J. Galsworthy. The Broken Boot

(E.M. Zeltin et. Al. English Graduation Course, 1972, pp.88-89)

The actor, Gilbert Caister, who had been "out" for six months, emerged from his east-coast seaside lodging about noon in the day", after the opening of "Shooting the Rapids",[1] on tour, in which he was playing Dr Dominick in the last act. A salary of four pounds a week would not, he was conscious, remake his fortunes, but a certain jauntiness had returned to the gait and manner of one employed again at last.

Fixing his monocle, he stopped before a fishmonger's and, with a faint smile on his face, regarded a lobster. Ages since he had eaten a lobster! One could long for a lobster without paying, but the pleasure was not solid enough to detain him. He moved upstreet and stopped again, before a tailor's window. Together with the actual tweeds, in which he could so easily fancy himself refitted, he could see a reflection of himself, in the faded brown suit wangled out of the production of "Marmaduke Mandeville"[2] the year before the war. The sunlight in this damned town was very strong, very hard on seams and button­holes, on knees and elbows![3] Yet he received the ghost of aesthetic pleasure from the reflected elegance of a man long fed only twice a day, of an eyeglass well rimmed out from a soft brown eye, of a velour hat salved from the production of "Educating Simon" in 1912; and in front of the window he removed that hat, far under it was his new phenomenon not yet quite evaluated, his meche blanch [4] Was it an asset or the beginning of the end? It reclined backwards 6n the right side, conspicuous in his dark hair, above that shadowy face always interesting to Gilbert Caister. They said it came from atro­phy of the — something nerve, an effect of the war, or of undernour­ished tissue. Rather distinguished, perhaps, but— I

He walked on, and became conscious that he had passed a
he knew. Turning, he saw it also turn on a short and dapper figure
- a face rosy, bright, round, with an air of cherubic knowledge, as of a getter-up of amateur theatricals.

Bryce-Green, by George!

"Caister? It is! Haven't seen you since you left the old camp. Remember what sport we had over 'Gotta-Grampus'?[5] By Jove! I am glad to see you. Doing anything with yourself? Come and have lunch with me."

Вryce-Green, the wealthy patron, the moving spirit of entertain-iment in that south-coast convalescent camp. And drawling slightly, Caister answered:

"I shall be delighted." But within him something did not drawl: "By God you're going to have a feed, my boy!"

And elegantly threadbare, roundabout and dapper — the two walked side by side.

Text Interpretation

The passage under analysis is taken from John Galsworthy’s story “The Broken Boot”. It is about an actor whose name is Gilbert Caister. For six months he had been without a job and a proper meal. He ran into a man whom he had come to know in a convalescent camp, a man who thought a lot of him as an actor and was tremendously happy to see him again.

To convey Caister’s state of mind on the noon when he “emerged” from his lodgings, the author brings into play an abundance of expressive stylistic means and means of speech characterization.

Caister was humiliated by having been out of job, by having to wear old clothes and being hungry. He did not want to acknowledge his poverty and fought the humiliation by assuming an ironic attitude towards himself and things happening to him. The irony is conveyed by lexical means: the epithet “faint” and the bookish word “regard” (instead of “look at”). The stylistic effect is is increased by the verb “long for” used in the context inappropriate with its high-flown connotations. Cf. Fixing his monocle, he stopped before a fishmonger’s and with a faint smile on his face, regarded a lobster…. One could long for a lobster without paying….

The metaphoric epithet “ghost” and the euphemistic metonymy “elegance” add to the stylistic effect: Yet he received the Ghost of aesthetic pleasure from the reflected elegance of a man long fed only twice a day…. The epithet “the Ghost of …pleasure” forms a specific structure characterized by reversed syntactic-semantic connections (inverted epithet). “Elegance” replaces “gauntiness” because Caister doe not like to think of himself as “gaunt”.

Irony is accentuated by a mixture of styles (formal, intentionally well-bred vs highly colloquial) in the following: “I shall be delighted.” But within him something did not drawl: “By God, you are going to have a feed, my boy!”

