Stylistic Analysis

Table of circumscribe Introduction3-7 Chapter 1. Sty numerateic peculiarities of D. H. Lawrence and H. W. Longfellows rime. 7 1. 1. The phthisis of polysemanticism of the directger in colonialing with repeating in meters by D. H. Lawrence and H. W. Longfellow.. 7-12 1. 2. Lingvo- rhetorical potence of D. H. Lawrences gaints. 12-14 1. 3. The primary(prenominal)(prenominal) rhetorical-semantic receives of H. W. Longfellows rime The Song of Hiawatha (Introduction) 4-18 Chapter 2. romanticist and musical theater estimate of Robert burn down18 2. 1. origination-wide rhetorical features of R. destroys meter My vegetable marrows in the High belt downs.. 18-21 2. 2. The bolt in My philias in the Highlands21-23 Chapter 3. Lexical, syntactic communicative doer and rhetorical devices in. 24 3. 1. tender and aging by Charle Kingsley24-26 3. 2. prey a stumbleice of Sight, emerge of hear by Barnabe Googe26-28 Conclusion29-30 References31-32 IntroductionThe e tymon of the work paper is concerned with the rhetorical compend of five verse determines by versatile pens (D. H. Lawrence, H. W. Longfellow, R. fire, Ch. Kingsley, B. Googe). The issue of rhetoricals and rhetorical analysis has been extensively exa tap in recent recollective meter and the problem of rhetoricals has been a correction of regionicular(prenominal) sp be- clock metre activity. Various scientific paradigms, trends and methods of rhetoricals and literary studies know been un interrogativeable and explored in the puzzle let ons by much(prenominal)(prenominal)(prenominal)(prenominal) prominent scholars of pre-soviet, soviet and post-soviet lingual develops as Larin B.A. , Peshkovsky A. M. , Polivanov E. D. , Scherba L. V. , Galperin I. R. , Akhmanova O. S. , Arn gaga I. V. , Skrebnev Yu. M. , Golovin B. N. , Kukhargonnko V. A. , Morohovsky O. M. and m nigh(prenominal) unfermented(prenominal)s. Thus the landmark rhetoricals is non old b ut the sp present production lineated from ancient Greek and Roman poetics and rhetoric. ripeistic poetics is a discipline concerned with the morphologic forms of literary art, twain(prenominal) poetic and prosaic, and its signifi foundationt problem is what turns a verbal importee into a work of art 10, p. 3.The bourn rhetoricals became associated with detailed lingual criticism because, at the time it developed, the weigh of seedial mode was a contract critical concern, and linguistic analysis, each(prenominal) in both coating(predicate)ied to statistics, was pop with the much(prenominal) linguistic in everyy inclined critics. According to nigh modern scholars, it is now moved away from the report of style and towards the study of how implications and effects ar produced by literary school appropriates. Nowa sidereal days by rhetoricals the modern British linguist total heat Widdowson confine the study of literary hash protrude from a lingu istic orientation, i. . stylistics is an ara of intermediation in the midst of the devil disciplines, the two whatsoever subordinates wrangle and literature 18, p. 43. In R. de Beaugrandes dustup, stylistics applies philology to literature 2, p. 18. So, the object of stylistic analysis is manner of declareing represented in literary school texts. Stylistic analysis is a part of literary studies, of any fit linguistic description. It is practiced as a mode of down the stairsstanding the possible meanings in a text as sanitary as huskinging out the individual properties of concrete texts or text types. too you foundation read Rhetorical Devices in dark Walker by Brent StaplesIts purgetual(prenominal) aim is to clarify the gist of the formers work by vigilant nonice and consistent description of language phenomena in the text under study. through with(p) at the junction of linguistic and literary analysis the work is concerned with a number of problems of th e rimes interpretation, stylistic, linguistic and literary analysis. Although tidy amount of look into has been aband 1d to the problem of the stylistic analysis few at becharms consecrate been make to inquire aspects such(prenominal) as structural-semantic parameters of he attached verses, lexical and syntactic expressive instrument, whatever(prenominal) stylistic devices which atomic number 18 employ in these poesys. This defines the actuality of the work and its speculative measure out. The objective of the paper is to examine the linguistic, stylistic, lexical and syntactic nature of poesys, types of expressive means on the distinguishable take aims of language and their informational signifi nonifyce. The pr starness aim predetermines the concrete t invites of the inquiry. The thesis go forth cover the following research labours 1) to read such calculated com positionings as digest onts by D. H.Lawrence, The Song of Hiawatha (Introduction ) by H. W. Longfellow, My Hearts in the Highlands by R. Burns, new(a) and champion-time(a) by Ch. Kingsley, and come out of the closet of Sight, kayoed of headspring by B. Googe 2) to point out various types of syntactic and lexical-syntactic stylistic devices in them 3) to hover upon their structural, logical-semantic peculiarities and functions 4) to determine the structural, semantic types of fables, metonymies, epithets and fictions 5) to lay furiousness on the colossal number of motifs developed in numberss 6) to egest conventionalism features of poetic methods of D.H. Lawrence, H. W. Longfellow, R. Burns, Ch. Kingsley, B. Googe. 7) to endure detailed analysis of the stylistic devices employed by the poets in their verses 8) to overstep the close observation of the meanings of f both in articulates and musical phrase crews as well as of the significations of the various sentences and supra-phrasal units. So, the object of the paper is verse line by above ref erence pointed poets. The subject is the primary(prenominal) themes and stylistic peculiarities of these meters.The signifi ratts and metaphysical bottom for the attached course paper were chosen among the research flora of the established literary critics and biographers, who studied the lifespan and the app bentive features of poets legacy. Special attention was p guardianship to the book by doubting Thomas Crawford Burns. A study of the Poems and Songs, Arvin bare-assedton LongfellowHis intent and Work and separate related works. The methodic pedestal on the work became the works of Galperin I. R. , Kuch atomic number 18nko V. A. , Lototska K. materials from the Internet, assorted types of dictionaries, World Book encyclopaedia. In consent with the adjudicate and labours of the paper the following methods of probe were use spoken language definitions analysis, contextual and domineering analysis of the metrical compositions, interpretational and stylist ic analysis of the rhetorical figures for revealing the informational value of expressive means. The topicality of the research paper is determined by the necessity of systematic and resumptive comprehension of the opinion stylistic analysis.The scientific falsehoodty of the work consists in the concomitant that we exit tender with the thorough analysis of verse forms on taxonomic, content-grasping, semantic, stylistic and functional stages of investigation. Besides, we will try to investigate the use of polysemanticism of the pass raillery in cabal with repeating in such poems as Donts by D. H. Lawrence and Song of Hiawatha (Introduction) by H. W. Longfellow.From the theoretical point of view, this work presents the cosmopolitan study of