For stylistic analysis, we take a passage from the play, which in the formulation will be interpreted in one way or another, each of which will add to the images created by Albi, something. However, such a variability of perception of work is limited, since the main characteristics of the heroes, the player of their speech, the atmosphere of the work can be traced directly in the text of the play: it can be the author's remarks regarding the pronouncement of individual phrases or accompanying the spelling of movements (for example, or, as well as speech itself , its graphic, phonetic, lexical and syntactic design. It is the analysis of such design aimed at identifying such characteristics expressed by various stylistic means, and is the main goal of our study.

An analyzed episode is a spontaneous expressive dialicized monologue characteristic of Olbi, which has strong emotional tensions. The dialoguesis of the monologic speech Jerry implies its conversation to Peter, the whole story is described as if there is a dialogue between these two people with silent participation in Peter. Spoken style, in particular, is this confirmation.

According to the results of the preliminary analysis of the selected passage, we made a comparative table of stylistic tools used in it, placing them in frequency of use in the text.

Frequency of using stylistic

As can be seen from the table, the most widely used stylistic means are the markers of the spoken style, the apositioniosis, lexical reasons, alliterations, epithets, as well as parallel structures.

A separate point of the table we allocated a spoken-style markers, very diverse inherently, but combined with the overall function of creating an atmosphere of unofficial communication. Quantitatively such markers turned out to be more than other funds, but hardly we can consider the conversational style of Speech Jerry as a leading tendency of the stylistic design of the text, rather, this is the background on which other trends are manifested with greater intensity. However, in our opinion, the choice of precisely this style is stylistic relevance, so we will look at it in detail.

The spelling-literary style, to which this passage belongs, is chosen by the author, in our opinion, in order to bring Jerry's speech to reality, show his excitement when dealing with speech, and also to emphasize her dialogue, which means that Jerry's attempt "to talk to Real, "tie relations with a person. The text used numerous conversational markers, which can be attributed to two interdependent and at the same time contradictory trends - trends towards redundancy and trends in compression. The first is expressed by the presence of such "weed" words like "I Think I Told You", "Yes", "What I Mean IS", "You Know", "Sort of", "WELL". With the help of these words, it is a feeling that for speech is characterized by unevenness of the speed of pronouncing: on these words, Jerry, as it were, a little slows speech, it is possible to emphasize the following words (as, for example, in the case of "What I Mean IS") or trying To gather with thoughts. In addition, they, along with such spaticrous expressions, like "Half-Assed", "Kicked Free", "That Was That" or "Bolted Upstairs", add a monologue Jerry spontaneity, immediacy and, of course, emotionality.

A collaborative trend towards compression is manifested in various ways on phonetic, lexical and syntactic levels of the language. Eating a truncated form, that is, the reduction of auxiliary verbs, for example, "I" S "," There "S", "Don" T "," WASN "T" and others, is a characteristic feature of the speech and once again underlines the unofficial tone of Jerry. From a lexical point of view, the phenomenon of compression can be considered on the example of using such phrase verbs as "Go for", "Got Away", "Went ON", "Pack Up", "Tore Into" "Got Back", "Threw Away", "Thought About It Up". They create an informal interconnection situation, discovering in the language proximity between communications participants contrasting with the lack of inner proximity between them. It seems to us that in this way Jerry seeks to create conditions for a frank conversation, for confession, for which the official and neutral coldness is unacceptable, since it is about the most important, most intimate for the hero.

At the syntactic level, the compression finds an expression in elliptic structures. For example, we celebrate such suggestions in the text as "Like This: Grrrrrrr!" "LIKE SO!" "Cosy.", Having a large emotional potential, which implements with other stylistic means, transmits the emotion of Jerry, the rippledness and sensual fullness of his speech.

Before switching to step-by-step text analysis, we note, based on the data of the quantity analysis, the presence of some leading trends inherent in the monologue of the chief hero. These include: repeatability of elements on phonetic (alliteration), lexical (lexical replay) and syntactic (parallelism) levels, increased emotionality, pronounced, primarily by the apositionic, as well as rhythm not reflected in the table, but largely inherent in the text in question . We will refer to these three nuclear trends throughout the analysis.

So, refer to the detailed analysis of the text. From the very beginning of the story, Jerry, the reader was prepared for something significant, since Jerry himself considers it necessary to entitle his story, thereby highlighting it from the whole conversation in a separate story. According to the author's remark, he utters it the title, as if reading the inscription on the billboard - "The Story of Jerry and The Dog!" The graphic organization of this phrase, namely the design of it only with capital letters and an exclamation mark at the end, somewhat specify the remark - each word is pronounced loudly, clearly, solemnly, convex. It seems to us that this solemnity acquires the shade of ironic pathos, since the elevated form does not coincide with the landed content. On the other hand, the name itself is like more on the name of the fairy tales, which relates to Jerry's appeal to Peter at a certain moment as a child who does not fail to know what happened in the zoo: "Jerry: Because After I Tell You About the Dog, do YOU KNOW WHAT THEN? THEN I "LL TELL YOU ABOUT WHAT HAPPENED AT THE ZOO."

Despite the fact that, as we noted, this text relates to a colloquial style for which the simplicity of syntactic structures is characterized, the first sentence is a very tangled set of words: "What I am Going to Tell You Have Something to Do With Howetimes It "S Necessary to Go a Long Distance Out of the Way in Order to Come Back A Short Distance Correctly; Or, Maybe I Only Think That It Has Something To Do With That. "The presence of words such as" Something "," Sometimes "," Maybe ", gives the phrase with a shade of uncertainty, blurry, abstractness. The hero seem to meet this proposal on Its thoughts that were not expressed than can be explained by the beginning of the next sentence from the Emphatic Union "But", which interrupts his reasoning, returning directly to the story. It should be noted that this offer contains two parallel structures, the first of which "HAS Something To Do With "Frames the second" To Go a Long Distance Out of the Way in Order to Come Back A Short Distance Correctly ". The first design is repeatedly on both syntax and lexical, and, consequently, on the phonetic levels. Its identity pays The reader's attention to the phrase preceding items, namely "What I am Going to Tell You" and "Maybe I Only Think That It", and encourages them to compare them. When comparing these elements NTOs We are seeing the loss of Jerry's confidence in the fact that he correctly understood the meaning of what happened to him, in his voice hears the doubts that he was trying to suppress, starting a new thought. Conscious interruption of reflections is clearly felt in the initial "But" of the next sentence.

Other parallel designs of the second sentence can be summarized by the following model "Go / Come Back (verbs, both expressing movements, but in different directions) + a + long / short (antonimic definitions) + distance + out of Way / Correctly (adveria contextual antonyms) ". As we can see, these two equally constructed phrases are opposed to their lexical significance, which create a stylistic effect: the reader is thinking over the approval expired, looking for an implicated meaning. We still do not know what we are going on further, but we guess about the possible biscuitance of this expression, because the word "distance" can be denoted as a real distance between objects of reality (for example, to the zoo) and the length of the life path. Thus, although we do not understand what Jerry meant, we, on the basis of syntactic and lexical dedication, we feel the partial tone of the phrase and can approve the undoubted importance of this thought for Jerry himself. The second proposal, mainly due to its similarity on the tonality and construction with the folk wisdom or the saying, it seems possible to perceive, as a subtitle of the story about the dog, revealing its main idea.

Already on the example of this sentence, we can observe the creation of a rhythm with a complex system of lexical and syntactic repetitions. The rhythm of the whole monologue of Jerry, based on various types of repeat and alternating voltage and relaxation of his speech, gives the text emotional attractiveness, literally hypnotizing the reader. Rhythm is in this case a means of creating integrity and text connectivity.

Using the example of the next sentence, it is interesting to consider the stylistic function of using dots, as they will still meet in the text. Jerry says that he walked to the north, then pause (ellitudes), and he corrects himself - in the northern direction, again pause (ellipsis): "I Walked North. Northerly, Rather. Until I Came Here." In our opinion, in such a context, the ellipsis is a graphical way to express an apositionisis. We can assume that Jerry sometimes stops and going with thoughts, trying to accurately remember how he walked, as if much depends on this; In addition, he, in all likelihood, is in a state of strong emotional lifting, excitement, as a person telling something extremely important to him, so often gets off, being unable to speak from excitement.

In this sentence, in addition to the apositionisis, it is also possible to distinguish partial lexical repetition ("North ... Northerly"), parallel structures ("IT" S Why I Went To The Zoo Today, and Why I Walked North ") and two cases of alliteration (repetition of consonant Sound [T] and vowel long [o:]). Two equivalent syntactic structures differing from a phonetic point of view according to the sound characteristic of each of them - explosive, determined [t] or long deep sound of the rear row of the lower lift [o:], are connected by the Union "and". It seems to us that such a tool toolmaking creates some opposition between the speed and inflexibility of Jerry's decision to go to the zoo (sound [t]) and the delay of his road in the northern direction (sounds [o:] and [n]), underlined partial lexical repeat. Thanks to the convergence of the listed stylistic techniques and figures, their mutual refinement, the following picture is created: as a result of reflection over the situation about which Jerry collects Smiling to tell, he decides to go to the zoo, and the solution is characterized by spontaneity and some sharpness, and then slowly wandering in the northern direction, perhaps, hoping to meet someone.

According to the "All Right", which have a functional and stylistic connotation related to conversational speech, begins to create the author of one of the key images of the play - the image of a dog. Let us dwell on it in detail. The first characteristic that Jerry gives a dog is expressed by the inverted epithet "A Black Monster of a Beast", where the designated - "Beast", that is, the dog denoting - "Black Monster", the basis of the comparison, in our opinion, is a formidable, possibly The sinister view of the animal with black wool. It should be noted that the word beast has a book color and, according to Longman Exams Coach dictionary contains the "big" and "dangerous" seeds ("An Animal, Especially A Large or Dangerous One"), which is undoubtedly, together with the expressiveness of the word "Monster" adds expressiveness designated epithet.

Then, after a general definition, the author reveals the image of a black monster, clarifies its expressive details: "An Oversized Head, Tiny, Tiny Ears, and Eyes. BloodShot, Infected, Maybe; and a Body You Can See the Ribs Through the Skin." Set after a colon, these nouns can be interpreted as a number of homogeneous direct additions, however, due to the lack of verb, to which they could relate (suppose, the beginning could be the following - "He Had An OVersized Head ..."), they are perceived as a series call suggestions. This creates an effect of clarity, increases the expressive and emotional expressiveness of the phrase, and also plays a significant role in creating a rhythmic pattern. Double use of the Union "and" allows you to talk about a polysindone, which smoothes the completion of the listing, making a number of homogeneous members as if impaired, and at the same time fixes attention on each of the elements of this series. Thus, it seems that the dog is not described not to the end, there is still a lot of things, what would be worth telling to complete the painting of a terrible black monster. Thanks to the polysindone and the absence of a generalizing verb, a strong position is created for elements of the listing, a psychologically especially noticeable for the reader, which is also enhanced by the presence of alliteration represented by repeating sound in the words OVERSIZED, TINY, EYES.

Consider the four elements isolated in this way, each of which is clarified by the definition. The head is described using the "OVERSIZED" epithet, the "Over-" prefix in which it has the meaning of "re-", that is, it seems the impression of a non-expressive head contrasting with the tiny ears described by the repeating epithet "TINY". The word "Tiny" in itself means something very small and translated into Russian as a "miniature, tiny", reinforced by repeating, it makes the ears of PSA unusually, fabulously small, which enhances and so sharp opposition with a huge head, designed by the antithesis.

The eyes are described as "BloodShot, Infected", and it should be noted that both of these epithet are in the postposition to the definable word after the expressive expression marked expressiveness. "BloodShot", that is, blood poured, implies a red color, one of the dominant, as we will see further, in the description of the animal, so that it seems to us, the effect of its similarity with the Hell's Hell-Cerberian is achieved. In addition, although Jerry clarifies that, perhaps, the cause is infection, after all, the blood pillows are associated with anger, angrily, to some extent with madness.

The convergence of stylistic techniques on this small segment of the text allows the image of the insane, aggressive PSA, which is absurdity and the absurdity of which, expressed by the antithesis, is immediately striking.

