The stylistic peculiarities of lexical stylistic devices

'Dark forest', 'dreary midnight', 'careful attention ', 'unwearying research', 'indefatigable assiduity', fantastic terrors', etc.

Unassociated epithets are attributes used to characterize the object by adding a feature not inherent in it, a feature which may be so unexpected as to strike the reader by its novelty, as for instance:

'Heartburning smile',' bootless cries', sullen earth', 'voiceless sands etc.

The adjectives here do not indicate any property inherent in the objects in question. They impose a property on them which is fitting only in the given circumstances. It may seem strange unusual or even accidental.

The process of strengthening the connection between the epithet and the noun may sometimes go so far as to build a specific unit which does not lose its poetic flavor. Such epithets are called fixed and are mostly used in ballads and folk songs.

For example: 'True love', 'dark forest', 'Sweet sir', 'greenwood', 'good, ship', 'brave cavaliers'.

Structurally, epithets can be viewed from the angle of

A) composition

B) distribution

Compositional epithets divided into simple, compound and phrase epithets. Simple epithets are ordinary adjectives. Compound epithets are built like compound adjectives. Examples are:

"Heartburning sigh', 'sylph-like figures', 'cloud-sharpen giant','

"... curly headed good-for-nothing,

And mischief-making monkey, from his birth"". {Byron}

In phrase epithets a phrase and even a whole sentence may become an epithet if the main formal requirement of the epithet is maintained. But unlike simple and compound epithets, which may have pre - or post position, phrase epithets are always placed before the nouns they refer to. Here are some examples of phrase epithets:

"It is this do-it-yourself, go-it-alone attitude that has thus far held back real development of the Middle East's river resources" (N. Y. T. Magazine, 19 Oct., 1958)

"Freddie was standing in front of the fire place with a "well-that's-the-story -what-are-we-going-to-do-about-if air that made him a focal point" .m(Leslie Ford, "Siren in the Night")

Another structural variety of the epithet is the one which we shall term reversed. The reversed epithet is composed of two nouns linked in, an, of phrase. The subjective, evaluating, emotional element is embodied not in the noun attribute but in the noun described, for example:

"The shadow of a smile ", "a devil of a job" (Maugham); "A devil of a sea rolls in that bay" (Byron), "A little Flying Dutchman of a cab» (J. Galsworthy): "a dog of a fellow" (Dickens).

It will be observed that such epithets are metaphorical. The noun to be assessed is contained in the phrase and the noun it qualities is a metaphor (shadow, devil, Flying Dutchman, dog). The grammatical aspect, attributive relation between the members of the combinations shows that the SD here is an epithet.

From the point of view of the distribution of the epithets in the sentence, the first model to be pointed out is the string of epithets. Here are few examples. In his depiction of New York, O. Henry gives the following string of epithets:

"Such was the background of the wonderful, cruel, enchanting, bewildering, fatal, great city ";

Other examples are: a plump, rosy-cheeked, wholesome apple-faced young woman (Dickens); "a well-matched, fairly-balanced give-and-take couple." (Dickens).

Another distributional model is the transferred epithet. They describe the state of human being, but made to refer to an inanimate object, for examples:

"Sick chamber, sleepless pillow, restless pace, breathless eagerness, unbreakfasted morning and merry hours".

The epithets is a direct and straightforward way of showing the author's attitude towards the things described, where as other stylistic devices even image bearing ones, will reveal the author's evaluation of the object only indirectly.

Simile. Ordinary comparison and simile most not be confused. They represent two diverse processes. Comparison means weighing two objects belonging to one class of things with the purpose of establishing the degree of their sameness of difference, To use a simile is to characterize one object by bringing it into contact with another object belonging to an entirely different class of things. Comparison takes into consideration all the properties of the two objects, stressing the one that is compared. Simile excludes all the properties of the two objects except one which is made common to them. For example: 'The boy seems to be as clever as his mother.' is ordinary comparison. Boy and mother belong to the same class of objects - human beings and only one quality is being stressed to find the resemblance.

Similes have formal elements in their structure: connective words such as like, as, such as, as if, seem. Here are some examples of similes taken from various sources and illustrating the variety of structural designs of this stylistic device.

"His mind was restless, but it worked perversely and thoughts jerked through his brain like the misfiring of a defective carburetor" {Maugham}.

The structure of this simile is interesting. Let us analyze it. The word 'jerked' in the micro context, in combination with "thoughts" is a metaphor, which led to the simile. "Like the misfiring of a defective carburetor" where the verb to jerk carries its direct logical meaning so the linking notion is the movement jerking which brings to the authors mind a resemblance between the working of the man's brain and the badly working misfiring carburetor. Another example:

"It was that moment of the year when the countryside seems to faint from its own loveliness, from the intoxication of its scents and sounds " {J. Galsworthy}.

This is an example of simile which is half a metaphor if not for the structural word 'seems', would call it a metaphor. Indeed, if we drop the word 'seems' and say, the countryside faints from..., the clue word 'faint' becomes a metaphor.

In the English language there is a long list of hackneyed similes pointing out the analogy between the various qualities, states or actions of a human being and the animals supposed to be the bearers of the given quality, etc., for example: treacherous as a snake, sly as a fox, busy as a bee, industrious as an ant, blind as a bat, faithful as a dog, to work like a horse, to sly like a bird, to swim like a duck, stubborn as a mule, hungry as a bear, thirsty as a camel, to act like a puppy, playful as a kitten.

