Irony as a stylistic device in the English language. Course work "creating irony in a poetic text"

In order to fit the latest views into the general history of the study of the concept of “irony,” we need to characterize the main preceding stages. A brief introduction to the history of the problem will help move on to a modern understanding of its essence.

Irony was born from a special stylistic device already known to ancient authors. The ancient Greeks called this verbal pretense when a person wants to seem stupider than he really is. The master of irony - the ironist - knew how to defend the truth "from the opposite." In the dialogue "Symposium" Plato describes how Socrates pretended to be like-minded with his opponent and, by assenting to him, developed his views to the point of absurdity.

After Aristotle, from the 5th century. BC. irony was interpreted in poetics as a rhetorical device that calls things by their reverse names. The satires of Lucian, “The Praise of Folly” by Erasmus of Rotterdam, and the works of Swift were built on its consistent use.

In the aesthetics of classicism, irony was understood as an attribute of the comic, one of the techniques of laughter criticism in satire. The belonging of irony to the low style was strictly fixed, but at the same time there was the expression “irony of fate,” which meant the fatal discrepancy between a person’s assumptions and what the gods predicted for him. “The irony of fate” corresponded not to a comic, but to a tragic collision.

At the end of the 18th - beginning of the 19th centuries. views on irony were radically revised by romanticism. In their aesthetics, the romantics elevated it to the level of a philosophical life position and identified it with reflection in general. They especially emphasized that irony can generate not only a comic, but also a tragic effect. The highest value of the romantic consciousness was freedom from the imperfections of reality. This principle required “universal irony” - an attitude that the artist should question not only real objects and phenomena, but also his own judgments about them. The desire to freely cross the boundaries of established rules and opinions, without being bound by any final truth, was enshrined by the romantics in the categorical concept of “game.”

The writer’s creativity and life position turned out to be a high ironic game, like all “games of the universe”: “All sacred games of art are nothing more than a separate reproduction of the endless game of the universe, this work of art, which is in eternal development.”

Theorists of post-romantic art aimed their quest to ensure that the universalization of irony does not impede understanding of the inner essence of what is depicted, does not make the subject of the image a helpless toy in the hands of the artist, and does not turn ironic play into an end in itself.

Instead of the romantic subjectivist theory of the 20th century. gave a number of concepts of objective irony.

Objective irony is built on the basis of the discrepancy between the meaning of what is objectively present and the meaning of what is expected. The contradiction underlying objective irony is due to the fact that the intellectual and cultural development of humanity provokes the formation in its self-awareness of illusions of its own freedom and the possibility of social goal-setting.

Over the past hundred years, irony has been the subject of research interest of psychologists, linguists, logicians, as well as representatives of such new branches of humanities as semiotics and communication theory. The tools of these sciences have helped to reveal many secrets. Psychologists, for example, have tried to determine the degree to which the conscious and unconscious are present in a specific laughter reaction to an ironic statement. Logicians have established a connection between irony and wit, and have shown that an ironic statement is simultaneously correlated with several mutually exclusive interpretations: both logic and illogic work to create meaning.

With the advent of semiotics, how irony in a text is “encoded” and “deciphered” was studied in detail. Communication theory established the dialogic nature of irony and analyzed the relationship between the author, addressee and subject of the ironic utterance. The starting position of most modern research is the postulate that the very essence of ironic communication lies in the need for active intellectual contact between its participants. The results of more than half a century of controversy have led to the conviction that in order to explain the essence of irony, it is most important to pay attention to its symbolic nature and paradoxical nature.

It should also be noted that the function of irony is unchanged - to connect the incompatible, to make an image the crosshairs of two or more sign systems.

Definitions of irony are varied: it is called a stylistic device that serves to enhance and embellish speech, a subtle mechanism (way) of thought, and an aesthetic attitude (the aesthetic component of thinking).

Irony is one of the types of allegory that connects seemingly incompatible things: serious and mocking, contemptuous and true, fair.

The meaning revealed through irony is determined by the context that either precedes or accompanies the signifying units and is either explicit or implicit. Since an ironic expression contains two opposing meanings, one of which is produced at a higher level of signification, it can be considered metasemiotic. The cognitive nature of irony has long attracted the attention of scientists.

From a linguistic point of view, irony is revealed in the aspect of modality and is a type of subjective modality that carries an expression of the author’s critical assessment. The complexity and peculiarity of statements with ironic modality lies in the fact that they simultaneously contain two polar assessments: one is explicit, the other is implicit. A special perspective on the study of irony opens up in connection with its functioning in various types discourse.

As we see, irony is interpreted as a linguostylistic concept; the essence of irony is the violation of the postulate of truth. The definitions note the contrast between the meaning of irony and its literal meaning and indicate the property of irony to express ridicule under the guise of approval or praise.

In modern linguistic research, it is common to distinguish two types of irony - irony as a stylistic device and irony as a category of text. In the works of linguists they are called differently, for example, explicit and hidden irony (D.C. Mücke, 1982), situational and associative (S.I. Pokhodnya), contextual and text-forming (Yu.V. Kamenskaya), etc.

Yu.B Borev gives the following definition of irony: “Irony is one of the shades of comedic laughter, one of the forms of special emotional criticism, in which sharp ridicule is hidden behind a positive assessment. Irony pretends to praise those properties that it essentially denies, so it has a double meaning: direct, literal, and hidden, reverse.”

Thus, irony in its general meaning means ridicule, deception, pretense or desecration. Unlike simple deception, irony appears as a vision in double exposure, when the affirmation and the negation that removes it are expressed explicitly. Like pretense, irony is ambiguous; it is reproach under the guise of praise and blasphemy under the guise of flattery: blame-by-praise And praise-by-blame. The aesthetic essence of irony is a way of expressing the opposite, where a logical paradox is combined with an emotional-value attitude. The aesthetic range of irony is quite wide; it consists of the attitude towards the object and the well-being of the subject. Subjectively, irony tends to be comic or tragic and can be humorous or sad, farcical-vaudeville or sad-absurd. As a biased attitude towards the world, irony varies from apathy to aggressiveness and rebellion, changing tone from a cheerful, good-natured joke to satire or sarcasm.

Traditionally in rhetoric, irony is understood as a trope in which the opposite of what is thought about a person or object is deliberately stated, where the true meaning is hidden or contradicts the obvious meaning. In other words, irony is when a person says something other than what he means, but intends to be understood by his interlocutors. From the point of view of linguistics, the most optimal way to transmit information is in situations of “direct” communication: when the speaker does not hide his intentions and the meaning of the statement is identical to the meaning that the speaker attaches to this statement. These are the majority of speech acts. However, along with them, there are also situations of “indirect” communication in which the identity described above is deliberately not respected. This includes irony.

/ Galperin A.I. "Essays on the stylistics of the English language"

Above we examined the different types of lexical meanings of the word. The subject-logical meaning of a word, as was indicated, when developing, can give derivative subject-logical meanings. Words in context can acquire additional meanings determined by the context that have not yet been tested in public use. These contextual meanings can sometimes deviate so far from the subject-logical meaning

123

meanings of a word used out of context, which sometimes represent the opposite of the subject-logical meaning. The so-called figurative meanings deviate especially far from the subject-logical meaning of a word.

