20446 Образный потенциал лексических стилистических приёмов в творчестве Оскара Уайльда НА АНГЛИЙСКОМ ЯЗЫКЕ
Contents:
Introduction Chapter 1. The studies in individual style 1.1. Individual style and it’s compounds 1.2. The characteristics of the creative prose 1.3. The lexical expressive means and stylistic devices Conclusion to Chapter One
Chapter 2. Lexical devices as essential part of individual style of Oscar Wilde's works 2.1. The characteristics of Oscar Wilde's creativity 2.2. Stylistic peculiarities of Oscar Wilde works 2.3. Lexical stylistic devices in Oscar Wilde’s works Conclusion to Chapter Two
Conclusion Bibliography The list of examples
Introduction
Actuality of research. Our intention in this degree Paper is to provide some explanation for the stylistic potential of lexical devices. The emphasis will be on the definitions given by different scholars, on the origin, structure and stylistic functions of them. In this Paper we will base ourselves upon the definitions given by different scholars, and as a conclusion we will give our own definition of lexical devices used by Oscar Wilde in his creativity. Oscar Fingal O'Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish playwright, poet and author of numerous short stories and one novel. Known for his biting wit, he became one of the most successful playwrights of the late Victorian era in London, and one of the greatest celebrities of his day. Oscar Wilde's power to arouse fantasies in others - and to fulfill them - is seemingly inexhaustible. Everyone has an opinion about Oscar Wilde: his life, style and literature – and all these opinions are very different and contradictory. It is also true that opinions about no other author have been so ill-informed. From the beginning, there appeared to be about Oscar Wilde something slightly slant. Earlier in the century the fantasies perhaps might have been dis-pelled. At the end of the XX century and now the same fantasies continued to cir-culate. So it really impossible to say exactly when Oscar Wilde became a very im-portant public figure as he is still it: «his influence on modern art, literature, phi-losophy, stylistics and our life in the whole is still very important, essential and many-valued» . It seems rather difficult to go into details with regards to lots of expressive means and stylistic devices in Oscar Wilde’s plays as they are too many, forming his inimitable individual style. As it is known stylistics treats with special means of the language that help us to have vivid and interesting speech and «Oscar Wilde’s plays considered to be a real treasure for stylistic research» . These facts underline urgency and the importance of the topic of our scientific paper: «Stylistic potential of lexical devices in Oscar Wilde's creativity». The purpose of research is the stylistic analysis of the lexical devices used in Oscar Wilde’s works. The work provides an overview of some expressive lexical means in Oscar Wilde’s works which help to underline the author’s individual style. In connec-tion with this the Research Tusks of this scientific paper are: 1. To clarify the term «fictional style», its components and peculiarities; 2. To characterize the maintenance of the notion «stylistic potential»; 3. To determine the types of the lexical devices and give them characteris-tics; 4. To explore aestheticism and philosophy of Oscar Wilde as a basis for his individual literary style and to describe the capacity of his writings; 5. To find out individual stylistic features of Oscar Wilde’s with the help of lexical analysis of Oscar Wilde’s texts. 6. To describe the essentials of individual style of Oscar Wilde works on the base of his creativity; 7. To demonstrate the examples of applying of the stylistic potential of lexical devices in Oscar Wilde’s creativity. The main subject of research is the stylistic potential of lexical devices in Oscar Wilde’s creativity. Objects of research are Oscar Wilde’s works (See the list of References). Theoretical base of research. Individual stylistic features of Oscar Wilde’s creativity has become one of the central variables in scientific research during the last years and also last centuries in many countries of the world and has been the subject of various articles and books that have shown a complex variety of opinions and aspects. In this connection it is very important to mention the names of such Russian and foreign researchers as P.Akroyd, A.A.Anikst, B.Bashford, K.Beckson, J.Bristow, R.Elman, A.Gide, R.J.Green, M.J.Guy, F.Harris, V.Igoe, R.Jackson, S.V.Kazantsev, V.A.Lukov, S.King, L.Marcus, N.P.Mikhalskaya, R.Merle, R.K. Miller, H.Montgomery, P.Nicholls, A.Randsome, E.Richard, R.Ross, N.Sammells, G.B.Shaw, S.F.Siegel, I.Small, H.T.Smith, N.V.Solomatina, V.B.Sosnovskaya, F.Tufescu, J.Wood, W.Yates, etc. Besides it the underpinnings of this scientific paper also rest on various theoretical research and scientific articles concerning stylistics and various stylistic aspects (I.V.Arnold, N.E.Enkvist, I.R.Galperin, R.R.Gelgart, I.V.Gubbenet, O.K.Denisova, K.A.Dolinin, L.I.Donetskih, E.G.Kovalevskaya,V.A.Kukharenko, L.Y.Maksimov, V.I.Prokhorova, T.A.Sebeok, E.G.Soshalskaya, V.V.Vinogradov, A.Warner, etc.). The methodological base of research was composed with the works of for-eign and domestic scientists on problems of the fictional style (Kalmykova 1979; Балли 1961; Brown 1955; Vinogradov 1972; Bahtin 1986). Studying this problem as genre definition of the fictional style, we used the general-theoretical philological researches: the theory of speech genres of M.M. Bakhtin; V.V. Vinogradova's basic ideas. Methods of research. In the given degree work the stylistic analysis is ap-plied with the help of structural-semantic and stylistic methods of the linguistic analysis. The theoretical importance of the given work will consist in the further scientific development of stylistic problematics: 1. Typology of the lexical devices; 2. Target lexical structure of fictional discourse; 3. Phenomenon of stylistic potential of lexical devices. The practical importance of work consists of: description and explanation of the lexical devices as essentials of individual style of creativity of Oscar Wilde. Scientific originality of research composed with: 1. The typology of lexical devices in Oscar Wilde’s creativity. 2. The most preferable lexical devices and their stylistic potential in Oscar Wilde’s creativity. Structure of the degree work. The given work consists of the introduction, two chapters, and also the conclusion. The volume of the given degree work makes 76 pages. The lists of the used literature sources and examples are applied.
CHAPTER 1. THE STUDIES IN INDIVIDUAL STYLE
1.1. Individual style and its compounds
Before to begin the topic research it is necessary to highlight and clarify the term "style” and its peculiarities. It is important to mention that the word "style” has a very broad meaning. There are many versions of the notion of style according to the different purposes of stylistic analysis. «The style of any period is the result of a variety of complex and shifting pressures and influences. Books reflect our experience, but our experience is also shaped by the books» . That is why there is the constant interaction between life and literature, life and literary style of any writer as we could see from our analysis in the previous part of our paper. Individual style study is determined as the style of the author. «It looks for correlations between the creative concepts of the author and the language of his work» . It’s also a subject of literary stylistics research, a branch of the theory of literature, which studies linguistic features of literary trends, genres and individ-ual style. So we could underline three main influences that pressure on the individual writer’s style: 1) Writer’s personality, his philosophy and own way of thinking and feeling that determines his mode of expression; 2) The occasion on which he is writing, the particular purpose; 3) The influence of the age in which he lives. In other words, a writer’s style is «his individual and creative choice of the resources of the language» . So there are many definitions of style. According to R.Chapman, «a good style of writing has three qualities, which may be described as accuracy, ease and grace» . According to G.L.Buffon, «in reality the style is the man himself» . That is why the essence of style is multi-topic and its peculiarities and components are carefully explored by the separate scientific branch – stylistics. Stylistics, sometimes called linguostylistics, is a branch of general linguistics. It deals mainly with two interdependent tasks: 1) The investigation of the inventory of special language media which by their ontological features secure the desirable effect of the utterance; 2) Сertain 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 types of texts can be analyzed if their linguistic components are presented in their interaction, thus, revealing the unbreakable unity and trans-parency 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 lan-guage (FS). The special media of language which secure the desirable effect of the utterance are called stylistic devices (SD) and expressive means (EM). The first field of investigation – 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 colouring 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 – functional styles, touches upon such most general linguistic issues as oral and written varieties of language, the notion of literary language, and 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 foregrounded. Most linguists distinguish «ordinary semantic and stylistic differences in meaning and three main levels of expressive means and stylistic devices: phonetic, lexical and syntactical» . The brief outline of the most characteristic features of the individual style and its components shows that there are a great number of features which could be clearly stylistically explored on the base of fiction.
