The analisys of Great Gatsby

In the practice of linguistic analysis it is more convenient to base on the works of N.N. Amosova because there the theory of context is developed more deeply and fully.

For stylistic, however, both of these definitions are inadequate because connotationally part of lexical meanings which plays such a big role for stylist, can be not only in common usage, be usual but occasional and depends on many more factors than substantive-logic. Particularly, it strongly depends on macro context, pointers that are outside of traceable syntactic relations.

Thus, words from different stylistic layers depending on the context may give a similar effect and vice versa, words of the same functional style may have different stylistic feature. Words or lexical- semantic variants of ambiguous words get functional stylistic coloring and other connotations in the conditions of communication for which they are characterized, in which they are commonly used, and in accordance with the specific language features in this area. However, the most strongly this stylistic coloring is understood and can perform special stylistic features just outside the scope of this sphere and just outside of the sphere can be used for the nomination of a particular moment of the content on the background of the other language.

Stylistic context, therefore, is the concept of specific, non-identical speech context. It not only indicates which of the existing language in the word choices we mention but also shows the new occasional connotations. Stylistic context - is the backdrop against which mainly, by contrast but sometimes by similarity arises expressive stylistic device. Especially characteristic in this case is different context nomination. As in the semantic contextual analysis semantically realizable word is in the context of the unity of the indicator, the stylistic analysis of stylistic device is a stylistic context in unity with those surrounding text or background which gives it relevance and which due to their ordering in any respect, create a " heightened expectation", making it the appearance of this unexpected reception or making it visible through convergence techniques.

The probability of occurrence of each successive element in the speech chain depends on the previous ones. Against this background, the appearance of an unexpected element attracts the reader's attention and increases the impact of the text. But dependence of the subsequent elements from previous shouldn't be taken too literally sometimes it is necessary to take not only the text , but also perceived earlier text , the entire contents of the reader's thesaurus. [10, 362]

For decoding stylistic the problem of context has its own special, it is very important. It depends on the stylistic features and text structure.

The main type of relationships between elements in the context is the relationship of contrast and equivalence or identity. Items can be juxtaposed and syntactically related but not similar or repetitive, some of them can be equivalent, and similar elements can be arranged as a contact and distant. Both types of relationships lead to the appearance of new additional meanings and connotations.

We should refer to the consideration of the context of interaction with the vocabulary which have functional stylistic coloring. The basis of this occurs when the additional value ??is primarily a function of stylistic property irradiation. For example, one poetic word included in a neutral context can make a sublime the whole paragraph. In general, however, words of other style have a great variety of materials and functions. They can come from any functional stylistic layers. They are found in the descriptions increasing their accuracy and specificity or creating metaphors and imagery, in the speech characteristics and portraits of characters, in the author's comments etc.

In translating process in order to select the right determining equivalent sometimes quite accounting syntactic context of a unit in a particular word is needed. Thus, the verb "burn" can be translated into Russian as " æàíó " and as " ?ðòåó", the choice is entirely determined by matching the syntactic context in which the English word is used: in intransitive constructions (in the absence of a direct object) "burn" is translated as "æàíó ", in transition (with a direct supplement or in the form of the passive voice) - as" ?ðòåó". Compare:

"The candle burns.""Øàìû æàíûï ò?ð."

"He burned the papers.""Îë ?à?àçäû ?ðòåä³."

Sometimes to determine the values of the original choice equal translation is simply no equivalent and narrow context is not sufficient and has to resort to the evidence contained in the broader context. As , an example, the following sentence from the story of J. Salinger " The Catcher in the Rye ." - "Then I got this book I was reading and sat down in my chair".

English "chair" in the Russian language correspond to as "îðûíäû?" and "êðåñëî". The sentence, however, provides no guidelines to guide the translator when choosing Kazakh equivalent. So here is necessary to address the larger context. Followed by: «The arms were in sad shape, because everybody was always sitting on them, but they were pretty comfortable chairs. Then I picked up the book he was reading and sat down in the chair». Pointing to the "arms" gives the key to translating

It should be mentioned that in this case we are talking about the definition and transmission of referential values of linguistic units. If we talk about the transfer of pragmatic values, as indicated above, the decisive role in determining their choice of methods and their transfer belongs to the wider context. This applies not only to the stylistic characteristics, sensitive and emotional coloring of the text but to a large extent, also to the "communicative articulation" of the sentence which is largely determined by factors of broader context (e.g. , the presence of prior mention of this or that element of the sentence in the preceding sentences). It should be remind that the objects of translation are not isolated linguistic units but the entire text as a whole, as a single speech work. Therefore the role of the broader context in the translation process in any way cannot be underestimated

Special vocabulary can be included in the speech characteristics of the hero, revealing his life experience, occupation and interests. For example, such use of marine vocabulary by Martin Eden. Realist writers use special vocabulary to better describe the environmental reality of heroes.

