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The role of epithet in the novel “Sense and sensibility” by Jane Austen

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The role of epithet in the novel “Sense and sensibility” by Jane Austen 1BITIRUV MALAKAVIYBITIRUV MALAKAVIY ISHIISHI

CONTENT INTRODUCTION ……………………………………………………………. 3 CHAPTER I Basic characteristics of romanticism ………………………. 6 1.1 Romantizm In English Literature……………………………………….…… 8 1.2 Jane Auston, her works, styles and themes ….…………………………. 12 1.3 Notion of epithets, its types in English language……………………………..21 CHAPTER II The usage of epithet in “Sense and Sensibility” by Jane Austen 2.1 Jane Austen’s writing style and theme ………………………………….… 28 2.2 Analyze of epithet functioning in the literary texts ………………………. 38 2.3 Epithets and their role in creation of portrait images in «Sense and sensibility» by Jane Austen …………………………………………………… 45 Conclusion……………………………………………………………………… 52 Used literature …………………………………………………………………. 56 2

INTRODUCTION Actuality of the theme . Our Republic was faced with the necessity of creating new legislation corresponding with new realities, with the conditions of Independence after the Independence was proclaimed and the Parliament coped with this task, there have been adopted new Laws and new Resolutions. On December 10, 2012 President of the Republic of Uzbekistan Islam Karimov signed a decree “On measures to further improvement of foreign language learning system”. 1 It is noted that in the framework of the Law of the Republic of Uzbekistan “On education” and the National Programme for Training in the country, a comprehensive foreign languages’ teaching system, aimed at creating harmoniously developed, highly educated, modern-thinking young generation, further integration of the cou

System” dated from 8 May 2013; The resolution No 4947 of the President of Uzbekistan “Strategies of Development of the Republic of Uzbekistan on Five Priority Directions for 2017 - 2021 years ” dated from 7 February 2017 are being implemented as well. Persistent works on raising awareness of the public concerning the essence and significance of the resolution“. Aiming to implement the resolution, some special people in the government are working on preparing and approving new teaching plans and programs taking into account introduction of foreign language teaching from the initial classes of the public schools, ensuring its execution are being carried out. As the significance of learning English is considered quite enough, immense attention is being given to it over the world. Today we can

The task of the qualification paper : 1) To study the period of romantism in English literature; 2) To study the hot issue, writing styles and topics of works by Jane Austen; 3) to study the theoretical material to the researching point; 4) to study the definition of an epithet and its functioning peculiarities; 5) to read and analyze the epithet in the novel «Sense and sensibility» written by Jane Austin. The material of the research work is Jane Austin’s novel «Sense and sensibility» and its translation «Sezgi va hissiyot» done by I. Gurov. The research work consists of introduction, two chapters and four paragraphs, conclusion and references. The work consists of 59 pages. 5

CHAPTER I. Basic Characteristics of Romanticism The group of words with the root "Roman" in the various European languages, such as "romance" and "Romanesque", has a complicated history, but by the middle of the 18th century "romantic" in English and romantique in French were both in common use as adjectives of praise for natural phenomena such as views and sunsets, in a sense close to modern English usage but without the amorous connotation. The application of the term to literature first became common in Germany, where the circle around the Schlegel brothers, critics August and Friedrich , began to speak of romantische Poesie ("romantic poetry") in the 1790s, contrasting it with "classic" but in terms of spirit rather than merel

Romanticism , attitude or intellectual orientation that characterized many works of literature, painting , music, architecture , criticism , and historiography in Western civilization over a period from the late 18th to the mid-19th century. Romanticism can be seen as a rejection of the precepts of order, calm, harmony , balance, idealization, and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular. It was also to some extent a reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental. Among the ch

movement was less universal in approach and concentrated more on exploring each nation’s historical and cultural inheritance and on examining the passions and struggles of exceptional individuals 3 . A brief survey of Romantic or Romantic- influenced writers would have to include Thomas De Quincey , William Hazlitt , and the Brontë sisters in England; Victor Hugo , Alfred de Vigny, Alphonse de Lamartine , Alfred de Musset , Stendhal , Prosper Mérimée , Alexandre Dumas (Dumas Père), and Théophile Gautier in France; Alessandro Manzoni and Giacomo Leopardi in Italy; Aleksandr Pushkin and Mikhail Lermontov in Russia; José de Espronceda and Ángel de Saavedra in Spain; Adam Mickiewicz in Poland; and almost all of the important writers in pre-Civil War America. 1.1 R