What is known in linguistics as the transfer of meaning is actually a relationship between two types of lexical meanings: one of the subject-logical meanings and the contextual meaning that arose due to certain associative connections between these phenomena of objective reality. So, for example, in the sentence Notis now in the sunset of his days the word sunset , the subject-logical meaning of which is sunset, takes on contextual meaning - end, late time (of life).

Both meanings, like both concepts, coexist in this context. Both meanings are quite clearly perceived by consciousness. The subject-logical meaning expresses general concept sunset, the contextual meaning reveals only one of the signs of this concept, namely, the sign of ending, end.

Thus, there is essentially no transfer of meaning; there is only a relationship between two types of lexical meanings: subject-logical and contextual. Below we will see that almost all techniques based on the stylistic use of various types of lexical meanings are based on identifying the nature of the relationship between two types of lexical meanings coexisting in a word.

The relationship between subject-logical and contextual meanings is one of the means of creating a figurative representation of life phenomena.

Indeed, in the above example the word sunset creates a figurative idea of the abstract concept of the end, ending. (Compare the above example with its "logical equivalent" Not is now rather old or His life is coming to an end ). The relationship of meanings is a general linguistic means of enriching the vocabulary of a language. Many subject-logical meanings of words in modern English are the result of processes of meaning change, which are based on the interaction of different types of lexical meanings. On the-

124

example, turnkey - jailer, to grasp - understand, handle - lever etc. This general linguistic means of forming new words is also used as a stylistic device.

The relationships between different types of lexical meanings used for stylistic purposes can be divided into the following types:

1) Relationships based on similarity of characteristics (metaphor),

2) Relationships based on the contiguity of concepts (metonymy).

3) Relationships based on the direct and reverse meaning of the word (irony).

Metaphor

The relationship between subject-logical meaning and contextual meaning, based on the similarity of the characteristics of two concepts, is called a metaphor.

My body is the frame wherein "tis (thy portrait) held.

This line is from Shakespeare's sonnet, in which in the word frame the relationship of two meanings is realized - subject-logical frame(a specific image) and contextual - what frames it, a place for storage. In context, it is possible to compare such concepts as “My body is like a vessel in which your image is stored” and “frame”, in which a portrait is usually enclosed. Metaphor is expressed by a noun in the syntactic function of a predicate.

In a sentence: As his unusual emotions subsided, these misgivings gradually melted awaya metaphor is expressed by a verb, which acts as a predicate in a sentence. Again we see that in the verb to melt (in the form of melted ) the relationship of two values is realized. One subject-logical meaning - melting; the second meaning is contextual - disappearance(one of the signs of melting). Imagery is created by the interaction of subject-logical meaning with contextual one; Moreover, the basis of imagery is always subject-logical meaning.

Metaphor can be expressed by any significant part of speech.

In a sentence: "And the winds are rude in Biscay's sleepless bay" (G. Byron ) metaphor is expressed by an adjective.

125

To implement a metaphor, a context is needed in which the members of the combination appear only in one subject-logical meaning, clarifying the word that carries a double meaning - metaphor.

Sometimes a metaphor is not limited to one image, but implements several images interconnected by a single, central, core word. This metaphor is called extended. For example :

Mr. Dombey's cup of satisfaction was so full at this moment, however, that he felt he could afford a drop or two of its contents, even to sprinkle on the dust in the by-path of his little daughter.

(Ch. Dickens. Dombey and Son.)

Words drop, contents, to sprinkle create additional images to the main image cup (of satisfaction).

In the following lines from Shelley's poem " The Cloud "An extended metaphor is also given:

In a cavern under is fettered the thunder, It struggles, and howls at fits. . .

Here are the images created by words fettered, in a cavern, howls reproduce the central image (“the beast”).

Such extended metaphors are quite common among symbolists, where the vagueness and fog of the created image is one of the characteristic features of this direction.

126

An extended metaphor is most often used to revive imagery that has already faded or is beginning to fade.

For example, take the following extended metaphor from Dickens:

. . .the indignant fire which flashed from his eyes, did not melt he glasses of his spectacles.

Metaphor is often defined as a shortened comparison. This is not entirely true. Metaphor is a way of identifying two concepts due to sometimes random individual features that seem similar. Comparison compares objects and concepts without identifying them, considering them in isolation.

However, the degree of identification of two concepts in a metaphor depends, to a large extent, on what syntactic function the metaphor word has in a sentence and on what part of speech this word is. If the metaphor is expressed in the nominal part of the predicate, there is no complete identification. It `s naturally. The nominal part of the predicate identifies one feature that characterizes the subject.

There is almost no identification if the nominal part of the predicate is expressed not by a noun, but by an adjective. So in a sentenceMy life is cold, and dark and dreary.(L o ngfell o w.) words cold and dark barely feel like metaphors. In other words, there is almost no interaction between two lexical meanings (main and contextual), a prerequisite for the emergence of a metaphor.

When the nominal part of the predicate is expressed by a noun, the degree of identification increases, although here there is no complete merging of the two concepts.

127

It's another matter when the predicate is expressed by a verb. Here we get an almost complete identification of concepts. So, in the above example misgivings melted away in melted two concepts merged: melting And disappearance. Thus, melted here has two subject-logical meanings: basic and contextual.

The situation is more complicated when the metaphor is expressed in a definition. Here it is also necessary to distinguish between definitions expressed by an adjective and expressed by a noun through of-phrase. Metaphor sleepless in sleepless bay more “unambiguous” than iron in muscles of iron , i.e. the degree of identification of two concepts in a word sleepless (sleeplessAnd restless) more; the sign in such a definition is more merged with the defined than is the case with of-phrase.

As you know, metaphor is one of the ways to form new meanings of words and new words. This process, like other processes of changing the meaning of words, is the field of lexicology. However, there is an intermediate stage in this process. There is no new meaning yet, but the use has become familiar and is beginning to become normal. A “language” metaphor appears, as opposed to a “speech” metaphor. 1

Speech metaphor is usually the result of the search for an accurate, adequate artistic expression of thought. A speech metaphor always gives some evaluative moment to the utterance. It is, therefore, predicative and modal in nature. It is interesting to cite the following thought of Academician. Vinogradov regarding the role of metaphor in the work of writers. “... a metaphor, if it is not cliched,” writes V.V. Vinogradov, “is an act of affirmation of an individual worldview, an act of subjective isolation. In the metaphor, a strictly defined, individual subject with his individual tendencies of worldview appears sharply. Therefore, a verbal metaphor is narrow, subjectively closed and intrusively “ideological”, that is, it too imposes on the reader the subjective author’s view of the subject and its semantic connections” 2.

1 Some works distinguish between the concepts of “linguistic metaphor” And"poetic metaphor".

2 Vinogradov V.V. Pushkin’s style.” M.: Khud.lit, 1945, p. 89.

128

Thus, a speech metaphor must always be original (fresh), and a linguistic metaphor acquires a tinge of cliché. The first type of metaphor is usually the creation of the author's creative imagination; the second type is an expressive means of language that exists in language along with other means of expressing thoughts for a more emotional, figurative interpretation of the described phenomena. It must be borne in mind that the relationship between two types of meanings - subject-logical and contextual - is a prerequisite for both the original metaphor and the cliched, ordinary metaphor. However, the effect of using one or another type of metaphor is different.

