Stylistic reinforcement of hidden sense: syntactical level

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УДК 821.111

Stylistic reinforcement of hidden sense: syntactical level

V.V. Yashkina

Oles Honchar Dnipropetrovsk National University

Розглянуто основні функції синтаксичного стилістичного повтору у їх специ фічному уживанні в художньому тексті з метою створення комічного ефекту в остан ньому. syntactical stylistic humorous repetition

Ключові слова: синтаксичний повтор, ефект, функція, структура.

Рассматриваются основные функции синтаксического стилистического повто ра в их специфическом употреблении в художественном тексте с целью создания в нем эффекта комизма.

Ключевые слова: синтаксический повтор, эффект, функция, структура.

The article deals with the phenomenon of syntactical repetition as a stylistic device extensively used in a literary text to help the last obtain comic element.

Key words: syntactical repetition, effect, function, structure.

Within the framework of a theoretically grounded contemporary discussion fo cused on the phenomenon of humorous element in a literary text, it has been observed that main comic potential is concentrated on the lexical level. Though, not less proved is the fact that inimitable in its beauty, language of a literary work as a whole is determined by language units inherent in it on all levels. Various language means collectively, in cluding those of neutral character, are gathered to serve as an implementation of images and the writer's poetic utterance.

Thus, the current relevance of addressing the topic is caused by the necessity to rehabilitate an undeservedly disregarded, fortunately only in part, level of syntax. The present article is an attempt to undertake a detailed study of syntactical repetition's comic strength. Typologization of this phenomenon as well as description of its main functions has been performed on the basis of the well known prose work of the 19th century the novel by J. K. Jerome “Three man in a boat” which is a bright example of exquisite humor and subtle irony, created, by far, with the help of numerous and diverse repetitions.

This study has been greatly influenced by the ideas of a prominent American lin guist and philosopher Richard Oman who, while discussing the functionality of a lit erary work of art claimed, that “syntax determines the style” [2, 12]. The scholar also persisted in his opinion that the use of syntactic stylistic devices in the language of literature, when viewed generally, is subordinate to the author's intention, the content of work and the process of image creation.

A text forming role of repetition in the samples of various genres and styles has been studied in a number of works, both foreign and domestic, for a long period (Propp, 1954; Likhachev, 1967; Lotman, 1972; Lukyanov, 1982; Danilevskaya 1985; Novikov 1997 and others), though less noted appeared the comic text syntactical picture. How ever, despite certain attention, syntactical repetition is not always seen as a structural element of a text construction. Thus, M.Sienkiewicz determines repetition as a destruc tion of smoothness in collocations [1, 48] and X.Casares says that the construction of pleonasm (or redundancy) is a deviations in the form of syntactic construction [3, 76].

There also exist opposite scholarly views whose adherents have come to the con clusion that the causes of repetition are hidden in the basic functions of the language to be the means of communication since repetition of the syntactic structures is asso ciated with the need to convey the speaker's opinion. Repetition, or “redundancy”, can help a recipient understand better what has been said if the “background noise” prevents successful communication [ibid].

The principle of repetition is observed at all levels of textual organization and serves as one of the most important keys to the structural and semantic unity as well as the integrity of the comic text area. On the grounds of Jerome's literary texts it has been found that syntactic repetition appears to be a universal phenomenon, peculiar to different types of discourse in different languages.

The cases of repetition in the body of a study include anaphora, epiphora, anadiplo sis, framing and polysyndeton, and may perform the following functions:

1) enhancement of a comic utterance expressivity. For example:

“I always get red bathing drawers. I rather fancy myself in red drawers. They suit my complexion...” [4].

As can be seen, a short explanation given by one of the characters towards a pref erable piece of clothing attracts attention by an unexpected conclusion such a turn helps break the routine in a comic way. Viewed stylistically, monotony of the episode is “destroyed” by epiphora, structurally by parallelism (repetition) of the object.

2) Transmission of the hidden comic meaning over the whole utterance. In this case an anaphoric repetition mainly serves the purpose. For example:

“Harris had a glass of bitter in this house, ... “Harris had two of Scotch cold here in the summer of '88”, ... “Harris was chucked from here in December, 1886” [4].

The above case of syntactic repetition is extended in the occasion when anaphora serves in more than one function, especially when it bears transference of the sense of length and obtrusiveness of action. For example:

“And, when half an hour had been spent in tying up his finger, and a new glass had been got, and the tools, ... and he would take hold of the nail, and drop it” [4].

A specific occurrence of anaphora polysyndeton plays a double role. Firstly, it prolongs the chain of thoughts, secondly in underlines the silly way of character's movements and them comic element.

