because we love power, and that’s why we are both fond of roofs.’ (M. Peake)

Exercise 2. Point out parallel syntactical constructions and distinguish between partial and complete parallelism in the following cases. Note the case of pure syntactical parallelism. Point out the cases of chiasmus. Name the stylistic devices interacting with parallel constructions, comment on their joint stylistic effect

1) Mr. Lorry’s spirits grew heavier and heavier, as he and his two companions ascended higher and higher. (Ch. Dickens) 2) It was strange to reach the marble steps and find no stir of bright dresses in and out of the door, and hear no sound but bird voices in the trees. (F.S. Fizgerald) 3) After Julius had gone Tallis sat for a long time watching the slow quick quick slow of the raindrops coming down the window pane. (I. Murdoch) 4) Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals. (O. Wilde) 5) She did not need to be clever, she only had to exist; she did not need to perform, she only had to be there in front of the cameras. (M. Spark) 6) She was a curious woman, whose dresses always looked as if they had been designed in a rage and put on in a tempest. (O. Wilde) 7) Soul and body, body and soul – how mysterious they were! There was animalism in the soul, and the body had its moments of spirituality. The senses could refine, and the intellect could degrade.(O. Wilde) 8) “What are the gaieties of the Rich, the splendours of the Powerful, what is the pride of the Great, what are the gaudy pleasures of High Society?” (A. Huxley)

Exercise 3. Point out the semantic centers of antithesis, comment on their structural peculiarities. Distinguish between the variants of antithesis, comment on their stylistic functions. Pay attention to the stylistic devices interacting with antithesis.

1) I had walked into that reading-room a happy, healthy man. I crawled out a decrepit wreck. (J. Jerome) 2) When a woman marries again it is because she detested her first husband. When a man marries again, it is because he adored his first wife. Women try their luck; men risk theirs. (O. Wilde) 3) The lamp-light, bright on his boots and dull on the autumn-leaf of her hair, glinted along the paper as she turned a page with a flutter of slender muscles in her arms. (F.S. Fizgerald) 4) When one is in love, one always begins by deceiving one’s self, and one always ends by deceiving others. (O. Wilde) 5) Life, facts, things were horribly complicated; ideas, even the most difficult of them, deceptively simple. In the world of ideas everything was clear; in life all was obscure, embroiled. (A. Huxley) 6) The brothers were a contrast – Seth bent and hesitant, Tom square-built, bull-chested, ox-necked, box-jawed, pop-eyed, in short, a hundred and fifty per cent American all through. (S.Leacock) 7) With one blow the mole was dead. Frances was startled and shocked. One moment the little wretch was fussing in the heat, and the next it lay like a little bag, inert and black – not a struggle, scarce a quiver. (D.H. Lawrence) 8) To note the curious hard logic of passion, and the emotional coloured life of the intellect – to observe where they met and where they separated, at what point they were in unison, and at what point they were at discord – there was a delight in that! (O. Wilde)

PHONETIC AND LEXICAL STYLISTIC DEVICES:

REVISION

Дата добавления: 2015-11-14