Irony is a stylistic device based on the simultaneous realization of two logical meanings - dictionary and contextual, but the two meanings stand in opposition to each other. For example:

"It must be delightful to find oneself in a foreign country without a penny in one's pocket".

The word "delightful" acquires a meaning quite the opposite to the primary dictionary meaning, that is "unpleasant", 'not" delightful'. The word containing the irony is strongly marked by intonation. It supplied with a special melody design and has an emphatic stress.

Irony must not be confused with humor, although they have very much in common. Humor always causes laughter. That is funny must come as a sudden clash of the positive and the negative. In this respect irony can be likened to humor. But the function of irony is not confined to producing a humorous effect. In a sentence like "How clever of you?" where, due to the intonation pattern, the word 'clever' conveys a sense opposite to its literal signification, the irony does not cause a ludicrous effect, it rather expresses a feeling of irritation, displeasure, pity or regret.

Eg in lines from "Beppo" by Byron:

XLVLL

I like a parliamentary debate.

Particularly when it's not too late.

The word like gives a slight hint of irony. Parliamentary debates are usually long. The word "debate" itself suggests a lengthy discussion, therefore the word "like" here should be taken with some reservation, in other words, a hint of the interplay between positive and negative begins with the first "like" Richard Attick says, "The effect of irony lies in the striking disparity between what is said and what is meant" . This striking disparity is achieved through the intentional interplay of the two meanings, which re in opposition to each other. So the irony is generally used to convey a negative meaning. Therefore only positive concepts may be used in their logical dictionary meanings. In the examples quoted above irony is embodied in such words as 'delightful', 'clever', "coherent", 'like'. The contextual meaning always conveys the negation of the positive concepts embodied in the dictionary meaning.

Polysemy is a generic term the use of which must be confined to lexicology as an aspect of the science of language. In actual speech polysemy vanishes unless it is deliberately retained for certain stylistic purposes.

In the following example where the key - words is intentionally made to "reveal two or more meanings:

"Then hate me if thou wilt, if ever now "{Shakespeare}

The verb 'hate' here materializes several meanings. This becomes apparent when one reads sonnet goes to the end and compares the meaning of this word with other verbs used, synonymously. The principal meanings of this word are: "dislike", "stop loving", "become indifferent to" and 'feel aversion for

Zeugma and Pun. There are special stylistic devices which make a word materialize two distinct dictionary meanings. They are zeugma and the pun.

Zeugma is the use of a word in the same grammatical but different semantic relations to two adjacent words in the context, the semantic relations being on the one hand literal, and on the other, transferred.

"Dora, plunging at once into privileged intimacy and into the middle of the room" (B. Shaw).

'To plunge' (into the middle of the room) materializes the meaning 'to rush into' or "enter impetuously". Here it is used in its concrete, primary, literal meaning; in "to plunge into privileged intimacy" the word "plunge" is used in its transferred meaning.

Zeugma is a strong and effective device to maintain the purity of the primary meaning when the two meanings clash. By making two meanings conspicuous in this particular way, each of them stands out clearly.

The structure of zeugma may present variations from the patterns given above. Thus in the sentence:

"...And May's mother always stood on her gentility; and Dot's mother never stood on anything but her active little feet" {Dickens}.

The word "stood" is used twice. This structural variant of zeugma, though producing some slight difference in meaning, does not violate the principle of the stylistic device. It still makes the reader realize that the two meanings of the word "stand" are simultaneously expressed, one literal and the other transferred.

The pun is another stylistic device based on the interaction of two well -known meanings of a word or phrase. The only reliable distinguishing feature is a structural one: zeugma is the realization of two meanings with the help of a verb which is made to refer to different subjects or objects {direct or indirect}. The pun is more independent. There need not necessarily be a word in the sentence to which the pun - word refers. Thus the title of one of Oscar Wilde's plays, "The Importance of Being Earnest" has a pun in it, inasmuch as the name of the hero and the adjective meaning 'seriously - minded' are both present in our mind.

Here is another example of a pun where a larger context for its realization is used:

"Bow to the board", said Bumble. Oliver brushed away two or three tears that were lingering in his eyes and seeing no board but the table, fortunately bowed to that" {Dickens}.

The humorous effect is caused by the interplay, not of two meanings of one word, but of two words "Board" as a group of officials with functions of administration and management and "board" as a piece of furniture {a table} have become two distinct words.

Oxymoron is a combination of two words in which the meanings of the two clash, being opposite in sense, for example:

"Horribly beautiful", 'pleasantly ugly face', 'nice rascal', "sweet sorrow", 'a deafening silence from White-hall" (The Mornings Star)

If the primary meaning of the qualifying word changes or weakens, the stylistic effect of oxymoron is lost. This is the case with what were once Oxymoronic combinations, as for example: 'awfully nice', awfully glad', Terribly sorry' and the like, where the words awfully and terribly have lost Their primary logical meaning and are now used with emotive meaning, only intensifiers. The essence of oxymoron consists in the capacity of the primary meaning of the adjective or adverb. Let us take the following example from O. Henry's story "The Duel" in which one of the heroes thus describes his attitude towards New York

"I despise its very vastness and power. It has the poorest millionaires, the littlest great men, the haughtiest beggars, the plainest beauties, the lowest skyscrapers, the dolefulest pleasures of any town I ever saw".