To show Caister’s attitude to his own distress and worry over his worn-out clothes, the author makes use of numerous stylistic devices: mixture of styles (cf. the use of colloquial “fancy himself” and bookish “refitted” in close context); the vulger intensifier “damned”; the anaphoric repetition of “very” and “on”, combined with parallelism: The sunlight of this damned town was very strong, very hard on sems and button-holes, on knees and elbows! Together with the actual tweeds, in which he could so easily fancy himself refitted….”

The list of devices employed in the second paragraph is by no means exhaustive. Find and interpret the meaning and function of the following:

· of a man long fed… of an eyeglasses well rimmed… of a velour hat salved…;

· under it was his new phenomenon…;

· meche blanche;

· Was it an asset or the beginning of the end?

· that shadowy face;

· atrophy, nerve, tissue;

· …perhaps, but.

When Caister ran into Bryce-Green, it was the latter’s face that attracted his attention. This idea is emphasized by the use of metonymy: …he had passed a face he knew. A chain of post-positive attributes with the metaphoric epithet “cherubic” gives a vivid and colourful description of Bryce-Green’s appearance: Turning, he saw it also turn on a short and dapper figure - a face rosy, bright, round, with an air of cherubic knowledge, as of a getter-up of amature theatricals.”

This description sets Bryce-Green at once in an apposition to Caister, as a prosperous well-fed, well-clothed man to a poor and nearly starving one. This idea is reinforced by the use of antithesis: And - elegantly threadbare, roundabout and dapper - the two walked side by side. It is a complex stylistic device, in which the first opposed part is constituted by another figure of speech, an oxymoron (“elegantly threadbare”). The antithesis is made prominent by detachment, which is marked in writing by paired dashes.

To conclude, one may say that within a mere page of the story Galsworthy displays an abundance of though and feeling, proving himself once again a brilliant stylist. The extract is a wonderful example of the author’s consistency in the realization of his creative scheme - to achieve and sustain ironic effect.

Functional Analysis

The text begins with the author’s discourse which constitutes the first paragraph of the story. The second paragraph is the author’s discourse intersperced with instanced of Caister’s represented speech. At the end of the chosed extract, there is a fragment of the conversation between Caister and Bryce-Green (the personages’ discourse).

The author’s discourse is marked by lengthy sentences of complex structure, such as the following: The actor, Gilbert Caister, who had been “out” for six months emerged from his east-coast seaside lodging about noon in the day, after the opening of the “Shooting the Rapids”, on tour, in which he was palying Dr. Dominic in the last act. The bookish type of speech is also signalled by general bookish words: emerge, remake, jauntiness, regarded,refitted, aesthetic, elegance, phenomenon, reclined, conspicuous.

The use of words pertaining to the theatrical world creates a professional background: opening, on tour, act, production, amateur, theatricals, etc. Titles of plays, such as “Educating Simon”, “Gotta-Campus”, etc., add to the stylistic effect.

Caister’s represented speech is a peculiar blend of bookish and colloquial elements. On the one hand, there are no contracted forms in it, some sentences are rather lengthy and there are instances of bookish words; on the other hand, it contains elliptical sentences (Ages since he had eaten a lobster! Rather distinguished, perhaps…) and the vulger intensifier damned.

Colloquial elements abound in the personages discourse - Caister and bryce-Green’s dialogue. Among them we find contracted forms (aren’t, haven’t); interjections (By George, Jove, By God); colloquial words (What sport we had…, here “sport” stands for the neutral “fun”; …you are going to have a feed, my boy! “feed” replaces “meals”); elliptical sentences (Haven’t seen you… Doing anything with yourself?). All these elements serve to render the unofficial character of communication.

