Н. С. Кузнецова, Н. А. Шайдорова практикум по стилистике английского языка учебное пособие Великий Новгород
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LEXICO-SYNTACTICAL STYLISTIC DEVICES While in lexical SD the desired effect is achieved through the interaction of lexical meanings of words and in syntactical SD through the syntactical arrangement of elements, the third group of SD is based on the employment of both — fixed structure and determined scope of lexical meanings. So, in (1) Climax we observe parallelism consisting of three or more steps, presenting a row of relative (or contextual relative) synonyms placed in the ascending validity of their denotational (which results in logical and quantitative climax) or connotational meanings. The latter type of climax is called emotive and is realized through still another pattern of a two-step structure, based on repetition of the semantic centre, usually expressed by an adjective or adverb, and the introduction of an intensifier between two repeated units (I am sorry, terribly sorry). If each step of climax is supplied with a negative particle, that necessitates the reversed – descending scale of its components: to emphasize absence of a certain fact, quality, phenomenon, etc., the row of relative synonyms begins with the one showing the highest degree of this quality, importance, etc. Thus the affirmative and the negative constructions of climax demand diametrically opposite order of the same lexical units, while stylistic functions of both structural types remain identical. Sudden reversal of expectations roused by climax (mainly non-completed), causes anticlimax. The main bulk of paradoxes is based on anticlimax. (2) Antithesis is a structure consisting of two steps, the lexical meanings of which are opposite to each other. The steps may be presented by morphemes, which brings forth morphological antithesis, (underpaid and overworked); by antonyms (or contextual antonyms) and antonymous expressions which is the case of antithesis proper; and by completed statements or pictures semantically opposite to one another which brings forth developed antithesis. (3) Litotes presupposes double negation; one—through the negative particle no or not; the other—through (a) a word with a negative affix (not hopeless); (b) a word with a negative or derogatory meaning (not a coward); (c) a negative construction (not without love); (d) an adjective or adverb preceded by too (not too awful). The stylistic function of all these types is identical: to convey the doubts of the speaker concerning the exact characteristics of the object in question. The lexical meaning of the second component of litotes is of extreme importance, for similar structures may lead to opposite effects ('looking not too bad' expresses a weakened positive evaluation, while 'looking not too happy' expresses a weakened negative evaluation of the phenomenon). (4) Simile is also a structure of two components joined by a fixed range of link-adverbs like, as, as...as, as though, etc. If there is no formal indicator of simile while semantic relations of both parts of the structure remain those of resemblance and similarity, we may speak of a disguised simile which preserves only one side of the SD - lexical, modifying its other side - structural. True enough, instead of the accepted simile-formants, in disguised similes there are often used verbs, lexical meanings of which emphasize the type of semantic relations between the elements of the utterance, such as 'to remind', 'to resemble', 'to recollect', 'to seem' and others. If the basis of similarity appears to the author vague, he supplies the simile with a key, immediately following the structure and revealing those common features of two compared phenomena which led to the origination of the SD. (5) The structure of periphrasis is modelled with difficulty, for it is exceedingly variable. Very generally and not quite precisely it can be defined as a phrase or sentence, substituting a one-word denomination of an object, phenomenon, etc. Proceeding from the semantic basis for the substitution, periphrases fall into logical, euphemistic and figurative. The main stylistic function of all these types is to convey the author's subjective perception, thus illuminating the described entity with the new, added light and understanding. (6) Represented speech, which combines lexical and syntactical peculiarities of colloquial and literary speech, has gained widespread popularity especially in the 20th century, allowing the writer in a condensed and seemingly objects e manner to lead the render into the inner workings of human mind. EXERCISES EX. 1. Discuss the nature and distribution of the components of logical climax in the following examples: 1. It was a mistake... a blunder... lunacy... (W.D.) 2. What I have always said, and what I always shall say, is, that this ante-post betting is a mistake, an error, and a mug's game. (P. G. W.) 3. And you went down the old steep way... the well-known toboggan run... insane pride...lies...treachery...murder...