Ways of expressing emphasis in English

Ways of expressing emphasis in English ...

INTRODUCTION 3
CHAPTER1. EMPHASIS IN ENGLISH 5
1.1 Different ways of adding emphasis. 5
1.2 Subordinate clause 5
1.3 Inversion 7
1.4 “-EVER” forms compounds 10
CHAPTER 2.WAYS OF SECURING EMPHASIS 12
2.1. Through the Position of Important Words 12
2.2. By the Use of the Active Voice 14
2.3 On silence 15
2.4. By the Use of the Periodic Sentence 16
2.5. Non-native-direct speech 17
2.6. By the Use of the Balanced Sentence 21
2.7. Detachment 21
2.8.Ellipses 23
CONCLUSION 25
REFERENCES 26

Every language has its certain lexical and grammatical means. During the work on the text, or communication with English-speakers, people are often faced with the difficulties of translation emphatic constructions, most of which can be overcome by knowing the features of these linguistic phenomena.
Emphasis (from the Greek . Emphasis - expressiveness ) - is the selection of an element statements , achieved by changing the intonation, word order and the use of various rhetorical figures . Emphatic models, constructions, a combination of lexical and grammatical elements should not be perceived as a departure from the norm or impairment, but as a natural phenomenon of expressive and emotive speech. Emphatic models are possible due to the fact that the grammatical form has denotative and conno tative meanings.

All the power of a logical selection falls on additions.In inverted order of words is all new reported, as a verb, and in addition: additions because they are at the top, the object because it is under stress as the finite element statements. This is particularly noticeable in the poetic works, in which the predicate is in position at the end of the line.Of course, in this example it is necessary to take into account the additional stylistic devices that enhance the effects of inversion, namely concurrency and antithesis (has - has not) stand in the same semantically adversative respect, as capital and talent.1.4 “-EVER” forms compounds When we use, in noun and adjective clauses, compounds of the relative pronouns what/who/ whom/which and of the subordinating conjunctions when/where/how+ ‘-ever’ to express the idea ‘no matter/it doesn’t matter what/who/whom/when/where/which/how’.For example:Well, I like it whatever you might think. Ask whomever you want.Take whichever you want. Come visit me whenever you want.NOTES: 1) The compounds of what/who/ whom/which/ when/where/how + ‘-ever’ can also express the idea of ignorance, indifference, or something not precisely specified.For example:Give this to Mary, or Marie, whatever her name is.I’ll ring you at 8:00 or 8:30, whenever I get the time.2) When “-EVER” forms compounds with the question words what/who/whom/which/ when/where/how, it expresses surprise and has the informalmeaning of “on earth”. For example:Whoever is that woman talking to your sister? - ( Who on earth is that woman....?)However did you manage to save so much money so quickly? - (How on earth did you manage to save so much money so quickly?)Whatever did you do that for? - (What on earth did you do that for?)CHAPTER 2.WAYS OF SECURING EMPHASIS 2.1. Through the Position of Important Words Even if our sentences have unity and coherence, we may at times, be able to call more attention to the thought which we consider most important, if we are familiar with several ways of securing emphasis. Through the Position of Important WordsWhen we read our own writing, we know what words we wish to emphasize; but when we read another's sentences, we rely somewhat on the position of the words to show us what thoughts he considered most important. Now every word in the sentence has a way of falling into its natural position, where it does its work without attracting special attention. It is natural, for example, for the subject and its modifiers to come before the verb and its modifiers. Consequently, if we wish to give the subject prominence, we may take it from its usual position and put it near the end. Similarly, we may emphasize a word in the predicate by placing it near the beginning. In short, we may call attention to any word by putting it in an unusual position, provided we do not seriously mar the naturalness and ease of the sentence.Note these illustrations:The plowman plods his weary way homeward. (Natural order). Weary, the plowman plods his way homeward. (Emphasizes "weary." Lacks ease?) Homeward the plowman plods his weary way. (Emphasizes "homeward.") The plowman homeward plods his weary way. (Emphasizes "homeward" and is more natural than 3).The problem syntactical expressive means of language and stylistic techniques syntax of sentence structure is closely connected with the problem of intonation making the offer sense of the word, i.e. with this problem and new, the known and reported in the proposal. It is known that in English the most common word order in a neutral presentation of this is subject, predicate, and then seconded members of the proposals, and the subject is usually the data, and the following members of the proposals of the new report. However, in the English language is already fully grammaticality such cases; when on the first place are the other members of the proposals, and to be moved to another location. Compare the following two sentences:"No, his wife and brother were standing at the French window ready to rush out at any moment ...Standing at the window, ready to rush out at any moment were he, his wife, and brother... Here is a new ("standing", and so