Stylistic potential of tense-aspect verbal forms in modern English

2. The analysis of stylistic potential of tense-aspect verbal forms in modern English

The main aim of the second part is to research and pick out some interesting examples from original English literature according to two tables (4, 12) that is two types of grammatical transpositions and aspectuality in the frames of the peripheral field. Our purpose is to confirm the central principles included in these tables and to present a lot of samples to enrich the Theoretical Grammar with new visual and practical material that gives real jerk to teachers to complete students' seminars on this subject more interesting and productive.

The main methords which have been used in our research paper are:

- philological observations;

- revealind some samples, examples, facts from original literature of English authors and generalization;

- contextolpgical analysis of some contexts; description some important fact in considerable details.

Our results were obtained on the edge of some liguistic sciences:

Sty1istics, Functional Grammar, Syntax, Functional and Communicative Linguistics, The Theory of Interpretation of Texts, The Theory of Contextual Situation and others.

The application of these methods makes it possible to establish the concrete system in the frames of this students can observe stylistic potential of verbal forms in real environment and circumstances. The given gu tations from different sources serve to show how the two types of transpositions and aspectuality in the frames of peripheral field have been variously used by different English writers.

Stylistic Potential of Tense-Aspectual forms of English Verbs

2.1 The types of transpositions of verbal forms as stylistic came in the category of tense

Transposition with functional-stylistic characters expressed by verbal forms.

Archaisms are words which were once common but now are (Table 1.4) replaced by synonyms. When the author consider the grammatical system of English verbs as an adaotive system has to mark some, thing historical important in narrative, description or poetry they use archaic verbal forms. N.M. Rayevska characterizes: «The archaic variant forms are used for stylistic purposes to create the atmosphere of elevated speech in pictorical language, in poetry or in proverbial saying». (29, p. 55) There are only some forms: Table «Archaic Forms of the Auxiliaries». The forms given in the tables above are those of modern standard English. One may also come across archaic forms, mainly in. poetry or texts where an archaic effect is intended.

We can add some more examples:

Saith = says; Modal verbs:

endeth = ends; canst, needest, mayest.

knoweth = knows;

spake = spoke;

throve = thrived;

bare = bore

art = is;

stretchest, coverest fwalketh, maketh, layeth, gettest, didst, stiteth, beginneth, heareth and others.

e.g.: Byron, George Noel GORDON, Lord -1788-1824.

«…For it hath been by sorrow nursed,

And ach'd in sleepless silence long;

And now 'tis doom'd to know the worst,

And break at once-or yield to song.»

(G.G. Byron. My soul is dark. 17, p. 16.)

«…Thy tree hath lost its blossoms, and the rind,

Chopp'd by the axe, looks rough and little worth,

But the sap lasts, - and still the seed we find

Sown deep, even in the bosom of the North;

So shall a better spring lees bitter fruit bring forth.»

(G.G. Byron, From Childe Harold's Piligrimage, 17, p. 211)

«…Thou stand'st along unrevall'd, till the fire

To come, in which all empires shall expire!»

(G.G. Byron, Moscow!, 17, p. 214)

«…The river glideth at his own free will:

Dear God! The very houses seem asleep;

And all that mighty heart is lying still!»

(W. Wordsworth_1770-1850, Westminster Bridge, 17, p. 32)

e.g.: TO-MORROW

«Where art thou, beloved To-morrow?

When young and old, and strong and weak,

rich and poor, trough joy and sorrow,

Thy sweet smiles we ever seek,-

In thy place-ah! well-A0DAY1

We find the thing we fled-To-day.»

(P.B. Shelly, 1792-1816,17, p. 57)

«O heart of man! canst thou not be Blithe as the air is, and as free?»

(H.W. Longfellow, 1807-1892,17, p. 142)

«Old Yew, which graspest at the stones

That name the under-lying dead,

Thy fibres net the dreamless head,

Thy roots are wrapt about the bones.»

(A. Tennyson, 1809-1892, 1/, p. 182)

«The Spanish people will rise again as they have always risen before against tyranny.

The dead do not need to rise. They are a part of the earth now and the earth can never be conquered. For the earth endures forever. It will outlive all systems of tyranny».

(B. Hemingway, 1899-1961,19,67)

«…Doubting Charley! Who trust nobody and believes nothing.

But even Charley can't deny that Sam's dead. He's dead.

When thou know'st how dry a cinder this world is:»

(R. Hill, published in 2002, l, p. 62)

A lot of Shakespearisms are used in Modern English which are described by A.V. Kunin in his book The Course of Phraseology of Modern English». A.N. Morokhovsky lines out some phraseological units as arkhaisms; be at accord with somebody = agree to smb.;

play upon advantage = to deceive;

at adventure = at random;

at fortune's alms = as charity of a fate;

all and some = separately and together.