Oxymoron as a rule has one structural model: adjective+noun. It is in 'this structural model that the resistance of the two component parts to fusion into one unit manifests itself most strongly. In the adverb+adjective model the change of

meaning in the first element, the adverb, is more rapid, resistance to the unifying process not being so strong.

Sometimes, however, the tendency to combine the uncombinative is revealed in structurally different forms, not in adjective - noun models. Gorki criticizes his own sentence: "I suffered then from the fanaticism of knowledge", and calls it a "blunder". He pints out that the acquiring of knowledge is not blind as fanaticisms the. The syntactic relations here are not oxymoronic. But combinations of this kind can be likened to oxymoron.

Not every combination of words which we have called non -combinative should be regarded as oxymoron. Because new meanings developed in new combinations do not necessarily give rise to opposition. Let us take for example the following lines from T. S. Eliot's "The Love -song of Alfred Prufrock".

"And time for all the works and days of hands

That lifts and drops a question on your plate,

Time for you and time for me,

And time yet for a hundred indecisions,

And for a hundred visions and revisions,

Before the taking of a toast and tea.

Perhaps some readers will find new meanings infused into these common words "hands that lift and drop a question on your plate, "but to express them in linguistic terms is so far impossible and probably unnecessary.

Periphrasis is the renaming of an object by a phrase that brings out some particular feature of the object. The essence of the device is that it is desipherable only in context. If a periphrastic locution is understandable outside the context, it is not a stylistic device but merely a synonymous expression. Such easily desipherable periphrases are also called traditional, dictionary or language periphrases. The others are speech periphrases. Here are examples of well - known dictionary periphrases:

The cap and the gown (student body); a gentleman of the long robe (a lawyer); the fair sex (women); my better half'(my wife).

Periphrastic synonyms of the word kind in the epoch of feudalism:

The leader of hosts; the giver of rings; the protector of earls, the victory lord;

Traditional, language or dictionary periphrases and the words they stand for are synonyms by nature the periphrasis being expressed by a word combination.

Periphrasis as a stylistic device is a new, genuine nomination of on object, a process which realized the power of language to coin new names for objects by disclosing some quality of the object, even though it may be transitory, but at the same time preserving in the mind the ordinary name of the concept. Here is a stylistic periphrasis which the last phrase in the sentence deciphers:

"And Harold stands upon the place of skulls,

The grave of France, the deadly Waterloo {Byron}

In the following

"The hoarse, dull drum would sleep,

And Man by happy yet" (Byron) the periphrases can only be understood from a larger context, referring to the concept war. 'The hoarse, dull drum' is a metonymical periphrases standing for war.

The means supplied to enable the reader to decipher stylistic periphrases are very subtle and have aesthetic value. In the following ex the word of address is the key to the periphrases:

"Papa love. I am a mother. I have a child who will soon call Walter by the name by which I call you ". {Dickens} In some cases the author relies entirely on the erudition of the reader to decipher the periphrases. Thus in the following ex:

"Of his four sons, only two could be found sufficiently without the 'e' to go on making ploughs" (Galsworthy).The italicized phrase is a roundabout way of stating that two of his sons were unaristocratic enough to work at making ploughs.

Stylistic periphrases can also be divided into logical and figurative. Logical periphrases is based on one of the inherent properties or perhaps a passing feature of the object described as in instruments of destruction (Dickens) = "pistols"; the most pardonable of human weaknesses (Dickens) = "love"

Figurative periphrases is based either on metaphor or on metonymy,

The keyword of the collocation being the word used figuratively as in

"The punctual servant of all work" (Dickens) = "the sun"; "in disgrace with fortune and men's eyes" {Shakespeare} - "misfortune"; "to lie the knot" = to marry.

Euphemism. There is a variety of periphrasis which are called euphemistic.

Euphemism, is a word or phrase used to replace an unpleasant word or expression by a conventionally more acceptable one, for ex, the word 'to die' has bred the following euphemism to pass away, to expire, to be no more, to depart, to join the majority, and the more facetious ones: to kick the bucket, to give up the ghost., to go west. So euphemisms are synonyms which aim at producing a deliberately mild effect.

The origin of the term euphemism discloses the aim of the device very clearly or speaking well. In the vocabulary of any language, synonyms can be found that soften an otherwise coarse or unpleasant idea. Euphemism is sometimes figuratively called "a whitewashing device". The linguistic peculiarity of euphemism lies in the fact that every euphemism call up a definite synonym in the mind of the reader or listener. The euphemistic synonyms given above are part of the language as a system. They have not been freshly invented. They are expressive means of the language and are to be found in all good dictionaries. "They think we have come by this horse in some dishonest manner". The underlined parts call forth the word steal {have stolen it}. Euphemisms may be divided into several groups according to their spheres of application. The most

recognized are the following: 1. religious; 2. moral; 3. medical; and 4. parliamentary.

Hyperbole is deliberate overstatement or exaggeration, the aim of which is to intensify one of the features of the object in question to such a degree as will show its utter absurdity. The following is a good example of hyperbole:

"Those three words (Dombey and Son) conveyed the one idea of Mr. Dombey's life. The earth was made for Dombey and Son to trade in and the sun and moon were made to give them light. Rivers and seas were formed to float their ships; rainbows gave them promise of fair weather; winds blew for or against their enterprises: stars and planets circled in their orbits to preserve inviolate a system of which they were the centre ". (Dickens)

Another example is from the passage of Edgar Allan Poe's poem "Annabel Lee".