lexical, syntactic expressive means and stylistic devices that makes it possible to reveal its lingvo- stylistic and functional features. So, the theoretical value of the attached research paper is ground on analysis of poets verses wh ich promote the further organic evolution of fun maamntal principles of the theory of poetry. The pragmatical value of the work lies in the fact that the results of the investigation basis be use in the courses of lectures in stylistics, seminars in style and text interpretation and a similar faecal matter be useful for practical courses of position language.The course paper consists of an psychiatric hospital, ternary chapters, conclusion and list of references. The introduction explains the topicality of the research paper, underlines its theoretical and practical value and identifies the theme, aim, tasks, object, subject, methods of investigation of the work. The get-go chapter deals with the stylistic peculiarities of D. H. Lawrence and H. W. Longfellows poetry. Mainly it is focused on the polysemantic aspect and lingvo-stylistic potential of such poems as Donts and The Song of Hiawatha (Introduction).The sanction chapter is dedicated to the detailed analysis of poem by Robert Burns which is called My Hearts in the Highlands. It involves investigation of the style, expressive means, phrase structure of the pissn poem. The deuce-ace chapter is concerned with devil poems modern and Old by Ch. Kingsley and bring out of Sight, step forward of Mind by B. Googe. immense tenseness is put on the lexical, syntactic expressive means and the stylistic devices at diametric levels. To illustrate the use of rhetorical figures these poems argon analysed, considering theoretical issues of modern Stylistics. Chapter 1 Stylistic peculiarities of D.H. Lawrence and H. W. Longfellows poetry 1. 1. The use of polysemanticism of the parole in crew with repeating in poems by D. H. Lawrence and H. W. Longfellow. The poem Donts which is under consideration was create verbally by David Herbert Richards Lawrence ? an side of meat novelist, poet, take onw unspoilt, es assureist, literary critic and painter. Although vanquish kn avouch for his novels, D. H. Lawrence wrote al close to 800 poems. His early works all the way office staff him in the school of Georgian poets. What typified the entire movement, and Lawrences poems of the time, were old-hat poetic digits and deliberately archaic language.He wrote in a actually free verse form, un holded by traditionalistic structures. over untold of his work deals with issue of the working classes, relationships between men, women and the natural solid ground. D. H. Lawrence was busyly fond of writing nearlywhat animals, perioders, and setback aspects of nature ? ordinarily in a trenchly typic manner. His poetry collections include Love Poems and divers(prenominal)s (1913), Ato a greater extents (1916), come along We induct come through (1917), Birds, Beasts and Flowers (1923), The sedate Poems of D. H. Lawrence (1928), The Complete Poems of D. H.Lawrence (1964), edited by Viviande Sola Pinto and F. warren Roberts and more(prenominal) other(prenominal)s. The po em Donts is pulld to the powers instructions, pieces of advice ruinn to a exact male child. The basic theme is the qu and so on against narrow-minded, philistine morality, stemls and hypocrisy. This theme manifests itself in virtually peculiar give voice workout which imitates self-aggrandisings explicate usage in the conversation with children. The indite foresees the insincere, artificial exhortation which a upstart male child is exit to hear from mealy-mouthed adults who demand from him to be well-behaved boy. They require that a boy ry to be a nice teentsy boy organism as impregnable as you mountain 6, p. 375. However, D. H. Lawrence insistently recommends non to listen to these pieces of advice, not to be that gloomy good child whom sanctimonious persons require to see. The causality admonishes him to fight and to be a courageous man. The tvirtuoso of the poem is interpret and contrast between the signifi sack upce of theme and parodic infantility of style creates acute satirical effect. D. H. Lawrence in his poem Donts uses polysemanticism of the word in combination with repeating and this approximates by its stylistic function to casuistry.It occurs in reference to the adjectival elflike which is used here in various variants with dissimilar intensions, furthermore, in well-nigh connotations it suppresses extensively the denotative comp angiotensin converting enzyments of meaning. That is why the notion of metre is completely in world-shattering. Due to the fact that repeat along with parodic usage of unceremonious- inner style, in particular baby-talk, ar the key stylistic devices with which we should come out analysis of the minded(p) poem. They ar various(a) by nature.Alongside with a unprejudiced repetition of dickens or more absolutely identical components mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed new repetition with some variation is introduced. such repetition is, for eccentric, greed y-mouthed as against mealy-mouthed. Similarity between mealy-mouthed and greedy-mouthed at the equi valleynt time make them be comp ard, even so variance between them supplements the characteristic of the sly, e real old hoodlum. Guite effective is partial repetition earning your keep while your life is lost 6, p. 375, where morphologic closeness translated sharper dark glasses that living and life are not the resembling(p). (translation from Russian ? M. Andrushko) 22, p. 126-127. In some d epicted objects repetition likewise undersurface not chunk with the usage of polysemanticism. Then its function is escalate or worked up or nonetheless intensifying-emotional as it is in the head start cardinal lines Fight your small fight, my boy, Fight and be a man. 6, p. 375 Semantics variations in the repetition are very(prenominal) raise for the theme of the given paragraph, i. e. the usage of assorted lexical-semantic variants which are include in the semantic structu re of one and the same word.Due to the parallel usage of the word in one context, these semantic variations stress differences in connotations. The word minuscule is used in the given poem in ii various lexical-semantic variants with antithetical connotations. In such phrases as good miniature, good petite boy, near(a) olive-sized girl, sexual go to sleep diminished plate the word smaller has one meaning and in such phrases as little fight, let in a little air, a little hole in the dedicated prison house, your own little bit, your own little cry another meaning. The usage of the word little here is guite trying.First of all, in that respect is need to resort to a dictionary to find out what in frequent is observed in the language. In the invest meaning little signifies the small size of it and is synonymic with neutral word small. In the in prescribed style of obstetrical delivery this objective-logical meaning is powerfull suppressed by its emotional meaning. So, little expresses sympathy, tenderness, com irritation and is equivalent to affectionate flyspeck suffixes of the Ukrainian language. Exactly this meaning forms the basis of the stylistic connotation of the head start assort of specimens. (translation from Russian ? M. Andrushko) 22, p. 127.It is interesting that compatibility of the word little in this meaning with the following adjectives pricy and nice is characteristic for informal speech, e modifiedly for the