I would like to once again pay attention to how mask Alby creates a tangible rhythm of his prose. At the end of the sentence under consideration, the dog's body is described using the apparent definition "you can see the Ribs Through the Skin", which is not associated with the definition word "body" with the union or by the union word, thus, the rhythm specified at the beginning of the offer is not violated.

The black and red palette when describing the PSA is emphasized by the author using lexical repetitions and alliterations in the following sentence: "The Dog Is Black, all Black; All Black Except for the Bloodshot Eyes, and. Yes. And An Open Sore On Its. Right Forepaw; That is red, Tooo. ". The offer is divided into two parts not only by the ellipsis expressing the apositioniceisis, but also by various alliterations: in the first case, these are repeated consonant sounds, in the second - a vowel sound. The first part repeats what has already been known to the reader, but with greater expressiveness created by the lexical repeat of the word "black". In the second, after some pause and double "and", creating a statement tension, a new item is introduced, which, thanks to the preparation of the reader, the previous phrase is perceived very brightly red wound on the right paw.

It should be noted that here we again come across an analogue of a call offer, that is, it is stated by the existence of this wound, but there is no indication of its connection with the dog, it exists as it were separately. Creating the same effect is achieved in the phrase "There" SA Grey-Yellow-White Color, Too, When He Bares His Fangs ". The syntax design of the" TheRe IS / There ARE "type implies the existence of an item / phenomenon in some area of \u200b\u200bspace or time, here "exists" the color, which makes this color with something separate, independent of its carrier. Such "separate" parts does not interfere with the perception of PSA as a holistic image, but gives it greater convexity, expressiveness.

The epithet "GREY-YELLOW-WHITE" defines the color as blurred, unclear compared to the bright saturation of the previous ones (black, red). It is interesting to note that this epithet, despite its complexity, sounds like one word and is pronounced in one breath, thus describing the color not as a set of several shades, but as one defined, understandable to each reader the color of animal fangs covered with a yellowish flare. This is achieved, in our opinion, smooth phonetic transitions on the basis of the base: The basis of grey ends on the sound [J], from which Yellow begins, the final difthony of which is practically merged followed by [W] in the Word White.

Jerry is very worried, telling this story, which is expressed in the briefing and increasing emotionality of his speech. The author shows it with the help of the wide use of the aposiopesis, consuming colloquial inclusions with interjections, such as "OH, YES", Emphatic Unions "and" at the beginning of proposals, as well as a sound resistance decorated into the exclamation offer "GRRRRRRR!".

Alby in the monologue of his main character practically does not use the metaphor, in the analyzed passage we met only two cases, one of which is an example of an erased language metaphor ("Trouser LEG"), and the second ("Monster") refers to the creation of the PSA image and in Some extent repeats the already mentioned inverted epithet ("Monster of the Beast"). The use of the same word "Monster" is a means of maintaining the internal integrity of the text, as well as, in general, any accessible to the perception of the reader. However, its contextual meaning is somewhat different: in the epithet due to a combination with the word Beast, it acquires the value of something negative, frightening, while in the metaphor when combined with the epithet "Poor" comes out absurdity, incompatibility and patient condition of the animal This image is also supported by the explanatory epitles "Old" and "Misused". Jerry is confident that the current state of the PSA is the result of a bad attitude towards him of people, not manifestations of his character, which, in essence, the dog is not to blame for the fact that he is so terrible and miserable (the word "misused" can be transferred literally as " Incorrectly used ", this communion second, which means, has a passive value). This confidence is expressed by the impatient "CERTAINLY", as well as the Emphatic auxiliary verb "DO" before the word "Believe", which violates the usual scheme for building an affirmative proposal, thereby making it unusual for the reader, and therefore more expressive.

It is curious that a significant part of the pauses account for that part of the story, where Jerry describes the PSA - 8 out of 17 cases of use of the aposiopezis met on this, relatively small, text segment. Perhaps this is explained by the fact that, starting his confession, the protagonist is very excited, first of all, to express everything with its decision, therefore his speech is a bitchival and a little illogical, and even then, gradually, this excitement smoothes. It can also be assumed that the memory itself about this PSE, such a lot of more significant for the world of Jerry, worries it, which is reflected directly to speech.

Thus, the key image of the PSA is created by the author with the help of "color" language frames, each of which reflects any line. The mixing of black, red and gray-yellow-white is associated with the mixing of the formidable, incomprehensible (black), aggressive, violent, hellish, patient (red) and old, spoiled, "incorrectly used" (gray-yellow-white). Very emotional, configured description of the PSA is created using pauses, emphatic unions, recording structures, as well as all sorts of repeats.

If at the beginning of the story, the dog seemed to us with a black monster with red inflamed eyes, then gradually he begins to gain almost human features: no wonder Jerry uses the pronoun "He", and not "IT", and at the end of the analyzed text for the designation "muzzle "Uses the word" face "(" HE TURNED HIS FACE Back to the Hamburgers "). Thus, the line between animals and man is erased, they are put in one row, which is also supported by the phrase "Animals Are Indifferent to Me ... Like People". The case of the aposiopezis presented here is caused by, in our opinion, not exciting, and the desire to emphasize this sad fact of the similarity of people and animals, their inner remoteness from all living beings, leading us to the problem of alienation as a whole.

The phrase "Like Saint Francis Had Birds Hanging Off Him All the Time" is highlighted as a historic allusion, but it can be viewed simultaneously as a comparison and as Iron, because Jerry is opposed to Francis to Assisi, one of the most revered Catholic saints, but uses for it Descriptions of the conversational verb "Hang Off" and exaggerated "All The Time", that is, diminishes a serious content of a non-serious form of expression, which creates several ironic effect. Allusion enhances the expressiveness of the transmitted thoughts on the alienation of Jerry, and also performs the characteristic function, describing the main character as a sufficiently educated person.

From Generalization, Jerry returns to his story, and again, as in the third sentence, it seems to be interrupting his thoughts out loud, he uses the Emphatic Union "But", after which he begins to talk about the dog. Next is the description of how the interaction of the PSA and the main character happened. It is necessary to note the dynamism and rhythm of this description created by lexical repeats (such as "Stumbly Dog ... Stumbly Run", as well as four times repeated verb "GOT"), Alliterations (sound [G] in the phrase "go for me, to get One of My Legs ") and parallel design (" HE Got A Piece of My Trouser Leg ... He Got That ... "). The predominance of ringing consonant sounds (101 out of 156 consonants on the segment "from the summer beginning ... So that Was That") also creates a feeling of dynamics, alignment of narration.

Curious the game of words with a lexema "Leg": the dog intended "to Get One of My Legs", and as a result it turned out that he was "Got A Piece of My Trouser Leg". As you can see, the designs are almost identical, because of which the feeling is created that the dog still reached its goal, however, the word "Leg" is used in the second case in the metaphorical sense of "pantina", which is specified by the subsequent verb "Mended". Thus, on the one hand, the text is achieved, and with the other, the smoothness and sequence of perception is disturbed, to some extent an irritation of the reader or the viewer.

Trying to describe the Maneru of the Movement of the PSA when he pounced on him, Jerry goes through several epithets, trying to choose the appropriate: "Not Like He Was Rabid, You Know; He Was Sort of A Stumbly Dog, But He Wasn" T Half-Assed, Either. IT WAS A good, Stumbly Run ... "As you can see, the hero is trying to find something among the" Rabid "and" Half-Assed "therefore introduces the neologism" stumbly ", implied, in all likelihood, a bit stumbling, unsure and running (conclusion The fact that the word "stumbly" is a copyright neologism, we are made on the basis of the lack of it in the Longman Exams Coach dictionary, UK, 2006). In combination with the defining word "DOG" epithet "stumbly" can be considered as a metonymy, since the characteristics are transferred. Gait for the whole object. Repetition of this epithet with different nouns within two closely located offers has, in our opinion, the goal to clarify its value is to make the use of the new word, and also focus on the reader's attention, because it is important for the characteristics of the PSA, its disproportionality, absurdity.

Phrase "cosy. So." We have identified as an ellipsis, since the passage of the main members of the proposal is undoubtedly submitted. However, it should be noted that it cannot be supplemented from the surrounding context or based on language experience. Such fragmentary impressions of the main character who are not related to the context, once again emphasize the circulation of his speech, and, moreover, confirm our idea that he sometimes answers his thoughts hidden from the reader.

albi monologue stylistic agent

The following sentence is an example of a double allythelation created by the repetition on one segment of the speech of two consonant sounds [W] and [V]. Since these sounds are different both in quality, and at the place of articulation, but it seems like a sentence reminds a little typulating or saying, in which the deep meaning is decorated in easily memorable, attracting the form. The "Whenever" pair is particularly noticeable - "Never When", both elements of which consist practically from the same sounds located in different sequences. It seems to us that this phrase confusing in the phonetic plan has a slightly ironic color, serves to express intricacy and rawness, chaoticness and absurdity of the situation that has developed in Jerry with a dog. She sets up for the next statement "That" s Funny ", but Jerry immediately recovers:" Or, It Was Funny ". Thanks to this lexical reference, decorated in equivalent syntactic structures with different verb time" to be ", the reader becomes obvious tragedy of that very Situations over which once used to laugh. The expressiveness of this expression is based on a sharp transition from the light, non-serious to serious perception of the incident. It seems that there has been a lot of time since then, much has changed, including Jerry's relation to life .

A separate consideration requires a proposal "I Decided: First, I" LL Kill The Dog With Kindness, and IF That Doesn "T Work. I" LL Just Kill Him. ", Expressing the thoughts of the main character. As we see, thanks to the convergence of stylistic techniques, Such as lexical repeat, Oxymoron ("Kill With Kindness"), parallel structures, apositionic, as well as the phonetic similarity of expressions, this proposal becomes stylistically bright, thereby attracting the attention of the reader to its semantic fullness. It should be noted that the word "kill" is repeated Twice approximately in similar syntactic positions, however, with semantic variation: in the first case, we are dealing with the portable value of this verb, which can be expressed by the Russian "hit, delight", and in the second - with a direct value of "deprive of life". Thus, reaching the second "kill", the reader automatically in the first fraction of a second perceives it in the same softened portable value as the previous one, so when it is aware of truths The meaning of this word, the effect of direct value is repeatedly enhanced, it shocks both Peter and viewers or readers. In addition, the apositioniosis, which precedes the second "Kill", allocates words following him, even more exacerbating their influence.

Rhythm, as a means of organizing text, makes it possible to achieve its integrity and better perceived by the reader. A clear rhythmic pattern can be traced, for example, in the following sentence: "SO, The next day I Went Out and Bough A Bag of Hamburgers, Medium Rare, No Catsup, No Onion. It is obvious that here the rhythm is created through the use of alliteration (sounds [b] and [g]), the syntactic direction, as well as the total conciseness of the construction of the apparent determinants (meaning the absence of unions, could be like this: "Which Are of Medium Rare" or "In Which There" s no catsup. "). Rhythmic allows you to give you more to pass the dynamics of the described actions.

We have already considered repeat as a means of creating a rhythm and maintain the integrity of the text, however, the repeat functions are not limited. For example, in the phrase "When the Dog Waiting for me. I Half Opened The Door That Led Into The Entrance Hall and There He Was; Waiting for Me." Repeating the "Waiting For Me" element gives the reader a feeling of dischargeing the expectation, as if the dog has long been waiting for the main character. In addition, the inevitability of the meeting is felt, the situation intensity.

