Read the Following Lines of Dialogue Spoken by Dr. Warren and Johnny in Chapter Vi
As it is articulate from the title of the chapter, the stylistic use of phonemes and their graphical representation will exist viewed here. Dealing with diverse cases of phonemic and graphemic foregrounding we should not forget the unilateral nature of a phoneme: this language unit helps to differentiate meaningful lexemes but has no meaning of its own. Cf.: while unable to speak about the semantics of [ou], [ju:], we acknowledge
their sense-differentiating significance in "sew" [sou] шить and "sew" [sju:] спускать воду; or [au], [ou] in "bow" бант, поклон etc.
Still, devoid of denotational or connotational meaning a phoneme, according to recent studies,* has a strong associative and sound-instrumenting ability. Well-known are numerous cases of onomatopoeia - the apply of words whose sounds imitate those of the signified object or action, such as "hiss", "bowwow", "murmur", "bump", "mumble", "sizzle" and many more than.
Imitating the sounds of nature, man, inanimate objects, the acoustic class of the discussion foregrounds the latter, inevitably emphasizing its meaning too. Thus the phonemic structure of the word proves to be important for the creation of expressive and emotive connotations. A message, containing an onomat-opoeic give-and-take is not limited to transmitting the logical informa-tion only, but also supplies the vivid portrayal of the situation described.
Verse abounds in some specific types of sound-instrument-ing, the leading office belonging to alliteration - the repetition of consonants, normally in the starting time of words, and asson-ance - the repetition of similar vowels, ordinarily in stressed syllables. They both may produce the effect of euphony (a sense of ease and comfort in pronouncing or hearing) or cacophony (a sense of strain and discomfort in pronouncing or hearing). As an example of the first may serve the famous lines of E. A. Poe:
...silken sorry uncertain
rustling of each imperial curtain...
An example of the 2d is provided by the unspeakable combination of sounds plant in R. Browning:
Nor soul helps flesh now more than than flesh helps soul.
To create boosted information in a prose soapbox sound-instrumenting is seldom used. In contemporary advertising, mass media and, above all, creative prose sound is foregrounded mainly through the change of its accepted graphical repre-sentation. This intentional violation of the graphical shape of a give-and-take (or word combination) used to reflect its pronunciation is chosen graphon.
* See, e.one thousand. Воронин С. В. Основы фоносемантики. Л., 1982, where the author lays foundations for a new linguistic discipline - phonosemantics, claiming symbolic relevance of sound for naming objects.
Graphons, indicating irregularities or carelessness of pronunciation were occasionally introduced into English language novels and journalism every bit early every bit the starting time of the eighteenth century and since so have caused an ever growing frequency of usage, popularity amidst writers, journalists, advertizers, and a continuously widening scope of functions. Graphon proved to be an extremely concise only effective means of supplying information about the speaker's origin, social and educational background, physical or emotional condition, etc. And then, when the famous Thackeray's character-butler Yellowplush - impresses his listeners with the learned words pronouncing them as "sellybrated" (historic), "benny-violent" (benevolent), "illygitmit" (illegitimate), "jewinile" (juvenile), or when the no less famous Mr. Babbitt uses "pee-rading" (parading), "Eytalians" (Italians), "peepul" (people)-the reader obtains not only the vivid image and the social, cultural, educational characteristics of the personages, but also both Thackeray'south and Due south. Lewis' sarcastic attitude to them.
On the other hand, "The b-b-b-b-bas-tud-he seen me c-c-c-c-com-ing" in R. P. Warren'southward Sugar Boy'southward speech communication or "Yous don't mean to thay that thith ith your firth time" (D.C.) show the physical defects of the speakers - the stumbling of one and the lisping of the other.
Graphon, thus individualizing thecharacter'southward oral communication, adds to his plausibility, vividness, memorability. At the same fourth dimension, graphon is very proficient at conveying the atmosphere of authentic alive communication, of the informality of the speech act. Some confederate forms, which are the upshot of strong absorption, became cliches in gimmicky prose dialogue: "gimme" (give me), "lemme" (let me), "gonna" (going to), "gotta" (got to), "coupla" (couple of), "mighta" (might have), "willya" (will you lot), etc.
