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ASSIGNMENTS FOR SELF-CONTROL

1. Comment on linguistic properties of sentences which are foregrounded in lexico-syntactical stylistic devices.

2. What do you know about antithesis? Why is it viewed separately from parallel constructions?

3. Have you ever met, in your home-reading, cases of antithesis in which the structure of a word was also used in the creation of the SD?

Another type of semantically complicated parallelism is presented by climax, in which each next word combination (clause, sentence) is logically more important or emotionally stronger and more explicit: "Better to borrow, better to beg, better to die!" (D.) "I am firm, thou art obstinate, he is pig-headed." (B.Ch.) If to create antithesis we use antonyms (or their contextual equivalents), in climax we deal with strings of synonyms or at least semantically related words belonging to the same thematic group.

The negative form of the structures participating in the formation of climax reverses the order in which climax-components are used, as in the following examples: "No tree, no shrub, no blade of grass that was not owned." (G.) It is the absence of substance or quality that is being emphasized by the negative form of the climax, this is why relative synonyms are arranged not in the ascending but in the descending order as to the expressed quality or quantity. Cf.: "Be careful," said Mr. Jingle. "Not a look." "Not a wink," said Mr. Tupman. "Not a syllable. Not a whisper." (D.)

Proceeding from the nature of the emphasized phenomenon it is possible to speak of logical, emotive or quantitative types of climax. The most widely spread model of climax is a three-step construction, in which intensification of logical importance, of emotion or quantity (size, dimensions) is gradually rising Step by step. In emotive climax though, we rather often meet a two-step structure, in which the second part repeats the first one and is further strengthened by an intensifier, as in the following instances: "He was so helpless, so very helpless." (W.D.) "She felt better, immensely better." (W.D.) "I have been so unhappy here, so very very unhappy." (D.)

Climax suddenly interrupted by an unexpected turn of the thought which defeats expectations of the reader (listener) and ends in complete semantic reversal of the emphasized idea, is called anticlimax. To stress

the abruptness of the change emphatic punctuation (dash, most often) is used between the ascending and the descending parts of the anticlimax. Quite a few paradoxes are closely connected with anticlimax.

Exercise II. Indicate the type of climax. Pay attention to its structure and the semantics of its components:

1. He saw clearly that the best thing was a cover story or camouflage. As he wondered and wondered what to do, he first rejected a stop as impossible, then as improbable, then as quite dreadful. (W.G.)

2. "Is it shark?" said Brody. The possibility that he at last was going to confront the fish - the beast, the monster, the nightmare - made Brody's heart pound. (P.B.)



3. If he had got into the gubernatorial primary on his own hook, he would have taken a realistic view. But this was different. He had been called. He had been touched. He had been summoned. (R.W.)

4. We were all in àll tî one another, it was the morning of life, it was bliss, it was frenzy, it was everything else of that sort in the highest degree. (D.)

5. Like a well, like a vault, like a tomb, the prison had no knowledge of the brightness outside. (D.)

6. "I shall be sorry, I shall be truly sorry to leave you, my friend." (D.)

7. "Of course it's important. Incredibly, urgently, desperately important." (D.S.)

8. "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: Jane Crofut; The Crofut Farm; Graver's Corners; Sutton County; New Hampshire; United States of America." "What's funny about it?" "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.)

9. "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.)

10. 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.)

11. For that one instant there was no one else in the room, in the house, in the world, besides themselves. (M.W.)

12. Fledgeby hasn't heard of anything. "No, there's not a word of news," says Lammle. "Not a particle," adds Boots. "Not an atom," chimes in Brewer. (D.)

13. Women have a wonderful instinct about things. They can discover everything except the obvious. (O.W.)

14. This was appalling - and soon forgotten. (G.)

15. He was unconsolable - for an afternoon. (G.)

16. In moments of utter crises my nerves act in the most extraordinary way. When utter disaster seems imminent, my whole being is simultaneously braced to avoid it. I size up the situation in a flash, set my teeth, contract my muscles, take a firm grip of myself, and without a tremor always do the wrong thing. (B.Sh.)