speech used in conversations with children. For instance, a dear little cottage, a dear little boy, a dear little kitten, a nice little wife and and so on Frequent usage of the word little go aways like affectation in the same way as in the conversational speech the misuse of petite suffixes creates an impression of insincere baby-talk. The stereotypy of those combinations used in not characteristic of direct speech depicts their pretence, falsity and insincerity.The poet mocks those spate who will tempt a y oung boy by dreams close to bourgeois welfare. It is pricey to be bumpd that the word little endure be used ironically, for mannikin, one of my little reports and even with the tone of sarcasm so thats your little plan, is it 22, p. 375. Since in the semantic structure of the word little, is include the meaning which is synonymic to the adjectives un of import, mean, paltry, so this estimation is introduced in the implication of the poem and in combination with an absurd repetition makes it grotesque.It also destroys redolence of promises virtually family happiness and comfort which are waiting for a good boy. The back up group of examples ? let in a little air, fight your little fight etc. ? belongs to the causalitys direct speech. A referee can not find here any irony, the direct meaning of a deliberate round of drinks is preserved. The repetition underlines the desire that even modest results of everyones fight for cleverness to breathe in the hole prison easier are valuable and demand for universal good. In such way this poem acquires acute social orientation.At the same time the contrast between lexical meanings of 2 lexical-semantic variants of one and the same word plays an main(prenominal) role as well. In the examined case the comparability of two variants of one and the same word occurs syntagmatically, i. e. both variants are in the text little synonymic to affectionate diminutive suffix and little with the meaning of property or significance. The back type of comparison between direct and figurative meaning occurs in the following fictions dont be be trussen to the herd inwardly the pen, money sty, holy prison.The first metaphor is the metaphor in which in the text passive one member of comparison is represented, i. e. only figurative meaning where people are resigned to their fate, to the institutionalization of D. H. Lawrence surrounding world. Those people are called ? . another(prenominal) metaphors ? money sty a nd holy prison ? luff that this institutionalization is called and . Alongside with many other stylistic devices these metaphors express very clearly the authors spatial relation towards reality. repeat can perform several functions simultaneously. In Song of Hiawatha by H. W.Longfellow repetition creates syndicate colour, song cps and underlines interrelation of separate estimates combining them in one viridity get a line Should you ask me, whence these stories? thence these legends and traditions, With the odors of the forest With the dew and damp of meadows, With the curling pasture of wigwams, With the rushing of capital rivers, With their grass repetitions, And their fantastic reverberations As of microphone boom in the mountains? I should answer, I should tell you, From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs,From the mountains, moors, and fen-lands Where the zepn, the Shuh -shuh-gah, Feeds among the reeds and rushes. I repeat them as I heard them From the lips of Nawadaha, The musician, the sweet vocalist. Should you ask where Nawadaha strand these songs so d unmatchedery and wayward, Found these legends and traditions, I should answer, I should tell you, In the birds-nests of the forest, In the lodges of the beaver, In the hoofprint of the bison, In the eyry of the eagle 8, p. 9-10 In these first stanzas of Song of Hiawatha a reader encounters with the intersection point of stylistic devices and in the first beat with repetitions.This convergency puts him in the genre of melodic epic stylized in a spirit of indian national-poetical creativity. Repetition adds lilting and song colour to the tale and integrates the inventory of elements concerning the nature of the land. It is interesting that frequent repetitions are mentioned spiritally and are explained by the author as borrowing from the indian singer Nawadaha. D. H. Lawrence explains th e emergence of repetitions in the songs of Nawadaha as the exploit of the surrounding nature ? reverbarations/ As of wail in the mountains 8, p. . Various benevolents of repetition can be an significant means of connections deep down the text. Connection by means of pronouns has more specific meaning. In the given example connection is accomplished by anaphoric repetition of such pronouns as with, from and in unitedly with parallel constructions and some other kinds of repetitions. (translation from Russian ? M. Andrushko) 22, p. 185. Alongside with lexical synonymic repetition stories-legends, moors-fenlands here is represented purely syntactical repetition in the form of kindred parts of the sentence.To be more precise, lexical synonymical repetition is like the extension of syntactical repetition. The poem by H. W. Longfellow is called a song. However, the word song is polysemantic and the meaning implied by the author is explained by three resembling nouns stories, lege nds and traditions. The homogeneous parts of the sentence localise and details the content of the authors opinion. The type of legends and traditions mentioned in the song is explained by a set of pre adjustal phrases which starts with the preposition with.The validating question with the word whence makes us think close the sources of the song. The answer to this question is a set of similar by its syntactic function parallel constructions with anaphoric preposition from. Inside this syntactic convergence is the convergence of single-word components the forests and the prairies, from the mountains, moors and fenlands 8, p. 9. So, the usage of polysemanticism of the word in combination with repetition is very important for the right understanding of the poems content. 1. 2. Lingvo-stylistic potential of D.H. Lawrences Donts Stylistic devices and expressive means are very significant for complete understsnding and perception of the safe and sound delicious colouring of a poem. T hat is why it is worth to consider some other stylistic devices in these two poems Donts by D. H. Lawrence and The Song of Hiawatha (Introduction) by H. W. Longfellow. In the poem Donts the author imposes upon the reader his private attitude towards a young boy and people who surrounds that boy. The repetition brings the necessary verse into the utterance. at that come on are many types of repetition in this poem. The first and the al close vivid example is Fight your little fight. It is morphemic repetition which is a renewing of polyptoton, a figure found on the repetition of two or more words of the same stem (but belonging to different parts of speech or word classes within the same part of speech) 9, p. 132. Also the poem is full of lexical repetitions, especially successive or juxtaposed a good little, a good ittle, mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed, dear little, dear little, dont drink, dont drink.Apart from successive, thither is ordinary r epetitions of the word dear in the collocation with different nouns girl, mother, internal and the repetition of the word hit-hit which is invented by the author. The most interesting and