Раздел VI. ТЕСТЫ ДЛЯ САМОКОНТРОЛЯ

Test I

1. Travel, like whipped cream, is broadening; but after repeated helpings it is also nauseating, and the traveller, like the glutton, returns with thankfulness to a sturdier diet. (E. Queen)

2. "H'lo, h'lo," croaked Aaron Dow, sitting tensely on the edge of his miserable cot. (E. Queen)

3. Never since the death of Edward Riscoe had she felt so alienated from Stephen; never since then had she been so in need of him. (A.Christie)

4. She was free in her prison of passion. (O. Wilde)

5. He could possibly have made up Rosemary - he could never have made up her mother. (S.Fitzgerald)

6. "Fostered she was with milk of Irish breast, Her sire an earl; her dame of prince's blood." (A.Seton)

7. There had been a huge musical festival - a festival for all the Midlands, and there had been a good few people from London too. (J. Tey)

8. "There are a few things so pleasant as a picnic lunch eaten in perfect comfort," Elliot added sententiously. "The old Dutchess d'Uzes used to tell me that the most stubborn male becomes amendable to suggestion in these conditions. What will you give them for luncheon? "Stuffed eggs and a chicken sandwich." "Nonsense. You can't have a picnic without pate de foie gras. " (S. Maugham)

9. The two women hated one another. Ellie despised Frau Becker because she was a foundling and had been a servant, and bitterly resented her for being the mistress of the house and in a position to give orders. (S. Maugham)

10. Like all people who try to exhaust the subject, he exhausted his listeners. (O.Wilde)

Test II

1. "I wouldn't listen to no such reports, miss Lizzie," said the waiter smoothly from the narrow opening above his chin. (O'Henry)

2. "O Lord, how mysterious are thy ways! Thou hast chosen to train our, young brother not so much in prayer as in the struggles of the Olympic field..." (Elmer Gentry)

3. My little party did not go too badly. (S. Maugham)

4. "Where are you lunching Harry?" "At Aunt Agatha's. I have asked myself and Mr. Gray. He is her latest protege. " (O. Wilde)

5. Only in one respect did Florence Enderby fail. (Reed)

6....for the first time in his life he heard silence - a loud, singing silence, oppressive as heavy guns or thunder. (S.Fitzgerald)

7. "Don't you love him very much?" I asked at last. "I don't know. I'm impatient with him. I'm exasperated with him. I keep longing for him.” (S.Maugham)

8. "Oh, you are much nicer than the rest of your horrid, rude, vulgar, dishonest family." (O.Wilde)

9. He's nothing but a dirty little snob, and if there's one thing in the world I detest and despise, it's snobishness." (S.Maugham)

10. The two cities were separated only by a thin well-bridged river; their tails curling over the banks met and mingled, and at the juncture, under the jealous eye of each, lay every fall the State Fair. (O.Fitzgerald)

Test III

1. Clop-clop-clop! Up the street came the Barton Leigh delivery wagon. Clop-clop! A man jumped out, dumped an iron anchor to the pavement, hurried along the street, turned away, turned back again, came toward them with a long square box in his hand. (O.Fitzgerald)

2. I couldn't have missed that face of his, the old experienced weasel. (S.Fitzgerald)

3. He showed me photographs of Isabel, hefty but handsome in her wedding dress. (S. Maugham)

4. What's de big idea?" squealed Dow, shrinking back on his cot. "Trying to-to-". (E. Queen)

5. "Some day, when you are old and wrinkled and ugly, when thought has seared your forehead with its lines, and passion branded your lips with its hideous fires, you will feel it, you will feel it terribly..." (O. Wilde)

6. Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul. (O. Wilde)

7. Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them. (O. Wilde)

8. His whims are laws to everybody, except himself. (O.Wilde)

9. "What fun! If mother ever saw anybody like that come in the house, she'd just lie down and die." (H. Melville)

10. "Don't think of it Vandy," he replied. "We are short and Art is long." (O'Henry)

Test IV

1. Her eyes were like diamonds, keen and brilliant. Her voice, when she spoke, was very deep and soft, with a remote hoarseness that was not unpleasant. (E.Queen)

2. I knew after one look at his honest, stubborn face, that he would be hard to convince. My theory was made out of the whole cloth of logic; and this man would never drape himself in anything but the armor of evidence. (E.Queen)

