The scientific prose style.

SPUs are to be found in particular in poetical style. Here the SPUs, us well as the paragraphs, are embodied in stanzas. Due to the most typical semantic property of any poetical work, viz. brevity of expression, there arises the need to combine ideas to that seemingly independent utterances may be integrated into one poetical unity, viz. a stanza.

Let us take for analysis the following stanza from Shelley's poem "The Cloud":

"I bring fresh showers for the thirsting flowers

From the seas and the streams; I bear light shade for the leaves when laid

In their noon-day dreams. From my wings are shaken the dews that waken

The sweet buds every one, When rocked to rest on their mother's breast,

As she dances about the sun. I wield the flail of the lashing hail,

And whiten the green plains under; And then again I dissolve it in rain,

And laugh as I pass in thunder."

Here there are three SPUs separated by full stops.

Within the first, which comprises four lines, there are two more or less independent units divided by a semicolon and integrated by parallel constructions (/ bring fresh showers; I bear light shade).

Within the second SPU—also four lines—there are also two interdependent ideas—the buds awakened by the dews and the earth moving around the sun. These are strongly bound together by the formal elements when and as forming one complex sentence and an SPU. The formal means used to connect different spans of utterance affect their semantic integrity.

The three SPUs of the stanza are united by one idea—the usefulness of the cloud giving all kind of comfort, here moisture and shade, to what is growing... showers, shade, dews, hail, rain.

The SPUs in sonnets are especially manifest. This is due to their strict structural and semantic rules of composition.

The Paragraph

A paragraph is a graphical term used to name a group of sentences marked off by indentation at the beginning and a break in the line at the end. But this graphical term has come to mean a distinct portion of a written discourse showing an internal unity. As a linguistic category the paragraph is a unit of utterance marked off by purely linguistic means: intonation, pauses of various lengths, semantic ties which can be disclosed by scrupulous analysis of the morphological aspect and meaning of the component parts, etc. It has already been stated elsewhere that the logical aspect of an utterance will always be backed up by purely linguistic means causing, as it were, an indivisible unity of extralinguistic and intralinguistic approach.

Bearing this in mind, we shall not draw a mark of demarcation between the logical and the linguistic analysis of an utterance, because the paragraph is a linguistic expression of a logical, pragmatic and aesthetic arrangement of thought.

Paragraph structure is not always built on logical principles alone, as is generally the case in the style of scientific prose. In the building of paragraphs in newspaper style, other requirements are taken into consideration, for instance, psychological principles, in particular the sensational effect of the communication and the grasping capacity of the reader for quick reading. Considerations of space also play an important part. This latter consideration sometimes overrules the necessity for logical arrangement and results in breaking the main rule of paragraph building, i.e. the unity of idea. Thus, a brief note containing information about an oil treaty is crammed into one sentence, it being, in its turn, a paragraph:

"The revised version of an international oil treaty is to-day before the Senate Relation Committee, which recently made it clear that the Anglo-American oil treaty negotiated last August would not reach the Senate floor for ratification, because of objections by the American oil industry to it."

Paragraph building in the style of official documents is mainly governed by the particular conventional forms of documents (charters, pacts, diplomatic documents, business letters, legal documents and the like). Here paragraphs may sometimes embody what are grammatically called a number of parallel clauses, which for the sake" of the wholeness of the entire document are made formally subordinate, whereas in reality they are independent items. (See examples in the chapter on official style, p. 313.)

Paragraph structure in the belles-lettres and publicistic styles is strongly affected by the purport of the author. To secure the desired impact, a writer finds it necessary to give details and illustrations, to introduce comparisons and contrasts, to give additional reasons and, finally, to expand the topic by looking at it from different angles and paraphrasing the idea. He may, especially in the publicistic style, introduce the testimony of some authority on the subject and even deviate from the main topic by recounting an anecdote or even a short story to ease mental effort and facilitate understanding of the communication.

The length of a paragraph normally varies from eight to twelve sentences. The longer the paragraph is, the more difficult it is to follow the purport of the writer. In newspaper style, however, most paragraphs consist of one or perhaps two or three sentences.

Paragraphs of a purely logical type may be analysed from the way the thought of the writer develops. Attempts have been made to classify paragraphs from the point of view of the logical sequence of the sentences. Thus, in manuals on the art of composition there are models of paragraphs built on different principles:

1) from the general to the particular, or from the particular to the general;

2) on the inductive or deductive principle;

3) from cause to effect, or from effect to cause;

4) on contrast, or comparison.