 The function of such a vocabulary can be very specific: in the first chapter of "Bleak House" of Charles Dickens plurality of legal terms shows the inability of the normal human mind to understand the labyrinth of legal proceedings in the Supreme Court of Chancery. [10, 364]

Thus, the role of even small stylistically colored words can be very significant. Their effect depends on whether they are the subject of the story or contrast with the topic. In case of violation of the expected correspondence between the signifier and the signified is often appears a comic or ironic effect. Especially often such effects are obtained in using colloquial and solemnly sublime vocabulary.

1.5 The expressive means of language and stylistic devices

Many of the concepts and terms borrowed from stylistics and rhetoric have changed little over the centuries. Opinions on the subject, the content and the objectives of stylistics, as rightly observes Y.M. Skrebnev are extremely diverse and in many cases are incompatible. This is partly explained by the variety of stylistic links with other parts of the difference between philology and its potential applications, as well as certain inertia, survivability of antiquated notions. [18, 66]

The analysis of art works language has long been carried out and it is still occasionally performed by dividing stylistic devices on the visual and expressive.

Visual devices of the language are called all kinds of imaginative use of words, phrases and phonemes, combining all types of portable items by generic term "figures of speech". Visual devices are describing and are mainly lexical. This includes such types of portable use of words and expressions as a metaphor, metonymy, hyperbole, litotes, irony, paraphrase etc.

Expressive means or figures of speech do not create images, and increase the expressiveness of speech and reinforce her emotionality by special syntactic structures: inversion, a rhetorical question, parallel design, contrast etc.

At the present stage of development of style these terms are preserved but ??linguistics level that is got allows us to give them a new interpretation. First of all many researchers have noted that visual devices can be characterized as paradigmatic because they are based on the association of the selected by author words and expressions with others meaningfully close to them and therefore potentially possible but not presented in the text words in relation to which they preferred .

Expressive means are not paradigmatic, but syntagmatic since they are based on a linear arrangement of parts and their effect depends precisely on the location.

Division of stylistic devices is conditional since visual devices that are figures of speech operate as an expressive function, and expressive syntax devices may participate in the creation of imagery in the image.

In addition to the division on the visual and expressive means of the language is fairly widespread division of expressive means of language and stylistic devices division means of language as neutral, expressive and stylistic which are called methods. Under the stylistic device I.R. Halperin understands deliberate and conscious of any gain the typical structural and / or semantic features of a language unit (neutral or expressive) that reached the generalization and typing and became generating model. With such approach, the main differential sign becomes intentional use or focus of a particular element that is opposed to its existence in the language system for decoding stylistic interpretation rather than generating of the text. This understanding does not fit because the reader has no information to determine intentionally or unintentionally (intuitively) one or the other figure of speech is used. It is important for him not to get the creative laboratory of the writer, but to get emotionally aesthetic information, note the appearing of new contextual values ??generated by interdependence of elements of the text. [10, 65]

The interactions of the word meanings to create artistic images have long been studied in stylistic under the title figures of speech.

Trope is a rhetorical figure of speech that consists of a play on words, i.e. using a word in a way other than what is considered its literal or normal form. Tropes come from the Greek word “tropos” which means a “turn”. We can imagine a trope as a way of turning a word away from its normal meaning, or turning it into something else.

Tropes include: epithet, metaphor, metonymy, oxymoron, periphrasis, personification, simile, etc.

Epithet is an adj. or an adjective phrase appropriately qualifying a subject (noun) by naming a key or important characteristic of the subject.

Semantics-oriented epithet classification by prof. I.Screbnev: 1. metaphorical epithet (lazy road, ragged noise, óíûëàÿ ïîðà), 2. Metonymical (brainy fellow), 3. Ironic.

Structural characteristics of epithets: 1. Preposition, one-word epithet (a nice way); 2. Postposition, one-word or hyperbation (the eyes watchful); 3. Two-step (immensely great); 4. Phrase (a go-to-hell look); 5. Inverted (a brute of a dog, a monster of a man).

Metaphor is a transference of names based on the associated likeness between two objects, on the similarity of one feature common to two different entities, on possessing one common characteristic, on linguistic semantic nearness, on a common component in their semantic structures. e.g. ”pancake” for the “sun” (round, hot, yellow); e.g. ”silver dust” and “sequins” for “stars”

Metonymy is a transference of names based on contiguity (nearness), on extralinguistic, actually existing relations between the phenomena (objects), denoted by the words, on common grounds of existence in reality but different semantic (V.A.Kucharenko). e.g. ”cup” and “tea” in “Will you have another cup?”;

Oxymoron is a combination of two semantically contradictory notions, that help to emphasise contradictory qualities simultaneously existing in the described phenomenon as a dialectical unity (V.A.Kucharenko). e.g. ”low skyscraper”, “sweet sorrow”, “nice rascal”, “pleasantly ugly face”.

