The analisys of Great Gatsby

2.3 Lexical and stylistic transformations in translation

Translation of stylistic devices bearing the shaped charge of the piece of literature often causes difficulties for translators because of the stylistic features of national systems of different languages. All linguists emphasize the need to preserve the original image in the translation, rightly that primarily translator should strive to reproduce the function of receiving and not the reception. [37; 68]

In this section attention will be devoted to figures of speech of metaphorical group: metaphor, simile, epithet, personification.

To translate figurative means it is necessary to determine its information content, its semantic structure. The concreting of comparative size of shaped information and translation plays an important role in the theory of translation. Analysis of such information should be done at the level of language identifying and comparing permanently fixed by word size and content of information.

In figurative means holds appraisal report, nomination and aesthetic information. The "new" meaning that has the device in the context is an element of its semantic structure. This element (structure of stylistic devices) in the same language generally corresponds to a word or phrase in the literal sense which is used in the interpretation of the image. In the case where compensation of image/figure of speech was not found and its transmission cannot be transmitted only the conceptual content of the image is used. [38; 96]

Following N.V. Skladchikova we identify four parameters of translation adequacy of figurative means in terms of content [21; 69] :

adequacy parameter of transferring semantic information on translating language;

adequacy parameter of transmission the emotionally evaluative information;

adequacy parameter of transmission Expressive information;

adequacy parameter of transmission aesthetic information .

If the semantic basis of the original image transmitted accurately, the result will be an adequate image of the language of the receiving language and its semantic content adequate exercising nominative function image. This can be illustrated by the cases in the translation, when due to the inability to keep a metaphor used only semantic its content to meet at least the nominative function:

"He was extravagantly ambitious" [12, 101]

In this case, the translator has resorted to replace metaphorical epithet "extravagantly" expression "to the extreme," not bearing imagery.

Translator repelled from the semantics of words in a metaphorical combination of original and goes through a comparison of lexical meanings. Analysis of the translation of words and phrases free metaphoric content shows that in many cases the language of metaphorical phrases and images transferred to the semantic equivalent basis, equal to the nominative function:

"My own house was an eyesore" [12, 4]

"Among the broken fragments of the last five minutes" [12, 6]

Associations evoked normative meaning of the word when it unusual compatibility, C. Bally calls "associative field." Translation can be considered equivalent , if the word has the same IL associative field , the word on DICE , as it causes the reader transfer the same activity of thought and imagination , and that the reader of the original. [38; 47]

When implementing complex metaphors must deploy two associative plans:

* Plan based on the literal meaning

*plan based on direct interaction and contextual values??, deployment plan figurative figuratively.

"The very phrases were worn so threadbare that they evoked no image except that of a turbaned" character "leaking sawdust at every pore as he pursued a tiger through the Bois de Boulogne" [ 12; 6] .

"All this shabby lexicon makes me view is not a living person , but a rag doll in a turban which is in the Bois de Boulogne in tiger dotting the ground sawdust, rolling in from deficiencies " [26; 5] .

Failure to clear the parallel coexistence of these two plans can lead to interpretation violations when the semantics of words in any link in the chain of metaphors does not indicate signs of concepts, and the concepts themselves. In this link there is a rupture of the metaphorical content, as wedged logical relationships. Direct perceived value before the metaphorical and the metaphor breaks down.

With the need to implement in parallel associative transfer plans in an expanded metaphor is the provision of style that "words used in the figures of speech ... should be combined with each other and in their literal meaning " [25; 65]. This provision is refracted in the theory of translation stylistic means and gets the name «law of conservation of metaphors."

Considering the problem of transmission of expressive way transfer of information, it should be noted that some share of the portable use of words in the English and Kazakh languages ??coincides valid expression. For example, the same amount of information observed in expressive metaphors common stylistic original and translation which are lexical correspondences. Power of expression does not depend on the type of lexical transformations applied to preserve the semantic foundations of figurative means.

The identity of the semantic framework and thus the absolute identity of the nominative function of metaphors and the original translation is not always accompanied by adequate transmission expressive function. Mismatching expressive volume of information on the basis of semantic identity arises because of differences in the degree of expression ??figurative meanings of language equivalents in two languages. In this case, the modification of one of the data can speak of weakening or strengthening of speech variants: they are identical to the nominative, emotional and aesthetic evaluation function when changing the expressive image of information.

In translating observed weakening metaphorical imagery and the accompanying information as expressive when transferring individual stylistic images common stylistic and stylistic- lexical as equivalents and variants based on transformations. The strength of expression is lowered.

For example , in the translation of "savors of an ticlimax" [12; 10] can be found a decrease in expressive power, loss of imagery. When transferring individual stylistic metaphors "savor" verb with a neutral evaluation " seem" lost sema "smell", "taste" of the original. It seems possible to propose the following translation of this image : "gives decline " where stored sema "smell" .