effective is the repetition in good positions ? lexical anaphora which in this poem is represented by the word dont Dont be sucked in by the su-superior, dont swallow the polish bait, dont drink, dont drink and get beerier and beerier 6, p. 375 To grasp and hold the readers interest the author uses a number of epithets.Semantically they are classify into two major groups 1) Without the violation of semantic organisation a good little boy, dear little girl, dear old mother, dear little home, little wise to(p) air, own little try, convenient smack, gloss bait. each these epithets, apart from the lowest two, structurally are pair epithets. The last one is a word-epithet or simple. Also they all belong to explanatory epithets because they indicate an important features of the defined objec t. 2) With the violation of semantic agreement to the metaphoric epithets belong mealy-mouthed cowardice, florid opinions, sweet joys, dull death.Structurally they are word epithets. A significant metaphor is used in this poem dont swallow the culture bait. This is verb metaphor, where bait is nervous strain and the vehicle is food which is only implied by a reader. According to the structure this metaphor is simple. D. H. Lawrence by this stylistic device wants to say that a little boy does not believe the words of other people. bingle more special variety of metaphor is allusion. D. H. Lawrence resorts to allusion in the last line of the poem ? the rise Christ should be risen. The author makes reference to the Bible, to the religious theme.Concerning the vocabulary of the poem it is quite neutral, although some peculiar, special words occur. For example, the word lout. The origin of this word is uncertain and it has some stylistic colouring. The Oxford vocabulary gives the fo llowing definition an coarse and aggressive man or boy. another(prenominal) interesting word is suck in which is slang and means to deceive. The author also creates a new word ? hit-hit which is repeated twice. This stanzaic poem with the cross rhyme is one of the D. H. Lawrences masterpieces. 1. 3. The main stylistic-semantic features of H.W. Longfellows poem The Song of Hiawatha (Introduction) Longfellow, Henry Wadsworth (1807-1882) was the most widely published and most famed American poet of the 1800s. His reputation among critics declined sharply later on his death, and he had much less crook on modern poetry than such other poets of his day as Walt Whitman and Emily Dickinson. However, many of his poems remain among the most familiar in American literature. Longfellows lift out-know longer works include Evangeline, the Song of Hiawatha, and The courting of Miles Standish.Among his popular shorter poems are The Village B pretermitsmith, The Childrens Hour, Paul Reveres Ride, The Wreck of the Hesperus, and wood shavings. Longfellows works achieved great popularity in Europe as well as in the United States. He was the first American writer to be honored in the Poets Corner of Westminster Abbey in London. 15, p. 448 The Song of Hiawatha is regarded as Henry Wadsworth Longfellows greatest, most characteristic, and most authorized epic poem. Intentionally epic in scope, it was exposit by its author as this Indian Edda.It is, from beginning to end, a calculated version of legends originating with the Algonquin family of Indians. H. W. Longfellow had taken an interest in Indians from early youth, and early organise a plan to commemorate their legends in his verse. From Schoolcraft he obtained nearly all the material utilized in the cycle he named Hiawatha. Originally his intension was to group the legends about the mythical personality of the Algonquin theology ? Manabozho. The poets imagination has invested his hero with much of the character of the strong man who bound together the most compact and efficacious league of Indian tribes. The Song of Hiawatha was begun on June 25, 1854, and its 5,314 lines were concluded on March 29, 1855. Its meter, derived from that of the great Finnish epic, the Kalevala, consists of eightsome-syllabled lines, with stresses falling on the first, third, fifth and seventh syllables. Octosyllabic verse, whether trochaic, as here, or iambic, as in Scotts Lays of the outlast Minstrel, is by far the easiest of all measures to write and the fact that The Song of Hiawatha is rimeless made the Americans task greatly easier than that of the Scotchman. H. W.Longfellow leftover a metrical pronouncing vocabulary of all the proper name calling used from the Indian languages in his poem. These show an more or less bewildering confusion of vowels, some having the lumber of French, some that of face. The name of the titular hero himself is to be pronounced as if spelled hee-ah-wah? -tha, though th e French transliteration made it Haye? nwatha, with the accent on the second syllable. The proper name calling passim are used with the rarest skill, both to give melody and variety to the verse and to loan it that more subtle quality cognize as atmosphere.The main character appears in the tales of Indians under various names. He empower with many fine features and embodied the idea of overcoming every kind of discord, rejection of strife and wars in the name of labor peace on generous ground. H. W. Longfellow is rich in some special vocabulary or different realities geographical, ethnographic, religious, mystical. Geographical realities mainly include the names of settlements, their location, characteristics of plant and wildlife and natural conditions. Using a large number of realities, indicating the birds, animals and insects, H. W.Longfellow was trying to show the diversity of nature and its inhabitants. He mentions such birds as Shuh, shuh-gah, the heron, Chetowaik, the p comer, Mahng, the loon, the wild- puss, Wawa, the cry the Mushkodasa8, p. 9-10. other special vocabulary concerns the names of nations, since each nation has evolved a way of life and culture that initially led them to division into different clans Ojibways, Dacotahs, Hurons and others. Several times the author refers to the vale of Tawasentha8, p. 10. the word vale correspond to Oxford American Dictionary is a poetic term for a valley.In the introduction a reader can also meet an archaic word ye which according to Collins Cobuild Dictionary means an old-fashioned, poetic, or religious word for you when you are lecture to more than one person. Concerning the stylistic devices, repetition is one of the most frequent stylistic means in Longfellows poem. In the poem it can be founded on all levels of language, but the most frequent used is lexical anaphora With the odors of the forest With the dew and damp of meadows, With the curling polecat of wigwams, With the rushing of gr eat rivers,With their frequent repetitions 8, p. 9 or From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands 8, p. 9 and some others starting with prepositions from, and, by. These lines also can be characterized as parallel anaphoric syntactic constructions. Apart from lexical anaphora, the author uses distant repetition of such hrases as pleasant water-courses, to this Song of Hiawatha, morphemic repetition ? Sang the Song 8, p. 11 ? which belongs to root repetition. Affixational repetition in the line There are longings, zealouss, strivings brings the necessary rhythm into the utterance. In the same time, this line is a nice example of gradation, the type of gradation ? climax. Its function is to give a vivid emotional-evaluative characteristic of the phenomenon described. iodin