 

ASSIGNMENTS FOR SELF-CONTROL

1. Speak about the SD of climax and its types.

2. In what way does the structure of an emotive climax differ from that of other types?

3. What can you say about the negative form of the climax?

4. What is an anticlimax?

5. Is every paradox expressed by a climax?

A structure of three components is presented in a stylistic device extremely popular at all times - simile. Simile is an imaginative comparison of two unlike objects belonging to two different classes. The one which is compared is called the tenor, the one with which it is compared, is called the vehicle. The tenor and the vehicle form the two semantic poles of the simile, which are connected by one of the following link words "like", "as", "as though", "as like", "such as", "as...as", etc. Simile should not be confused with simple (logical, ordinary) comparison. Structurally identical, consisting of the tenor, the vehicle and the uniting formal element, they are semantically different: objects belonging to the same class are likened in a simple comparison, while in a simile we deal with the likening of objects belonging to two different classes. So, "She is like her mother" is a simple comparison, used to state an evident fact. "She is like a rose" is a simile used for purposes of expressive evaluation, emotive explanation, highly individual description.

The tenor and the vehicle may be expressed in a brief "nucleus" manner, as in the above example, or may be extended. This last case of sustained expression of likeness is known as epic, or Homeric simile.

If you remember, in a metaphor two unlike objects (actions, phenomena) were identified on the grounds of possessing one common characteristic. In a simile two objects are compared on the grounds of similarity of some quality. This feature which is called foundation of a simile, may be explicitly mentioned as in: "He stood immovable like a rock in a torrent" (J.R.), or "His muscles are hard as rock". (T.C.) You see that the "rock" which is the vehicle of two different similes offers two different qualities as their foundation - "immovable" in the first case, and "hard" in the second. When the foundation is not explicitly named, the simile is considered to be richer in possible associations, because the fact that a phenomenon can be qualified in multiple and varying ways allows attaching at least some of many qualities to the object of comparison. So "the rose" of the previous case allows to simultaneously foreground such features as "fresh, beautiful, fragrant, attractive", etc. Sometimes the foundation of the simile is not quite clear from the context, and the author supplies it with a key, where he explains which similarities led him to liken two different entities, and which in fact is an extended and detailed foundation. Cf.: "The conversations she began behaved like green logs: they fumed but would not fire." (T.C.)

A simile, often repeated, becomes trite and adds to the stock of language phraseology. Most of trite similes have the foundation mentioned and conjunctions "as", "as...as" used as connectives. Cf.: "as brisk as a bee", "as strong as a horse", "as live as a bird" and many many more.

Similes in which the link between the tenor and the vehicle is expressed by notional verbs such as "to resemble", "to seem", "to recollect", "to remember", "to look like", "to appear", etc. are called disguised, because the realization of the comparison is somewhat suspended, as the likeness between the objects seems less evident. Cf.: "His strangely taut, full-width grin made his large teeth resemble a dazzling miniature piano keyboard in the green light." (J.) Orf "The ball appeared to the batter to be a slow spinning planet looming toward the earth." (Â. Ì.)

 

Exercise III. Discuss the following cases of simile. Pay attention to the semantics of the tenor and the vehicle, to the briefer sustained manner of their presentation. Indicate the foundation of the simile, both explicit and implicit. Find examples of disguised similes, do not miss the link word joining the two parts of the structure:

1. The menu was rather less than a panorama, indeed, it was as repetitious as a snore. (O.N.)

2. The topic of the Younger Generation spread through the company like a yawn. (E.W.)

3. Penny-in-the-slot machines stood there like so many vacant faces, their dials glowing and flickering - for nobody. (B.N.)

4. As wet as a fish - as dry as a bone;

As live as a bird - as dead as a stone; As plump as a partridge - as crafty as a rat;

As strong as a horse - as weak as a cat; As hard as a flint - as soft as a mole; As white as a lily - as black as coal; As plain as a pike - as rough as a bear; As tight as a dram - as free as the air; As heavy as lead - as light as a feather; As steady as time - uncertain as weather; As hot as an oven - as cold as a frog; As gay as a lark - as sick as a dog; As savage as a tiger - as mild as ö dove; As stiff as a poker - as limp as a glove; As blind as a bat - as deaf as a post; As cool as a cucumber - as warm as toast; As flat as a flounder - as round as a ball; As blunt as a hammer - as sharp as an awl; As brittle as glass - as tough as gristle; As neat as a pin - as clean as a whistle; As red as a rose - as square as a box. (O.N.)

5. She has always been as live as a bird. (R.Ch.)

6. She was obstinate as a mule, always had been, from a child. (G.)

7. Children! Breakfast is just as good as any other meal and I won't have you gobbling like wolves. (Th.W.)

8. Six o'clock still found him in indecision. He had had no appetite for lunch and the muscles of his stomach fluttered as though a flock of sparrows was beating their wings against his insides. (Wr.)