This flavour of informality and actuality brought graphon
popularity with advertizers. Big and modest eating places invite customers to nourish their "Pik-kwik shop", or "The Donut (doughnut) Identify", or the "Rite Breadstuff Shop", or the "Wok-in Fast Nutrient Eating place", etc. The same is true about newspaper, poster and Television advertising: "Sooper Class Model" cars, "Articulatio genus-hi" socks, "Rite Aid" medicines. A recently published book on Cockney was entitled past the authors "The Muvver Tongue",* on back flaps of big freight-cars one tin can read "Folio me", etc. Graphical changes may reflect not merely the peculiarities
* Baltrop, R., Wolveridge, J. The Muvver Natural language. London, 1980.
of pronunciation, but are also used to convey the intensity of the stress, emphasizing and thus foregrounding the stressed words. To such purely graphical ways, not involving the viola-tions, nosotros should refer all changes of the blazon (italics, capi-talization), spacing of graphemes (hyphenation, multiplication) and of lines. The latter was widely exercised in Russian verse by V. Mayakovsky, famous for his "steps" in poetry lines, or A. Voznesensky. In English the most often referred to "graphic-al imagist" was East. Due east. Cummings.
Co-ordinate to the frequency of usage, variability of functions, the starting time identify amid graphical means of foregrounding is occupied past italics. As well italicizing words to add together to their logical or emotive significance, separate syllables and morphemes may also exist emphasized by italics (which is highly characteristic of D. Salinger or T. Capote). Intensity of voice communication (often in commands) is transmitted through the multiplication of a grapheme or capitalization of the word, as in Babbitt'southward shriek "Аlllll aboarrrrrd", or in the desperate appeal in A. Huxley's Dauntless New Earth-"Help.Help. HELP." Hyphena-tion of a word suggests the rhymed or clipped manner in which it is uttered as in the humiliating comment from Fl. O'Connor'south story-"grinning similar a chim-pan-zee".
Summing upwardly the advisory options of the graphical arrangement of a word (a line, a discourse), one sees their varied application for re-creating the individual and social peculiarities of the speaker, the atmosphere of the communi-cation act-all aimed at revealing and emphasizing the author'south viewpoint.
Assignments for Self-Control
1. What is audio-instrumenting?
2. What cases of sound-instrumenting exercise you know?
iii. What is graphon?
4. What types and functions of graphon do you know?
5. What is accomplished past the graphical changes of writing-
its type, the spacing of graphemes and lines?
6. Which phono-graphical means are predominantly used in
prose and which ones in poetry?
EXERCISES
I. Betoken the causes and effects of the following cases of alliteration, assonance and onomatopoeia:
1. Streaked by a quarter moon, the Mediterranean shushed gently into the beach. (I. Sh.)
2. He swallowed the hint with a gulp and a gasp and a grin.
(R. G.)
3. His wife was shrill, languid, handsome and horrible.
(Sc. F.)
4. The fair breeze blew, the white cream flew,
The furrow followed gratis. (Southward. C.)
5. The Italian trio tut-tutted their tongues at me. (T. C.)
half-dozen. You, Jean, long, lanky board of a lousy bounder! (O'C.)
7. To sit in solemn silence in a deadening dark dock,
In a pestilential prison house, with a life-long lock,
Awaiting the sensation of a short, sharp stupor
From a inexpensive and chippy chopper on a large black block. (Westward. C.)
eight. They all lounged, and loitered, and slunk most, with as
little spirit or purpose as the beasts in a menagerie. (D.)
9. "Luscious, languid and lustful, isn't she?"
"Those are not the correct epithets. She is-ог rather was surly, lustrous and sadistic." (E. West.)
x. Then, with an enormous, shattering rumble, sludge-
puff, sludge-puff, the train came into the station. (A. South.)
xi. "Sh-sh."