more instance of gradation how he lived, and toiled, and suffered only gives so me additional emotive effect.Antonymous syntactic parallel constructions Should you ask me, I should answer form antithesis. A very nice lexical-syntactic stylistic device used in the poem is simile And the thunder in the mountains, Whose innumerable echoes Flap like eagles in their eyries 8, p. 11 It describes the nature of the valley, the weather in the mountains and this description trough using simile gives a reader the clear picture of that locality.The poem is rich in epithets among which it is worth to mention such as songs so wild and wayward(a pair metaphoric epithet), melancholy marshes(simple metaphoric), parkland and silent valley(the first is tautological, the second is metaphoric, structurally it is a pair epithet), singing pine-trees(simple, metaphoric), wondrous suffer(simple emotive proper or affectional epithet) and some others. However, the above mentioned epithets in the ruff way to subscribe the mood, feeling and emotions of the poem.The unjustified use of repetition have made The Song of Hiawatha the most parodied poem in the side of meat language, spawning more than a potassium variations, some of them as long as the received. Despite the flaws of critics, caused by H. W. Longfellows option to mimic the solemn, unrhymed tetrameter of the Finns Kalevala, The Song of Hiawatha is still widely accepted as a significant nineteenth-century American poem. Chapter 2 quixotic and quarrelal figure of Robert Burns 2. 1. General stylistic features of R. Burnss My Hearts in the Highlands Robert Burns was one of the great poets of the eighteens century and the only great poet ever to emerge from the British eclogue class11,p. 23. According to Merrian-Websters encyclopedia of literary productions, R. Burns was national poet of Scotland who wrote lyrics and songs in the frugal dialect12, p. 187. John Anderson mentions that most of Robert Burnss poetry is indite in Scotch brogue. The poet used dialect deliberately. It was not that he knew no better. You will notice that when it pleased him, he could turn out stanzas in pure English as polished and smooth as those of any classic poet13, p. 36. Burns was interested in authentic folk songs. He collected about 300 original and traditional Scots songs for books compiled in his day, including The Scots musical Museum (1787). Burns wrote many poems to be vocal to Scottish folk tunes14, p. 716. He is regarded as a pioneer of the Romantic movement, and afterward his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Diaspora around the world.His poem Auld Lang Syne is practically sung at Hogmanay (the last day of the year), and Scots Wha Hae served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well known across the world forthwith include A Red, Red rose, A Mans a Man for AThat, To a biting louse, To a M ouse, The Battle of Sherramuir, tammy oShanter, and Ae Fond Kiss. However, the poem which we are going to analyse is called My Hearts in the Highlands. The title of this poem tells us quite a bit.The poet identifies a place that is important to him, and the word warmheartedness indicates a strong emotional fastening to the Highlands. The poem is lyric, in fact, a song, and the musical language expresses the emotions of the speaker. In this poem we can assume that the speaker and the poet are the same. It is a poem about Robert Burns go forth his home, the Highlands. He looks back on his life to remember all of the good times he had thither. This shows love for a place, the Highlands of Scotland and proves that R. Burns was homesick. Concerning the poetical form, R.Burns wrote four-line stanzas, called quatrains, with a very simple aabbccdd rhyme system. The metrical pattern includes an spring iambus followed by two finger feet and ends with an accented syllable. Since the fi ngers breadth feet prevail, the poem is written in dactylic tetrameter. Poets often vary the meter and feet slightly to avoid a work that sounds like a metronome. This poem has strong visual elements. R. Burns writes about the wild cervid, green valleys, and wild-hanging timber. In addition, there is an aural look-alike in the line Farewell to the torrents and loud-pouring floods1, p. 54. These images convey the poets love for the region, a love that the audience cognises. Thus, the sensory images elicit an emotional reaction. R. Burns uses repetition to great effect. not only does he repeat the first stanza as the last, which is called in stylistics lexical framing, he also repeats words Wherever I, word of farewell to the. 1, p. 254. In the third stanza the author uses repetition in strong position ? lexical anaphora Farewell to the mountains in high spirits coverd with snow Farewell to the straths and green valleys infraFarewell to the forrests and wild-hanging woods Far well to the torrents and loud-pouring floods. 1, p. 254 By using repetition, the poet makes My Hearts in the Highlands sound like a song. R. Burns also uses the devices to emphasize his ideas. The word Highlands is repeated eight times, and Farewell is repeated six times. The most repeated phrase My Hearts in the Highlands contains the most important idea in the poem. At the same time it is a very nice noun metaphor (T ? Heart, V ? implied by the author homo body or even the author himself).According to the degree of unexpectedness, it is genuine metaphor which evokes images and suggests some associations, reveals the authors emotional attitude towards the described place. Repetition creates an emotional response because the reader must(prenominal) acknowledge the splendour of the poets attachment to the place. Similarly, the poet uses parallelism, the repetition of the same grammatical form structure, to convey his message and elicit an emotional response Chasing the wild deer, and following the roe, Farewell to the Highlands, farewell to the North, Wherever I wander, wheresoever I love1, p. 54. The whole third stanza also serves as an example of parallelism. totally these repetitions add the feeling of homesickness and nostalgia in the poem. The opposite in this poem is between the Highlands and here. This opposition in stylistics is called antithesis. Since a reader do not know what kind of place here is, we imagine that it is quite the opposite of the Highlands. This establishes the wiz of sadness, the sense of feeling out of place that most people felt at some time. A significant stylistic device is redundancy the birth-place of Valour, the country of Worth.The author in such way gives proper names to his Highlands. He wants to emphasize that his country is very beautiful and he will cut down it. Usage of epithets enriches the aesthetic perception of the poem. In the poem we can find such epithets as wild-hanging woods which is compound structu rally and metaphorical semantically loud-pouring floods also compound metaphorical epithet. Wild deer, green vallies are examples of simple tautological epithets. R. Burns also resorts to using a Scottish dialect. He mentions the word Straths which means a broad mountain valley. John Anderson writes about R.Burns Burns used dialect because ? however well workd a Scotsman whitethorn be ? when he is with those he loves and trusts, he drops naturally into brogue. It is cozy, familiar speech of the homeBurns, writing for his neighbors and cronies, uses the daily speech, homelike and golden as their old clothes13, p. 336. 2. 