I. GENERAL NOTES ON STYLE AND Stylistics - раздел Образование, PART I INTRODUCTION Stylistics, Sometimes Called Lingvo-Stylistics, Is A ...
Stylistics, sometimes called lingvo-stylistics, is a branch of general linguistics. It has now been more or less definitely outlined. It deals mainly with two interdependent tasks: a) the investigation of the inventory of special language media which by their ontological features secure the desirable effect of the utterance and b) certain types of texts (discourse) which due to the choice and arrangement of language means are distinguished by the pragmatic aspect of the communication. The two objectives of stylistics are clearly discernible as two separate fields of investigation. The inventory of special language media can be analyzed and their ontological features revealed if presented in a system in which the co-relation between the media becomes evident.
The types of texts can be analyzed if their linguistic components are presented in their interaction, thus revealing the unbreakable unity and transparency of constructions of a given type. The types of texts that are distinguished by the pragmatic aspect of the communication are called functional styles of language (FS); the special media of language which secure the desirable effect of the utterance are called stylistic devices (SD) and expressive means (EM). ' . .
The first field of investigation, i.e. SDs and EMs, necessarily touches upon such general language problems as the aesthetic function of language, synonymous ways of rendering one and the same idea, emotional colouring in language, the interrelation between language and thought, the individual manner of an author in making use of language and a number of other issues.
The second field, i.e. functional styles, cannot avoid discussion of such most general linguistic issues as oral and written varieties of language, the notion of the literary (standard) language, the constituents of texts larger than the sentence, the generative aspect of literary texts, and some others.
In dealing with the objectives of stylistics, certain pronouncements of adjacent disciplines such as theory of information, literature, psychology, logic and to some extent statistics must be touched upon. This is indispensable; for nowadays no science is entirely isolated from other domains of human knowledge; and linguistics, particularly its branch stylistics, cannot avoid references to the above mentioned disciplines because it is confronted with certain overlapping issues.
The branching off of stylistics in language science was indirectly the result of a long-established tendency of grammarians to confine their investigations to sentences, clauses and word-combinations which are "well-formed", to use a dubious term, neglecting anything that did not fall under the recognized and received standards. This tendency became particularly strong in what is called descriptive linguistics. The generative grammars, which appeared as a reaction against descriptive linguistics, have confirmed that the task of any grammar is to limit the scope of investigation of language data to sentences which are considered well-formed. Everything that fails to meet this requirement should be excluded from linguistics.
But language studies cannot avoid subjecting to observation any language data whatever, so where grammar refuses to tread stylistics steps in. Stylistics has acquired its own status with its own inventory of tools (SDs and EMs), with its own object of investigation and with its own methods of research.
The stylistics of a highly developed language like English or Russian has brought into the science of language a separate body of media, thus widening the range of observation of phenomena in language. The significance of this branch of linguistics can hardly be over-estimated. A number of events in the development of stylistics must be mentioned here as landmarks. The first is the discussion of the problem of style and stylistics in "Вопросы языкознания" in 1954, in which many important general and particular problems were broadly analyzed and some obscure aspects elucidated. Secondly, a conference on Style in Language was held at Indiana University in the spring of 1958, followed by the publication of the proceedings of this conference (1960) under the editorship of Thomas Sebeok. Like the discussion in "Вопросы языкознания" this conference revealed the existence of quite divergent points of view held by different students of-language and literature. Thirdly, a conference on style and stylistics was held in the Moscow State Pedagogical Institute of Foreign Languages" in March 1969. At this conference lines were drawn along which studies in lingvo-stylistics might be maintained. An interesting symposium was also held in Italy, the proceedings of which were published under the editorship of professor S. Chat man in 1971.
A great number of monographs, textbooks, articles, and dissertation papers are now at the disposal of a scholar in stylistics. The stream of information grows larger every month. Two American journals appear regularly, which may keep the student informed as to trends in the theory of stylistics. They are Style issued at the Arkansas University (U.S.A.) and Language and Style published in Southern Illinois University (U.S.A.) (See also the bibliography on p. 324).
It is in view of the ever-growing significance of the exploration of language potentialities that so much attention is paid in lingvo-stylistics to the analysis of expressive means (EMs) and stylistic devices (SDs), to their nature and functions, to their classification and to possible interpretations of additional meanings they may carry in a message as well as their aesthetic value.
