Stylistic Analysis

Table of contents Introduction3-7 Chapter 1. Stylistic peculiarities of D. H. Lawrence and H. W. Longfellows rime. 7 1. 1. The white plague of polyse bitticism of the countersign in conspiracy with repeat in spotss by D. H. Lawrence and H. W. Longfellow.. 7-12 1. 2. Lingvo- empty talkal potential of D. H. Lawrences Donts. 12-14 1. 3. The of import stylistic-semantic features of H. W. Longfellows song The var. of Hiawatha (Introduction) 4-18 Chapter 2. Romantic and tuneful figure of Robert destroy18 2. 1. General stylistic features of R. destroys mensurable composition My oculuss in the Highlands.. 18-21 2. 2. The panache in My sums in the Highlands21-23 Chapter 3. Lexical, syntacticalal communicative doer and stylistic inventions in. 24 3. 1. unripe and doddery by Charle Kingsley24-26 3. 2. appear of Sight, break through of att decease by Barnabe Googe26-28 Conclusion29-30 References31-32 IntroductionThe al-Q assistanta of the degree infrastructure i s pertain with the stylistic depth psychology of five verse forms by una worry precedents (D. H. Lawrence, H. W. Longfellow, R. burn, Ch. Kingsley, B. Googe). The issue of stylistics and stylistic analytic weighing has been extensively studied in recent years and the fuss of stylistics has been a subject of special interest. Various scientific paradigms, tr breaks and methods of stylistics and literary studies sire been demonstrable and explored in the computes by much(prenominal)(prenominal) prominent scholars of pre-soviet, soviet and post-soviet lingual schools as Larin B.A. , Peshkovsky A. M. , Polivanov E. D. , Scherba L. V. , Galperin I. R. , Akhmanova O. S. , Arnold I. V. , Skrebnev Yu. M. , Golovin B. N. , Kukhargonnko V. A. , Morohovsky O. M. and many early(a)wises. Thus the limit stylistics is non old just now the force field originated from ancient Greek and Roman poetics and rhetoric. Modern poetics is a discipline concerned with the structural forms of literary art, near(prenominal) poetic and prosaic, and its crucial problem is what turns a verbal message into a relieve whizself of art 10, p. 3.The term stylistics became associated with detailed linguistic scientistic criticism because, at the condemnation it developed, the study of authorial style was a major critical concern, and linguistic analytic thinking, every(prenominal)ied to statistics, was parking lot with the much than linguistic all in ally inclined critics. correspond to al more or less forward-looking scholars, it is with bug out delay moved a federal agency from the study of style and towards the study of how centers and set up be produced by literary textual matter defends. Nowadays by stylistics the neo British linguist Henry Widdowson operator the study of literary dis ply from a linguistic orientation, i. . stylistics is an atomic number 18a of mediation amid the twain disciplines, the cardinal subjects language and literary workings 18, p. 43. In R. de Beaugrandes give-and-takes, stylistics applies linguistics to literature 2, p. 18. So, the object of stylistic analysis is language represented in literary texts. Stylistic analysis is a part of literary studies, of any adequate linguistic description. It is practiced as a pith of belowstanding the possible sways in a text as well as finding out the individual properties of concrete texts or text types.Also you can read Rhetorical Devices in Night Walker by Brent StaplesIts ultimate mother is to straighten out the message of the authors work through c argonful utterance and consistent description of language phenomena in the text under study. through at the junction of linguistic and literary analysis the work is concerned with a number of problems of the rimes interpreting, stylistic, linguistic and literary analysis. Although considerable amount of movement has been aband id to the problem of the stylistic analysis few attempts take up be en do to wonder aspects such as structural-semantic para megabytes of he given rhymes, lexical and syntactic communicative direction, just rough stylistic devices which atomic number 18 apply in these poems. This de depression-rates the actuality of the work and its a priori value. The objective of the story is to examine the linguistic, stylistic, lexical and syntactic reputation of poems, types of expressive means on the different levels of language and their informational significance. The given aim predetermines the concrete tasks of the explore. The thesis will cover the following research tasks 1) to learn such poems as Donts by D. H.Lawrence, The melody of Hiawatha (Introduction ) by H. W. Longfellow, My sums in the Highlands by R. burn down, Young and Old by Ch. Kingsley, and stunned of Sight, forbidden of Mind by B. Googe 2) to point out various types of syntactic and lexical-syntactic stylistic devices in them 3) to dwell upon their structural, logica l-semantic peculiarities and functions 4) to determine the structural, semantic types of fables, metonymies, epithets and similes 5) to lay fury on the swell number of themes developed in poems 6) to give common singularitys of poetic methods of D.H. Lawrence, H. W. Longfellow, R. fire, Ch. Kingsley, B. Googe. 7) to add detailed analysis of the stylistic devices employed by the poets in their verses 8) to give the close observation of the inwardnesss of separate says and develop combines as well as of the significations of the various article of faiths and supra-phrasal units. So, the object of the paper is poetry by above menti stard poets. The subject is the main themes and stylistic peculiarities of these poems.The literals and theoretical base for the given course paper were chosen among the research works of the effected literary critics and biographers, who studied the life and the distinctive features of poets legacy. Special attention was remunerative to the book by Thomas Crawford Burns. A study of the Poems and tenors, Arvin Newton LongfellowHis feel and Work and other related works. The methodic base on the work became the works of Galperin I. R. , Kuch benko V. A. , Lototska K. materials from the Internet, different types of dictionaries, World concur encyclopaedia. In accordance with the purpose and tasks of the paper the following methods of investigation were use says definitions analysis, contextual and systematic analysis of the poems, interpretational and stylistic analysis of the rhetorical figures for revealing the informational value of expressive means. The topicality of the research paper is determined by the necessity of systematic and resumptive comprehension of the appraisall stylistic analysis.The scientific novelty of the work consists in the point that we will provide with the thorough analysis of poems on taxonomic, content-grasping, semantic, stylistic and operative stages of investigation. Besides, we w ill try to investigate the use of polysemanticism of the discourse in combination with repeat in such poems as Donts by D. H. Lawrence and Song of Hiawatha (Introduction) by H. W. Longfellow.From the theoretical point of moot, this work presents the comprehensive study of lexical, syntactic expressive means and stylistic devices that makes it possible to reveal its lingvo- stylistic and in operation(p) features. So, the theoretical value of the given research paper is based on analysis of poets verses which promote the further development of fungentlewomanntal