For example : the ray of hope, floods of tears, storm of indignation, flight of fancy, gleam of mirth, shadow of a smileare linguistic metaphors. Their use is common. Such metaphors are often used in different styles speech. There are especially many of them in the newspaper style, the style of journalism. These metaphors “do not affirm the individual,” the evaluative, so typical of the original metaphor.

Both cliched metaphors and original metaphors are the subject of stylistic analysis. Their linguistic nature is the same. But their stylistic functions are different. 1

Metaphor is, therefore, one of the means of figuratively representing reality. The importance of this stylistic device in the style of artistic speech is difficult to overestimate. Metaphor is often considered as one of the ways to accurately depict reality artistically. However, this concept of accuracy is very relative. It is metaphor, which creates a concrete image of an abstract concept, that makes it possible to

1 In addition to original and cliched metaphors, it is customary to distinguish between so-called worn-out metaphors like the branch of a bank and others cited above However, as was indicated, this kind of phenomenon is not the property of stylistics, but belongs to the field of lexicology, which deals with the ways of change and development of word meanings. In these examples, there is essentially no interaction between the two types of meanings. There is no implementation of two meanings in the context.

9 - 323 129

interpretation of the message content. “The proposition: “the poetic image is motionless relative to the variability of content,” writes Potebnya, stands up to all kinds of verification. Of course, relative immobility is relative variability” 1.

What Potebnya understands by “variability of content” is the possibility of different interpretations of the main idea of the statement.

Metonymy

Metonymy, like metaphor, on the one hand, is a way of forming new words and a stylistic device, on the other. Thus, metonymy is divided into “linguistic and speech”.

Metonymy is defined in different ways in linguistics. Some linguists define metonymy as the transfer of a name by the contiguity of concepts. Others define metonymy much more broadly, as the replacement of one name for an object with another name according to the relationship that exists between these two concepts. The second definition is so broad that it allows metonymy to include a wide variety of cases of replacing one concept with another. So, for example, replacing a cause with an effect, or a whole with a part, or a concrete with an abstract one can, according to this definition, be brought under metonymy.

Metonymy is a relationship between two types of lexical meanings - subject-logical and contextual, based on identifying specific connections between objects. V.I. Lenin pointed out: “Out of subjective needs, people replace the concrete with an abstract one, contemplation with a concept, many with one, an infinite sum of causes with one cause” 2 . This indication helps to reveal the essence of metonymy.

In order to better understand the stylistic functions of speech metonymy, let us first present some

1 Potebnya A. A. From notes on the theory of literature. Kharkov, 1905, p. 139.

2 Lenin V.I. Philosophical notebooks. Partizdat, M., 1936, p. 61.

130

examples of general linguistic metonymy, in other words, such new meanings of words that appeared in the language through metonymic relations. In English the word bench , the main meaning of which is bench, is used as a general term for the concept of jurisprudence; word hand received the value - worker; word pulpit - pulpit (preacher) means clergy; word press - from the value printing press got the meaning press, print, and - newspaper and publishing workers.

Just like speech metaphor, speech metonymy is always original, linguistic metonymy is cliched. Metonymy gray hairs instead of old age; bottle instead of drunkenness - linguistic metonymies.

Speech metonymies can be artistically meaningful or accidental.

In a sentence :

Wherefore feed, and clothe, and save, From the cradle to the grave Those ungrateful drones who would Drain your sweat- nay, drink your blood!

(Shelley.)

words cradle and grave are artistically meaningful metonymies. Here the relationship between a specific concept is quite obvious grave and abstract concept death. It's the same in the word cradle - specific concept cradle acts as a replacement for the abstract - birth. The concrete here is a symbol of the abstract. This type of relationship can be called substitution in the relationship between a concrete expression of an abstract concept and the abstract concept itself. Likewise the words re n and sword in the sentence: " Sometimes the pen is mightier than the sword" denote specific objects. And here they express abstract concepts: pen - word, speech, literature, press; sword - army, war, battle etc.

Another type of relationship revealed in metonymy is the relationship of a part to a whole or a whole to a part. In sentences such as " You "ve got a nice fox on" word fox (whole) is used instead of - Fox fur(parts). In a sentenceThe round game table was so bois-

9* 131

terous and happy speech metonymy game table (people sitting at a table) shows the adjacency relationship. The same can be said about the proposal.:

Miss Fox"s hand trembled she slipped through Mr. Dombey"s arm, and felt herself escorted up the steps, preceded by a cocked hat and a Babylonian collar(Ch. Dickens.)

where are the words hat and collar respectively indicate the people wearing these toiletries.

In the following sentence we see another type of relationship:

"And the first cab having been fetched from the public house, where he had been smoking his pipe, Mr. Pickwick and his portmanteau were thrown into the vehicle."(Dickens.)

Here the word is cab , used instead cabman , expresses the relationship between the instrument of production and the actor. (Cf. also "Don't is a good whip."

Metonymy can express the relationship between content and contained, as in the sentence "...to the delight of the whole inn- yard..." (Ch. Dickens.)

The features of metonymy in comparison with metaphor are that, as A. A. Potebnya correctly notes, metonymy, while creating an image, preserves it when deciphering the image, while in metaphor, deciphering the image actually destroys and destroys this image. Metonymy is usually used in the same way as metaphor, for the purpose of figuratively depicting the facts of reality, creating sensory, visually more tangible ideas about the described phenomenon. It can simultaneously reveal the author’s subjective and evaluative attitude towards the phenomenon being described.

Indeed, often one feature of a phenomenon or object, being highlighted, strengthened, typified, will say more about the phenomenon itself than a comparison of this object with another or a direct expression of the author’s attitude towards the subject. Metonymy is a way of indirectly characterizing a phenomenon by highlighting one of the constant, variable or random characteristics of this phenomenon,

132

Moreover, artistic metonymy is most often based on highlighting a random feature, which in a given situation seems significant to the author.

Irony

Irony is a stylistic device through which an interaction of two types of lexical meanings appears in a word: subject-logical and contextual, based on the relationship of opposition (inconsistency). Thus, these two meanings are actually mutually exclusive. 1 For example, It must be delightful to find oneself in a foreign country without a penny in one's pocket. The word delightful as can be seen from the context, it has a meaning opposite to the main subject-logical meaning. The stylistic effect is created by the fact that the main subject-logical meaning of the word delightful is not destroyed by contextual meaning, but coexists with it, clearly demonstrating relations of inconsistency.

For stylistic irony sometimes a broader context is needed. So, for example, in The Pickwick Papers, Dickens, introducing Mr. Jingle to the reader for the first time, gives him speech characteristics in the following way:

"Never mind," said the stranger, cutting the address very short, "said enough- no more; smart chap that cabman- handled five hiss well; but if I"d been your friend in the green jemmy- damn me - punch his head - "cod I would- pig "s whisper - pieman too, - no gammon."

