Накопление контекстуальных синонимов как средство достижения экспрессивной окраски в английской художественной литературе

Thus, the author of the work sees his ideal relationship between man and the world, or in the distant past, or outside technological civilization, considered a departure from the modern society as natural impulse: «Suddenly we feel again the nostalgia for the old pagan world, we feel an immense yearning to be free from this petty personal entanglement of week life, to be back in the far-off world before men became 'afraid».
In the author's consciousness the countryside is regarded as something whole and plants within it are considered as only one of the constituent elements.
In nature there are both perennial and annual plants, and one of the main principles of nature: «Survival of the fittest». Literally that is strong plants gradually «knock out» a place under the sun, and push the weak ones into the shadows, where they are killed.
In this case, the metonymy is used; within the description of a new life in the countryside, the author notes: «Her family tree was a robust vegetation that had to be stirring and believing».
 Thus, the author demonstrates to the reader that the Winifred`s family becomes «strong plants», which aims up through their active diligence and a strong desire to live.
Then, comparing Winifred`s with Egbert`s family, the author makes it clear at once that the last one is not mentioned at all, that speaks indirectly about its complete insignificance in the life of modern society, and shows the «weakness» of its existence.
Hence the reader can only guess that its existence will come soon collapse, and duration of this kind will stop.
Thus, the author gradually coming to believe that the family is the first instance for introducing a child to a new human world, and it now depends on many things, including mental health. However, for understanding of normal and pathological there is a need to reach macro-processes of cultural and spiritual history of mankind, in which the growing up and developing individual is concerned and which he analyzes.
In this regard, as noted above, the society is compared with the water flow throughout its life. And there are a lot of evidence in folklore, which were expressed in proverbs, such as: «you could not step twice into the same rivers», «to turn the clock back», which is not difficult to understand. Since the water in the river is updated, as well as life is constantly updated. Even if a person wants to, he can`t go back in time where he wants.
The man is only able to correct some of the mistakes he made, but there are those which are irreparable, because they are no longer subject to the time in which a person is at the moment.
You can`t just return the moment in order to correct it: «Perhaps he should not have married and had children. But you can't stop the waters flowing».
In this case, the use of clichés by the author directly emphasizes the relevance of the topic, in this context – it is the result of centuries of their ancestors` experience.
In particular, Egbert was alien labor, logical thinking, caring, domestic problems, because he resists everything that surrounded him - raising children, making money, responsibility.
To emphasize its resistance to this necessary things, the author uses the wind`s describing as a symbol of resistance.
So, describing the episode of Egbert`s sending for the doctor, the author is trying to convey Egbert`s reluctance to leave the nest through the wind`s resistance, the reluctance to admit his guilt and perform someone else's orders: «So Egbert set off on his bicycle through the wind, like a boy sent on an errand, leaving his father-in-law a pillar of assurance, with Winifred».
However, resistance is futile in this case, and the more Egbert resists, the more he will be linked in this living «swamp»: «No sound, nothing but the old dark marsh-venomous atmosphere of the place».
The main character is constantly delaying by its hopelessness and emptiness that is constantly in the air. Obviously for him one thing: once this «swamp» drags on him, as it does not give him the self-development, absorbs his activities, which he is constantly trying to do in order to break free somehow, but he only become bogged down in it further.
The author`s compare of hopelessness and emptiness, through the fighting of cities and villages against the snake shows the reader all that slow and gradual process that penetrated Egbert and obsessed him. Every memory of this process greatly hurts him, but he suffers this pain and prefers to be infected than to find the antidote.
The reference of the protagonist becomes the awareness of the impossibility to confront and the need of drift: «The sense of frustration and futility, like some slow, torpid snake, slowly bit right through his heart. Futility, futility: the horrible marsh-poison went through his veins and killed him». In this case, the lexical repetition of the word «futility» conveys to the reader the feeling of hopelessness, namely the lack of belief in a happy ending.
In this regard, the combination of synecdoche «black sea of death» and hyperbole «the extremity of dissolution» in the example below, reinforce this effect. «Better the terrible work should go forward, the dissolving into the black sea of death, in the extremity of dissolution, than that there should be any reaching back towards life… Let the black sea of death itself solve the problem of futurity. Let the will of man break and give up».
The author emphasizes that if a person does not have the need of something, he does not seek it. If he is full, then it is not a question that you need to cook; if he is rich, it is not a question where to make money. Accordingly, Egbert was fed, dressed, had his house, the contents of which lay on the shoulders of Winifred`s father, and he didn`t care about the work, and about taking care of his family.
The main character was spared from domestic problems and, therefore, did not ask these questions. The author, therefore, reveals to the reader the problems of this situation directly through drawing parallels with the world of nature: «You can't make the columbine flowers nod in January, nor make the cuckoo sing in England at Christmas. Why? It isn't his season. He doesn't want to. Nay, he can't want to».