(P.) 4. Poor Ferse! Talk about trouble, Dinny - illness, poverty, vice, crime -none of them can touch mental derangement for sheer tragedy of all concerned. (G.) 5. He was numbed. He wanted to weep, to vomit, to die, to sink away. (A.B.) 6. It is done—past—finished! (D.) 7. "It must be a warm pursuit in such a climate," observed Mr. Pickwick. "Warm!—red hot!—scorching!—glowing!" (D.) 8. A storm's coming up. A hurricane. A deluge. (Th. W.) 9. I was well inclined to him before I saw him. I liked him when I did see him; I admire him now (Ch. Br.) 10. There are drinkers. There are drunkards. There are alcoholics. But these are only steps down the ladder. Right down at the bottom is the meths drinker—and man can't sink any lower than that. (W. D.) 11. "Say yes. If you don't, I'll break into tears. I'll sob. I'll moan. I'll growl." (Th. S.) 12. "I swear to God. I never saw the beat of this winter. More snow, more cold, more sickness, more death." (M. W.) 13 "My nephew, I introduce to you a lady of strong force of character, like myself; a resolved lady, a stern lady, a lady who has a will that can break the weak to powder: a lady without pity, without love, implacable..." (D.) 14. "I designed them for each other; they were made for each other, sent into the world for each other, born for each other, Winkle", said Mr. Ben Alien. (D.) 15. 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. (D.) EX. 2. State the nature of the increasing entities in the following examples of quantitative climax: 1. "You have heard of Jefferson Brick I see, Sir," quoth the Colonel with a smile. "England has heard of Jefferson Brick. Europe has heard of Jefferson Brick...(D.) 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." G: "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." (Th. W.) 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! (J.C.) 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... (Dr.) EX. 3. Classify the following examples of emotive climax according to their structure and the number of the components: 1. Of course it's important. Incredibly, urgently, desperately important. (D. S.) 2. "I have been so unhappy here, dear brother," sobbed poor Kate; "so very, very miserable." (D.) 3. The mother was a rather remarkable woman, quite remarkable in her way. (W. D.) 4. That's a nice girl; that's a very nice girl; a promising girl. (D.) 5. She felt better, immensely better, standing beside this big old man. (W. D.) 6. He who only five months before had sought her so eagerly with his eyes and intriguing smile. The liar! The brute! The monster! (Dr.) 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. (J. O’H.) 8. "An unprincipled adventurer - a dishonourable character - a man who preys upon society, and makes easily-deceived people his dupes, sir, his absurd, his foolish, his wretched dupes, sir," said the excited Mr. P. (D.) 9. "I abhor the subject. It is an odious subject, an offensive subject, a subject that makes me sick." (D.) 10. "I'll smash you. I'll crumble you, I'll powder you. Go to the devil!" (D.) 11. Upon my word and honour, upon my life, upon my soul, Miss Summerson, as I am a living man, I'll ad according to your wish!" (D.) 12. ...to them boys she is a mother. But she is more than a mother to them, ten times more. (D.) 13. Mr. Tulkinghorn ... should have communicated to him nothing of this painful, this distressing, this unlooked-for, this overwhelming, this incredible intelligence." (D.) EX. 4. Analyse the following examples of developed antithesis: 1. Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and the scuttered, tin and iron, and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses. Its inhabitants are, as the man once said, "whores, pimps, gamblers and sons of bitches," by which he meant Everybody. Had the man looked through another peephole he might have said, "saints and angels and martyrs and holy men," and he would have meant the same thing. (St.) 2. Men's talk was better than women's. Never food, never babies, never sickness, or boot's 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. (D. du M.) 3. ...