"This coherent speech was interrupted by the entrance of the Rochester coachman, to announce that..."

The word coherent Dickens's way of describing Mr. Jingle's speech is ironic.

1 The term "irony", as a stylistic device, should not be confused with the commonly used word "irony", which denotes a mocking expression.

133

Irony should not be mixed with humor. As you know, humor is a quality of action or speech that necessarily excites a sense of the funny. Humor is a psychological phenomenon. Irony does not necessarily cause laughter. In a sentence " How clever it is ", where the intonation design of the entire sentence gives the word clever - reverse value - stupid doesn't make me feel funny. On the contrary, feelings of irritation, dissatisfaction, regret, etc. can also be expressed here.

Humor can use irony as one of its techniques, in which case irony will naturally cause laughter.

Funny is usually the result of an unjustified expectation, some clash of positive and negative. In this sense, irony as a linguistic device has much in common with humor. The use of contextual meanings, the opposite of the main subject-logical ones, is also a kind of collision of positive and negative, and this collision is always unexpected. This is why most often irony evokes a feeling of humor. Thus, the main function of irony (although, as stated above, not the exclusive one) is to evoke a humorous attitude towards the reported facts and phenomena.

Irony is sometimes used to create more subtle, subtle shades of modality, that is, to reveal the author’s attitude to the facts of reality. In this case, irony does not so straightforwardly realize the relationship of the contextual meaning of a word to the subject-logical meaning.

So, in the following lines from Byron's "Verro" the word like It is used either in a basic subject-logical meaning or in a contextual (ironic) meaning. Only in the last line is the irony fully revealed.

XLVII.

I like a parliamentary debate, Particularly when "tis not too late.

XLVIII.

I like the taxes, when they"re not too many; I like a seacoal fire, when not too dear;

134

I like a beef steak, too, as well as any;

Have no objection to a pot of beer; I like the weather, when it is not rainy,

That is, I like two months of every year. And so God save the Regent, Church, and King! Which means that I like all and everything.

Ministry of Education and Science of the Russian Federation
Federal State Budgetary Educational Institution of Higher Professional Education
“Chuvash State Pedagogical University
them. I.Ya.Yakovleva”

Faculty of Foreign Languages
Department of English Philology and Translation Studies

Subject
Irony as a stylistic device

Coursework on the theory and history of the English language

4th year students of group “B” of the English department
Faculty of Foreign Languages
Sergeeva Maria Sergeevna

Scientific adviser:
Assistant professor
Candidate of Philology
Shugaeva N. Yu.

Cheboksary 2012
Content
Introduction ……………………………………………………… …………………..3
1. Irony……………………………………………………………… ……..4

1.3 Areas of functioning of irony………………………...….......11 -12
1.4 Types of irony………………………………………………… ..........13 -16
2. Irony as a stylistic device…………………………………….17
2.1 Definition of irony as a stylistic device………… ….....17-18
2.2 Irony in a literary text…………………………………19 -20
2.3 Means of expressing irony…………………………………….21-23
3. Analysis of irony in the work of I. S. Turgenev “Fathers and Sons”...24-26
Conclusion…………………………………………………………….28
List of used literature…………………...…………...... 29 -31

Introduction
Since ancient times, people have tried to give their statements a comic effect to attract special attention or to achieve some other goal. People have used irony to create comic effect since ancient times and in many fields. Irony can be found everywhere in a work of art, in advertising, in political text, even in ordinary conversation. V. G. Belinsky wrote “to understand the comic, one must have a high degree of education.” Thus, irony is sometimes difficult to understand not only for foreigners learning a language, but also for people who are native speakers. The relevance of my work lies in the fact that from very early times people have been “fascinated” by irony, trying to offend each other in a sophisticated way, create a comic effect, or self-irony. Sometimes irony can be very difficult to understand, especially in a work of fiction.
The purpose of my work is to understand what irony is and how it is used in works of art using the example of Turgenev’s work “Fathers and Sons”.
The tasks of my work:
- study the concept of “irony” and its history;
- determine the types and means of expressing irony;
- identify irony as a stylistic device;
- explain the use of irony in a literary text;

Dictionaries and various sources record different meanings of irony:
Irony is speech whose meaning and meaning is opposite to the literal meaning of the words; mocking praise, approval, condemnation
Irony is a rhetorical figure in which words are used in the opposite sense to their literal meaning, for the purpose of ridicule. Subtle ridicule, covered with a serious form of expression or an outwardly positive assessment.
In ordinary consciousness, the most common idea is when irony is understood as a caustic intonation of a statement, which is often identified with ridicule, hidden mockery, or they see in it simply playfulness, laughter under the guise of feigned seriousness.
Irony is often defined formally as an expression of the opposite of what one thinks about the subject; a definition close to this is that irony is a statement that has a hidden meaning that is the opposite of what is directly expressed. This definition is supported by Z. Freud, V.P. Shestakov, B. Dzemidok and other researchers. Giambatista Vico defined irony as a lie “in the mask of truth.”
The formal and logical specificity of irony was most successfully expressed by A.F. Losev: “Irony, unlike deception, not only hides the truth, but also expresses it, only in a special allegorical way. Irony arises when, wanting to say “no,” I say “yes,” and at the same time I say this “yes” solely to express and reveal my sincere “no.” Let's imagine that there is only the first: I say “yes”, but in fact I think to myself “no”. The essence of irony lies in the fact that when I say “yes”, I do not hide my “no”, but rather express it, reveal it. My “no” does not remain an independent fact, but it depends on the expressed “yes”, needs it, asserts itself in it, and without it has no meaning.”
Irony is often seen only as a form of the comic, a technique or a method of comic relief, losing sight of the content side, the specifics of the emotional-value attitude, and the experience of irony. Shpagin believes that it is necessary to distinguish two meanings of the term “irony”: 1) a device of rhetoric or comic; 2) ideological-emotional assessment or, more precisely, an emotional-value, aesthetic attitude, a type of comic.
Irony is also identified as a form of comedy. Here Irony is expressed in the imaginary praise of that which deserves destruction and destruction, but still clings to life and inspires fear.
Here we can conclude that there are many different approaches to defining the concept of “irony”. It is defined both as a rhetorical form and as a comic form, and is also considered from the point of view of ordinary, everyday communication.