The last moment on which I would like to stop, this is a description of the actions of the PSA, to whom Jerry offers meat from hamburgers. To create a speaker, the author uses lexical repetitions ("snarled", "then faster"), the allyteration of sound [S], which combines all actions into one continuous chain, as well as the syntax organization - rows of homogeneous fague connected by the non-Union bond. It's curious to trace what verbs Jerry uses when describing the PSA reaction: "snarled", "stopped snarling", "sniffed", "Moved Slowly", "Looked at Me", "Turned His Face", "Smelled", "sniffed", "Tore Into". As you can see, the most expressive of the submitted phrasal verb "Tore Into", standing after a sound-resolution and dedicated by the predatory pause, completes the description, characterizing, most likely, the wild nature of PSA. Due to the fact that the previous verbs, with the exception of "LOOKED AT ME" contain slut [s], they are combined in our consciousness as cooking verbs and are thus expressed, thus, caution of the PSA, perhaps the infirmity of him to a stranger, but at the same time We feel the desire burning in it as soon as possible to eat the meat offered to him, which is expressed by repeating impatient "Then Faster". Thus, judging by the design of the latest proposals of our analysis, it is possible to conclude that, despite the hunger and their "wildness", the dog is still very wary of the treating stamp. That is, whatever strange it seems, he is afraid. This fact is indicative of the point of view that the alienation between alive creatures can be supported by fear. By text we can argue that Jerry and the dog fear each other, so an understanding between them is impossible.

So, since repeating values \u200b\u200band stylistic agents are stylistically most important, we can conclude that we can conclude that the main trends used by Edward Albi to organize the monologic speech of the main character are all sorts of repetitions in different language levels, speech rhythm with its alternation of tense moments. and relaxation, emotionally painted pauses and the system of interrelated epithets.

Central Park in New York, Summer Sunday Day. Two garden benches, standing opposite each other, behind them bushes, trees. Peter sits on the right bench, he reads a book. Peter years of forty with a little, it is completely common, wears a tweed suit and glasses in a horn frame, smokes the tube; And although it is already part of the middle age, the style of his clothes and the manner hold on almost youthful.

Jerry enters. He is also under forty, and he dressed not so much poorly, how much is slightly; Its once the tightened figure begins to turn fat. Jerry can not be called beautiful, but the traces of the former attractiveness are still quite clear. His heavy gait, the letters of movements are explained not to promiscuity, but immense fatigue.

Jerry sees Peter and starts a slight conversation with him. Peter first does not pay any attention to Jerry, then still answers, but the answers of his brief, differ and almost mechanized - he does not wait to return to the interrupted reading. Jerry sees that Peter is in a hurry to get rid of him, but continues to ask Peter about some trifles. Peter reacts poorly to the replicas of Jerry, and then Jerry shook himself and stopped at Peter, while he, confused, does not raise her eyes. Jerry offers to talk, and Peter agrees.

Jerry notes what a nice day, then declares that he was in the zoo, and that tomorrow everyone reads everything in the newspapers and see on TV. After all, Peter has a TV? Oh yes, Peter has even two televisions, a wife and two daughters. Jerry Poison notices that, obviously, Peter would like to have a son, but it didn't work out, and now the wife does not want to have children anymore ... In response to this remark, Peter boils, but quickly calms down. It is curious what happened in the zoo, as they write about the newspapers and show on television. Jerry promises to tell about this case, but at first he really wants to "truly" talk to a man, because he rarely have to talk to people: "Unless you say: give a mug of beer, or: where is the restroom, or: don't let the waist here , buddy, - Well, so on. " And on this day, Jerry wants to talk to a decent married man, to learn everything about him. For example, does he have ... uh ... dog? No, Peter Cats (Peter would prefer the dog, but the wife and daughters insisted on cats) and the parrots (each daughter in the one). And to feed the "this ohma" Peter serves in one small publishing house, which produces textbooks. He earns Peter one and a half thousand a month, but never carries with them more than forty dollars ("So ... if you ... a gangster ... ha ha ha! .."). Jerry begins to find out where Peter lives. Peter is first awkwardly twisted, but then it nervously admits that he lives at seventy fourth street, and notes Jerry that he talks so much as it passes. Jerry does not pay special attention to this remark, he dispersed with himself. And here Peter again reminds him of the zoo ...

Jerry absently answers what was there today, "and then went here," and asks Peter, "What is the difference between the average class and the lower-middle class"? Peter does not understand, and here it is. Then Jerry asking about Peter's favorite writers ("Bajler and Markend?"), Then suddenly declare: "You know what I did before going to the zoo? I went on foot the whole of the fifth Avenue - all the way on foot. " Peter decides that Jerry lives in Glinic-Williage, and this consideration, apparently, helps him understand something. But Jerry does not live at all in Glinic-Williage, he simply drove to him on the subway to walk to the zoo ("Sometimes a person should make a big hook to the side, so that the right and the shortest way to go back"). In fact, Jerry lives in an old four-story income house. He lives on the top floor, and his window goes to the courtyard. His room is a ridiculous close Camcor, where instead of one wall - a boarding partition, separating it from another ridiculous close camork, in which Black Pedic lives, he always, when pulls out his eyebrows, holds the door manifest: "He pulls out his eyebrows, wears kimono and goes to closet, that's all. " There are two more rooms on the floor: in one noisy family of Puerto Nationalans with a bunch of children, to another - someone who Jerry has never seen. This house is an affordable place, and Jerry does not know why he lives there. Perhaps because he has no wife, two daughters, cats and parrots. He has a razor and soap, some clothes, electric splash, dishes, two empty photo frames, several books, pornographic cards, an ancient typewriter and a small box-safe without a castle, in which sea goals that Jerry are collected more baby. And under the stones of the letter: "please" letters ("Please do not do that and then" or "please do something and then") and later "ever" letters ("When you write?" , "when will you come?").

Mother Jerry escaped from the daddy when Jerry was ten and a half years old. She went into the annual adulted tour of the southern states. And among other very many attachments of mommies, the most important and unchanged was pure whiskey. A year later, dear mommy gave God to God on some landfill in Alabama. Jerry and daddy learned about it before the new year. When the daddy returned from the south, he celebrated the New Year for two weeks in a row, and then Spyan got along the bus ...

But Jerry did not stay alone - there was Mamochka sister. He remembers little about her, unless the fact that she all did sternly - and slept, and ate, and worked, and prayed. And on that day, when Jerry graduated from school, she "suddenly rolled out right on the stairs at his apartment" ...

Suddenly, Jerry is unwinding that forgot to ask the name of his interlocutor. Peter appears. Jerry continues his story, he explains why within the framework there is not a single photo: "I have never met any lady more than once, and it did not occur to me to give me photos." Jerry admits that he could not make love with a woman more than once. But when he was fifteen years old, he had all a week and a half of the week with Buckle, the son of the park Storam. Perhaps Jerry was in love with him, and maybe just sex. But now Jerry really like pretty ladies. But for an hour. Not more...

In response to this recognition, Peter makes some kind of little distant remark on which Jerry responds unexpectedly aggressively. Peter also boils off, but then they ask each other for forgiveness and calm down. Then Jerry notices that Peter would be more interested in pornographic maps more than photo frames. After all, Peter has already seen such cards, or he had his own deck, which he threw it in front of marriage: "The boy has these cards serve as a replacement of practical experience, and adult practical experience replaces fantasy. But you seem to be more interested in what happened in the zoo. " At the mention of the Zoo, Peter is enlivened, and Jerry tells ...

Jerry talks about the house in which he lives. In this house, with each floor, the rooms are getting better. And the third floor lives a woman who all the time chokingly crying. But the story, in fact, about the dog and the hostess at home. The hostess of the house is fatty, stupid, dirty, evil, eternally drunk pile of meat ("You must have noticed: I avoid strong words, so I can not describe it as it should"). And this woman with his dog will fit Jerry. She always sticks out at the bottom of the stairs and watches Jerry to do no one in the house, and evenings, after another Pintta Gina, she stops Jerry and strives to squeeze into the corner. Somewhere on the edge of her bird brain, a vile parody of passion will move. And here Jerry is the subject of her lust. To dare aunt, Jerry says: "Is it not enough for yesterday's day before yesterday?" She sucks, trying to remember ... And then her face breaks up in a blissful smile - she remembers what it was not. Then she calls the dog and goes to her. And Jerry saved until the next meeting ...

So about the dog ... Jerry tells and accompanies his long monologue with almost continuous movement, hypnotically acting on Peter:

- (as if reading a huge poster) The story of Jerry and the dog! (Normal tone) This dog is a black monster: a huge muzzle, tiny ears, red eyes, and all the ribs discover outwards. He buried on me as soon as he saw, and from the first minute from this dog, I did not have peace. I am not Holy Francis: Animals are indifferent to me ... like people. But this dog was not indifferent ... Not that he rushed to me, no - he walked and persistently walked after, although I always managed to flush. So it continued for a whole week, and, oddly enough, only when I entered, - when I went out, he did not pay any attention to me ... Once I was thinking. And decided. First I will try to kill Psa kindness, and if it does not come out ... just kill. (Peter throws.)

On the other day I bought a whole kulk kitlet. (Next, Jerry's story depicts in the faces). I opened the door - he is already waiting for me. Tracked. I carefully entered and put the cutlets steps to ten from the dog. He stopped growling, sniffed and moved to them. Reached, stopped, looked at me. I smiled enjoying him. He sniffed and suddenly - gam! - attacked the cutlets. As if in life did not eat anything other than rotten cleanings. He burned everything, then sat down and smiled. I give a word! And suddenly - once! - How to throw me. But here he caught me. I ran to myself and began to think again. To tell the truth, I was very offensive, and I was angry. Six great boilers! .. I was just offended. But I decided to try again. You see, the dog clearly fell to me with antipathy. And I wanted to know if I could overcome her or not. Five days in a row I wore me the cutlets, and always repeated the same thing: he grieves, sniffing the air, it will fit, devoured, smile, grinds and - once - at me! I was just offended. And I decided to kill him. (Peter takes a pitiful protest attempt.)

Yes, do not be afraid you. I could not ... that day I bought only one cutlet and, as I thought, a deadly dose of rat poison. On the way home, I sashed the cutlet in my hands and mixed with the rat poison. I was both sad and disgusting. I open the door, I see it - sitting ... he, poor fellow, did not realize that while he smiles, I would always have time to flush. I put a poisoned cutlet, the poor dog swallowed her, smiled and once! - to me. But I, as always, rushed upstairs, and he, as always, did not catch up with me.

And then the dog is very sick!

I guessed because he did not lose me anymore, and the hostess suddenly rubbed. In the same evening, she stopped me, she even forgot about his vigilant lust and for the first time she opened his eyes wide. They turned out to be quite like a dog. She whipped and begged me to pray for a poor dog. I wanted to say: Madame, if you pray, so for all people in such houses, like this ... But I, Madame, I do not know how to pray. But ... I said that I will perplex. She threw her eyes on me. And suddenly she said that I was lying everything and, probably, I want a dog challenge. And I replied that I didn't want it at all, and it was true. I wanted the dog survived, not because I poisoned him. Frankly, I wanted to see how he would treat me. (Peter makes an indigrant gesture and shifts signs of increasing dislike.)

It is very important! We need to know the results of our actions ... Well, in general, the dogs breakdown, and the hostess again pulled on Jean - everything became like before.

After the PSU has become better, I went home from the cinema in the evening. I walked and hoped that the dog is waiting for me ... I was ... obsessed? .. Warring? .. I am not waiting for my heart pain again. (Peter looks at Jerry with a mockery.) Yes, Peter, with her friend.

So, I looked at each other. And since then it went. Each time, meeting, we froze with him, looked at each other, and then depicted indifference. We have already understood each other. The dog returned to a pile of rotten garbage, and I quickly went to myself. I realized that the kindness and cruelty only in combination learn to feel. But what of this sense? The pove and I came to a compromise: we do not love each other, but also do not offend, because we are not trying to understand. And here, tell me what I fed a dog, can be considered a manifestation of love? Or maybe the staned PSA bite me was also a manifestation of love? But if we are not given to understand each other, so why did we generally invented the word "love"? (Silence comes. Jerry comes up to the Peter bench and sits down near.) This is the end of the story about Jerry and the dog.