1.2. The characteristics of the creative prose
Creative prose or fiction (lat. fictum, "created") is a branch of literature which deals, in part or in whole, with temporally contra factual events (events that are not true at the time of writing). In contrast to this is non-fiction, which deals exclusively in factual events (e.g.: biographies, histories) . So as the most important feature of prose fiction is its style, it is necessary to highlight and clarify the term "style” and its peculiarities. Style is depth, deviations, choice, context style restricted linguistic variation, and style is the man himself. According to Galperin the term ‘style’ refers to the following spheres: 1) The aesthetic function of language. It may be seen in works of art-poetry, imaginative prose, fiction, but works of science, technical instruction or business correspondence have no aesthetic value. 2) Synonymous ways of rendering one and the same idea. The possibility of choice of using different words in similar situations is connected with the question of style as if the form changes, the contents changes too and the style may be different. 3) Expressive means in language. They are employed mainly in the following spheres – poetry, fiction, colloquial speech, speeches but not in scientific articles, business letters and others. 4) Emotional coloring in language. Very many types of texts are highly emotional – declaration of love, funeral oration, poems (verses), but a great number of texts is unemotional or non-emphatic (rules in textbooks). 5) A system of special devices called stylistic devices. The style is formed with the help of characteristic features peculiar to it. Many texts demonstrate various stylistic features: She wears ‘fashion’ = what she wears is fashionable or is just the fashion methonimy. 6) The individual manner of an author in making use the individual style of speaking, writing must be investigated with the help of common rules and generalization . Galperin distinguishes five styles in present-day English: I. Belles Lettres. 1. Poetry. 2. Emotive prose. 3. The Drama. II. Publicistic Style.
'---------------------------------- Similes (II) based on adjective-attributes, adverbs-modifiers, verb-predicates, superlative degree The Happy Prince 71. Bring me the two most precious things in the city. 72. And certainly, whenever the wind blew, the Reed made the most graceful curtseys. The Picture of Dorian Gray: 73. The style in which it was written was that curious jeweled style, vivid and obscure at once, full of argot and of archaisms, of technical expressions and of elaborate paraphrases, that characterizes the work of some of the finest artists of the French school of Symbolists.
Epithet The Picture of Dorian Gray: 74. But I tell you that the only bitter words that ever came from those sweet lips of hers were on your account, and I hate to see you next her. 75. Those straw-colored women have dreadful tempers. 76. There were moments, indeed, at night, when, lying sleepless in his own delicately scented chamber, or in the sordid room of the little ill-famed tavern near the docks which, under an assumed name and in disguise, it was his habit to frequent, he would think of the ruin he had brought upon his soul with a pity that was all the more poignant because it was purely selfish. 77. Actual life was chaos, but there was something terribly logical in the imagination. It was the imagination that set remorse to dog the feet of sin. It was the imagination that made each crime bear its misshapen brood. In the common world of fact the wicked were not punished, nor the good rewarded. The Remarkable Rocket 78. The Prince and Princess sat at the top of the Great Hall and drank out of a cup of clear crystal. Only true lovers could drink out of this cup, for if false lips touched it, it grew grey and dull and cloudy "It's quite clear that they love each other, - said the little Page, - as clear as crystal!" and the King doubled his salary a second time.
Hyperbole (overstatement)
The Importance of Being Earnest 79. I have never loved anyone in the world but you. 80. I have met hundreds of good women. The Happy Prince: 81. I am glad there is some one in the world who is quite happy, - muttered a disappointed man as he gazed at the wonderful statue. The Nightingale and the Rose 82. You said that you would dance with me if I brought you a red rose, - cried the Student. - Here is the reddest rose in all the world. You will wear it to-night next your heart, and as we dance together it will tell you how I love you.