1.2 History of irony and irony as a cultural value.

Irony is believed to have originated in Ancient Greece. So in ancient Greek, “to ironize” came to mean “to tell a lie,” “to mock,” “to pretend,” and “ironist” is a person who “deceives with words.” The question has always arisen as to what irony and deception are aimed at. According to Plato, “irony is not just deception and idle talk, it is something that expresses deception only from the outside, and something that essentially expresses the complete opposite of what is not expressed. It is some kind of mockery or mockery that contains a very clear seal aimed at achieving the highest just goal under the guise of self-humiliation.” In the Nicomachean Ethics, Aristotle defines irony in the following series of concepts: “boasting - truth - irony”. Pretense towards exaggeration is boasting, and its bearer is a braggart. Pretense towards understatement is irony, and its bearer is an ironist." "Those who tell lies about themselves, in a light unfavorable to him, but not without knowledge (about it), are an ironist; if he embellishes, he is a braggart." "He who adheres to the middle, being himself as a man of truth both in life and in glory, recognizes about himself only what is characteristic of him, does not exaggerate it or minimize it."
So Socrates used irony in disputes with the sophists, exposing their conceit and claims to omniscience. She opposed the complacency and limitations of the ordinary consciousness of antiquity. Irony received a certain development in ancient comedy and satirical genres of literature. She also played an important role in the folk culture of laughter
Socratic irony arises as “moralizing subjectivity” (in Hegel’s words) as opposed to “objective” - “irony of fate.” The peculiarity of Socrates' irony was its bidirectional nature, which is why it deserved the name “moral” irony. Laughing at the pretensions and limitations of his interlocutors, Socrates did not spare himself, presenting himself as a simpleton and an ignoramus.
In the Middle Ages, irony was used most actively in the folk culture of laughter. The irony of folk laughter culture has a bimodal ambivalent character, since laughter is also directed at the laughers themselves.
During the Renaissance, irony was used in the traditions of laughter, festive folk culture, by jesters with crowned heads, as well as in everyday speech. Thus, J. Burckhardt wrote about irony, wit and ridicule in the Italian culture of the Renaissance. Irony begins to be used as a rhetorical device, “as a turn of speech that helps to avoid “personalities” and subject someone to ridicule in the form of a hidden hint,” as jesters often laughed at their masters. In Shakespeare, the problem of irony arises as a problem of morality and the “irony of history.” In his opinion, a crime against humanistic morality is punished by the “irony of history.” This is the ending of King Lear. Relying on a living, colloquial language, Shakespeare used the polysemy of words and expressions and metaphors and puns based on this to express humor and irony. Intended for the stage, for oral expression, they were reinforced by gestures and intonation, which served as pointers to the topical context of irony, close to contemporaries.
But wit acquired a special role in the Baroque era, because in its aesthetics there appeared the desire to compare different things and unexpectedly reveal the similarities of dissimilar things, which was considered the most essential in this culture, therefore wit can be considered the most important element of Baroque culture.
Renaissance laughter was a wonderful tool for cultural creation and revaluation of values. By ridiculing himself, a person cleansed himself of the calloused scales of outdated and bad habits; by ridiculing others, he elevated himself above their shortcomings.
Describing romantic irony, I. Pasi notes that irony arises from “unsatisfied subjectivity, from a subjectivity that is always thirsty and never satisfied. Irony reveals a hidden, intimate gap between the creator and creativity, and this creator can never be completely objectified in creativity, the trace of the creation of which remains his personal property. Irony hovers over everyone and everything, rises above our own love and does not allow what we ourselves adore to be destroyed in thought. But from this absolute freedom of the artistic individual, who represents irony and with whom it is identical, comes joy. The joy of the mind from overcoming an object, nature, necessity. Joy of spirit from action, intoxication with the pleasure of creativity.”
F. Schlegel wrote about this, emphasizing the ambiguous, dual nature of irony, which is similar to a theatrical performance. According to him, she “looks at all things from above, infinitely rising above everything conditioned, including her own art and virtue and genius.”
Thus, among the romantics, irony is a playful form of subjective freedom, removing the seriousness and responsibility of life, from which one must free oneself in order to fly into the transcendental world of creative fantasy. Irony is a shield that covered the innermost and pure ideals of romantics from the vulgar and dirty “paws” of philistines, it is a mask under which a sensitive and vulnerable soul hides. Irony hides from philistines the innermost, transcendental values, dreams and ideals, including religious ones.
Thus, having looked at the entire “history of the existence of irony,” we can conclude that irony existed from the earliest times and was of great importance, both psychological and literary. With its help, the great ancient Greek philosophers tried to offend their colleagues by pointing out their stupidity and using self-irony to draw more attention to themselves, jesters tried to ridicule their masters so that they would not understand that they were actually being insulted. Writers in their texts tried to show their dissatisfaction with the government using irony or simply describe a character or situation in a brighter and more colorful way.

1.3 Areas of functioning of irony.
There are certain differences in the use of irony in various spheres of human culture, the main ones: 1) everyday communication;
2) teaching activities;
3) ideological activity;
4) artistic culture.
When studying the functioning of irony in each of these areas, one must also keep in mind the specific historical and national characteristics of various cultures. The latter are especially noticeable in the sphere of everyday communication and in art. Historical features have a better impact on ideology. Pedagogical irony is more conservative.
In everyday interpersonal communication, irony performs regulatory and polemical functions. With the help of irony, the interlocutors criticize the opponent’s point of view, tell him their own, trying to persuade the opponent and the audience to the same position. Irony contributes to the creation of a special character in interpersonal relationships, softens the harshness of negative critical judgments, their offensive, humiliating nature, without reducing, and in some cases strengthening, critical assessment. Irony also plays a conventional role; it helps to establish special trusting relationships between interlocutors, understandable only to them. Irony is a convenient means of conventional communication also because it simultaneously performs the function of group self-affirmation through the projective transfer of negative qualities to the object of irony and increasing its relative value.
Street slang, secret thieves' dialects, and argot are particularly ironic; with the help of irony, they often express a negative attitude towards generally accepted moral norms. Irony in some cases acts as a way of “aesthetic” behavior. This behavior is especially characteristic of romantics and has taken the form of a game where serious and frivolous, objective and subjective are combined (“Lucinda” by F. Schlegel).

