Styles and Stylistics

Styles and Stylistics

The subject of stylistics has so far not been definitely outlined. This is due to a number of reasons. First of all there is confusion between the terms style and stylistics. The first concept is so broad that it is hardly possible to regard it as a term. We speak of style in architecture, literature, behaviour, linguistics, dress and other fields of human activity. Even in linguistics the word style is used so widely that it needs interpretation. The majority of linguists who deal with the subject of style agree that the term applies to the following fields of investigation:

1) the aesthetic function of language;
2) expressive means in language;
3) synonymous ways of rendering one and the same idea;
4) emotional colouring of language;
5) a system of special devices called stylistic devices;
6) the splitting of the literary language into separate sub-systems called stylistic devices;
7) the inter-relation between language and thought;
8) the individual manner of an author in making use of language.

The origin of the term Style and Stylistics.
Latin - stylus - a stick made of material for writing.
Stylistics - from French " Stylistique " -instrument for Writing.

1. There is a widely held view that style is the correspondence between thought and expression. The notion is based on the assumption; that of the two functions of language, (language is said to have two functions: it serves as a means of communication and also as a means of shaping one's thoughts). The first function is called communicative, the second - expressive, the latter finds its proper materialization in strings of sentences especially arranged to convey the ideas and also to get the desired response.
Indeed, every sentence uttered may be characterized from two sides: whether or not the string of language forms expressed is something well-known and therefore easily understood and to some extent predictable; whether or not the string of language forms is built anew; is, as it were, an innovation made on the part of the listener to get at the meaning of the utterance and is therefore unpredictable.
Many great minds have made valuable observations on the interrelation between thought and expression. The main trend in most of these observations may be summarized as follows the linguistic form of the idea expressed always reflects the peculiarities of the thought. And vice versa, the character of the thought will always in a greater or lesser degree manifest itself in the language forms chosen for the expression of the idea.

2. Another commonly accepted connotation of the term style is embellishment of language. This concept is popular and is upheld in some of the scientific papers on literary criticism. Language and style are regarded as separate bodies, language can easily dispense with style, which is likened to the trimming on a dress. Moreover, style as an embellishment of language is viewed as something that hinders understanding. In its extreme, style may dress the thought in such fancy attire that one can hardly get at the idea hidden behind the elaborate design of tricky stylistic devices.
This notion presupposes the use of bare language forms deprived of any stylistic devices of any expressive means deliberately employed. Perhaps it is due to this notion that the word "style" itself still bears a somewhat derogatory meaning. It is associated with the idea of something pompous, showy artificial, something that is set against simplicity, truthfulness, the natural. Shakespeare was a determined enemy of all kinds of embellishments of language.

3. A very popular notion among practical linguists, teachers of language, is that style is technique of expression. In this sense style is generally defined as the ability to write clearly, correctly and in a manner calculated to the interest of the reader. Style in this utilitarian sense should be taught, but it belongs to the realm of grammar, and not to stylistics. It sets up a number of rules as to how to speak and write and discards all kinds of deviations as being violations of the norm. The norm itself becomes rigid, self-sustained and to a very great extent inflexible.

4. The term style also signifies a literary genre. Thus we speak of classical style or the style of classicism; realistic style; the style of romanticism and so on. On the other hand, the term is widely used in literature, being applied to the various kinds of literary work, the fable, novel, ballad, story etc. Thus we speak of a story being written in the style of a fable or we speak of the characteristic features of the epistolary style or the essay and so on.

Finally there is one more important application of the term style. We speak of the different styles of language. A style of Language is a system of interrelated language means which serves a definite aim in communication. The peculiar choice of language means is primarily dependent on the aim of communication.
Thus we may distinguish the following styles within the English literary language: 1) the belles- letters style; 2) the publicistic style; 3) the newspaper style; 4} the scientific prose style; 5) the style of official documents and presumably some others. The classification presented here is not arbitrary, the work is still in the observational stage. The classification is not proof against criticism, though no one will deny that the five groups of styles exist in the English literary language.