Romanticism in English literature began in the 1790s with the publication of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge . Wordsworth’s “Preface” to the second edition (1800) of Lyrical Ballads , in which he described poetry as “the spontaneous overflow of powerful feelings,” became the manifesto of the English Romantic movement in poetry. William Blake was the third principal poet of the movement’s early phase in England. The first phase of the Romantic movement in Germany was marked by innovations in both content and literary style and by a preoccupation with the mystical, the subconscious, and the supernatural. A wealth of talents, including Friedrich Hölderlin , the early Johann Wolfgang von Goethe , Jean Paul , Novalis , Lu

Ballads , with many of the finest poems by Wordsworth and Coleridge, is often held to mark the start of the movement. The majority of the poems were by Wordsworth, and many dealt with the lives of the poor in his native Lake District , or his feelings about nature—which he more fully developed in his long poem The Prelude , never published in his lifetime. The longest poem in the volume was Coleridge's The Rime of the Ancient Mariner , which showed the Gothic side of English Romanticism, and the exotic settings that many works featured. In contrast Lord Byron and Walter Scott achieved enormous fame and influence throughout Europe with works exploiting the violence and drama of their exotic and historical settings; Goethe called Byron "undoubtedly the greatest genius o

produced the hugely influential novel Frankenstein by Shelley's wife-to-be Mary Shelley and the novella The Vampyre by Byron's doctor John William Polidori . The lyrics of Robert Burns in Scotland and Thomas Moore , from Ireland reflected in different ways their countries and the Romantic interest in folk literature, but neither had a fully Romantic approach to life or their work. Byron is now most highly regarded for his short lyrics and his generally unromantic prose writings, especially his letters, and his unfinished satire Don Juan . Unlike many Romantics, Byron's widely publicised personal life appeared to match his work, and his death at 36 in 1824 from disease when helping the Greek War of Independence appeared from a distance to be a sui

legendary one for performances of Shakespeare , and went some way to restoring his original texts and removing the Augustan "improvements" to them. 1.2 Jane Austin and her works Austen's parents, George Austen (1731–1805), and his wife Cassandra (1739–1827), were members of substantial gentry families. George was descended from a family of woollen manufacturers, which had risen through the professions to the lower ranks of the landed gentry. Cassandra was a member of the prominent Leigh family. They married on 26 April 1764 at Walcot Church in Bath . From 1765 until 1801, that is, for much of Jane's life, George Austen served as the rector of the Anglican parishes at Steventon, Hampshire , and a nearby village. From 1773 until 1796, he supplemented thi

Austen’s donkey cart from Chawton. It was while staying here that Jane Austen wrote most of her best letters. His large circle of friends and acquaintances in London included bankers, merchants, publishers, painters, and actors: he provided Austen with a view of social worlds not normally visible from a small parish in rural Hampshire. George was sent to live with a local family at a young age because, as Austen biographer Le Faye describes it, he was "mentally abnormal and subject to fits". He may also have been deaf and mute. Charles and Frank served in the navy, both rising to the rank of admiral. Edward was adopted by his fourth cousin, Thomas Knight, inheriting Knight's estate and taking his name in 1812. She drew on her knowledge of society in the places she lived for

older brothers as well as through her own reading. The steadfast support of her family was critical to her development as a professional writer. Her artistic apprenticeship lasted from her teenage years into her thirties. During this period, she experimented with various literary forms, including the epistolary novel which she then abandoned, and wrote and extensively revised three major novels and began a fourth. From 1811 until 1816, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion , both published posthumously in 1818, and began a third, which was eventually titled Sanditon , but died