So the paragraph is a compositional device aimed either at facilitating the process of apprehending what is written, or inducing a certain reaction on the part of the reader. This reaction is generally achieved by intentionally grouping the ideas so as to show their interdependence or interrelation. That is why the paragraph, from a mere compositional device, turns into a stylistic one. It discloses the writer's manner of depicting the features of the object or phenomenon described. It is in the paragraph that the main function of the belles-lettres style becomes most apparent, the main function, as will be shown below, being aesthetico-cognitive and pragmatic.

In the paragraph from the "Death of a Hero", as we saw, there are three SPUs which together constitute one paragraph. If we were to convert the passage into one of the matter-of-fact styles it would be necessary to split it into three paragraphs. But Aldington found it necessary to combine all the sentences into one paragraph, evidently seeing closer connections between the parts than there would be in a mere impersonal, less emotional account of the events described. The paragraph in some styles, such as scientific, publicistic and some others, generally has a topic sentence, i.e. a sentence which embodies the main idea of the paragraph or which may be interpreted as a key-sentence disclosing the chief thought of the writer. In logical prose the topic sentence is, as a rule, placed either at the beginning or at the end of the paragraph, depending on the logical pattern on which the paragraph is built. In the belles-lettres style the topic sentence may be placed in any part of the paragraph. It will depend on how the writer seeks to achieve his effect.

Thus in the paragraph we have been referring to, the topic sentence ('The party dropped the subject of a possible great war, after deciding that there wouldn't be one, there couldn't') is placed in the middle of the paragraph. The parts that precede and follow the topic sentence correspondingly lead to it ('the placards...') and develop it ('George, who...'). The topic sentence itself, being based on uttered represented speech, is stylistically a very effective device to show that the conclusion (no war) was not based on sound logical argument, but merely on the small talk of the party ('there wouldn't', 'there couldn't').

However, paragraph building in belles-lettres prose generally lacks unity, inasmuch as it is governed by other than logical principles, two of the requirements being emotiveness and a natural representation of the situation depicted. Hence it is sometimes impossible to decide which; sentence should be regarded as the topic one. Each SPU of several combined into one paragraph may have its own topic sentence or be a topic sentence. In other words, there are no topic sentences in emotive prose as a rule, though there may be some paragraphs with one due to the prevalence of the logical element over the emotional or the aesthetic.

In publicistic style paragraphs are built on more apparent logical principles, this style being intermediate between the belles-lettres and the scientific style. Let us subject to stylistic analysis the following paragraph from Macaulay's essay on Oliver Goldsmith:

("While Goldsmith was writing "The Deserted Village" and "She Stoops to Conquer," he was employed in works of a very different kind, works from which he derived little reputation but much profit. He compiled for the use of schools a "History of Rome," by which he made £ 300; a "History of England," by which he made £ 600; a "History of Greece," for which he received £ 250; a "Natural History," for which the book-sellers covenanted to pay him 800 guineas. These works he produced without any elaborate research, by merely selecting, abridging and translating into his own clear, pure, and flowing language what he found in books well known to the world, but too bulky or too dry for boys and girls. He committed some strange blunders; for he knew nothing with accuracy. Thus in his "History of England" he tells us that Naseby is in Yorkshire; nor did he correct this mistake when the book was reprinted. He was nearly hoaxed into putting into the "History of Greece" an account of a battle between Alexander the Great and Montezuma. In his "Animated Nature" he relates, with faith and with perfect gravity, all the most absurd lies which he could find in books of travels about gigantic Patagonians, monkeys that preach sermons, nightingales that repeat long conversations. "If he can tell a horse from a cow," said Johnson, "that is the extent of his knowledge of zoology." How little Goldsmith was qualified to write about the physical sciences is sufficiently proved by two anecdotes. He on one occasion denied that the sun is longer in the northern than in the southern signs. It was vain to cite the authority of Maupertuis. "Maupertuis!" he cried; "I understand those matters better than Maupertuis." On another occasion he, in defiance of the evidence of his own senses maintained obstinately, and even angrily, that he chewed his dinner by moving his upper jaw. Yet, ignorant as Goldsmith was, few writers have done more to make the first steps in the laborious road to knowledge easy and pleasant..."

The topic sentence of this paragraph is placed at the beginning. It consists of two ideas presented in a complex sentence with a subordinate clause of time. The idea of the topic sentence is embodied in the main clause which states that Goldsmith derived 'little reputation but much profit' out of some of his works. The subordinate clause of lime is used here as a linking sentence between the preceding paragraph which deals with "The Deserted Village" and "She Stoops to Conquer" and the one under scrutiny.