Among the few attempts to systematize the types of ironic attitudes, the typology of irony proposed by the English scientist R.H. Brown is of some interest, although his concept is difficult to accept completely. He proposed to highlight: a) rhetorical irony; b) irony of behavior; c) the irony of events; d) dramatic, or dialectical, irony. This typology is based on a sociological approach and practically does not take into account the differences in types of irony used in other areas of culture.
Based on the strength of ideological and emotional assessment, M.V. Lomonosov identified three types of irony:
1) sarcasm;
2) harientism (irony about the strange, funny and obscene);
3) astheism (polite ridicule). In general, M.V. Lomonosov classified irony as a type of rhetorical trope.
Similar divisions of irony into types can be found in other researchers. Firstly, it is soft or good-natured irony.A. F. Losev found an example of such irony in Homer, when Hera seduced her powerful husband. Secondly, mocking irony.
This is the most common type of irony; it can consist, for example, in the fact that “someone or something is attributed a trait that is absent, and thereby its absence is only emphasized.” Thirdly, sarcasm, which Losev defined as “irony with some mockery.”
Depending on the context on which irony relies, functioning in various spheres, two main types can be distinguished: 1) irony, in which reason prevails over feelings (this irony is careful, as if covering its tracks, based on a narrow context, understandable to few, and barely hints at the context of the true assessment - disguised irony); 2) irony, in which feelings dominate the mind (it is based on a broad context, does not hide its assessment, brands the object with a caustic smile and at the same time doubts the possibility of eliminating the identified shortcomings - open irony). They differ in the degree to which the main meaning is revealed. In covered irony, the subject hides his negative assessment and at the same time reveals it through the context; the degree of mediation of this hint is quite high. Open irony does not hide its negative assessment; it is indicated through an immediate, well-known context, although the meaning of the statement formally contradicts it. Both types of irony have subtypes and varieties.
Covert irony includes humorous irony, in which condemnation, exposure, criticism are subordinated to the function of entertainment, optimization, glee, and mocking irony, which is the most characteristic type of covert irony. In it, social-critical pathos makes itself felt more strongly, although it is hidden under the guise of approval and praise.
Among the varieties of covered irony, conventional irony deserves special attention. Long-term communication between people in a microenvironment, unchanged in its composition, leads to the emergence of a context of commonplaces, a range of discussed topics that can be pointed out, hinted at during communication, knowing that there is no need to explain in more detail; a certain conventionalism arises, like a well-known joke , where all the jokes have already been retold more than once and even numbered, so you don’t have to do it again, you can just say the number and hear laughter in response. In such an environment, irony easily arises, based on this general context, conventional irony, serving the purpose of distinguishing “us” from “strangers.”
The most common type of overt irony is rhetorical irony. It is not addressed to anyone or everyone around them, it is theatrical, the subject of irony seems to be reasoning with himself. Therefore, rhetorical irony relies on an undefined broad context that is understandable to others. She does not so much ridicule as express surprise at a paradox that should not exist.
I. Pasi spoke about the duality of irony in terms of its activity: the range of its activity extends from apathy to aggressiveness to sarcasm.
You can also distinguish tragic, dramatic irony and sarcastic irony. The essence of dramatic irony is that people's actions are guided by "ignorance and belief in the opposite of what will actually happen, is happening, or even has already happened." Dramatic irony is found in Shakespeare's plays, where the hero, guided by an illusory understanding of the value system and the meaning of life, commits actions that lead to his collapse. Sarcastic irony is “an evil and bitter mockery when the one being laughed at, or together the one laughing, is in a position least conducive to laughter.”
According to the nature of criticism and its completeness, two types of irony have historically developed: negative (antinomic) and ambivalent (dialectical). According to the direction of ironic criticism, one can distinguish between introverted irony, self-irony aimed at one’s “I”, extroverted irony, aimed at objects and phenomena external to the ironist, and harmonious (bimodal).
Thus, we can conclude that there is a huge number of classifications and approaches to the classification of irony. Since irony, as we have already found out, manifests itself in many areas of communication, in different types of texts, it can be classified in different ways, taking into account either the sphere where it is used or the shade that it carries.

Irony is a stylistic device through which an interaction of two types of lexical meanings appears in a word: subject-logical and contextual, based on the relationship of opposition (inconsistency). Stylistic irony sometimes requires a broader context. The term "irony", as a stylistic device, should not be confused with the commonly used word "irony", which denotes a mocking expression.
Also, irony should not be mixed with humor. As you know, humor is a quality of action or speech that necessarily excites a sense of the funny. Humor is a psychological phenomenon. Irony does not necessarily cause laughter. In the sentence “How clever it is”, where the intonation design of the entire sentence gives the word clever the opposite meaning - stupid does not evoke a feeling of funny. On the contrary, feelings of irritation, dissatisfaction, regret, etc. can be expressed here. Humor can use irony as one of its techniques, and in this case irony will naturally cause laughter.
Funny is usually the result of an unjustified expectation, some clash of positive and negative. In this sense, irony as a linguistic device has much in common with humor. The use of contextual meanings, the opposite of the main subject-logical ones, is also a kind of collision of positive and negative, and this collision is always unexpected. This is why most often irony evokes a feeling of humor. Thus, the main function of irony (although, as stated above, not the exclusive one) is to evoke a humorous attitude towards the reported facts and phenomena.
Irony is sometimes used to create more subtle, subtle shades of modality, that is, to reveal the author’s attitude to the facts of reality. In this case, irony does not so straightforwardly realize the relationship of the contextual meaning of a word to the subject-logical meaning.

2.2 Irony in a literary text.
In the field artistic culture irony performs its own artistic functions. One of the significant features of irony used in fiction is its penetration into artistic method, where it has important series-forming functions. K. Solger was one of the first to discover this feature.
In artistic creativity, the objectification of the artist’s subjective plans, feelings and moods occurs, accompanied by a kind of psychological alienation, a sense of distance from the author in relation to the completed work, as was typical for the romantics. An objectified plan begins an independent life, independent of the author, conditioned by the logic of the character of the hero, life truth. A. S. Pushkin’s testimony about Tatyana’s “unexpected” act is known. The artist’s attitude towards the hero is a mixture of admiration for his creation and irony. B. G. Reizov notes that “the hero broke away from the author, from an exponent of his feelings he turned into the subject of his ridicule, he became a phenomenon of objective reality that needs to be studied and described in order to overcome.”
V. Mayakovsky, with his keen sense of falsehood, aversion to pretense, false pathos, needed irony in order to “calcine everything that exists in the fire, burn it from all sides, so that everything false, all the slag and garbage, all the false decorativeness of objects would burn,” therefore, his irony “does not kill... the inner plus, but, as it were, disinfects the image, frees it from the sentimental crust.”
Great irony often lies in epigraphs. The famous medievalist historian M.I. Steblin-Kamensky used the following quote from A.P. Chekhov in his book about “Myth”: “From the notes of an old dog: “People don’t eat the slop and bones that cooks throw away. Fools!
Irony plays a big role in art criticism. Russian critics actively used irony, striving to educate the artistic tastes of the public in the light of the value systems that they adhered to. Thus, Belinsky, in the struggle for positivist-populist ideals, often used irony, because it provided rich opportunities for literary and socio-political polemics in the conditions of a censored press.

2.3 Means of expressing irony.
The main means of expressing irony are:
1) In oral interpersonal communication, paralinguistic means - gestures or kinesics (facial expressions, pantomime, gesticulation), intonation (stress, pauses, timbre, melody of speech) G. V. Kolshansky identifies such features of paralinguistic phenomena as conditionality (conventionality) and naturalness, arbitrariness and involuntary, universality and national specificity. Paralinguistic means of interpersonal communication, as sound speech develops and improves, recedes into the background as exponents of rational information. They are almost completely ousted from official forms of communication, but are widely used in colloquial, common speech. They are used to express emotional and value attitudes, relationships, and often this happens involuntarily.
The manifestation of irony in oral interpersonal communication is predominantly verbal and paralinguistic in nature, with pseudo-information transmitted through the verbal channel, and basic, true information (or the key to it) through the paralinguistic channel.
2) In oral and written interpersonal communication, linguistic, mostly stylistic, means are often used, such as constant epithets, neologisms and archaisms, mixing styles and tale forms of narration, but they are often supported by paralinguistic means, when there is no confidence that the interlocutor-recipient speaks context, relevant parainformation that complements the main one and allows you to correctly understand the second level of irony.
Grammatical and morphological means are also used to express irony. So, for example, irony can be expressed through the use of emotionally expressive words with diminutive suffixes (for example: “rabotnichki”, “zdanice”)
Works of art that mediate interpersonal communication between the author and the public have their own specific means of expressing irony, such as author's instructions, remarks, quotations, quotation marks, italics and puns. In A. P. Chekhov’s play “Uncle Vanya,” Astrov says to Voinitsky: “You look at me with irony, and everything I say seems frivolous to you and... perhaps this is really eccentricity, but when I pass by peasant forests that I saved from being cut down, or when I hear the noise of my young forest, planted with my hands, I realize that the climate is a little in my power, and that if in a thousand years a person will be happy, then in I will be a little to blame for this too. When I plant a birch tree and then see how it turns green and sways in the wind, my soul is filled with pride, and I... (seeing a worker who brought a glass of vodka on a tray). However... (drinks) I have to go..." Here, in one case, Astrov himself points out Voinitsky’s irony, in another - it arises from the contradiction of his pompous reasoning and the glass of vodka, which is mentioned in the stage directions.
From a superficial point of view, an ironic statement, perceived outside the context of an ironic attitude, as a rule, contains a comparison of the value positions of the subject and object of evaluation and a conclusion in favor of the subject, the ironist, because he is the highest judge who has arrogated to himself the right to both execute and pardon. He considers his taste to be an infallible and absolute standard for any assessments.
There are various forms of expression of irony: allegory, Aesopian language, allegory, parable, translucent pseudonym, periphrase, allusion, quotation. It is not possible to give examples for each of these forms.