In order to ascertain the borders of stylistics it is necessary to go at some length into the question of what is style.
The word s t у I e is derived from the Latin word 'stylus' which meant a short stick sharp at one end and flat at the other used by the Romans for writing on wax tablets.
Now the word 'style1 is used in so many senses that it has become a breeding ground for ambiguity. The word is applied to the teaching of how to write a composition (see below); it is also used to reveal the correspondence between thought and expression; it frequently denotes an individual manner of making use of language; it sometimes refers to more general, abstract notions thus inevitably becoming vague and obscure, as, for example, "Style is the man himself" (Buffon), "Style is depth" (Derbyshire);* "Style is deviations" (Enkvist); "Style is choice", and the like.
All these ideas directly or indirectly bear on issues in stylistics. Some of them become very useful by revealing the springs which make our utterances emphatic, effective and goal-directed. It will therefore not come amiss to quote certain interesting observations regarding style made by different writers from different angles. Some of these observations are dressed up as epigrams or sententious maxims like the ones quoted above. Here are some more of them.
"Style is a quality of language which communicates precisely emotions or thoughts, or a system of emotions or thoughts, peculiar to the author." (J. Middleton Murry)
"... a true idiosyncrasy of style is the result of an author's success in compelling language to conform to his mode of experience." (J. Middleton Murry)
"Style is a contextually .restricted linguistic variation." (Enkvist) "Style is a selection of non-distinctive features of language." (L. Bloom-field)
"Style is simply synonymous with form or expression and hence a superfluous term." (Benedetto Croce)
"Style is essentially a citation process, a body of formulae, a memory (almost in the cybernetic sense of the word), a cultural and not an expressive inheritance." (Roland Barthes) •" - . *~
Some/ linguists consider that the word 'style' and the subject of linguistic stylistics is confined to the study of the effects of the message, i.e. its impact on the reader. Thus Michael Riffaterre writes that "Stylistics will be a linguistics of the effects of the message, of the output of the act of communication, of its attention-compelling function".1 This point of view has clearly been reached under the influence of recent developments in the general theory of information. Language, being one of the means of communication or, to be exact, the most important means of communication, is regarded in the above quotation from a pragmatic point of view. Stylistics in that case is regarded as a language science which deals with the results of the act of communication
To a very considerable degree this is true. Stylistics must take into consideration the "output of the act of communication". But stylistics must also investigate the ontological, i.e. natural, inherent, and functional peculiarities of the means of communication which may ensure the effect sought.
Archibald A. Hill states that "A current definition of style and stylistics is that structures, sequences, and patterns which extend, or may extend, beyond the boundaries of individual sentences define style, and that the study of them is stylistics."1
The truth of this approach to style and stylistics lies in the fact that the author concentrates on such- phenomena in language as present a system, in other words, on facts which are not confined to individual use.
The most frequent definition of style is one expressed by Seymour Chatman: "Style is a product of individual choices and patterns of choices (emphasis added) among linguistic possibilities."2
This definition indirectly deals with the idiosyncrasies peculiar to a given writer. Somehow it fails to embrace such phenomena in text structure where the 'individual' is reduced to the minimum or even done away with entirely (giving preference to non-individualistic forms in using language means). However, this definition is acceptable when applied to the ways men-of-letters use language when they seek to make it conform to their immediate aims and purport. A somewhat broader view of style is expressed by Werner Winter who maintains that "A style may be said to be characterized by a pattern of recurrent selections from the inventory of optional features of a language. Various types of selection can be found: complete exclusion of an optional element, obligatory inclusion of a feature optional elsewhere, varying degrees of inclusion of a specific variant without complete elimination of competing features."3
The idea of taking various types of selection as criteria for distinguishing styles seems to be a sound one. It places the whole problem on a solid foundation of objective-criteria, namely, the interdependence of optional and obligatory features.
There is no point in quoting other definitions of style. They are too many and too heterogeneous to fall under one more or less satisfactory unified notion. Undoubtedly all these diversities in the understanding of the word 'style' stem from its ambiguity. But still all these various definitions leave impression that by and large they all have something in common. All of them4 point to some integral significance, namely, that style is a set of characteristics by which we distinguish one author from another or members of one subclass from members of other subclasses, all of which are members-of the same general class.4 What are these sets of characteristics typical of a writer or of a subclass of the literary language will be seen in the analysis of the language means of a craven writer and of the subclasses of the general literary standard.
