| |moustache and the man himself |
| |are both perceived by the mind. |
| |Mane attempts have been made to |
| |pinpoint the types of relation |
| |which metonymy is based on. |
| |Among them the following are |
| |most common: |
| |A concrete thing used instead of|
| |an abstract notion. In this case|
| |the thing becomes a symbol of |
| |the notion. E.g. “The camp, the |
| |pulpit and the law For rich |
| |men’s sons are free.” |
| |The container instead of the |
| |thing contained: E. g. “The hall|
| |applauded.” |
| |The relation of proximity: E. g.|
| |“The round game table was |
| |boisterous and happy.” |
| |The material instead of the |
| |thing made of it: E. g. “The |
| |marble spoke.” |
| |The instrument which the doer |
| |uses in performing the action |
| |instead of the action or the |
| |doer himself: E. g. “as the |
| |sword is the worst argument that|
| |can be used, so should it be the|
| |last.” |
|Chiasmus |Polysyndeton |
|Chiasmus belongs to the group of|Polysyndeton is the stylistic |
|stylistic devices based on the |device of connecting sentences |
|repetition of syntactical |or phrases or syntagms or words |
|pattern, but it has a cross |by using connectives (mostly |
|order of words and phrases. The |conjunctions and prepositions) |
|structure of two successive |before each component part. |
|sentences or parts of a sentence|E. g. “Should you ask me, whence|
|may be described as reversed |these stories? |
|parallel construction, the word |Whence these legends and |
|order of one the sentences being|traditions, |
|inverted as compared to that of |With the odours of the forest, |
|the other: |With the dew, and damp of |
|E. g. “Down dropped the breeze, |meadows, |
|The sails dropped down.” |With the curling smoke of |
|The device is effective in that |wigwams |
|it helps to lay stress on the |With the rushing of great |
|second part of the utterance, |rivers, |
|which is opposite in structure |With their frequent |
|Chiasmus can appear only when |repetitions,…” |
|there are two successive |The repetition of conjunctions |
|sentences or coordinate parts of|and other means of connection |
|a sentence |makes an utterance more |
|Syntactical chiasmus is somtimes|rhythmical; so much so that |
|used to break the monotony of |prose may even seem like verse. |
|parallel constructions. But |So one of the functions of |
|whatever the purpose of |polysyndeton is a rhythmical |
|chiasmus, it will always bring |one. In addition to this , |
|in some new shade of meaning or |polysyndeton has a |
|additional emphasis on some |disintegrating function. It |
|portion of the second part. |generaly combines homogeneous |
| |elements of thought into one |
| |whole resembling enumeration. |
| |But unlike enumeration, which |
| |integrates both homogeneous and |
| |heterogeneous elements into one |
| |whole, polysyndeton causes each |
| |member of a string of facts to |
| |stand out conspicuously. That is|
| |why we say that polysyndeton has|
| |a disintegrating function. |
| |Enumeration snows the things |
| |united: polysyndeton snows them |
| |isolated. |
| |Polysyndeton has also the |
| |function of axpressing sequence:|
| | |
| |E. g. “Then Mr. Boffin… sat |
| |staring at a little bookcase of |
| |Law Practic and Law Reports, And|
| |at a window, and at an empty |
| |blue bag…..” |
|Stylistic inversion |Antonomasia |
|Stylistic inversion aims at |The interplay between logical |
|attaching logical stress or |and nominal meanings of a word |
|additional emotional colouring |is called antonomasia. As in |
|to the surface meaning of the |other stylistic devices based on|
|utterance. Therefore a specific |the interaction of lexical |
|intonation pattern is the |meanings, the two kinds of |
|inevitable satellite of |meanings must be realized in the|
|inversion |word simultaneously. |
|Stylistic inversion in Modern |E. g. “Society is now one |
|English is the practical |polished horde, |
|realization of what is potential|Form’d of two mighty tribes, the|
|in the language itself. |Bores and Bored.” |
|The following patterns of |In this example of use |
|stylistic inversion are most |antonomasia the nominal meaning |
|frequently met in both English |is hardly perceived, the logical|
|prose and poetry: |meaning of the words “bores” and|
|The object is placed at the |“bored” being to strong. It is |
|beginning of the sentence: |very important to note that this|
|“Talent Mr. Micawber has; |stylistic device is mainly |
|capital Mr. Micawber has not.” |realized in the written |
|The attribute is placed after |language, because sometimes |
|the word it modifies. This model|capital letters are the only |
|is often used when there is more|signals of the stylistic device.|
|than one attribute: “With |But there is another point that |
|fingers weary and worn…” |should be mentioned. Most proper|
|The predicative is placed before|names are built in some law of |
|the subject: “A good generuos |analogy. Many of them end in |
|prayer it was” |“-son” (as Johnson) or “-er” (as|
|The predicative stands before |Fletcher). We easily recognize |
|the link verb and both are |such words as Smith, White, |
|placed before the subject: “Rude|Brown, Green, Fowler and others |
|am I in my speech…” |as proper names. But such names |
|The adverbial modifier is placed|as: Miss Blue-Eyes or Scrooge or|
|at the beginning of the |Mr. Zero may be called token |
|sentence: “My dearest daughter, |names. They give information to |
|at your feet I fall.” |the reader about the bearer of |
|Both modifier and predicate |the name. |
|stand before the subject: “Down |Antonomasia is intended to point|
|dropped the breeze…” |out the leading, most |
| |characteristic feature or event,|
| |at the same time pinning the |
| |this leading trait as a proper |
| |name to the person or event |
| |concerned. |
| |Antonomasia is much favoured |
| |device in the belles-lettres |
| |style. |
| | |
|Hyperbole | |
|Hyperbole is deliberate | |
|overstatement or exaggeration, | |
|the aim of which is to intensify| |
|one of the features of the | |
|object in question to such a | |
|degree as will show its utter | |
|absurdity. | |
|E. g. “And this maiden she lived| |
|with no other thought | |
|Than to love and be loved by | |
|me.” | |
|Like many stylistic devices, | |
|hyperbole may lose its quality | |
|as a stylistic device through | |