The next paragraph of the passage, as the reader has undoubtedly observed, begins with a new topic sentence and is built on the same structural model: the subordinate clause sums up the idea of the preceding paragraph ('Yet, ignorant as Goldsmith was"), and the main clause introduces, a new idea. This pattern is maintained throughout the essay and, by the way, in most of Macaulay's essays. This easy, flowing manner of exposition has a high degree of predictability. The reader, having read the first sentence and being conscious of the author's manner of building paragraphs, will not fail to grasp the gist of the passage at once.

It is interesting to point out how Macaulay develops the idea expressed in the topic sentence. He wished to show why Goldsmith derived 1) 'little reputation' and 2) 'much profit' from certain of his works. Of the two, Macaulay considers the former to be undoubtedly more significant than the latter. That is why he begins with insignificant details—enumerating Goldsmith's profits, and then devotes all the rest of the paragraph to instances of Goldsmith's ignorance.

A paragraph in certain styles is a dialogue (with the reader) in the form of a monologue. The breaking-up of a piece of writing into paragraphs can be regarded as an expression of consideration for the reader on the part of the author. It manifests itself in the author's being aware of limits in the reader's capacity for perceiving and absorbing information. Therefore paragraphs in matter-of-fact styles, as in scientific prose, official documents and so on, are clear, precise, logically coherent, and possess unity, i.e. express one main thought. Paragraphs in emotive prose are combinations of the logical and the emotional. The aim of the author in breaking up the narrative into paragraphs is not only to facilitate understanding but also for emphasis. That is why paragraphs in the belles-lettres prose are sometimes built on contrast or on climax, as is the paragraph from "A Christmas Carol" by Dickens, quoted on p. 221.

| The paragraph as a unit of utterance, is so far entirely the domain of stylistics. Yet there are obvious features of a purely syntactical character in the paragraph which must not be overlooked That is why there is every reason to study the paragraph in syntax of the language where not only the sentence but also larger units of communication should be under observation. This would come under what we may call the 'macro-syntax' of the language.

C. COMPOSITIONAL PATTERNS OF SYNTACTICAL ARRANGEMENT

The structural syntactical aspect is sometimes regarded as the crucial issue in stylistic analysis, although the peculiarities of syntactical arrangement are not so conspicuous as the lexical and phraseological properties of the utterance. Syntax is figuratively called the "sinews of style".

Structural syntactical stylistic devices are in special relations with the intonation involved. Prof. Peshkovsky points out that there is an interdependence between the intonation and syntactical properties of the sentence, which may be worded in the following manner: the more explicitly the structural syntactical relations are expressed, the weaker will be the intonation-pattern of the utterance (to complete disappearance) and vice-versa, the stronger the intonation, the weaker grow the evident syntactical relations (also to complete disappearance) 1. This can be illustrated by means of the following two pairs of sentences: 'Only after dinner did I make up my mind to go there' and 7 made up my mind to go there only after dinner.' 'It was in Bucharest that the Xth International Congress of Linguists took place' and 'The Xth International Congress of Linguists took place in Bucharest.'

The second sentences in these pairs can be made emphatic only by intonation; the first sentences are made emphatic by means of the syntactical patterns: 'Only after dinner did I...' and 'It was... that...'

The problem of syntactical stylistic devices appears to be closely linked not only with what makes an utterance more emphatic but also with the more general problem of predication. As is known, the English affirmative sentence is regarded as neutral if it maintains the regular word-order, i.e. subject—predicate—object (or other secondary members of the sentence, as they are called). Any other order of the parts of the sentence may also carry the necessary information, but the impact on the reader will be different. Even a slight change in the word-order of a sentence or in the order of the sentences in a more complicated syntactical unit will inevitably cause a definite modification of the meaning of the whole. An almost imperceptible rhythmical design introduced into a prose sentence, or a sudden break in the sequence of the parts of the sentence, or any other change will add something to the volume of information contained in the original sentence. Unlike the syntactical expressive means of the language, which are naturally used in discourse in a straight-forward natural manner, syntactical stylistic devices are perceived as elaborate designs aimed at having a definite impact on the reader. It will be borne in mind that any SD is meant to be understood as a device and is calculated to produce a desired stylistic effect.

When viewing the stylistic functions of different syntactical designs we must first of all take into consideration two aspects:

1. The juxtaposition of different parts of the utterance.

2. The way the parts are connected with each other.

In addition to these two large groups of EMs and SDs two other groups may be distinguished:

3. Those based on the peculiar use of colloquial constructions,

4. Those based on the stylistic use of structural meaning.

Date: 2014-12-29; view: 1731