2.Sense and Sensibility - published 1811 but Austen had to pay the printing costs 3.Pride and Prejudice – 1812 4.Mansfield Park - 1814 5.Emma – 1815 6.Persuasion - 1819 Jane Austen's novels were first published anonymously; her name does not appear as author until after her death. Sense and Sensibility was written "By a Lady," and posthumous publications of Persuasion and Northanger Abbey were credited simply to the author of Pride and Prejudice and Mansfield Park . Her obituaries disclosed that she had written the books, as does her brother Henry's "Biographical Notice" in editions of Northanger Abbey and Persuasion . Juvenilia were published posthumously. Austen's novels can easily be situated within the 18th-century novel traditi

according to Butler. "Marianne's way is subjective, intuitive, implying confidence in the natural goodness of human nature when untrammelled by convention. Her view is corrected by the more cautious orthodoxy of Elinor, who mistrusts her own desires, and requires even her reason to seek the support of objective evidence." However, other critics have argued that the contrast between the two characters is not a strict binary. For example, Marianne reasonably discusses propriety and Elinor passionately loves Edward . Between 1760 and 1820, conduct books reached the height of their popularity in Britain; one scholar refers to the period as "the age of courtesy books for women". Conduct books integrated the styles and rhetorics of earlier genres, such as devotional

incidents are scarcely within the verge of probability; and the language is generally incorrect’. Ann Radcliffe’s popular ‘Gothic’ fictions, enjoyed by Catherine Morland and Isabella Thorpe in Northanger Abbey , and Harriet Smith in Emma , occupied the high end of the market. In The Mysteries of Udolpho (1794), Radcliffe's heroine, the sensitive and romantically named Emily St Aubert, is imprisoned by her wicked uncle in an Italian castle where she undergoes numerous terrors before she eventually escapes. Jane Austen’s social realism includes her understanding that women’s lives in the early 19th century are limited in opportunity, even among the gentry and upper middle classes. She understands that marriage is women’s best route to financial security and social respect. Ma

handsome young couple whose union is finally confirmed in the closing pages. Realism is a literary device rejecting escapism and extravagance to produce a lifelike illusion and not a direct translation of reality. The extent to which Austen's novels are realistic is vigorously debated by scholars. The lack of physical description in her novels lends them an air of unreality. In Austen novels, as Page notes, there is a "conspicuous absence of words referring to physical perception, the world of shape and colour and sensuous response". Yet, Austen carefully researched the background of her novels, using almanacs and read books to accurately describe the chronology and geography of her fictional worlds. Alastair Duckworth argues that she displays "a concern that the noveli

associated—because it had not yet been fully defined. He argues Austen's novels were part of the beginning phases of realism. Therefore, instead of seeing Austen as a realist writer, he sees her as a picturesque writer on the cusp of realism. Her attention to detail, probability, and oppositionality, lead him to call her the "historian of the everyday". Jane Austen fills her novels with ordinary people, places and events, in stark contrast to other novels of the time. Jane Austen lived at a time when novel reading had become one of the major forms of entertainment for the middle classes. New works were prohibitively expensive to buy, but there were various methods of sharing and borrowing the latest fiction through circulating libraries, subscriptions libraries and readin

describe social reality within her own time and class (the gentry and professional classes of southern England in the early 19th century). By so doing, she was able to introduce something closer to real morality in describing the range of human relationships that we all are likely to encounter in ordinary life. Her subjects are the behaviour of parents to their children, the dangers and pleasures of falling in love, of making friends, of getting on with neighbours, and above all of discriminating between those who mean us well and those who may not. Jane Austen’s social realism includes her understanding that women’s lives in the early 19th century are limited in opportunity, even among the gentry and upper middle classes. She understands that marriage is women’s best route to financial se

1.3 Notion of epithets and its types in English Language One of the most important problems of modern linguo-stylistics is studying of the linguistic nature and functioning of separate stylistic devices in various literary functional styles. Every research in this area is a necessary step on the way to creation of the adequate stylistic description of the language system in general. This research work is devoted to one of the oldest stylistic devices – epithet. The epithet has a long history, it has been attracting attention of the scientists for a long time because of its nature and variety. Epithets in English emotive prose can fulfil different stylistic functions: a descriptive function (to describe characters, views, situations, different things and feelings); an expressive function (t