Stylistics and its Subdivisions
1. Galperin: Stylisitics is a branch of general linguistics, which deals with the following two interdependent tasks:
a) studies the totality of special linguistic means ( stylistic devices and expressive means ) which secure the desirable effect of the utterance;
b) studies certain types of texts "discourse" which due to the choice and arrangement of the language are distinguished by the pragmatic aspect of communication (functional styles).


Depending on the school of thought there are:
1. Linguo-stylistics;
2. Literary stylistics;
3. Stylistics of decoding;

1. Linguo - stylistics is the study of literary discourse from a linguistic orientation. The linguistics is concerned with the language codes themselves and particular messages of interest and so far as to exemplify how the codes are constructed.
2. Literary stylistics: is to explicate the message to interprete and evaluate literary writings as the works of art.
3. Stylistics of decoding can be presented in the following way:
sender - message - receiver speaker - book - reader.

Process of reading is decoding.
The subject of stylistics can be outlined as the study of the nature, functions and structure of stylistic devices, on the one hand, and, on the other, the study of each style of language as classified above, i, e, its aim, its structure, its characteristic features and the effect it produces, as well as its interrelation with other styles of language. The task we set before ourselves is to make an attempt to single out such, problems as are typically stylistic and cannot be treated in any other branch of linguistic science.

Expressive Means (EM) and Stylistic Devices (SD)
In linguistics there are different terms to denote those particular means by which a writer obtains his effect. Expressive means, stylistic means, stylistic devices and other terms are all used indiscriminately For our purposes it is necessary to make a distinction between expressive means and stylistic devices. All stylistic means of a language can be divided into expressive means, which are used in some specific way, and special devices called stylistic devices. The expressive means of a language are those phonetic means, morphological forms, means of word-building, and lexical, phraseological and syntactical forms, all of which function in the language for emotional or logical intensification of the utterance. These intensifying forms of the language have been fixed in grammars and dictionaries. Some of them are normalized, and good dictionaries label them as intensifiers. In most cases they have corresponding neutral synonymous forms.
The most powerful expressive means of any language are phonetic. Pitch, melody, stress, pausation, drawling, drawling out certain syllables, whispering, a sing-song manner of speech and other ways of using the voice are more effective than any other means in intensifying the utterance emotionally or logically. Among the morphological expressive means the use of the Present indefinite instead of the Past Indefinite must be mentioned first. This has already been acknowledged as a special means and is named the Historical Present. In describing some past events the author uses the present tense, thus achieving a more vivid picturisation of what was going on.



The use of "shall" in the second and third person may also be regarded as an expressive means. Compare the following synonymous forms and you will not fail to observe the intensifying element in the sentence with "shall".
He shall do it = (I shall make him do it)
He has to do it = (It is necessary for him to do it)
Among word-building means we find a great many forms which serve to make the utterance more expressive and fresh or to intensify it. The diminutive (less important) suffixes as: - let (book-booklet), -ie (dear-dearie), stream-streamlet etc add some emotional colouring to the words.
Certain affixes have gained such a power of expressiveness that they begin functioning as separate words, absorbing all of generalizing meaning they usually attach to different roots, as for example: -ism and ologies.
At the lexical level there are a great many words which due to their inner expressiveness, constitute a special layer There are words with emotive meaning only, like interjections, words which have both referential and emotive meaning, like some of the qualitative adjectives, words belonging to special groups of Literary English or of non - standard English (poetic, archaic, slang, vulgar, etc.) and some other groups.