Based on the definition of aesthetic information it is necessary to identify the appointment studied linguistic resources at their functioning. Figurative language means of comprising works interact with each other and are subject to the author's intention .

The most complex and difficult to describe from all the techniques of translation is compensation. In any language there are elements that can not be a separate transferred by means of another language, so there is the obvious need to compensate for this loss in translation. It's about loss of semantic and stylistic order. Receiving compensation is to transfer the semantic meaning or stylistic nuances not where it is expressed in the original or the means what it is expressed in the original. If a translator is forced to sacrifice stylistic coloring or expressive charge when translating words, of course, he must first save the expressive meaning of the word or phrase and in failing to find a match, to compensate for this loss using compensation technique.

It should be noted that the comparison and receiving language impersonation due to its semantic structure almost always the result of tracing and hence the absolute voice embodiments:

“The lawn started at the beach and ran toward the front door for a quarter of a mile, jumping over sundials and brick walks and burning gardens - finally when it reached the house drifting up the side in bright vines as though from the momentum of its run" [12; 10]

Compensation for loss of information is accompanied by a metaphorical setting off losses semantic, emotional evaluation, expressive and aesthetic information. Payment can be contact, namely in the sentence, in an expanded metaphor, in transphrastique unity, in the structure of the derived image, image - character. One can also note the existence of distant compensation unit of micro image when images appear in the Kazakh translation where there is no linguistic image of the original, thus compensating for example, the loss has already occurred metaphorical imagery information in an outline of the speech work as a whole. [23; 69]

So, in relation to the basic techniques of metaphorical group is the law of conservation metaphor, imagery due importance in the structure of the literature work.

In connection with the national peculiarities of stylistic systems of different languages ??losing of some figures of speech (and at the same time the weakening of metaphorical imagery) are inevitable. The main aim of the translator is saving device's functions, the effect produced by it in foreign language. For this purpose such a creative way to transfer can be used as transformation.

2.4 Translation of stylistic devices and their stylistic coloring

As already was noted, every word, every voice device are used in the literature to best expression of poetic thought, the creation of such images which with special force would act on the feelings and thoughts of readers. In most cases this is achieved by brightness of stylistic devices.

Talking about the main characters of the novel I can notice that most of them were the typical representatives of people of “Jazz Era”. Most of them are wealthy people thanks to the inheritance, for example Tom and Daisy Buchanan; others just tried to be close to such people, for instance, Jordan Baker (Daisy's friend), Myrtle Wilson (Tom's mistress) and her sister. They have never thought about how to earn money, and never had serious difficulties in their lives. All they did was spending their money, visiting parties and communicating with the same people. The personal qualities of a man had no importance for them. As an example I can give Nick's words about people who came to Gatsby's parties “Benny McClenahan arrived always with four girls. They were never quite the same ones in physical person, but they were so identical one with another that it inevitably seemed they had been there before”. The author uses polysyndeton giving their names: “I have forgotten their names - Jaqueline, I think, or else Consuela, or Gloria or Judy or June, and their last names were either the melodious names of flowers and months or the sterner ones of the great American capitalists whose cousins, if pressed, they would confess themselves to be”. It was enough to have a lot of money and famous wealthy ancestors to be “a good man” and suit to the society. They told lies and discussed very silly topics. For example when Tom together with his mistress Myrtle invited Nick to their apartment in New York, Myrtle and her sister discussed Myrtle's pedicure and dress: “I had a 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”; “It's just a crazy old … I just slip it on sometimes when I don't care what I look like”.

Tom Buchanan is one of the main representatives of that society. Such epithets as “a sturdy straw-haired man, hard mouth, shining arrogant eyes, enormous power, enormous leverage, a cruel body, a gruff husky tenor” characterize his appearance. His appearance together with his physical strength excuses his character of a very power-loving man. Everybody should act as he wants. The author uses simile to show it “Tom Buchanan compelled me from the room as though he were moving a checker to another square”. There is also an irony here to emphasize how strong Tom was. For him as for many people of that society it is very important to know the ancestors of a wealthy person to judge him; he didn't know anything about Gatsby and called him “Mr. Nobody from Nowhere” unfolding periphrasis. It is interesting to trace his attitude to women. Having a wife who had given a birth a child to him he had a mistress only because it was fashionable to have a mistress among men of that society and it is boring to be with only one woman. Women were thought to be like things belonging to a particular man. These are Tom's words: “I may be old-fashioned in my ideas, but women run around too much these days to suit me”. Talking about women's mind he said: “They meet all kinds of crazy fish” using metaphor.