Peter is silent. Jerry suddenly changes the tone sharply: "Well, Peter? What do you think, can I type in the magazine and get a couple of hundreds? BUT?" Jerry cheerful and lively, Peter, on the contrary, alarmed. He is confused, he declares almost with tears in his voice: "Why do you tell me all this? I DID NOT UNDERSTAND ANYTHING! I don't want to listen more! " And Jerry greedily peering in Peter, his fun arousal is replaced by sluggish apathy: "I don't know what I thought it ... Of course, you do not understand. I live not in your quarter. I am not married to two parrots. I am an eternal temporary tenant, and my house is a frozen room in the West Side, in New York, the greatest city of the world. Amen". Peter retreats, trying to joke, in response to his ridiculous jokes Jerry is forcibly laughing. Peter looks at the clock and going to leave. Jerry does not want Peter leaving. He first persuade him to stay, then begins to tickle. Peter is scary afraid of tickle, he resists, giggles and shouts with falsetto almost losing weight ... And then Jerry stops tickling. However, almost hysteria from testeing and inner tension with Peter - it laughs and can not stop. Jerry looks at him with a fixed mocking smile, and then utters a mysterious voice: "Peter, Want to know what happened in the zoo?" Peter stops laughing, and Jerry continues: "But first I will say why I got there. I went to look at how people behave with animals and how animals behave with each other and with people. Of course, this is quite approximately, since everyone is fenced off with lattices. But what do you want, this is the zoo "- with these words, Jerry pushes Peter in the shoulder:" Move! " "And continues, pushing Peter is stronger and stronger:" There were beasts and people, today, Sunday, there and children were fully [the stack in the side]. Today it is hot, and stench and cry there were decent, crowds of the people, the sellers of ice cream ... [again a post] "Peter begins to be angry, but obediently moves - and so he sits on the very edge of the bench. Jerry Pierce Tinlet by his hand, staring him from the bench: "Just fed the lions, and the watchman [Plipok] entered the cage to one lion. Want to know what happened next? [Plipok] "Peter is stunned and outraged, he calls Jerry to stop disgrace. In response, Jerry gently demands that Peter gone away from the bench and moved to another, and then Jerry, so be, will tell what happened next ... Peter is complaints about, Jerry, laughing, insults Peter ("Idiot! Upper! You Plant! Go Lie to Earth! "). Peter will boil in response, it seats more tightly on the bench, demonstrating that he will not leave anywhere: "There is no, to hell! Stop! Bench I will not give! And get away from here Won! I warn you, I will call Polisman! POLICE!" Jerry laughs and does not move from the bench. Peter exclaims with helpless indignation: "God's right, I came here to read quietly, and you suddenly take a bench. You are crazy". Then he is poured again with rage: "Well, away from my bench! I want to sit alone! " Jerry Jerry is podding over Peter, having broken it more and more: "You have everything you need - both the house, and a family, and even your own small zoo. You have everything in the world, and now you needed even this bench. Do people fight for it? You yourself do not know what you are saying. Stupid you man! You and the slightest idea have no other things about what others need. I need this bench! " Peter trembles from indignation: "I come here for many years. I am a solid man, I'm not a boy! This is my bench, and you do not have any right to select it with me! " Jerry causes Peter on a fight, encircling: "Then touch it. Protect yourself and your bench. "Jerry takes out and open the knife with a click. Peter is frightened, but before Peter time to figure out what to do, Jerry throws the knife to his feet. Peter is horrified chain, and Jerry rushes to Peter and grabs him for the collar. Their faces are almost close to each other. Jerry convicts Peter to fight, giving a clutch with every word "touch!", And Peter shouts, trying to escape from Jerry's hands, but he holds hard. Finally, Jerry exclaims "You never managed to make my son's wife!" And spits a peiter in the face. Peter in rage, he will finally break down, rushes to the knife, grabs him and, breathing heavily, retreats backwards. He squeezes the knife, stretching his hand in front of him to attack, but to protect. Jerry, sighing heavily, ("Well, let it be so ...") With a scatter it bumps into a knife in the hand of Peter. Second full silence. Then Peter screams, separates his hand, leaving the knife in the chest Jerry. Jerry emits a cry - a cry of an angry and deadly wounded beast. Stumbling, he goes to the bench, falls on it. The expression of his face has now changed, it became softer, calmer. He says, and his voice sometimes breaks down, but he, as it may dorubs death. Jerry smiles: "Thank you, Peter. Seriously tell you thank you. Peter stands motionless. He is numb. Jerry continues: "Oh, Peter, I was so afraid that I was a back. .. You do not know how I was afraid that you would leave and I again stay alone. And now I will tell you what happened in the zoo. When I was in the zoo, I decided that I would go to the north ... until I encounter you ... or someone else ... And I decided that I would talk to you ... I'll make everyone ... such What you do not ... And that's what happened. But ... I do not know ... did I conceived? No, hardly ... although ... probably it is that. Well, now you know what happened in the zoo, right? And now you know what to read in the newspaper and see on TV ... Peter! .. Thank you. I met you ... and you helped me. Nice Peter. " Peter is almost fainting, he does not touch from the place and starts crying. Jerry continues to be a weakening voice (death is about to come): "You're better go. Someone can come, you don't want to find you here? And no longer come here, this is no longer your place. You lost the benches, but defended my honor. And that's what I tell you, Peter, you are not a plant, you are an animal. You are also an animal. Now run, Peter. (Jerry gets a handkerchief and erases the fingerprint knives with an effort from the knob.) But just take ... Early ... "Peter is hesitantly coming to the bench, grabs a book, retreats back. He fluctuates some time, then runs away. Jerry closes his eyes, Bifurba: "Run, Parrots welded lunch ... Cats ... Candle on the table ..." From afar, a plaintive cry of Peter: "Oh my God!" Jerry with closed eyes shakes his head, contemptuously messengers Peter, and at the same time in his voice Moluba: "Oh ... God ... mine." Dies.

Ministry of Education and Science of the Russian Federation

Federal Agency for Education

GOU VPO "St. Petersburg State Polytechnic University"

Faculty of Foreign Languages

Department of Applied Linguistics

COURSE WORK

in English Stylistics

The stylistic features of the monologues of the main character of the play Edward Albi "What happened in the zoo"

Performed by a student group 4264/1

Belokurov Darya

Leader: Associate Professor of the Department of Romano-Germanic Languages

faculty of Foreign Languages \u200b\u200bPopova N.V.

St. Petersburg 2010

Introduction

Edward Olbi. His first play

Theoretical Justification of Jobs

Stylistic analysis of monologic speech in the play of Edward Albi "What happened in the zoo"

Conclusion

Bibliography

application

Introduction

Our work is devoted to the study of the stylistic features of monologic speech in one of the early works of the famous American playwright Edward Olby. The play "What happened in the zoo" was for the first time set for more than half a century ago, in 1959, however, like many other works of Albi ("Death of Bessie Smith", "American Ideal", "I am not afraid of Virginia Wulf", "Shadow Equilibony" and Dr.), still remains an interesting viewer and put on the stage of American, European and Russian theaters. It is difficult to unambiguously determine the cause of the success of this author in the audience and critics. One can only assume that, irritating the audience perception is sometimes unpleasant, brought to the screens, he managed to show the social and philosophical problem, characteristic of America of the 60s and even more aggravated now. Namely the problem of alienation. If you take advantage of the metaphoric manner created by Albi, then you can present the world of others to each other people in the form of a zoo, where everyone sits in her cell, without any opportunity, no desire to tie any relations with others. A person is alone in the eternal chaos of life and suffers from it.

The main instrument of the drama of Albi - monologues. Zlobin in his article dedicated to the creativity of the playwright calls them "characterized by Albian thoughtful-rocked monologues." They are huge, confusing, but, nevertheless, it is they who give us the opportunity to break through to the essence of the character by delivering it from the set of shells, primarily socially determined. As an example, you can bring the confession of Jerry in this work for the analysis, which in the play appears entitled "History about Jerry and Dog".

Our selection of the topic is due to the undoubted relevance of the works of Edward Albi, the ambiguity of the interpretations of its works as spectators, and critics. Some, analyzing the work of this playwright, include his plays to the absurdist theater, others prove the opposite, ranging by many of his work to realistic flow, and the third consider the characteristic feature of his style of merging these two trends, differently reflected in the works of different years. Such an intriguing versatility of views on the work of the playwright, as well as the inconsistency of subjective opinions about his creativity prompted to find out what expressive means the author is used, which has such a strong influence on the public, through which stylistic techniques and figures of his daring, shrill, in something Non-spot plays affect the viewer.

We spent the stylistic analysis allows not only to allocate fixed assets used by the author for the stylistic organization of the play, but also show their connection with the monologue view of speech, as well as justify the choice of certain techniques for the expression of the thoughts and feelings of the hero.

Thus, the purpose of our work is to identify the stylistic features of the monologues of the main character of the play of Edward Albi "What happened in the zoo." To achieve the goal, it is necessary to analyze the main stylistic funds inherent in Jerry monologues, on the example of a passage from the central, nuclear monologue of the play, namely "Jerry and Dog Stories," to identify leading trends in the choice of stylistic techniques and their importance to the perception of text, and then On this basis, it is concluded on the stylistic design of monologic speech characteristic of this playwright.

Edward Olbi. His first play

G. Zlobin In his article "Borderier Edward Olby" divides all dramatic writers of the 20th century for three sectors: Bourgeois, Commercial Theater Broadway and Big Boulevards, where the main purpose of the performance is profit; The avant-garde theater, who lost its content in his desire to find a new form, and, finally, the theater of "large conflicts and noisy passions", contacting various genres and forms, but at the same time not losing its social importance, a real theater. To this, the last one, the sector of Zlobin refers the work of Edward Albi, the living classic of our time, whose account two Tony Awards (1964, 1967) and three Pulitzer Prizes (1966, 1975, 1994), as well as the Kennedy Center for Freedom Life and national medal for achievements in the field of art.

Alby are often characterized as a bright representative of the theater of the absurdity, however, it should be noted some of the realism in his plays. The theater of the absurd, as the Albi himself understands, is an art based on existentialist and post-extrasystemic philosophical concepts, which consider man attempts to make it meaningful meaningless existence in a meaningless world . And therefore, in the drama of the absurd, the person appears before us cut off from the circumstances of the socio-historical context, lonely, entangled in the meaninglessness of his life and therefore "in the constant waiting for death - or salvation." That is what we see Jerry, the main character of the analyzed play "What happened in the zoo", those of March and George from the play "Who is afraid of Virginia Wulf", such is the general state of most characters of Albi.

The absurdist direction in the American literature originated on the basis of common pessimistic intricacies in 50-60x. . The consumption society felt that the old values \u200b\u200bno longer work, the American dream is just a beautiful illusion that does not bring happiness, but to replace these values \u200b\u200band illusions. This social despair was reflected in the playwright of the fifties of the 20th century in different ways: some tried to restore the illusion, revive faith in a miracle and saving power of love (R. Nash, W. Inj, A. Maclish, etc.), and Edward Olbi With their shocking, sharp social plane, the plays challenges these illusions, literally forcing the viewer to face face to face with a problem, make thinking about her decision. What problems the author puts? It is worth noting that for Olbi there are no forbidden topics, what is its latest productions, for example, the play "The Goat, or Who Is Sylvia?", Telling about the sincere love of the main character to goat named Sylvia. Homosexuality, zoophilia, madness, confusing family relationships - a list of topics covered by the author, quite extensive, all of them, however, can be tested under the general denominator, namely - theme of the alienation of man In this world, which is revealed in the analyzed play. This topic is characteristic not only for Olbi works, but also for the art of the second half of the 20th century as a whole (it is worth remembering at least the "trilogy of alienation" Michelangelo Antonioni). The problem of alienation, which scattered to the scale of the tragedy of the century and therefore, which found so bright reflection, including in the works of Olbi, is the inability of people, even if they speak the same language, to understand and take each other. This is the problem of every person immersed in the vacuum of his loneliness and suffering from it.

In addition, the theater art by definition is implicitly saturated, implying the intense work of the viewer for the decoder of the author's message, in the plays of Olbi, this implicitness is even more increasing due to the fact that there is no logical, understandable speech of characters containing at least some hint on the way solutions to the problem, only drawn with the workshop of accuracy and cold objectivity of images. Moreover, these images are typical characters in typical circumstances, which is one of the distinguishing features of realism. The absurdity is precisely the communication between them, more precisely attempt to establish contact, often ending failure.