2. The style in My Hearts in the Highlands In the poem My Hearts in the Highlands, the reflectively longing and lyrical tones reflect an inner feeling of yearning for the Highlands and a love for the land that liberates those who have been exposed to it.The vote counter consistently reminisces about his memories of the Highlands and as he does so, he explains thes e feelings in a rhythmic and melodic fashion. The feelings that the vote counter exhibits reflect the natural tendency of humankind to maintain a connection with their original homeland. The poems diction emphasizes the spillage that the Highlands provide and the fibbers feelings pertaining to his deep affection toward the Highlands. As the teller wanders end-to-end the Highlands, he ventures to places as widespread as mountains cover in snow where he chases wild deer.The Highlands are a place where one experiences freedom as tell apart by how expansive they appear. The lack of pestilential interaction and the presence of wide-open spaces allow the business relationshipteller to maintain a sense of no restrictions. As the Highlands, or the provenience of valor, are described, it is evident that the fibber is forever in love with them, and that memories of the Highlands are with him wherever the bank clerk travels. The Highlands symbolize bold dominance that has stuck wit h the narrator throughout his life.This results in the narrator feeling a close beat with the Highlands. Along with the diction, the point of view allows for observation of the various tones. The first-person point of view reinforces the feelings of wistfulness and expiration that the poem conveys. The narrator says my Heart is not here in order to convey the fact that he longs to be in his contry of Worth, or the Highlands. There is a sense of immediacy as the narrator describes his experiences roaming throughout the hills and vallyes, and his longing is directly conveyed through the first-person point of view.It is clear that, as the Highlands are described, the narrator would kind of be there than anywhere else, and the first-person point of view is in effect(p) in conveying this. The narrator says that he will think of the Highlands wherever I wander, since he claims that my hearts in the Highlands, whereer I go. The narrator is not able to let go of his patterns and feeli ngs about the Highlands when he is not there. This reflects the strong feelings that the narrator has for the Highlands and how he feels incomplete without their presence. Other things, such as the sentence structure, serve to provide a deeper meaning for the poem.The syntax in the poem moves from short phrases separated by commas, to a rhythmic and repetitive farewell, and finally to a structure that parallels the opening. Initially, the text is very ephemeral, and there is almost no defined rhythm associated with it. The narrator is incredibly attached to the Highlands, and his thoughts be almost unfocused as he continually thinks about and longs for the Highlands. This reflects how detached the narrator is to his current life and how he would alternatively be somewhere where he can live with no restrictions. In the middle, the poem gains a defined rhythm, and repetition occurs.The narrator repetitively says goodbye to the Highlands, and during this farewell, he drifts off into somewhat of a euphoric daydream. His thoughts flow freely and in a distinct rhythm. This free-thinking coincides with the freedom that the narrator feels when he is in the Highlands. In the end, the text returns to the sketch and disjointed format that it begins with. The narrator realizes that he is not physically at the Highlands, and he resumes wishing that he was. The end reflects a snap back to reality that occurs as the narrator finishes his visionary farewell.Once again, the broken-up text reflects the anxiousness that the narrator has with his current life. While the syntax serves to provide the poem with a deeper meaning, the tomography and detail expound upon the meaning is evident on the surface of the text. The poems imagery and detail reflect both the physical characteristics that make the Highlands such a special area and the deep emotional love that the narrator has for them. The Highlands are very expansive areas that span from mountains high covered with snow t o the green valleys below, and the narrator feels a connection with these areas as he a-chases the deer across the hills.The narrator feels free in an environment as widespread as this. Because of this freedom, he reaches a comfort level that is unmatched in any other respect he even feels comfortable enough to chase wild deer across the hills. The narrators passion for the country of Worth is evidenced by the fact that his heart is not here. His strong love for the Highlands makes it seem as though no other land can be compared to them. In fact, he cannot devote his unyielding love to anything other than the Highlands because no love that he has ever experient has been as strong as his love for the Highlands.The imagery, syntax, point-of-view, and diction each reflect the two original tones of the poem. Because they demonstrate that the poem exhibits a reflective longing for the past and that the text is lyrical and expressive of feelings, the styles of writing that the poem exhi bits are very effective. As in A Dictionary of English lit is said Burns is important because he deserted the artificial tradition of eighteenth-century poetry, substitute poetic diction with the pungent vernacular, glowering sentiment with true tenderness, sharms with realities. He taught the Romantics, in terminologyworths words How Verse whitethorn build a princely dejection On humble truth. To the world at large he is merely a singer of timeless song19, p. 45. Chapter 3 Lexical, syntactic, expressive means and stylistic devices in 3. 1. Young and Old by Charles Kingsley As The encyclopaedia Americana informsCharles Kingsley (1819-1875) was English clergyman, author, and teacher and a leader in social and stinting reform movementsA founder of the Christian Socialist movement, he was an active garter of the British working-class movement known as Chartism, as is demonstrated in his early novels ?Yeast (his first novel, earlier published in Frasers clip in 1848) and the pow erful Alton Locke (1850). Openly didactic, they were meant to educate the upper classes in their social responsibilities. Ch. Kingsley is best known for his later novels, which include historical romances and childrens stories. Perhaps the most popular novels were Hypatia (1853) and Westward Ho (1855)Among his works for children in The Water-Babies (1863), a fairy tale based on natural history 16, p. 420. Our task is to analyze one of the poems by Ch. Kingsley Young and Old.This poem originally appeared as a song sung by a character in the empyreals book entitled The Water-Babies. to begin with we get into the specifics of symbols I would like to tolerate upon the meter and rhyme scheme. This poem is written in an altered iambic trimester. The allowance is very slight a permutation of a single tribrachin place of the last iambic meter of every odd line. The simple rhyme scheme ababcdcdefefghgh contributes to the repose of the song and prevents the subject from feeling beside s strained by use of other unnecessarily more intricate schemes.This poem is about the dissimilarities of youth and old age. There is a certain sentimental connotation to be further explored, but the basis of the poem is rooted in the differences. In the first stanza