However, despite this, the protagonist does not want to be dependent, and as the imprisoned in a cage animal, eventually dies, the main character, being dependent permanently breaks loose.
One of the features of the protagonist is also a dual character. Incompatibility of what the reader sees and what's inside - is shocking.
The desire to fight and revolt against the crowd of the new age, remains only in the hero`s mind for unknown reasons, but in reality the protagonist is simply following the flow of life, and therefore floats on it.
Rejecting the resistance, he was passive in terms of the fight, but his eyes said the opposite. The metaphor« his keen blue eyes, that had a touch of the Viking in them» clearly emphasizes internal militancy and intransigence. However, in the real world, he prefers to trust to Winifred`s father, as it was Winifred`s father who "brings firewood, stirs the fire, taking care it is not extinguished."
So the author directly conveys the situation that lap at the time when the young people enjoyed themselves, and they are not interested in all that is happening around, they have entrusted themselves and their lives literally in the hands of Winifred`s father: «And they drew the sustenance for their fire of passion from him, from the old man. It was he who fed their flame».
The author describes the feelings of Egbert and Winifred by comparing «fire of passion», thus trying to convey the feeling that owned them, at the same time emphasizing that it did not represent a love, and in particular that Egbert was unable to be in love.
He was characterized by «animal» feelings and instincts, he was «a child of nature», and love – it is a feeling, which may feel people only. There is something akin to an animal in Egbert.
Thus, the reader is already imagines Winifred as a victim, being weaker than Egbert, who are forced to obey that savagery of its manifestations, which are peculiar to the savage beast, tearing their prey, who realizes the proximity of the end of her life, and calms for ever after excruciating pain. «It was to her as if pure lightning, flash after flash, went through every fibre of her, till extinction came».
After comparing «as if pure lightning, flash after flash» the author reveals the temperament of Egbert, and to be more specific, his affiliation to the type of «choleric», which is characterized by traits such as impulsiveness, lack of balance, the tendency to violent emotional outbursts and sudden shifts mood. It is apparent here to conduct a parallel with natural phenomena like lightning. Winifred desperately hoped to rely on Egbert, to find in it protection and support. But, alas, it was all in vain. And she, left to herself, just die from this freedom, gradually losing hope of a happy life and harmony in their family: «Poor Winifred was like a fish out of water in this liberty ...» A striking example of comparisons «like a fish out of water» tells us that the author in his work includes not only the landscape of flora, but fauna too. Moreover, the given inclusion is deliberate and purposeful.
That passion, which is sometimes occurred between Winifred and Egbert was like a fire that flares up from a tree struck by lightning, which confirms a vivid example of deployed metaphors: «the lightning of passion flashed tremendously between them».
It clearly draws all the suddenness and unpredictability of short duration impulse of feeling to us. It was all established in those moments, as if the problem went to the back, and all became quiet, so we can see it from the author`s narrative structure of the consumed introductory «there»: «And there was blue sky and gorgeousness for a little while». But gradually the situation started to deteriorate again, the relationship between them escalated, came a splash of emotions and feelings like a thunderbolt into the overcast sky.
Due to the alliteration (repetition of the sound) in the example: «And then, as inevitably, as inevitably, slowly the clouds began to edge up again above the horizon, slowly, slowly to lurk about the heavens, throwing an occasional cold and hateful shadow: slowly, slowly to congregate, to fill the empyrean space» the author conveys the gradual emergence of stress, slowing of the events. Over the years, the situation takes on a slightly different turn, that the reader can observe through one of the sketches of the story: «And as the years passed, the lightning cleared the sky more and more rarely, less and less the blue showed».
The heroes are away from each other farther and farther, and the bright feeling which is directly linked at the beginning gradually disappears, that clearly transmitted by using paraphrase «the grey lid sank down upon them» and there is a mutual incompatibility only. It is clear that they can`t come back the old relationship, and there are cold and emptiness in their future: «But-but-oh, the awful looming cloud of that but!-he did not stand firm in the landscape of her life like a tower of strength, like a great pillar of significance».
Thus, time is coming in the reader's eyes and there are clouds in the sky, such a description of suburban life, seemingly insignificant event in life, but it plays a significant role in the events deployment in the literary work «England, My England». So every natural phenomenon itself has its own meaning here.
Clouds symbolize nature`s volatility and its variability, so they can both swim by, or obscure the sun temporarily, it looks like a living, «bright period, dark period».
White fleecy clouds are capable to turn into a huge lead cloud gradually that obscures the failure of the entire sky and symbolizes the time of reckoning`s arrival, and the understanding that a difficult time is coming, and not everybody can emerge victorious from this battle with the human`s fate.
