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Repetitions of words and word groups





Rep-ns of lex.units may be:

1-juxtaposed word rep-n is a SD based on the recurrence of the same word in the proximate positions. It may convey the intensity of feeling, the painful progress or monotony of time etc. This is the most elementary and obvious, kind of recurrence. With each repetition the word or phrase changes its position on the syntagmatic plane and is in this respect equivalent to, but not identical with its preceding counterparts. In order to emphasize the endlessness and painful progress of thoughts on a sleepless night Dickens resorts to jux­taposed word repetition in A Christmas Carol:—

Scrooge, an old curmudgeon, receives on Chirstmas Eve a visit from the ghost of Marley, his late partner in business, and beholds a vision of what his own death will be unless he is quick to amend his ways.

Scrooge went to bed again, and thought, and thought, and thought it over and over and over.

In his well-known Song of the Shirt Thomas Hood uses extensively juxtaposed word repetition to present a picture of the overworked and underpaid sempstress. The words "stitch" and "work" are first repeated three times in jux­taposition and then these words recur again and again thro­ughout the text of the poem underlining the monotony and long hours of toil for the working women. Here is a fragment from the poem:—

A woman sat, in unwomanly rags,

Plying her needle and thread —

Stitch! stitch! stitch!

In poverty, hunger, and dirt,

And still with a voice of dolorous pitch

She sang the "Song of the Shirt!"

 

"Work! work! work!

While the cock is crying aloof!

And work-work-work,

Till the stars shine through the roof!"

 

2-word rep-n in strong positions (the beginning and the end of a poetic line, stanza, utterance and paragraph):

By strong positions we mean the beginning and the end of a poetic line, stanza, utterance and paragraph. It has been noticed that words placed in these positions are more emphatic than those in the middle. When words are repeated in the initial or final positions they acquire added emphasis, create oscillation, produce balance and aesthetic effect. The following rhetorical figures come under this heading: lexical anaphora, lexical epistrophe, lexical framing and lexical anadiplosis.

Lexical anaphora (Gk. anaphora, 'carrying back') is the initial lexical identity of two or more successive lines, stanzas, utterances and paragraphs.

 

Lexical anaphora in poetic lines:—

 

Love in her Sunny Eyes does basking play;

Love walks the pleasant Mazes of her Hair;

Love does on both her Lips for ever stray;

And sows and reaps a thousand kisses there. (Cowley)

Lexical anaphora in stanzas:—

Ask me no more where Jove bestows,

When June is past, the fading rose;

For in your beauty's orient deep

These flowers, as in their causes, sleep.

 

Ask me no more whither do stray

The golden atoms of the day;

For in pure love heaven did prepare

Those powders to enrich your hair. (Carew)

 

Lexical anaphora in utterances:—

(i) So we went back, and they wanted Dora to sing.

Red Whisker would have got the guitar-case out of the

carriage, but Dora told him nobody knew where it was,

but I. So Red Whisker was done for in a moment; and

I got it, and I unlocked it, and I took the guitar out,

and I sat by her, and I held her handkerchief and gloves,

and I drank in every note of her dear voice... (Dickens)

Note. The anaphoric "i" is emphasized by italics in the above example.

 

(ii) He ran through the desert; he ran through the mo­untains; he ran through the salt-pans; he ran through the reed-beds; he ran trough the blue gums; he ran thro­ugh the spinifex; he ran till his front legs ached.(Kipling)

Lexical anaphora in paragraphs:—

The grass is rich and matted, you cannot see the soil. It holds the rain and the mist, and they seep into the ground, feeding the streams in every kloof....

Where you stand the grass is rich and matted, you cannot see the soil. But the rich green hills break down. They fall to the valley below, and falling, change their nature. (Paton)

Lexical epistrophe (Gk. epistrophe, 'over' + 'I address') is the final lexical identity of two or more successive lines, stanzas, utterances and paragraphs.