9. And the cat, released, leaped and perched on her shoulder: his tail swinging like a baton, conducting rhapsodic music. (T.C.)

10. He felt that his presence must, like a single drop of some stain, tincture the crystal liquid that was absolutely herself. (R.W.)

11. He has a round kewpie's face. He looks like an enlarged, elderly, bald edition of the village fat boy, a sly fat boy, congenitally indolent, a practical joker, a born grafter and con merchant. (O'N.)

12. You could have knocked me down with a feather when he said all those things to me. I felt just like Balaam when his ass broke into light conversation. (S.M.)

13. Two footmen leant against the walls looking as waxen as the clumps of flowers sent up that morning from hothouses in the country. (E.W.)

14. The Dorset Hotel was built in the early eighteen hundreds and my room, like many an elderly lady, looks its best in subdued light. (J.Br.)

15. 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.)

16. It was an unforgettable face, and a tragic face. Its sorrow welled out of it as purely, naturally and unstoppably as water out of a woodland spring. (J.F.)

17. 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.)

18. Indian summer is like a woman. Ripe, hotly passionate, but fickle, she comes and goes as she pleases so that one is never sure whether she will come at all nor for how long she will stay. (Gr.M.)

19. You're like the East, Dinny. One loves it at first sight or not at all and one never knows it any better. (G.)

20. He felt like an old book: spine defective, covers dull, slight foxing, fly missing, rather shaken copy. (J.Br.)

21. Susan at her piano lesson, playing that thing of Scarlatti's. The sort of music, it struck him, that would happen if the bubbles in a magnum of champagne were to rush up rhythmically and as they reached the surface, burst into sound as dry and tangy as the wine from whose depth they had arisen. The simile pleased him so much. (A.H.)

22. There was no moon, a clear dark, like some velvety garment, was wrapped around the trees, whose thinned branches, resembling plumes, stirred in the still, warm air. (G.)

23. There are in every large chicken-yard a number of old and indignant hens who resemble Mrs. Bogart and when they are served at Sunday noon dinner, as fricasseed chicken with thick dumplings, they keep up the resemblance. (S.L.)

24. H.G.Wells r.eminded her of the rice paddies in her native California. Acres and acres of shiny water but never more than two inches deep. (A.H.)

25. On the wall hung an amateur oil painting of what appeared to be a blind man's conception of fourteen whistling swan landing simultaneously in the Atlantic during a half-gale. (Jn.B.)

26. Today she had begun by watching the flood. The water would crouch and heave at a big boulder fallen off the bluff-side and the red-and-white foam would fly. It reminded her of the blood-streaked foam every heave would fling out of the nostrils of a windbroke horse. (R.W.)

27. I'm not nearly hot enough to draw a word-picture that would do justice to that extraordinarily hefty crash. Try to imagine the Albert Hall falling on the Crystal Palace and you will have got the rough idea. (P.G.W.)

28. Her startled glance descended like a beam of light, and settled for a moment on the man's face. He was fortyish and rather fat, with a moustache that made her think of the yolk of an egg, and a nose that spread itself. His face had an injected redness. (W.D.)

29. Huddled in her grey fur against the sofa cushions she had a strange resemblance to a captive owl bunched in its soft feathers against the wires of a cage. The supple erectness of her body was gone, as though she had been broken by cruel exercise, as though there were no longer any reason for being beautiful, and supple, and erect. (G.)

30. Someone might have observed in him a peculiar resemblance to those plaster reproductions of the gargoyles of Notre Dame which may be seen in the shop windows of artists' colourmen. (E.W.)

31. Walser felt the strangest sensation, as if these eyes of the trapeze gymnast were a pair of sets of Chinese boxes, as if each one opened into a world into a world, an infinite plurality of worlds, and these unguessable guests exercised the strongest possible attraction, so that he felt himself trembling as if he, too, stood on an unknown threshold. (An.C.)

32. All was elegant, even sumptuous, finished with a heavy rather queasy luxury that always seemed to have grime under its fingernails, the luxury peculiar to this country. (An.C.)

 

ASSIGNMENTS FOR SELF-CONTROL

1. What is a simile and what is a simple comparison?

2. What semantic poles of a simile do you know?

3. Which of the link words have you met most often?

4. What is the foundation of the simile?

5. What is the key of the simile?

6. What is a trite simile? Give examples.

7. What is an epic simile?

8. What is a disguised simile?

9. What are the main functions of a simile?

10. Find examples of similes in your reading. State their type, structure and functions.

Litotes is a two-component structure in which two negations are joined to give a positive evaluation. Thus "not unkindly" actually means "kindly", though the positive effect is weakened and some lack of the speaker's confidence in his statement is implied. The first component of a litotes is always the negative particle "not", while the second, always negative in semantics, varies in form from a negatively affixed word (as above) to a negative phrase.