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 Smoking" 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 ahead of one running on well-oiled grooves to a knighthood... (J. Br.) 4. It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it 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 the 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. (D.) 5. They went down to the camp in black, but they came back to the town in white; they went down to the camp in ropes, they came back in chains of gold; they went down to the camp in fetters, but came back with their steps enlarged under them; they went also to the camp looking for death, but they came back from thence with assurance of life; they went down to the camp with heavy hearts, but came back with pipes and tabor playing before them. (J. Bun.) 6. A special contrast Mr. George makes to Smallweed family ... It is a broadsword to an oyster knife. His developed figure, and their stunned forms; his large manner, filling any amount of room; and their little narrow pinched ways; his sounding voice and their sharp spare tones are in the strongest and the strangest opposition. (D.) EX. 5. Classify the following cases of litotes according to their structure: 1. His sister was in favor of this obvious enthusiasm on the part of her brother, although she was not unaware that her brother more and more gave to her the status of a priviledged governess. (J.O'H.) 2. "I am not unmindful of the fact that I owe you ten dollars." (J.O'H.) 3. "How slippery it is, Sam." "Not an uncommon thing upon ice, Sir," replied Mr. Weller. (D.) 4. In a sharp, determined way her face was not unhandsome. (A.H.) 5. Powell's sentiment of amused surprise was not unmingled with indignation. (J. C.) 6. He was laughing at Lottie but not unkindly. (Hut.) 7. ...there was something bayonetlike about her, something not altogether unadmirable. (S.) 8. She had a snouty kind of face which was not completely unpretty. (K.A.) 9. The idea was not totally erroneous. The thought did not displease me. (1. M.) 10. She was not without realization already that this lung was impossible, so far as she was concerned. (Dr.) 11. It was not without satisfaction that Mrs. Sunbury perceived that Betty was offended. (S. M.) 12. Bell understood, not without sympathy, that Queen had publicly committed himself. (J.) 13. Kirsten said not without dignity: "Too much talking is unwise." (Ch.) 14. She couldn't help remembering those last terrible days in India. Not that she isn't very happy now, of course... (P.) 15. Well, I couldn't say no: it was too romantic. (T.C.) 16. I felt I wouldn't say no to a cup of tea. (K.A.) 17. I don't think I'm the type that doesn't even lift a finger to prevent a wedding from flatting. (S.) 18. ...I am a vagabond of the harum-scarum order, and not of the mean sort. (D.) 19. Not altogether by accident he was on the train that brought her back to New York at the end of school. (J.O'H.) 20. He was almost the same height standing up as sitting down (a not all that rare type of physique in Wales). (K.A.) EX. 6. State the semantic field, to which the second components of the similes belong: 1. Children! Breakfast is just as good as any other meal and I won't have you gobbling like wolves. (Th.W.) 2. The eyes were watery and veined with red, like the eyes of a hound who lies too often too close to the fire.(Fl.) 3. His mind went round and round like a squirrel in a cage, going over the past. (Ch.) 4. "We can hear him coming. He's got a tread like a rhinoceros." (K.A.) 5. "I'm as sharp," said Quilp to him at parting, "as sharp as a ferret." (D.) 6. And then in a moment she would come to life and be as quick and restless as a monkey. (G.) 7. It was a young woman and she entered like a wind-rush, a squall of scarves and jangling gold. (T.C.) 8. "Funny how ideas come," he said afterwards, "Like a flash of lightning." (S. M.) 9. The sidewalks ran like spring ice going out, grinding and hurried and packed close from bank to bank. (J.R.) 10. She perceived that even personalities were failing to hold the party. The room filled with hesitancy as with a fog. (S.L.) EX. 7. Analyze the causes, due to which a developed image is created (key to a simile, explicitness of the second component, etc.): 1. He felt like an old book: spine defective, covers dull, slight foxing, fly missing, rather shaken copy. (K.A.) 2. "You're