In this case, the metaphor «the fate of clouds» emphasizes the fact that the «clouds» carry a negative connotation, and in turn, due to this stylistic phenomenon as the grading «to pile up, to pile up and fill the heavens and blacken the sun entirely» the reader understands clearly that the fate of Egbert is nearing the final and the outcome is nearby.
In addition to stylistic gradation, the reader becomes an eyewitness of the natural gradation of such synonymous as «cloud – storm-cloud», which suggests that the situation is even worse. After all, the clouds on the horizon indicate the approach of something bad, and if they are hovering over a man, then any storm soon coming, and the reader understands that the climax of the main character`s life is very close and it will be far from joyful.
Egbert`s soul requests to return that native, close to him sense of independence and freedom, the main character seemed suffocating in this new world, and can`t adapt to it and will have to die soon according to the laws of nature.
The presence of the serpent in the story proves once again a close danger: «The presence of unseen snakes». The protagonist is as if on the edge of the abyss, that attracts him and one day he will follow it irretrievably.
Egbert prays for his return to the former. We can clearly observe it through the interweaving of the thematic words and expressions like «His heart went back to the savage old spirit of the place: the desire for old gods, old, lost passions…all the lost, intense sensations of the primeval people of the place, whose passions seethed in the air still, from those long days before the Romans came. The seethe of a lost, dark passion in the air».
It was mentioned above, that the author repeatedly uses comparisons of heroes of this literary works with plants and animals. We`ll understand the importance of some nature`s only after reviewing of all its features.
In this case, it is clear why the author mentions such plants as a gorse. A gorse is a long-lived plant and is recognized as a symbol of hope, faith and optimism. In the story, according to the author, he is living his last years.
The reader understands that there is no hope and we can say that Egbert is doomed. And the presence of heather underlines his loneliness once again: «And he would look again across the common, where the dark, tufted gorse was dying to seed, and the bits of cat-heather were coming pink in tufts, like a sprinkling of sacrificial blood».
The nature itself is preparing for sleep, and the same state is projected to Egbert. This last summer, which casts him of those happy years of his youth, when harmony and passion were dominating.
Last summer which he`ll see, and then go to his eternal rest of oblivion: «This summer still it would flame with blue anchusas and big red poppies, the mulleins would sway their soft, downy erections in the air: he loved mulleins: and the honeysuckle would stream out scent like memory, when the owl was whooing».
And then there's the war. Everyone knows that this word gives one of the first such association as death. Now we`ll see how a flash of lightning start and a hail of enemy bullets crumble. The earth is already resigned to the hopelessness of the situation and waiting for the soldiers which it`ll take into her tender arms like a mother, dying and covering them with his chest.
The author draws it beautifully using the metaphor «the land awaiting death». Reading further and further, we begin to feel the bitter cold: «The afternoon was wintry and cold». The death is very close and its ragged breathing is already heard. But here Egbert gives up again.
The only thing left for Egbert was to rethink his life. To find and remember all good things that had happened to him. To believe in a bright future and hope that the hardships and problems will go away, and the sun comes out again. «The gorse bushes on either hand were dark, but a few sparks of flowers showed yellow». As if Egbert is on the confession of God.
The presence of God the author passes through the wind, as if claiming his presence. «It drew nearer, like some horrible blast of wind; his blood lost consciousness. But in the second of suspension he saw the heavy shell swoop to earth, into the rocky bushes on the right, and earth and stones poured up into the sky». And he sees a bird. But here it carries an image of a negative connotation. It is a kind of harbinger of death, called to take the soul of Egbert.
The death itself has not come yet, but sent a hunter for his soul: «Ah, he had seen the dark bird flying towards him, flying home this time». The time has come! Egbert`s strengths to confront the outside world run out. He no longer wants to fight for his life, it is easier to give up than try to change something. He is ready to give up without a fight, denying himself from the world. «Were they the stars in the dark sky? Was it possible it was stars in the dark sky? Stars? The world? Ah, no, he could not know it! Stars and the world were gone for him, he closed his eyes. No stars, no sky, no world». He is alone, away from everyone. Тhere is nowhere to expect help from. It is impenetrable darkness around that sucks, and there are no strengths as well as no sense to resist it.
God does not allow him to die, but causes him to pass through mental trials, that is to understand what you have done in your entire life: «The soul like the tiniest little light out on a dark sea, the sea of blood. And the light guttering, beating, pulsing in a windless storm, wishing it could go out, yet unable». And having passed the final trial in his life, he leaves this world.
Thus, the detailed confrontation between city and countryside, the rural way of life and the city`s gradually passes through the use of the contextual synonyms` number from creating paintings of nature to the description of the inner hero`s world, and then gradually turns to understanding of what happened as a consequence of this constant struggle between the two spaces.


