The Classification of Expressive Means and Stylistic Devices Suggested by Prof

The classification of expressive means and stylistic devices suggested by Prof.
Galperin is
simply organised and very detailed.
1. Phonetic expressive means and stylistic devices To this group Galperin refers such means as:
1) onomatopoeia (direct and indirect): ding-dong; silver bells... tinkle, tinkle;
2) alliteration (initial rhyme): to rob Peter to pay Paul;
3) rhyme (full, incomplete, compound or broken, eye rhyme, internal rhyme. Also, stanza
rhymes: couplets, triple, cross, framingIring);
4) rhythm.1.Onomatopoeia is a combination of speech-sounds which aims at imitating sounds
produced in nature (wind, sea, thunder, etc), by things (machines or taols, etc), by people
(sighing, laughter, patter of feet, etc) and by animals.Onomatopoetic words can be used in a
transferred meaning, as for instance, dingdong, which represents the sound of bells rung
continuously, may mean 1) noisy, 2) strenuously contested.It is sometimes called "echo-writing".
An example js 'And the silken, sad, uncertain rustling of each purple curtain' (E. A. Poe), where
the repetition of the sound [s] actually produces the sound of the rustling of the curtain. Indirect
onomatopoeia, unlike alliteration, demands some mention of what makes the sound, as rustling
(of curtains) in the line above. Alongside obviously onomatopoetic words as tinkle,
tintinabulation and jingling the word bells is drawn into the general music of the poem and
begins to display onomatopoetic properties through the repetition.The onomatopoetic effect is
achieved by the repetition of the onomatopoetic word 'go' the pronunciation of which is
prompted by the word 'clipped', suggesting short, quick, abrupt motions. One seems even to hear
the sound of his footsteps.2. Alliteration is stylistic device which aims at imparting a melodic
effect to the utterance. The essence of this device lies in the repetition of similar sounds, in
particular consonant sounds, in close succession, particularly at the beginning of successive
words.Alliteration like most phonetic expressive means, does not bear any lexical or other
meaning unless we agree that a sound meaning exists as such. But even so we may not* be able
to specify clearly the character of this meaning, and the" term will merely suggest that a certain
amount of information is contained in the repetition of sounds, as is the case with the repetition
of lexical units. However, certain sounds, if repeated, may produce an effect that can be
specified. Therefore alliteration is generally regarded as a musical accompaniment of the author's
idea, supporting it with some vague emotional atmosphere which each reader interprets for
himself. 3.Rhyme is the repetition of identical or similar terminal sound combinations of words.
Rhyming words are generally placed at a regular distance from each other. In verse they are
usually placed at the end of the corresponding lines. The expressive functions of rhyme are : it
intensifies the emotions, • contributes to the general sense, • helps to get the flow of thoughts and
humour of the author, • conveys the mood, emotions and feelings, • sharpens the thought of the
author and his characters, • adds specific importance to some ideas and feelings, • helps to create
reality in text, • has expressive, symbolic and graphic functions, • can imitate movement,
behaviour and even setting. Iforegrounds some particular words, thoughts, ideas, feelings, and
vice versa obscuresothers, thus adding a perspective to the text.4.Rhytm is in all spheres of
human activity and assumes multifarious forms. It is a mighty weapon in stirring up emotions
whatever its nature or origin, whether it is musical,- mechanical, or symmetrical, as in
architecture. The rhythm as well as the meter are significant expressive elements in the author’s
work. Nowhere is awareness of the expressive potential of rhythm and meter more evident than
in poetry , where the presence of a text makes it possible to determine just what the author was
trying to express. The author for instance can focus on three practices: distortion of the poetic
rhythm, metrical dissonance, and hypermetric irregularity.

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