Periphrasis is a device which, according to Webster's dictionary, denotes the use of a longer phrasing in place of a possible shorter and plainer form of expression. e.g. The lamp-lighter made his nightly failure in attempting to brighten up the street with gas. \[= lit the street lamps\] (Dickens)

Personification is a metaphor that involves likeness between inanimate and animate objects (V.A.Kucharenko). e.g. ”the face of London”, “the pain of ocean”;

Simile is an imaginative comparison of two unlike objects belonging to two different classes on the grounds of similarity of some quality (V.A. Kucharenko).e.g. She is like a rose.

Figures of Replacement (Tropes) are divided into two classes:

Figures of quantity which are hyperbole or overstatement, exaggeration and meiosis or understatement, weakening.

Figures of quality which are metonymy, metaphor, irony.

Figures of quantity

Hyperbole is a stylistic device in which emphasis is achieved through deliberate exaggeration (V.A. Kucharenko). Hyperbole is a deliberate overstatement or exaggeration of a feature essential (unlike periphrasis) to the object or phenomenon (I.R. Galperin). It does not signify the actual state of affairs in reality, but presents the latter through the emotionally coloured perception and rendering of the speaker. e.g. My vegetable love should grow faster than empires. (A. Marvell); e.g. I was scared to death when he entered the room. (J.D.Salinger)

Meiosis deliberately expresses the idea, there less important than the action is. Meiosis is dealt with when the size, shape, dimensions, characteristic features of the object are intentionally underrated. It does not signify the actual state of affairs in reality, but presents the latter through the emotionally coloured perception and rendering of the speaker. e.g. ”The wind is rather strong” instead of “There's a gale blowing outside”; e.g. She wore a pink hat, the size of a button. (J.Reed)

Figures of quality

Metaphor is a transference of names based on the associated likeness between two objects, on the similarity of one feature common to two different entities, on possessing one common characteristic, on linguistic semantic nearness, on a common component in their semantic structures. e.g. ”pancake” for the “sun” (round, hot, yellow); e.g. ”silver dust” and “sequins” for “stars”

Metonymy is a transference of names based on contiguity (nearness), on extralinguistic, actually existing relations between the phenomena (objects), denoted by the words, on common grounds of existence in reality but different semantic (V.A.Kucharenko). e.g. ”cup” and “tea” in “Will you have another cup?”;

Irony is a stylistic device in which the contextual evaluative meaning of a word is directly opposite to its dictionary meaning. The context is arranged so that the qualifying word in irony reverses the direction of the evaluation, and the word positively charged is understood as a negative qualification and (much-much rarer) vice versa. The context varies from the minimal - a word combination to the context of a whole book. e.g. It must be delightful to find oneself in a foreign country without a penny in one's pocket.

Irony can be of three kinds: verbal irony is a type of irony when it is possible to indicate the exact word whose contextual meaning diametrically opposes its dictionary meaning, in whose meaning we can trace the contradiction between the said and implied (e.g. She turned with the sweet smile of an alligator. (J.Steinbeck) (V.A. Kucharenko); Dramatik irony happens when a reader or viewer knows more information that a character in book or in a movie; Situational irony is a kind of joke that is against you or situation.

They are called lexical figurative- expressive means in which the word or phrase is used in the converted value.

The essence of figures of speech is to compare the meaning presented in the traditional usage of lexical items and the meaning transmitted the same unit in the speech with the specific stylistic function.

The most important figures of speech are a metaphor, metonymy, synecdoche, irony, hyperbole, litotes and personification. 

Classification of metaphors in stylistic theory

Metaphor is a transference of names based on the associated likeness between two objects, on the similarity of one feature common to two different entities, on possessing one common characteristic, on linguistic semantic nearness, on a common component in their semantic structures. e.g. ”pancake” for the “sun” (round, hot, yellow)

The expressiveness is promoted by the implicit simultaneous presence of images of both objects - the one which is actually named and the one which supplies its own “legal” name, while each one enters a phrase in the complexity of its other characteristics.

The wider is the gap between the associated objects the more striking and unexpected - the more expressive - is the metaphor. For e.g. His voice was a dagger of corroded brass. (S. Lewis); e.g. They walked alone, two continents of experience and feeling, unable to communicate. (W.S.Gilbert).

Metaphors, like all SDs can be classified according to their degree of unexpectedness. Thus metaphors which are absolutely unexpected, i.e. are quite unpredictable, are called genuine metaphors. Those which are commonly used in speech and therefore are sometimes even fixed in dictionaries as expressive means of language are trite metaphors, or dead metaphors. Their predictability therefore is apparent and they are usually fixed in dictionaries as units of the language (I.R. Galperin); prolonged metaphor is a group (cluster) of metaphors, each supplying another feature of the described phenomenon to present an elaborated image (V.A.Kucharenko).

The constant use of a metaphor, i.e. a word in which two meanings are blended, gradually leads to the breaking up of the primary meaning. The metaphoric use of the word begins to affect the dictionary meaning, adding to it fresh connotations or shades of meaning. But this influence, however strong it may be, will never reach the degree where the dictionary meaning entirely disappears.