Metaphor The Importance of Being Earnest 83. Ideals are dangerous things. Realities are better. They wound, but they are better. 84. Lord Illingworth: That silly Puritan girl making a scene merely because I wanted to kiss her. What harm is there in a kiss? 85. Mrs.Arbuthnot: A kiss may ruin a human life. I know that too well. 86. Divorces are made in Heaven. 87. Youth is the Lord of Life. The Happy Prince: 88. There is no Mystery so great as Misery. 89. She (the Reed) has no conversation, - he (the Swallow) said, - and I am afraid that she is a coquette, for she is always flirting with the wind. The Picture of Dorian Gray: 90. Like the painting of a sorrow, A face without a heart. 91. If a man treats life artistically, his brain is his heart, - he answered, sinking into an arm-chair. 92. There was something fascinating in this son of Love and Death. The Selfish Giant 93. Once a beautiful flower put its head out from the grass, but when it saw the notice-board it was so sorry for the children that it slipped back into the ground again, and went off to sleep. 94. So the Hail came. Every day for three hours he rattled on the roof of the castle till he broke most of the slates, and then he ran round and round the garden as fast as he could go. He was dressed in grey, and his breath was like ice. 95. My own garden is my own garden, - said the Giant, - Any one can understand that, and I will allow nobody to play in it but myself. So he built a high wall all round it, and put up a notice-board: «TRESPASSERS WILL BE PROSECUTED». He was a very selfish Giant. The poor children had now nowhere to play. The Remarkable Rocket: 96. I hate people who cry over spilt milk. 97. The Prince and Princess were leading the dance. They danced so beautifully that the tall white lilies peeped in at the window and watched them, and the great red poppies nodded their heads and beat time. The Nightingale and the Rose: 98. She said that she would dance with me if I brought her red roses... But there is no red rose in my garden, so I shall sit lonely, and she will pass me by. She will have no heed of me, and my heart will break. 99. She sang first of the birth of love in the heart of a boy and a girl. 100. ...She (the Nightingale) sang of the Love that is perfected by Death, of the Love that dies not in the tomb.
Metonymy The Importance of Being Earnest 101. She was stern to me, but she taught me what the world is forgetting, the difference that there is between what is right and what is wrong. 102. Do you think seriously that women who have committed what the world calls a fault should never be forgiven?
Lexical repetition The Importance of Being Earnest: 103. I love you – love you as I have never loved any living thing. From the moment I met you I loved you, loved you blindly, adoringly, madly! 104. All the married men live like bachelors, and all the bachelors like mar-ried men. The Happy Prince: 105. Dear little Swallow, - said the Prince, - you tell me of marvelous things, but more marvelous than anything is the suffering of men and of women.
Antithesis The Importance of Being Earnest: 106. How hard good women are! How weak bad men are! 107. Curious thing, plain women are always jealous of their husbands, beautiful women never are! The Happy Prince: 108. In the daytime I played with my companions in the garden, and in the evening I led the dance in the Great Hall... So I lived, and so I died.