3. "You've heard o'me, then?" went on father. "Well..." Dow struggled between the instinct to keep silent and the desire to talk. "I met a guy in stir was doin' a rap for larc'ny. Said you - you kept him off the hot seat." "In Algonquin?" "Year... Yes, sir." (E.Queen)

4. "There is no such thing as good influence, Mr.Gray. All influence is immoral - immoral from the scientific point of view." (O.Wilde)

5. Father looked at me, and I looked at him, and then we both bent over to read the message. (E.Queen)

6. Jeremy was mooning at my feet. I remember that he had hold of my ankle as we sat on the porch and was rhapsodizing about its slenderness in a very inane way… (E.Queen)

7. "You remind me of Samuel Johnson's definition of poetry. He said that the essence of poetry is invention - such invention, a prodigious poem, are you, Patience." (E.Queen)

8....her income had increased so fast of late that it seemed to belittle his work. (S.Fitzgerald)

9. Dusk or daylight or unrelieved midnight, Dominic would have known her. (E.Peters)

10. Miss Medora resembled the rose which the autumnal frosts had spared the longest of all her sister blossoms. (O'Henry)

Test V

1. "Inspector, s'elp me!" The words tumbled out. "I been in the pen around dozen. It ain't like a guy gets an ace. Twelve years is a hell of a long time. So I wants to wet my whistle. Ain't had nothing but pertater water for so long I don't know what th' real stuff tastes like." Father explained to me later, that an ‘ace’ was prison jargon for a one-year sentence; and as for ‘potato water’, Warden Magnus told me subsequently that it was a vicious fermented brew home-made in secret by thirsty inmates out of potato peelings and other vegetable rinds. (E.Queen)

2. Mark Currier was a very fat, a very bald and a very astute gentleman of middle age. (E.Queen)

3. She hated the beach, resented the places where she had played planet to Dick's sun. (S.Fitzgerald)

4. She remembered a string of factories which she had passed on her way. The school was not unlike them at first sight, massive, immaculate, teeming with life, and yet impersonal. (Reed)

5. Scarlet woman! Thy sins be upon thy head! No longer are you going to get away with leading poor unfortunate young men into the sink and cesspool of iniquity. (Elmer Gentry)

6. He is some brainless beautiful creature, who should be always here in winter, when we have no flowers to look at, and always here in summer, when we want something to chill our intelligence. (O.Wilde)

7. Laughter is not at all a bad beginning for a friendship, and it is far the best ending for one. (O.Wilde)

8. "I'll tell you," he said softly, "if you'll just tell me you're glad to be here." "Glad - just awful glad!" she whispered. (O.Fitzgerald)

9. Vice and virtue are to the artist materials for an art. (O.Wilde)

10. "How absurd! How could a man of my position be fair-minded toward you? You might as well speak of a Spaniard being fair-minded toward a piece of steak." At this harsh observation the faces of the two dozen steaks fell, but the tall man continued... (O.Fitzgerald)

Test VI

1. Then the silence was broken by a voice in front of Rosemary. (S.Fitzgerald)

2. "Will you allow me to give you a piece of advice, Larry? It's not anything I give often." "It's not anything I often take," he answered with a grin. (S.Maugham)

3. Anna did not like to risk a rebuff by asking after Maurice, though she would dearly have loved to know if that amiable parasite was still with the same host. (Miss Reed)

4. It was between seven and eight o'clock on a March evening, and all over London the bars were being drawn from pit and gallery door. Bang, thud and clunk. Grim sounds to preface an evening's amusement. (J.Tey)

5. "I want you to be very nice to her, Isabel." "That's asking for much. You're crazy. She's bad, bad, bad…" (S.Maugham)

6. "Poor Sybil! What a romance it had all been! She had often mimicked death on the stage. Then Death himself had touched her and taken her with him." (O.Wilde)

7. There had been a huge musical festival - a festival for all the Midlands; and there had been a good few people from London too. (J.Tey)

8. Jane's eyes and Michaels were round as saucers with surprise. "What was he saying?" they demanded breathlessly, both together. (P.Travers)