Ivan Sergeevich Turgenev in the novel “Fathers and Sons” uses various artistic techniques: portraiture, antithesis, landscape sketches. All of them help to more fully reveal the characters' personalities.
In addition to the listed artistic techniques, in the novel “Fathers and Sons” the author also resorts to an ironic description and assessment of events.
The author ironically tells us about Pavel Petrovich Kirsanov, a hero once famous in the capital's highest society. And now, having stayed in the village with his brother, he does not forget to take care of his appearance: he is always impeccable and elegant. But elegant patent leather ankle boots, a white-starched shirt, a mustache scented with cologne, manicured hands - all this looks at least absurd in the village, far from the noise of the capital. “Your uncle is eccentric,” says Bazarov to Arkady, noticing with his characteristic insight the absurdity of such decoration in the village. Here we see an emotionally expressive expression of irony.
It is at Pavel Petrovich that Turgenev directs the edge of his irony for the first time in the novel: “...Having previously performed the European “buy-piz”, he kissed him (Arkady) three times in Russian, that is, touched his cheeks three times with his fragrant mustache.” . Isn’t it funny: in the old noble Russian family of the Kirsanovs, along with traditional Russian kisses, European customs coexist. Here we can clearly see the use of the effect of negation, which is used to express irony.
Let us further pay attention to the author's remarks in Chapter 6, which describes the first clash between Pavel Petrovich and Bazarov. “Pavel Petrovich’s face took on such an indifferent expression, as if he had gone to some sky-high heights” or “Pavel Petrovich raised his eyebrows slightly, as if falling asleep...” But then the argument flares up in earnest, and Pavel Petrovich’s behavior changes: at first he “ turned slightly pale,” and then “slowly turned on his heel and slowly walked away.” By the time of the second argument, Pavel Petrovich is already irritated, and his irritation is growing every minute. Either he “mutters in amazement,” then he interrupts Bazarov, and, finally, his patience comes to an end, and he “cries out.” With this verb (note that Pavel Petrovich did not cry out, did not exclaim, but rather cried out), the author emphasizes his ironic attitude towards the former socialite.
Let us now turn to the duel scene, because it is the final one in the ideological dispute between liberals and democrats. It is in this scene that Pavel Petrovich, a military man, is destined not only to miss, but also to faint at the sight of blood. There is something absurd about this. Turgenev sneers at Pavel Petrovich, thereby
etc.................

2.1 Irony as a stylistic device in the works of Jasper Forde

In stylistics, irony is a trope in which the true meaning is hidden or contradicts (contrasted) with the explicit meaning. Irony creates the feeling that the subject of discussion is not what it seems. In other words, this is an obviously feigned depiction of a negative phenomenon in a positive form, in order to ridicule and discredit this phenomenon by reducing to the point of absurdity the very possibility of a positive assessment, to draw attention to its drawback, which in an ironic depiction is replaced by a corresponding advantage.

By depicting a negative phenomenon in a positive form, irony thus contrasts what should be with what is, and ridicules what is given from the point of view of what should be. In this function, irony is its similarity to humor, which is also similar to irony, revealing the shortcomings of various phenomena, comparing two plans - the given and the due. Like irony and humor, the basis, the signal for comparing two plans - given and should - is the openly, emphatically demonstrated pretense of the speaker, as if warning that his words cannot be taken seriously. However, if irony pretends to depict what should be given as given, then humor, on the contrary, pretends to portray what should be given as something that should be given. In both irony and humor, two attitudes of the author to the depicted are given: one is feigned, the other is genuine, and in irony and humor the intonation is opposed to the literal meaning of the statement, but in irony the intonation carries a genuine discrediting attitude, in humor - a feigned respectful attitude. Distinguished theoretically, irony and humor often transform into each other and are intertwined to the point of indistinguishability in artistic practice, which is facilitated not only by the presence of common elements and common functions, but also by the common intellectualistic nature of these two methods of artistic discrediting: playing with semantic contrasts, contrasting logically opposite concepts They require clarity of thought in the process of their creation and appeal to it in the process of reader perception.

Leading to discrediting a phenomenon, that is, expressing an act of assessment, humor only suggests this assessment by grouping facts, makes the facts speak for themselves, while irony expresses an assessment, conveys the attitude of the speaker in intonation.

Since irony considers phenomena from the point of view of what should be, and the idea of what should be is not a constant value, but grows out of social conditions and expresses class consciousness, a number of words and expressions can lose or acquire an ironic meaning when moving to another social environment, to another ideological context.

Irony not only emphasizes shortcomings, that is, it serves the purpose of discrediting, but also has the ability to ridicule, expose unfounded claims, giving these claims themselves an ironic meaning, as if forcing the ridiculed phenomenon to ironize itself.

It is natural, therefore, that from ancient times to the present day, irony has primarily performed a polemical function and served as one of the favorite means in the struggle on the ideological front.

As a rule, original author's literature, replete with wordplay, idiomatic expressions, and fresh metaphors, is incredibly difficult to translate. Translators, even the most experienced ones, do not always manage to convey the writer’s original style. Perhaps Jasper Fforde is one of the most difficult to translate masters of words. Firstly, he owes his origin to this. Everyone knows the special English humor based on paraphrases, puns, sharp irony and wordplay. Secondly, the writer had a great task to put several literary realities into a single whole and weave them organically into the real world. The most striking stylistic detail of the Thursday Next series is undoubtedly the speaking names.

So surnames speak about suitable or unsuitable properties of potential life partners. Or:

The name is Schitt," he replied. "Jack Schitt.

The anti-hero's bad character is evident.

The main character of the literary cycle is a veteran of the Crimean War, 36-year-old Thursday Nonetot, very often uses ironic wordplay in her statements, often in dialogues with other characters. Thus, the author lifts the curtain on her personality, which is tempered by years of military service and prefers directness and skeptical puns.

1. `True and baseless evil is as rare as the purest good--and we all know how rare that is...