How metaphor works (according to Leikoff and Johnson)

Source domain is a realm with the help of which the imagianary and verbal representation are made. Taken from the Source Domain (îáëàñòü-èñòî÷íèê) images and words are applied to a Target Domain (îáëàñòü-öåëü).

Types of metaphors (according to Leikoff and Johnson)

1. Oriental metaphors (up and down, front and back, in and out, near for, etc.)

2. Antological metaphors, associate with activity motions - personification

3. Structural metaphors (argument is war, life is a journey, etc.)

Metaphor is usually defined as a hidden comparison which is made by using the name of one object to another, and thus identified some important feature of the second. [10, 66]

"Metaphor - is a dream, the dream of language ("dream work of language"). The understanding of the dream needs the cooperation of the dreamer and interpreter even if it is one person. Similarly, the interpretation of metaphors bears the stamp of the creator and interpreter." [19, 34]

S.I. Burns in an explanatory dictionary calls metaphor:

1) A kind of figures of speech;

2) Invisible imaginative assimilation. [18, 65]

Metaphor Analysis

Gatsby's green light: Located at the end of the Buchanans' dock, this green light represents Gatsby's ultimate aspiration: to win Daisy's love. Nick's first vision of Gatsby is of his neighbor's trembling arms stretched out toward the green light [12, 26]. Later, after Daisy and Gatsby's successful reunion, a mist conceals the green light, visibly affecting Gatsby. Nick observes, "Possibly it had occurred to him that the colossal significance of that light had now vanished forever....Now it was again a green light on a dock. His count of enchanted objects had diminished by one" [12, 98]. This image suggests Gatsby realizes he must face the reality of Daisy, rather than the ideal he created for her.

Valley of ashes: A mid-way stopping point between West Egg and New York City, described as "a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens, where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air" [12, 27]. This depiction, in conjunction with several key turning points which occur at this location, recalls the moral wilderness of T.S. Eliot's poem, "The Waste Land." It is in the valley of the ashes where Tom has his affair with Myrtle, where Daisy kills Myrtle with Gatsby's car, and where George Wilson decides to murder Gatsby.

Eyes of Dr. T. J. Eckleburg: These gigantic blue eyes without a face look out at the valley of ashes from behind a pair of yellow eyeglasses. This billboard advertisement -- which provides its eternal presence looming above the ash-heaps -- takes on added significance in Chapter 8, as a grief stricken George Wilson refers to it as God. While looking at the giant eyes after Myrtle's death Wilson reveals he had taken his wife to the window just before she died and told her, "God knows what you've been doing, everything you've been doing. You may fool me but you can't fool God!...God sees everything" [12, 167]. Thus, the desolation of the valley of ashes may be seen in Fitzgerald's image of an abandoned billboard serving as Wilson's provider of solace and ultimate judge of morality. Following a central theme of modernism, this new God watches over his paradise which has been reduced to ash-heaps by modern man.

Gatsby's house: This image serves as a key symbol of aspiration, reflecting both Gatsby's success as an American self-made man and the mirage of an identity he has created to win Daisy's love. Gatsby follows his American Dream as he buys the house to be across the bay from Daisy, and has parties to gain wide-spread recognition in order to impress her. Yet, Owl Eyes compares Gatsby's mansion to a house of cards, muttering "that if one brick was removed the whole library was liable to collapse" [12, 50]. Ultimately, the inevitable collapse occurs, as Gatsby loses Daisy and dies (with the exception of Nick) absolutely friendless, prompting Nick to refer to Gatsby's mansion as "that huge incoherent failure of a house" [12, 188].

A metaphor is expressed in one way but not necessarily one-word [20, 389]: "generation of neckties"

Metaphor "generation of neckties" in the definition of the expression which is the of-phrase, the identification of two concepts: the generation and many is little; sign of such a definition is less fused with definition. Also in this case there is a hypothetical set; the semantics here emphasizes change capricious fashion and spirit of the wardrobe owner. This reflects the author's ironic attitude toward his hero, as this proposal with the metaphor, he is not only describes the Gatsby's wardrobe as gives the hero characteristic which is not flattering.

2. Unfolded or extended metaphor consists of several metaphorical use of words, creating a single image, from a number of interrelated and complementary simple metaphors that enhance motivation by way of re-connecting all the same two parallel plans and their functioning. [21, 32]

The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath: already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp joyous moment the center of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and colour under the constantly changing light. [12; 45]

In this example, all metaphors are still language ones, the author has not approved by the individual and it reflects more cautious - dry, ironic attitude of the author. But the metaphor in the sentences is not simple, but detailed as the author in order to promote the image of the hero through the description of his methods analyses more than a sign, but several developing the first and connecting by a single, central core word. The first metaphor “swells" is deployed and concretized by subsequent verbs "dissolve, form, weave here and there, glide on through the sea-change." Interestingly, all of them except the last metaphor we have studied in detail above, but the last metaphor "the sea-change of faces and voices and colour" should be studied deeply.