principles of the theory of poetry. The serviceable value of the work lies in the fact that the results of the investigation can be use in the courses of lectures in stylistics, seminars in style and text interpretation and overly can be useful for practical courses of face language.The course paper consists of an introduction, collar chapters, conclusion and list of references. The introduction explains the topicalit y of the research paper, underlines its theoretical and practical value and identifies the theme, aim, tasks, object, subject, methods of investigation of the work. The scratch chapter deals with the stylistic peculiarities of D. H. Lawrence and H. W. Longfellows poetry. primarily it is tensioned on the polysemantic aspect and lingvo-stylistic potential of such poems as Donts and The Song of Hiawatha (Introduction).The flake chapter is dedicated to the detailed analysis of poem by Robert Burns which is called My tittys in the Highlands. It involves investigation of the style, expressive means, syntax of the given poem. The third chapter is concerned with two poems Young and Old by Ch. Kingsley and Out of Sight, Out of Mind by B. Googe. Considerable strain is put on the lexical, syntactic expressive means and the stylistic devices at different levels. To illustrate the use of rhetorical figures these poems be learnd, considering theoretical issues of modern Stylistics. Chapt er 1 Stylistic peculiarities of D.H. Lawrence and H. W. Longfellows poetry 1. 1. The use of polysemanticism of the watchword in combination with repeat in poems by D. H. Lawrence and H. W. Longfellow. The poem Donts which is under consideration was written by David Herbert Richards Lawrence ? an face novelist, poet, playwright, essayist, literary critic and painter. Although silk hat cognise for his novels, D. H. Lawrence wrote al around(prenominal) 800 poems. His archaeozoic works clearly issue him in the school of Georgian poets. What typified the entire movement, and Lawrences poems of the clock time, were well-worn poetic tropes and designedly archaic language.He wrote in a rattling exculpate verse form, boundless by traditional anatomical structures. Much of his work deals with issue of the working classes, relationships among men, women and the inwrought world. D. H. Lawrence was especially fond of musical composition nigh animals, flowers, and other aspects of temperament ? usually in a deeply symbolic manner. His poetry collections complicate Love Poems and others (1913), Amores (1916), Look We have descend through (1917), Birds, Beasts and Flowers (1923), The Collected Poems of D. H. Lawrence (1928), The stark(a) Poems of D. H.Lawrence (1964), edited by Viviande Sola Pinto and F. Warren Roberts and many others. The poem Donts is devoted to the authors instructions, pieces of advice given to a tiny boy. The basic theme is the protest against narrow-minded, philistine morality, ideals and hypocrisy. This theme manifests itself in many peculiar word exercising which imitates adults word custom in the conference with children. The author foresees the disingenuous, artificial exhortation which a raw boy is issue to hear from mealy-mouthed adults who demand from him to be well-behaved boy. They require that a boy ry to be a substantially minuscule boy macrocosm as satisfactory as you can 6, p. 375. How invariably, D. H. Lawr ence insistently recommends not to learn to these pieces of advice, not to be that humble good child whom sanctimonious persons pauperism to see. The author admonishes him to fight and to be a courageous man. The stride of the poem is moralizing and contrast between the significance of theme and parodic infantility of phraseology creates sharp-worded satirical effect. D. H. Lawrence in his poem Donts uses polysemanticism of the word in combination with repeating and this approximates by its stylistic function to casuistry.It occurs in reference to the procedural petite which is utilize present in various variants with different connotations, furthermore, in al about(predicate) connotations it suppresses greatly the denotative comp wizardnts of meaning. That is why the notion of metre is all told in substantive. Due to the fact that repetition along with parodic exercising of unceremonious- promiscuous style, especially baby-talk, atomic number 18 the key stylistic devic es with which we should start analysis of the given poem. They ar various by nature.alongside with a simple repetition of two or more absolutely identical components mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed new repetition with some variation is introduced. much(prenominal) repetition is, for physical exertion, greedy-mouthed as against mealy-mouthed. Similarity between mealy-mouthed and greedy-mouthed at the alike time make them be compared, however variety between them supplements the percentageistic of the sly, every old lout. Guite effective is partial repetition earning your living while your life is lost 6, p. 375, where morphologic closeness lonesome(prenominal) sharper shades that living and life are not the uniform. (translation from Russian ? M. Andrushko) 22, p. 126-127. In some cases repetition in addition can not occur with the usage of polysemanticism. Then its function is intensifying or worked up or even intensifying-emotional as it is in the first two lines Fight your inadequate fight, my boy, Fight and be a man. 6, p. 375 Semantics variations in the repetition are very interesting for the theme of the given paragraph, i. e. the usage of different lexical-semantic variants which are let in in the semantic structure of one and the alike word.Due to the mate usage of the word in one context, these semantic variations accentuate differences in connotations. The word piddling is use in the given poem in two various lexical-semantic variants with antithetical connotations. In such phrases as good smaller, good picayune boy, enjoy comminuted girl, dear little home the word little has one meaning and in such phrases as little fight, let in a little air, a little hole in the Blessed prison house, your own little bit, your own little cry some other meaning. The usage of the word little here is guite difficult.First of all, thither is need to resort to a dictionary to find out what in general is notice in the language. In the send out meaning little signifies the small sizing and is synonymic with neutral word small. In the informal style of vernacular this objective-logical meaning is strongly suppressed by its emotional meaning. So, little expresses sympathy, tenderness, compassion and is similar to nubate diminutive suffixes of the Ukrainian language. Exactly this meaning forms the understructure of the stylistic connotation of the first group of examples. (translation from Russian ? M. Andrushko) 22, p. 127.It is interesting that compatibility of the word little in this meaning with the following adjectives dear and nice is device characteristic for informal speech, especially for the speech used in conversations with children. For instance, a dear little cottage, a dear little boy, a dear little kitten, a nice little wife and etcetera Frequent usage of the word little sounds like affectation in the selfsame(prenominal) way as in the conversational speech the misuse of diminu tive suffixes creates an impression of insincere baby-talk. The stereotypy of those combinations used in not