"Just I am whispering." This continual shushing an-noyed him. (A. H.)
12. Twinkle, twinkle, little star,
How I wonder what you are.
Up above the world so high,
Similar a diamond in the heaven. (Ch. R.)
13. Dreadful young creatures-squealing and squawking. (C.)
14. The quick crackling of dry out woods aflame cut through the night. (St. H.)
fifteen. Here the pelting did non fall. It was stopped high higher up by that roof of dark-green shingles. From there it dripped down slowly, foliage to leaf, or ran down the stems and branches. Despite the heaviness of the downpour which at present purred loudly in their ears from just outside, here there was only a low rustle of slow occasional dripping. (J.)
Two. Indicate the kind of boosted information well-nigh the speaker supplied by graphon:
1. "Hey," he said, inbound the library. "Where'south the heart section?"
"The what?"
He had the thickest sort of southern Negro dialect and the only word that came clear to me was the i that sounded like center.
"How do you spell it," I said.
"Center, Homo, pictures. Drawing books. Where yous got them?"
"Y'all mean art books? Reproductions?" He took my polysyllabic discussion for it. "Yea, they's them." (Ph. R.)
two. "It don't take no nerve to do somepin when there ain't
nothing else you can do. We own't gonna dice out. People is
goin' on-changin' a little may be-only goin' right on." (J. St.)
3. "And remember, Mon-sewer O'Hayer says y'all got to
straighten up this mess sometime today." (J.)
iv. "I fifty-fifty heard they demanded sexual freedom. Yes, sir,
Sex-You lot-All liberty." (J. K.)
5. "Ye've a duty to the public don'tcher know that, a duty
to the bang-up English public?" said George reproachfully.
"Here, lemme handle this, kiddar," said Tiger. "Gorra maintain forcefulness, you," said George. "Ah'm fightin' fit," said Tiger. (Southward. Ch.)
6. "Oh, that'south information technology, is information technology?" said Sam. "I was afeerd, from
his manner, that he might ha' forgotten to accept pepper with
that 'ere last cowcumber he et. Set down, sir, ve make no
extra accuse for the settin' down, equally the king remarked when
he blowed upwardly his ministers." (D.)
7. "Well, I dunno. I'll bear witness you summat." (St. B.)
8. "De erstwhile Foolosopher, like Hickey calls yarn, ain't
yuh?" (O'N.)
9. "I had a coach with a petty seat in fwont with an iwon
wail for the dwiver." (D.)*
x. "The Count," explained the German language officer, "expegs
you lot chentlemen at eight-dirty." (С. Н.)
11. Said Kipps one day, "As'e-I should say, ah, has'east...
Ye know, I got a lot of difficulty with them two words, which
is which."
"Well, 'as' is a conjunction, and 'has' is a verb." "I know," said Kipps, "but when is 'has' a conjunction, and when is 'equally' a verb?" (H. Westward.)
12. Wilson was a piffling injure. "Listen, male child," he told him.
"Ah may not be able to read eve'thin' so good, but they ain't
a affair Ah can't do if Ah set up mah mind to it." (North. Yard.)
* The affected manner of Lord Muttonhead's pronunciation was well preserved in the Russian translation of the Pickwick Papers: «...с гешеткой впегеди для кучега».
III. Think of the causes originating graphon (immature historic period, a physical defect
of speech, lack of education, the influence of dialectal norms, affectation,
intoxication, carelessness in spoken language, etc.):
1. He began to render the famous tune "I lost my eye
in an English garden, Just where the roses of England grow"
with much feeling:
"Ah-ee last mah-ee hawrt een ahn Angleesh gawrden, Jost whahr thah rawzaz ahv Angland graw." (H. C.)
2. She mimicked a lisp: "I don't weally know wevver I'm
a skillful daughter. The last matter he'll do would exist to be mixed with
a howwid woman." (J. Br.)