"And this maiden she lived with no other thought

Than to love and be loved by me ".

In order to depict the width of the river Dnieper Gogol uses the following hyperbole:

"It's a rare bird that can fly to the middle of the Dnieper".

Like many stylistic devices, hyperbole may lose its quality as a stylistic device through frequent repetition and become a unit of language as-a-system reproduced in speech in its unaltered form. Here are some examples of language hyperbole:

"A thousand pardons", "scared to death", "immensely obliged", " I'd give the world to see him ".

Hyperbole differs from mere exaggeration in that it is intended to be understood as an exaggeration. In this connection the following quotations deserve a passing note:

"Hyperbole is the result of the kind of intoxication by emotion, which prevents a person from sling things in their true dimensions". If the reader

(listener) is not carried away by the emotion of the writer (speaker), hyperbole becomes a mere lie". А. А. Потебня. Из записок по теории словесности. Харьков, 1905, стр.355

¹

Hyperbole is a device which sharpens the reader ability to make a logical assessment of the utterance. This is achieved as is the case with other devices, by awakening the dichotomy of though and feeling where though takes the upper hand though not to the detriment of feeling.



2. Usage of the Lexical Expressive Means and Stylistic Devices in the Novel "Jamilya" by Chyngyz Aitmatov and Their ways of Rendering from Russian into English.

METAPHORS

1. Я сам из Большого Дома. стр. 438

I was from the Big House.

Here the metaphor is the " the Big House " and it stands for the House of elderly relatives according to the status.

2. Так у нас появилась вторая семья. стр. 438

That is how we came to have a second family.

"second family " is a metaphor and it stands for the Small House which has its own cattle, dwelling, but they used to live together/

3. Она полновластная хозяйка обоих дворов, хранительница семейного очага. стр. 439

She was the full-fledged mistress of both houses, the keeper of the home

The metaphors are "the keeper of two house" and it stands for that she held the orderliness in both Small and big houses.

4. И меня чаще в шутку, а порой и серьёзно называли джигитом двух семей, защитником и кормильцем. стр.440.

More often in jest, but sometimes quite seriously, I was called "the supporter of the two families", the protector and bread-winner.

"the supporter of the two families", the protector and bread-winner." is a metaphor and it stands for the only young male person in two families to feed, keep, rely on..

5.Ничего ей не сделается, что её волки съедят, что-ли? стр. 441

“Nothing'll happen to her, there are no wolves along the way."

6.Тулпар за тридевять земель отыщет свой косяк. Кому не дорога своя родина, свой народ!

"Tulpar will find his own herd even if it's at the other end of the world. A person's native land and people are always closest to his heart. Стр.464

The metaphor is "Tulpar will find his own herd" and it stands for that any man will come back to his motherland whenever he lives.

7.И весь этот мир земной красоты и тревог раскрывал передо мной Данияр в своей песни. стр. 465

Daniyar's song had opened my eyes to this great world of earthly beauty and suffering.

Here the metaphor is that Daniyar's song "opened my eyes to this great world of earthly beauty and suffering." and it stands for that it hard to imagine an enormous love for his land was revealed, felt and expressed in Daniyar's song. Metaphors both in Russian and English bring very strong feelings to the reader.

8. Гроза разразилась. стр. 476

Thunder rolled over the mountains.

This is a metaphor because it a turning-point moment of the novel, through the nature the author would like to reveal two people's love in a new way.

9.Да, это была моя первая, ещё детская любовь. стр. 478

Yes, she was my first love, the love of my childhood.

Here the metaphor is "my first love, the love of childhood" and it stands that Seyit loved and respected her since she came and he admitted this feeling.

10. Я похолодел… стр. 479

My blood froze …

"my blood froze" is a metaphor it stands for the feeling Seyit is having. In the translations into English a metaphor doesn't lose its meaning.

11.Дура она! Ушла из такой семьи, растоптала счастье свое!

"She's a fool to have left such a family and trampled her happiness!"

Here the metaphor is " trampled her happiness » and it stands for, that she left everything good for someone unworthy according to villagers' opinion. In translation into English it hoses its metaphorical meaning.

12. Оперились вы и по-своему крыльями машете… Да откуда нам знать, высоко ли взлетите? стр. 481

My fledglings have all grown strong and are flying off in their own directions. How are we to know how high you'll fly?

Metaphor is " how high you'll fly " and it stands for that what successes you will have.

13. Иди, Джамиля, не раскаивайся, ты нашла свое трудное счастье! стр. 481

Keep on, Jamila, never regret what you've done, for you have found your difficult happiness!"

Her the metaphor is "difficult happiness" and it stands for that she is worth to have happy love and life in spite of peoples' gossips.

14. Я смотрю на них и слышу голос Данияра. стр. 481

As I look at them I hear Daniyar's voice.

15. Пусть в каждом мазке моем звучит голос Данияра! стр. 481

May my every brush-stroke resound with Daniyar's song!

16. Пусть в каждом мазке моем бьется сердце Джамили! стр. 481

May my every brush-stroke echo the sound of Jamila's beating heart!

17. У них старшая мать всему голову. стр. 439

Their Eldest Mother is in charge of everything.

When translating the metaphor into English, it loses its metaphorical meaning.