characteristic of direct speech projects their pretence, insincerity and insincerity.The poet mocks those masses who will tempt a early boy by dreams about bourgeois wel farthere. It is outlay to be noticed that the word little can be used ironically, for example, one of my little ideas and even with the tone of sarcasm so thats your little plan, is it 22, p. 375. Since in the semantic structure of the word little, is holdd the meaning which is synonymic to the adjectives un crucial, mean, paltry, so this estimation is introduced in the implication of the poem and in combination with an absurd repetition makes it grotesque.It in addition destroys sweetness of promises about family happiness and comfort which are waiting for a good boy. The second group of examples ? let in a little air, fight your little fight etc. ? leads to the authors direct speech. A reader can not find here any irony, the direct meaning of a metric round of golf is preserved. The repetition underlines the idea that even modest results of everyones fight for ability to fleet in the hole prison easier are valuable and unavoidable for common good. In such way this poem acquires acute social orientation.At the same time the contrast between lexical meanings of two lexical-semantic variants of one and the same word plays an important role as well. In the examined case the simile of two variants of one and the same word occurs syntagmatically, i. e. both variants are in the text little synonymic to affectionate diminutive suffix and little with the meaning of dimension or significance. The second type of comparison between direct and figurative meaning occurs in the following metaphors dont be beholden to the herd inside the pen, coin sty, holy prison.The first metaphor is the metaphor in which in the text just now one member of comparison is represented, i. e. hardly figurative meaning where people are resigned to their fate, to the institutionalization of D. H. Lawrence surrounding world. Those people are called ? . Another metaphors ? money sty and holy prison ? show that this institutionalization is called and . Alongside with many other stylistic devices these metaphors express very clearly the authors spatial relation towards reality. Repetition can perform several functions simultaneously. In Song of Hiawatha by H. W.Longfellow repetition creates folk colour, song rhythm and underlines interrelation of separate images unite them in one common picture Should you ask me, whence these stories? whence these legends and traditions, With the odors of the forest With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their general repetitions, And their wild reverberations As of expand in the mountains? I should help, I should found you, From the forests and the prairies, From the gre at lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs,From the mountains, moors, and fen-lands Where the heron, the Shuh-shuh-gah, Feeds among the reeds and rushes. I repeat them as I heard them From the lips of Nawadaha, The musician, the sweet singer. Should you ask where Nawadaha effect these songs so wild and wayward, Found these legends and traditions, I should answer, I should tell you, In the birds-nests of the forest, In the lodges of the beaver, In the hoofprint of the bison, In the eyry of the eagle 8, p. 9-10 In these first stanzas of Song of Hiawatha a reader encounters with the crossroad of stylistic devices and in the first place with repetitions.This convergence puts him in the genre of lyrical epic stylized in a spirit of indian national-poetical creativity. Repetition adds rhythmicalal and song colour to the chronicle and integrates the enumeration of elements concerning the nature of the land. It is interesting that frequent repetitions are mentioned intentionally and are explained by the author as borrowing from the indian singer Nawadaha. D. H. Lawrence explains the egress of repetitions in the songs of Nawadaha as the watch of the surrounding nature ? reverbarations/ As of thunder in the mountains 8, p. . Various kinds of repetition can be an important means of connections inside the text. Connection by means of pronouns has more specific meaning. In the given example connection is accomplished by anaphoric repetition of such pronouns as with, from and in together with parallel constructions and some other kinds of repetitions. (translation from Russian ? M. Andrushko) 22, p. 185. Alongside with lexical synonymic repetition stories-legends, moors-fenlands here is represented stringently syntactical repetition in the form of homogeneous parts of the sentence.To be more precise, lexical synonymical repetition is like the extension of syntactical repetition. The poem by H. W. Longfellow is called a song. However, the word song is polysemantic and the meaning implied by the author is explained by three homogeneous nouns stories, legends and traditions. The homogeneous parts of the sentence specify and details the content of the authors opinion. The type of legends and traditions mentioned in the song is explained by a set of prepositional phrases which starts with the preposition with.The indirect interrogate with the word whence makes us think about the sources of the song. The answer to this question is a set of similar by its syntactic function parallel constructions with anaphoric preposition from. Inside this syntactic convergence is the convergence of single-word components the forests and the prairies, from the mountains, moors and fenlands 8, p. 9. So, the usage of polysemanticism of the word in combination with repetition is very important for the right catch of the poems content. 1. 2. Lingvo-stylistic potential of D.H. Lawrences Donts Stylistic devices and express ive means are very significant for complete understsnding and perception of the full artistic colouring of a poem. That is why it is worth to consider some other stylistic devices in these two poems Donts by D. H. Lawrence and The Song of Hiawatha (Introduction) by H. W. Longfellow. In the poem Donts the author imposes upon the reader his individual(prenominal) attitude towards a young boy and people who surrounds that boy. The repetition brings the incumbent rhythm into the utterance.There are many types of repetition in this poem. The first and the most vivid example is Fight your little fight. It is morphemic repetition which is a variety of polyptoton, a figure based on the repetition of two or more words of the same stem (but belong to different parts of speech or word classes within the same part of speech) 9, p. 132. Also the poem is full of lexical repetitions, especially in series(p) or juxtaposed a good little, a good ittle, mealy-mouthed, mealy-mouthed, greedy-mouthe d, greedy-mouthed, dear little, dear little, dont drink, dont drink.Apart from successive, there is indifferent repetitions of the word dear in the collocation with different nouns girl, mother, home and the repetition of the word hit-hit which is invented by the author. The most interesting and effective is the repetition in strong positions ? lexical anaphora which in this poem is represented by the word dont Dont be fawned in by the su-superior, dont swallow the culture bait, dont drink, dont drink and get beerier and beerier 6, p. 375 To grasp and hold the readers interest the author uses a number of epithets.Semantically they are classified advertisement into two major groups 1) Without the violation of semantic agreement a good little boy, dear little girl, dear old mother, dear little home, little fresh air, own little try, comfortable feeling, culture bait. every these epithets, apart from the last two, structurally are pair epithets. The last one is a word-epithet or s imple. Also they all belong to explanatory epithets because they bespeak an important features of the defined object. 