3. "All the hamlet dogs are no-'count mongrels, Papa
says. Fish-gut eaters and no course a-alpine; this here dog, he
got insteek." (К. К.)
iv. "My daddy's coming tomorrow on a nairplane." (S.)
5. After a hum a beautiful Negress sings "Without a song,
the dahay would nehever stop." (U.)
6. "Oh, well, then, you just trot over to the table and
make your picayune mommy a gweat big dwink." (E. A.)
7. "I allus remember me man sayin' to me when I passed
me scholarship—'You break 1 o'my winders an' I'll skin ye
live'." (St. B.)
8. He spoke with the flat ugly "a" and withered "r" of
Boston Irish, and Levi looked up at him and mimicked "All
correct, I'll requite the caaads a break and staaat playing." (Due north. K.)
9. "Whereja go all these pictures?" he said. "Meetcha at
the corner. Wuddaya think she's doing out there?" (S.)
x. "Lookat him get. D'javer run across him walk habitation from school?
You're French Canadian, aintcha?" (J. K.)
4. State the part of graphon in captions, posters, advertisements,
etc. repeatedly used in American press, Tv, roadside advertizing:
1. Weather forecast for today: Hello 59, Lo 32, Wind lite.
2. We recommend a Sixty-seconds repast-Steak-Umm.
three. Choose the plane with "Finah Than Dinah" on its side.
four. Best jeans for this Jeaneration.
v. Follow our advice: Drinka Pinta Milka Solar day.
6. Terry's Floor Fashions: We make 'em-you walk on 'em.
7. Our offering is S 15.00 per WK.
8. Thanx for the buy.
9. Ev'ybody uses our wunnerful Rackfeed Drills.
V. Analyse the post-obit extract from Artemus Ward:*
"Sit down, my fren'; sed the man in black shut; "yu mis
komprehend me. I meen that the perlitercal ellermunts are orecast with blackness klouds, 4 boden a friteful tempest."
"Wall," replide I, "in regard to perlittercal ellerfunts i don't know as how but what they is as practiced as enny other kind of ellerfunts. But i maik assuming to say thay is all a ornery set and unpleasant to hav round. They air powerful hevy eaters and take up a right smart chans of room."
The man in black close rusht up to me and sed, "How dair yu insult my neece, yu horey heded vagabone? Yu base exhibbiter of low wax figgers - you woolf in sheep's close," and sow 4th.
VI. State the functions and the type of the following graphical expressive means:
1. Piglet, sitting in the running Kanga's pocket, substi-
tuting the kidnapped Roo, thinks:
this shall take
"If is I never to
flying actually information technology." (Yard.)
two. Kiddies and grown-ups also-oo-oo
We haven't enough to do-oo-oo. (R. Chiliad.)
iii. "Hey," he said "is it a goddamn cardroom? or a latrine?
Attensh—HUT! Da-ress correct! DHRESS! (J.)
4. "When Will's ma was downwards hither keeping house for him-
she used to run in to run across me, real often." (S. L.)
5. He missed our father very much. He was s-1-a-i-northward in
North Africa. (S.)
6. His vocalization began on a medium key, and climbed steadily
up till information technology reached a sure signal, where it bore with stiff
accent upon the topmost word, and then plunged downwardly equally if
from a leap board:
beds
flowery
on
skies
the
to
carried
exist
I
Shall of ease,
* Artemus Ward is the pseudonym of C. F. Browne (1834-67), well known for his record of the imaginary adventures of an itinerant half-literate showman.
Claret
throu'
sailed
and
prize
the
toe
fought
others
Whilst у seas? (M. T.)
7. "We'll teach the children to expect at things. Don't let
the globe pass you by, I shall tell them. For the sun, I shall
say, open your eyes for that laaaarge dominicus " (A. W.)
viii. "Now listen, Ed, terminate that, at present. I'thou desperate. I am
drastic, Ed, practice you hear?" (Dr.)
9. "Adieu you lot, one-time homo, grey. I pity you, and I de-spise
you." (D.)
10. "ALL our troubles are over, one-time girl," he said fondly.