9. The man of the photograph was the man who had lived with Sorrel, was the man who had fled at sight of him in the Strand, was the man who had had all Sorrel's money, and was almost certainly the man of the queue. (J.Tey)

10. "It's my Day, Bert," she said. “Didn't you remember?" Bert was the Match-Man's name - Herbert Alfred for Sundays. "Of course I remembered, Mary," he said, but..." and he stopped and looked sadly into his cap. It lay on the ground beside his last picture and there was tuppence in it. (P.Travers)

Test VII

1. For the last few minutes he had been technically awake, but his brain, wrapped in the woolliness of sleep and conscious of the ungrateful chilliness of the morning, had denied him thought. (J.Tey)

2. Wilson shook his head decidedly. "We went to our limit, and he was still as fresh as a daisy. Maybe he does love his money, but he loves his own way even more." (E.Peters)

3. A shutter opened suddenly in a room two stories above and an English voice spat distinctly, "Will you kaindlay stup tucking!” (S.Fitzgerald)

4. "He's out most evenings." "At the Youth Club?” asked Anna. "Not likely! I think he has found a sympathetic female ear somewhere and enjoys pouring out his troubles." (Miss Reed)

5. You see, money to you means freedom, to me it means bondage. (S.Maugham)

6. Grant, who was dying to have a statement in black and white, explained that the man himself was anxious to give one and that giving it would surely harm him less than having it simmering his brain. (J.Tey)

7. "This kind of battle was invented by Lewis Carrol and Jules Verne and whoever wrote Undine... Why, this was a love battle, there was a century of middle-class love spent here. This was a love battle." (S. Fitzgerald)

8. The evening darkened in the room. Noiselessly and with silver feet, the shadows crept in from the garden. (O.Wilde)

9. "You've got a Titian, haven't you?" "We had. It's in America now." (S.Maugham)

10. He saw Nicole in the garden. Presently he must encounter her and the prospect gave him a leaden feeling. Before her he must keep up a perfect front, now and tomorrow, next week and next year. (S.Fitzgerald)

Test VIII

1. There he sat, a vast, crumpled, mountain of a man, spattered with cigarette ash, too lazy even to think straightforwardly. (Miss Reed)

2. Unlike American trains that were absorbed in the intense destiny of their own and scornful of people, this train was part of the country through which it passed. Its breath stirred the dust from the palm leaves, the cinders mingled with the dry dung in the gardens. (S.Fitzgerald)

3. His dream had begun in sombre majesty: navy blue uniforms crossed a dark plaza behind bands playing the second movement of Prokofieff's "Love of Three Oranges". (S.Fitzgerald)

4. The only way to get rid of a temptation is to yield it. (O.Wilde)

5. Courage has gone out of our race. Perhaps we never really had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion - these are the two things that govern us. And yet … (O.Wilde)

6....when they hear the story as put forward by Mrs Wallis' counsel - one of the most famous criminal defenders of the day - they'll weep bucketfuls and refuse to convict her. (J.Tey)

7. "That's 'ow she got 'er name - Ray Marcable. All the time she was dancing and singing and what not for him 'e kept saying "Re-markable!" and so Rosie took that for 'er name."(J.Tey)

8. Then we left our napkins and empty glasses and a little of the past on the table, and hand in hand went into the moonlight. (S.Fitzgerald)

9. Every once in a while one of these contemporaries made a farewell round of calls before going up to New York or Philadelphia or Pittsburgh to go into business, but mostly they just stayed round in this languid paradise of dreamy skies and fierily evenings and noisy niggery street fairs - and especially of gracious soft-voiced girls who were brought up on memories instead of money.(S. Fitzgerald)

10. "I'm sorry dear," said Harry malignantly apologetic, "but you know what I think of them." (S.Fitzgerald)

Test IX

1. But Lady Brandon treats her guests exactly as an auctioneer treats his goods. (O.Wilde)

2. Andrew realized that he did not detest Denny as much as he had thought. (A. Cronin)

3. But a careful scrutiny revealed nothing; nothing but curiosity was apparent on any countenance of the audience. (J.Tey)