2) With the violation of semantic agreement to the metaphoric epithets belong mealy-mouthed cowardice, golden opinions, sweet joys, dull death.Structurally they are word epithets. A significant metaphor is used in this poem dont swallow the culture bait. This is verb metaphor, where bait is tenor and the vehicle is food which is only implied by a reader. According to the structure this metaphor is simple. D. H. Lawrence by this stylistic device wants to say that a little boy does not regard the words of other people. One more special variety of metaphor is allusion. D. H. Lawrence resorts to allusion in the last line of the poem ? the risen Christ should be risen. The author makes reference to the Bible, to the religious theme.Concerning the language of the poem it is rather neutral, although some peculiar, special words occur. For example, the word lout. The ori gin of this word is uncertain and it has some stylistic colouring. The Oxford dictionary gives the following definition an clumsy and aggressive man or boy. Another interesting word is suck in which is slang and means to deceive. The author also creates a new word ? hit-hit which is iterate twice. This stanzaic poem with the cross rhyme is one of the D. H. Lawrences masterpieces. 1. 3. The main stylistic-semantic features of H.W. Longfellows poem The Song of Hiawatha (Introduction) Longfellow, Henry Wadsworth (1807-1882) was the most widely publish and most famous American poet of the 1800s. His reputation among critics declined sharply after his death, and he had much less influence on modern poetry than such other poets of his day as Walt Whitman and Emily Dickinson. However, many of his poems continue among the most familiar in American literature. Longfellows best-known perennial works include Evangeline, the Song of Hiawatha, and The Courtship of Miles Standish.Among h is popular shorter poems are The crossroads Blacksmith, The Childrens Hour, Paul Reveres Ride, The wrack of the Hesperus, and Excelsior. Longfellows works achieved great popularity in atomic number 63 as well as in the United States. He was the first American writer to be honored in the Poets watershed of Westminster Abbey in London. 15, p. 448 The Song of Hiawatha is regarded as Henry Wadsworth Longfellows greatest, most characteristic, and most original epic poem. Intentionally epic in scope, it was exposit by its author as this Indian Edda.It is, from beginning to end, a metrical version of legends originating with the Algonquin family of Indians. H. W. Longfellow had taken an interest in Indians from early youth, and early formed a plan to commemorate their legends in his verse. From Schoolcraft he resolute approximately all the material utilized in the cycle he named Hiawatha. sooner his intension was to group the legends about the mythical personality of the Algonquin divinity ? art objectabozho. The poets imagination has invested his hero with much of the character of the strong man who bound together the most compact and efficient league of Indian tribes. The Song of Hiawatha was begun on June 25, 1854, and its 5,314 lines were concluded on March 29, 1855. Its meter, derived from that of the great Finnish epic, the Kalevala, consists of eight-syllabled lines, with stresses falling on the first, third, fifth and seventh syllables. Octosyllabic verse, whether trochaic, as here, or iambic, as in Scotts Lays of the Last Minstrel, is by far the easiest of all measures to write and the fact that The Song of Hiawatha is unrhymed make the Americans task greatly easier than that of the Scotchman. H. W.Longfellow left a careful pronouncing vocabulary of all the proper names used from the Indian languages in his poem. These show an almost bewildering confusion of vowels, some having the quality of French, some that of English. The name of the titula r hero himself is to be pronounced as if spelled hee-ah-wah? -tha, though the French transliteration make it Haye? nwatha, with the accent on the second syllable. The proper names passim are used with the rarest skill, both to give melody and variety to the verse and to fetch it that more subtle quality known as atmosphere.The main character appears in the tales of Indians under various names. He endowed with many fine features and embodied the idea of overcoming every kind of discord, rejection of strife and wars in the name of labor peace on generous ground. H. W. Longfellow is rich in some special vocabulary or different realities geographical, ethnographic, religious, mystical. Geographical realities mainly include the names of settlements, their location, characteristics of plant and wildlife and natural conditions. Using a large number of realities, indicating the birds, animals and insects, H. W.Longfellow was trying to show the diversity of nature and its inhabitants. He m entions such birds as Shuh, shuh-gah, the heron, Chetowaik, the plover, Mahng, the loon, the wild-goose, Wawa, the grouse the Mushkodasa8, p. 9-10. Another special vocabulary concerns the names of nations, since each nation has evolved a way of life and culture that initially led them to division into different clans Ojibways, Dacotahs, Hurons and others. Several times the author refers to the valley of Tawasentha8, p. 10. the word vale according to Oxford American mental lexicon is a poetic term for a valley.In the introduction a reader can also meet an archaic word ye which according to Collins Cobuild Dictionary means an old-fashioned, poetic, or religious word for you when you are talking to more than one person. Concerning the stylistic devices, repetition is one of the most frequent stylistic means in Longfellows poem. In the poem it can be founded on all levels of language, but the most frequent used is lexical anaphora With the odors of the forest With the dew and damp of m eadows, With the curling smoke of wigwams, With the rushing of great rivers,With their frequent repetitions 8, p. 9 or From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands 8, p. 9 and some others commencement with prepositions from, and, by. These lines also can be characterized as parallel anaphoric syntactic constructions. Apart from lexical anaphora, the author uses distant repetition of such hrases as pleasant water-courses, to this Song of Hiawatha, morphemic repetition ? Sang the Song 8, p. 11 ? which belongs to root repetition. Affixational repetition in the line There are longings, yearnings, strivings brings the necessary rhythm into the utterance. In the same time, this line is a nice example of gradation, the type of gradation ? climax. Its function is to give a vivid emotional-evaluative characteristic of the phenomenon described. One more instanc e of gradation how he lived, and toiled, and suffered only gives some additional emotive effect.Antonymous syntactic parallel constructions Should you ask me, I should answer form antithesis. A very nice lexical-syntactic stylistic device used in the poem is simile And the thunder