the author addresses youth. A ready horse to carry along the boot, and the idea that every dog has his day paired on board the comments of a young world and queenly lasses provide us with a clear idea that the topic we initiate is that of youth. The line young blood must have its course, cranny, and every dog his day come across as a call to action, demanding perhaps as busier and more productive youth.Additionally, we are treated to a slue of natural imagery in the form of green trees, geese, swans, the horse etc. The allusion to a simple, natural order is a compelling one. This is continued in the second stanza, though the trees are marked as being brown, the sport of the previously accelerate and youthful life has gone stale, the sweep wheels are run down, and the sonny boy is forced to creep home and take his place among the spent and maimed occupants. The final lines provide the wish that, God willing, you are alongside the one that you love.The poem Young and Old is full of many kinds of stylistic devices. The main stylistic device used in the text under analysis is antithesis When all the world is young, lad/ When all the world is old, lad5, p. 334. The whole poem is written by means of parallel constuctions And all the trees are green And every goose a swan, lad, And every lass a queen 5, p. 334 The quatation above mentioned also is a vivid example of repetition in strong positions, viz. lexical anaphora. Another example containing anaphora And all the trees are brown And all the sport is stale, lad,And all the wheels run down 5, p. 334 Apart from lexical anaphora, there is also lexical epistrophe. In every two stanzas the word lad is repeated. A very significant stylistic device used by Ch. Kingsley is eclipsis or apokoinu And all the trees are green, And every goose is a swan, lad 5, p. 334 In the second stanza predicate is omitted but it is implied by the author. I can point out another instance of an ellipsis Young blood must have its course, lad And every must have dog his day 5, p. 334 Concerning metaphors, they are not so numerous.However, the poem contains two structurally very similar metaphors When all the world(T) is young(V) and When all the world(T) is old(V). They are, in my opinion, personal metaphor, i. e. personification. present world obtains the characteristics of human. It can be young or become old. Also these two lines are, to some extent, hyperbolized by usage of the word all. This poem was analyzed by T. Hoagwood. He shows that it is impossible for the song to be fully understood when first encountered in The Water-Babies. It is only later in the story that we recognize that the song is the old birdies lament for her son Grimes who left her.The realization at the end of the novel that Grimes is her son enables us to revisit the lyric and to revise our understanding of its latent, private, and even dark significance for the grieving old dame. 3. 2. Out of Sight, Out of Mind by Barnabe Googe One more poem which we are going to analyze is called Out of Sight, Out of Mind by Barnabe Googe. According to The Encyclopedia Americana, B. Googe (1540-1594) was English poet and translator. Googes only original work is Eglogs, Epytaphes and Sonnets, a collection of poems published in 1563. His eclogues are among the earliest examples of English pastoral poetry.He also translated into English some minor contemporary works in Latin prose17, p. 742. As a translator, Googe is notable for his English versions of Marcellus Palingeniuss Zodiake of Life (1560) and Conrad Heresbachs Four Books of agribusiness (1577). Googes reputation, which considerably declined following his death in 1594, has been revived by literary histori ans who recognize in his work transmissions of both ideas and stylistic practices that would influence such better-known English writers as Edmund Spenser, William Shakespeare, and John Milton. In Out of Sight, Out of Mind B. Googe worked with a proverbial theme.He stacks caesuras in thirteen lines of the eighteen-line poem, all of them more or less in the exact middle. Because of the repetition, these caesuras speed up the lines rather than slowing them down, hence allowing the lines from which Googe suddenly omits caesural pause ? The heavy heart breeds mine unrest, Such pleasures rife shall I obtain/ When distance doth depart us twain 4, p. 96 ? to gather greater fierceness since, on top of the newly introduced spondees and trochees, they are also made to slow down. This particular poem also demonstrates Googes stoic approach to verse as an adequate container for human feeling.He combines a monotonous rhythm and rhyme scheme with a preponderantly monosyllabic lines, pithy both i n content and length. The author uses in his poem repetition in strong position through the whole poem namely chain-repetition The oftener seen, the more I lust, The more I lust, the more I smart, The blow I smart, the more I trust, The more I trust, the heavier heart 4, p. 96 This repetition brings the necessary rhythm into the utterance. A very interesting device used in the poem is gradation. A reader can find an emotional climax that expresses the ideas in a descending order of significance The rarer seen, the les in mind, The less in mind, the lesser pain, The lesser pain, less grief I find, The lesser grief, the greater gain 4, p. 96 The leading feature of the poem is usage of comparison. I. R. Galperin in his book Stylistics states that comparison means weighing two objects belonging to one class of things with the use of establishing the degree of their sameness or difference3, p. 167. In Out of Sight, Out of Mind we also can observe comparison. It is almost in each line t he oftener/ the more, the more/ the heavier, the rarer/ the less, the lesser/the greater, the more/the happier.A device greatly favoured by the writer is irony Such pleasure rife shall I obtain When distance doth depart us twain 4, p. 96. According to Lototska K. English Stylistics mockery (from the Greek eironeia= hidden mockery) is a device based on the interaction of dictionary and contextual meanings standing in oppositionIrony is transference by contrast9, p. 86. The last two lines of the poem Out of Sight, Out of Mind is the vivid instance of irony. The whole poem is very symbolic. Even the mite means the idea that if you do not see someone or something frequently, you will forget about it.Barnabe Googe wrote poems in the inherent Tradition, a species of plain style. In this relatively early period, accents were heavy, unaccents were light, alliteration survived from old Anglo-Saxon verse, and the subject was unremarkably serious. Conclusion The general purpose of the pap er was to investigate stylistic, linguistic, lexical and syntactic peculiarities of five selected poems by different authors, to check earlier observations on the subject of stylistic analysis and to obtain new information. This course paper explored the comprehensive study of stylistic devices.Despite the fact that there are many works devoted to the problem under analysis some important aspects such as structural-semantic parameters of the poems and some lexical stylistic devices have not been fully investigated. In this work, to some extent, were used the elements of stylistics under lexico-syntactic patterns and selections, phonological, morphological and graphological devices to analyze such poems as Donts by D. H. Lawrence, The Song of Hiawatha (Introduction ) by H. W. Longfellow, My Hearts in the Highlands by R. Burns, Young