Litotes is especially expressive when the semantic centre of the whole • structure is stylistically or/and emotionally coloured, as in the case of the following occasional creations: "Her face was not unhandsome" (A.H.) or "Her face was not unpretty". (K.K.)

The function of litotes has much in common with that of understatement - both weaken the effect of the utterance. The uniqueness of litotes lies in its specific "double negative" structure and in its weakening only the positive evaluation. The Russian term "ëèòîòà" corresponds only to the English "understatement" as it has no structural or semantic limitations.

 

Exercise IV. Analyse the structure, the semantics and the functions oflitotes:

1. "To be a good actress, she must always work for the truth in what she's playing," the man said in a voice not empty of self-love. (N.M.)

2. "Yeah, what the hell," Anne said and looking at me, gave that not unsour smile. (R.W.)

3. It was not unnatural if Gilbert felt a certain embarrassment. (E. W.)

4. The idea was not totally erroneous. The thought did not displease me. (I.M.)

5. I was quiet, but not uncommunicative; reserved, but not reclusive; energetic at times, but seldom enthusiastic. (Jn.B.)

6. He had all the confidence in the world, and not without reason. (J.O'H.)

7. Kirsten said not without dignity: "Too much talking is unwise." (Ch.)

8. "No, I've had a profession and then a firm to cherish," said Ravenstreet, not without bitterness. (P.)

9. I felt I wouldn't say "no" to a cup of tea. (K.M.) 10. I wouldn't say "no" to going to the movies. (E.W.)

11. "I don't think you've been too miserable, my dear." (P.)

12. Still two weeks of success is definitely not nothing and phone calls were coming in from agents for a week. (Ph.R.)

 

ASSIGNMENTS FOR SELF-CONTROL

1. What is a litotes?

2. What is there in common between litotes and understatement?

3. Describe most frequently used structures of litotes.

Periphrasis is a very peculiar stylistic device which basically consists of using a roundabout form of expression instead of a simpler one, i.e. of using a more or less complicated syntactical structure instead of a word. Depending on the mechanism of this substitution, periphrases are classified into figurative (metonymic and metaphoric), and logical. The first group is made, in fact, of phrase-metonymies and phrase-metaphors, as you may well see from the following example: "The hospital was crowded with the surgically interesting products of the fighting in Africa" (I.Sh.) where the extended metonymy stands for "the wounded".

Logical periphrases are phrases synonymic with the words which were substituted by periphrases: "Mr. Du Pont was dressed in the conventional disguise with which Brooks Brothers cover the shame of American millionaires." (M.St.) "The conventional disguise" stands here for "the suit" and "the shame of American millionaires" — for "the paunch (the belly)". Because the direct nomination of the not too elegant feature of appearance was substituted by a roundabout description this periphrasis may be also considered euphemistic, as it offers a more polite qualification instead of a coarser one.

The main function of periphrases is to convey a purely individual perception of the described object. To achieve it the generally accepted nomination of the object is replaced by the description of one of its features or qualities, which seems to the author most important for the characteristic of the object, and which thus becomes foregrounded.

The often repeated periphrases become trite and serve as universally accepted periphrastic synonyms: "the gentle / soft / weak sex" (women); "my better half (my spouse); "minions of Law" (police), etc.

 

Exercise V. Analyse the given periphrases from the viewpoint of their semantic type, structure, function and originality:

1. Gargantuan soldier named Dahoud picked Ploy by the head and scrutinized this convulsion of dungarees and despair whose feet thrashed a yard above the deck. (Th.P.)

2. His face was red, the back of his neck overflowed his collar and there had recently been published a second edition of his chin. (P.G.W.)

3. His huge leather chairs were kind to the femurs. (R.W.)

4. "But Pickwick, gentlemen, Pickwick, this ruthless destroyer of . this domestic oasis in the desert of Goswell street!" (D.)

5. He would make some money and then he would come back and marry his dream from Blackwood. (Dr.)

6. 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.)