Another point the above quotations have in common is that all of them concentrate on the form of the expression almost to the detriment of the content. In other words, style is regarded as something that belongs exclusively to the plane of expression and not to the plane 'of content. l This opinion predominantly deals with the correspondence between the intention of the writer whoever he may be—a man of letters, the writer of a diplomatic document, an article in a newspaper, or a scientific treatise—and the effect achieved. The evaluation is also based on whether the choice of language means conforms with the most general pattern of the given type of text—a novel, a poem, a letter, a document, an article, an essay and so on.
It follows then that the term 'style', being ambiguous, needs a restricting adjective to denote what particular aspect of style we intend to deal with. It is suggested here that the term individual style should be applied to that sphere of linguistic and literary science which deals with the peculiarities of a writer's individual manner of using language means to achieve the effect he desires. Deliberate choice must be distinguished from a habitual idiosyncrasy in the use of language units'/every individual has his own manner and habits of using them. The speech of an individual which is characterized by peculiarities typical of that particular individual is called an I d i о I e с t. The idiolect should be distinguished from what we call, individual style, inasmuch as the word 'style' presupposes a deliberate choice.
When Buffon coined his famous saying which, due to its epigrammatical form, became a by-word all over the world, he had in mind the idiolect, i.e. those qualities of speech which are inherent and which reveal a man's breeding, education, social standing, etc. All these factors are, however, undoubtedly interwoven with individual style. A man's breeding and education will always affect his turn of mind and therefore will naturally be revealed in his speech and writing.But a writer with a genuine individual style will as much as possible avoid those language peculiarities which point to his breeding and education in order to leave room for that deliberate choice of language means which will secure the effect sought.
Все темы данного раздела:
T^jire treated are the main distinctive features of individual style.
The treatment of the selected elements brings up the problem of the norm. The notion of the norm mainly refers to the literary language and always presupposes a recognized o
EXPRESSIVE MEANS (EM) AND STYLISTIC DEVICES (SD)
In linguistics there are different terms to den _by which utterances are foreground, i.e. made more conspicuous, more "effective and therefore imparting some additional information. They are c
GENERAL NOTES ON FUNCTIONAL STYLES OF LANGUAGE
We have defined the object,of linguo-stylistics as the study of the nature, functions and structure^ SDs and EMs, on the one hand, and the study of the functional styles, on the other. In section 2
The gap between the spoken and written varieties of language, wider
narrower at different periods in the development of the literary lan-
guage, will always remain apparent due to the difference in circumstances in which the two ar
A BRIEF OUTLINE OF THE DEVELOPMENT OF THE ENGLISH LITERARY (STANDARD) LANGUAGE
Up till now we have done little more than mention the literary (standard) language, which is one of the most important notions in stylistics and general linguistics. It is now necessary to elucida
MEANING FROM A STYLISTIC POINT OF VIEW
Stylistics is a domain where meaning assumes paramount importance.. This is so because the term 'meaning' is applied not only to words, word-combinations, sentences but also to the manner of expres
I. GENERAL CONSIDERATIONS
Like any linguistic issue the classification of the vocabulary here suggested is for purely stylistic purposes. This is important for the course in as much as some SDs are based on the interplay of
Common CoUo^uiaL Vocabulary
-Professionalisms i special Colloquial Vocabulary (non-Literary)
of the English language as being divided into three main layers: the literary layer, the neutral
B) Poetic and Highly Literary Words
Poetic words form a rather insignificant layer of the special literary vocabulary. They are mostly archaic or very rarely used highly literary words which aim at producing an elevated effect. They
C) Archaic, Obsolescent and Obsolete Words
The word-stock of a language is in an increasing state of change. Words change their meaning and sometimes drop out of the language altogether. New words spring up and replace the old ones. Some wo
D) Barbarisms and Foreignisms
In the vocabulary of the English language there is a considerable layer of words called barbarisms. These are words of foreign origin which have not entirely been assimilated into the English lang
A) Slang
There is hardly any other term that is as ambiguous and obscure as the term slang. Slang seems to mean everything that is below the standard of usage of present-day English.