18. а такие вот тихони - что протухшие яйца. стр. 443

though their sweetness is like a rotten egg

METONYMY

1. Керим протянул Джамиле треугольник. Стр. 474

Kerim handed her a triangular envelope.

The metonymy stands for the letter from Sadyk, from Jamila's husband.

2. и смотрю на эту картину долго и пристально …

and I gaze long and intently at the canvas…

the canvas stands for the the picture of Daniyar and Jamila.

3. Тяжелый крестьянский труд лег на наши неокрепшие плечи. стр. 438

Our skinny young shoulders had to carry the full brunt of a grown man's job.

Here skinny young shoulders stands for the teenagers, because all grown men left for war.

4. Большой дом. стр. 438

Big House.

It means the house where according to the status elderly relatives live.

5. Малый Дом. стр. 438

Small house.

The phrase stand for a house where younger relatives live.

6. Чтобы всегда в доме было топливо. стр. 439

to always have a supply of fuel in the house

It means that there should always be wood to burn and keep the house warm. 7. Вот и решили солдаток упросить. стр. 440

That's why we've decided to ask the soldiers' wives.

8. Мать часто поддерживала её, соглашалась с ней, но всегда решающее слово оставляла за собой. стр. 443

My mother often supported her and agreed with her, but she always had the last say.

It stands for the decision to make up.

9. Война - ты и бесишься без мужниной камчи. стр. 445

It's wartime, and you're going crazy here without your husband's whip!"

It means that Jamila needs a man, husband.

10. Ну и пара! Джамиля весело вскинула голову. стр. 454

"What a fine pair you make!" she said, tossing her head gaily

Here "What a fine pair you make " is a metonymy and it stands for Daniyar and Seyit.

11. Там хорошо осенью, когда листья начинают желтеть. cтр. 462
It is nice there in the fall when the leaves turn,

"The leaves turn" is a metonymy; it stands for the leaves which become yellow

20.Наступила мертвая тишина. стр. 459

There was a dead silence

" a dead silence " is a metonymy and it stands for that everybody got silent.

21. - На свою дерюгу! стр.460

Here, take your old rag!"

Rag stands for the sack.

22. Колыбель моя … стр. 462

My cradle of life …

It stands for the Motherland.

23. А нет- не дури: хлеб солдатский возишь, у самой муж там. стр. 471

stop playing the fool: it's soldiers' bread you're delivering, and your own husband is out there!"

Metonymy “Soldiers' bread” stand for food for the Soviet soldiers at war.

24. И Керим протянул Джамиле треугольник. стр.474

Kerim handed Офьшдн a triangular envelope.

“a triangular envelope” stands for the letter from her husband, Sadyk.

25. Первый джигит в аиле! стр. 479

Why, he's the best djigit in the village!"

The best djigit means that he is one the respected man in the village.

26. The rainy season was close at hand

EPITHETS

1. Завтра с утра мне надо ехать в аил, и я смотрю на картину долго и пристально, словно она может дать мне доброе напутствие. стр..437

Tomorrow morning I leave for the village, and I gaze long and intently at the canvas, as if it can give me a word of advice for the journey ahead.

доброе напутствие is an epithet but while translating into English, we are losing it.

2. В глубине картины - край осеннего, поблекшего неба. Ветер гонит над далекой горной грядой быстрые пегие тучки. На первом плане - красно-бурая полынная степь. стр. 437

The background is a patch of bleak autumn sky with the wind chasing fast-moving skewbald clouds over the far mountain range. The russet wormwood-covered steppe.

This extract is full of epithets like bleak autumn sky, the wind chasing fast-moving skewbald clouds, the russet wormwood-covered steppe

3.Это было в пору моей ранней юности. стр. 437

It all happened when I was still a boy.

Возле самого брода, на пригорке, где кончается улица, стоят два двора, обнесенные добротным саманным дубалом. стр. 438

At the very end of the street, on a hillock near the ford, there are two houses with a stout adobe wall around them and tall poplars growing beyond the wall.

Моя младшая мать, добрая, покладистая, безобидная женщина, в работе не отставала от молодых … стр.439

My younger mother was kind, complacent and mild-tempered; she kept up with the younger women in everything …

Это она, моя курносая сестренка, скрашивала одиночество матери, отвлекая её от мрачных дум о сыновьях, пропавших без вести. стр. 439

It was she, my snub-nosed little sister, who brightened my mother's days of loneliness, distracting her from the gloomy thoughts of her sons who were missing in action.

Мать то и дело вытирала припухшие глаза рукавом платья и, задумчиво кивая головой в ответ на слова Орозмата, который видно, утешал её, смотрела затуманенным взором куда-то далеко-далеко, поверх деревьев, будто надеялась увидеть там своих сыновей. стр. 442

My mother kept wiping her eyes with her sleeve, nodding her head absently at his words. Orozmat was apparently consoling her. My mother looked off into the distance and over the tree-tops, as if her clouded gaze would come upon her sons there.

И работала Джамиля напористо, с мужской хваткой. стр. 442

There was something masculine in her.

9.У моей матери властный и суровый характер. стр. 443

My mother was domineering and harsh woman by nature.

10. Женское счастье - рожать детей и да чтобы в доме достаток был. стр.443

A woman's happiness lies in bearing children and living in a house of plenty.

