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Buloqning ko`zi
Tog`ning yon bag`ri
Oq oltin, zangori ekran
2. with his mousing walk
Buttoned strictness of his coat
O`ychan oqshomlar
Erning oppoq ko`rpasi
Solsovuldek yuzlar
In the first case we have trite SDs, in the second-fresh, genuine SD.
Speaking about SDs we must mention the cases when two or more EM or SD meet at one point, it one utterance. Such clusters of SDs are called convergence. “Together each SD adds its expressivity to that of the others. In general, the effects of these SDs converge into one especially striking emphasis” (M. Riffaterre) For example: When everyone had recovered George said; “She put in her thumb and pulled out a plum”. Then away we were into our merciless hacking-hecking laughter again. (S.M.Maugham).
Mushtipar opalarimiz, fidoyi yanga va singillarymiz tiriklikningtuganmas yumushlary deb o`n besh-yigirma yoshlaridayoq “Qush uyqu”, o`ttiz yoshlarida esa o`tin bo`lib qolmoqdalar…(Saodat jurnalidan)
In this Uzbek examples mushtipar, fidoyi, yumush, qush uyqu, o`tin is convergence.
In English examples we find the convergence of several SDs: decomposition of a proverb (to put one’s thumb into smth), a bring case of an onomatopoeia in the function of an epithet (Hacking-hecking), inversion (adverbial modifier stand before the subject).
“ … and heaved and heaved still unrestingly heaved the black sea as if its vast tides were a conscience. Here the convergence comprises repetition, inversion and simile”.5
II. Main part
2.1 Lexical Expressive Means and Stylistic Devices
Transferred meaning is the interrelation between two types of the lexical meaning: dictionary and contextual. The contextual meaning always depends on the dictionary meaning. But when the deviation is very great that it ven causes an unexpected turn in the logical meaning, we register a stylistic device. In other words we may say: when we witness two meanings of the word realized simultaneously we are confronted with a SD, where two meanings interact.
2.2 International mixing of the stylistic aspect of words
Heterogeneity of the component parts of the utterance is the basis for a stylistic device called bathos. Unrelated elements are brought together as if they denoted things equal in rank or belonging to one class, as if they were of the same stylistic aspect. By being forcibly linked together, the elements acquire a slight modification of meaning.
"Sooner shall heaven kiss earth—(here he fell sicker)
Oh, Julia! What is every other woe? —
(For God's sake let me have a glass of liquor;
Pedro, Battista, help me down below)
Julia, my love!—(you rascal, Pedro, quicker)—
Oh, Julia!—(this curst vessel pitches so)—
Beloved Julia, hear me still beseeching!"
(Here he grew inarticulate with retching.)
Such poetic expressions as 'heaven kiss earth', 'what is every other woe'; 'beloved Julia, hear me still beseeching' are joined in one flow of utterance with colloquial expressions—'For God's sake; you rascal; help me down below', 'this curst vessel pitches so'. This produces an effect which serves the purpose of lowering the loftiness of expression, inasmuch as there is a sudden drop from the elevated to the commonplace or even the ridiculous.
As is seen from this example, it is not so easy to distinguish whether the device is more linguistic or more logical. But the logical and linguistic are closely interwoven in problems of stylistics.
Another example is the following—
"But oh? ambrosial cash! Ah! who would lose thee?
When we no more can use, or even abuse thee!"
("Don Juan")
Ambrosial is a poetic word meaning 'delicious',- 'fragrant', 'divine'. Cash is a common colloquial word meaning 'money', 'money that a person actually has', 'ready money'.
Whenever literary words come into collision with non-literary ones there arises incongruity, which in any style is always deliberate, inasmuch as a style presupposes a conscious selection of language means.
The following sentence from Dickens's "A Christmas Carol" illustrates with what skill the author combines elevated words and phrases and common colloquial ones in order to achieve the desired impact on the reader—it being the combination of the supernatural and the ordinary.
"But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for."
The elevated ancestors, simile, unhallowed, disturb (in the now obsolete meaning of tear to pieces) are put alongside the colloquial contraction the Country^ (the country is) and the colloquial done for.
This device is a very subtle one and not always discernible even to an experienced literary critic, to say nothing of the rank-and-file reader. The difficulty lies first of all in the inability of the inexperienced reader to perceive the incongruity bf the component parts of the utterance. Byron often uses bathos, for example,-
"They grieved for those who perished with the cutter
And also for the biscuit-casks and butter."
The copulative conjunction and as well as the adverb also suggest the homogeneity of the concepts those who perished and biscuit-casks and butter. The people who perished are placed on the same level as the biscuits and butter lost at the same time. This arrangement may lead to at least two inferences:
1) for the survivors the loss of food was as tragic as the loss of friends who perished in the shipwreck;
2) the loss of food was even more disastrous, hence the elevated grieved ... for food.
It must be born in mind, however, that this interpretation of the subtle stylistic device employed here is prompted by purely linguistic analysis: the verbs to grieve and to perish, which are elevated in connotation, are more appropriate when used to refer to people—and are out of place when used to refer to food. The every-day-life cares and worries overshadow.the grief for the dead, or at least are put on the same level. The verb to grieve, when used in reference to both the people who perished and the food which was lost, weakens, as it were, the effect of the first and strengthens the effect of the second.