When the author describes Daisy, Tom's wife, he very often describes her face as a part of her appearance and laugh as her most common behavior using epithets: “sad and lovely face, bright eyes and a bright passionate mouth; her sweet exciting laugh, an absurd charming little laugh. This creates the image of thoughtless silly woman; all that she possesses is her appearance; she laughs because she doesn't know what to say. I think that this is her mask for that “party” called her life. She called herself “pretty cynical about everything” the author uses oxymoron. When she was 18 she sincerely loved a young lieutenant James Gats the author unfolds simile to prove it “she blossomed for him like a flower”. However she could not be with him because needed a wealthy man to merry. Her family demanded it. Before her wedding her friend Jordan saw her “as drunk as a monkey”. Her reputation was of no importance for her at that time. But gradually she understood that people in her society were not free, they played written roles. She said to Nick about her little daughter: “And I hope she'll be a fool - that's the best thing a girl can be in this world, a beautiful little fool” (the author uses paradox). When she met Gatsby again she was another person. The author uses metaphor describing her: “Her voice is full of money”. Temporarily she remembered her feelings and author says using paradox: “I knew that except for the thirty minutes she'd been alone with Gatsby she wasn't having a good time” (speaking about Gatsby's party where she had been with her husband). At the end when she had a choice to stay with Tom or leave him and be with Gatsby she could not trust her feelings and decided to keep everything at its place, even though she might regret about it.

The character that gave name to this novel James Gatsby is one of the main characters of it. First of all I want to pay attention at the title of the novel. Why Gatsby is called “great”? To my mind the author uses irony here and calls Gatsby “great” not only because of his great material prosperity but for his personal characteristics and sincere feelings that he possessed and that singled him out among other representatives of that society.

Gatsby's mansion was a masterpiece of luxurious life “The one on my right was a colossal affair by any standard - it was a factual imitation of some Hotel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool, and more that forty acres of lawn and garden. It was Gatsby's mansion”. But the motion power that kept him going was not a pure desire to capitalize on, but it was a desire to revive his romantic relationships with Daisy and make a brand new start as he said “I'm going to fix everything just the way it was before”. When Nick told that it was impossible to repeat the past all Gatsby's conduct appeared to prove his inclination to bring back what was lost “He looked around him wildly, as if the past were lurking here in the shadow of his house, just out of reach of his hand”. With the help of simile the author emphasized that the past influenced both his present and his future, it made him a puppet of his own “dreams”. “He wanted nothing less of Daisy than that she should go to Tom and say: “I never loved you”. This is the reason of ambiguous and bitter-sweet representation of tonality of the character and the character-sketch antithesis that supplements the plot and goes throughout the cloth of the novel. His dream of meeting up with Daisy is opposed to pragmatic reality and his bootlegger dealings. He's living in two opposite worlds of moral differentiation. He created a legend about his family background and his wealth: “I am the son of some wealthy people in the Middle East - all dead now. I was brought up in America but educated at Oxford, because all my ancestors have been educated there for many years. It is a family tradition”, “My family all died and I came into a good deal of money”, “After that I lived like a young rajah in all the capitals of Europe - Paris, Venice, Rome - collecting jewels, chiefly rubies, hunting big game, painting a little, things for myself only and trying to forget something very sad that had happened to me long ago”. The author employed simile “I lived like a young rajah” for emotional amplification. The way Gatsby presented his legend to Nick made him doubt whether that story was true: “With an effort I managed to restrain my incredulous laughter”. The very phrases were worn so threadbare that they evoked no image except that of a turbaned “character” leaking sawdust at every pore as he pursued a tiger through the Bois de Boulogne”. The metaphor “witnessed the beginning of his career” saturates the plot of the story with brighter hues of description. Describing the romantic nature of Gatsby the author created a lyrical mood and atmosphere “He had thrown himself into it with a creative passion, adding to it all the time, decking it out with every bright feather that drifted his way”. With the help of this metaphor the author accentuated that Gatsby's dream stylized and became more and more attractive in his mind. The embarrassment he felt appeared to prove it “Gatsby, pale as death, with his hands plunged like weights in his coat pockets, was standing in a puddle of water glaring tragically into my eye”. The simile “pale as death”, “with his hands plunged like weights” discloses the lyricism of the romantic atmosphere of their first meeting after five years gap. This romantic mood is presented with some glimpses of irony. Such expressions as “the living room was deserted”, “was standing in the puddle of water”, “glaring tragically” are saturated with hues of irony of situation which is exposed both verbally and emotionally throughout the plot. It was raining when Gatsby met Daisy for the first time after five years gap again “the day agreed upon was pouring rain”, “the rain cooled about half-past three to a damp mist, through which occasional thin drops swam like dew” and it was also raining when it was a day of Gatsby's funeral “and stopped in a thick drizzle beside the gate”, “the rain poured down”. The rain is a symbolic marker that brings some glimpses of compassion and creates the pathetic and lyrical mood. At the end of the novel Gatsby was betrayed by the people who used his big-heartedness and the capacity of his hospitality, but the romantic pathos of a lonely dreamer was kept in the mood of the novel.

