The poetics of Stephen Crane’s late novels” I. Introduction. II. The contribution of S. Crane to the development of American naturalism

4.2. The usage of stylistic devices.
Stephen Crane xayoti va ijodini o’rganishda salmoqli hissa qo’shgan Robert Stallman o’zining izlanishlari natijasida adib haqida shunday so’zlarni bildirib o’tadi “I think the most important thing to say about Stephen Crane is that he is a great stylist. He puts language to poetic use , which is to use it reflexively and symbolically” [Stallman Biography]

Stylistic devices are interesting or creative ways of using language that go beyond expected or straight forward usage. According to the stylistic devices definition, stylistic devices add an additional dimension to language beyond its literal meaning. Stylistic devices can also be called rhetorical devices because they are often used in rhetoric, the discipline that covers effective and persuasive language use. Stylistic devices can also be called figures of speech because they often involve non-literal or figurative language.
Stylistic devices are often studied in the context of literature, where they are frequently employed by writers. Stylistic devices can also occur in rhetorical contexts, such as speeches, and in everyday conversation. Oftentimes, people employ stylistic devices without even realizing it.
There are many reasons writers use stylistic devices or stylistic elements. Broadly speaking, a stylistic device can make a statement or description more interesting or meaningful. Stylistic devices can allow a sentence to say more than it seems to and can be a way to express ideas that add to the literal meaning that is conveyed. Stylistic Elements are also a way to add variety to language and express familiar concepts in new ways. Stylistic devices might increase the vividness of a description or the strength of a reader's emotional response. Finally, stylistic devices can be used simply because they make a text more enjoyable to readers.
As a talented writer Sephen Crane tend to use a lot of stylistic devices like irony , paradox , similar, metaphor , methonymy and others in his works.
Irony
Irony - the expression of one's meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect. A state of affairs or an event that seems deliberately contrary to what one expects and is often wryly amusing as a result. "Oxford Languages"
The irony, which is a criticism of life, employed by Crane in his treatment of character development is, in the words of one writer, “as hard to define as poetry.”( Thomson, James. Irony :An Historical introduction London: C. Allen and Unwin, Itci., 1926. , p. 2.) On the other hand, however, it is perhaps no harder to recognize. I have tried to deal with concrete incidents and tell things Which happened throughout the representative fiction used in this study to reveal Crane’s apposite. and contrasts in characters, to show how his characters ironically lose all Identity, to show his use, of wit and humor in describIng characters, and to show his esployment of transcendental realism as a humorous aspect of his irony.
I have’ noted Crane’s irony in the details of his fiction, where a modern writer would put it, rather than in the whole.
Stephen Crane looked at life clearly and boldly, knew its irony, felt its mystery and beauty, and wrote about it with a sincerity and confidence that spring only from genius. {1}There was something in him that could not wholly surrender to the outside world. He had some queer, cautious, passionate evasion that made him look deeper into himself and trust only the reflection of the world that was there.{2 }Crane was intense, volatile, and spontaneous, and what he wrote came unwatched from his pen.He wrote with the intensity of a poet’s emotion, the compressed emotion which bursts into symbol and paradox. He wrote as he lived. He saw life, as it were, from a water soaked dinghy with the sea tossing him about. It looked to him like an angry sea with the grim waves menacing and “most barbarously abrupt.” This may account for the artist’s gift of ironic contemplation, that grace of irony which is so central to his art.
Irony is the key to our understanding of the man and his works. There was first of all an ironic contradiction between his theory of creation and his art. It was Crane’s theory that the closer his contact with reality, the greater the artist. Yet his art was at its greatest when he wrote at some distance from the reality he had experienced, or when1 to the contrary, he wrote out of no personal experience at all.(3)
In “The Monster” the judge gives his views about the doctor saving Johnson’s life after his face was burned beyond recognition.
He says that “it is one of the blunders of virtue” to save a man in this condition who would, “hereafter be a monster.” The author comments on the manner of the spoken words. “Blunders of virtue,” says he, “were spoken with a particular emphasis, as if the phrase was his discovery.”
Crane emphasizes the paradox with this Comment. Crane’s language is the language of symbol and paradox.
Crane, ironical in a way of his own, employs ironic contrast as one of his basic techniques. In this lies the secret of much of his power to interest his readers. Through contradictory effect, paradox in images, and opposites in descriptive scenes, as well as opposites in his character development, Crane colors his fiction with irony. It is evident, if viewed in the light of the representative prose I used, that the author had a deliberate pattern in mind when he wrote. This pattern of contrast is widely reflected in his ironic treatment of character development. Since its scope is of such a broad nature, it will be treated separately in the third chapter of this study.