Стилистика тилшуносликнинг ажралмас қисми бўлиб, у бадиий нутқнинг ифодаланиш услублари, уларнинг таъсирчанлиги ва умуман инсон нутқини ўрганадиган фандир

Exercises
1. Questions for discussion:
1. Whal is gradation? 2. How is the degree of emotiveness valued in the succeding units of gradation? 3. What is the role of synonyms used in gradation? 4. Speak about logical gradation. 5. Give the examples of emotional gradation. 6. What is the basis of quantitative gradation? 7. What is the syntactic pattern of gradation? 8. Speak about the stylistic functions of gradation.
II. Define the linguistic nature of gradation. Illustrate different types of gradation:
1. She expected him to kiss madly, to hug fondly, to be thrilled by, and to think constantly of the child. (A. B.) 2. For example this new feat of putting one foot in front of the other and so moving magically to fresh and strange and exciting places. (A. B.) 3. Frederick was nobody but an outsider, incompetent, inefficient and helpless at any real crisis such as lhai which his callous negligence had just brought about. (A.B) 4. He had no notion that magically they had vanished from his car and beenreplaced by a couple of aged, murderous, implacable savages and the very imp of evil. (A. B.) 5. Withal, the wind was more obstreperous, uproarious, and imperious than ever. (A. B.) 6. However, the charge was unjust, monstrous, and ridiculous. (A. B.) 7. This frightening phenomena was succeeded by the most loud and awesome tearings, rippings and bangs. (A. B.) 8. Billy taunted, resented, and even simply insulted her. She put up with it because of old times; he was one of the last remnants of a past life. (M. S.) 9. In spite of the worship of the wicks for their child and their fear, for her safety and their miser-like gloating over her beauty, they both knew that their lovely daughter is an incredibly stupid,"dull and backward little girl. (J. St.)
2. 1.Комилжонҳамонунданкўзиниузмаймулойимгинатермилибтураркан, аллақандайлатифваширинбирнарсаунингюрагигақуйилар, бунарсаунингюрагидатобораўсиб, улғайиббораётгандайэди. (С.Қ) 2. Бировқўрқсанг, икковкел, икковқўрқсанг ўновкел, ўновқўрқсангбарингкел. ("Ширин билан Шакар" достонидан) 3. Жоним, юрак, қоним, ҳатто шу таним Бир бутун ҳолида бари сеники. (F.F.) 4. Бу кураш даврасинда юксалдик, Порладик, яшнадик,ғурурландик. (Ҳ.О.) 5. Сирдош бўлиб колсам хамиша сизга, Шу менинг орзуйим, шодлигим, бахтим. (С.З.) 6. Менинг жоним, руҳим, қудратим шу ўғлимдир. (Ҳ.О.) 7. Гулсанамим, ўртоқжоним, меҳрибонгинам! Биламан, ўзинг ҳамиша ўлим кутардинг, лекин бизларни ташлаб кетганинг ёмон бўлди.(О.) 8. Гулим, беҳудагабезовтабўлма, ўзингниқийнама, ғамларгатўлма. (У.)
Antithesis is such ал SD which is based on the opposition of concepts. We must distinguish between logical and stylistic opposition. Logical opposition implies the use of dictionary antonyms, i.e. words that are contrary in meaning to another: white-black, day-night, long-short, young-old etc. Stylistic opposition is based on relative opposition which arises out of the use of contextual antonyms; it may include objectively contrasting pairs, i. e. dictionary antonyms as well. Let's see the following example:
We are young, friend, like the flowers,
You are old, friend, like the tree,
What concern have you with ours?
You are dying, we're to be" It is very true, I'm dying,
You are roses stilt in bud...
In this poem antithesis is based on the following oppositions: young — old, flowers — tree, dying — to be; only the first opposition "young — old" may be considered as dictionary antonyms, the rest are contextual antonyms, and bring emphasis to the whole poem. The use of antithesis built on the contextual antonyms is clearly seen in the next example:
I had walked into the reading-room a happy healthy man. I crawled out a decrepit wreck (J. K. Jerome). In this sentence such word-combinations as "walked into" and "crawled out" and "a happy healthy man" and "decrepit wreck" are used as contextual antonyms.
Antithesis often comes with many SDs such as repetition, parallel construction, epigram and others. For example: If there were no bad people, there would be no good lawyers (Ch. Dickens).
In speaking of antithesis we must not confuse it with contrast. Contrast is usually realized in two or more paragraphs, in a story or a novel. Contrast belongs to literature and antithesis is a linguistic device which is realized within one or two sentences, at least in one paragraph or a poem.
There are a number of word combinations which are built on antonyms, such as: up and down, top and bottom, inside and out. Of course these phrases must not be confused with antithesis. They may be used to build up antithesis but separately they do not constitute antithesis.
Among stylistic functions of antithesis we single out the following: making comparison of different objects and notions, division or separation of several concepts, combining various objects and notions.