Critics celebrate the look characteristic of Albi on their heroes as if from the side, his sometimes brutal objectivity in the identity of the characters. The playwright itself binds it with how his life settled: being adopted in early infancy, despite the wealth of his family, he did not feel connected with them. How Albi himself will later say: "I Was Pleased and Relieved When, At Around The Age of Five, I Discovered That I Was Adopted." (I felt joy and relief when somewhere at the age of five discovered that he was adopted) [quote from 10, our translation]. Although it is necessary to admit that it was his adoptive family who played a decisive role in his future fate as a playwright: Grandfall Olbi was a co-owner of the network of watering theaters, so guests from the theatrical world were the usual phenomenon in Albi's house, which undoubtedly influenced his choice to tie themselves with Theater.

The family relations were not perfect, and after another quarrel with Mother Albi leaves the house with the intention to do literary labor, he writes both poems and prose, but without much success. And during this period of life, practically brought to the despair of his allegedly inability to write something really worthwhile, Olbi prints its first significant work - the play "What happened in the zoo." This piercing, the bold play in many respects reflects the characteristic style of plays characteristic of Alby - with a gloomy atmosphere and extremely hard tonality.

According to G. Zlobin, Albi is angry, defiant, expanded. He hits the violent rhythm of his plays mainly on the emotional effect, shocking the viewer, not allowing to remain indifferent. Theatricality of Albi is achieved in the main intensity of speech flow of characters, its increased expression and emotionality. The speech is saturated with irony, sarcasm, "black" humor. Heroes, as if in a hurry to speak, either exchange fast replicas in the "dialogue-collision", or express themselves with extensive monologues, for whom the conversational, helpful style of speech with his clichés, pauses and repetitions, incompleteness and inconsistency of thoughts. These monologues, who are critically recognized by the main instrument of Olbi's drama, allow you to see the inner world of the main characters, in which the contradictions reigning in their consciousness come to the fore. As a rule, monologues are very emotionally saturated, very expressive than explains the abundance of exclamations, rhetorical issues, ellipsis, repetitions, as well as elliptic proposals and parallel structures. The hero, deciding to express that hidden, intimate, what he has in his soul, can no longer stop, he jumps from one to another, thinks, asks his interlocutor and, without waiting for an answer to the question, in a hurry to continue his confession.

An excerpt from this kind of monologue is taken by us for stylistic analysis from the one-acting play "What happened in the zoo", which, as mentioned above, became the first serious work of the playwright. Her holding was held in West Berlin in 1959, in 1960 the play was put in America in America, during the year in Europe.

In the play only two actors, that is, just as much as necessary for the dialogue, for the elementary intercourse. The same minimalism can be noted in the scenery: only two garden benches in the Central Park in New York. The main heroes of the play are a 100% standard Family American Peter, for whose characteristics of Rose A. Zimbardo uses the word "Everyman" (ordinary man, man in the street), pointing to his order, and tired, sloppy jerry jergist, according to his own words "Eternal temporary tenant" which has all personal, family, related ties. Their random meeting in the park becomes fatal as for Jerry, who dies, rushing at the knife taken for defense Peter, and for Peter, who is unlikely to ever forget the picture of this unintentional murder. Between the meeting and the murder (or suicide) - the conversation of these people, with difficulty understanding each other, maybe because they relate to different social segments of the population, but first of all because of the total tragic alienation, which is in question, the possibility of understanding among people The ability to overcome isolation. Jerry's failed attempt to build relationships with the dog, the desperate desire to "talk truly" with Peter, who ended in the tragedy, fits perfectly into the model of the world of the zoo, where the cells of the cells are separated from not only people from each other, but also of each individual from themselves.

In this play, Edward Olbi painted a bright, shocking viewer a picture of the monstrous alienation between people, not trying, however, to analyze it. Thus, it is proposed to draw conclusions to the viewer or reader independently because it will not be able to find accurate answers in the text of the play. In addition to the fact that Alby does not give answers to questions, he also leaves a clear motivation of acts of acting persons, therefore, there is always the opportunity to understand his works in its own way, and therefore there are different, sometimes the opposite opinions of critics treating his work.

Theoretical Justification of Jobs

From the point of view of stylistics, the following key trends can be distinguished in the text analyzed: the use of spoken markers, numerous repeats on the phonetic, lexical and syntactic level, ensuring the text and creating a clear rhythmic pattern, as well as the increased emotionality of speech, expressed by , exclamation deals, emphatic unions, sound resistance. The author also uses epithets, metaphors, allusion, antithesis, polysindone, which play an important role in describing specific moments, but they cannot be attributed to the most significant text trends.

Consider the listed features of the author's style in more detail. Spoken style, whose markers are quite numerous in the analyzed text, generated by the oral form of speech, and therefore there is a direct contact of the interlocutors who have the opportunity to clarify the content of the message using non-verbal means of communication (facial expressions, gestures) or intonation. The presence of feedback (even with the silent participation of the interlocutor) allows you to adjust the message along the conversation, which explains the logically constructed speech, frequent deviations from the main topic of the conversation. In addition, the speaker does not have time to think about their words for a long time, so he uses his active vocabulary stock, and when building a sentence avoids complex syntactic structures. Sophisticated words with book color or confusing complex proposals, if used in conversational speech, can be considered as stylistic meaningful.

Such communication conditions create the ground to implement two opposite trends, namely compression and redundancy.

Compression can be implemented at various levels of the language system. On the phonetic level, it is expressed in the reduction of auxiliary verbs, for example, IT's, There's, Animals Don't, He Wasn't, etc. At the level of vocabulary, the compression is manifested in the preferential use of single-lifamous words (Open, Stop, Look), verbs with postpositives or so-called phrase verbs (GO for, Get Away), as well as words of wide semantics (THING, STAFF). In colloquial speech, the syntax is simplified whenever possible, which finds an expression in the use of elliptic structures, for example, "Like this: Grrrrrr!". Ellipsis is treated as "transfer to the implication of a structurally necessary design element". The missed element can be restored by listening on the context or on the basis of the syntactic structures available in the consciousness in the consciousness in the case, for example, an auxiliary verb is missed.

The opposite direction, that is, the tendency to redundancy is due to the spontaneity of spoken speech and is expressed, first of all, in the form of so-called "weed" words (Well, I Mean, You See), double denial or repetition.

In the next tendency of the elements, we combined quite diverse in the structure and stylistic function of the figure of various levels of language. Essence repeat It consists in the "repetition of sounds, words, morpheme, synonyms, or syntactic structures in conditions of sufficient grinding row, that is, closely close from each other so that they can be noted." Repeat on the phonetic level is implemented through alliterationthat we, after I.R. Halperin, we will understand in a broad sense, that is, how to repeat the same or similar sounds, more often, in closely located syllables, in particular at the beginning of the following words. Thus, we are not divided by alliteration to Assonance and actually alliteration on the quality of repeated sounds (vowels or consonants), and also do not give the values \u200b\u200bof the position of sounds in the word (initial, middle, ultimate).

Alliteration is an example of using copyright funds, that is, funds that increase the expressiveness of speech and its emotional and aesthetic effects that are associated with sound matter of speech through the choice of words and their location and repetitions. The phonetic organization of the text corresponding to the mood of the message and created with these and other phonetic means is determined by I.V. Arnold as a tool. An important role in the instrument is played by repetitions of both individual sounds and verbal.

Lexical repetitionsrepresenting the repetition of the word or phrase in the composition of one sentence, paragraph or whole text, have a stylistic function only if the reader can notice them during decoding. The reinforcement (expressive), emotional and ampful-emotional can be attributed to the uzuagne repeat functions at the lexical level. A more accurate determination of the tasks of the repetition is possible only with regard to the context in which it is used.

We now turn to the consideration of the repetition of units on the syntactic level, which in the analyzed text is presented, above all, parallelism, interpreted as similar or identity of the syntactic structure in two or more proposals or parts of the proposal in close positions. IG Halperin notes that parallel structures are used, as a rule, when listed, antithesis and in the climax of the narration, thereby increasing the emotional saturation of the latter. It should also be added that with the help of similar syntactic organizations, various stylistic techniques that perform equivalent functions are often combined than the convergence is achieved. In addition, parallelism, as, in principle, and any repetition, creates a rhythmic pattern of text.

The segment of the chief heroes considered by us is the history of his life, the development of world-upsion, and, therefore, can be interpreted as confession, the innergity of which causes high emotional tensions. Emotionality can be transmitted in the text in various ways, in our case the main means of expressing the character of the character is served aposiopesisconsisting in the emotional clearance of statements, expressed graphically by ellipsis. In the Upositionisisis, the speaker cannot continue his speech from a valid or pretended excitement or indecision, unlike his default, when the listener is proposed to guess himself about underwent. In addition to the apositionic, the emotional background and dynamism of speech are created using sound-pressingUnderstandable as "the use of words whose phonetic composition is reminded of objects and phenomena in these words", as well as emphatic unions, as a rule, at the beginning of the sentence.

In addition to the three trends discussed, it should also be noted graphic deviationspresent in the analyzed text. In accordance with the rules of grammar from the capital letter, the first word of the text is written, as well as the first word after the point of dots, questioning and exclamation marks that end the proposal, and different types of own names. In other cases, the use of capital letters is considered a violation of the language norms and can be interpreted as stylistically relevant. For example, as indicated by I.V. Arnold, writing entire words or phrases in capital letters means pronounced them with a special emphaza or especially loud. As a rule, the stylistic function of various graphic deviations varies depending on the context and intentions of the author, therefore it is more convenient and more logical to allocate it for each specific case.

In a passage taken for stylistic analysis, there are also epittswhich are considered as figurative definitions that perform an attribute function or circumstance function in the proposal. For epithet, the presence of emotional, expressive and other connotations, thanks to which the author's attitude is expressed to the subject determined. Different types of epithets are distinguished: permanent, tautological, explanatory, metaphorical, metonymic, phrase, inverted, offset and others. Explanatory epithets indicate some important feature of the defined characterizing it (for example, unvalued jewels). Inverted are emphatic attribute designs with reservoir (for example, "A Devil of A SEA", where the phrase referent is not "devil", but "SEA"). Such structures are expressive and stylistically marked as conversational. We do not consider the rest of the epithets separately due to the fact that they are not used by the author in the selected text. Epitts can be located both in the preposition and postposition to the defined word, and in the second case, less common, they certainly draw attention to the reader, and therefore aesthetically effective and emotionally painted.

We will give the definition of other stylistic funds found in the analyzed passage. Metaphor It is usually defined as a hidden comparison, carried out by applying the name of one object to another and thus detecting some important line of the second (for example, using the word FLAME instead of LOVE based on the power of the feeling, of its dustiness and passionality). In other words, the metaphor is to transfer the name of one subject to another on the basis of similarity. There are figurative (poetic) and linguistic (erased) metaphors. The first are unexpected for the reader, while the second is long confined in the language system (for example, A Ray of Hope, Floods of Tears, etc.) and are no longer perceived as stylistic meaningful.

Allusion -this is an indirect reference in oral or written speech to the historical, literary, mythological, biblical facts or to the facts of everyday life, as a rule, without indication of the source. It is assumed that the reader knows where the word or phrase is borrowed from and trying to relate it to the text content, thus decoding the author's post.

Under antithese It is understood by the "sharp opposition of concepts and images that creates contrast." As noted by I.G. Halperin, antithesis is most often found in parallel structures, since the reader is easier to perceive opposite elements in similar syntactic positions.

Polysindone or multi-eyed is a strong means of enhancing the expressiveness of the statement. The use of multi-eyed when listing shows that it is not exhaustive, that is, the row turns out to be unlocked, and each union attached element stands out, which makes the phrase more expressive and rhythmic.

Throughout the analysis, we will not mention the rhythmic drawing of Jerry's monologue. Rhythm is a phenomenon that is more clearly pronounced in poetry, but the rhythmic organization of prose is no exception. Rhythm It is called "any uniform alternation, such as acceleration and deceleration, shock and unbearable symbols and even repetition of images, thoughts." In the literature of the speech base of rhythm is syntax. The rhythm of prose is based on the advantage of repeating images, topics and other major elements of the text, on parallel structures, in the use of proposals with homogeneous members. It affects the emotional perception of the reader, and can also serve as a fine tool when creating any image.