4. "No one's said a thing," objected Anna. "Surely, Miss Hobbs would know?" "Miss Hobbs’ lips are sealed untill she receives orders from Miss Enderby to unseal them," Joan told her. (Reed)

5. Troubled and disappointed, he began to put the things back as he had found them. (J.Tey)

6....Not a tall man, hardly medium hight, but built like a bull, shoulder heavy, neckless, with a large head perpetually lowered for the charge. He ran head down at business, at life, at his enthusiasms, at his rivalries, at everyone who got in his way and everything that aquired a temporary or permanent significance for his pocket or his self-esteem. (E.Peters)

7. "Sit down, you dancing, prancing, shambling, scumbling fool parrot! Sit down!" (Ch.Dickens)

8. "What have you got tonight?" "It's veal porkolt. Veal cubes, lotta onion, paprika, and tomato paste. You'll love it. You'll go nuts. It's the best kinda stew I make. Henry's rolls and everything, and on the plate I'm gonna put some soft cheese and a coupla gherkins." (S. Gratton)

9. "They're certainly going to hold on to her," Nicole assured him briskly. "She did shoot the man." (S.Fitzgerald)

10. There was a series of frightful explosions; then with a measured tup-tup-tup from the open cut-out, insolent, percussive and thrilling as a drum, the car and the girl and the young man whom they had recognized as Speed Paxton slid smoothly away. (S.Fitzgerald)

Test X

(All passages for analysis are taken from "Mary Poppins" by P Travers)

1. If you want to find Cherry-Tree Lane all you have to do is ask the Policeman at the cross-roads... And if you follow his directions exactly, you will be there - right in the middle of Cherry-Tree Lane, where the houses run down one side and the Park runs down the other and the cherry-trees go dancing right down the middle.

2. I should get somebody to put in the Morning Paper the news that Jane and Michael and John and Barbara Banks (to say nothing of their Mother) require the best possible Nannie at the lowest possible wage and at once.

3. Michael could not restrain himself. "What a funny bag!" he said, pinching it with his fingers. "Carpet," said Mary Poppins, putting her key in the lock. "To carry carpets in, you mean?" No. Made of." "Oh," said Michael. "I see." But he didn't quite.

4. Mr. Wigg smiled contentedly. "It is usual, I think, to begin with bread-and-butter," he said to Jane and Michael, "but as it's my birthday we will begin the wrong way - which I always think is the right way - with the Cake!"

5. "The day out every third Thursday," said Mrs Banks. “Two till five." Mary Poppins eyed her sternly. "The best people, ma'am," she said, "give every second Thursday, and one till six. And those I shall take or..." Mary Poppins paused, and Mrs. Banks knew what the pause meant.

6. "I can see you're rather surprised," said Mr Wigg. And, indeed, their mouths were so wide open with astonishment that Mr. Wigg, if he had been a little smaller, might almost have fallen into one of them.

7....that was how the Banks family came to live at Number Seventeen, with Mrs. Brill to cook for them, and Ellen to lay the tables, and Robertson Ay to cut the lawn and clean the knives and polish the shoes and, as Mr Banks always said, "to waste his time and my money."

8. The Red Cow - that's the name she went by... And very important and prosperous she was, too (so my Mother said). She lived in the best field in the whole district - a large one full of buttercups the size of saucers and dandelions standing up in it like soldiers. Every time she ate the head off one soldier, another grew up in its place, with a green military coat and a yellow busby.

9. But Mary Poppins's eyes were fixed upon him and Michael suddenly discovered that you could not look at Marry Poppins and disobey her. There was something strange and extraordinary about her - something that was frightening and at the same time most exciting.

10. Mr. Wigg sighed, too. A great, long, heavy sigh. "Well, isn't that a pity?" he said soberly. "It's very sad that you've got to go home. I never enjoyed an afternoon so much - did you?" Never," said Michael... "Never, never," said Jane, as she stood on the tip-toe and kissed Mr Wiggs withered-apple cheeks. "Never, never, never, never...!"