Much has been
B) Jargonisms
In the non-literary vocabulary of the English language there is a group of words that are called jargonisms. Jargon is a recognized term for a group of words that exists in almost every language an
C) Professionalisms
H Professionalisms, as the term itself signifies, are the words used in a definite trade, profession or calling by people connected by common interests both at work and at home. They commonly desi
D) Dialectal words
This group of words is obviously opposed to the other groups of the non-literary English vocabulary and therefore its stylistic, functions can be more or less clearly defined. Dialectal words are
E) Vulgar words or vulgarisms
The term vulgarism, as used to single out a definite group of words of non-standard English, is rather misleading. The ambiguity of the term apparently proceeds from the etymology of the word. Vulg
GENERAL NOTES
The stylistic approach to the utterance is not confined to its structure and sense. There is another thing to be taken into account which, in a certain type of communication, viz. belles-lettres,
Onomatopoeia
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
Alliteration
Apt Alliteration's Artful Aid. Charles Churchill
Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in
A. INTENTIONAL MIXING OF THE STYLISTIC ASPECT OF WORDS
Heterogeneity of the component parts of the utterance is the basis for a stylistic device called b a th о s. Unrelated elements are brought together as if they denoted things equal in rank or belon
B. INTERACTION OF DIFFERENT TYPES OF LEXICAL MEANING
Words in context, as has been pointed out, may acquire additional lexical meanings not fixed in dictionaries, what we have called contextual meanings. The latter may sometimes deviate from the
INTERACTION OF PRIMARY DICTIONARY AND CONTEXTUALLY IMPOSED MEANINGS
The interaction or interplay between the primary dictionary meaning (the meaning which is registered in the language code as an easily recognized sign for an abstract notion designating a certain
Metaphor
The term 'metaphor', as the etymology of the word reveals, means transference of some quality from one object to another. From the times of ancient Greek and Roman rhetoric, the term has been known
Metonymy
Metonymy is based on a different type of relation between the dictionary and contextual meanings, a relation based not on identification, but on some kind of association connecting
INTERACTION OF PRIMARY AND DERIVATIVE LOGICAL MEANINGS Stylistic Devices Based on Polysemantic Effect, Zeugma and Pun
As is known, the word is, of all language units, the most sensitive to change; its meaning gradually develops and as a result of this develop-"' ment new meanings appear alongside the primary
INTERACTION OF LOGICAL AND EMOTIVE MEANINGS
The general notions concerning emotiveness have been set out in part I, § 6—"Meaning from a Stylistic Point of View" (p. 57). However, some additional information is necessary for a bette
Interjections and Exclamatory Words
Interjections are words we use when we express our feelings ^strongly and which may be said to exist in language as coriyeritional symbols of human emotions/The role of interjections in creating em
The Epithet
From the strongest means of displaying the writer's or speaker's emotionaj. attitude to his communication, we now pass to a weaker but still forceful, means — the ep i th e t. .The epithet is subtl
Oxymoron
Oxymoron is a combination of two words (mostly an adjective and a noun or an adverb with an adjective) in which the meanings of the two clash, being opposite in sense, for example:
'low sk
Antonomasia
We have already pointed out the peculiarities of nominal meaning. The interplay between the logical and nominal meanings of a word is call-ed antonomasia. As in other stylistic devices based on the
C. INTENSIFICATION OF A CERTAIN FEATURE OF A THING OR PHENOMENON
In order to understand the linguistic nature of the SDs of this group it is necessary to clear 4up some problems, so far untouched, of d e f i n i-t i о п as a philosophical category, Any definitio
Periphrasis
Periphrasis is a device which, according to Webster's dictionary, denotes the use of a longer phrasing in place of a possible shorter and plainer form of expression. It is also called circumlocuti
Euphemism
There is a variety of periphrasis which we shall call euphemistic.