The same can be said of the set expressions of the language such as proverbs and sayings as well as catch - words for a considerable number of language units which serve to make speech more emphatic, mainly from the emotional point of view. Their use in everyday speech can hardly be overestimated. Some of these proverbs and sayings are so well - known that their use in the process of communication passes almost unobserved.
The expressive means (EM) of the language are studied respectively in manuals of phonetics, grammar, lexicology and stylistics. Stylistics, however, observes not only the nature of an expressive means, but also its potential capacity of becoming a stylistic device.
What then is a stylistic device (SD)? It is a conscious and intentional literary use of some of the facts of the language including EM in which the most essential features both structural and semantic of the language forms are raised to a generalized level and thereby present a generative model. Most stylistic devices may be regarded as aiming at the further intensification in the corresponding EM.
This conscious transformation of a language fact into a stylistic devise has been observed by certain linguists whose interests in scientific research have gone beyond the boundaries of grammar.

The birth of a SD is not accidental. Language means which are used with more or less definite aims of communication and in one and the same function in various passage of writing, begin gradually to develop new features, a wider range of functions and become a relative means of the language. It would perhaps be more correct to say that/unlike expressive means, stylistic devices are patterns of the language whereas the expressive means do not form patterns. They are just like words themselves, they are facts of the language, and as such are, or should be, registered in dictionaries.
The interrelation between expressive means and stylistic devices can be worded in terms of the theory of information. Expressive means have a greater degree of predictability than stylistic devices. The latter may appear in an environment which may seem alien and therefore be only slightly or not at all predictable. Expressive means are commonly used in language, and are therefore easily predictable. Stylistic devices carry a greater amount of information because if they are at all predictable they are less predictable than expressive means. It follows that stylistic devices must be regarded as a special code which has still to be deciphered.
Not every stylistic use of a language fact will come under the term SD. There are practically unlimited possibilities of presenting any language fact in what is vaguely called it's stylistic use.

Stylistic Classification of the English Vocabulary
1. General considerations. In order to get a more or less idea of the word stock of any language, it must be presented as a system, the elements of which are interconnected, interrelated and yet independent. The word stock of a language may be represented as a definite system in which different aspects of words may be singled out as interdependent. A special branch of linguistic science-lexicology - has done much to classify vocabulary. For our purpose, i. e. for linguistic stylistics, a special type of classification, stylistic classification is the most important.
An accordance with the division of language into literary and colloquial, we may represent the whole of the word stock of the English language as being divided into three main layers: the literary layer, the neutral layer and the colloquial layer. The literary and the colloquial layers contain a number of subgroups each of which has a property it shares with all the subgroups within the layer. This common property, which unites the different groups of words within the layer may be called its aspect. The aspect of the literary layer is its markedly bookish character. It is this that makes the layer more or less stable. The aspect of the colloquial layer of words is its lively spoken character. It is this that makes it unstable, fleeting.
The aspect of the neutral layer is its universal character. That means it is unrestricted in its use. It can be employed in all styles of language and in all spheres of human activity. The literary layer of words consists of groups accepted as legitimate members of the English vocabulary. They have no local or dialectal character. The colloquial layer of words as qualified in most English or American dictionaries is not infrequently limited to a definite language community or confine to a special locality where it circulates.

The literary vocabulary consists of the following groups of words: 1) common literary; 2) terms and learned words; 3) poetic words; 4) archaic words; 5) barbarisms & foreign words; 6) literary coinages including nonce words.

The colloquial vocabulary falls into the following groups: 1) common colloquial words; 2) slang; (very informal words and expressions that are more common in spoken language, especially used by a particular group of people, for example, children, criminals, soldiers, etc.) 3) jargonisms or professional words; 4) dialectal words; 6) vulgar words; 7) colloquial coinages (words used in conversation but not in formal speech or writing). The common literary, neutral and common colloquial words are grouped under the term standard English vocabulary.