11.Стройная, статная, с прямыми жесткими волосами, заплетенными в две тугие, тяжелые косы, она ловко повязывала свою белую косынку, чуть наискосок спуская её на лоб, и это очень шло ей и красиво оттеняло смуглую кожу гладкого лица. стр. 444

She was well built and graceful, with straight hair braided in two tight and heavy plaits; she tied her white kerchief at an angle of her forehead; it was very becoming this way and striking against her dark complexion.

12.Когда Джамиля смеялась, её иссиня-черные миндалевидные глаза вспыхивали молодым задором, а когда она вдруг начинала петь соленые аильские песенки, в её глазах появлялся недевичий блеск. стр. 444

When she smiled, her black almond eyes lit up mischievously, and when she suddenly broke into one of the naughty village ditties, her lovely eyes became as naughty.

13.Мы с ней были самыми задушевными друзьями и ничего не таили друг от друга. стр. 445

We were the best of friends and had no secrets from each other.

14.Она смотрела на него долгим ненавидящим взглядом. стр. 445
Her look was full of hatred.

15.Там, за рекой, где-то на краю казахской степи, отверстием горящего тандыра пламенело разомлевшее вечернее солнце косовицы. стр. 446
There, beyond the river, at the very edge of the Kazakh steppe, the languid harvest sun blazed like the mouth of a burning tandyr.

16.Джамиля смотрела на закат с таким тихим восторгом, словно ей явилось сказочное видение. стр. 446

Jamila looked at the sunset, enraptured, as if she were witnessing a miracle.

17.Она хмурила свои упрямые брови и, не дочитав последних строк, возвращала письмо матери с таким холодным равнодушием, словно отдавала то, что брала в долг. стр. 448

Frowning and leaving the last lines unread, she would return the letter to my mother with such cold indifference that it seemed she was merely returning something she had borrowed.

18. Его длинная, угловатая фигура, словно вытесанная топором, резко выделялась в мягком лунном свете.

His long, angular body, jutted out sharply in the soft moonlight, as if roughly-hewn.

19.- Бедный парень, видать, все ещё не может опомниться после фронта! - говорили про него. стр. 451

"Poor fellow, he can't come to himself after being at the front!" they said.

20. Тонкие губы Данияра с твердыми морщинками по углам всегда были плотно сомкнуты, глаза смотрели печально, спокойно, и только гибкие, подвижные брови оживляли его худощавое, всегда усталое лицо. стр. 451

Daniyar's thin lips with the hard lines at the corners of his mouth were always pressed tightly together, his eyes were sad and grave, and only his quick eyebrows gave life to his drawn, tired face

21. Широко простиралась окрест предгорная степь, погруженная в сиреневые сумерки. стр. 451

The steppe, lilac in the twilight, stretched to the mountain range on the far horizon.

22.Темные, смутные поля, казалось, медленно растворялись в тишине. стр. 451

The dark, dim fields seemed to be dissolving slowly in the stillness.

23.Синяя, отстоявшаяся ночь заглядывала звездами в шалаш, порывами налетел холодный ветер, спала земля и только ревущая река, казалось, надвигаясь на нас. стр. 452

At midnight I would awaken in the tent from the river's terrible heaving and see the stars of the blue, calm night peeping in; the wind came in cold, sudden blasts; the earth slept, and the raging river seemed to be advancing on us menacingly.

24.Данияр окидывал Джамилю мрачным, жгучим взглядом, а она, разгибая натруженную спину, оправляла измятое платье. стр. 456

Daniyar would cast a dark and burning look at Jamila. She would straighten her tired back and pull down her wrinkled dress.

25.Горы мои, сине-белые горы,

Земля моих дедов, моих отцов!

My mountains, my blue-white mountains,

The land of my fathers and grandfathers.

26. Но в это памятное лето, когда грянула война, загорелись огни по степи, затуманили её горячей пылью табуны строевых коней, поскакали гонцы во все стороны. стр.

That first memorable summer of war, fires had burned across the steppe, herds of army horses obscured it in clouds of hot dust and riders galloped off in all directions.

27. Я слышал этот голос и в мягком шелесте золотистого дождя пшеницы, подкинутой на ветер стариками-веяльщиками, и в плавном, кружащем полете одинокого коршуна в степной выси, - во всем, что видел я и слышал, мне чудилась музыка Данияра. стр. 464

I heard his voice in the soft rustling of the golden rain of wheat, thrown up to the wind by the old winnowers, and in the graceful circling flight of the lonely hawk high above the steppe - in everything that I saw and heard I imagined Daniyar's singing.

28.Смутная, мечтательная улыбка блуждала на её губах, она тихо радовалась чему-то хорошему, о чем знала только она одна. стр. 466

A vague, dreamy smile would touch her lips, and she would softly rejoice at something she alone was aware of.

29. Мокрое ситцевое платье прилипло к телу, облегая округлые сильные бедра, девичью грудь, а она ничего не замечая, смеялась, покачиваясь, и по её разгоряченному лицу стекали веселые ручейки. стр. 467

Her wet cotton dress hugged her body, accentuating her lovely round hips and young breasts, but she noticed nothing and laughed, swaying back and forth while streams of water trickled down her flushed face.

30. Смертельная усталость ломила тело, хотелось быстрее добраться до места и повалиться на солому. стр. 470

My whole body ached, I could not wait to get back and fall into the hay.

31. А вот сиреневый островок вымахавшей по пояс пахучей мяты. стр. 471

There was a lavender island of fragrant, waist-high mint.