The greatest stylistic effect is achieved when accumulating techniques and figures and their interaction in the report as a whole. Therefore, when analyzing it is important to take into account not only the functions of individual techniques, but also consider their mutual influence on a certain passage of text. The concept of convergence as the type of extension, allows you to raise the analysis to a higher level. Convergence It is called convergence in one place of the beam of stylistic techniques involved in a single stylistic function. Interacting, stylistic techniques are shaking each other, thereby ensuring the noise immunity of the text. Protection of messages from interference with convergence is based on the phenomenon of redundancy, which in the artistic text also increases expressiveness, emotionality and a general aesthetic impression.

The stylistic analysis of the monologue of Jerry we will lead from the reader, that is, based on the positions of the stylistry of perception or decoding stylistics. Attention in this case focuses on what the impact is the organization of the test of the reader, and not on the driving forces of the creative process of the writer. We consider this approach more appropriate for our research, since it does not imply a preliminary literary analysis, and also makes it possible when analyzing to go beyond the estimated intentions of the author.

Stylistic analysis of monologic speech in the play of Edward Albi "What happened in the zoo"

For stylistic analysis, we take a passage from the play, which in the formulation will be interpreted in one way or another, each of which will add to the images created by Albi, something. However, such a variability of perception of work is limited, since the main characteristics of the heroes, the player of their speech, the atmosphere of the work can be traced directly in the text of the play: it can be the author's remarks regarding the pronouncement of individual phrases or accompanying the spelling of movements (for example, or, as well as speech itself , its graphic, phonetic, lexical and syntactic design. It is the analysis of such design aimed at identifying such characteristics expressed by various stylistic means, and is the main goal of our study.

An analyzed episode is a spontaneous expressive dialicized monologue characteristic of Olbi, which has strong emotional tensions. The dialoguesis of the monologic speech Jerry implies its conversation to Peter, the whole story is described as if there is a dialogue between these two people with silent participation in Peter. Spoken style, in particular, is this confirmation.

According to the results of the preliminary analysis of the selected passage, we made a comparative table of stylistic tools used in it, placing them in frequency of use in the text.

Frequency of using stylistic

As can be seen from the table, the most widely used stylistic means are the markers of the spoken style, the apositioniosis, lexical reasons, alliterations, epithets, as well as parallel structures.

A separate point of the table we allocated a spoken-style markers, very diverse inherently, but combined with the overall function of creating an atmosphere of unofficial communication. Quantitatively such markers turned out to be more than other funds, but hardly we can consider the conversational style of Speech Jerry as a leading tendency of the stylistic design of the text, rather, this is the background on which other trends are manifested with greater intensity. However, in our opinion, the choice of precisely this style is stylistic relevance, so we will look at it in detail.

The spelling-literary style, to which this passage belongs, is chosen by the author, in our opinion, in order to bring Jerry's speech to reality, show his excitement when dealing with speech, and also to emphasize her dialogue, which means that Jerry's attempt "to talk to Real, "tie relations with a person. The text used numerous conversational markers, which can be attributed to two interdependent and at the same time contradictory trends - trends towards redundancy and trends in compression. The first is expressed by the presence of such "weed" words like "I Think I Told You", "Yes", "What I Mean IS", "You Know", "Sort of", "WELL". With the help of these words, it is a feeling that for speech is characterized by unevenness of the speed of pronouncing: on these words, Jerry, as it were, a little slows speech, it is possible to emphasize the following words (as, for example, in the case of "What I Mean IS") or trying To gather with thoughts. In addition, they, along with such spaticrous expressions, like "Half-Assed", "Kicked Free", "That Was That" or "Bolted Upstairs", add a monologue Jerry spontaneity, immediacy and, of course, emotionality.

A collaborative trend towards compression is manifested in various ways on phonetic, lexical and syntactic levels of the language. Eating a truncated form, that is, the reduction of auxiliary verbs, for example, "IT's", "There's", "don't", "Wasn't" and others, is a characteristic feature of the speech and once again emphasizes the unofficial tone of Jerry. From a lexical point of view, the phenomenon of compression can be considered on the example of using such phrase verbs as "Go for", "Got Away", "Went ON", "Pack Up", "Tore Into" "Got Back", "Threw Away", "Thought About It Up". They create an informal interconnection situation, discovering in the language proximity between communications participants contrasting with the lack of inner proximity between them. It seems to us that in this way Jerry seeks to create conditions for a frank conversation, for confession, for which the official and neutral coldness is unacceptable, since it is about the most important, most intimate for the hero.

At the syntactic level, the compression finds an expression in elliptic structures. For example, we celebrate such suggestions in the text as "Like This: Grrrrrrr!" "LIKE SO!" "Cosy.", Having a large emotional potential, which implements with other stylistic means, transmits the emotion of Jerry, the rippledness and sensual fullness of his speech.

Before switching to step-by-step text analysis, we note, based on the data of the quantity analysis, the presence of some leading trends inherent in the monologue of the chief hero. These include: repeatability of elements on phonetic (alliteration), lexical (lexical replay) and syntactic (parallelism) levels, increased emotionality, pronounced, primarily by the apositionic, as well as rhythm not reflected in the table, but largely inherent in the text in question . We will refer to these three nuclear trends throughout the analysis.

So, refer to the detailed analysis of the text. From the very beginning of the story, Jerry, the reader was prepared for something significant, since Jerry himself considers it necessary to entitle his story, thereby highlighting it from the whole conversation in a separate story. According to the author's remark, he utters it the title, as if reading the inscription on the billboard - "The Story of Jerry and The Dog!" The graphic organization of this phrase, namely the design of it only with capital letters and an exclamation mark at the end, somewhat specify the remark - each word is pronounced loudly, clearly, solemnly, convex. It seems to us that this solemnity acquires the shade of ironic pathos, since the elevated form does not coincide with the landed content. On the other hand, the name itself is like more on the name of the fairy tales, which relates to Jerry's appeal to Peter at a certain moment as a child who does not fail to know what happened in the zoo: "Jerry: Because After I Tell You About the Dog, do YOU KNOW WHAT THEN? THEN I "LL TELL YOU ABOUT WHAT HAPPENED AT THE ZOO."

Despite the fact that, as we noted, this text relates to a colloquial style for which the simplicity of syntactic structures is characterized, the first sentence is a very tangled set of words: "What I am Going to Tell You Have Something to Do With Howetimes It "S Necessary to Go a Long Distance Out of the Way in Order to Come Back A Short Distance Correctly; Or, Maybe I Only Think That It Has Something To Do With That. "The presence of words such as" Something "," Sometimes "," Maybe ", gives the phrase with a shade of uncertainty, blurry, abstractness. The hero seem to meet this proposal on Its thoughts that were not expressed than can be explained by the beginning of the next sentence from the Emphatic Union "But", which interrupts his reasoning, returning directly to the story. It should be noted that this offer contains two parallel structures, the first of which "HAS Something To Do With "Frames the second" To Go a Long Distance Out of the Way in Order to Come Back A Short Distance Correctly ". The first design is repeatedly on both syntax and lexical, and, consequently, on the phonetic levels. Its identity pays The reader's attention to the phrase preceding items, namely "What I am Going to Tell You" and "Maybe I Only Think That It", and encourages them to compare them. When comparing these elements NTOs We are seeing the loss of Jerry's confidence in the fact that he correctly understood the meaning of what happened to him, in his voice hears the doubts that he was trying to suppress, starting a new thought. Conscious interruption of reflections is clearly felt in the initial "But" of the next sentence.

Other parallel designs of the second sentence can be summarized by the following model "Go / Come Back (verbs, both expressing movements, but in different directions) + a + long / short (antonimic definitions) + distance + out of Way / Correctly (adverbing an act of action that are contextual antonyms) ". As we can see, these two equally constructed phrases are opposed to their lexical significance, which create a stylistic effect: the reader is thinking over the approval expired, looking for an implicated meaning. We still do not know what we are going on further, but we guess about the possible biscuitance of this expression, because the word "distance" can be denoted as a real distance between objects of reality (for example, to the zoo) and the length of the life path. Thus, although we do not understand what Jerry meant, we, on the basis of syntactic and lexical dedication, we feel the partial tone of the phrase and can approve the undoubted importance of this thought for Jerry himself. The second proposal, mainly due to its similarity on the tonality and construction with the folk wisdom or the saying, it seems possible to perceive, as a subtitle of the story about the dog, revealing its main idea.

Using the example of the next sentence, it is interesting to consider the stylistic function of using dots, as they will still meet in the text. Jerry says that he walked to the north, then pause (ellitudes), and he corrects himself - in the northern direction, again pause (ellipsis): "I Walked North. Northerly, Rather. Until I Came Here." In our opinion, in such a context, the ellipsis is a graphical way to express an apositionisis. We can assume that Jerry sometimes stops and going with thoughts, trying to accurately remember how he walked, as if much depends on this; In addition, he, in all likelihood, is in a state of strong emotional lifting, excitement, as a person telling something extremely important to him, so often gets off, being unable to speak from excitement.

In this sentence, in addition to the apositionisis, it is also possible to distinguish partial lexical repetition ("North ... Northerly"), parallel structures ("IT" S Why I Went To The Zoo Today, and Why I Walked North ") and two cases of alliteration (repetition of consonant Sound [T] and vowel long [o:]). Two equivalent syntactic structures differing from a phonetic point of view according to the sound characteristic of each of them - explosive, determined [t] or long deep sound of the rear row of the lower lift [o:], are connected by the Union "and". It seems to us that such a tool toolmaking creates some opposition between the speed and inflexibility of Jerry's decision to go to the zoo (sound [t]) and the delay of his road in the northern direction (sounds [o:] and [n]), underlined partial lexical repeat. Thanks to the convergence of the listed stylistic techniques and figures, their mutual refinement, the following picture is created: as a result of reflection over the situation about which Jerry collects Smiling to tell, he decides to go to the zoo, and the solution is characterized by spontaneity and some sharpness, and then slowly wandering in the northern direction, perhaps, hoping to meet someone.

According to the "All Right", which have a functional and stylistic connotation related to conversational speech, begins to create the author of one of the key images of the play - the image of a dog. Let us dwell on it in detail. The first characteristic that Jerry gives a dog is expressed by the inverted epithet "A Black Monster of a Beast", where the designated - "Beast", that is, the dog denoting - "Black Monster", the basis of the comparison, in our opinion, is a formidable, possibly The sinister view of the animal with black wool. It should be noted that the word beast has a book color and, according to Longman Exams Coach dictionary contains the "big" and "dangerous" seeds ("An Animal, Especially A Large or Dangerous One"), which is undoubtedly, together with the expressiveness of the word "Monster" adds expressiveness designated epithet.

Then, after a general definition, the author reveals the image of a black monster, clarifies its expressive details: "An Oversized Head, Tiny, Tiny Ears, and Eyes. BloodShot, Infected, Maybe; and a Body You Can See the Ribs Through the Skin." Set after a colon, these nouns can be interpreted as a number of homogeneous direct additions, however, due to the lack of verb, to which they could relate (suppose, the beginning could be the following - "He Had An OVersized Head ..."), they are perceived as a series call suggestions. This creates an effect of clarity, increases the expressive and emotional expressiveness of the phrase, and also plays a significant role in creating a rhythmic pattern. Double use of the Union "and" allows you to talk about a polysindone, which smoothes the completion of the listing, making a number of homogeneous members as if impaired, and at the same time fixes attention on each of the elements of this series. Thus, it seems that the dog is not described not to the end, there is still a lot of things, what would be worth telling to complete the painting of a terrible black monster. Thanks to the polysindone and the absence of a generalizing verb, a strong position is created for elements of the listing, a psychologically especially noticeable for the reader, which is also enhanced by the presence of alliteration represented by repeating sound in the words OVERSIZED, TINY, EYES.