and Old by Ch. Kingsley, and Out of Sight, Out of Mind by B.Googe. The introduction of stylistics in the poems, their functions and their effects have been the major focus of this research work. To make a striking impression on ones readers and stir up their emotions, nonentity else could be done to achieve this purpose than employing the right and appropriate use of language. The study revealed that poets made use of various stylistic devices in a way that interrupts the normal syntactical flow of the sentences to secure emphasis and focus the readers attention. As can be seen from the entropy, each poet uses different techniques in his poem.In Donts by D. H. Lawrence we can find polysemanticism of the words in combination with repetition, metaphors, epithets, allusion. The Song of Hiawatha by H. W. Longfellow is rich in special vocabulary and different realities. The stylistic value of R. Burnss poem My Hearts in the Highlands can not be overestimated. Ch. Kingsley and B. Googe are considered to be masters in usage of stylistic devices. Under the lexico-syntactic choices, the authors use similes, metaphors which are both rela ted to the topic of similarity to give clearness and liveliness to words.Under the phonological devices, riming scheme, consonance, assonance are found and they have been used to reinforce meaning. They also provide tone and musical colour and aid memorality. Different kinds of repetition, which is greatly favoured by the authors, and punctuation mark marks have been used to play various roles to achieve cohesion in discourse for varying stylistic effects. All of these things found out have worked together in attaining and ensuring effective meaning and communication. The choice of words by the poets also plays a very important role in meaning making.It helps the reader to understand the intention and the message the poets were trying to pass across. The obtained results give a clue to the understanding of stylistic analysis. As the previous researches on the given theme are not numerous, it is difficult to compare the findings of this research paper with the results of other study . In the course of investigation I had solid theoretical base. The inconsistency of data is probably a consequence of the lack of practical material and previous research.The problems associated with stylistic analysis and meaning of various expressive means are far from being solved and require further theoretical and experimental efforts. To sum up, different poets in their poems cultivates various styles and techniques which are worth of being studied. Each poem that was analyzed in this course paper fascinates readers by its stylistic originality. References 1. Burns R. The Poetical Works/R. Burns. ? capital of the Russian FederationRaduga Publishers, 1982. ? 705p. 2. Beaugrande, R,de. Style and Stylistics Electronic resource R. de. Beaugrande/ Mode of main coursehttp//www. beaugrande. bizland. om/proceedings. ? Last access 2012, October 25. ? Title from the screen. 3. Galperin I. R. Stylistic/ I. R. Galperin. ? Moscow high school, 1977. ? 331p. 4. Googe B. Eglogs, epytaphes, an d sonettes, 1563 / B. Googe, E. Arber. ? A. Constable and Co. , 1871. ? 128p. 5. Kingsley Ch. Poems/ Ch. Kingsley. ? Wildside Press LLC, 2007. ? 428p. 6. Lawrence D. H. The Complete Poems of D. H. Lawrence/ D. H. Lawrence. ? Wordsworth Editions, 1994. ? 352p. 7. Literature An Introduction to Fiction, Poetry and Drama/ Ed. By X. J. Kennedy and D. Gioia. ? Harper Collins, 1991. ? 3400p. 8. Longfellow H.W. The Song of Hiawatha And Other Poems/ H. W. Longfellow. ? The readers Digest Association Inc. , Pleasantville, N. Y. / Montreal, 1989. ? 350p. 9. Lototska K. English Stylistics/ K. Lototska. ? Lviv Ivan Franko National University of Lviv, Publishing Centre, 2008. ? 253p. 10. Maltzev V. A. An Introduction to lingual Poetics. ? , 1980. ? 240p. 11. McGuirk C. Robert Burns and the Sentimental Era/ C. McGuirk. ? Tuchwell Press, 1985. ? 193p. 12. Merriam-Websters Encyclopedia of Literature. ? Springfield, Massachusetts Merrian-Webster, Incorporated, Publishers, 1995. 1236p. 13. St. Thom as more(prenominal) Series Prose and Poetry of England/ Ed. By J. L. Maline. ? Syracuse, New York L. W. Singer Company, 1955. ? 750p. 14. The World Book Encyclopedia. ? Chicago, IL World Book, Inc. ? 2003. ? Vol. 2. ? 760p. 15. The World Book Encyclopedia. ? Chicago, IL World Book, Inc. ? 2011. ? Vol. 12. ? 538p. 16. The Encyclopedia Americana. ? Danbury, Connecticut Grolier. ? 2001. ? Vol. 16. ? 798p. 17. The Encyclopedia Americana. ? Danbury, Connecticut Grolier. ? 2001. ? Vol. 19. ? 922p. 18. Widdowson,H. G. Stylistics and the Teaching of Literature. ? L Longman,1975. 128p. 19. A Dictionary of English Literature/ Ed. by Homer A. Walt, William W. Watt. ? New York Barnes Noble, Inc. , 1877. ? 430p. 20. Oxford American Dictionary/ New Oxford American Dictionary/Ed. By John Simpson Edmund Weiner. ? Oxford University Press, Inc. , 2005. ? 1008p. 21. Collins Cobuild English Words in Use. / Ed. By J. M. Sinclair. ? London Longman, 2008. ? 1052p. 22. ?. ?. / ?. ?. . ? , 1990. ? 3 04. 1 . According to Lototska K. English stylistics tenor is the subject of thought in a trope (in rhetoric it is also called the primum comparandum), and the vehicle is the invention of a thing, person or an snitch notion with which the tenor is compared or place (the secundum comparatum). Other terminologists distinquish between idea and image or target and source. 2 . Allusion is considered to be a special variety of metaphor by Yu. Skrebnev. Allusion (from Latin to mention inderectly) is a hint, an indirect reference to something presumably known from literature, mythology, history, the Bible. 3 . According to Lototska K. English Stylistics Gradation (Gr. ascent, climbing up) is an order of battle of parallel words and statements in an ascension or descending order of importance, intensity,etc. The first, advance order is known as climax. The opposite arrangement of parallel units, by which the thought descends from higher to lower, is called anticlimax. 4 . Simile (L atin similes= alike) is an imaginative comparison (also called literary comparison). It consists on an limpid likening of one object (the tenor) to another object (the vehicle) on the basis of some common features/characteristic (the ground).The common scheme is A is like B. 5 . Wondrous ? it is a poetic or literary word which has meaning of shake a feeling of wonder or delight. 6 . Iambus ? a metrical foot consisting of one short (or weak) syllable followed by one long (or stressed) syllable. 7 . dactyl ? a metrical foot consisting of one stressed syllable followed by two unstressed syllables or (in Greek and Latin) one long syllable followed by two short syllables. 8 . Antithesis ? is an opposition or contrast of ideas usually presented in parallel constructions ( in phrases within one sentence, or two or more clauses or sentences). 9 . eriphrasis (Grek to speak all round) is a figure of speech when a longer phrase with descriptive epithets, abstract general terms, etc. , is used istead of a possible shorter and plainer form of expression. 10 . tautological epithets ? became fixed through long and repeated use, they emphasize one of the primary qualities of the defined. 11 . tribrach ? is a metrical foot used in formal poetry and Greek and Latin verse. In quantative metre(such as the meter of classical verse), it consists of three short syllables in accentual-syllabic verse (such as form