"We can put a bit by now for a rainy day." (Due south. M.)
Every bit it is clear from the title of the chapter, the stylistic use of phonemes and their graphical representation volition be viewed here. Dealing with various cases of phonemic and graphemic foregrounding we should not forget the unilateral nature of a phoneme: this linguistic communication unit of measurement helps to differentiate meaningful lexemes just has no meaning of its ain. Cf.: while unable to speak about the semantics of [ou], [ju:], we admit
their sense-differentiating significance in "stitch" [sou] шить and "sew" [sju:] спускать воду; or [au], [ou] in "bow" бант, поклон etc.
Still, devoid of denotational or connotational meaning a phoneme, according to recent studies,* has a potent associative and sound-instrumenting ability. Well-known are numerous cases of onomatopoeia - the use of words whose sounds imitate those of the signified object or activeness, such as "hiss", "bowwow", "murmur", "crash-land", "mumble", "sizzle" and many more.
Imitating the sounds of nature, man, inanimate objects, the acoustic form of the word foregrounds the latter, inevitably emphasizing its significant likewise. Thus the phonemic structure of the give-and-take proves to be of import for the creation of expressive and emotive connotations. A message, containing an onomat-opoeic word is not limited to transmitting the logical informa-tion only, simply likewise supplies the vivid portrayal of the situation described.
Poetry abounds in some specific types of audio-instrument-ing, the leading role belonging to ingemination - the repetition of consonants, usually in the beginning of words, and asson-ance - the repetition of similar vowels, commonly in stressed syllables. They both may produce the consequence of euphony (a sense of ease and comfort in pronouncing or hearing) or cacophony (a sense of strain and discomfort in pronouncing or hearing). Every bit an instance of the first may serve the famous lines of E. A. Poe:
...silken sad uncertain
rustling of each purple drapery...
An instance of the 2nd is provided by the unspeakable combination of sounds found in R. Browning:
Nor soul helps flesh now more than flesh helps soul.
To create additional information in a prose soapbox sound-instrumenting is seldom used. In contemporary advertisement, mass media and, in a higher place all, creative prose audio is foregrounded mainly through the change of its accepted graphical repre-sentation. This intentional violation of the graphical shape of a word (or word combination) used to reflect its pronunciation is called graphon.
* See, eastward.k. Воронин С. В. Основы фоносемантики. Л., 1982, where the writer lays foundations for a new linguistic subject - phonosemantics, challenge symbolic relevance of sound for naming objects.
Graphons, indicating irregularities or carelessness of pronunciation were occasionally introduced into English language novels and journalism as early on as the commencement of the eighteenth century and since then have acquired an ever growing frequency of usage, popularity among writers, journalists, advertizers, and a continuously widening scope of functions. Graphon proved to be an extremely concise but constructive means of supplying data nigh the speaker's origin, social and educational background, physical or emotional condition, etc. So, when the famous Thackeray's graphic symbol-butler Yellowplush - impresses his listeners with the learned words pronouncing them every bit "sellybrated" (celebrated), "benny-violent" (benevolent), "illygitmit" (illegitimate), "jewinile" (juvenile), or when the no less famous Mr. Babbitt uses "pee-rading" (parading), "Eytalians" (Italians), "peepul" (people)-the reader obtains not merely the brilliant image and the social, cultural, educational characteristics of the personages, but also both Thackeray's and S. Lewis' sarcastic attitude to them.
On the other hand, "The b-b-b-b-bas-tud-he seen me c-c-c-c-com-ing" in R. P. Warren'southward Sugar Boy's speech or "Yous don't mean to thay that thith ith your firth time" (D.C.) show the physical defects of the speakers - the stumbling of one and the lisping of the other.
Graphon, thus individualizing thecharacter'due south voice communication, adds to his plausibility, vividness, memorability. At the same time, graphon is very good at conveying the atmosphere of authentic live communication, of the informality of the speech deed. Some confederate forms, which are the result of strong absorption, became cliches in contemporary prose dialogue: "gimme" (requite me), "lemme" (allow me), "gonna" (going to), "gotta" (got to), "coupla" (couple of), "mighta" (might have), "willya" (volition you), etc.