According to Prof. Galperin I.R., Epithet is a stylistic device based on the interplay of emotive and logical meaning in an attributive word, phrase or even sentence, used to characterise an object and pointing out to the reader and frequently imposing on him 7 . According to Prof. Sosnovskaya V.B., Epithet is an attributive characterisation of a person, thing or phenomenon. It is, as a rule, simple in form. In the majority of cases it consists of one word: adjective or adverb, modifying respectively nouns or verbs. The stylists determine conventional or standing epithet, they are, for example: green wood, lady gay, fair lady, fair England, salt seas, salt tears, true love. The conventional epithet can be tautological: soft pillow, green wood , or estimative: bonny boy, bonnie young page,

expressed by adjectives or qualitative adverbs (e.g. "his triumphant look" = he looked triumphantly).* Nouns come next. They are used either as exclamatory sentences (You, ostrich!) or as postpositive, attributes ("Alonzo the Clown", "Richard of the Lion Heart"). Epithets are used singly, in pairs, in chains, in two-step structures, and in inverted constructions, also as phrase-attributes 9 . Pairs are represented by two epithets joined by a conjunction or asyndetically as in "wonderful and incomparable beauty" or "a tired old town". Two-step epithets are so called because the process of qualifying seemingly passes two stages: the qualification of the object and the qualification of the qualification itself, as in "an unnaturally mild day" (H

Semantically, epithets should be divided into two main groups: affective (associated) and figurative (unassociated). Structurally, epithets can be viewed from the angle of composition and distribution. From the point of view of their compositional structure epithets may be divided into simple, с ompound, phrase and sentence epithets. Compositionally epithets fall into: • simple or word-epithets, e.g. Happiness for him had a feminine shape. (Priestley) • compound epithets (formed by compound adjectives), e.g. a crescent- shaped object; wild-looking young fellows (Priestley). • two-step epithets (supplied with intensifiers), e.g. … fatally second class … public school … (Priestley) • phrase epithets (also called hyphenated epithets when written through a hyphen), e.g. Now he was practically

From the point of view of the distribution of epithets in the sentence, there can be distinguished a string of epithets whose function is to give a multisided characterization. E.g. That she was not really a creature of that world only made her more fascinating, mysterious, romantic … (Priestley). There are some examples: 1. The picture of spring scented the soft breeze flowing across the mountains where vague streaks of green defined the dominating, heaped and quarried ugliness 11 . 2. … the liquid patience of her large brown eyes 12 . 3 . It was then that she gave him a small smile, blinking at him through her tea-confused eyes, knowing that this was the first time that this man, to whom she owned her life, had asked her to do something for him... 13 According to Prof.I.Galperin epithets

the objects but fitting in the given circumstances only, as in 'heart-burning smile', 'voiceless sands', 'bootless cries'._ As far as novelty is concerned epithets can be trite and genuine. Through their long run some of the latter have become fixed without losing their poetic flavour. Such epithets are mostly used in folk songs and ballads. Kukharenko determines affective, figurative epithets. Affective (or emotive proper) epithets serve to convey the emotional evaluation of the object by the speaker. Most of the qualifying words found in the dictionary can be and are used as effective epithets (e.g. gorgeous, magnificent, atrocious) Figurative for transferred; epithets are formed of metaphors, metonymies and similes expressed by adjectives. Thus epithets can also

Conclusion Chapter I Romanticism in English literature began in the 1790s with the publication of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge . Wordsworth’s “Preface” to the second edition of Lyrical Ballads , in which he described poetry as “the spontaneous overflow of powerful feelings,” became the manifesto of the English Romantic movement in poetry. In the discussion of English literature, the Romantic period is often regarded as finishing around the 1820s, or sometimes even earlier, although many authors of the succeeding decades were no less committed to Romantic values. The most significant novelist in English during the peak Romantic period, other than Walter Scott, was Jane Austen , whose essentially conservative world-view had little

much more actively involved with broader social issues—even if the social contexts of her novels seem narrow. Chapter II The usage of epithet in “Sense and Sensibility” by Jane Austen 2.1 Jane Austen’s styles and themes Jane Austen was an English novelist whose works of romantic fiction, set among the landed gentry, earned her a place as one of the most widely read writers in English literature. Her realism, biting irony and social commentary as well as her acclaimed plots have gained her historical importance among scholars and critics. Jane Austen’s style has been the model for countless writers, male and female. In recent years, her complex vision of society has been increasingly appreciated. Her earliest critics thought of her as modest, a miniaturist of society who did not deal with t