in the mountains, Whose innumerable echoes cast like eagles in their eyries 8, p. 11 It describes the nature of the valley, the weather in the mountains and this description trough employ simile gives a reader the clear picture of that locality.The poem is rich in epithets among which it is worth to mention such as songs so wild and wayward(a pair metaphoric epithet), melancholy marshes(simple metaphoric), green and reserved valley(the first is tautological, the second is metaphoric, structurally it is a pair epithet), apprisal pine-trees(simple, metaphoric), wondrous birth(simple emotive proper or affective epithet) and some others. However, the above mentioned epithets in the best way to convey the mood, feeling and emotions of the poem.The profuse use of repetition have made The Song of Hiawatha the most parodied poem in the English language, spawning more than a thousand variations, some of them as long as the original. Despite the flaws of critics, caused by H. W. Longfellows choice to simulate the solemn, unrhymed tetrameter of the Finns Kalevala, The Song of Hiawatha is still widely accepted as a significant nineteenth-century American poem. Chapter 2 Romantic and lyrical figure of Robert Burns 2. 1. General stylistic features of R. Burnss My Hearts in the Highlands Robert Burns was one of the great poets of the eighteens century and the only great poet ever to emerge from the British peasant class11,p. 23. According to Merrian-Websters cyclopedia of Literature, R. Burns was national poet of Scotland who wrote lyrics and songs in the Scottish accent mark12, p. 187. John Anderson mentions that most of Robert Burnss poetry is written in Scotch brogue. The poet used dial ect deliberately. It was not that he knew no better. You will notice that when it blissful him, he could turn out stanzas in pure English as polished and smooth as those of any classic poet13, p. 36. Burns was interest in authentic folk songs. He collected about ccc original and traditional Scottish songs for books compiled in his day, including The Scots Musical Museum (1787). Burns wrote many poems to be sing to Scottish folk tunes14, p. 716. He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural range of a function in Scotland and among the Scottish Diaspora around the world.His poem Auld Lang Syne is often birdsong at Hogmanay (the last day of the year), and Scots Wha Hae served for a long time as an unofficial national anthem of the country. early(a) poems and songs of Burns that repose well known across the world today include A Red, Red Rose, A Man s a Man for AThat, To a Louse, To a Mouse, The Battle of Sherramuir, tammy oShanter, and Ae Fond Kiss. However, the poem which we are going to analyse is called My Hearts in the Highlands. The title of this poem tells us sort of a bit.The poet identifies a place that is important to him, and the word heart indicates a strong emotional attachment to the Highlands. The poem is lyric, in fact, a song, and the musical language expresses the emotions of the speaker. In this poem we can assume that the speaker and the poet are the same. It is a poem about Robert Burns leaving his home, the Highlands. He looks posterior on his life to remember all of the good times he had there. This shows love for a place, the Highlands of Scotland and proves that R. Burns was homesick. Concerning the poetical form, R.Burns wrote four-line stanzas, called quatrains, with a very simple aabbccdd rhyme scheme. The metrical pattern includes an opening iambus followed by two dactyl feet and ends with an acc ented syllable. Since the dactyl feet prevail, the poem is written in dactylic tetrameter. Poets often vary the meter and feet slightly to avoid a work that sounds like a metronome. This poem has strong visual elements. R. Burns writes about the wild cervid, green valleys, and wild-hanging woods. In addition, there is an aural image in the line Farewell to the torrents and loud-pouring floods1, p. 54. These images convey the poets love for the region, a love that the audience recognizes. Thus, the sensory images elicit an emotional response. R. Burns uses repetition to great effect. Not only does he repeat the first stanza as the last, which is called in stylistics lexical framing, he also repeats words wherever I, farewell to the. 1, p. 254. In the third stanza the author uses repetition in strong position ? lexical anaphora Farewell to the mountains high coverd with coke Farewell to the straths and green valleys belowFarewell to the forrests and wild-hanging woods Farwell to the torrents and loud-pouring floods. 1, p. 254 By using repetition, the poet makes My Hearts in the Highlands sound like a song. R. Burns also uses the devices to emphasize his ideas. The word Highlands is repeated eight times, and Farewell is repeated six times. The most repeated phrase My Hearts in the Highlands contains the most important idea in the poem. At the same time it is a very nice noun metaphor (T ? Heart, V ? implied by the author human body or even the author himself).According to the degree of unexpectedness, it is good metaphor which evokes images and suggests some associations, reveals the authors emotional attitude towards the described place. Repetition creates an emotional response because the reader must acknowledge the enormousness of the poets attachment to the place. Similarly, the poet uses parallelism, the repetition of the same grammatical form structure, to convey his message and elicit an emotional response Chasing the wild deer, and following the roe , Farewell to the Highlands, farewell to the North, Wherever I wander, wherever I love1, p. 54. The solely third stanza also serves as an example of parallelism. totally these repetitions add the feeling of homesickness and nostalgia in the poem. The opposition in this poem is between the Highlands and here. This opposition in stylistics is called antithesis. Since a reader do not know what kind of place here is, we imagine that it is quite the icy of the Highlands. This establishes the sense of sadness, the sense of feeling out of place that most people felt at some time. A significant stylistic device is periphrasis the birth-place of Valour, the country of Worth.The author in such way gives proper names to his Highlands. He wants to emphasize that his country is very elegant and he will miss it. Usage of epithets enriches the aesthetic perception of the poem. In the poem we can find such epithets as wild-hanging woods which is involved structurally and metaphorical semantic ally loud-pouring floods also compound metaphorical epithet. balmy deer, green vallies are examples of simple tautological epithets. R. Burns also resorts to using a Scottish dialect. He mentions the word Straths which means a broad mountain valley. John Anderson writes about R.Burns Burns used dialect because ? however well gear upd a Scotsman may be ? when he is with those he loves and trusts, he drops naturally into brogue. It is cozy, familiar speech of the homeBurns, writing for his neighbors and cronies, uses the daily speech, homelike and comfortable as their old clothes13, p. 336. 2. 