The first component is the word which is a class that is not a member of itself, as in the metaphor of "sea-change" the sea is no longer represents a body of water. Such a structure is called a metaphorical plurality of hypothetical. This plurality does not have a numeric expression but at the same time it is defined "sea of.", depending on the content of the lexical structure in speech, the function of expressive-evaluative modality appears, the subjective assessment of a plurality of objects or phenomena. This metaphor is author's ironic assessment of society gathered at Gatsby's house.

3. Traditional metaphor is called metaphor conventional in any period or in any literary direction. Thus, the English poets describing the exterior beauties widely used such traditional constant metaphorical epithets as "pearly teeth, coral lips, ivory neck, hair of golden wire". [21, 46]

In a metaphorical epithet duality is required, specify the similarities and differences, semantic mismatch, non-observance of signing. There are, for example, animist metaphorical epithets when an inanimate object is ascribed to the property of a living being: "an angry sky, the howling storm", anthropomorphic or metaphorical epithet attributing human qualities and actions of animals or objects: "laughing valleys, surly sullen bells".

4. The composite or story metaphor is interesting device [22, 400] which can be extended to the entire novel. Composite metaphor is a metaphor which is realized at the level of the text.

A special feature of F.S. Fitzgerald is his "double vision" and the use of contrasts to create his works. Earlier we discussed how the author reflects the Gatsby's spirit before meeting with Daisy; now let's focus on the second part of the description of this evening - after a conversation with the woman:

Íå literally glowed: without a word or a denture of exultation a new well-being radiated from him and filled the little room, "and" when he realized what I was talking about, that there were twinkle-bells of sunshine in the room, he smiled like a weather man, like an estatic patron of recurrent light. [12; 49]

If before the meeting with Daisy were felt anxiety, excitement , fear, that is speech metaphor gave a negative assessment, after this meeting fully positive event rating is predominated. Language metaphor "glowed" deployed by the second metaphor "a new well-being radiated, filled" reinforce and emphasize the spirit of Gatsby - joy and happiness. Using detailed metaphor the author expresses his sympathy for the hero as well as joy for him, he's happy. The author's surprising is also felt and surprised - he saw his hero in a new light.

The second sentence continues the theme of the first and transmits light, joyful feelings of the hero. But the structure of this sentence is different. Here the comparison "like a weatherman" turns into a metaphor "an estatic patron of recurrent light".

Hyperbole is called deliberate exaggeration that increases expressiveness f statements and informing him emphatic. Deliberate decrease is called litotes and expresses denial of the opposite: not bad = very good.

Metonymy - a figure of speech that is based on association by contiguity. It consists in the fact that instead of the name of one object is used another name associated with the first permanent internal or external communication. This relationship can be between the object and the material from which it is made, between the place and the people who are in it, between the process and the result, between action and instrument etc. [10, 66]: "Until long after midnight a changing crowd lapped up against the front of the garage".

Expression of ridicule by using of the word in the sense of directly opposite to its base value and directly opposite connotations, feigned praise for which in reality worth censure is called irony. Contrary to the connotations is in change of estimated component from positive to negative, affectionate emotions mockery in the use of words with poetic coloring with respect to subjects trivial and vulgar to show their insignificance.

Personification is called a figure of speech which is the transfer of property qualities at the abstract concepts and inanimate objects which is manifested in the valence characteristic of nouns - names of person: "rain stopped, sun shines".

The difference of the word from a simple set of sounds is that the word has the meaning. In the meaning of the word objectively existing reality is reflected. However, the meaning is determined not only link the words with the objects of reality (things, phenomena, signs, actions), but also a place of the word in the system of the language. Thus, the meaning of a word can be defined as fixed for this system due to the sound form of the language of thought content, the general part of the linguistic community.

Many words are not only defining concepts but also express the speaker's attitude towards them, a special kind of evaluative. These words are emotionally colored. Emotive words can express both positive and negative evaluation. Therefore an emotional lexicon is also called evaluation (emotional and evaluative).

At the same time it should be noted that the concepts of emotional and evaluative are not identical, although closely related. Some emotional words (e.g., interjections) contain no assessment; and there are words in which the assessment is at the heart of their semantic structure, but they do not relate to the emotional vocabulary: good, bad, joy, anger, love, suffer.

The feature of an emotionally evaluative vocabulary is that the emotional tone of "superimposed" on the lexical meaning of the word, but is not limited to it: denotative meaning is complicated by connotative.

Emotional speech is often transmitted by expressive vocabulary. Expressivity (expression) (Latin expressio) - means expressiveness, power display of feelings and experiences.

Expression of words often superimposed on his emotionally - estimated meaning, and in some words dominate the expression, while others - emotionality. To distinguish between emotional and expressive color is often not possible, and then ones talk about the emotional and expressive vocabulary (expressive- evaluation).