Consider the four elements isolated in this way, each of which is clarified by the definition. The head is described using the "OVERSIZED" epithet, the "Over-" prefix in which it has the meaning of "re-", that is, it seems the impression of a non-expressive head contrasting with the tiny ears described by the repeating epithet "TINY". The word "Tiny" in itself means something very small and translated into Russian as a "miniature, tiny", reinforced by repeating, it makes the ears of PSA unusually, fabulously small, which enhances and so sharp opposition with a huge head, designed by the antithesis.

The eyes are described as "BloodShot, Infected", and it should be noted that both of these epithet are in the postposition to the definable word after the expressive expression marked expressiveness. "BloodShot", that is, blood poured, implies a red color, one of the dominant, as we will see further, in the description of the animal, so that it seems to us, the effect of its similarity with the Hell's Hell-Cerberian is achieved. In addition, although Jerry clarifies that, perhaps, the cause is infection, after all, the blood pillows are associated with anger, angrily, to some extent with madness.

The convergence of stylistic techniques on this small segment of the text allows the image of the insane, aggressive PSA, which is absurdity and the absurdity of which, expressed by the antithesis, is immediately striking.

I would like to once again pay attention to how mask Alby creates a tangible rhythm of his prose. At the end of the sentence under consideration, the dog's body is described using the apparent definition "you can see the Ribs Through the Skin", which is not associated with the definition word "body" with the union or by the union word, thus, the rhythm specified at the beginning of the offer is not violated.

The black and red palette when describing the PSA is emphasized by the author using lexical repetitions and alliterations in the following sentence: "The Dog Is Black, all Black; All Black Except for the Bloodshot Eyes, and. Yes. And An Open Sore On Its. Right Forepaw; That is red, Tooo. ". The offer is divided into two parts not only by the ellipsis expressing the apositioniceisis, but also by various alliterations: in the first case, these are repeated consonant sounds, in the second - a vowel sound. The first part repeats what has already been known to the reader, but with greater expressiveness created by the lexical repeat of the word "black". In the second, after some pause and double "and", creating a statement tension, a new item is introduced, which, thanks to the preparation of the reader, the previous phrase is perceived very brightly red wound on the right paw.

It should be noted that here we again come across an analogue of a call offer, that is, it is stated by the existence of this wound, but there is no indication of its connection with the dog, it exists as it were separately. Creating the same effect is achieved in the phrase "There" SA Grey-Yellow-White Color, Too, When He Bares His Fangs ". The syntax design of the" TheRe IS / There ARE "type implies the existence of an item / phenomenon in some area of \u200b\u200bspace or time, here "exists" the color, which makes this color with something separate, independent of its carrier. Such "separate" parts does not interfere with the perception of PSA as a holistic image, but gives it greater convexity, expressiveness.

The epithet "GREY-YELLOW-WHITE" defines the color as blurred, unclear compared to the bright saturation of the previous ones (black, red). It is interesting to note that this epithet, despite its complexity, sounds like one word and is pronounced in one breath, thus describing the color not as a set of several shades, but as one defined, understandable to each reader the color of animal fangs covered with a yellowish flare. This is achieved, in our opinion, smooth phonetic transitions on the basis of the base: The basis of grey ends on the sound [J], from which Yellow begins, the final difthony of which is practically merged followed by [W] in the Word White.

Jerry is very worried, telling this story, which is expressed in the briefing and increasing emotionality of his speech. The author shows it with the help of the wide use of the aposiopesis, consuming colloquial inclusions with interjections, such as "OH, YES", Emphatic Unions "and" at the beginning of proposals, as well as a sound resistance decorated into the exclamation offer "GRRRRRRR!".

Alby in the monologue of his main character practically does not use the metaphor, in the analyzed passage we met only two cases, one of which is an example of an erased language metaphor ("Trouser LEG"), and the second ("Monster") refers to the creation of the PSA image and in Some extent repeats the already mentioned inverted epithet ("Monster of the Beast"). The use of the same word "Monster" is a means of maintaining the internal integrity of the text, as well as, in general, any accessible to the perception of the reader. However, its contextual meaning is somewhat different: in the epithet due to a combination with the word Beast, it acquires the value of something negative, frightening, while in the metaphor when combined with the epithet "Poor" comes out absurdity, incompatibility and patient condition of the animal This image is also supported by the explanatory epitles "Old" and "Misused". Jerry is confident that the current state of the PSA is the result of a bad attitude towards him of people, not manifestations of his character, which, in essence, the dog is not to blame for the fact that he is so terrible and miserable (the word "misused" can be transferred literally as " Incorrectly used ", this communion second, which means, has a passive value). This confidence is expressed by the impatient "CERTAINLY", as well as the Emphatic auxiliary verb "DO" before the word "Believe", which violates the usual scheme for building an affirmative proposal, thereby making it unusual for the reader, and therefore more expressive.

It is curious that a significant part of the pauses account for that part of the story, where Jerry describes the PSA - 8 out of 17 cases of use of the aposiopezis met on this, relatively small, text segment. Perhaps this is explained by the fact that, starting his confession, the protagonist is very excited, first of all, to express everything with its decision, therefore his speech is a bitchival and a little illogical, and even then, gradually, this excitement smoothes. It can also be assumed that the memory itself about this PSE, such a lot of more significant for the world of Jerry, worries it, which is reflected directly to speech.

Thus, the key image of the PSA is created by the author with the help of "color" language frames, each of which reflects any line. The mixing of black, red and gray-yellow-white is associated with the mixing of the formidable, incomprehensible (black), aggressive, violent, hellish, patient (red) and old, spoiled, "incorrectly used" (gray-yellow-white). Very emotional, configured description of the PSA is created using pauses, emphatic unions, recording structures, as well as all sorts of repeats.

If at the beginning of the story, the dog seemed to us with a black monster with red inflamed eyes, then gradually he begins to gain almost human features: no wonder Jerry uses the pronoun "He", and not "IT", and at the end of the analyzed text for the designation "muzzle "Uses the word" face "(" HE TURNED HIS FACE Back to the Hamburgers "). Thus, the line between animals and man is erased, they are put in one row, which is also supported by the phrase "Animals Are Indifferent to Me ... Like People". The case of the aposiopezis presented here is caused by, in our opinion, not exciting, and the desire to emphasize this sad fact of the similarity of people and animals, their inner remoteness from all living beings, leading us to the problem of alienation as a whole.

The phrase "Like Saint Francis Had Birds Hanging Off Him All the Time" is highlighted as a historic allusion, but it can be viewed simultaneously as a comparison and as Iron, because Jerry is opposed to Francis to Assisi, one of the most revered Catholic saints, but uses for it Descriptions of the conversational verb "Hang Off" and exaggerated "All The Time", that is, diminishes a serious content of a non-serious form of expression, which creates several ironic effect. Allusion enhances the expressiveness of the transmitted thoughts on the alienation of Jerry, and also performs the characteristic function, describing the main character as a sufficiently educated person.

From Generalization, Jerry returns to his story, and again, as in the third sentence, it seems to be interrupting his thoughts out loud, he uses the Emphatic Union "But", after which he begins to talk about the dog. Next is the description of how the interaction of the PSA and the main character happened. It is necessary to note the dynamism and rhythm of this description created by lexical repeats (such as "Stumbly Dog ... Stumbly Run", as well as four times repeated verb "GOT"), Alliterations (sound [G] in the phrase "go for me, to get One of My Legs ") and parallel design (" HE Got A Piece of My Trouser Leg ... He Got That ... "). The predominance of ringing consonant sounds (101 out of 156 consonants on the segment "from the summer beginning ... So that Was That") also creates a feeling of dynamics, alignment of narration.

Curious the game of words with a lexema "Leg": the dog intended "to Get One of My Legs", and as a result it turned out that he was "Got A Piece of My Trouser Leg". As you can see, the designs are almost identical, because of which the feeling is created that the dog still reached its goal, however, the word "Leg" is used in the second case in the metaphorical sense of "pantina", which is specified by the subsequent verb "Mended". Thus, on the one hand, the text is achieved, and with the other, the smoothness and sequence of perception is disturbed, to some extent an irritation of the reader or the viewer.

Trying to describe the Maneru of the Movement of the PSA when he pounced on him, Jerry goes through several epithets, trying to choose the appropriate: "Not Like He Was Rabid, You Know; He Was Sort of A Stumbly Dog, But He Wasn" T Half-Assed, Either. IT WAS A good, Stumbly Run ... "As you can see, the hero is trying to find something among the" Rabid "and" Half-Assed "therefore introduces the neologism" stumbly ", implied, in all likelihood, a bit stumbling, unsure and running (conclusion The fact that the word "stumbly" is a copyright neologism, we are made on the basis of the lack of it in the Longman Exams Coach dictionary, UK, 2006). In combination with the defining word "DOG" epithet "stumbly" can be considered as a metonymy, since the characteristics are transferred. Gait for the whole object. Repetition of this epithet with different nouns within two closely located offers has, in our opinion, the goal to clarify its value is to make the use of the new word, and also focus on the reader's attention, because it is important for the characteristics of the PSA, its disproportionality, absurdity.

Phrase "cosy. So." We have identified as an ellipsis, since the passage of the main members of the proposal is undoubtedly submitted. However, it should be noted that it cannot be supplemented from the surrounding context or based on language experience. Such fragmentary impressions of the main character who are not related to the context, once again emphasize the circulation of his speech, and, moreover, confirm our idea that he sometimes answers his thoughts hidden from the reader.

albi monologue stylistic agent

The following sentence is an example of a double allythelation created by the repetition on one segment of the speech of two consonant sounds [W] and [V]. Since these sounds are different both in quality, and at the place of articulation, but it seems like a sentence reminds a little typulating or saying, in which the deep meaning is decorated in easily memorable, attracting the form. The "Whenever" pair is particularly noticeable - "Never When", both elements of which consist practically from the same sounds located in different sequences. It seems to us that this phrase confusing in the phonetic plan has a slightly ironic color, serves to express intricacy and rawness, chaoticness and absurdity of the situation that has developed in Jerry with a dog. She sets up for the next statement "That's Funny", but Jerry immediately recovers: "Or, It Was Funny." Thanks to this lexical reference, decorated in equivalent syntactic structures with different verb time "Being", the reader becomes the obvious tragity of that very situation, over which once used to laugh. The expressiveness of this expression is based on a sharp transition from the lung, non-serious to serious perception of what happened. It seems that many times have passed since then, much has changed, including the relationship of Jerry to life.

A separate consideration requires a proposal "I Decided: First, I" LL Kill The Dog With Kindness, and IF That Doesn "T Work. I" LL Just Kill Him. ", Expressing the thoughts of the main character. As we see, thanks to the convergence of stylistic techniques, Such as lexical repeat, Oxymoron ("Kill With Kindness"), parallel structures, apositionic, as well as the phonetic similarity of expressions, this proposal becomes stylistically bright, thereby attracting the attention of the reader to its semantic fullness. It should be noted that the word "kill" is repeated Twice approximately in similar syntactic positions, however, with semantic variation: in the first case, we are dealing with the portable value of this verb, which can be expressed by the Russian "hit, delight", and in the second - with a direct value of "deprive of life". Thus, reaching the second "kill", the reader automatically in the first fraction of a second perceives it in the same softened portable value as the previous one, so when it is aware of truths The meaning of this word, the effect of direct value is repeatedly enhanced, it shocks both Peter and viewers or readers. In addition, the apositioniosis, which precedes the second "Kill", allocates words following him, even more exacerbating their influence.

Rhythm, as a means of organizing text, makes it possible to achieve its integrity and better perceived by the reader. A clear rhythmic pattern can be traced, for example, in the following sentence: "SO, The next day I Went Out and Bough A Bag of Hamburgers, Medium Rare, No Catsup, No Onion. It is obvious that here the rhythm is created through the use of alliteration (sounds [b] and [g]), the syntactic direction, as well as the total conciseness of the construction of the apparent determinants (meaning the absence of unions, could be like this: "Which Are of Medium Rare" or "IN Which There's No Catsup."). Rhythmic allows you to give you more lively to transfer the dynamics of the described actions.