like the East One loves it at first sight, or not at all, and one never knows it any better." (G.) 3. He ached from head to foot, all zones of pain seemingly interdependent. He was rather like a Christmas tree whose lights, wired in series, must all go out if even one bulb is defective. (S.) 4. London seems to me like some hoary massive underworld, a hoary ponderous inferno. The traffic flows through the rigid grey streets like the rivers of hell through their banks of dry, rocky ash. (D. H. L.) 5. It (the district) lies on the face of the county like an insignificant stain, like a dark Pleiades in a green and empty sky. And Handbridge has the shape of a horse and its rider, Bursley of half a donkey, Knype a pair of trousers, Longshaw of an octopus, and little Turnhill of a beetle. The Five Towns seem to cling together for safety. (A.B.) 6. For a long while—for many years in fact—he had not thought of how it was before he came to the farm. His memory of those times was like a house where no one lives and where the furniture has rotted away. But tonight it was as if lamps had been lighted through all the gloomy dead rooms. (T.C.) 7. Mag Wildwood couldn't understand it, the abrupt absence of warmth on her return; the conversation she began behaved like green logs, they fumed but would not fire. (T.C.) EX. 8. Discuss the following euphemistic periphrases: 1. Everything was conducted on the most liberal and delightful scale. Excisable articles were remarkably cheap at all the public houses; and spring vans paraded the streets for the accommodation of voters who were seized with any temporary dizziness in the head—an epidemic which prevailed among the electors during the contest, to a most alarming extent, and under the influence of which they might frequently be seen lying on the pavements in a state of utter insensibility. (D.) 2. "I expect you'd like a wash," Mrs. Thompson said."The bathroom's to the right and the usual offices next to it."(J.Br.) 3. In the left corner, built out into the room, is the toilet with the sign 'This is it" on the door. (O'N) 4. I am thinking an unmentionable thing about your mother. (I. Sh.) 5. Jean nodded without turning and slid between two vermilion-colored buses so that two drivers simultaneously used the same qualitative word. (G.) 6. The late Mr. Bardell, after enjoying for many years the esteem and confidence of his sovereign, as one of guardians of his royal revenues, glided almost imperceptibly from the world, to seek elsewhere for that repose and peace which a custom-house can never afford. (D.) 7. James Porter, aged 25, was bound over last week after pleading guilty to interfering with a small cabbage and two tins of beans on his way home... (O.) EX. 9. State the nature and functions of the following periphrases: 1. "That elegant connection of ours—that dear lady who was here yesterday—". "I understand," said Arthur. "Even that affable and condescending ornament of society," pursued Mr. Meagles, "may misrepresent us, we are afraid." (D.) 2. She was still fat; the destroyer of her figure sat at the head of the table. (A.B.) 3. When he saw that I was looking at him, he closed his eyes, sleepily, angelically, then stuck out his tongue— an appendage of startling length—and gave out what in my country would have been a glorious tribute to a myopic umpire. It fairly shook the tearoom. (S.) 4. And then we take a soldier and put murder in his hands and we say to him... "Go out and kill as many of a certain kind of classification of your brothers as you can." (St.) 5. Also, my draft board was displaying an uncomfortable interest; and, having so recently escaped the regimentation of a small town, the idea of entering another form of disciplined life made me desperate. (T.C.) 6. I wanted something that would depict my face as Heaven gave it to me, humble though the gift may have been. (L.) 7. In the inns Utopians were shouting the universe into order over beer, and in the halls and parks the dignity of England was being preserved in a fitting manner. The villages were full of women who did nothing but fight against dirt and hunger, and repair the effects of friction on clothes.(A. B.). EX. 10. 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 his shoes. Anyway, what would they find? Lot of trees. (J.) 