Lexical level lexical Stylistic Devices

Exercise IV. 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. (M.St.)
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.)

Unit III. TYPES OF NARRATION

Author's Narrative. Dialogue. Interior Speech. Represented Speech
A work of creative prose is never homogeneous as to the form and essence of the information it carries. Both very much depend on the viewpoint of the addresser, as the author and his personages may offer different angles of perception of the same object. The writer's views and emotions are most explicitly expressed in the author's speech (or the author's narrative).
In contemporary prose, in an effort to make his writing more plausible, to impress the reader with the effect of authenticity of the described events, the writer entrusts some fictitious character (who might also participate in the narrated events) with the task of story-telling. The writer himself thus hides behind the figure of the narrator, presents all the events of the story from the latter's viewpoint. This form of the author's speech is called entrusted narrative. The structure of the entrusted narrative is much more complicated than that of the author's narrative proper, because, we have the hierarchy of the narrator's image seemingly arranging the pros and cons of the related problem.
Entrusted narrative can be carried out in the 1st person singular, when the narrator proceeds with his story openly and explicitly, from his own name, as, e.g., in The Catcher in the Rye by J.D. Salinger, or The Great Gatsby by Sc. Fitzgerald, or All the King's Men by R.F. Warren.
Entrusted narrative may also be anonymous. The narrator does not openly claim responsibility for the views and evaluations but the manner of presentation, the angle of description very strongly suggest that the story is told not by the author himself but by some of his factotums, which we see, e.g., in the prose of Fl. O'Connor, C. McCullers, E. Hemingway, E. Caldwell.
The narrative, both the author's and the entrusted, is not the only type of narration observed in creative prose. A very important place in the narrative is occupied by dialogue, where personages express their minds in the form of uttered speech. So dialogue is one of the most significant forms of the personage's self-characterization, which allows the author to seemingly eliminate himself from the process.
Another form, which obtained a position of utmost significance in contemporary prose, is interior speech of the personage, which allows the author (and the readers) to peep into the inner world of the character, to observe his ideas and views in the making. Interior speech is best known in the form of interior monologue.
To separate and individualize the sphere of the personage, language means employed in the dialogue and interior speech differ from those used in the author's narrative and, in their unity and combination, they constitute the personage's speech characteristic which is indispensable in the creation of his image in the novel.
The last – the fourth – type of narration observed in artistic prose is a peculiar blend of the viewpoints and language spheres of both the author and the character. It was first observed and analysed almost a hundred years ago, with the term represented (reported) speech – attached to it. Represented speech serves to show either the mental reproduction of a once uttered remark, or the character's thinking. The first case is known as represented uttered speech, the second one as represented inner speech.