Jordan Baker, Daisy's friend, is described with the help of such epithets: “a slender small-breasted girl with an erect carriage”. Also author uses simile describing her: “her chin raised a little, as if she were balancing something on it”, “all her dresses, like her sports clothes, there was a jauntiness about her movements as” if she had first learned to walk upon golf courses on clean, crisp morning”. I can make the conclusion she was in good shape and had a pleasant appearance. But another her characteristic is that she was “incurably dishonest”. The author told about her: “She wasn't able to endure being at a disadvantage and, given this unwillingness, I suppose she had begun dealing in subterfuges when she was very young in order to keep that cool, insolent smile turned to the world and yet satisfy the demands of her hard, jaunty body”. But at the same time the author contradicts himself using paradox: “Dishonesty in a woman is a thing you never blame deeply…” The relationships between Nick and Jordan could not exist may be because Nick called himself “I am the one of the few honest people that I have ever known”.

Nick Carraway, being the narrator and beholder of the whole story, is an active participant in all the events. The story is written in a way of his memories diary, where he described the occasions in details disclosing his emotionally-colored and emotionally-charged attitude to was had happened. I guess the life path of Nick Carraway is connected with the life path of F. Scott Fitzgerald himself, thus the reflection of the author gave way to exposure of Mr. Carraway as the narrator of the story. Nick's family had been prominent, well-to-do people in the Middle Western city for three generations. The epithets “prominent” and “well-to-do” underline the status and material prosperity of his family. Nick graduated from New Haven in 1915 and participated in The First World War. The First World War is disclosed with amplified emotionally-colored connotation in the form of periphrasis “I participated in that delayed Teutonic migration known as the Great War.” His inclination to go East and learn the bond business is reflected in the sentence “Instead of being the warm center of the world the Middle West now seemed like the ragged edge of the universe” with the assistance of antithesis where positively charged “warm center of the world” is opposed to negatively charged “ragged edge of the universe” in a way of polar confrontation with Nick's perception as the anchor point. Nick was rather literary in college - one year he wrote a series of very solemn and obvious editorials for the Yale News - and he was going to bring back all such things into his life and become again that most limited of all specialists, the “well-rounded man”. Such epithets as “literary” and “well-rounded” accentuate his intelligence, business inventiveness and flexibility. At the very beginning the narrator presupposes the events of the novel with the following phrases “When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction - Gatsby, who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away.” Such metaphors as “I wanted the world to be in uniform and at a sort of moral attention forever”, “If personality is an unbroken series of successful gestures” and simile “as if he were related to one of those intricate machines that register earthquakes ten thousand miles away” disclose the mood of Nick Carraway and the author himself and their attitude to occasions that are described in the novel. The emotional spectrum of epithets such as “riotous excursions “ , “privileged glimpses”, “unaffected scorn”, “unbroken series of successful gestures”, “something gorgeous”, “heightened sensitivity”, “intricate machines” enriches the story and fills it with spiritualized facets of human emotions. Nick's vision that “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” is disclosed through the antithesis where “the hard rock” is opposed to “the wet marshes” to emphasize the diversity of units of reasons of the human conduct. The metaphor “a sense of the fundamental decencies is parceled out unequally at birth” accentuates the inequality and discrepancy of the people of different social layers and their personal vision of morality. The theme of spiritual wealth of the inner person's world always occupied an essential position in F. Scott Fitzgerald's craft, because honesty, dignity and the courage within were always the core principles of assessment in the system of human values.

At the very beginning of the novel the author's attitude towards the hero was somewhat ironic and even sarcastic. It seems appropriate to note that the author's attitude cannot be understood through a simple reading of his words, it is necessary to penetrate the depth of the text; the author's attitude is expressed implicitly as a metaphor helps to understand the author's attitude to the character.

Study the next example:

"The one on my right was a colossal affair by any standard-it was a factual imitation of some Hotel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool, and more than 40 acres of lawn and garden". [12; 47]

The author describes the house of the main hero but in this description we understand the author's attitude to the hero, and make up our own idea of a hero. Despite the fact that the translator uses the word "villa" instead metaphor “was a colossal affair”, imagery is saved.

This metaphor (it was a colossal affair) - there is no difficulty in understanding what the author describes the house as " big", " huge", even too big and full of irony in this and further description of the house validates the reader guessing: Why one man has such a large house if he is not trying to put in front of all his wealth ? However, in this description is felt not only ironic, but also a romantic mood of the author.