Emotionally - expressive colored word affects its meaning. Even different meanings of the same word may diverge markedly in stylistic coloring: in one sense the word appears as a solemn, high, in the other - as ironic, mocking.

Development of expressive nuances in the semantics of speech promotes its metaphorization. In that case stylistically neutral word is used as a metaphor to give a vivid expression.

Finally the context shows expressive coloring of the words: stylistically neutral units can become emotionally evocative, high - contemptuous, affectionate - and even ironic expletive may sound approvingly.

Chapter II. Stylistic coloring words and the possibility of translating

One of the most interesting aspects of the theory of translation is the problem of transmission of stylistic devices in the receiving language. This problem has attracted the attention of linguists but it is not sufficiently developed. Importance of studying the translation of figurative means due to the need of adequate transmission of pictorial information of the artwork on the receiving language, stylistic effect of the original recreated in translation. [23, 43] But firstly let's define what translation is.

Translation - is a complex of multi-faceted phenomenon, some aspects of which may be the subject of study of various sciences. Leading position in modern interpreting belongs to linguistic translation studies (linguistics translation), that studies the translation as a linguistic phenomenon. Some types of translation complement each other trying to get comprehensive description of translation work. [24, 65]

A good translator uses methods of transmission of certain stylistic devices used in the original in order to make the text of greater brightness and expressiveness. A translator has the following choices: either to try to copy the original appointment, or to create own stylistic means having the same emotional effect. This - the principle of stylistic compensation which K.I. Chukovskij said that "metaphor is necessary to transfer a metaphor, simile comparing, and smile - a smile, a tear - a tear and so on." For a translator the form is not so much important as function of stylistic device in the text. [25, 63]

This means some freedom: grammatical means of expression is possible to transmit by the lexical and vice versa; drooping transferable into Kazakh stylistic phenomenon translator returns "debt" text created elsewhere in the text - where it is most convenient - another image, but a similar stylistic direction.

2.1 Emotional, evaluation, expressive coloured words and its translation

In the practical part of the work has been analyzed the piece of literature for the presence of stylistically colored words. The object of analysis is the novel written by famous English writer Francis Scott Fitzgerald's "The Great Gatsby."

As the results of the analysis the following lexical units are the author's most popular units:

"Old sport"

"They can't get him, old sport. He's a smart man ". [12; 18]

In this example, one can observe a positive, even ironic attitude of the speaker as to his companion and the object of his utterance. Consequently, the expression "old sport" bears that psychological value that is used to represent the speaker's positive attitude to his statement.

to like

"I like to come," - Lucille said. [ 12 , 20 ]

The girl reported that there are cozy and well, she reports to the listener statements about their positive attitude towards environment and lets you know that she would like to come here again. Therefore, the verb "to like" in this sentence is used for presentation of emotions of " joy."

to love

"Come along", he said but - to her only.

"I mean it", she insisted.

"I'd love to have you. Lots of room". [12; 25]

As you can see the main emotive load positive assessment bears the verb "to love" which shows that the speaker would have been nice if she agreed to go with him for a walk.

"fine"

"The grass looks fine, if that's you mean". [12, 29]

We can assume that the speaker wants to please his companion telling him that the lawn around the mansion looks good or he likes the freshness of green grass for which so closely monitors the gardener. Consequently, in this sentence basic expressive utterance carries the adjective "fine".

"Good"

"Did you have a nice ride?"

"Very good roads around here". [12; 28]

The adjective "good" used in this example assumes that the speaker enjoyed a pleasant trip, he liked to drive along the great asphalt, and he tested positive emotions in connection with a small traveling around.

In other words the author shows the positive mood of the hero.

"Suppose you met somebody just as careless as yourself". - "I hope I never will", she answered. "I hate careless people. That's why I like you ". [12; 29]

The author used this verb to describe the scene of girl recognition; she loves this young man, even that she can be in love with him. Thus, we can assume that this choice of a lexical unit is fully justified.

"The old Metropol".

In this case, a match of words on the lexical level "old" and "old" in the sense of " familiar", "very enjoyable" , " cozy" . It also strengthens an adjective with the meaning "very familiar" / "most favorite", it causes the reader even a warm affection for the cafe "Metropol". The author has used this structure to emphasize the high importance of this place for characters and how they would like to return to the days when they were young and "Metropol" was full of people. In this context the author intentionally used this adjective to convey a positive assessment. After literary analysis of the novel it was found that the basic lexical units that are used in the text for the transmission of this type of expression have become following verb:

"to like"

"I like her", said Daisy, "I think she's lovely." [12; 32]

Let's study the next example from the text:

"I think it's cute", said Mrs. Wilson enthusiastically. [12; 33]

The example shows how a woman admires a small puppy. In this case, a noun "cute" (in the meaning " darling ") refers to the fact that the woman would just be happy if she bought the dog. It can be assumed that the author deliberately used this lexical unit to give the text a maximum expressiveness that speaks about the key role of words to convey the reader's perception of positive emotions.