Lexical epistrophe in poetic lines:—

 

Do all the good you can,

By all the means you can,

In all the ways you can,

In all the places you can,

At all the times you can,

To all the people you can,

As long as ever you can. (Wasley)

 

Longfellow's poem Excelsior consists of nine stanzas, each ending in the word 'Excelsior' which in Latin means "ever upward". The beginning of this beautiful poem will suffice to exemplify the case of lexical epistrophe in poetic stanzas:—

The shades of night were falling fast,

As through an Alpine village passed

A youth, who bore, 'mid snow and ice,

A banner with the strange device,

Excelsior!

His brow was sad; his eye beneath

Flashed like a falchion from its sheath,

And like a silver clarion rung

The accents of that unknown tongue,

Excelsior!

Cases of lexical epistrophe in prosaic utterances:—

(i) Raphael paints wisdom; Handel sings it, Phidias

carves it, Shakespeare writes it, Wren builds it,

Columbus sails it, Luther preaches it, Washington arms it,

Watt mechanizes it. (Emerson)

(ii) I said it (the prospect) was delightful, and I

dare say it was; but it was all Dora to me. The sun shone

Dora, and the birds sang Dora. The south wind blew

Dora, and the wild flowers in the hedges were all Doras,

to a bud. (Dickens)

In the following passage from Kipling's Just So Stories along with various kinds of effective repetitions there is a very emotional case of lexical epistrophe in the ends of pa­ragraphs:

Still ran Dingo — Yellow-Dog Dingo — always hun­gry,

grinning like a rat-trap, never getting nearer, never

getting farther,— ran after Kangaroo.

He had to!

Still ran Kangaroo — Old Man Kangaroo. He ran

through the ti-trees; he ran through the mulga; he ran

through the long grass; he ran through the short grass;

he ran through the Tropics of Capricorn and Cancer;

he ran till his hind legs ached.

He had to!

Still ran Dingo — Yellow-Dog Dingo — hungrier

and hungrier, grinning like a horse-collar, never getting

nearer, never getting farther; and they came to the Wol-lgong River.

Now, there wasn't any bridge, and there wasn't any

ferry-boat, and Kangaroo didn't know how to get over;

so he stood on his legs and hopped.

He had to!

 

Lexical framing consists in the repetition of words in the both strong positions, initial and final. Framing is usually used in lines and stanzas:—

(i) Adieu, adieu — I fly, adieu,

I vanish in the heaven's blue,

Adieu, adieu! (Byron)

(ii) The day is cold, and dark, and dreary;

It rains, and the wind is never weary;

The vine still clings to the mouldering wall,

But at every gust the dead leaves fall,

And the day is dark and weary. (Longfellow)

 

Symploce (Gk. symploke, 'intertwining') is the simul­taneous use of anaphora and epistrophe, i. e. the beginning and the end of one segment are repeated in the next segment: —

We are the hollow men

We are the stuffed men... (Eliot)

 

Anadiplosis (Gk. anadiplosis, 'to be doubled back') is the repetition in the initial position of a word from the final po­sition of the preceding line or utterance: —

My mother bore me in the southern wild,

And I am black, but O! my soul is white;

White as an angel is the English child,

But I am black, as if bereav'd of light. (Blake)

When this linking device is used several times, it is called chain-repetition:—

 

When there was nothing more to be got out of me about myself... they began about Mr. Wickfield and Agness. Uriah threw the ball to Mrs. Heep, Mrs. Heep caught it and threw it back to Uriah, Uriah kept it up a little while, then sent it back to Mrs. Heep.

(Dickens)

Distant word repetitions. The term distant word repetition, as opposed to juxtaposed word repetition, is used here to denote the recurrence of words and word groups separated from each other by syntac­tically heterogeneous segments of varying length. The reite­rated segments are structurally involved because each section of the text in between adds new semantic features to them. The distantly repeated words and word groups help the de­coder to remember large portions of the preceding text and to penetrate deeper into the author's message (cf. the dictum "the important is frequent, and the frequent is important"). The reiterated lexical units usually belong to what is known as "key" or "thematic" words, i. е., words whose meaning is essential for the understanding of the message and themes of a literary work.