In this case the metaphor expressed determination "beard" which is part of of-phrase, thus the concept of "ivy" is identified with the concept of "beard".

“Spanking new under a thin beard of raw ivy” = where newcomer masonry rare still showed through the veil of ivy. It is a replacement of parts of speech

"thin" = shone

With the so-called inverted epithet the author reinforces mentioned earlier definition of Long Island Sound (the most domesticated) as the most lived-sea space in the Western Hemisphere: no shedding, and the yard, while on land.

The great wet barnyard of Long Island Sound [12; 5]

In the first half of the novel, the author devotes a lot of space to description of Gatsby's house parties:

“At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motorboats slit the waters of the Sound, drawing aquaplanes over cataracts of foam.” [12; 87]

Describing famous party the author also uses the metaphor expressed in the predicate “slit the waters” while the predicate is expressed by the verb itself which provides almost complete identification of the concepts: cutting and rapid movement. This metaphor is also limited in one way, and in addition is a linguistic metaphor, as in this case there was a shift of the compatibility of feature words from the concrete to the more abstract. Combined “cataracts of foam” metaphorization arose at the noun “cataracts” and performs here nominative function more than expressive, the metaphor is also simple and language one.

Cataracts of foam (the verb "to fly")

A description of all external aspects of life in a villa in Gatsby's West Egg is given in the light of irony. There is no memorable person among his numerous well-dressed and rowdy guests. All of them are similar to each other repeating comic masks that exist in so far as there is Great" Gatsby, and after his death at the end of the novel disappear

At intervals she appeared suddenly at his side like an angry diamond, and hissed: “You promised!" into his ear [12; 63]

“Like an angry diamond” - semantic development;

Describing the voice of the angry wife by whistling sound he enhances image comparison with diamond cutting glass.

“The Love Nest “

This and other mentioned or referred to songs in the novel were popular in the U.S. in the 20s. Klipspringer for comic effect changes the words in the second song . Instead, "the rich get richer and the poor get poorer" he sing: "the rich get richer and the poor get - children"

Referring to another example:

On buffet tables, garnished with glistening hors d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. [12; 75]

“Bewitched to a dark gold” - here is the replacement of parts of speech. It is used as the definition of the noun “turkey” and gives this part of the sentence an ironic tone.

The author highlights the famous festival in the Gatsby's house and this description is replete with metaphors that describe the characters. For us, they are of interest as characterizing Gatsby and reflect the author's attitude toward his hero, and the attitude is still ironic. The author does not approve not only the festival but also their host; he expresses the irony:

 He's a regular tough under Neath it all [12; 45]

"Tough" is used here is unusual, not in the sense of "a person who personifies brute force ", its meaning is "man, uncouth, devoid of secularism"

The author expresses satire not only to the guests but to the Gatsby. We have already seen several such examples, let us dwell on the following:

The lights grow brighter as the earth lurches away from the sun and now the orchestra is playing yellow cocktail music and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful world. [12; 71]

“Lurches a way” - semantic development

 Metaphor "lurches a way" gives the reader an idea of ??what is happening and the time the action happened, being simple language metaphor is used for more emotional, imaginative interpretation of the phenomena. Thus, the author introduces us to the party atmosphere. This metaphor is more romantic than ironic character.

“Spilled with prodigality, tipped out at a cheerful world” = flows freer, all wasteful, ready to gush flow from one humorous witty.

"Spilled with" - dump, emptying .It is semantic development.

The tone of the second sentence is also different from the previous metaphor expanded using the two images as complementary to one another "spilled with prodigality, tipped out at a cheerful world". This metaphor emphasizes ease carefree atmosphere of the evening, as well as ironic author's attitude to people who spend time here including to the host of the evening.

In the following example, we are already seeing a slight shift in the use of metaphors and its forming by the author:

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 centre 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; 95]

"Swell" - swell, increase, increase, - the generalization

In this example, all metaphors are language ones, the author has not approved by the individual yet and it reflects more cautious - dry, ironic attitude of the author. But the metaphor of the sentence is not simple, but detailed as the author in order to promote the image of the hero through the description of his methods are updated more than a sign, but several developing the first one and connected by a single, central core word. The first metaphor "swell" is deployed and concretized by subsequent verbs "dissolve", "form, weave here and there, glide on through the sea-change."

“Dissolve and form” = one does not have time to decay, as already going the other. It is also semantic development, the division of the sentence

Interestingly, except the last metaphor all other cases we have examined in detail above, but the last metaphor "the sea-change of faces and voices and colour" should be considered in detail.

“Through the sea-change of faces and voices and colour” = through the ebb and flow of people and colors, and voices. It is a semantic development.