The implications and inferences drawn from a detailed and meticulous analysis of language means and stylistic devices can draw additional information from the communication. This kind of implied meaning is derived not directly from the words but from a much finer analysis palled sup rali near or suprasegmental.
Almost of the same kind are the following lines, also from Byron:
"Let us have wine and women, mirth and laughter, .
Sermons and soda-water—the day after."
Again we have incongruity of concepts caused by the heterogeneity of the conventionally paired classes of things in the first line and the alliterated unconventional pair in the second line. It needs no proof that the words sermons and soda-water are used metonymically here signifying 'repentance' and 'sickness1 correspondingly. The decoded form of this utterance will thus be: "Let us now enjoy ourselves in spite of consequences." But the most significant item in the linguistic analysis here will, of course, be the identical formal structure of the pairs I. wine and women; 2. mirth and laughter and 3. sermons and soda-water. The second pair consists of words so closely related that they may be considered almost synonymous. This affects the last pair and makes the words sermons and soda-water sound as if they were as closely related as the words in the first two pairs. A deeper insight into the author's intention may lead the reader to interpret them as a tedious but unavoidable remedy for the sins committed.
Byron especially favors the device of bathos in his "Don Juan." Almost every stanza contains ordinarily unconnected concepts linked together by a coordinating conjunction and producing a mocking effect or a realistic approach to those phenomena of life which imperatively demand recognition, no matter how elevated the subject-matter may be.
Here are other illustrations from this epoch-making poem:
"heaviness of heart or rather stomach;"
"There's nought, no doubt, so much the spirit calms
As rum and true religion"
"...his tutor and his spaniel"
"who loved philosophy and a good dinner"
"I cried upon my first wife's dying day
And also when my second ran away."
We have already pointed out the peculiarity of the device, that it is half linguistic, half logical. But the linguistic side becomes especially conspicuous when there is a combination of stylistically heterogeneous words and phrases. Indeed, the juxtaposition of highly literary norms of expression and words or phrases that must be classed as non-literary, sometimes low colloquial or even vulgar, will again undoubtedly-produce a stylistic effect, and when decoded, will contribute to the content of the utterance, often adding an element of humour. Thus, for instance, the following from Somerset Maugham's "The Hour before Dawn":
"'Will you oblige me by keeping your trap shut, darling?' he retorted."
The device is frequently presented in the structural model which we shall call heterogeneous enumeration
2.3 Interaction of different types of lexical meaning
Words in context, as has been pointed out, may acquire additional lexical meanings not fixed in dictionaries, what we have called con-textual 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, as, for example, with the word sophisticated. This is especially the case when we deal with transferred meanings.
What is known in linguistics as transferred meaning is practically the interrelation between two types of lexical meaning: dictionary and contextual. The contextual meaning will always depend on the dictionary (logical) meaning to a greater or lesser extent. When the deviation from the acknowledged meaning is carried to a degree that it causes an unexpected turn in the recognized logical meanings, we register a stylistic device.
The transferred meaning of a word may be fixed 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. The term 'transferred' points to the process of formation of the derivative meaning. Hence the term 'transferred' should be used, to our mind, as a lexicographical term signifying diachronically the development of the se-, mantic structure of the word. In this case we do not perceive two meanings.
When, however, we perceive two meanings of a word simultaneously, we are confronted with a stylistic device in which the two meanings interact.
2.4 Interaction of primary dictionary and contextually imposed meaning
The interact ion or interplay between the primary dictionary meaning (the meaning which is registered in the language code as an easily recognized sign for an abstract notion designating a certain phenomenon or object) and a meaning which is imposed on the word by a micro-context may be maintained along different lines. One line is when the author identifies two objects which have nothing in common, but in which he subjectively sees a function, or a property, or a feature, or a quality that may make the reader perceive these two objects as identical. Another line is when the author finds it possible to substitute one object for another on the grounds that there is some kind of interdependence or interrelation between the two corresponding objects. A third line is when a certain property or quality of an object is used in an opposite or contradictory sense.
The stylistic device based on the principle of identification of two objects is called a metaphor. The SD based on the principle of substitution of one object for another is called metonymy and the SD based on contrary concepts is called irony.
Let us now proceed with a detailed analysis of the ontology, structure and functions of these stylistic devices.
The relations between different types of lexical meanings may be, based on various principles:
1) The principle of affinity-metaphor,
2) The principle of contiguity-metonymy
3) The principle of opposition-irony.
As it has been stated above the lexical meanings of a word comprise various meanings. But the difference between these meanings not be great and unexpected. In most cases these meanings appear on the principal of affinity existing between the notions and objects surrounding us.
The interaction or interplay between the primary dictionary meaning-the meaning which is registered in the language code as an easily recognized sign for an abstract notion designating a certain phenomenon or object-and a meaning which is imposed on the word by a micro-context may be maintained along different lines. One line is when the author identifies two objects which have nothing is common, but in which he subjectively sees a function, or a property, or a feature, or a quality that may make the reader perceive these two objects as identical. Another line is when the author finds it possible to substitute one object for another on the grounds that there is some kind of interdependence or interrelation between the two corresponding objects. A third line is when a certain property or contradictory sense.
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