2. The style in My Hearts in the Highlands In the poem My Hearts in the Highlands, the springively longing and lyrical tones reflect an inner(a) feeling of yearning for the Highlands and a love for the land that liberates those who have been expose to it.The bank clerk consistently reminisces about his memories of the Highlands and as he does so, he explains these feelings in a rhythmic an d melodic fashion. The feelings that the narrator exhibits reflect the natural magnetic dip of humans to maintain a connection with their original homeland. The poems diction emphasizes the liberation that the Highlands provide and the narrators feelings pertaining to his deep affection toward the Highlands. As the narrator wanders passim the Highlands, he ventures to places as widespread as mountains covered in snow where he chases wild deer.The Highlands are a place where one experiences freedom as evidence by how heroical they appear. The lack of bothersome interaction and the presence of wide-open spaces allow the narrator to maintain a sense of no restrictions. As the Highlands, or the birthplace of valor, are described, it is lucid that the narrator is forever in love with them, and that memories of the Highlands are with him wherever the narrator travels. The Highlands symbolize bold strength that has stuck with the narrator throughout his life.This results in the narra tor feeling a close bond with the Highlands. Along with the diction, the point of view allows for observation of the various tones. The first-person point of view reinforces the feelings of wistfulness and dethaw that the poem conveys. The narrator says my Heart is not here in night club to convey the fact that he longs to be in his contry of Worth, or the Highlands. There is a sense of immediacy as the narrator describes his experiences roaming throughout the hills and vallyes, and his longing is directly conveyed through the first-person point of view.It is clear that, as the Highlands are described, the narrator would rather be there than anywhere else, and the first-person point of view is beneficial in conveying this. The narrator says that he will think of the Highlands wherever I wander, since he claims that my hearts in the Highlands, whereer I go. The narrator is not able to let go of his thoughts and feelings about the Highlands when he is not there. This reflects the s trong feelings that the narrator has for the Highlands and how he feels incomplete without their presence. Other things, such as the syntax, serve to provide a deeper meaning for the poem.The syntax in the poem moves from short phrases separated by commas, to a rhythmic and repetitive farewell, and finally to a structure that parallels the opening. Initially, the text is very ephemeral, and there is almost no defined rhythm associated with it. The narrator is incredibly link up to the Highlands, and his thoughts attend almost unfocused as he continually thinks about and longs for the Highlands. This reflects how detached the narrator is to his current life and how he would rather be somewhere where he can live with no restrictions. In the middle, the poem gains a defined rhythm, and repetition occurs.The narrator repetitively says goodbye to the Highlands, and during this farewell, he drifts off into somewhat of a euphoric daydream. His thoughts flow freely and in a distinct rhyth m. This free-thinking coincides with the freedom that the narrator feels when he is in the Highlands. In the end, the text returns to the brief and disjointed format that it begins with. The narrator realizes that he is not physically at the Highlands, and he resumes wishing that he was. The end reflects a snap back to reality that occurs as the narrator finishes his fanciful farewell.Once again, the broken-up text reflects the uneasiness that the narrator has with his current life. While the syntax serves to provide the poem with a deeper meaning, the imaginativeness and detail expound upon the meaning is evident on the surface of the text. The poems imagery and detail reflect both the physical characteristics that make the Highlands such a special theatre and the deep emotional love that the narrator has for them. The Highlands are very epic areas that span from mountains high covered with snow to the green valleys below, and the narrator feels a connection with these areas as he a-chases the deer across the hills.The narrator feels free in an environment as widespread as this. Because of this freedom, he reaches a comfort level that is unmatched in any other compliancy he even feels comfortable enough to chase wild deer across the hills. The narrators passion for the country of Worth is testify by the fact that his heart is not here. His strong love for the Highlands makes it seem as though no other land can be compared to them. In fact, he cannot devote his unyielding love to anything other than the Highlands because no love that he has ever experienced has been as strong as his love for the Highlands.The imagery, syntax, point-of-view, and diction each reflect the two original tones of the poem. Because they register that the poem exhibits a reflective longing for the past and that the text is lyrical and expressive of feelings, the styles of writing that the poem exhibits are very effective. As in A Dictionary of English Literature is said Burns i s important because he deserted the artificial tradition of eighteenth-century poetry, replacing poetic diction with the pungent vernacular, false sentiment with true tenderness, sharms with realities. He taught the Romantics, in Wordsworths words How Verse may build a princely stern On humble truth. To the world at large he is merely a singer of timeless song19, p. 45. Chapter 3 Lexical, syntactic, expressive means and stylistic devices in 3. 1. Young and Old by Charles Kingsley As The cyclopedia Americana informsCharles Kingsley (1819-1875) was English clergyman, author, and teacher and a leader in social and scotch reform movementsA founder of the Christian Socialist movement, he was an ready supporter of the British working-class movement known as Chartism, as is demonstrated in his early novels ?Yeast (his first novel, originally published in Frasers Magazine in 1848) and the powerful Alton Locke (1850). Openly didactic, they were meant to educate the upper classes in their social responsibilities. Ch. Kingsley is best known for his later novels, which include historical romances and childrens stories. Perhaps the most popular novels were Hypatia (1853) and Westward Ho (1855)Among his works for children in The Water-Babies (1863), a fairy tale based on natural history 16, p. 420. Our task is to analyze one of the poems by Ch. Kingsley Young and Old.This poem originally appeared as a song sung by a character in the Reverends book entitled The Water-Babies. Before we get into the specifics of symbols I would like to dwell upon the meter and rhyme scheme. This poem is written in an altered iambic trimester. The revisal is very slight a substitution of a single tribrachin place of the last iambic meter of every odd line. The simple rhyme scheme ababcdcdefefghgh contributes to the easiness of the song and prevents the subject from feeling overly strained by use of other unnecessarily more intricate schemes.This poem is about the dissimilarities of youth and old age. There is a certain soppy connotation to be further explored, but the basis of the poem is grow in the differences. In the first stanza the author addresses youth. A spry gymnastic horse to carry along the boot, and the idea that every dog has his day diametrical alongside the comments of a young world and queenly lasses provide us