The modal verbs are important for the stylistic because they transmit the aptitude of the speaker towards to the information: doubt, negation, etc. The verbs can, may, must, ought, shall, will as the modal particles just, only have to be taken much attention. To understand this phenomena completely, let’s considerate the shall using in the poem of D.Thomas And Death Shall Have No Dominion. First of all, we would like to present this poem:
And Death shall have no dominion.
Dead men naked they shall be one
With men in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And Death shall have no dominion. The title of the poem forms its main theme. This is the heated argument of the poet with the Death. The sentence And Death Shall Have No Dominion is repeated twice – at the beginning and at the end of the poem. This repetition picks out the main idea of the poem and the other sentences become the development of this idea. Let’s considerate the first strophe in which the author says that the man joins with the nature after his death. The man’s situation at the moment of the death is very tragic but this tragedy will be overcome. The Death has no power over the man. It is well known that shall is not only the modal verb. In the modern English shall is the auxiliary verb of the Future Indefinite Tense. As a rule, shall keeps its modality when it is used in the Future
Indefinite Tense with the pronouns you, he, she, it, they.
But this rule is not kept strictly. In this poem shall is repeated eight times and by this fact it receives expressiveness and shows many modal opportunities. The poem is looks like the prediction and solemn promise. The special distribution in the context lets shall to express strongly the duty and the persistence. The expressiveness of shall in this poem is supported by the rich convergence. Besides the repetitions, there are the parallel constructions in the sixth, seventh and eithth lines and the antithesis of the light and the dull. For example: mad – sane, sink – rise.
We have considered the main means to express the emotions. The next chapter is devoted too the analysis of the emotional statements in the E.M.Forster’s novel.
Chapter 2. The emotional statements in the E.M.Forster’s novel “A room with a view”
emotion epithet forster trope
2.1 Some words about E.M.Forster
Edward Morgan Forster was born in London in 1879, attended Tonbridge school as a day boy, and went on to King’s College, Cambridge, in 1879. With King’s he had a lifelong connection and he was elected to an honorary fellowship in 1946.
E.M. Forster had honorary degrees conferred on him by many universities.
E.M. Forster used to declare that his life as a whole was not dramatic and he was unfailingly modest about his achievements. Interviewed by the B.B.C. on his eightieth birthday he said:
“I have not written as much as I’d like to… I write for two reasons: partly to make money and partly to win the respect of people whom I respect… I had better add that I am quite sure I am not a great novelist.”
Eminent critics and the general public have judged otherwise; in Penguins alone “A Passage to India” has sold well over three quarters of a millions copies.
In addition to his five famous novels and collection of short stories, E.M. Forster published about fourteen other works. They include two biographies; two books about Alexandria, the result of his sojourn there in the First World War, when he was with the Red Cross: a film script; and with Eric Crozier, the libretto for Britten’s opera Billy Budd.
A sixth novel, Maurice, written in 1914, which E.M. Forster would not allow to be published during his lifetime, has also been published in Penguins.
Edward Morgan Forster died in 1970.
2.2 The analysis of the novel “A room with a view”
The novel “A room with a view” is interesting from the point of view of the emotional content of the words.
For example, we found out many examples with the interjections. We can even say that this novel abounds in the interjections. The interjections in this novel express both the positive and negative emotions:
“Oh, but that is the word of a craven! And no, you are not, not, not to look at your Baedeker. Give it to me; I shan’t let you carry it.”
«О, но это слова труса! И нет, вам не надо, не надо, не надо смотреть на вашего Бэдкера. Дайтеэтомне; янепозволювамэтонести.»
“Oh, good gracious me!” said Lucy, suddenly collapsing and again seeing the whole of life in a new perspective.”
«О, Боже мой!» - сказала Люси, внезапно упав духом и снова пересмотрев всю жизнь в новой перспективе»
“Oh, dear Miss Honeychurch, you will catch a chill!”
«О, дорогая мисс Ханичёрч, вы простудитесь!»
“Oh, let me congratulate you! Said Miss Bartlett. “After your despair of yesterday! Whatafortunatething!”
«О, позвольте мне поздравить вас!» - сказала мисс Бартлетт. «После вашего вчерашнего отчаяния! Какой счастливый случай!»
“Aha! Miss Honeychurch, come you here! I am in luck. Now, you are to tell me absolutely everything that you saw from the beginning.”
«Ага! Мисс Ханичёрч, идите сюда! Мне везёт. Теперь, вы должны рассказать мне абсолютно всё, что вы видели с самого начала.»
“Tut! Tut! Miss Lucy! I hope we shall soon emancipate you from Baedeker.
«Ах, ты! Мисс Люси! Я надеюсь, что скоро освобожу вас от Бэдкера.
“Oh, do keep quiet, mother! I had to say no when I couldn’t say yes.”
«Ох, мама, успокойся! Мне надо было сказать «нет», когда я не мог сказать «да».
“Oh, Cecil!” she exclaimed – “oh, Cecil, do tell me!”
«О, Сесилия!» - воскликнула она. – О, Сесилия, расскажи мне!»
“Oh, for a real man! We are only two women, you and I. Mr Beebe is hopeless. There is Mr Eager, but you do not trust him. Oh, foryourbrother!...”
«О, ради настоящего человека! Мы всего лишь две женщины, ты и я. Мистер Биб безнадёжен. Есть ещё Мистер Игэр, но ты не доверяешь ему. О, ради твоего брата!»
“I should say so. Don’t sit in that chair; young Honeychurch has left a bone in it.”
“Pfui!”
“Я должен сказать так. Не садитесь на этот стул. Молодая Ханичёрч оставила на нём кость.»
«Тьфу!»
