It's a night far from our time, far even from our world. The moon's hiding, now, behind on of the elms, and the evening star shining. th for the third person singular, Present Indicative: endeth, liveth, knoweth, saith, doth, hath, etc. There are also archaic forms in the conjugation of the English verb belonging to the high style only, e. Touch her not - Do not touch her! = Don't touch her!). For what? For sitting still for doing nothing for waiting to see! Venus! Touch not the goddess - the hot, the jealous one with the lost dark eyes! He had touched her in the past, and she had answered with a blow. No use to rave! Worse than no use - far would only make him ill, and he would want all his strength. The same is true negative forms of the Imperative Mood without the auxiliary do. and on the gleaming river every fallen leaf that drifted down carried a moonbeam while, above, the trees stayed, quiet measured and illumined, quiet as the very sky, for the wind stirred not. The tune died and was renewed, and died again, and still Soames sat in the shadow, waiting for he knew not what. They passed from his view into the next room, and Soames continued to regard the "Future Town", but saw it not. There are also variant forms of the Past tense with emphasis laid on negation which are also stylistically marked: he saw not = he did not see he knew not = he did not know. 1, М., 1960.Ģ92and Past Indefinite with do and did and the emphatic forms of the Imperative Mood with the auxiliary do. The first to be mentioned here are the emphatic forms of the Presentġ See: Л. In English morphology they are few in number. Grammatical forms with inherent expressive value are stylistically marked units of grammar.
In terms of grammatical aspects of style, we find it reasonable to distinguish between inherent and adherent expressivity of grammatical forms. Galsworthy, for instance, uses grammatical imagery in his "Forsyte Saga" so masterly that some of its pages are, indeed, difficult to place in "prose - poetry" dichotomy. Great writers possess an intuitive mastery of the rules that are obligatory within the tradition of language but they have always selective way and can manipulate these rules in accordance with their own artistic intentions and surpass the limits prescribed by tradition.
These are most skillfully mastered by creative writers but often disregarded, if not absolutely ignored, by grammarians.Įxamining the organisation of the text along the syntagmatic axis we cannot avoid consideration of the selection in the distribution of its linguistic elements. It would be therefore a mistake to deny the constitutive value of "stylistic" grammar as part of functional stylistics, whose important goal is to deeply inquire into the grammatical aspects of style and describe those characteristic stylistic traits of language that lie in the field of grammar. And this is based not only on theoretical considerations, but also on practical ones. The validity of the connotative analysis makes itself quite evident. We mean intensity of meaning, expressivity, subjective modal force or emotional colouring.
On the connotative level, we may distinguish, at least to a workable degree, the components of the grammatical meaning that add some contrastive value to the primary denotative value of the word-form. 1 The variety of expressive features that may be incorporated in language, whether written or spoken, is manifestly enormous. As a matter of fact, stylistic differentiation in the whole variety of any language belongs in its lexical and grammatical results to the category connotation. The components of grammatical meaning that do not belong to the denotation of the grammatical form can reasonably be covered by the general term of connotation. In any speech event the structure of the utterance naturally depends on the prevalent denotative function, but the participation of the other factors must be taken into consideration as well. Recent linguistic studies have contributed significantly to the exploration of grammatical aspects of style but much still remains to be done to give the inventory of grammatical forms with relevance to their connotation and expressive value. On the morphological level expressivity is often attained by effective transpositions of grammatical forms the stylistic value of which can hardly be overestimated.Ģ91The problems of style in grammar are still in a rudimentary stage of investigation.
Pitch, melody and stress, pausation, drawling out certain syllables, whispering and many other ways of using the voice are much stronger than any other means of intensifying the utterance, to convey emotions or to kindle emotions in others. By prosody we express subtle nuances of meaning that perhaps no other means can attain.
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