стилистика английского языка

According to professor Sosnovskaya V.B., paradox based on contrast, being a statement contradictory to what is accepted as a self-evident or proverbial truth.9

The appeal of paradox lies in the fact that, however contradictory it may seem to be to the accepted maxim, it contains nevertheless, a certain grain of truth, which makes it an excellent vehicle of satire. Indeed, it is a device much favoured by many English and American satirists. Paradox can be considered a figure of speech with certain reservations, since the aesthetic principle, that underlies it, i.e. contrast has divers linguistic manifestations.

According to professor Galperin I.R., epigram is a stylistic device akin to a proverb, the only difference being that epigrams are coined by individuals whose names we know, while proverbs are the coinage of the people. In other words, we are always aware of the parentage of an epigram and therefore, when using one, we usually make a reference to its author. Epigrams and paradoxes as stylistic devices are used for creating generalised images. Usually it is the Present Indefinite Tense. This form of the verb makes paradoxes and epigrams abstract.

e.g. “Men marry because they are tired,

women because they are curious.

Both are disappointed.” (p.138).11

“Nothing spoils a romance so much as

a sense of humour in the woman”. (p.108).

“Ideals are dangerous things,

realities are better. They wound,

but they are better.” (p.85).

“Women are pictures,

Men are problems.” (p.138).

In Wilde’s paradoxes and epigrams the verb “to be” is widely used. This verb intensifies the genetic function and makes aphorisms and paradoxes humorous. It makes also the ironical definition of phenomena of life.

e.g. “Curious thing, plain women are always jealous

of their husbands,

beautiful women never are.”(p.108).

“The men are all dowdies and the women

are all dandies.” (p.186).

“A man who moralises is usually a hypocrite,

and a woman who moralises is invariably

plain.” (p.69).

Another means which helps to create the generalisation is the choice of words. Wilde often resorts to the use of some abstract notions, concrete notions are rare.

e.g. “Ignorance is like a delicate exotic fruit ;

touch it and the bloom is gone.” (p.296).

“Duty is what one expects from others,

it is not what one does himself.” (p.131).

“Life is terrible. It rules us,

we do not rule it.” (p.75).

“Experience is a question of instinct

about life.”(p.72).

All kinds of works – intensifiers, such as “Never, always, often” are used by Oscar Wilde for creating the abstractness and generalisation.

e.g. “Questions are never indiscreet.

Answers sometimes are.” (p. 180)

“Beautiful women never have time. They are

always so occupied in being jealous of other

people’s husbands.” (p.108)

“All men are married women’s property” (p.114)

One of the most characteristic and essential features of epigrams and paradoxes is their shortness and conciseness. They are achieved by the syntactical pattern of an epigram or paradox. The syntax of these stylistic devices is laconic and clear – cut.

e.g. “Men become old, but they never become good”

(p.33).

“Do not use bid words. They mean so little”

(p.252).

In these examples we can see the parallel constructions widely used by Oscar Wilde. They serve a perfect means of creating the clear-cut syntax of epigrams and paradoxes.

Another peculiarity of Wilde’s epigrams and paradoxes is his use of such construction as “that is the difference…”

e.g. “Cecil Graham: Oh, wicked women bother one. Good

women bore one. That is the difference between them”

(p.68)

Первое-в форме стиха, надпись на памятнике; парадокс-суждение, расходящееся с общепринятьiм. Очень разньiе вещи.