32. Тучи ледяных брызг летели мне в лицо, одежда намокла, а я бежал дальше, не разбирая пути, и вдруг со всего размаха упал на землю, обо что-то зацепившись. Я лежал, не поднимая головы, и слезы заливали мне лицо. Тьма будто навалилась мне на плечи. Тонко, тоскливо посвистывали гибкие стебли чия. стр. 478

Sprays of icy drops hit my face. My clothes were drenched, but I ran on, not seeing the ground beneath my feet. Then I tripped and fell. I lay there without raising my head with the hot tears streaming down my face. The darkness seemed to weigh down upon my shoulders. I could hear the thin stems of needle grass wailing mournfully.

33. Живые Данияр и Джамиля глянули в тот миг на меня. стр. 480

The memory of Daniyar and Jamila looking at me from the paper was so vivid.

SIMILE

l. А сами путники, кажется, сделают ещё шаг - и уйдут за рамку.

It seems that if they were to take another step, they would disappear behind the frame.

2. Мать смотрела далеко поверх деревьев, будто надеялась увидеть там своих сыновей. стр. 442

My mother looked off into the distance and over the tree-tops, as if her clouded gaze would come upon her sons there.

2. Суу чанкайган ачык асман сыяктуу копкок эле. стр. 442

The water blue like the sky.

4. Поддавшись печали, мать, кажется, согласилась на предложение бригадира. стр. 442

Preoccupied with her sad thought, she seemed to have finally agreed to Orozmat's suggestion.

Хотя, чего от вас ждать, жеребцы вы табунные! стр. 445

"Though what can one expect from young stallions like you!"

6. Все его письма походили одно на другое, как ягнята в отаре. стр. 447

Before even opening the letter, I knew exactly what Sadyk had written, since his letters were as alike as lambs in a flock.

7. Мать заставляла меня по нескольку раз перечитывать письмо, потом с набожным умилением брала его в свои потрескавшиеся руки и держала листок так неловко, словно птицу, которая вот-вот выпорхнет. Then, with pious devotion, she would take the sheet of paper in her work-hardened hands, holding it as awkwardly as if it were a bird ready to fly away, and with difficulty her stiff fingers would finally fold the letter into a triangle.

8. - А-а, дорогие мои, как талисман мы будем хранить ваши письма! стр. 447

"Ah, my dear ones, we shall preserve your letters like a talisman!"

9. Его длинная, угловатая фигура, словно вытесанная топором, резко выделялась в мягком лунном свете.

His long, angular body, jutted out sharply in the soft moonlight, as if roughly-hewn.

10. … и только ревущая река, казалось, надвигаясь на нас. стр. 452

… the raging river seemed to be advancing on us menacingly.

11. Джамиля смотрела на закат с таким тихим восторгом, словно ей явилось сказочное видение. стр. 446

Jamila looked at the sunset, enraptured, as if she were witnessing a miracle.

12. Нога была как палка. cтр. 458

It was stiff as a board .

14. Чувствую омерзительно. стр. 458

1 feel like hell.

15.Они были похожи на двух диких птиц. стр. 460

The pair of them was like two wild birds.

16. Джамиля бросалась в глаза своими уверенными, точными движениями, легкой походкой, словно бы все это происходило на просторе. стр. 457

Jamila's confident, calculated movements and light step, attracted attention, making it seem as if she were somewhere beyond the confines of the yard.

17. - Беги! Поддержи сзади! - крикнула мне Джамиля, а сама растерянно протянула руки, будто могла этим помочь Данияру. стр. 460

"Run! Support it from behind!" Jamila cried to me, stretching forth her arms helplessly, as if this could somehow help him.

18. Вот если бы он засмеялся или пошутил, стало бы легче - на том и забылась бы наша размолвка. стр. 461

Nevertheless, if he had laughed or joked, it would have put an end to the strain.

19. Тут он снова осекся, будто испугался чего-то, и замолчал. стр. 462

Here he stopped again, as if frightened by something, and fell silent.

20. Это была песня гор и степей, то звонко взлетающая, как горы киргизские, то раздольно стелющаяся, как степь казахская. стр. 463

This was a song of the mountains and steppes, now soaring like the Kirghiz mountains, now vast and rolling like the Kazakh steppes.

21. Словно он только и ждал своего дня, своего часа! стр. 463

It was as if he had been waiting for this day, for this hour to come!

22. С этого дня в нашей жизни, казалось, что что-то изменилось. Я теперь постоянно ждал чего-то хорошего, желанного. стр. 464

It seemed that from that day on a change came over our lives. It was as if I was forever waiting for something wonderful and much desired to happen.

23. А как изменилась вдруг Джамиля! Словно и не было той бойкой, языкастой хохотушки. стр. 466

As for Jamila, a great change had suddenly come over her. It was as if the lively, sharp-tongued laughing girl had never existed.

24. Jamila was as black as a cloud the rest of the day.

25. Опустели наши дворы, точно брошенное стойбище … стр. 441

Our houses have become as empty as forsaken camps.

26. Белая-белая стр. 459

She was as white as a sheet

IRONY

1. И досаду и радость я видел в этой улыбке. стр. 445

There was both annoyance and pleasure in that smile.

2. Эх, ты глупенький! Если только захочу дать себе волю, кто меня удержит? Всей семьей следите - да не уследите! стр. 445

"Silly boy! If ever I wish, do you think anyone will be able to hold me back? The whole family could spy on me, but I'd still do as I please!"