Allusions The Happy Prince: 109. Bring me the two most precious things in the city, - said God to one of His Angels; and the Angel brought Him the leaden heart and the dead bird. - You have rightly chosen, - said God, - for in my garden of Paradise this little bird shall sing for evermore, and in my city of gold the Happy Prince shall praise me. The Picture of Dorian Gray: 110. The Republic. Glaucon and Adeimantus present the myth of Gyges' ring, by which Gyges made himself invisible. They ask Socrates, if one came into possession of such a ring, why should he act justly? Socrates replies that even if no one can see one's physical appearance, the soul is disfigured by the evils one commits. This disfigured (the antithesis of beautiful) and corrupt soul is imbalanced and disordered, and in itself undesirable regardless of other advantages of acting unjustly. Dorian Gray's portrait is the means by which other individuals, such as Dorian's friend Basil, may see Dorian's distorted soul. 111. Tannhäuser. At one point, Dorian Gray attends a performance of Richard Wagner's opera, Tannhäuser, and is explicitly said to personally identify with the work. Indeed, the opera bears some striking resemblances with the novel, and, in short, tells the story of a medieval (and historically real) singer, whose art is so beautiful that he causes Venus, the goddess of love herself, to fall in love with him, and to offer him eternal life with her in the Venusberg. Tannhäuser becomes dissatisfied with his life there, however, and elects to return to the harsh world of reality, where, after taking part in a song-contest, he is sternly censured for his sensuality, and eventually dies in his search for repentance and the love of a good woman. 112. Faust. Wilde is reputed to have stated that in every first novel the hero is the author as Christ or Faust. As in Faust, a temptation is placed before the lead character Dorian, the potential for ageless beauty; Dorian indulges in this temptation. In both stories, the lead character entices a beautiful woman to love them and kills not only her, but also that woman's brother, who seeks revenge. Wilde went on to say that the notion behind The Picture of Dorian Gray is old in the history of literature but was something to which he had «given a new form». Unlike Faust, there is no point at which Dorian makes a deal with the devil. However, Lord Henry's cynical outlook on life and hedonistic nature seems to be in keeping with the idea of the devil's role, that of the temptation of the pure and innocent, qualities which Dorian exemplifies at the beginning of the book. Although Lord Henry takes an interest in Dorian, it does not seem that he is aware of the effect of his actions. However, Lord Henry advises Dorian that «the only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing»; in this sense, Lord Henry can be seen to represent the Devil, leading Dorian into an unholy pact by manipulating his innocence and insecurity. 113. Shakespeare. In his preface, Wilde writes about Caliban, a character from Shakespeare's play The Tempest. When Dorian is telling Lord Henry Wotton about his new 'love', Sibyl Vane, he refers to all of the Shakespearean plays she has been in, referring to her as the heroine of each play. At a later time, he speaks of his life by quoting Hamlet, who has similarly driven his girlfriend to suicide and her brother to swear revenge. 114. Joris-Karl Huysmans. Dorian Gray's "poisonous French novel" that leads to his downfall is believed to be Joris-Karl Huysmans' novel À rebours. Literary critic Richard Ellmann writes: Wilde does not name the book but at his trial he conceded that it was, or almost, Huysmans's A Rebours...To a correspondent he wrote that he had played a 'fantastic variation' upon A Rebours and some day must write it down. The references in Dorian Gray to specific chapters are deliberately inaccurate. Archaisms
Historical words: Latinisms the face of Antinoi, the Athenaeum, velarium, the mortuary cloth and etc. 115. You don have the face of Antinoi. 116. I am due at the Athenaeum. 117-118. Where the huge velarium that Nero had stretched across the Colosseum at Rome, that Titan sail of purple on which was represented the starry sky, and Apollo driving a chariot drawn by white, gilt-reined steeds? He longed to see the curious table-napkins wrought for the Priest of the Sun, on which were displayed all the dainties and viands that could be wanted for a feast; the mortuary cloth of King Chilperic, with its three hundred golden bees. Poetic words: pilgrim, maiden and etc. 119. Else would a maiden blush bepaint my cheek. 120. She showed no sign of joy when her eyes rested on Romeo. The few words she had to speak: Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims’ hands do touch, And palm to palm is holy palmers’ kiss – . Archaic words (archaic forms) proper: Thou, Ere, a beauteous flower, thee and etc. 121. The duchess sighed and exercised her privilege of interruption. 122. She over-emphasized everything that she had to say. The beautiful passage: Thou knowest the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night – . 123-126. When she leaned over the balcony and came to those wonderful lines: Although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say, ‘It lightens.’ Sweet, good-night! This bud of love by summer’s ripening breath May prove a beauteous flower when next we meet – was declaimed with the painful precision of a schoolgirl who has been taught to recite by some second-rate professor of elocution.