on) is preceded by the group to be, but the earlier group is not getting data, it remains a new in the statement. And only the desire of the author stronger select new, to make it more emphasis leads to this kind of relocation of the members of the sentence. It is interesting to note in passing that this syntax building necessarily entails special intonation making the offer. The very posing of the verb in the first place already allocates this subject. But these factors cannot be mixed with a special intonation design, which is called to life by the content of the utterance.Return to the so-called inverted word order. The notion of inversion appeared only as a result of comparing the non-emphatic sentence system with an emphatic, "neutral" is stylistically, the "norm" and "deviation". Is it correct to consider the order of words whose task is the selection of a member of the proposals, any part of the statement, as deviations from existing standards, and to call it inversion? We believe this kind of terminology, established in linguistics in syntax types of sentence structure, unduly distorting the actual facts of the language, contradicting the diverse paths of development and formation of syntactical norms of the language. In essence, we are dealing here with different ways of making a speech written and oral types of speech, their interdependence and interrelation. Here it is especially clearly supports the process of typing, synthesis and crystallization of certain ways emotionally emphatic speech, on the one hand, and logically-emphatic speech on the other.Considering the different types of syntactical expressive means and a variety of techniques stylistic syntax specific examples illustrating the position stated here.Further, the problem syntactical expressive means of language and stylistic devices syntax is also closely connected with the problem of the predicate in a wide.2.2. By the Use of the Active VoiceThe passive voice must sometimes be used for the sake of introducing variety in sentence structure and is of course often necessary for accuracy, but we must be careful not to use it so frequently that it takes away from the emphasis of our expression. The active voice makes our sentences move easily and rapidly, while the passive voice is frequently clumsy and sluggish. The two following sentences show the value of the active voice from the point of view of both clearness and emphasis:1. Engines were arriving every minute; firemen were laying hose, putting up ladders, and pouring water into the fire.2. Engines were arriving every minute, lines of hose were being laid, ladders were being put up, and water was being poured into the fire.In the following paragraph, notice the effect of using the active voice throughout:The sun had risen higher while they talked, and his rays were growing hot in the clear air. The mist had lifted from the city below, and all the streets and open places were alive with noisy buyers and sellers, whose loud talking and disputing came up in a continuous hum to the palace on the hill, like the drone of a swarm of bees.2.3 On silenceAnother feature of everyday speech used as a stylistic device, is the so-called default. In everyday speech, the default is usually the result of a strong influx of feelings that prevent to finish it, or sometimes, " unwillingness to continue the thought. For example: If you continue your intemperate way of living, in six months' time. ... In this case, the default is the result of the unwillingness to continue the thought. Out-clause conditions becomes more or less clear what should be expressed in the main clause. The default here softens force of the verdict. On the other hand, in this proposal, asYou just come home and I'll…For speaking the idea is not entirely clear. But we can say that the main content of this highly emotionally-colored statements - threat. In live speech the default is often accompanied by gestures and facial expressions. In addition intonation is also largely reveals the contents of that part of the statement, which remains unexpressed. No facial expressions or tone cannot be expressed by means of written literary language. And it is natural. The very default, as indicated above, is a characteristic feature of the oral type of speech, where only the situation is able to disclose the content of the statement. However, the default can act as a stylistic method, vastly increase emotional tension statements. Usually the default is manifested in the author's language and poetry. For example:And oh! if e'er I should forget, I swear — But that's impossible, and cannot be.(Byron)Characteristically, as a stylistic device, the default is most often used after clause conditions. It and is clear. The condition itself is so clear from the point of view of possibilities of its implementation, there is no need to check it.The default is not to be confused with those cases when, in real conditions of communication between two entities, the speech of one of them is incomplete due to the fact that the other person he is interrupted. So for example:А— I shall neverВ— You always "shall never».The default is not necessarily realized in complex sentences. Of course, sinus conditions create the most favorable conditions for use of this stylistic method, especially when the very wording suggests, at least approximately, the content productive part. But there are such forms of defaults that have nothing to tell. Disclosure is only possible with the involvement of a very broad context. So one