7. The habit of saluting the dawn with a bend of the elbow was a hangover from college fraternity days. (Jn.B.)

8. I took my obedient feet away from him. (W.G.)

9. I got away on my hot adolescent feet as quickly as I could. (W.G.)

10. I am thinking an unmentionable thing about your mother. (I.Sh.)

11. Jean nodded without turning and slid between two vermilion-coloured buses so that two drivers simultaneously used the same qualitative word. (G.)

12. During the previous winter I had become rather seriously ill with one of those carefully named difficulties which are the whispers of approaching age. (J. St.)

13. A child had appeared among the palms, about a hundred yards along the beach. He was a boy of perhaps six years, sturdy and fair, his clothes torn, his face covered with a sticky mess of fruit. His trousers had been lowered for an obvious purpose and had only been pulled back half-way. (W.G.)

14. When I saw him again, there were silver dollars weighting down his eyes. (T.C.)

15. She was still fat after childbirth; the destroyer of her figure sat at the head of the table. (A.B.)

16. I participated in that delayed Teutonic migration known as the Great War. (Sc.F.)

17. "Did you see anything in Mr. Pickwick's manner and conduct towards the opposite sex to induce you to believe all this?" (D.)

18. Bill went with him and they returned with a tray of glasses, siphons and other necessaries of life. (Ch.)

19. It was the American, whom later we were to learn to know and love as the Gin Bottle King, because of a great feast of arms performed at an early hour in the morning with a container of Mr. Gordon's celebrated product as his sole weapon. (H.)

20. Jane set her bathing-suited self to washing the lunch dishes. (Jn.B.)

21. Naturally, I jumped out of the tub, and before I had thought twice, ran out into the living room in my birthday suit. (Â. Ì.)

22. For a single instant, Birch was helpless, his blood curdling in his veins at the imminence of the danger, and his legs refusing their natural and necessary office. (T.C.)

23. The apes gathered around him and he wilted under the scrutiny of the eyes of his little cousins twice removed. (An.C.)

 

ASSIGNMENTS FOR SELF-CONTROL

1. Speak about semantic types of periphrasis.

2. In what cases can a logical or a figurative periphrasis also be qualified as euphemistic?

3. What are the main stylistic functions of periphrases?

4. Which type of periphrasis, in your opinion, is most favoured in contemporary prose and why?

 

Exercise VI. Now, after you have been acquainted with the semantics, structures and functions of major syntactical stylistic devices, you may proceed, in the summarizing form, to cases of their convergence, paying attention to each SD contributing to the general effect and of course specifying those which bear the main responsibility for the creation of additional information and the intensification of the basic one:

1. In Paris there must have been a lot of women not unlike Mrs. Jesmond, beautiful women, clever women, cultured women, exquisite, long-necked, sweet smelling, downy rats. (P.)

2. The stables - I believe they have been replaced by television studios - were on West Sixty-sixth street. Holly selected for me an old sway-back black-and-white mare: "Don't worry, she's safer than a cradle." Which, in my case, was a necessary guarantee, for ten-cent pony rides at childhood carnivals were the limit of my equestrian experience. (T.C.)

3. However, there was no time to think more about the matter, for the fiddles and harp began in real earnest. Away went Mr. Pickwick — hands across, down the middle to the very end of the room, and halfway up the chimney, back again to the door - poussette everywhere - loud stamp on the ground - ready for the next couple - off again - all the figure over once more - another stamp to beat out the time - next couple, and the next, and the next again - never was such going! (D.)

4. Think of the connotations of "murder", that awful word: the lossof emotional control, the hate, the spite, the selfishness, the broken glass, the blood, the cry in the throat, the trembling blindness that results in theirrevocable act, the helpless blow. Murder is the most limited of gestures.(J.H.)

5. There is an immensity of promenading on crutches and off, with sticks and without; and a great deal of conversation, and liveliness and pleasantry. (D.)

6. We sat down at the table. The jaws got to work around the table. (R.W.)

7. Babbitt stopped smoking at least once a month. He did everything in fact except stop smoking. (S.L.)

8. I'm interested in any number of things, enthusiastic about nothing. Everything is significant and nothing is finally important. (Jn.B.)

9. Lord Tompson owns 148 newspapers in England and Canada. He is the most influential Fleet-Street personality. His fortune amounts to 300 mln. He explains his new newspaper purchases so: "I buy newspapers to make money. I make money to buy more newspapers. I buy more newspapers to make more money, etc., etc. without end." (M.St.)

10. He illustrated these melodramatic morsels by handing the tankard to himself with great humility, receiving it haughtily, drinking from it thirstily, and smacking his lips fiercely. (D.)