3) Creation of emotional tension effect. For example:

“They started with breaking a cup. That was the first thing they did. They did that just to show you what they COULD do, and to get you interested” (anadiplosis) [4].

In addition, syntactical repetitions can specify something seemingly or really im portant and create a tautological enumeration. For example:

“Harris never “weeps, he knows not why”. If Harris's eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop” [4].

It is clear that triple repetition of the name “Harris” which could have been sub stituted by pronouns or synonyms, brings nothing “new” to the text. Though, tautology underlines the persisting character of the hero and serves as the means of his stylization.

While studying the role of syntactical repetition in the texts of a comical character it has been observed that its main function is to play the role of connector and to serve as a cohesion provider. These functions are possible due to the extensive use of polysyn detone and anaphora (among 38 microcontexts the examples of syntactic repetition polysyndetone with “and” appears in 21 case, with “that” in four cases). Thanks to these kinds of repetition the general idea of a peculiar microcontext is created. Repeti tion is a certain code, which simultaneously attracts the reader's attention and makes the contextual meaning logical. For example:

“Oh, you leave that to ME. Don't you, any of you, worry yourselves about that. I'LL do all that.” And then he would take off his coat, and begin... And then he would lift up the picture, and drop it, and it would come out of the frame, and he would try to save the glass, and cut himself; and then he would spring round the room, looking for his handkerchief. He could not find his handkerchief, because it was in the pocket of the coat he had taken off, and he did not know where he had put the coat” [4].

Repetition is the background against which other semantic elements of the text appear brighter. The means of repetition contributes to a better understanding of the implied information as the reader's attention is primarily caught by the new message, and only later it returns to the already known facts.

It should be added that syntactical repetition also possesses an aesthetic function. Repetition of thematically similar words intensifies the perception and helps the author realize his aesthetic principles. Iteration of the whole phrase or group of words in the text forms its refrain. The frequency of phrases in the text's asymmetric positions sup ports the “canvas” of a narrative and builds its composite structure.

Contemporary stylistics also underlines a rhyme building function of repetition, which acquires particular importance due to the works by V. Zhirmunski. As the famous researcher pointed out, iteration creates “the impression of emotional tension, and lyr ical effect of feelings thickening” [3, 34]. For example, parallel construction where an adverb is repeated:

“Somebody else seems in trouble, too. You can hear his faint cries coming from underneath your bed. Determining, at all events, to sell your life dearly, you struggle frantically, hitting out right and left with arms and legs, and yelling lustily ... [4].

We should also mention the function of repetition which is secondary, but it usu ally accompanies the above mentioned functions of repetition. This is the rhythmical function. Repetition of one and the same unit (phrases or sentences) is conducive to the clearer rhythmical organization of the sentence, making a prose text closer to poetry.

To sum it up, we should say that the theoretically observed and practically studied types of syntactic repetition as well as their determined functions by no means limit the potential possibilities of this device in a text with comic element. Like any syntactic stylistic expressive means targeted at the emotional effect, syntactic repetition is a poly functional device. Its use depends on the genre and the author's individual style, and presupposes certain varieties and innovations.

The most common function of the repetition is the intensifying one. Repetition in this function as a stylistic device stands near the repetitions as the norm of colloquial excited speech. Repetitions with the intensifying function are usually simple in their composition: the repeated elements are situated near (or close to) each other. Other functions of repetition are not connected with the emotional meaning, because they are usually revealed in the context of the utterance.

Another function of repetition, which is often used in comic texts, is the function of increasing. Repeated constructions promote a greater power of the utterance, a great er intensity of the narration. This function is similar to the intensifying function, but the difference lies in the fact that increasing element expresses gradation.

In some cases repetition can fulfill the function which contradicts the purpose of repetition, because in this case the repeated units or phrases serve as a background to distinguish the other, unrepeated units of the utterance.

Литература

1. Сенкевич М. П. Стилистика научно го языка и литературное редактиро вание научных произведений [текст] / М. П. Сенкевич. М. : Высшая школа, 1984. 186 с.

2. Хабермас Ю. Экскурс об устранении жанрового различия между философи ей и литературой [Електронний ресурс] / Ю. Хабермас. Режим доступу: http:// www.philol.msu.ru

Чуглов В. И. Повтор словоформы с дальнейшим расширением как синтакси ческое явление [текст] / В. И. Чуглов // Филологические науки. 2004. № 5. С. 85 91.

4. Jerome K. Jerome. Three Men in a Boat (To Say Nothing of the Dog). [Inernet resource] / J. K. Jerome. L. : Penguin, 1999. : avail able at : http://www.gutenberg.org

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