Shelley's poem called "Somewhat ". Here, the default can be decrypted only a narrow circle of people for whom the content of the poem tells the recipient.In spoken English speech has appeared phrase logical combination of good intentions but, built by default, the value of which is revealed in the adversative function but. Thus, a characteristic feature of everyday speech is incomplete statements - being typed, settles in the vocabulary of the language as a phrase logical unit, which is the expressive means of the language.2.4. By the Use of the Periodic SentenceA periodic sentence does not end grammatically until the thought is complete. For example:At the Edinburgh High School, which Scott attended, he showed himself to be a high-spirited boy. .As my means do not warrant much expense, I make the most of the material at hand.All other sentences are, to some extent, loose. A loose sentence might come to a stop at one or more points before the end. For example:Scott attended the Edinburgh High School, where he showed himself to be a high-spirited boy.My means do not warrant much expense, so I make the most of the material at hand.Grammatically the first sentence may end with school, and the second with expense, but the thought is not complete in either case till the period is reached.Although most of our sentences are loose, and may have the charm of ease, we should remember that a loose sentence has a tendency to lack unity and to allow the reader's attention to wander. We should appreciate the value of an occasional periodic sentence, because it holds the reader's attention to the end, and it is likely to keep to one point.2.5. Non-native-direct speech In the style of artistic speech there are three types of voice: direct speech, indirect speech and non-native-direct speech. The term non-native-direct speech are two types: indirect-direct speech and shows it.The competence of the style applies only to non-native-direct speech. But since this stylistic device has two varieties, one of which is a mixture of direct and indirect speech, it is necessary to briefly touch upon the clarification of the characteristic features of these two forms of speech.Direct speechThe term "direct speech" has arisen in connection with the transfer of foreign speech. Actually direct speech is quoting. Hence the term transferred to the style of artistic speech, where he used to distinguish speech of the author from the speech of the character. Therefore, direct speech generally allocated quotes. For example:"You want your money back, I suppose," said George, with a sneer. "Of course I do — I always did, didn't I," says Dobbin. (W. M. Thackeray.)As you can see from this example, direct speech introduced the author remarks.In direct speech usually typed characteristic features of the oral type of speech. In direct speech mostly reflected literary reception, which is called the speech characteristics. Direct speech, therefore, reflects individual traits peculiar to this or that character when using a national language. Therefore, in the direct speech of the characters most appear any kind of deviation from the norms of literary language. Here you can meet and jargon, and dialectics, and irregularities in the usage and syntax of speech.In a work of art in direct speech, if it pursues the objectives of the speech characteristics of the characters, you can find ways graphics irregularities phonetic character, typical for one or another character. For example:"Ain't we been try in' to get work?" He clutched at Blessy's arm. "Peelin' spuds, — hustlin' the white sheets...""Ah don't know," he replied. "A good tahrn, ah reckon." (A. Maltz.)In direct speech as speech writing, are essential ways of interpreting the intonation of speech. Here comes to the aid of the graphic design. In works of fiction the author uses a diverse range of graphical tools for the transmission of direct speech. We find here and italic, and bold, and discharge, and other typographic fonts, as well as quotes, dash, dot, the exclamation mark and other marks. All this serves the purpose of intonation registration statements.Along with graphic means there are lexical ways of helping to fill the gap between the living and written speech. So, intonation direct speech often suggested value introducing verbs and adverbs in function of the circumstances of manner to introduce the verb. For example: shout, cry, yell, gasp, babble, chuckle, murmur, sigh, call, exclaim, beg, implore, comfort, assure, protest, object, command, admit, query, explain, eagerly, gaily, heartily, gently, testily, uneasily, cheerfully, shrewdly.The correct interpretation of the intonation pattern of proposals and remarks, in General, significantly helps the author's text, which is usually preceded by direct speech (sometimes concludes her). In dramatic works of this author's text acts as remarks. For example: Undershaft (scandalised): My dear!Barbara (with intense conviction): I will never forgive you that. Stephen (embarrassed): Mother — L о m a x (to Undershaft, strongly — remonstrant): Your own daughter, you know. (B. Shaw. Major Barbara.)And, in spite of the variety of techniques that facilitate a correct interpretation of the intonation pattern of direct speech, yet, because it remains printed, there are different ways of interpreting those connotations given to the main content of the statements intonational means of registration. Exactly this is largely the work of the Director and actors in the opening of the type’s dramatic works.Direct speech, i.e.