Phonetic Expressive Means and Stylistic Devices
The stylistic approach to the utterance is not confined to its structure and sense. There is another thing to be taken into account which in a certain type of communication plays an important role. This is the way a word, a phrase or a sentence sounds. The sound of most words taken separately will have little or no aesthetic value. It is in combination with other words that a word may acquire a desired phonetic effect. The way a separate word sounds may produce a certain euphonic effect, but this is a matter of individual perception and feeling and therefore subjective.
The theory of sense - independence of separate sounds is based on a subjective interpretation of sound associations and has nothing to do with objective scientific data. However, the sound of a word, or more exactly the way words sound in combination, cannot fail to contribute something to the general effect of the message, particularly when the sound effect has been deliberately worked out. This can easily be recognized when analyzing alliterative word combinations or the rhymes in certain stanzas or from more elaborate analysis of sound arrangement.

Onomatopoeia
Onomatopoeia is a combination of speech sounds which alms at imitating sounds produced in nature (wind, sea, thunder, etc.) by things (machines or tools, etc.) by people (singing, laughter) and animals. Therefore the relation between onomatopoeia and the phenomenon it is supposed to represent is one of metonymy There are two varieties of onomatopoeia: direct and indirect.
Direct onomatopoeia is contained in words that imitate natural sounds, as ding-dong, burr, bang, cuckoo. These words have different degrees of imitative quality. Some of them immediately bring to mind whatever it is that produces the sound. Others require the exercise of a certain amount of imagination to decipher it. Onomatopoetic words can be used in a transferred meaning, as for instance, ding - dong, which represents the sound of bells rung continuously, may mean 1) noisy, 2) strenuously contested.
Indirect onomatopoeia demands some mention of what makes the sound, as rustling of curtains in the following line. And the silken, sad, uncertain rustling of each purple curtain. Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense. It is sometimes called "echo writing". An example is: And the silken, sad, uncertain rustling of each purple curtain" (E. A. Poe), where the repetition of the sound [s] actually produces the sound of the rustling of the curtain.

Alliteration
Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words: " The possessive instinct never stands still (J. Galsworthy) or, "Deep into the darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortals ever dared to dream before" (E. A. Poe).
Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning unless we agree that a sound meaning exists as such. But even so we may not be able to specify clearly the character of this meaning, and the term will merely suggest that a certain amount of information is contained in the repetition of sounds, as is the case with the repetition of lexical units.

Rhyme
Rhyme is the repetition of identical or similar terminal sound combination of words. Rhyming words are generally placed at a regular distance from each other. In verse they are usually placed at the end of the corresponding lines.
Identity and similarity of sound combinations may be relative. For instance, we distinguish between full rhymes and incomplete rhymes. The full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable, including the initial consonant of the second syllable (in polysyllabic words), we have exact or identical rhymes.
Incomplete rhymes present a greater variety They can be divided into two main groups: vowel rhymes and consonant rhymes. In vowel-rhymes the vowels of the syllables in corresponding words are identical, but the consonants may be different as in flesh - fresh -press. Consonant rhymes, on the contrary, show concordance in consonants and disparity in vowels, as in worth - forth, tale - tool -treble - trouble; flung - long.
Modifications in rhyming sometimes go so far as to make one word rhyme with a combination of words; or two or even three words rhyme with a corresponding two or three words, as in "upon her honour - won her", "bottom –forgot them- shot him". Such rhymes are called compound or broken. The peculiarity of rhymes of this type is that the combination of words is made to sound like one word - a device which inevitably gives a colloquial and sometimes a humorous touch to the utterance. Compound rhyme may be set against what is called eye - rhyme, where the letters and not the sounds are identical, as in love - prove, flood - brood, have - grave. It follows that compound rhyme is perceived in reading aloud, eye - rhyme can only be perceived in the written verse.