This flavour of informality and authenticity brought graphon
popularity with advertizers. Large and small eating places invite customers to attend their "Pik-kwik shop", or "The Donut (doughnut) Place", or the "Rite Bread Shop", or the "Wok-in Fast Food Restaurant", etc. The same is true about newspaper, poster and TV advertizing: "Sooper Class Model" cars, "Genu-hi" socks, "Rite Aid" medicines. A recently published book on Cockney was entitled past the authors "The Muvver Tongue",* on dorsum flaps of big freight-cars ane can read "Folio me", etc. Graphical changes may reflect not only the peculiarities
* Baltrop, R., Wolveridge, J. The Muvver Tongue. London, 1980.
of pronunciation, but are also used to convey the intensity of the stress, emphasizing and thus foregrounding the stressed words. To such purely graphical means, not involving the viola-tions, we should refer all changes of the type (italics, capi-talization), spacing of graphemes (hyphenation, multiplication) and of lines. The latter was widely exercised in Russian poetry by V. Mayakovsky, famous for his "steps" in poesy lines, or A. Voznesensky. In English the most often referred to "graphic-al imagist" was East. East. Cummings.
According to the frequency of usage, variability of functions, the first place amidst graphical means of foregrounding is occupied by italics. Also italicizing words to add together to their logical or emotive significance, separate syllables and morphemes may also be emphasized past italics (which is highly characteristic of D. Salinger or T. Capote). Intensity of speech (often in commands) is transmitted through the multiplication of a grapheme or capitalization of the word, every bit in Babbitt's shriek "Аlllll aboarrrrrd", or in the desperate appeal in A. Huxley's Brave New World-"Aid.Help. Aid." Hyphena-tion of a word suggests the rhymed or clipped manner in which it is uttered as in the humiliating annotate from Fl. O'Connor's story-"grinning similar a chim-pan-zee".
Summing upward the informational options of the graphical organisation of a discussion (a line, a soapbox), one sees their varied application for re-creating the individual and social peculiarities of the speaker, the atmosphere of the communi-cation human action-all aimed at revealing and emphasizing the author's viewpoint.
Assignments for Self-Control
1. What is audio-instrumenting?
2. What cases of audio-instrumenting practice you know?
3. What is graphon?
four. What types and functions of graphon do you know?
five. What is achieved past the graphical changes of writing-
its type, the spacing of graphemes and lines?
6. Which phono-graphical means are predominantly used in
prose and which ones in poetry?
EXERCISES
I. Bespeak the causes and effects of the following cases of alliteration, assonance and onomatopoeia:
1. Streaked by a quarter moon, the Mediterranean shushed gently into the beach. (I. Sh.)
two. He swallowed the hint with a gulp and a gasp and a grin.
(R. K.)
3. His wife was shrill, languid, handsome and horrible.
(Sc. F.)
4. The fair breeze blew, the white foam flew,
The furrow followed free. (S. C.)
v. The Italian trio tut-tutted their tongues at me. (T. C.)
6. You, Jean, long, lanky lath of a lousy bastard! (O'C.)
7. To sit in solemn silence in a tedious dark dock,
In a pestilential prison house, with a life-long lock,
Awaiting the sensation of a brusque, precipitous stupor
From a cheap and chippy chopper on a big black cake. (Westward. C.)
8. They all lounged, and loitered, and slunk nigh, with equally
piddling spirit or purpose as the beasts in a menagerie. (D.)
9. "Luscious, languid and lustful, isn't she?"
"Those are not the correct epithets. She is-ог rather was surly, lustrous and sadistic." (E. W.)
10. Then, with an enormous, shattering rumble, sludge-
puff, sludge-puff, the railroad train came into the station. (A. S.)
11. "Sh-sh."
"But I am whispering." This continual shushing an-noyed him. (A. H.)
12. Twinkle, twinkle, little star,
How I wonder what you are.