11. The cigarette tastes rough, a noseful of straw. He puts it out. Never again. (U.)

12. The certain mercenary young person felt that she must not sell her sense of what was right and what was wrong, and what was true and what was false, and what was just and what was unjust, for any price that could be paid to her by any one alive. (J.F.)

13. A girl on a hilltop, credulous, plastic, young: drinking the air she longed to drink life. The eternal aching comedy of expectant youth. (S.L.)

14 I have made him my executor. Nominated, constituted and appointed him. In my will. (D.)

15. This is what the telegram said: Has Cyril called yet? On no account introduce him into theatrical circles. Vitally important. Letter follows. (P.G.W.)

16. In November a cold unseen stranger whom the doctors called Pneumonia, stalked about the colony touching one here and one there with icy fingers. Mr. Pneumonia was not what you would call a chivalric old gentleman. (O'N.)

17. He came to us, you see, about three months ago. A skilled and experienced waiter. Has given complete satisfaction. He has been in England about five years. (Ch.)

18. If it had not been for these things, I might have lived out my life, talking at street corners to scorning men. I might have died, unmarked, unknown, a failure. Now we are not a failure. This is our career and our triumph. Never in our full life can we hope to do such work for tolerance, for justice, for man's understanding of man, as now we do by an accident. Our words - our lives - our pains - nothing! The taking of our lives -lives of a good shoe-maker and a poor fish-peddler - all! That last mo'ment belongs to us - that agony is our triumph! (H.R.)

19. The main thought uppermost in Fife's mind was that everything in the war was so organized, and handled with such matter-of-fact dispatch. Like a business. Like a regular business. And yet at the bottom of it was blood: blood, mutilation, death. It seemed weird, wacky to Fife. (J.)

20. Constance had said: "If ever I'm a widow, I won't wear them, positively," in the tone of youth; and Mrs. Baines had replied: "I hope you won't, my dear." That was over twenty years ago, but Constance perfectly remembered. And now, she was a widow! How strange and how impressive was life! And she had kept her word; not without hesitations; for though times were changed, Bursley was still Bursley; but she had kept it. (A.B.)

21. The reasons why John Harmon should not come to life: Because he has passively allowed these dear old faithful friends to pass into possession of the property. Because he sees them happy with it. Because they have virtually adopted Bella, and will provide for her. Because there is affection enough in her heart to develop into something enduringly good, under favourable conditions. Because her faults have been intensified by her place in my father's will and she is already growing better. Because her marriage with John Harmon, after what I have heard from her own lips, would be a shocking mockery. Because if John Harmon comes to life and does not marry her, the property falls into the very hands that hold it now. (D.)

22. In Arthur Calgary's fatigued brain the word seemed to dance on the wall. Money! Money! Money! Like a motif in an opera, he thought. Mrs. Argyle's money! Money put into trust! Money put into an annuity! Residual estate left to her husband! Money got from the bank! Money in the bureau drawer! Hester rushing out to her car with no money in her purse... Money found on Jacko, money that he swore his mother had given him. (Ch.)

23. Mr. Pickwick related, how he had first met Jingle; how he had eloped with Miss Wardle; how he had cheerfully resigned the fady for pecuniary considerations; how he had entrapped him into a lady's boarding school; and how he, Mr. Pickwick, now felt it his duty to expose his assumption for his present name and rank. (D.)

24. "And with a footman up behind, with a bar across, to keep his legs from being poled! And with a coachman up in front sinking down into a seat big enough for three of him, all covered with upholstery in green and white! And with two bay horses tossing their heads and stepping higher than they trot long-ways! And with you and me leaning back inside, as grand as ninepence!" (D.)

25. I looked at him. I know I smiled. His face looked as though it were plunging into water. I couldn't touch him. I wanted so to touch him I smiled again and my hands got wet on the telephone and then for the moment I couldn't see him at all and I shook my head and my face was wet and I said, "I'm glad. I'm glad. Don't you worry. I'm glad." (J.B.)

26. What is this life if, full of care,

We have no time to stand and stare.

No time to stand beneath the boughs,

And stare as long as sheep and cows.

No time to see when woods we pass,

Where squirrels hide their nuts in grass.

No time to see in broad day light,

Streams full of stars like skies at night.

No time to turn at Beauty's glance,

And watch her feet, how they can dance.

No time to wait till her mouth can

Enrich that smile her eyes began.

A poor life this if, full of care,

We have no time to stand and stare.

(W.H.D.)

 


Date: 2015-01-12; view: 1141


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