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... (J.Br.) 3. "...You ought to make a good mural decorator some day, if you have the inclination," Boyle went on, "You've got the sense of beauty." The roots of Eugene's hair tingled. So art was coming to him. This man saw his capacity. He really had art in him. (Dr.) 4. Ottilie should have been the happiest girl in Port-au-Prince. As Baby said to her, look at all the things that can be put to your credit: you have a lovely light color, even almost blue eyes, and such a pretty, sweet face—there is no girl on the road with steadier customers, every one of them ready to buy you all the beer you can drink. (T.C.) 5. 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. (I. Sh.) 6. 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 sometime. (E.F.) 7. For once Wilson's hand (of cards) was poor, and; after staying a round because he was the heavy winner, he dropped out. When the campaign was over, he told himself, he was going to drum up some way of making liquor. There was a mess sergeant over in Charley Company who must have made two thousand of them pounds, the way he sold a quart for five pounds. All a man needed was sugar and yeast and some of them cans of peaches or apricots. In anticipation he felt a warm mellow glow in his chest. Why, you could even make it with less. Cousin Ed, he remembered, had used molasses and raisins, and his stuff had been passing decent, For a moment, though, Wilson was dejected. If he was going to fix himself any, he would have to steal all the makings from the mess tent some night, and he'd have to find a place to hide it for a couple of days. And then he'd need a good little nook where he could leave the mash. It couldn't be too near the bivouac or anybody might be stumbling onto it and yet it shouldn't be too far if a man wanted to siphon off a little in a hurry. There was just gonna be a lot of problems to it, unless he waited till the campaign was over and they were in permanent bivouac. But that was gonna take too long. It might be even three or four months. Wilson began to feel restless. There was just too much figgering a man had to do if he wanted to get anything for himself in the Army. (J.H.) EX. 11. Discuss lexical and grammatical phenomena characterizing represented inner speech: 1. Then he would bring her back with him to New-York - he, Eugene Wilta, already famous 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. (Dr.) 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! (Dr.) 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. (D.) 4. And then he laughed at himself. He was getting nervy and hot up like everybody else in the house. (Ch.) GRAPHICAL AND PHONETIC EXPRESSIVE MEANS (1) Graphical expressive means serve to convey in the written form those emotions which in the oral type of speech are expressed by intonation and stress. We refer here to emphatic use of punctuation and deliberate change of the spelling of a word. All types of punctuation can be used to reflect the emphatic intonation of the speaker. Emphatic punctuation is used in many syntactical SD—aposiopesis, rhetorical question, suspense, and may be not connected with any other SD (And there, drinking at the bar was—Finney! (R.Ch.) ) The changed type (italics, bold type, etc.) or spelling (multiplication—'laaarge', 'rrruin'; hyphenation—'des-pise', 'g-irl', etc.) are used to indicate the additional stress on the emphasized word or part of the word. There is no correlation between the type of graphical means and the type of intonation they reflect, for their choice is too inadequate for the variety and quality of emotions inherent in intonation (2) Phonetic expressive means — alliteration, onomatopoeia and others—deal with the sound instrumenting of the utterance and are mainly found in poetry. Graphical fixation of phonetic peculiarities of pronunciation with the ensuing violation of the accepted spelling — graphon—is characteristic of prose only and is used to indicate blurred, incoherent or careless pronunciation, caused by temporary (tender age, intoxication, ignorance of the discussed theme, etc.) or by permanent factors (social, territorial, educational status, etc.). Permanent graphon is vastly used by some modern writers in England (A. Sillitoe, S. Chaplin, D. Storey, and others) and by Afro-American and military-novel writers in America (R. Wright, J. Baldwin, J. Jones, J. Hersey, and others). EXERCISES EX. 1. Indicate what graphical expressive means are used in the following extracts: 1. "...I ref-use his money altogezzer." (D.) 2. ...on pain of being called a g-irl, I spent most of the remaining twilights that summer with Miss Maudie Atkinson on her front porch. (H.L.) 3. "...Adieu you, old man, grey. I