"Lots of people come here haven't been invited", she said suddenly. "That girl hadn't been invited. They simply force their way in and he's too polite to object." [12;34].

Using the lexical unit "to force somebody's way in" the author shows the reader that she is dissatisfied with the fact that there were a lot of strange people who comes to the party and absence of invitations do not stop them . Thus, the author shows that she would like to have evening that was held in a small circle of people, and in this case she would have felt more at home.

"Civilization is going to pieces," broke out Tom violently. [12, 35]

Using the lexical units "violently" the author shows the reader that the man is extremely negative attitude to the situation and he is trying to convey the mood and others.

She was incurably dishonest. [12, 15]

The author used a lexical unit “incurably” with a value of hopelessness. Hero tells the listener that the girl will come dishonestly and this is the hopelessness of the situation.

"This is terrible mistake," he said, shaking his head from side to side, "a terrible, terrible mistake. [12, 18]

You can watch that the lexical unit "terrible mistake" the author used to show the reader that the man is in the heat of passion , learning about the death of his wife, and that if he had not pushed her to escape from the house, all of this would not happened. Thus, the author shows the difficult situation with the hero and his feelings towards his wife whom he loved more than anything else.

Presently at that point it vanished - and I was looking at an elegant young rough - neck, a year or two over thirty, whose elaborate formality of speech just missed being absurd. [12, 25]

In this example you can analyze the lexical level of the construction in English "elegant young rough - neck". The author used a lexical unit with a value of neglect. Hero tells the listener that the man whom he admired turned out just dandy.

And the Hornbeams and the Willie Voltaries, and a whole clan named Blackbuck, who always gathered in corner and flipped up their noses like goats at whosoever came near. [12, 27]

In this case, one can observe that using the lexical items "like goats" the hero of the novel tells his partner his opposition and even contempt for the guests at the party.

2.2 Context and situation in translating

Context acts as the dominant means of representing different emotions of evaluating relations. In most cases it represents the author's comments and remarks.

"That huge place there?”- She cried pointing. [12; 28]

"Your face is familiar", he said politely. [12; 30]

The purpose of the context is to evoke in the reader a certain psychological state, a positive emotional attitude to the situation or the hero; it is not reflect the actual semantic and pragmatic aspects of a sign situation. [31; 64]

This fact can be explained by the fact that the context is an integral part of usual emotional structures whose main purpose is to convey mental state of the characters by verbal devices. The most typical and frequency used there were copyright remarks that describe the situation to help the reader to perceive the state of the hero:

"I love New York on summer afternoon when everyone's away. There's something very sensuous about it - overripe, as if all sorts of funny fruits were going to fall into your hands ". [12; 28]

As you can see the author has tried to convey a sense of the sublime nature of the hero through the description and comparison. In other words, without context it would be virtually impossible to pass positive emotions through the text.

“Blessed precious," she crooned holding out the arms. “Come to own mother that loves you." [12; 31]

From the analysis of the example it is shown that the author deliberately put woman behavior's comment to emphasize the beautiful feelings of a mother for her daughter.

“My dear”, she told her sister in a high, mincing shout,-”most of these fells will cheat you every time. All they think of is money. I had woman up here last week to look at my feet, and when she gave me the bill you'd of thought she had my appendicitis out”. [12; 38]

In this case the woman is trying to convey his displeasure masseuse and the value of its services. Here we see that the context of the situation has been used to help to reveal the cause of the bad mood of the heroine of the novel, as well as her wishes.

"Suppose you met somebody just as careless as yourself".

"I hope I never will", she answered. "I hate careless people. That's why I like you." [12, 41]

Negative emotional reactions as estimates depend largely on the outlook, self- human relations from those around him. Negative evaluation presupposes that the object of any deficiencies and, moreover, implies the predominance of their total "weight" on the "weight" of positive properties. As a rule, it reduces the number of unsatisfied demands and more ambiguous than a positive evaluation requiring specification at micro/macro context carefully. [35; 46] The negative psychological reactions as positive may be accompanied by facts, processes and usually occur when you turn in a particular situation:

"What a stupid idea is it? How terrible! " [ 12; 28]

It should be noted that values ??of emotional speech communication reflecting the negative language in action, are identical to the values ??of verbal communication of a positive direction.

In the literary text this function is included, as a rule, on the base of conflicting speech. It is often "wrong" dialogue characterized by monopoly theme of irritable man unwilling to listen to the arguments of the opponent. The negative output irritations are realized in speech through condemnation, indignation, curses, threats, and in actions it may be unwise and hurtful actions that are irritable for the individual and for the people around him. [36; 52]

To show the negative value such lexical units can be used as "to flash with anger, he saw stars; he became white as a sheet". In the study the specific features of linguistic expressions of feeling were found, irritation is difficult to convey by any one part of speech as in most cases it is presented by phrases like "bent brows, gleam of anger, he glared at her compellingly etc." Here presented different parts of speech are inseparable from each other, they should be considered as a whole.