her finely executed portrayal of individual characters and her emphasis on "the everyday", others contend that her characters lack a depth of feeling compared with earlier works, and that this, combined with Austen's polemical tone, places her outside the realist tradition. Austen's juvenile writings are parodies and burlesques of popular 18th- century genres, such as the sentimental novel . She humorously demonstrates that the reversals of social convention common in sentimental novels, such as contempt for parental guidance, are ridiculously impractical; her characters "are dead to all common sense". Her interest in these comedic styles, influenced in part by the writings of novelist Frances Burney and playwrights Richard Sheridan and David Gar

mature novels employ irony to foreground social hypocrisy. In particular Austen uses irony to critique the marriage market. Perhaps the most famous example of irony in Austen is the opening line of Pride and Prejudice : "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." At first glance, the sentence is straightforward and plausible, but the plot of the novel contradicts it: it is women without fortunes who need husbands and seek them out. By the end of the novel, the truth of the statement is acknowledged only by a single character, Mrs. Bennet, a mother seeking husbands for her daughters. As Austen scholar Norman Page explains, "the first sentence is straight narrative, in the 'voice' of the [

"I am no longer surprised at your knowing only six accomplished women. I rather wonder now at your knowing any ." Compared to other early 19th-century novels, Austen's have little narrative or scenic description—they contain much more dialogue, whether spoken between characters, written as free indirect speech , or represented through letters. For example, in Pride and Prejudice , which began as an epistolary novel , letters play a decisive role in the protagonist's education and the opening chapters are theatrical in tone. Austen's conversations contain many short sentences, question and answer pairs, and rapid exchanges between characters, most memorable perhaps in the witty repartee between Elizabeth and Darcy . Austen grants each of her chara

"violations of social conventions and decorum, and relies for its effect in great part on the wit and sparkle of the dialogue." ] However, Austen's novels also have important fairy tale elements to them. Pride and Prejudice follows the traditional Cinderella plot while " Persuasion rewrites the Cinderella narrative, as it shifts the fairy tale's emphasis from the heroine's transformation into a beauty to the prince's second look at her face." However, Fanny, in Mansfield Park , rejects the Prince Charming character and at least one scholar has suggested that in this Austen is signalling "a general attack on the dangers of 'fiction'". Austen had a natural ear for speech and dialogue, according to scholar Mary Lascelles

"is the saving grace of life". Part of Austen's fame rests on the historical and literary significance that she was the first woman to write great comic novels. Samuel Johnson 's influence is evident, in that she follows his advice to write "a representation of life as may excite mirth". Her humour comes from her modesty and lack of superiority, allowing her most successful characters, such as Elizabeth Bennet, to transcend the trivialities of life. Austen used comedy to explore the individualism of women's lives and gender relations, and she appears to have used it to find the goodness in life, often fusing it with "ethical sensibility", creating artistic tension. Critic Robert Polhemus writes, "To appreciate the drama and achievement of Auste

Those characters who read superficially to accumulate knowledge for the purpose of displaying their grasp of culture (such as Mary Bennet in Pride and Prejudice ), or of flaunting their social status, do not benefit from this moral growth. The ideal reader is represented in Elizabeth, who revises her opinion of Darcy by rereading his letter and keeping herself open to reinterpretations of it. Austen feared that economic considerations would overcome moral considerations in human conduct; her most amoral characters—Wickham, Mary Crawford , Mr. Elliot—are the most economically motivated. Moral improvement in her works is not only for the characters but also for the readers. Her novels are intended to "instruct and to refine the emotions along with the perceptions and the moral sens

Testament have bequeathed her their rapidity and spareness of narrative, the New Testament writers their remarkable ability to enter the common mind and to conjure an illusion of verisimilitude by means of a single detail ... her taste for brief declarative sentences is something she shares with the gospels." [84] However, while Austen's style was heavily influenced by these works, she seems to have decided not to refer in her work directly to the Bible or other sacred works. Doody points out that "she is singular among novelists of her age in her refusal to admit references to the Bible, or to biblical characters, scenes or stories." Jane Austen's writing style is a mix of neoclassicism and romanticism. Austen created a transition into Romanticism which encourages

the laxer, more permissive social atmosphere of the three novels Jane Austen began before 1800." and contains more frequent references to Providence. In Mansfield Park , Fanny stands for spirituality and proper morality. It is she who most clearly characterizes Henry Crawford's affair with Maria in religious terms, in the language of sin, guilt and punishment. She is portrayed as an earnest, strict and struggling Christian, not perfect but trying hard. Feminism . Since the rise of feminist literary criticism in the 1970s, the question of to what extent Austen was a feminist writer has been at the forefront of Austen criticism. Scholars have identified two major strains of 18th-century feminism: "Tory feminism" and "Enlightenment feminism". Austen has b