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

Referring to the example:

I wandered around rather ill at ease among swirls and eddies of people I didn't know. [12; 101]

“Swirls and eddies of people I didn't know”

1. Swirl; 2. Funnel. It is an example of full transformation

 Here the author uses this metaphorical structure as in the previous case, but here expressed hypothetical set of nouns is denoting complex, intricate clutch interlocking indefinite large number of items. This metaphor also reflects the author's ironic attitude to the people at the reception, and through them the reader feels his attitude to the owner, Gatsby. In addition, it feels somewhat aloof attitude of the author to his hero as a hypothetical set can be regarded as a linguistic metaphor. And as already noted the language metaphor does not carry an individual's attitude, that is, he had not reached his hero yet, has not been interested in his fate.

In the second half of the novel, when we partially ajar mystery of Gatsby - his love for Daisy, the mood of the novel as a whole is changing - it is felt a change in attitude of the author to his hero, appears sympathy, as well as " a heroic halo " exalts Gatsby above the rest people including the narrator:

Decking it (his dream) out with every bright feather that drifted his way. [12; 78]

"Deck out" = to dress up, to dress

Using the stylistic device of deployed metaphors the author emphasizes that Gatsby's dream in his mind became more and more attractive.

The following sentence is carried peculiar stylistic device "revival" trite metaphor which is trite metaphor that fits into a context where it is realized not only portable, but the basic meaning:

Íå had waited five years and bought a mansion where he dispensed starlight to casual moths - so that he could "come over" some afternoon to a stranger's garden. [12; 102]

“Dispensed starlight to casual moths” - it is a full transformation.

 Thus, the metaphor of "dispensed star light" of language turning into a verbal metaphor in this context reflecting the author's sympathy to his hero, maybe even admired the strength of his feelings for Daisy.

Consider another example:

Unlike Gatsby, I had no girl whose disembodied face floated along the dark cornices and blinding sings. [12; 10]

“Face floated along the dark cornices and blinding sings” = whose disembodied image hovered in front of me would be among the dark cornices and blinding lights advertising. It is a generalization.

 In this case the metaphor expressed by a verbal predicate is deployed metaphor, a circumstance of place. Thus, this metaphor is deployed characterizing the Gatsby's attitude to Daisy and the subtext implicitly expresses the author's attitude.

But describing the atmosphere in the house and Gatsby's mood before the long-awaited meeting with Daisy, the author says:

At first I thought it was another party, a wild rout that had resolved itself into "hide-and-seek" or "sardines-in-the-box" with all the house thrown open to the game. But there wasn't a sound. Only wind in the trees, which blew the wires and made the lights go off and on again as it the house had winked into the darkness. As my taxi groaned away I saw Gatsby walking towards me across his lawn. [12; 56]

“A wild rout” = gathering, meeting

Omission: "party, wild"

“Resolved itself”= having started the game. 1. Decide; 2. Allow. It is a full transformation.

“Blew the wires and made the lights go off”= buzzing in the wires and then the lights faded, then again flared. Omission: interties

This paragraph is fully conveys the Gatsby's mood before meeting with Daisy, his excitement and confusion and fear of the answer to the question whether she loved him so far? We also emphasize that the author expresses his sympathy and hero, he breathlessly waiting for the meeting too, expects how the events would turn, it's not irony but empathy and excitement to his hero.

A metaphor reflects these feelings: metaphor "a wild rout" unfolds subsequent verbs "resolved itself, thrown open", as well as a description of the wind - "blew the wires and made the lights go off and on". These additional images as if creating an atmosphere of excitement, make it more intense. Voltage is increased incrementally and in these lines some author's apprehension is felt that the meeting would not be good.

Paragraph ends with the words:

So I don't know for how many hours he ''glanced into rooms" while his house blazed gaudily on.

Having said all of accumulated feelings he wears the mask of restrained observer using simple language and metaphor in predicative vocabulary which consists in assigning an object, in this case, "house" signs. This is not the way to search for images and customize, just a transfer of events.

It should be noted that one of the main features of Fitzgerald is its "double vision" style, and the use of contrasts to create his works. Earlier, we discussed how the author reflects the mood of Gatsby before meeting with Daisy; now let's focus on the second part of the description of this evening after a conversation with the woman.

Analysis of examples shows the changed attitude of the author to Gatsby, but that does not mean that he finally abandoned the ironic evaluation. Following his principle of "double vision", the author and his attitude towards the hero exhibits to be doubled:

It was strange to reach the marble steps and find no stir of bright dresses in and out of the door, and hear no sound but bird voices in the trees. [12; 52]

“no stir of bright dresses”

"Stir" - 1. Wiggling; 2. Mixing; 3. Stir vanity; It is a meaning development.