Up above the earth so loftier,
Like a diamond in the sky. (Ch. R.)
13. Dreadful young creatures-squealing and squawking. (C.)
14. The quick crackling of dry wood aglow cutting through the night. (St. H.)
15. Here the rain did not fall. Information technology was stopped high above by that roof of greenish shingles. From there information technology dripped down slowly, foliage to leafage, or ran down the stems and branches. Despite the heaviness of the downpour which now purred loudly in their ears from but outside, hither there was only a depression rustle of irksome occasional dripping. (J.)
II. Indicate the kind of additional data about the speaker supplied by graphon:
1. "Hey," he said, entering the library. "Where'due south the center section?"
"The what?"
He had the thickest sort of southern Negro dialect and the only discussion that came articulate to me was the i that sounded like center.
"How do you lot spell it," I said.
"Heart, Man, pictures. Drawing books. Where you lot got them?"
"You hateful fine art books? Reproductions?" He took my polysyllabic word for it. "Yea, they'south them." (Ph. R.)
2. "It don't take no nerve to do somepin when in that location ain't
zippo else yous can do. We ain't gonna dice out. People is
goin' on-changin' a little may be-only goin' correct on." (J. St.)
3. "And remember, Mon-sewer O'Hayer says you lot got to
straighten up this mess sometime today." (J.)
4. "I even heard they demanded sexual freedom. Yes, sir,
Sex activity-Yous-All freedom." (J. K.)
5. "Ye've a duty to the public don'tcher know that, a duty
to the neat English public?" said George reproachfully.
"Hither, lemme handle this, kiddar," said Tiger. "Gorra maintain strength, you," said George. "Ah'grand fightin' fit," said Tiger. (S. Ch.)
6. "Oh, that's it, is it?" said Sam. "I was afeerd, from
his manner, that he might ha' forgotten to take pepper with
that 'ere last cowcumber he et. Set downward, sir, ve make no
extra charge for the settin' down, equally the king remarked when
he blowed upward his ministers." (D.)
vii. "Well, I dunno. I'll show you lot summat." (St. B.)
eight. "De old Foolosopher, similar Hickey calls yarn, own't
yuh?" (O'N.)
9. "I had a coach with a little seat in fwont with an iwon
wail for the dwiver." (D.)*
10. "The Count," explained the German officer, "expegs
you chentlemen at viii-dirty." (С. Н.)
11. Said Kipps one day, "Equally'e-I should say, ah, has'e...
Ye know, I got a lot of difficulty with them two words, which
is which."
"Well, 'as' is a conjunction, and 'has' is a verb." "I know," said Kipps, "but when is 'has' a conjunction, and when is 'as' a verb?" (H. Due west.)
12. Wilson was a little hurt. "Listen, boy," he told him.
"Ah may not be able to read eve'sparse' and so good, but they ain't
a matter Ah can't exercise if Ah fix mah heed to information technology." (N. M.)
* The afflicted manner of Lord Muttonhead's pronunciation was well preserved in the Russian translation of the Pickwick Papers: «...с гешеткой впегеди для кучега».
3. Call back of the causes originating graphon (young age, a physical defect
of speech, lack of education, the influence of dialectal norms, affectation,
intoxication, abandon in speech, etc.):
1. He began to render the famous melody "I lost my heart
in an English garden, Just where the roses of England grow"
with much feeling:
"Ah-ee last mah-ee hawrt een ahn Angleesh gawrden, Jost whahr thah rawzaz ahv Angland graw." (H. C.)
two. She mimicked a lisp: "I don't weally know wevver I'm
a good girl. The last affair he'll do would exist to be mixed with
a howwid woman." (J. Br.)
3. "All the hamlet dogs are no-'count mongrels, Papa
says. Fish-gut eaters and no class a-tall; this hither dog, he
got insteek." (К. К.)
four. "My daddy's coming tomorrow on a nairplane." (Due south.)