with a clear idea that the topic we broach is that of youth. The line young blood must have its course, crevice, and every dog his day come across as a call to action, demanding perhaps as busier and more productive youth.Additionally, we are treated to a slue of natural imagery in the form of green trees, geese, swans, the horse etc. The allusion to a simple, natural order is a compelling one. This is continued in the second stanza, though the trees are marked as being brown, the sport of the previously quicken and youthful life has gone stale, the cart wheels are expire down, and the lad is forced to creep home and take his place among the spent and wounded occupants. The final lines provide the wish that, God willing, you are alongside the one that you love.The poem Young and Old is full of many kinds of stylistic devices. The main stylistic device used in the text under analysis is antithesis When all the world is young, lad/ When all the world is old, lad5, p. 334. The whole poem is written by means of parallel constuctions And all the trees are green And every goose a swan, lad, And every lass a queen 5, p. 334 The quatation above mentioned also is a vivid example of repetition in strong positions, namely lexical anaphora. Another example containing anaphora And all the trees are brown And all the sport is stale, lad,And all the wheels run down 5, p. 334 Apart from lexical anaphora, there is also lexical epistrophe. In every two stanzas the word lad is repeated. A very significant stylistic device used by Ch. Kingsley is ellipsis or apokoinu And all the trees are green, And every goose is a swan, lad 5, p. 3 34 In the second stanza predicate is omitted but it is implied by the author. I can point out another instance of an ellipsis Young blood must have its course, lad And every must have dog his day 5, p. 334 Concerning metaphors, they are not so numerous.However, the poem contains two structurally very similar metaphors When all the world(T) is young(V) and When all the world(T) is old(V). They are, in my opinion, personal metaphor, i. e. personification. Here world obtains the characteristics of human. It can be young or become old. Also these two lines are, to some extent, hyperbolized by usage of the word all. This poem was analyzed by T. Hoagwood. He shows that it is unworkable for the song to be fully understood when first encountered in The Water-Babies. It is only later in the story that we recognize that the song is the old dames lament for her son Grimes who left her.The realization at the end of the novel that Grimes is her son enables us to revisit the lyric and to revise our pinch of its latent, private, and even secret significance for the grieving old dame. 3. 2. Out of Sight, Out of Mind by Barnabe Googe One more poem which we are going to analyze is called Out of Sight, Out of Mind by Barnabe Googe. According to The Encyclopedia Americana, B. Googe (1540-1594) was English poet and translator. Googes only original work is Eglogs, Epytaphes and Sonnets, a collection of poems published in 1563. His eclogues are among the earliest examples of English rude poetry.He also translated into English some minor contemporary works in Latin prose17, p. 742. As a translator, Googe is noted for his English versions of Marcellus Palingeniuss Zodiake of Life (1560) and Conrad Heresbachs quaternary Books of Husbandry (1577). Googes reputation, which considerably declined following his death in 1594, has been revived by literary historians who recognize in his work transmissions of both ideas and stylistic practices that would influence such better-known Englis h writers as Edmund Spenser, William Shakespeare, and John Milton. In Out of Sight, Out of Mind B. Googe worked with a proverbial theme.He stacks caesuras in bakers dozen lines of the eighteen-line poem, all of them more or less in the exact middle. Because of the repetition, these caesuras urge on up the lines rather than slowing them down, hence allowing the lines from which Googe suddenly omits caesural gap ? The heavy heart breeds mine unrest, Such pleasures rife shall I obtain/ When distance doth depart us twain 4, p. 96 ? to gather greater emphasis since, on top of the newly introduced spondees and trochees, they are also made to slow down. This particular poem also demonstrates Googes stoical speak to to verse as an adequate container for human feeling.He combines a monotonous rhythm and rhyme scheme with a predominantly monosyllabic lines, pithy both in content and length. The author uses in his poem repetition in strong position through the whole poem namely chain-repet ition The oftener seen, the more I lust, The more I lust, the more I smart, The entangle I smart, the more I trust, The more I trust, the heavier heart 4, p. 96 This repetition brings the necessary rhythm into the utterance. A very interesting device used in the poem is gradation. A reader can find an emotional climax that expresses the ideas in a descending order of significance The rarer seen, the les in mind, The less in mind, the lesser pain, The lesser pain, less grief I find, The lesser grief, the greater gain 4, p. 96 The leading feature of the poem is usage of comparison. I. R. Galperin in his book Stylistics states that comparison means weighing two objects belong to one class of things with the purpose of establishing the degree of their sameness or difference3, p. 167. In Out of Sight, Out of Mind we also can look on comparison. It is almost in each line the oftener/ the more, the more/ the heavier, the rarer/ the less, the lesser/the greater, the more/the happier.A dev ice greatly favoured by the writer is irony Such pleasure rife shall I obtain When distance doth depart us twain 4, p. 96. According to Lototska K. English Stylistics banter (from the Greek eironeia= hidden mockery) is a device based on the interaction of dictionary and contextual meanings standing in oppositionIrony is transportation by contrast9, p. 86. The last two lines of the poem Out of Sight, Out of Mind is the vivid instance of irony. The whole poem is very symbolic. nevertheless the tittle means the idea that if you do not see somebody or something frequently, you will forget about it.Barnabe Googe wrote poems in the Native Tradition, a species of plain style. In this relatively early period, accents were heavy, unaccents were light, alliteration survived from old Anglo-Saxon verse, and the subject was usually serious. Conclusion The general purpose of the paper was to investigate stylistic, linguistic, lexical and syntactic peculiarities of five selected poems by differ ent authors, to check in the first place observations on the subject of stylistic analysis and to obtain new information. This course paper explored the comprehensive study of stylistic devices.Despite the fact that there are many works devoted to the problem under analysis some important aspects such as structural-semantic parameters of the poems and some lexical stylistic devices have not been fully investigated. In this work, to some extent, were used the elements of stylistics under lexico-syntactic patterns and choices, phonological, morphological and graphological devices to analyze such poems as Donts by D. H. Lawrence, The Song of Hiawatha (Introduction ) by H. W. Longfellow, My Hearts in the Highlands by R. Burns, Young and Old by Ch. Kingsley, and Out of Sight, Out of Mind by B.Googe. The