Summary of Results

The «Evolution» of the protagonist`s life responds to the historical events of that time: to technical progress and the First World War, which are presented in the work as a confrontation between city and countryside, as the two principles that were originally created as the antithesis, and have their own implementation.
Viewed concept in this work is informative opposition of «own – others», «real – unreal», «safe – dangerous», «creation – destruction», and affects valuation, utilitarian and regulatory areas of the concept`s interpretive field «countryside».
There is a bright drawing of «nature`s» clash that is suburban life and its variations with a «mechanization» - that is an urbanization.
The protagonist is like a «fighter» against the progress, and he is represented by the author through the use of landscape sketches and drawing parallels between him and the nature with its peculiar elements.
The overall score – is an indispensable element of any statements as an object of such phenomena and objects comparison, an important element of a subjective perception`s reflection.
Utilitarian area of the used conceptual synonyms combines cognitive signs which express the utilitarian, pragmatic attitude of people to the conceptualized phenomenon, and which reflect the knowledge associated with the ability and features to use an object or phenomenon in human beings for any practical purposes.
While differentiating synonyms in this work a stylistic point firstly appears, then more significant differences are found. As we can see, synonyms, referring to the same thing, always have something different. However, these differences necessarily involve their nominative common, that defines the basic features of synonyms, can be replaced by one word with another in certain contexts.
The image of the world in this work appears in various acts of disposition, sense of the world, outlook, worldview, outlook, in acts of human`s being, in the acts of action, which is due to natural, social, and psychological circumstances that are implemented in the reader's mind together, folding of the individual successive episodes into a coherent picture.
The author`s and readers` picture of the world act as a form of different culture`s representatives, urban or rural in this case, which focus the surrounding reality within the people`s mind.





















Conclusion

Synonyms help to understand directly how the human mind is reflected in the language. Therefore, the use of associative methods in the analysis of the literature works` discourse is an important tool for analyzing the capacity of a language to represent manifestations of linguistic consciousness, as well as lead to a metaphorical interpretation of reality, creates a frame model, first of all, of some national-cultural situations through which elements of national identity, as well as national assessment and preferences are manifested.
The nature of synonyms is twofold: on the one hand, those are the words that represent the same and on the other hand – those are word, that are different in something. This dual nature of synonyms is the basis of their use in speech. In some cases, there is used primarily their semantic identity (or very close resemblance), others focus on the difference. Finally, in some cases both sides are taken: semantic proximity and difference.
The work discusses such important phenomena of synonyms as compatibility and interchangeability of words. Every word in synonymous row should be synonymous not only to the main word, but to the rest of words in the group.
This means that - at least any meaning must be a characteristic of all synonymous row`s members.
Synonyms` stylistic features are various. The community of synonyms` meaning allows to use one word instead of another that will diversify language and provides the opportunity to avoid annoying use of the same words.
Thus, as it has been motioned, the words in synonymic row, that is the narrowest thematic isolation of words, are always limited by the membership to one lexical-grammatical category of words, to the same part of speech, but there is no a complete identity between synonymous, they differ in stylistic coloring and shades of meaning.
The protagonist is gradually hampered by the offensive of «industrial countryside», which tends to make him its slave, «slave to the countryside», while the suburban life was for him as the epitome of domesticity and comfort: «country family», «country home».
Using this contrast, the author shows us how one state of the space flows into another through the protagonist: «So Egbert and she must have a tiny flat in town, and the young couple must transfer themselves from time to time from the country to the city».
In summary, he states that new developments have destroyed old and familiar world of suburban residents: «The country was all pleasant, war had not yet trampled it. Only the air seemed shattered, and the land awaiting death. It was a small, unimportant action in which he was engaged».
The bright synonymy of modern English language – is one of the evidences of his vocabulary wealth and gives the opportunity to express the subtlest thoughts, evaluating the possibility to diversify language, makes the language figurative, effective and expressive.
In this work the author`s characteristics of contextual synonymous rows of «countryside» is most clearly reflected in the comparison of territorial relatedness` states like «homeland - foreign land», «own side – unfamiliar side», «city – village», «peace – war».
The specificity of surveyed forms of the concept`s expression is that they concentrate the most important aspects of human being. The most important human relationships in the world refracted in such states as "live", "drive", "work", "act". The main parameters are the parameters of time and space, which constitute a pivotal importance in the verbalization of the internal state of the main character, as well as their perception of those events that is rapidly burst into the life of this country space.
Bright colors, which are formed under the influence of the use of contextual synonyms allow the author to use a very wide range of tools for detailed conditions that pass from one to another.
They occur initially through the description of natural phenomena, the internal senses of the hero and complete tabulation of the processes that took place with the heroes - the villagers in the process of change in their usual way.
Contents

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