Metaphor expressed hypothetical set and is a simple metaphor, the author seems to have returned to the original form of metaphors which he used previously.

Referring to another example:

I think that voice held him most, with its fluctuating feverish warmth, because it couldn't be over dreamed - that voice was a deathless song. [12; 68]

Held- attracted, "hold" - 1. Hold; 2. Hugging; 3. Comprise; 4. Hold. There is a semantic development; the division of sentence.

 You may notice that here the metaphor is expressed in the verbal predicate “held” and built by shifting compatibility and therefore represents a language one and as a structure - simple metaphor. Thus, the author sometimes returns to the previous assessment of the hero, he does not idealize it. But despite this the second part of the book is still dominated by approving tone , empathy Gatsby, approval, as well as a premonition of the tragic end. Here are more common metaphorical whole paragraphs where one metaphor deployed and concretized followed throughout a paragraph or a few sentences:

But his heart was in a constant turbulent riot. The most grotesque and fantastic conceits haunted him in his bed at night. A universe of ineffable gaudiness spun itself out in his brain while the clock ticked on the wash-stand and the moon soaked with wet light his tangled clothes upon the floor. Each night he added to the pattern of his fancies until drowsiness closed down upon some vivid scene with an oblivious embrace. For a while these reveries provided an outlet for his imagination; they were a satisfactory hint of the unreality of reality, a promise that the rock of world was founded securely on a fairy's wing. [12; 92]

“Conceits haunted him”= assailed him

"To haunt" - 1. Relentlessly follow; 2. Walking tail; 3. Torment; 4. Bait. Here is a semantic development.

“A universe of ineffable gaudiness spun itself out” - it is a whole transformation.

The metaphor of the first sentence "conceits haunted him" is an already known simple linguistic metaphor expressed by verbal predicate. But then the concept of "dreams" which contains the first metaphor is developed and concretized by subsequent metaphors, each of them raises becoming more individualized, evaluation and complex in its structure: "a universe of ineffable gaudiness spun itself out ". This metaphorical unit consists of two metaphors: one of them is expressed by means of the of-phrase definition; the second is expressed by predicate. Together in the same context, they are a metaphor for voice transmitting individual author's attitude towards the hero, his assessment of what happened to Gatsby. This estimate is hardly positive: the author condemns the hero, but at the same time we feel sorry for him and sympathy hero, it is not detached, ironic attitude displayed earlier in the first chapters of the book.

The author tries as closely as possible to convey the feelings and state of the hero because he continues to "draw" the reader using the following metaphorical unit: "drowsiness closed down upon some vivid scene with an oblivious embrace". In this case, the author uses the stylistic device as revival trite metaphor which is fits into a context where it is realized not only portable, but also of major importance. The phrase "with an oblivious embrace" animates language metaphor "closed down upon". The entire complex is completed by verbal metaphor "the rock of world was founded securely on a fairy's wing".

Metaphor here is a search of image, the method of individualization, search of semantic nuances. It represents the highest number of metaphorical imagery applied in the study of the text passage. In this case, the metaphor is no longer performs the evaluation function, the metaphor is a symbol.

In the next paragraph, Fitzgerald cannot return to his ironic attitude and continues to narrate in the same romantic, lyrical tone.

The sparkling odor of jonquils and the frothy odor of hawthorn and plum blossoms and the pale gold odor of kiss-me-at-the - gate. [12; 93]

Using a stylistic device of transferred epithet the author tries through the colour and form of the flowers (narcissus, hawthorn, honeysuckle and plum) convey their inherent flavor.

At the same position of the author shows us his choice for a metaphor to convey a kiss - "wed his unutterable visions to her perishable breath." The metaphor is real and perceptible only in this context as it is verbal metaphor. Thus, it should be noted that replacing simple metaphors by deployed ones the author also uses more speech metaphors. Though their numbers are compared with the language did not increase as the number of deployed metaphors.

In the last chapters to approvingly - sympathetic towards is added an atmosphere of tension in anticipation of the tragic denouement.

Metaphors:

But with every word she was drawing further and further into herself, so he gave that up, and only the dead dream fought on as the afternoon slipped away, trying to touch what was no longer tangible, struggling unhappily, undespairingly, towards that lost voice across the room.

The sentence begins with the simple language metaphor "drawing further into herself", on such occasions we have mentioned several times above so we turn to the next metaphor of this sentence: "the dead dream foughton", a metaphor expressed by an adjective "dead" and is based on assigning an "strange" signs, moreover, the metaphor is also present in the predicate. Both metaphors are language ones but they are expanding by subsequent metaphors "the afternoon slipped a way, trying to touch, struggling unhappily". Metaphorical verbs "drawing further, foughton, slipped a way, trying to touch what was no longer tangible, struggling" give for the whole sentence not only a coloring assessment of empathy and sympathy, but also despair, apprehension of tragedy. The same can be observed in the following metaphors:

Íå was clutching at some last hope and I couldn't bear to shake him free Jay Gatsby had broken up like glass against Tom's hard malice.