Euphemism, as is known, is a word or phrase used to replace an unpleasant word or expression by a conventionally more acc
Hyperbole
Another SD which also has the function of intensifying one certain property of the object described is h у p e r b о I e. It can be defined as a deliberate overstatement or exaggeration of a featur
D. PECULIAR USE OF SET EXPRESSIONS
In language studies there are two very clearly-marked tendencies that the student should never lose sight of, particularly when dealing with the problem of word-combination. They are 1) the analyti
The Cliche
A cliche is generally defined as an expression that has become hackneyed and trite. As Random House Dictionary has it, "a cliche ... has lost originality, ingenuity, and impact by long over-us
Proverbs and Sayings
Proverbs and sayings are facts of language. They are collected in dictionaries. There are special dictionaries of proverbs and sayings. It is impossible to arrange proverbs and sayings in a form th
Epigrams
An epigram is a stylistic device akin to a proverb, the only difference being that epigrams are coined by individuals whose names we know, while proverbs are the coinage of the people. In other wor
Allusions
An allusion is an indirect reference, by word or phrase, to a historical, literary, mythological, biblical fact or to "a fact of'everyday life made in the course of speaking or writing. The us
Decomposition of Set Phrases
Linguistic fusions are set phrases, the meaning of which is understood only from the combination as a whole, as to pull a person's leg or to have something at one's finger tips. The meaning of the
A. GENERAL CONSIDERATIONS
Within the language-as-a-system there establish themselves certain [definite types of relations between words, word-combinations, sentences I and also between larger spans of utterances. The branch
B. PROBLEMS CONCERNING THE COMPOSITION OF SPANS OF UTTERANCE LARGER THAN THE SENTENCE
In recent years a new theory concerning the inner relations between context and form within the sentence has appeared. This theory, elaborated by S. Harris, N. Chomsky, M. Postal and others, is ca
Supra-Phrasal Units
The term supra-phrasal unit (SPU) is used to denote a larger unit than a sentence. It generally comprises a number of sentences interdependent structurally (usually by means of pronouns, connective
The Paragraph
A p a r a g r a p h is a graphical term used to name a group of sentences marked off by indentation at the beginning and a break in the line at the end. But this graphical term has come to mean a
C. COMPOSITIONAL PATTERNS OF SYNTACTICAL ARRANGEMENT
The structural syntactical aspect is sometimes regarded as the crucial issue in stylistic analysis, although the peculiarities of syntactical arrangement are not so conspicuous as the lexical and
Stylistic Inversion
W о r d-o r d e r is a crucial syntactical problem in many languages. In English it has peculiarities which have been caused by the concrete and specific way the language has developed. O. Jesperse
Detached Construction
a sentence by some specific
consideration of the writer is placed so that it seems formally independ-
ent of Ще^ш^1У^^ parts of structures are called lie t ached. They seem_tCLjda
Parallel Construction
Parallel construction is a device which may be encountered not so much in the sentence as in the macro-structures dealt with earlier, viz. the SPU and the paragraph. The necessary condition in par
Repetition
It has already been pointed out that r ej^e ti t i о п is1 an expressive means of language used when the speaker is imder the stress of strong ""ей^зпг-Jt^^ as in the following "pas
Enumeration
E n и т е г a tion is a stylistic device by which separate things, objects, phenomena, properties, actions are named one by one so that they produce a chain, the links of which, being syntactically
Suspense
S usp eji se i s a comppsitionjl device which consists in arranging the fffaFEe? of a commjuhTcation in such a way that the less important, "descriptive, subordinate parts are amassed af the b
Antithesis
In order to characterize a thing or phenomenon from a specific point of view, it may be necessary not to find points of resemblance or association between it and some other thing or phenomenon, bu
Asyndeton
Asyndeton, that is, connection between parts of a sentence or between sentences without any formal sign, becomes a stylistic device if there is a deliberate omission of the connective where it is g
Polysyndeton
Polysyndeton is the stylistic device of connecting sentences, or phrases, or syntagms, or words'by using connectives (mostly conjunctions and prepositions) before each component part, as in:
The Gap- Sentence Link
There is a peculiar type of connection of sentences which for want of a term we shall call the g ap-s en fence link (GSL). The connection is not immediately apparent and it requires a certain ment
E. PARTICULAR USE OF COLLOQUIAL CONSTRUCTIONS
We have already pointed out some of the constructions which bear an imprint of emotion in the very arrangement of the words, whether they are neutral or stylistically coloured (see" p. 39). Su
Ellipsis
Ellipsis is a typical phenomenon in conversation, arising out of the situation. We mentioned this .peculiar feature of the spoken language when we characterized its essential qualities and properti
Question-in-the-Narrative
Questions, being both structurally and semantically one of the types of sentences, are asked by one person and e'xpected to be answered by another. This is the main, and the most characteristic pro
Represented Speech