Rhythm
Rhythm exists in all spheres of human activity and assumes multifarious forms. It is a mighty weapon in stirring up emotions whatever its nature or origin, whether it is musical, mechanical or symmetrical as in architecture. The most general definition of rhythm may be expressed as follows: "rhythm is a flow, movement, procedure, etc. characterized by basically regular recurrence of elements or features, as beat, or accent, in alternation with opposite or different elements of features" (Webster's New World Dictionary).
Rhythm can be perceived only provided that there is some kind of experience in catching the opposite elements or features in their correlation, and, what is of paramount importance, experience in catching regularity of alternating patterns. Rhythm is a periodicity, which requires specification as to the type of periodicity. Inverse rhythm is regular succession of weak and strong stress. A rhythm in language necessarily demands oppositions that alternate: long, short; stressed, unstressed; high, low and other contrasting segments of speech.
Academician V.M. Zhirmunsky suggests that the concept of rhythm should be distinguished from that of a metre. Metre is any form of periodicity in verse, its kind being determined by the character and number of syllables of which it consists. The metre is a strict regularity, consistency and unchangeability. Rhythm is flexible and sometimes an effort is required to perceive it. In classical verse it is perceived at the background of the metre. In accented verse - by the number of stresses in a line. In prose - by the alternation of similar syntactical patterns. Rhythm in verse as a S. D. is defined as a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard.
Rhythm is not a mere addition to verse or emotive prose, which also has its rhythm. Rhythm intensifies the emotions. It contributes to the general sense. Much has been said and writhen about rhythm in prose. Some investigators, in attempting to find rhythmical patterns of prose, superimpose metrical measures on prose. But the parametres of the rhythm in verse and in prose are entirely different.

Lexical Expressive Means and Stylistic Devices
Words in a context may acquire additional lexical meanings not fixed in the dictionaries, what we have called contextual meanings. The latter may sometimes deviate from the dictionary meaning to such a degree that the new meaning even becomes the opposite of the primary meaning. What is known in linguistics as transferred meaning is practically the interrelation between two types of lexical meaning: dictionary and contextual.
The transferred meaning of a word may be fixeв in dictionaries as a result of long and frequent use of the word other than in its primary meaning. In this case we register a derivative meaning of the word. Hence the term transferred should be used signifying th£ development of the semantic structure of the word. In this case we do not perceive two meanings. When we perceive two meanings of the word simultaneously, we are confronted with a stylistic device in which the two meanings interact.

Imagery
In philosophy "image" denotes the result of reflection of the object of reality in man's consciousness. On the sensible level our senses, ideas might be regarded as images. On a higher level of thinking images take the form of concepts, judgements, conclusions. Depending on the level of reflecting the objective reality ( sensual and conceptual) there are 2 types of images:
1. Art - reflects the objective reality in human life. While informing us of a phenomenon of life it simultaneously expresses our attitude towards it.
2. Literature - deals with a specific type of artistic images, verbal - is a pen - picture of a thing, person or idea expressed in a figurative way in their contextual meaning in music - sounds. The overwhelming majority of Iinguists agree that a word is the smallest unit being able to create images because it conveys the artistic reality and image. On this level the creation of images is the result of the interaction of two meanings: direct (denotation) and indirect (figurative). Lexical expressive meanings in which a word or word combination is used figuratively are called tropes. The verbal meaning has the following structure:

1. Tenor (direct thought) subjective;
2. Vehicle (figurative thought) objective;
3. Ground is the common feature of T and V;
4. The relation between T and V;
5. The technique of identification (The type of trope);

T G R V
e. g. She is sly like a fox (simile). Images may be individual, general.

a) deal with concrete thing or idea e.g. Thirsty wind.
b) embrace the whole book e. g. War and Peace.
c) visual
e. g. the cloudy lifeage of the sky
d) oral - created by sound imitations

Classification of Lexical Stylistic Devices
There are 3 groups.
1. The interaction of different types of lexical meaning.
a) dictionary and contextual (metaphor, irony);
b) primary and derivative (pun);
c) logical and emotive (epithet);
d) logical and nominative (autonomasia);

2. Intensification of a feature (simile, hyperbole).
3. Peculiar use of set expressions (cliches, proverbs, epigram, quotations).


(Rishi Kumar Nagar, Jalandhar.)