from current penury and future ruin or near-ruin. Dowerless, they were pursuing it with varying degrees of ruthlessness." Politics. There is no agreement on Austen's political views and it was not until the second half of the 20th century that her novels were viewed as political at all. As Gary Kelly explains: Some see her as a political "conservative" because she seems to defend the established social order. Others see her as sympathetic to 'radical' politics that challenged the established order, especially in the form of patriarchy ... some critics see Austen's novels as neither conservative nor subversive, but complex, criticizing aspects of the social order but supporting stability and an open class hierarchy. In “ Sense and Sensibility” , for example

imperialist elements in Austen's criticism of provincialiaty. Austen's novels raise and explore a variety of issues relating to money and property and the power they convey. For example, in Pride and Prejudice , the plot revolves around the problems caused by primogeniture , as the Bennet property is entailed away from the Bennet daughters, and Sense and Sensibility questions the arbitrariness of property inheritance when the elderly Mr. Dashwood disinherits one side of his nephew's family because of his affection for a baby on the other. . Mansfield Park , Emma , and Persuasion , each in turn, move through an examination of the economy as measure of social morality, as agent of social disruption, [and] as source of national identity". Throughout Auste

nickname or sobriquet . An epithet is linked to its noun by long-established usage. Not every adjective is an epithet. An epithet is especially recognizable when its function is largely decorative, such as if "cloud-gathering Zeus" is employed other than in reference to conjuring up a storm. "The epithets are decorative insofar as they are neither essential to the immediate context nor modeled especially for it. Among other things, they are extremely helpful to fill out a half-verse", Walter Burkert has noted. Some epithets are known by the Latin term epitheton necessarium because they are required to distinguish the bearers, e.g. as an alternative to numbers after a prince's name—such as Richard the Lionheart ( Richard I of England ), or Charles the Fat a

or ancestor's name, such as "Pelides" in the case of Achilles, or "Saturnia" in the case of the goddess Juno in Vergil's Aeneid , is specifically called a patronymic device and is in its own class of epithet. In William Shakespeare 's play Romeo and Juliet , epithets are used in the prologue, used in "star-cross'd lovers" and "death-mark'd love." Epithets were in layman's terms glorified nicknames that could be used to represent one's style, artistic nature, or even geographical reference. They originated to simply serve the purpose of dealing with names that were hard to pronounce or just unpleasant. It from there went to something that could be very significant assigned by elders or counterparts to represent one's po

localizing epithet refers simply to a particular center of veneration and the cultic tradition there, as the god manifested at a particular festival, for example: Zeus Olympios, Zeus as present at Olympia, or Apollo Karneios, Apollo at the Spartan Carneian festival . Often the epithet is the result of fusion of the Olympian divinity with an older one: Poseidon Erechtheus , Artemis Orthia , reflect intercultural equations of a divinity with an older one, that is generally considered its pendant; thus most Roman gods and goddesses, especially the Twelve Olympians , had traditional counterparts in Greek, Etruscan, and most other Mediterranean pantheons, such as Jupiter as head of the Olympian Gods with Zeus , but in specific cults there may be a different equation, based on one

will be found to be, in fact, so many abridged arguments, the force of which is sufficiently conveyed by a mere hint; e.g. if any one says, 'We ought to take warning from the bloody revolution of France,' the Epithet suggests one of the reasons for our being warned; and that, not less clearly, and more forcibly, than if the argument had been stated at length." [12] With persuasion being a key component of rhetoric, it is rational to use epithets. The use of persuasive wording gives leverage to one's arguments. Knowledge along with descriptive words or phrases can be a powerful tool. This is supported in Bryan Short's article when he states, "The New Rhetoric derives its empiricist flavor from a pervasive respect for clarity and directness of language." [13]