Antony's address to the Romans in Shakespeare's tragedy Julius Caesar may serve as an excellent illustration of the importance of distant word repetition. The tragedy deals with the events of the year 44 В. C., after Caesar, already endowed with dictatorship, returned to Rome from a successful campaign in Spain. Distrust of Caesar's inordinate ambition gives rise to a conspiracy against him among senators headed by Brutus. Caesar falls to the daggers of the plotters. Antony, Caesar's close associate, is determined to become his successor and stirs the people of Rome to fury against Brutus and other republicans by a skilful speech at Caesar's funeral. With slight variations Antony reiterates the following words: "Brutus says he (-Caesar) was ambitious, and Brutus is an honourable man". But the general context of the speech is such that these words gradually lose their literal meanings and acquire a strong sarcastic ring. The Romans are made to believe that in point of fact Brutus is a wilful murderer while the allegation about Caesar's ambition is a vicious lie. Here is an extract from the speech:—

... The noble Brutus

Hath told you Caesar was ambitious.

If it were so, it was a grievous fault;

And grievously hath Caesar answer'd it.

5 Here, under leave of Brutus and the rest —

For Brutus is an honourable man;

So they are all, all honourable men —

Come I to speak in Caesar's funeral.

He was my friend faithful and just to me.

10 But Brutus says he was ambitious,

And Brutus is an honourable man.

He hath brought many captives home to Rome,

Whose ransoms did the general coffins fill;

Did this in Caesar seem ambitious?

15 When that the poor have cried, Caesar hath wept;

Ambition should be made of sterner stuff.

Yet Brutus says he was ambitious;

And Brutus is an honourable man.

You all did see that on the Lupercal1

20 I thrice presented him a kingly crown,

Which he did thrice refuse. Was this ambition?

Yet Brutus says he was ambitious;

And sure he is an honourable man.

I speak not to disprove what Brutus spoke,

25 But here I am to speak what I do know.

 

Notice that the words are never repeated exactly as they were said before, but certain modifications are invariably introduced into reiteration, which, according to Roman Ja-kobson, is the main device of the grammar of poetry:—

1... The noble Brutus

2 Hath told you Caesar was ambitious.

6 For Brutus is an honourable man.

10 But Brutus says he was ambitious,

11 And Brutus is an honourable man.

17 Yet Brutus says he was ambitious;

18 And Brutus is an honourable man.

22 Yet Brutus says he was ambitious;

23 And sure he is an honourable man.

 

The words ambitious (and, by root repetition, ambition) and honourable also recur in other segments of the above ex­tract:—

 

14 Did this in Caesar seem ambitious?

16 Ambition should be made of sterner stuff.

21 Was this ambition? <

7 They are all, all honourable men (= all the conspi­rators).

 

Notice also the juxtaposed intensifying repetition of "all " in line 7.

The citizens gradually realize that when Antony re­peats that Brutus and rest are "honourable men", he is speak­ing ironically, and intends the opposite. When they fully per­ceive this they cry, "they were traitors... villians, mur­derers."

Distant repetition throughout the text. A word or phrase can be repeated through the whole text of a large literary work or its considerable part. The segment thus repeated is of structural importance and usually serves as a key to the understanding of the main idea of the work, especially if the segment first appears in the title.

Thus, the title of the first novel of Galsworthy's trilogy, A Modern Comedy, is The White Monkey. In the first chapters of the book however, there is no reference to its title, and only in Chapter X of Part One the reader comes across the first mention of the white monkey — it appears to be painted in a Chinese picture put up in the bedroom of Soames' dying brother, George Forsyte:—

Over the fire place was a single picture, at which Soames glanced mechanically. What! Chinese! A large whitish sidelong monkey, holding the rind of a squeezed fruit in its outstretched paw. Its whiskered face looked back at him with brown, almost human eyes. What on earth had made his inartistic cousin buy a thing like that and put it up to face his bed?