There are three ways of reproducing actual speech: a) repetition of the exact utterance as it was spoken (direct speech), b) conversion of the exact utterance into the relater'smode of expression
A) Uttered Represented Speech
Uttered represented speech demands that the tense should be switched from present to past and that the personal pronouns should be changed from 1st and 2nd person to 3rd person as in indirect speec
B) Unuttered or Inner Represented Speech
As has often been pointed out, language has two functions: the communicative and the expressive. The communicative function serves to convey one's thoughts, volitions, emotions and orders to the m
Rhetorical Questions
The rhetorical q и e^s t i о n Is a special syntactical stylistic j device the essence of which consists in reshaping the grammatical mean-j ing of the interrogative sentence. In other words, the q
Litotes
Litotes is a stylistic device consisting of a peculiar use of negative constructions. The negation plus noun or adjective serves to establish a positive feature in a person or thing. This positive
INTRODUCTORY REMARKS
We have already mentioned the problem of what is known as / и n c-tional styles (FS) of language (see p. 32—35), but only to show that FSs should be distinguished from varieties of language. The ma
A. THE BELLES-LETTRES STYLE
We have already pointed out that the belles-lettres style is a generic term for three substyles in which the main principles and the most general properties of the style are materialized. These thr
LANGUAGE OF POETRY
The first substyle we shall consider is v e r s e. Its first differentiating property is its orderly form, which is based mainly on the rhythmic and phonetic arrangement of the utterances. The rhyt
Metre and Line
It is customary to begin the exposition of the theory of English versification with the statement that "...there is no established principle of English versification/'Eut this statement may a
The Stanza
We have defined rhythm as more or less regular alternations of similar units. Of the units of verse rhythm the following have been named: the syllable, the foot, the line and finally the stanza.
Free Verse and Accented Verse
Verse remains classical if it retains its metrical scheme.
There are, however, types of verse which are not classical. The one most popular is what is called "vers libre" which i
B) Lexical and Syntactical Features of Verse
The phonetic features of the language of poetry constitute what we have called its external aspect. These features immediately strike the ear and the eye and therefore are easily discernible; but t
EMOTIVE PROSE
The substyle of emotive prose has the same common features as have been pointed out for the belles-lettres style in general; but all these features are correlated differently in emotive prose. The
LANGUAGE OF THE DRAMA
The third subdivision of the belles-lettres style is the language of plays. The first thing to be said about the parameters of this variety of belles-lettres is that, unlike poetry, which, except f
B. PUBLICISTS STYLE
The publicist i*c s tу I e of language became discernible as a separate style in the middle of the 18th century. It also falls into three varieties, each having its own distinctive features. Unli
ORATORY AND SPEECHES
The oratorical s ty I e of language is the oral subdivision of the publicistic style. It has already been pointed out that persuasion is the most obvious purpose of oratory.
"Oratoric
THE ESSAY
As a separate form of English literature the essay dates from the close of the 16th century. The name appears to have become common on the publication of Montaigne's "Essays", a literary
JOURNALISTIC ARTICLES
Irrespective of the character of the magazine and the divergence of subject matter—whether it is political, literary, popular-scientific or satirical, all the already mentioned features of publicis
C. NEWSPAPER STYLE
N e w s paper style was the last of all the styles of written literary English to be recognized as a specific form of writing standing apart from other forms.
English newspaper writing dat
BRIEF NEWS ITEMS
The principal function of a b r i e f news i te т is to inform the reader. It states facts without giving explicit comments, and whatever evaluation there is in news paragraphs is for the most part
ADVERTISEMENTS AND ANNOUNCEMENTS
Advertisements made their way into the British press at an early stage of its development, i.e. in the micHTth century. So they are almost as old as newspapers themselves.
The principal fu
THE HEADLINE
The headline (the title given to a news item or an article) is a dependent form of newspaper writing. It is in fact a part of a larger whole. The specific functional and linguistic traits of the he
THE EDITORIAL
The function of the editorial is to influence the reader by giving an interpretation of certain facts. Editorials comment on the political and other events of the day. Their purpose is to give the
D. SCIENTIFIC PROSE STYLE
The language of science is governed by the aim of the functional style of scientific prose, which is to prove a hypothesis, to create new concepts, to disclose the internal laws of existence, devel
E. THE STYLE OF OFFICIAL DOCUMENTS
There is one more style of language within the field of standard literary English which has become singled out, and that is the s ty le of official d о с и т е п t s, or "officialese", a
FINAL REMARKS
This brief outline of the most characteristic features of the five language styles and their variants will show that out of the number of features which are easily discernible in each of the styl
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