We have already considered repeat as a means of creating a rhythm and maintain the integrity of the text, however, the repeat functions are not limited. For example, in the phrase "When the Dog Waiting for me. I Half Opened The Door That Led Into The Entrance Hall and There He Was; Waiting for Me." Repeating the "Waiting For Me" element gives the reader a feeling of dischargeing the expectation, as if the dog has long been waiting for the main character. In addition, the inevitability of the meeting is felt, the situation intensity.

The last moment on which I would like to stop, this is a description of the actions of the PSA, to whom Jerry offers meat from hamburgers. To create a speaker, the author uses lexical repetitions ("snarled", "then faster"), the allyteration of sound [S], which combines all actions into one continuous chain, as well as the syntax organization - rows of homogeneous fague connected by the non-Union bond. It's curious to trace what verbs Jerry uses when describing the PSA reaction: "snarled", "stopped snarling", "sniffed", "Moved Slowly", "Looked at Me", "Turned His Face", "Smelled", "sniffed", "Tore Into". As you can see, the most expressive of the submitted phrasal verb "Tore Into", standing after a sound-resolution and dedicated by the predatory pause, completes the description, characterizing, most likely, the wild nature of PSA. Due to the fact that the previous verbs, with the exception of "LOOKED AT ME" contain slut [s], they are combined in our consciousness as cooking verbs and are thus expressed, thus, caution of the PSA, perhaps the infirmity of him to a stranger, but at the same time We feel the desire burning in it as soon as possible to eat the meat offered to him, which is expressed by repeating impatient "Then Faster". Thus, judging by the design of the latest proposals of our analysis, it is possible to conclude that, despite the hunger and their "wildness", the dog is still very wary of the treating stamp. That is, whatever strange it seems, he is afraid. This fact is indicative of the point of view that the alienation between alive creatures can be supported by fear. By text we can argue that Jerry and the dog fear each other, so an understanding between them is impossible.

So, since repeating values \u200b\u200band stylistic agents are stylistically most important, we can conclude that we can conclude that the main trends used by Edward Albi to organize the monologic speech of the main character are all sorts of repetitions in different language levels, speech rhythm with its alternation of tense moments. and relaxation, emotionally painted pauses and the system of interrelated epithets.

Conclusion

The play "What happened in the zoo", written in the second half of the 20th century by the famous modern playwright Edward Olbi, is a very sharp criticism of modern society. Somewhere ridiculous, ironic, somewhere incomparable, rocked out, and somewhere frankly shocking reader, it allows you to feel the depth of the abyss between people who are not capable of understanding.

From a stylistic point of view, the monologue speech of the main character, Jerry, for which it serves as a means to reveal the most hidden their thoughts, to bargain the contradictions existing in his mind. Jerry's speech can be defined as a dialogueed monologue, because at all its length the reader feels silent participation in Peter in her, which can be judged by the author's remarks, as well as by Jerry's remarks.

The stylistic analysis of Jerry's monologue exit analysis allows us to allocate the following leading trends in the organization of text:

) speech style, which is a stylistically relevant background for the implementation of other expressive and visual funds;

2) repeat on the phonetic, lexical and syntactic levels of the language, expressed by alliteration, lexical repeat, full or partial, and parallelism, respectively;

) increased emotionality, expressed by the help of apositionisis, exclamation proposals, as well as interjections and emphatic unions;

) The presence of a system of interrelated epithets used mainly to describe the PSA;

) Rhythmic, due to repetitions, first of all, on the syntactic level;

) Integrity and at the same time "Radiating" of the text illustrating sometimes the inconsistent course of the thoughts of the main character.

Thus, the monologue speech of the main character of the play is very expressive and emotionally, but it is characterized by some incompleteness and inconsistency of thoughts, thereby the author may be trying to prove the inconsistency of the language as a means of ensuring an understanding between people.

Bibliography

1. Arnold I.V. Stylistics. Modern English: Textbook for universities. - 4th ed., Act. and add. - M.: Flint: Science, 2002. - 384 p.

2. Olbi E. Wikipedia material - free encyclopedia [Electronic resource]: Access mode: # "600370.files / image001.gif"\u003e

• The first heartbreaking cry, writing to the silent and inadvertent, engaged only by himself and his own affairs, was already his first play. One of the characters, Jerry, at the beginning I have to repeat the same phrase three times: "I was now in the zoo," before he heard and responded, and the drama began. It is minimal, this drama, in all respects: and length - up to the hour of playing time, and stage accessories - two garden benches in the New York Sentral Park, and the number of actors - their two, i.e. Exactly as much as necessary for the dialogue, for the elementary communication, for the drama movement.
• It arises from the naive-ridiculous as if the irrigible, obsessive desire to Jerry "talk truly", and the fluttering stream of his phrases, joking, ironic, serious, causing, overcomes in the end of the inattention, bewilderment, the alertness of Peter.
• The dialogue quickly reveals two models of relationships with society, two characters, two social types.
• Peter is a 100% standard family-run American, and he, like that, according to the walking ideas about well-being, just two: two daughters, two TVs, two cats, two parrots. He serves in a publisher, producing textbooks, earns one and a half thousand per month, reads "Time", wearing glasses, smokes the phone, "not thick and not thin, not a handsome man and not a freak", he is like his other circle.
• Peter presents the part of society, which in America is called the "middle class", more precisely, the upper - wealthy and enlightened - its layer. He is satisfied with himself and the world, he, as it is called, is integrated into the system.
• Jerry is tired, descended, sloppyly dressed man who has all personal, family, related ties. He lives in some old house of the West Side, in a bad hole, next to the same as he, disadvantaged and withdrawal. He, in his own words, "Eternal temporary tenant" in this house, society, peace. The obsession of the dirty and stupid homeowner, this "nasty parody of lust", and a fierce fellow of her dogs - the only signs of attention to him from the surrounding.
• Jerry, this lipen-intellectual, is by no means an extravagant figure: his alienated fellows are densely inhabit plays and novels of modern American authors. The fate of his trivial and typical. At the same time, we guess in it the unscrew the possibilities of an outstanding emotional nature, which is sensitive to all ordinary and vulgar.
• The indifferent-solar consciousness of Peter cannot perceive Jerry otherwise, as concerned about him with some generally accepted idea of \u200b\u200bpeople - a robber? Bohemian inhabitant Grinjan Village? Peter can no longer want to believe what this strange stranger does not tell about what this strange stranger tells. In the world of illusions, myths, self-exclusive, in which there is Peter and the like, there is no place for unpleasant truth. Facts better leave fictions, literature? - Sad drops Jerry. But he is coming to contact, turning his subsidiary in front of a randomly counter. Peter is cognized, annoyed, intrigued, shocked. And the more unsightly facts, the stronger it resists them, the thicker the wall of misunderstanding, which Jerry beats about. "A person must somehow communicate, even with someone, he fresher convinced. - If not with people .... so with something else ... But if we are not given to understand each other, so why did we generally invent the word "love"? "
• With this, frankly a gradual rhetorical question addressed to preachers of distracted saving love, Olbi completes the eight-headed monologue of his hero, allocated in the play as a "story about Jerry and the dog" and playing a key role in its ideological and artistic system. "History" reveals an albi addiction to monologic form as the most obvious way to self-expression, hurrying to speak, who wants to be listened to.
• In the preliminary remark of Olbi indicates that the monologue should "be accompanied by almost continuous game", i.e. Displays it beyond purely verbal communication. The structure of Albian palemonologists, in which various types of lamp and kineari are used, their riddled rhythms, intonation drops, pauses and repetitions are designed to identify the lack of language as a means of communication.
• From the point of view of the content "History" - it is at the same time an experience in communicating, which Jerry puts on himself and the dog, and analyzing the playwright forms of behavior and feelings - from love to hatred and violence, and, as a result, the approximate model of human relations that will Varue, refined, turning new and new faces, but it does not reach the integrity of the ideological and artistic concept. Albi's thought is moving, as Jerry moved from the zoo, then the matter giving a big hook. At the same time, the problem of alienation undergoes changes, it is interpreted as a specific social, then the abstract-moral, then existential-metaphysical.
• Of course, the monologue of Jerry is not the thesis and not a preaching, it is a sad and fierce story of a hero about himself, whose penetration is not transmitted by the primate text, a Parabola story, where a dog, like a mythological cerber, embodies the evil in the world. You can adapt to it or try to overcome it.
• In the dramatic structure of the play, the monologue of Jerry is his last attempt to convince Peter - and the viewer - in the need to understand between people, in need of overcome isolation. An attempt tolerates collapse. Peter is not something that does not want - he cannot understand neither Jerry nor a story with a dog, nor his intrusive idea, nor what others need: I don't understand three times. "I don't understand" only gives his passive confusion. It cannot refuse the usual value system. Olbi uses the equipment of the absurd and Balagan. Jerry is accepted to openly insult Peter, tickles him and pinch, encounters a bench, gives him a clutch, spits in his face, makes lifting the knife abandoned them. Finally, the extreme argument in this fight for contact, the last desperate gesture of the alienated person - Jerry himself hesitated for a knife, who grabbed Peter for the purpose of self-defense. The result, where the normal "I - you" relationships are replaced by the connection of the "killer - the victim", the terrible, absurd. The call to the human communication is permeated with unbelief in the possibility, if not a statement of the impossibility of such otherwise, how through suffering and death. This bad dialecticism of the impossible and inevitable, in which the position of existentialism is distinguished by the philosophical excilation of anti-artism, does not propose a meaningful or formal permission of the dramatic situation and a lot of humanist pathos plays.

• The power of the play, of course, not in an artistic analysis of the alienation as a socio-psychological phenomenon, and in the very picture of this monstrous alienation, which is sharply realized by the subject, which gives the play distinctly tragedy sound. The known conventional and the approximity of this pattern is replenished with merciless satirical chosening of a deaf pseudo-sensitive meshness, brilliantly persimiced in the image of Peter. The tragedy and satirity of the picture shown by Olbi and allows you to make a certain moral lesson.

• However, what happened in the zoo? Throughout the platform, Jerry is trying to tell about the zoo, but every time his feverish thought will fly away. Gradually, an analogy of the zoo and the world is developing from scattered mention, where everything is "fell apart with lattices" from each other. The world is like a prison or as a native - the most characteristic images of modernist literature, outstanding a modern bourgeois intellectual ("We all locked in a single camera of our own skins," says one of the characters of Tennessee Williams). Olbi is the same to all building the play as a question: why people are so separated in America, which cease to understand each other, although they say as if in the same language. Jerry got lost in the jungle of a big city, in the jungle of society, where the incessant struggle is being carried out for surviving. Society is divided by partitions. On one side - landscaped and complacent conformists, such as Peter, with their own small zoo - parrots and cats, which from the "Plants" turns into an "animal", as soon as the strangers encroach on its bench (\u003d property). On the other, the scope of the unfortunate, locked in their camorks and forced to lead a unworthy person, an animal existence. For that Jerry and went to the zoo, to once again, "look like people behave with animals and how animals behave with each other and with people too." He exactly repeated the path of his direct ancestor about the "Nilovsky Kochigar Yanka (" Cosmaya Monkey ", 1922)," Domestic on the collapse of an instinctive working and anarchist, "according to the observation of A. V. Lunacharsky, who threw a barren challenge to the mechanical bourgeois crowd and also tried Understand the measure of human relationship through the inhabitants of the animal. By the way, the expressionist texture of this and other drams about the "Nile of those years gives the key to many moments in Olbi's plays.

• Obvious, but requiring several levels of analysis of the meaningfulness of the metaphorical image of a zoo, deployed throughout the text and collected in a wide and capacious name "The Zoo Story", eliminates the unambiguous answer to the question of what happened in the zoo.

• And the final conclusion from all this "zoological history" is, perhaps, that the face of the dead Jerry - and the playwright is unequivocally hinting at it - inevitably be in front of the eyes of Peter who escaped from the scene of the incident whenever he sees on the television screens or newspaper strip Violence and cruelty, causing at least the flour of conscience, if not a sense of personal responsibility for evil, which is going on in the world. Without this humanistic perspective, suggesting the civil responsiveness of the reader or the viewer, everything that happened in Olbi's play will remain incomprehensible and far-fetched.