In the above extract there is a mere description of the picture. But the picture captivates Soames' imagination: —

"If I can get hold of that white monkey, I will," be thought suddenly. "It's a good thing." The monkey's eyes, the squeezed-out fruit — was life all a bitter jest and George deeper than himself?

Soames buys the picture and gives it to his daughter, Fleur. So again there is a description of the white monkey as seen by Fleur:—

Stripping the covirings off the picture, Fleur brought it in, and setting it up on the jade-green settee, stood away and looked at it. The large white monkey with its brown haunting eyes, as if she had suddenly wrested its interest from the orange-like fruit in its crisped paw, the grey background, the empty rinds all round — bright splashes in a general ghostliness of colour, im­pressed her at once.

The picture is highly appreciated by Aubrey Greene, Fleur's friend-painter:

"Why, it's a perfect allegory, sir! Eat the fruits of life, scatter the rinds, and get copped doing it. When they are still, a monkey's eyes are the human tragedy incarnate. Look at them! He thinks there is something beyond, and he's sad or angry because he can't get at it. That picture ought to be in the British Museum, sir, with the label: "Civilization, caught out." "Well, it won't be," said Fleur. "It'll be here, labelled "The White Monkey".

The phrase "white monkey" is repeated in the novel about twenty times gradually absorbing a lot of connotations from the context and becoming a symbol, a vehicle of the leading thought of the book: the scepsis and disillusionment of the younger generation of Forsytes. On Soames' advice the picture is taken down. The last mention of the white monkey appears at the end of the book, in the lines representing Michael's gloo­my thoughts:—

Turning from the window, he leaned against the lac­quered back of the jade-green settee, and stared at the wall space between the Chinese tea-chests. Jolly thought­ful of the "old man" to have that white monkey down! The brute was potent — symbolic of the world mood: beliefs cancelled, faiths withdrawn!

Let us analyze one more work, Hemingway's Cat in the Rain. The words used in the title of this short story are per­sistently repeated throughout the text:—

It [the war monument] glistened in the rain. It was raining. The rain dripped from the palm trees.... The sea broke in a long line in the rain... It was raining harder... The table was there, washed, bright green in the rain....It was quite dark now and still raining in the palm trees.

Outside right under their window a cat was crouched under one of the dripping green tables. The cat was trying to make herself so compact that it would not be dripped in... the cat was gone... "There was a cat." "A cat?"... " A cat?,,... "Acat in the rain?":.. "Did you get a cat}" "Anyway, I want a cat", she said, "I want a cat. I want a cat now. If I can't have long hair or any fun, I can have a cat." She held a big tortoise-shell cat...

These key words, "rain" and "cat", are accompanied by a large number of associated words and images:

Rain — Water stood in pools... "Don't get wet" " Il piove (Italian = It is raining)". A man in the rubber cape... An umbrella opened behind her... "You must not get wet"... "We must get back inside. You will be wet."

Cat — "I'm going down and get that kitty", "The poor kitty out trying to keep dry under a table."... "Si, il gatto (Italian=a cat)"... "I wanted it so much. I wanted a kitty"... "I wanted that poor kitty. It isn't any fun to be a poor kitty out in the rain."... "I want to have a kitty to sit on my lap and purr when I stroke her."

As a consequence, the words "rain" and "cat" carry a maximum of emotive load in the story and acquire a specific background of implicit connotations. The rain becomes a sym­bol of the homelessness and unsettled state of the American couple, and the cat, of home and cosiness for which the young woman is longing.

 

 

Date: 2015-07-27; view: 2700; Нарушение авторских прав; Помощь в написании работы --> СЮДА...



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