Both of these metaphors (2 and 3) belong to the category of simple language metaphors and in this case they have a negative evaluation function - it is not sympathy, but rather condemnation.

It excited him, too, that many men had already loved Daisy. He felt their presence all about the house, pervading the air with the shades and echoes of still vibrant emotions.

The metaphor is expressed in the definition in terms of of-phrase.

Using such metaphor the author returns to his irony, in this case it does not much focus on the main character, but on all the high society concerning to the "century of jazz."

Equally ironic metaphor is the following:

Íå stayed there a week, walking the streets where their footsteps had clicked together through the November night and revisiting the out-of-the-way places to which they had driven in her white car.

Simple language metaphor expressed by predicate “clicked together” showing us the ironic attitude of the author.

The ending of the novel abounds with deployed speech metaphors, they pass the so-called metaphor-symbols. Thus, the author expresses the collapse of hopes and dreams, then passed through these metaphors the drama of happening and feeling sympathy for the hero, its separation from the circle of the "rich and famous", felt more than in other chapters of the novel:

The track curved and now it was going away from the sun, which, as it sank lower, seemed to spread itself in benediction over the vanishing city where she had drown her breath. He stretched out his hand desperately as if to snatch only a wisp of air, to save a fragment of the spot. [12; 111]

“Sank lower” is a concretization.

“Spread itself in benediction” = extended in blessing

“As if to snatch only a wisp of air, to save a fragment of the spot” = if he wanted to grab a handful of air, to take with them a piece of this place, illuminated by her presence.

In this passage, several images are parallel unfolding: the first, the image of the sun is expressed in two metaphors "sank lower, to spread itself in benediction".

The second image is the image of the main hero, Gatsby emphasized by comparison "as if to snatch only a wisp of air, to save a fragment of the spot".

The first sentence reflecting the state of nature as if takes us into the mood of the hero, the mood of despair man who has lost the meaning of life, the second sentence reinforces this understanding. That is, the author tries to awaken in us the same feelings it evokes in him, as a speech metaphor being subjectively closed always "impose" the reader subjectively the author's view on the subject and its semantic links.

From this it follows that the phenomenon, object passes the word connections and relationships in a dynamic whole, in historical reality. They reflect the understanding of the "slices of reality" and its relationship to other elements of the same reality as they were perceived or understood by society, people in a certain period and thus the possibility of the rethinking of the original meanings and nuances later.

The context is an integral part of usual emotional structures whose main purpose is to convey by speech means the mental state of the characters. The most typical and frequency used were copyright remarks and description of the situation to help the reader to perceive the state of the hero. Thus, a context value was determined and the situation in order to achieve transferring of equivalence, whereby was found that the specific context affects the choice of a particular type matching during translation.

2.5 Stylistic Analysis of The Great Gatsby from Lexical and Grammatical Category

Abstract-- the thesis tries to adopt the method used by Leech and Short in their book Style in Fiction to make a relatively overall and objective analysis of the novel's language from lexical and grammatical Category. As far as the lexical features are concerned, the author employs special lexical items and lexical clusters. The lexical deviation and word connotations are mainly used for characterization and theme revelation. In terms of the syntactical aspects, narrative sentence type and the contrast of registers are employed, and the author's sentence endings with elaborate appositions and prepositional phrases provide an effective way to describe the surroundings and evoke moods, serving to generate suspense as well as to create interest and expectation on the part of the reader.

Index Terms--lexical category, adjective, lexical cluster, grammatical category, sentence structure, appositional phrase, prepositional phrase

Stylistic analysis is an attempt to find the artistic principles underlying a writer's choice of language. However, as all texts have their individual qualities, the linguistic features which recommend themselves to the attention in one text will not necessarily be important in another text by the same or a different author. Therefore, Leech and Short propose a useful checklist of linguistic and stylistic categories which are placed under four general headings: lexical categories, grammatical categories, figures of speech, and cohesion and context, each containing several subcategories, and inevitably with some overlapping. Lexical categories are used to find out how choice of words involves various types of meaning. They may contain a general description of vocabulary choice, and examinations of nouns, adjectives, verbs, adverbs, etc. Grammatical categories, on the other hand, probe into such branches as sentence types, sentence complexity, clause types, clause structure, noun or verb phrases, word classes, and so on and so forth. This chapter is devoted to a general analysis of the stylistic features in Fitzgerald's The Great Gatsby from the lexical and grammatical category.