pity you, and I despise you." (D.) 4. He misses our father very much. He was s-l-a-i-n in North Africa. (S.) 5. We'll teach the children to look at things...I shall make it into a sort of game for them. Teach them to take notice. Don't let the world pass you by, I shall tell them... For the sun, I shall say, open your eyes for that laaaarge sun... (A. W.) 6. "...I r-r-r-ruin my character by remaining with a Ladyship so infame!" (D.) 7. You have no conception no conception of what we are fighting over here. (H. L.) 8. "Oh, what's the difference, Mother?" "Muriel, I want to know." (S.) 9. "And it's my bounden duty as a producer to resist every attack on the integrity of American industry to the last ditch. Yes — SIR!" (S. L.) 10. "Now listen, Ed, stop that, now! I am desperate. I am desperate, Ed, do you hear? Can't you see?" (Dr.) 11.When Will's ma was down here keeping house for him — she used to run in to see me, real often! (S. L.) EX. 2. Indicate the causes and effects of the following cases of alliteration: 1. Both were flushed, fluttered and rumpled, by the late scuffle. (D.) 2. The moan of doves in immemorial elms, And murmuring of innumerable bees... (T.) 3. His wife was shrill, languid, handsome and horrible. (Sc.F.) 4. ...he swallowed the hint with a gulp and a gasp and a grin. (R.K.) 5. You lean, long, lanky lath of a lousy bastard... (O'C.) 6. "Luscious, languid and lustful, isn't she?" "Those are not the correct epithets. She is—or rather was—surly, lustrous and sadistic." (E.W.) EX. 3. State the part of speech, through which onomatopoeia is expressed, and its function: 1. Then with an enormous, shattering rumble, sludgepuff...puff, the train came into the station. (A.S.) 2. I hope it comes and zzzzzzz everything before it. (Th.W.) 3. I had only this one year of working without shhh! (D.C.) 4. Cecil was immediately shushed. (H.L.) 5. Streaked by a quarter moon, the Mediterranian shushed gently into the beach. (I. Sh.) 6. The Italian trio...tut-tutted their tongues at me. (T.C.) EX. 4. Substitute the given graphons by their normative graphical interpretation: 1. "You remember him at all?" "Just, sort of. Little ole private? Terribly unattractive" (S.) 2. "You're one that ruint it." (J.) 3. "You ast me a question. I answered it for you." (J.) 4. "You'll probly be sick as a dog tomorra, Tills." (J.) 5. Marrow said: "Chawming climate out heah in the tropics, old chap." (J.H.) 6. What this place needs is a woman's touch, as they say in the pitchers. (I. Sh.) 7. "You ain't invited," Doll drawled. "Whada you mean I ain't invited?" (J.) 8. "I've never seen you around much with the rest of the girls. Too bad! Otherwise we mighta met. I've met all the rest of 'em so far." (Dr.) 9. You're French Canadian aintcha? I bet all the girls go for you, I bet you're gonna be a great success. (J.K.) 10. "You look awful—whatsamatter with your face?"(J.K.) 11. "Veronica," he thought. "Why isn't she here? Godamnit, why isn't she here?" (I. Sh.) 12. "Wuddaya think she's doing out there?" (S.) 13."...for a helluva intelligent guy you're about as tactless as it's humanly possible to be." (S.) 14. "Ah you guys whattaya doin?" (J.K.) 15. How many cupsacoffee you have in Choy’s this morning? (J.) LIST OF ABBREVIATED NAMES P. Abrahams (P.A.) K. Amis (K.A.) Sh. Anderson (Sh.A.) St. Bartsow (St.B.) S. Beckett (S.B.) A. Bennett (A.B.) E.D. Biggers (E.D.B.) D. Bolingbroke (Bol.) J. Braine (J.Br.) E. Bronte (E.B.) Ch. Bronte (Ch.Br.) J. Bunyan (J.Bun.) H. Caine (H.C.) T. Capote (T.C.) R. Chandler (R. Ch.) L. Charteris (L. Ch.) G. K. Chesterton (G.K.Ch.) A. Christie (Ch.) J. Conrad (J.C.) F. Cooper (F.C.) D. Cusack (D.C.) W. Deeping (W.D.) D. Defoe (D.D.) Ch. Dickens (D.) Th. Dreiser (Dr.) Y. Esar (E.) E. Ferber (E.F.) Sc. Fitzgerald (Sc.F.) J. Galsworthy (G.) Gr. Greene (Gr. Gr.) E. Hemingway (H.) O’Henry (O.H.) T. Howard (T.H.) A. Hutchinson (Hut.) A. Huxley (A.H.) J. Jones (J.) R. Kipling (R.K.) D.H. Lawrence (D.H.L.) St. Leacock (L.) H. Lee (H. L.) S. Lewis (S.L.) K. Mansfield (K.M.) S. Maugham (S.M.) D. du Maurier (D. du M.) O. Nash (O.N.) Fr. Norris (Fr.N.) S. O’Casey (O’C.) J. O’Hara (J. O’H.) E. O’Neill (O’N.) K.S. Prichard (K.P.) J.B. Priestley (P.) P. Quentin (P.Q.) W. Queux (W.Q.) J. Reed (J.R.) J.D. Salinger (S.) W. Scott (W.Sc.) B. Shaw (B. Sh.) I. Shaw (I. Sh.) J. Steinbeck (St.) W. Thackerey (Th.) J. Updike (U.) E. Waugh (E.W.) O. Wilde (O.W.) M. Wilson (M.W.) P.G. Wodehouse (P.G.W.) V. Woolf (V.W.) R. Wright (Wr.) |
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