2. `- Did he…ah… come back?

`-Most of him. He left a leg behind.

3. `If you expect me to believe that a lawyer wrote A Midsummer Nights Dream, I must be dafter than I look.

4. `Ordinary adults dont like children to speak of things that are denied them by their own gray minds.

5. `Cash is always the deciding factor in such matters of moral politics; nothing ever gets done unless motivated by commerce or grad .

6 ` The industrial age had only just begun; the planet had reached its Best Before date.

8.`The youthful stationmaster wore a Blue Spot on his uniform and remonstrated with the driver that the train was a minute late, and that he would have to file a report. The driver retorted that since there could be no material differene between a train that arrived at a station and a station that arrived at a train, it was equally the staionmasters fault. The stationmaster replied that he could not be blamed, because he had no control over the speed of the station; to which the engine driver replied that the stationmaster could control its placement, and that if it were only a thousand yards closer to Vermillion, the problem would be solved.

To this the stationmaster replied that if the driver didnt accept the lateness as his fault, he would move the station a thousand yards farther from Vermillion and make him not just late, but demeritably overdue? .

9. `Dont move, said Sprockett.Mimes dont generally attack unless they are threatened .

English humor often takes matters to the point of absurdity, bordering on madness:

1. `To espresso or to latte, that is the question...whether tis tastier on the palate to choose white mocha over plain...or to take a cup to go. Or a mug to stay, or extra cream, or have nothing, and by opposing the endless choice, end ones heartache... .

2. `Mr. Pewter led them through to a library, filled with thousands of

antiquarian books.

`Impressive, eh?

Very, said Jack. How did you amass all these?

Well, said Pewter, You know the person who always borrows books and never gives them back?

Im that person`.

3.Ill-fitting grammar are like ill-fitting shoes. You can get used to it for a bit, but then one day your toes fall off and you can’t walk to the bathroom.

4. `Have you ever wondered how nostalgia isn't what it used to be?

Thus, it is clearly seen that the above-described stylistic devices help the author in the best possible way to create images of the characters in the story and reflect their bright personal qualities, which is important for understanding the true nature of their nature.

Borrowed subjects in the works of Leonid Filatov

§1. Comparative review of the works under study The play by L. Filatov “Once again about the naked king” on the themes of fairy tales by Hans Christian Andersen and Eugene Schwartz, unlike “Stagecoach”, has an independent plot basis...

Depiction of the north in the early works of Oleg Kuvaev

The North in the works of O. Kuvaev is mythologized. As R.V. Epanchintsev notes, mythologization is not only and not so much the background for the unfolding of events. North takes on connotative properties...

Irony (Greek eironeia, lit. - pretense) is a category of philosophy and aesthetics that denotes a statement or image of art that has a hidden meaning opposite to that which is directly expressed or expressed. Unlike satire...

Irony in modern Russian prose (based on the poem “Moscow-Petushki” by Erofeev and the story “By Mutual Correspondence”)

By depicting a negative phenomenon in a positive form, irony thus contrasts what should be with what is, and ridicules what is given from the point of view of what should be. This function of irony is its similarity to humor...

Use of inversion in Shakespeare's sonnets

Compositional and stylistic features of Jasper Fforde's novels

Jasper Fforde was born on January 11, 1961 in London into an unusual British family; his father was John Standish Fforde, chief treasurer of the Bank of England (his signature can be seen on pound notes). After graduating from college at the age of 20...

“Sashka”, poem (1835--36?), one of the largest poetic works by Lermontov, including 149 11-line stanzas. Along with “Tambov Treasurer” and “Fairy Tale for Children”, it is one of the so-called “ironic poems”...

Stylistic features of the monologues of the main character in Edward Albee's play "What Happened at the Zoo"

For stylistic analysis, we took an excerpt from the play, which, when staged, will be interpreted in one way or another by the actors involved in it, each of whom will add something of their own to the images created by Albee...

Stylistic analysis of the book by S.P. Zhikharev "Notes of a contemporary"

“Notes of a contemporary” were left behind by the late Prince Stepan Stepanovich Boryatinsky in letters to him from his close relative S.P. Zhikharev, with whom, despite the difference in age and the circumstances that separated them, he was united...

Comparison is a linguistic phenomenon in which the meaning of one word or group of words is clarified by the meaning of other words by comparing the corresponding concepts on the basis of a common feature [Arnold 1981: 64]...

Stylistic device of comparison in J. Fowles' novel "The Collector"

The works of J. Fowles are quite often used as material for research, because, as mentioned earlier, his style and creations will not leave any reader indifferent. John Fowles is an outstanding English writer...

So surnames speak about suitable or unsuitable properties of potential life partners. Or:

The name is Schitt," he replied. "Jack Schitt.

The anti-hero's bad character is evident.

1. `True and baseless evil is as rare as the purest good--and we all know how rare that is... "

2. `-Did he...ah... come back?'

`-Most of him. He left a leg behind" .

3. `If you expect me to believe that a lawyer wrote A Midsummer Night's Dream, I must be dafter than I look'.

4. `Ordinary adults don't like children to speak of things that are denied them by their own gray minds'.

5. `Cash is always the deciding factor in such matters of moral politics; nothing ever gets done unless motivated by commerce or greed" .

6 ` The industrial age had only just begun; the planet had reached its Best Before date" .

8. `The youthful stationmaster wore a Blue Spot on his uniform and remonstrated with the driver that the train was a minute late, and that he would have to file a report". The driver retorted that since there could be no material differene between a train that arrived at a station and a station that arrived at a train, it was equally the staionmaster's fault. The stationmaster replied that he could not be blamed, because he had no control over the speed of the station; to which the engine driver replied that the stationmaster could control its placement, and that if it were only a thousand yards closer to Vermillion, the problem would be solved.

To this the stationmaster replied that if the driver didn"t accept the lateness as his fault, he would move the station a thousand yards farther from Vermillion and make him not just late, but demeritably overdue?" .

9. `Don"t move," said Sprockett."Mimes don"t generally attack unless they are threatened" .

English humor often takes matters to the point of absurdity, bordering on madness:

1. `To espresso or to latte, that is the question...whether "tis tastier on the palate to choose white mocha over plain...or to take a cup to go. Or a mug to stay, or extra cream, or have nothing, and by opposing the endless choice, end one "s heartache..." .

2. `Mr. Pewter led them through to a library, filled with thousands of

antiquarian books.

`"Impressive, eh?""

Very," said Jack. "How did you amass all these?"

"Well," said Pewter, "You know the person who always borrows books and never gives them back?"

"I"m that person`.

3. "Ill-fitting grammar are like ill-fitting shoes. You can get used to it for a bit, but then one day your toes fall off and you can"t walk to the bathroom" .

4. `Have you ever wondered how nostalgia isn't what it used to be?' .

Thus, it is clearly seen that the above-described stylistic techniques help the author in the best possible way to create images of the characters in the story and reflect their bright personal qualities, which is important for understanding the true nature of their nature.

Makeup. Skin and hair care. Manicure

2.1 Irony as a stylistic device in the works of Jasper Forde

RELATED ARTICLES