One can find many examples of epithet, may of which were Shakespeare’s own coinages, in Shakespeare’s works. For example: 1. “Thou mad mustachio purple-hued maltworms ! ( Henry IV ) 2. “Death lies on her like an untimely frost . Upon the sweetest flower of all the field…” ( Romeo and Juliet ). Types of Epithet 1. Kenning as Epithet Kenning examples may also be considered as epithet examples. Kenning is a type of an epithet, which is a two-word phrase that describes an object by employing metaphors. 2. The Fixed Epithet Fixed epithets are found in epic poetry that involves the repetitive use of a phrase or word for the same object. Such as in Homer’s Odyssey , the wife is described as “prudent,” Odysseus himself as “many-minded,” and their son Telemachus as “sound-minded.” 3. Ar

And hear the larks so high About us in the sky.” Here, “coloured” is an epithet used to describe the pleasant and beautiful spring season in those countries where the poet wishes to enjoy his beloved’s company. Example 2: Beauty and Beauty (By Rupert Brooke) “The earth is crying-sweet , And scattering-bright the air, Eddying, dizzying, closing round, With soft and drunken laughter …” In this excerpt, the description of the air and earth is enhanced by the usage of epithets: “crying-sweet,” “scattering-bright,” and “soft and drunken laughter.” These epithets help in developing imagery in the minds of readers. Example 3: Ulysses (By James Joyce) “God! he said quietly. Isn’t the sea what Algy calls it: a great sweet mother ? The snot-green sea . The scrotum-tightenin

“I’ve come, As you surmise, with comrades on a ship, Sailing across the wine-dark sea to men Whose style of speech is very different…” In these lines, the phrase “wine-dark’ is used as an epithet in order to explain the color of the sea. This epithet enhances the description of the color of the sea. Example 6: In Lycidas (By John Milton) “What time the gray-fly winds her sultry horn, Blind mouths ! that scarce themselves know how to hold A sheep-hook, or have learn’d aught else the least That to the faithful herdman’s art belongs!” Milton employs epithets (“gray-fly,” and “blind mouths”) in this excerpt, describing first insects, and later referring to the desire of feeding the mouths. 2.3 The role epithets in creation of portrait images in «Sense and sensibility» by Jane A

черты которого отличались правильностью , и прелестная фигура . Mis Deshvord xonim yuzi tiniq va benuqson, qaddi qomati raso va jozibali edi When translating epithets from English into Uzbek the translator uses some receptions: translating the phrase "Adj + Nom" delicate complexion lexical addition is used, the translator adds an adverb for strengthening of impression "very much" - "very gentle complexion". The phrase regular features (regular features) is translated by means of the subordinate attributive clause – "which lines differed in correctness". The phrase "a remarkably pretty figure" is translated almost literally with omission of an intensifying adverb of "remarkably". The adjective of pretty indicates appearance 'attractive, fu

Vaholanki uning kelishgan qaddi qomati opasinikidek bo ’ lmasada , bo ’ yi basti kelishgan , tik qomatli , istarali , kishilar u haqda gapirishganda doimo xushchaqchaq , maftunkor qiz deb aytishadi . For the creation of the main hero image only positive adjectives a re used: striking ( поразительный ), lovely ( милый ), beautiful ( красивый ). There are also some interjunctions: so, more, less violently. Her skin was very brown , but, from its transparency, her complexion was uncommonly brilliant ; her features were all good ; her smile was sweet and attractive ; and in her eyes, which were very dark , there was a life, a spirit, an eagerness, which could hardily be seen without delight. – Uning bug’doy rangligi yuziga yarashgan, tabassumi kishini bee’tibor qoldirmaydi, tim qora charos ko’

Elinor, this eldest daughter …. She had an excellent heart ;—her disposition was affectionate , and her feelings were strong ; but she knew how to govern them .- Элинор , старшая из сестер ... U ochiq qalb egasi bo’lib, hissiyotga boy bo’lsada o’zini boshqara olardi. To describe the age of the girl the superlative of elder is used. Elinor’s character is described as: «excellent heart» и «affectionate dosposition» (yumshoq tabiatli). It must be said that first epithet is used in pretposition (an excellent heart), and then in postposition (her disposition was affectionat е , her feelings were strong ). The youngest sister the reader sees as a a good-humored , well-disposed girl ; («mehribon va oqko’ngil qiz edi»). Margaret, the other sister, was a good-humored , well-disposed girl ; but as s