КЛЮЧИ К ТЕСТАМ ДЛЯ САМОКОНТРОЛЯ

Тест 1.

1. Сравнение, параллелизм.

2. Фонетическое варьирование.

3. Антитеза, параллелизм, анафора.

4. Оксюморон, метафора.

5. Антитеза, анафора, параллелизм.

6. Архаизмы, книжная лексика, метонимия, инверсия.

7. Подхват.

8. Варваризмы, книжная лексика.

9. Синонимы-заменители.

10. Каламбур.

Тест 2.

Двойное отрицание, метонимия.

Архаизмы, книжная лексика.

Литота.

Варваризмы, эллиптические предложения.

Инверсия, транспозиция вспомогательного глагола do.

Оксюморон, обособление.

Анафора, разрядка.

Нарастание.

Синонимы-уточнители.

Олицетворение.

Тест 3.

Ономатопея, асиндетон.

Метафора.

Аллитерации, эпитеты, обособление.

Фонетическое варьирование, эпитет.

Метафора, нарастание, полисиндетон.

Хиазм, метафора.

Односоставные предложения, эмфатическая инверсия, синонимы-уточнители, метафора.

Разрядка, метафора.

Гипербола.

Антитеза.

Тест 4.

1. Сравнение, литота, стертая метафора.

2. Развернутая метафора.

3. Фонетическое варьирование, жаргонизмы.

4. Подхват.

5. Хиазм.

6. Метафора.

7. Сравнение, подхват.

8. Антитеза.

9. Полисиндетон, инверсия, аллитерация.

10. Сравнение.

Тест 5.

Фонетическое варьирование, жаргонизмы.

Параллелизм, анафора.

Развернутая метафора, синонимы-уточнители.

Литота, эпитеты, асиндетон.

Книжная лексика, архаизмы.

Аллитерация, метафора, антитеза.

Метафора, антитеза.

Нарастание, стертая метафора.

Антитеза, аллитерация.

Метонимия.

Тест 6.

Метонимия, стертая метафора.

Каламбур, антитеза.

Оксюморон.

Номинативные предложения, ономатопея, асиндетон.

Нарастание.

Олицетворение, эмфатическая инверсия.

Подхват.

Гипербола, сравнение.

Подхват.

Апосиопеза (умолчание).

Тест 7.

1. Метафора.

2. Сравнение.

3. Метафора, фонетическое варьирование.

4. Метонимия, стертая метафора, эллипс.

5. Антитеза.

6. Метафора.

7. Обрамление, метафора.

8. Олицетворение, инверсия.

9. Метонимическая антономасия.

10. Метафорический эпитет, нарастание, анафора.

Тест 8.

1. Метафора, инвертированный эпитет, гипербола.

2. Развернутая метафора, инверсия.

3. Метонимия.

4. Разрядка.

5. Апосиопеза, параллелизм, анафора, метафора.

6. Гипербола.

7. Просодические средства.

8. Зевгма, полисиндетон.

9. Метафора, метонимический эпитет.

10. Оксюморон.

Тест 9.

1. Сравнение, параллелизм.

2. Литота.

3. Подхват.

4. Метафора.

5. Обособление, инверсия, синонимы-уточнители.

6. Развернутая метафора.

7. Асиндетон, нарастание, обрамление.

8. Односоставные предложения, стяженные формы, фонетическое варьирование.

9. Транспозиция вспомогательного глагола.

10. Сравнение, ономатопея, метафора.

Тест 10.

1. Каламбур, метафора.

2. Полисиндетон, парентеза, антитеза.

3. Номинативные и эллиптические предложения.

4. Обратная антономасия, оксюморон.

5. Апосиопеза.

6. Мейозис, гипербола.

7. Параллелизм, зевгма.

8. Инверсия, синонимы-уточнители, сравнение, метафора.

9. Синонимы-уточнители, анафора.

10. Номинативные предложения, нарастание.