3. - Дура она! Ушла из такой семьи, растоптала счастье свое! стр. 479

"She's a fool to have left such a family and trampled her happiness!"

Ничего, опомнится красотка, да поздно будет! стр. 479

"Don't worry, the little beauty will come to her senses, but it'll be too late then."

6.- А голова-то, зарос весь… Отец-то наш тоже хорош, побрить голову сыну никак не найдет времени. стр. 441

"And your hair is as long as a mane! Your father's a fine one--he can't even find time to shave his son's head."

7.Но, её упрямый, тоскливый взгляд, кажется, говорил: «Ничего-то вы не понимаете, матушка!» стр. 448

Jamila said nothing, but her sad and stubborn expression seemed to say: "Oh, Mother, you don't understand a thing!"

8. Эх, была бы, ты моей бабой, тогда бы ты не то запела. стр. 445

"Ah, if you were my woman, you'd talk differently."

OXYMORON

1. упрямую, затаенную тоску стр. 456

a stubborn, hidden sadness

2. Мы проносились мимо, а он с угрюмым восхищением смотрел на хохочущую Джамилю. стр. 456

We'd thunder by while he looked with unsmiling admiration at the laughing Jamila.

3. Мы встали ужасно рано. стр. 458

We get up awfully early.
4. Мне очень жаль. стр. 470

I'm awfully sorry

5. Данияр был очень вежлив. стр.478

Daniyar was awfully polite.

Это очень забавно, но я умею. стр. 462

It's damned funny, but I can

7. Она очень забавная. стр. 445

She's awfully nice.

8. Your lovely cool goddess p-63

Вашу прекрасную холодную богиню.

Сиз дин татынакаи мээримсиз периштенизди.

9. Мне было очень одиноко. Стр. 482

I felt damned lonely

HYPERBOLE

1. «Подумать только, даже он заглядывается, а что же говорить о других!» - возмущалось все мое существо. И детский эгоизм, от которого я ещё не освободился, разгорался жгучей ревностью. стр. 457

"Just think of it, even he stares at her--then what can you expect from the others!" I fumed. The childish egoism I had not yet outgrown flared up in terrible jealousy.

2. I've told you a hundred times to clear out those bottles p-101, ch-21 Сто раз я вам говорила, нужно убирать эти бутылки.

4.Они промокли до костей. стр. 476

They were wet to the skin p-131

5.Мы толкали изо всех сил, пока у нас не затрещали суставы

We pushed until we could feel our joints crack

6.Я совсем сломлена

I'm all broken.



Conclusion

Having analyzed the novel of Chyngyz Aitmatov "Jamila" we have come to the conclusion that this outstanding writer of all ages used a great quantity of lexical stylistic devices. We enjoyed working on the diploma paper and found it very interesting. We tried to find as much information as possible about the peculiarities of English stylistic devices especially lexical stylistic devices which study the structural functions of sentence and interrelation of direct and indirect meanings.

We understood that the style of the author plays the main role. When Buffon coined his famous saying which due to its epigrammatically form, became a by -word all over the world: “style is the man himself. He had in mind those qualities of speech which are inherent and which reveal a man's breeding-education, and social standing, etc.” All this is undoubtedly interwoven with individual style. The term individual style is applied to that sphere of linguistic and library science which deals with the peculiarities of a writer's individual manner of using language means to achieve the effect he desires individual style is a unique combination of the language units, expressive means and stylistic devices of a language peculiar to a given writer which make that writers works easily recognizable. A very popular notion among practical linguists, teachers of language, is that style is the technique of expression. In this sense style is generally defined as the ability to work clearly, correctly and in a manner calculated to interest the reader. A broader view of style is expressed by Werner Winter, who maintains that:" A style may be said to be characterized by a pattern of recurrent selections from the inventory of optional features of a language. Various types of selection can be found complete exclusion of an optional element, obligatory inclusion of a feature optional elsewhere, varying degrees of inclusion of a specific variant without complete elimination of competing features".

The work consisted of a theoretical part which includes all Lexical stylistic devices: metaphor, metonymy, epithet, simile, irony, polysemy, oxymoron, periphrasis, euphemism, hyperbole.

Lexical stylistic devices are more detailed than the others as it was the main aim of the work. And the second one is a practical part where we defined lexical stylistic devices in the novel "Jamila" by Chyngyz Aitmatov.

Having analyzed this novel we found two hundred and eight lexical stylistic devices. The most widely used of them are epithets and metaphors. The next ones are simile and metonymy. The other stylistic devices were also used widely and the analysis of each is given.

We found all these examples of lexico-stylistic devices with their translations into English and analyzed each of the translated sentences in order to find out if the sentence kept its meaning as stylistic device or not.

As a conclusion of the work we would like to note that working on this diploma paper was very interesting and the work will be useful for the students in the process of making analyses of belles-lettres.



Bibliography

1. Archibald A. Poetry and Stylistics "Essays in Literary Analysis", Austin,1965

2. Bailey. Richard W. And Burton, Dolores M. English stylistics. 1967

3. Bloomfield, Morton W. The Syntactegorematic in Poetry. From Semantics to Syntactics, the Hague, 1967

4. Ch. Aitmatov "Novels and short stories", Frunze, 1975

5. Galperin I.R. An Essay in Stylistic Analysis М.Д., 1981

6. Galperin I.R. Stylistics М.Д., 1971