One another example of an negative image is Mrs. Jennings, Lady Middleton's mother. Mrs. Jennings, Lady Middleton's mother, was a good-humoured, merry, fat, elderly woman , who talked a great deal, seemed very happy, and rather vulgar . – Missis Jennings, Ledi Middltonning onasi, yoshi ulug’ xushchaqchaq, mehribon gapchinoz hayotdan mamnun aya edi. Men images can be devided into 2 groups: young and old men. The sisters Dashwood’s brother is «a young man», who is «well-respected» in the society. He is also « not an ill-disposed». He was not an ill-disposed young man , unless to be rather cold hearted and rather selfish is to be ill-disposed: but he was, in general, well respected - Mr Dashwood’s character is described with epithets in postposition: cheerful and sanguine. …but his te

g’ayrioddiy maftunkorligi hamda bag’rikengligi Mariannaning kichik sarguzashtiga alohida ko’ngilxushlik baxsh etardi. So, young men are described with help of following epithets: young man, amiable, gentleman-like and pleasing young man, not an ill-disposed young man, cheerful and sanguine, cold hearted, well respected, selfish . Old men are described with honour: the old gentleman ( почтенный джентльмен ), and sometimes with some disgust: Colonel Brandon, the friend of Sir John, seemed no more adapted by resemblance of manner to be his friend, than Lady Middleton was to be his wife, or Mrs. Jennings to be Lady Middleton’s mother. He was silent and grave. His appearance however was not unpleasing, in spite of his being in the opinion of Marianne and Margaret an absolute old bachelor , for

The second group – the epithets describing portrait images. Among them are: manly beauty, handsome, young, pretty, merry, fat, elderly woman; not unpleasing; a delicate complexion, regular features, and a remarkably pretty figure; her form was more striking; uncommonly brilliant; features were all good; her skin was very brown; her skin was very brown4 very dark eyes. The third group – ethical epithets. There are a lot of epithets with the word heart: : excellent heart, good heart; open, affectionate heart. There are also a lot of epithets to describe young men: not an ill-disposed young man; a gentleman-like and pleasing young man; particularly gentlemanlike и т . д . Had he been only in a violent fever , you would not have despised him half so much. Confess, Marianne, is not there someth

Conclusion One of the most important problems of modern linguo-stylistics is studying of the linguistic nature and functioning of separate stylistic devices in various literary functional styles. Every research in this area is a necessary step on the way to creation of the adequate stylistic description of the language system in general. This research work is devoted to one of the oldest stylistic devices – epithet. The epithet has a long history, it has been attracting attention of the scientists for a long time because of its nature and variety. Romanticism (also known as the Romantic era ) was an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to

belong to this first phase. In Revolutionary France, Vicomte de Chateaubriand and Mme de Staël were the chief initiators of Romanticism, by virtue of their influential historical and theoretical writings. The most significant novelist in English during the peak Romantic period, other than Walter Scott, was Jane Austen , whose essentially conservative world- view had little in common with her Romantic contemporaries, retaining a strong belief in decorum and social rules, though critics [ have detected tremors under the surface of some works, especially Mansfield Park (1814) and Persuasion (1817). But around the mid-century the undoubtedly Romantic novels of the Yorkshire - based Brontë family appeared. Most notably Charlotte's Jane Eyre and Emily's

Jane Austen's writing style is a mix of neoclassicism and romanticism. Austen created a transition into Romanticism which encourages passion and imagination in writing instead of a strict and stale writing style. It is very emotional and follows a flowing not structured form. Mixing these two styles was one of Austen's strongest talents, which gave her an edge in the literary world. No other author in her time was able to create such a strong transition between writing styles. Austen used her sharp and sarcastic wit in all of her writing including in one of her most famous works; Pride and Prejudice. She could create a powerful and dramatic scene and immediately lead it into a satirical cathartic scene. The epithet is the word defining, characterizing a subject or action and underl

"very much" - "very gentle complexion". The phrase regular features (regular features) is translated by means of the subordinate attributive clause – "which lines differed in correctness". The phrase "a remarkably pretty figure" is translated almost literally with omission of an intensifying adverb of "remarkably". The adjective of pretty indicates appearance 'attractive, full of grace'. This adjective is translated into Uzbek as "pretty, pretty" and used in relation to someone or something rather small. In the English language epithet handsome is used in comparative degree. The adjective handsome has a semantic shade 'making pleasant impression correctness of proportions, the correct lines". We translate this adjective into U

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