display of stylistics in the poems, their functions and their effects have been the major focus of this research work. To make a prominent impression on ones readers and stir up their emotions, naught else could be done to achieve this purpose than employing the right and appropriate use of language. The study revealed that poets made use of various stylistic devices in a way that interrupts the normal syntactical flow of the sentences to secure emphasis and focus the readers attention. As can be seen from the data, each poet uses different techniques in his poem.In Donts by D. H. Lawrence we can find polysemanticism of the words in combination with repetition, metaphors, epithets, allusion. The Song of Hiawatha by H. W. Longfellow is rich in special vocabulary and different realities. The stylistic value of R. Burnss poem My Hearts in the Highlands can not be overestimated. Ch. Kingsley and B. Googe are considered to be masters in usage of stylistic devices. Under the lexico-syntactic choices, the authors use similes, metaphors which are both related to the topic of similarity to give clearness and feeling to words.Under the phonological devices, rhyming sche me, consonance, assonance are found and they have been used to reinforce meaning. They also provide tone and musical colour and aid memorality. Different kinds of repetition, which is greatly favoured by the authors, and punctuation marks have been used to play various roles to achieve cohesion in discourse for alter stylistic effects. All of these things found out have worked together in attaining and ensuring effective meaning and communication. The choice of words by the poets also plays a very important role in meaning making.It helps the reader to understand the intention and the message the poets were trying to pass across. The obtained results give a pool stick to the understanding of stylistic analysis. As the previous researches on the given theme are not numerous, it is difficult to compare the findings of this research paper with the results of other study. In the course of investigation I had solid theoretical base. The difference of data is probably a consequence of the lack of practical material and previous research.The problems associated with stylistic analysis and meaning of various expressive means are far from being solved and require further theoretical and experimental efforts. To sum up, different poets in their poems cultivates various styles and techniques which are worth of being studied. Each poem that was analyzed in this course paper fascinates readers by its stylistic originality. References 1. Burns R. The Poetical Works/R. Burns. ? MoscowRaduga Publishers, 1982. ? 705p. 2. Beaugrande, R,de. hyphen and Stylistics Electronic resource R. de. Beaugrande/ Mode of accesshttp//www. beaugrande. bizland. om/proceedings. ? Last access 2012, October 25. ? Title from the screen. 3. Galperin I. R. Stylistic/ I. R. Galperin. ? Moscow high school, 1977. ? 331p. 4. Googe B. Eglogs, epytaphes, and sonettes, 1563 / B. Googe, E. Arber. ? A. Constable and Co. , 1871. ? 128p. 5. Kingsley Ch. Poems/ Ch. Kingsley. ? Wildside Press LLC, 2007. ? 428 p. 6. Lawrence D. H. The Complete Poems of D. H. Lawrence/ D. H. Lawrence. ? Wordsworth Editions, 1994. ? 352p. 7. Literature An Introduction to Fiction, Poetry and gambling/ Ed. By X. J. Kennedy and D. Gioia. ? Harper Collins, 1991. ? 3400p. 8. Longfellow H.W. The Song of Hiawatha And Other Poems/ H. W. Longfellow. ? The Readers compilation Association Inc. , Pleasantville, N. Y. / Montreal, 1989. ? 350p. 9. Lototska K. English Stylistics/ K. Lototska. ? Lviv Ivan Franko National University of Lviv, Publishing Centre, 2008. ? 253p. 10. Maltzev V. A. An Introduction to Linguistic Poetics. ? , 1980. ? 240p. 11. McGuirk C. Robert Burns and the Sentimental Era/ C. McGuirk. ? Tuchwell Press, 1985. ? 193p. 12. Merriam-Websters Encyclopedia of Literature. ? Springfield, Massachusetts Merrian-Webster, Incorporated, Publishers, 1995. 1236p. 13. St. Thomas much Series Prose and Poetry of England/ Ed. By J. L. Maline. ? Syracuse, New York L. W. Singer Company, 1955. ? 750p. 14. The World B ook Encyclopedia. ? Chicago, IL World Book, Inc. ? 2003. ? Vol. 2. ? 760p. 15. The World Book Encyclopedia. ? Chicago, IL World Book, Inc. ? 2011. ? Vol. 12. ? 538p. 16. The Encyclopedia Americana. ? Danbury, Connecticut Grolier. ? 2001. ? Vol. 16. ? 798p. 17. The Encyclopedia Americana. ? Danbury, Connecticut Grolier. ? 2001. ? Vol. 19. ? 922p. 18. Widdowson,H. G. Stylistics and the Teaching of Literature. ? L Longman,1975. 128p. 19. A Dictionary of English Literature/ Ed. by Homer A. Walt, William W. Watt. ? New York Barnes Noble, Inc. , 1877. ? 430p. 20. Oxford American Dictionary/ New Oxford American Dictionary/Ed. By John Simpson Edmund Weiner. ? Oxford University Press, Inc. , 2005. ? 1008p. 21. Collins Cobuild English Words in Use. / Ed. By J. M. Sinclair. ? London Longman, 2008. ? 1052p. 22. ?. ?. / ?. ?. . ? , 1990. ? 304. 1 . According to Lototska K. English stylistics tenor is the subject of thought in a trope (in rhetoric it is also called the primum comparandum ), and the vehicle is the concept of a thing, person or an precis notion with which the tenor is compared or identified (the secundum comparatum). Other terminologists distinquish between idea and image or target and source. 2 . Allusion is considered to be a special variety of metaphor by Yu. Skrebnev. Allusion (from Latin to mention inderectly) is a hint, an indirect reference to something presumably known from literature, mythology, history, the Bible. 3 . According to Lototska K. English Stylistics Gradation (Gr. ascent, climbing up) is an arrangement of parallel words and statements in an ascending or descending order of importance, intensity,etc. The first, ascending order is known as climax. The opposite arrangement of parallel units, by which the thought descends from high to lower, is called anticlimax. 4 . Simile (Latin similes= alike) is an imaginative comparison (also called literary comparison). It consists on an straightforward likening of one object (the tenor) to another object (the vehicle) on the basis of some common features/characteristic (the ground).The common scheme is A is like B. 5 . Wondrous ? it is a poetic or literary word which has meaning of inspiring a feeling of wonder or delight. 6 . Iambus ? a metrical foot consisting of one short (or unstressed) syllable followed by one long (or stressed) syllable. 7 . dactyl ? a metrical foot consisting of one stressed syllable followed by two unstressed syllables or (in Greek and Latin) one long syllable followed by two short syllables. 8 . Antithesis ? is an opposition or contrast of ideas usually presented in parallel constructions ( in phrases within one sentence, or two or more clauses or sentences). 9 . eriphrasis (Grek to speak all round) is a figure of speech when a longer phrase with descriptive epithets, abstract general terms, etc. , is used istead of a possible shorter and plainer form of expression. 10 . tautological epithets ? became fixed through long and repeated use, they emphasize one of the primary qualities of the defined. 11 . tribrach ? is a metrical foot used in formal poetry and Greek and Latin verse. In quantative metre(such as the meter of classical verse), it consists of three short syllables in accentual-syllabic verse (such as form