ASSIGNMENTS FOR SELF-CONTROL

  1. ASSIGNMENTS FOR SELF-CONTROL
  2. ASSIGNMENTS FOR SELF-CONTROL
  3. ASSIGNMENTS FOR SELF-CONTROL
  4. ASSIGNMENTS FOR SELF-CONTROL
  5. ASSIGNMENTS FOR SELF-CONTROL
  6. 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 ". (TC) 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." (. .)

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 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 will not 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.)




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