In some of these examples the interjections are combined with the repetition. As we said above, the stylistic repetition is the repetition of a word or word combination in one sentence, paragraph or the whole text. The number of the repetitions can be different, but they must be noticed by the reader.
We would like to cite some examples of the emotional repetition:
“A smell! A true Florentine smell! Every city, let me teach you, has its own smell.”
«Запах! Настоящий флорентийский запах! Позвольте мне сказать вам, что каждый город имеет свой собственный запах!»
“Lost! Lost! My dear Miss Lucy, during our political diatribes we have taken a wrong turning.”
«Пропали! Пропали! Моя дорогая Мисс Люси, во время наших политических обсуждений мы приняли неправильную сторону» “Oh, butthatisthewordofacraven! And no, you are not, not, not to look at your Baedeker. Give it to me; I shan’t let you carry it.”
«О, но это слова труса! И нет, вам не надо, не надо, не надо смотреть на вашего Бэдкера. Дайтеэтомне; янепозволювамэтонести.»
We consider also necessary that many emotional statement are used with the exclamation mark. The exclamation mark is used in these statements to strengthens the emotional meaning of the sentences, even if the word hasn’t the emotional connotation.
In the theoretical part we have said that the epithets can also be emotional. So, in the novel the author makes use of the epithets:
“Oh, but that is the word of a craven! And no, you are not, not, not to look at your Baedeker. Give it to me; I shan’t let you carry it.”
«О, но это слова труса! И нет, вам не надо, не надо, не надо смотреть на вашего Бэдкера. Дайте это мне; я не позволю вам это нести.»
“Oh, letmecongratulateyou! Said Miss Bartlett. “After your despair of yesterday! Whatafortunatething!”
«О, позвольте мне поздравить вас!» - сказала мисс Бартлетт. «После вашего вчерашнего отчаяния! Какой счастливый случай!»
“The damned fool!”, she exclaimed.
«Проклятаядура!» - воскликнулаона. “How could I have been such a fool?” she cried angrily.
«Как я могла быть такой дурой?» закричала она со злостью.
“Oh my dear,” she cried gaily, “how marvelous!”
«О, мой дорогой,» - весело закричала она – «как это чудесно!»
The stylistic device of the metaphor is used also in the novel. But we should note that these are the zoonymic metaphors. These are the examples of the zoonymic metaphors used by E.M.Forster:
“Poor lamb!” she said to herself.
«Бедный ягнёнок!» сказала она самой себе.
“You bloody swine, how dare you talk to me like that?”
«Ты проклятая свинья, как ты смеешь разговаривать со мной подобным образом?»
Let’s give also the examples of the device of comparison which make the statements emotional:
“I’ve been thinking of the past and I’m as blue as the devil”
«Я думал о прошлом и я в сильном унынин»
“When you came in just now, like a whirlwind”, she said, “I thought you looked twenty years younger.
«Когда вы только что вошли, подобно урагану», - сказала она, «Я подумала, что вы выглядете на двадцать лет моложе»
“I feel like a two-year-old.”
«Я чувствую себя как двухлетний ребёнок»
“What nonsense! You know I’ve got more money than I know what to do with”
«Что за ерунда! Ты знаешь, я зарабатываю больше денег, чем знаю, что с ними делать»
E.M.Forster makes use one of the syntactical devices of the emotion expression. It’s the inversion. These are the examples of the inversion:
“A smell! A true Florentine smell! Every city, let me teach you, has its own smell.”
«Запах! Настоящий флорентийский запах! Позвольте мне сказать вам, что каждый город имеет свой собственный запах!»
In this sentence the characters at first pronounce the object which impresses her.
Let’s give the examples of the inversion:
“Lost! Lost! My dear Miss Lucy, during our political diatribes we have taken a wrong turning.” «Пропали! Пропали! Моя дорогая Мисс Люси, во время наших политических обсуждений мы приняли неправильную сторону»
Conclusion
We have studied the theoretical works on the stylistics and have made the research of the novel “A Room with a View”.
Every word has denotative and connotative meanings. The denotative meaning is the meaning which denotes the notion.
But the word can have the emotional component of the meaning if it expresses an emotion or the feeling. The pure signs of the emotion are the interjections. These words represent the special level of the lexicology because they don’t have the notional and logical meanings.
The interjections express the emotions in the common meaning. They don’t even show its positive or negative feature.
For example, the interjection “Oh” can express the joy and the sorrow.
The authors use different means to express the emotions in their works. Let’s consider them.
The writers very often use the epithets. The epithet is a lexical and syntactical trope. It can function as an attribute, an adverb and an address.
The emotional meaning of the statement can be transmitted by the repetition. The stylistic repetition is the repetition of a word or word combination in one sentence, paragraph or the whole text. The number of the repetitions can be different, but they must be noticed by the reader. The verbal forms can also transmit the emotional meaning.
The durative forms of the Present, Past and Future tenses are often used in the cases when they should be in the indefinite form.
The durative forms are more emotional. They can express the fleeting irritation of the interlocutors. The analysis of the E.M.Forster’s novel “A room with a View” showed that the author widely uses the interjections which in this novel negative and positive. E.M. Forster uses also the repetition. In some emotional statements the interjections go on with the exclamation mark and the repetition which make the sentence very emotional.
List of the used literature
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[1] Арнольд И.В. Стилистика. Современный английский язык. – М.: Издательство «Флинта», 2004. – Р. 154.
[2] Арнольд И.В. Стилистика. Современный английский язык. – М.: Издательство «Флинта», 2004. – Р. 133.
[3] Арнольд И.В. Стилистика . Современный английский язык. – М.: Издательство «Флинта», 2004. – Р. 176.
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[5] Арнольд И.В. Стилистика. Современный английский язык. – М.: Флинта, 2004. – P.210.
[6]The same edition. – P. 211.