Direct naming is not typical of negative emotions. Bright emotionally expressive reflection of reality is supported by a variety of parallel constructs (repeats) or identical elements in the structure of multicomponent unity. Repeats are able to pass all polemical passion, high affective state, emphatic feeling elation. Such elements as statements, the most significant and important for the hero for the author can be repeated.

In most cases negative emotions of the characters are transmitted through speech using different syntactic means. All quarrels and background recriminations sometimes understandable only to the reader who is familiar with ulterior heroes' motives in uneasy relations with each other. Then there is the need to involve non-verbal context. In the analysis of emotionally intense speech acts liaising between the direct and indirect manifestation of meaning is an essential condition for the study. Language system is here in close alliance with the context.

"Terrible place isn't it," said Tom, exchanging a frown with doctor Eckleburg. "Awful". [12, 42]

"He got up, his eyes still flashing between Gatsby and his wife. No one moved. [12; 45]

In this case, the text was used in the description of the situation arising between husband, wife and her new admirer. The author tries to convey the mood of the characters describing this scene. It follows that for the transmission of "anger" emotions context plays a key role.

”All right, - I said,-I'm glad it's a girl" And I hope she'll be a fool - that's the best thing a girl can be in this world, a beautiful little fool. [12; 47]

In the text was used the description of the situation when a woman realizes that her life would be much simpler if she did not understand and then, perhaps, it would have been much easier but nothing can be changed. The author tries to convey a sense of character describing this scene. It follows that for the transmission of stylistic coloring "anger" the context is her attitude to the life.

” I almost made a mistake, too,” she declared vigorously. ” I'm almost married a little kyke who'd been after me for years. I knew he was below me. Everybody kept saying to me:” Lucille, that man's “way below you!” But if I hadn't met Chester, he'd of got me sure.” [12; 49]

There was used the description of the situation when a woman describes a naught person on her point of view. To transfer contempt author used description of the situation where it reveals the contempt for man who tried to get married with her, but she found more worthy man according to standards, then she would probably just break up with him.

Then she wet her lips, and without turning around spoke to her husband in a soft, coarse voice: “Get some chairs, why don't you, so somebody can sit down.” “Oh, sure," agreed Wilson hurriedly, and went toward the little office, mingling immediately with the cement colour of the walls. [12; 50]

In this case, the text was used by the author's comment when a woman cannot hide his discontent towards her husband.

"You're a rotten driver”, I protested. “Either you ought to be more careful, or you ought' to drive at all.”[12; 52]

The author used a lexical unit with a higher degree value of dissatisfaction. Hero tells his companion that he should not have to sit behind the wheel if he cannot drive.

”It's an old clock,” I told them idiotically. [12; 53]

Using the lexical unit “idiotically” the hero informs the reader about his ridiculous remarks about the watches.

“Who is Tom?”- she asked innocently. [12; 53]

In this case, we see that the author's comment was used and it allows the reader to perceive the mood of the heroine and her relationship to her own husband

Conduct may be found on the hard rock or wet marshes, but after a certain point I don't care what it's founded on. [12; 58]

Here, the author found it necessary to describe the mood of the hero and his relation to the people around him. The purpose of the context is to evoke in the reader a certain psychological state, negative emotional attitude to the situation or the hero, to reflect not the actual semantic but pragmatic aspects of a sign situation.

Then he went out on the sidewalk, and they shot three times in his full belly and drove away. [12; 59]

By the lexical item "full belly" the author showed the reader that the speaker is indifferent to the dead man and this fact is not touching him.

Context is an integral part of usual emotional structures whose main purpose is to convey not only the content of the sentence as a subjective estimate, emotionally neutral attitude of the speaker to the subject of thoughts and express emotional connotations.

Conduct may be founded on the hard rock or the wet marshes, but after a certain point I don't care what it's founded on. [12; 60]

Phrases like "stupid amazement, the goast a smile hovered over his face, surprise attack" in which the key word (in the sense of major importance) is very difficult to identify and therefore effectively treat these expressions as a whole, show a negative assessment of the situation.

Expressive movements are woven into the context or preceded by the word, or even contrary to its content: it can modify or confirm the meaning of what was said. In such cases the function of non-verbal means is an advanced manifestation of the psychological content of dialogic communication.

“Doesn't she like Wilson either?” The answer to this was unexpected/ It came from Myrtle, who had overhead the question, and it was violent and obscene. ” [12; 61]

In this example, you will notice that the dialogue speech was used to show the reader the true emotional state of the characters.

"What!” I explained." Oh, I beg your pardon." [12; 70]

In this example, you can analyze the lexical level of the construction in English language: "what". It follows that for the transfer of surprise in this case the author used a lexical unit with a higher value degree of surprise. Hero tells his companion that he had not suspected such a reaction of his dialogue partner.