5. After a hum a beautiful Negress sings "Without a song,
the dahay would nehever end." (U.)
vi. "Oh, well, so, you simply trot over to the table and
brand your trivial mommy a gweat big dwink." (E. A.)
7. "I allus recall me homo sayin' to me when I passed
me scholarship—'You break i o'my winders an' I'll skin ye
alive'." (St. B.)
8. He spoke with the flat ugly "a" and withered "r" of
Boston Irish, and Levi looked up at him and mimicked "All
correct, I'll give the caaads a pause and staaat playing." (N. One thousand.)
9. "Whereja go all these pictures?" he said. "Meetcha at
the corner. Wuddaya think she's doing out there?" (S.)
10. "Lookat him get. D'javer see him walk abode from schoolhouse?
You lot're French Canadian, aintcha?" (J. K.)
IV. Land the function of graphon in captions, posters, advertisements,
etc. repeatedly used in American printing, Television, roadside advertizing:
i. Conditions forecast for today: Hi 59, Lo 32, Wind lite.
two. We recommend a 60-seconds meal-Steak-Umm.
3. Choose the airplane with "Finah Than Dinah" on its side.
4. Best jeans for this Jeaneration.
5. Follow our advice: Drinka Pinta Milka Mean solar day.
vi. Terry's Floor Fashions: We make 'em-y'all walk on 'em.
vii. Our offer is S 15.00 per WK.
eight. Thanx for the buy.
9. Ev'ybody uses our wunnerful Rackfeed Drills.
V. Analyse the following extract from Artemus Ward:*
"Sit down, my fren'; sed the man in black close; "yu mis
komprehend me. I meen that the perlitercal ellermunts are orecast with black klouds, 4 boden a friteful tempest."
"Wall," replide I, "in regard to perlittercal ellerfunts i don't know equally how just what they is as practiced as enny other kind of ellerfunts. But i maik bold to say thay is all a ornery set and unpleasant to hav circular. They air powerful hevy eaters and accept upward a correct smart chans of room."
The man in black close rusht upward to me and sed, "How dair yu insult my neece, yu horey heded vagabone? Yu base exhibbiter of low wax figgers - yous woolf in sheep's close," and sow quaternary.
VI. State the functions and the type of the following graphical expressive ways:
1. Piglet, sitting in the running Kanga'southward pocket, substi-
tuting the kidnapped Roo, thinks:
this shall take
"If is I never to
flight really it." (Grand.)
two. Kiddies and grown-ups besides-oo-oo
Nosotros haven't enough to exercise-oo-oo. (R. K.)
3. "Hey," he said "is it a goddamn cardroom? or a latrine?
Attensh—HUT! Da-ress right! DHRESS! (J.)
4. "When Will'southward ma was down hither keeping house for him-
she used to run in to see me, real often." (S. L.)
five. He missed our father very much. He was southward-one-a-i-north in
North Africa. (S.)
6. His voice began on a medium key, and climbed steadily
up till it reached a certain betoken, where information technology bore with strong
emphasis upon the topmost give-and-take, then plunged downwards as if
from a spring board:
beds
flowery
on
skies
the
to
carried
be
I
Shall of ease,
* Artemus Ward is the pseudonym of C. F. Browne (1834-67), well known for his record of the imaginary adventures of an itinerant half-literate showman.
Blood
throu'
sailed
and
prize
the
toe
fought
others
Whilst у seas? (Thou. T.)
seven. "We'll teach the children to look at things. Don't let
the world pass you by, I shall tell them. For the sun, I shall
say, open your eyes for that laaaarge dominicus " (A. W.)
viii. "Now listen, Ed, finish that, now. I'm desperate. I am
drastic, Ed, do y'all hear?" (Dr.)
9. "Bye you, former man, grey. I pity you, and I de-spise
yous." (D.)
10. "ALL our troubles are over, old girl," he said fondly.
"We tin can put a bit by at present for a rainy day." (S. Chiliad.)
Source: https://studopedia.ru/10_223368_Sound-Instrumenting-Graphon-Graphical-Means.html
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