II. Discuss lexical and graminatical phenomena characterizing represented inner speech.

I. Discuss the nature and distribution of the components of logical climax in the following examples.

1. It was a mistake… a blunder… lunacy…

2. Poor Ferse! Talk about trouble, Dinny — illriess, poverty, vice, crime — none of them can touch mental derangement for sheer tragedy of all coricerned.

3. He was numbed. He wanted to weep, to vomit, to die, to sink away.

4. It is done — past — finished!

5. “It rnust be a warm pursuit in such a climate,” observed Mr. Pickwick.

6. “Warm! — red hot! — scorching! — glowing!”

7. A storm’s coming up. A huricane. A deluge.

8. “Say yes. If you don't, I’ll break into tears. I’ll sob. I’ll moan. I’ll growl.”

9. “I swear to God. I never saw the beat of this winter. More snow, more cold, more sickness, more death.”

10. I don't attach any value to money. I don't care about it, I don't know about it, I don't want it, I don't keep it — it goes away from me directly…

II. State the nature of the increasing entities in the following examples of quantitative climax.

1. You have heard of Jefferson Brick I see, Sir. England has heard of Jefferson Brick. Europe has heard of Jefferson Brick.

2. R: “I never told you about that letter Jane Crofut got from her minister when she was sick. He wrote Jane a letter and on the envelope the address was like this. It said: Jane Crofut; The Crofut Farm; .Grover's Corners; Sutton County; New Hampshire; United States of America.”

Q: “What's funny about it?”

R: “But listen, it's not finished: the United States of America; Continent of North America; Western Hemisphere; the Earth; the Solar System; the Universe; the Mind of God — that’s what it said on the envelope.”

3. How many sympathetic souls can you reckon on in the world? One in ten — one in a hundred — one in a thousand — in ten thousand? Ah!

4. You know — after so many kisses and promises, the lie given to her dreams, her words… the lie given to kisses — hours, days, weeks, months of unspeakable bliss…

II. Classify the following examples of emotive climax according to their structure and the number of the eomponents.

1. Of course it's important. Incredibly, urgently, desperately important.

2. “I have been so unhappy here, dear brother,” sobbed poor Kate; “so very, very miserable.”

3. The mother was a rather remarkable woman, quite rernarkable in her way.

4. That's a nice girl; that’s a very nice girl; a promising girl!

5. She felt better, immensely better, standing beside this big old man.

6. He who only five months before had sought her so eagerly with his eyes and intriguing smile. The liar! The brute! The monster!

7. I am a bad man, a wicked man, but she is worse. She is really bad. She is bad, she is badness. She is Evil. She not only is evil, but she is Evil.

8. “I abhor the subject. It is an odious subject, an offensive subject, a subject that makes me sick.

9. “I’ll smash you. I’ll crumble you, I’ll powder you. Go to the devil!"

10. “Upon my word and honour, upon my life, upon my soul, Miss Summerson, as I am a living man, I’ll act according to your wish!”

11. …to them boys she is a mother. But she is more than a mother to them, ten times more.

12. Mr. Tulkinghorn should have communicated to him nothing of this painful, this distressing, this unlooked-for, this overwhelming, this incredible intelligence.

IV. Comment on the influence of the negative particle upon the structure of climax and the meaning of its components.

1. No tree, no shrub, no blade of grass, not a bird or beast, not even a fish that was not owned!

2. “Not a word, Sam — not a syllable!”

3. Not a word, not a look, not a glance, did he bestow upon his heart's pride of the evening before.

4. “Fledgeby has not heard of anything.”

“No, there's not a word of news,” says Lammle.

“Not a particle,” adds Boots.

“Not an atom,” chimes in Brewer.

5. “Be careful” said Mr. Jingle — “not a look.”

“Not a wink,” said Mr. Tupman.

“Not a syllable. — Not a whisper.”

V. Speak on the modes of organization of anticlimax. Pay attention to punctuation.

1. Women have a wonderful instinct about things. They can discover everything — except the obvious.

2. …they were absolutely quiet; eating no apples, cutting no names, inflicting no pinches, and making no grimaces, for full two minutes afterwards.

(12) Antithesis

I. Give morphological and syntactical characteristics of the following cases of antithesis.

1. …something significant may come out at last, which may be criminal or heroic, may be madness or wisdom.

2. Don’t use big words. They mean so little.

3. Mrs. Nork had a large home and a small husband.

4. He ordered a bottle of the worst possible port wine, at the highest possible price.

5. It is safer to be married to the man you can be happy with than to the man you cannot be happy without.

6. The mechanics are under-paid, and underfed, and over-worked.

7. There was something eerie about the apartment house, an unearthly quiet that was a combination of over-carpeting and under-occupancy.

8. In marriage the upkeep of woman is often the down-fall of man.

II. Analyse the following examples of developed antithesis.

1. Men’s talk was better than women’s. Never food, never babies, never sickness, or boots needing mending, but people, what happened, the reason. Not the state of the house, but the State of the Army. Not the children next door, but the rebels in France. Never what broke the china, but who broke the treaty. Not what spoilt the washing, but who spilled the beans... Some of it was puzzling and some of it was tripe, but all of it was better than darning Charley’s socks.

2. …as we passed it seemed that two worlds were meeting. The world of worry about rent and rates and groceries, of the smell of soda and blacklead and "No noking" and "No Spitting" and "Please Have the Correct Change Ready" and the world of ''the Rolls and the Black Market clothes and the Coty perfume and the career lead of one running on well-oiled grooves to a knight-hood.

3. It was the best of times, it was the worst of times, was the age of wisdom, it was the age of foolishness, was the epoch of belief, it was the epoch of incredulity, was the season of light, it was the season of Darkness, was the spring of hope, it was the winter of despair; we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct other way — in short the period was so far like the present period, that some of its noisiest authorities insisted on its being received for good or for evil, in the Superlative degree of comparison only.

(13) Represented Speech

I. Classify the following examples of represented speech into represented inner and represented uttered speech.

1. He looked at the distant green wall. It would be a long walk in this rain, and a muddy one. He was tired and he was depressed. His toes squelched in bis shoes. Anyway; what would they find? Lot of trees.

2. I shook her as hard as I could. I'd done it in play before, when she'd asked me to hurt her, please hurt her; but this time I was in brutal earnest...

3. He held the cigarette in his mouth, tasting it, feeling its roundness, for a long time before he lit it. Then with a sigh, feeling, well, I’ve earned it, he lit the cigarette.

4. She hadn't wanted to marry him or anyone else, for that matter, unless it was someone like her father. But there was no one like her father. No one she had ever seen. So, oh, well, what's the diff! You have to get married some time.

II. Discuss lexical and graminatical phenomena characterizing represented inner speech.

1. Then he would bring her back with him to New-York — he, Eugene Witla, already farnous in the East. Already the lure of the big eastern city was in his mind, its palaces, its wealth, its fame. It was the great world he knew, this side of Paris and London. He would go to it now, shortly. What would he be there? How great? How soon? So he dreamed.

2. Angela looked at him with swimming eyes. He was really different from anything she had ever known, young, artistic, imaginative, ambitious. He was going out into a world which she had longed for but never hoped to see — that of art. Here one was telling her of his prospective art studies, and talking of Paris. What a wonderful thing!

3. Oh, love, love! Edward! Edward! Oh, he would not, could not remain away. She must see him — give him a chance to explain. She must make him understand that it was not want of love but fear of life — her father, everything, everybody — that kept her so sensitive, aloof, remote.