Numerous archaisms can be found in Shakespeare, but it should be taken into consideration that what appear to us today as archaisms in the works of Shakespeare, are in fact examples of everyday language of Shakespeare's time.

The use of archaic variant forms in fiction, for instance, in historical novels, serves to characterize the speech of those times, reproduce its atmosphere, its «couleur historique» (historic colour). As we have researched numerous archaic forms can be found in poetry XVII-XIX, XX centuries: G.G. Byron, W. Wordsworth, P. Shelly, H.W. Longfellow, A. Tennyson; in prose written by E. Hemingway, R. Hill and others. For those students who want to continue to research this aspect of Linguistics there are a lot of unresolved points.

2. Popular language as a free and easy every-day speech

Acceding to Table 12 «Transposition with functional-stylistic characters» the next aspect of our analysis is «Popular language as a free-and-easy every-day speech».

I.V. Arnold writes in her monograph that authors use this phenomenon for stylistic purposes: to portray the story-teller or hero (personage) when their stories are about past events [4; 156].

Ain't is a nonstandard contraction commonly (esp in AmE) in place of am not, is not, are not, have not. Aren't I is widely used, especially in BrE, whereas ain't I, usually considered nonstandard, is somewhat more current in AmE. Amn't I is mainly Scottish and Irish.

e.g. «Dear Mr. Pascoe,

Cambridge! St Godric's College! The Quaestor's Lodging!

Ain't I the swell then? Ain't Home Office commercial for the rehabilitating power of the British penal system?» [Hill Reginal; 1; 13].

There are some illustrations from M. Twain:

e.g. «You don't know about me, without you have read a book by name of The Adventures of Tom Sawyer, but that ain't no matter…» [10; 21].

e.g. «Stuff! Stealing cattle and such things ain't robbery, it's burglaty», says Tom Sawyer. «We ain't burglars. That ain't no sort of style…» [10; 21].

e.g. «Well, I knows what I's gwyne to set down here and listen tell I hears it agin» [10, p. 17].

e.g. «Why couldn't you said that before?» [10; 22].

e.g. «You git me that money to-morrow- I want it.

- I hain't dot no money.

- It's a lie. Judge Thatcher's got it. You git it. I want it.

- I hain't got no money, I tell you…» [10; 35].

Note: hain't = h a v e n o t, h a s n o t.

e.g. «It ain't my fault I warn't born a duke, it ain't your fault you warn't born a king - so what's the use to worry?…» [10; 150].

e.g. «The duke done (has done) it, and Jim and me was (sing) pretty glad to see it» [10; 150].

Note: warn't = will not in the past tense.

e.g. «So, things I, I'll go and search them (?) rooms… But I see I couldn't do nothing without a candle, and I dasn't light one, of course» [10, p. 207].

Ch. Dickens used a lot of the some examples in his novel «Our Mutual Friend»

e.g. «But what you may call the Fates ordered him into it again? Which is rumness, ain't?…» [5; 422].

e.g. «Mr Riderhood next demands his shirt; and draws it on over his head (with his daughter's help), exactly as if he had just had a Fight. - «Warn't it steamer?» he pauses to ask her. - «Yes, father». [5; 424].

e.g. «- Hear me out! «cried Wegg.» - I knew you was a - going to say so. But along I bore the anxiety, and alone I'll bear the blame!»… [5; 468].

All these quotations present themselves the low colloquial sublanguage. These dialogues (above) may not be exactly like others. Writers prefer to paint their personages in words. A detailed analysis of these non-grammatical speech patterns show that they are elements of a system, which is not deprived of rationality. Substandard English is used by millions of people in English speaking counties. It is a conspicuous indicator of low language culture and educational level. Being introduced into books, it becomes a picturesque means of protagonist's characterization.

3. Modal verbs and verbal forms with the modal meanings are very important for us to present and use a lot of subtle stylistic connotations in our speech.

The simple modals, such can, may, must, will, should have SINGLE forms, whereas the more complex structures known as PERIPHRASTIC MODALS are formed with the verbs be and have, as in be able to (can, could);

be allowed to (may, might);

be going to (will, would);

be supposed to (shall, should) - (meant, expected, obliged);

have (got) to (must);

to be to (have to according to the plan). [G. Yule. Explaining Grammar, 31, p. 86].

e.g. «Some books are to tasted, others to be swallowed, and some few to be chewed and digested; that is, some books are to be read in parts; others to be read but not curiously; and some few to be read wholly, and with diligence and attention».

[F. Bacon, 46; 156].

«I wonder», said he (Wickham), at the next opportunity of speaking, whether he is likely to be in this country much longer.»

[Jane Austen. Pride and Prejudice, 4; 81].

«One of them at any rate: I (Shirley) do not bargain for less: and she is to appear in some such fashion as this. I am to be walking by myself on deck, rather late of an August evening, watching and being watched by full harvest-moon…»

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