Избыток компонентов речи как стилистический прием( на примере произведений Дж. К. Джерома)

Content

 

Introduction……………………………………………………………………….2

Chapter I. Theoretical aspects of studying of stylistic

function of excess components of speech………………………………………...4

1.1. The belles-lettres style……………………………………………………….4

1.2. Syntactic Expressive Means and Stylistic Devices………………………….6

Chapter II. The stylistic functions of excess components of speech

(Syntactic Expressive Means) in novels of Jerome K. Jerome…………………..13

Conclusion……………………………………………………………………….24

Bibliography……………………………………………………………………..26

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Introduction

 

Every writer has his own style of writing. Trying to gain the definite stylistic effects the writer uses the different stylistic means.

The stylistic makes use of different phenomena from lexicology, grammar and phraseology. But the stylistic doesn’t study the elements of language, it studies their expressive potential in the text. In other words, the stylistic studies their stylistic function.

The stylistic function is considered as the expressive potential of the interaction of the language means in the text. The stylistic considers the language means’ expressive features and consequently their role in the influence on the reader.

Our work is devoted to the stylistic function of excess components of speech in the novels of Jerome K. Jerome.     

The aim of this work is to find the stylistic functions role of excess components of speech in the novels of Jerome K. Jerome.     

The object of the work is excess components of speech.     

The subject is the stylistic function of excess components of speech in the novels of Jerome K. Jerome: «Three Men in a Boat» and «Three Men on the Bummel».

So, the tasks of the work are:

1. To characterize the belles-lettres style.
2. To reveal the features of the stylistic function of excess components of speech.
3. To characterize stylistic functions of excess components of speech

(Syntactic Expressive Means) in novels of Jerome K. Jerome.

To make the practical research function of excess components of speech in the novels of Jerome K. Jerome: «Three Men in a Boat» and «Three Men on the Bummel».  

The theoretical value is that the work reveals the main functions of excess components of speech, their stylistics functions.

As the practical value of this work we dare say that it can be useful for students who study the English lexicology and stylistics.

During our work we have used the works on stylistic and lexicology. We have used also the works on the literary critics.

During our work we used the works on the translation theory of such linguists as Levitskaya T.R., Fiterman A.M., Komissarov V.N., Alimov V.V., Shveytser A.D., Garbovskiy N.K., Dmitrieva L.F., Galperin I.R., Arnold I.V., Yakusheva I.V., van Deik, Kolshanskiy and others. We used also the articles from the the periodical editions.

      Concerning the aim and the tasks we have used such method as a descriptive one, the method of the experience, the contextual method and the comparative method. These methods weren’t used as the isolated methods, they were used in their complex to satisfy the aim and the task in the best way.

 

 

 

 

 

 

 

 

 

Chapter I. Theoretical aspects of studying of stylistic function of excess components of speech

1.1. The belles-lettres style

We   have already    pointed out   that the   belles-lettres style is a generic term for three substyles in which the main prints and the most general properties of the style are materialized. These three substyles are:

1.  The   language  of  pоetry, or simply verse.

2,   Emotive  prose,   or the language of fiction.

3.   The    language   of    the   drama.

Each of these substyles has certain common features, typical of general belles-lettres style, which make up the foundation of the style, by which the particular style is made recognizable and can therfore be singled out.¹ Each of them also enjoys some individuality. This is revealed in definite features typical only of one or another substyle. This correlation of the general and the particular in each variant of the belles-lettres style had manifested itself differently at different stages in its historical development¹.

The common features of the substyles may be summed up as follows. First of all comes the common function which may broadly be Lulled "aesthetico-cognitive." This is a double function which aims at the cognitive process, which secures the gradual unfolding of the idea to the reader and at the same time calls forth a feeling of pleasure, a pleasure which is derived from' the form in which the content :s wrought. The psychological element— pleasure is not irrelevant when evaluating the effect of the communication. This pleasure is caused not only by admiration of the selected language means and their peculiar arrangement but also, and this is perhaps the main cause, by the fact that the reader is led to form his own conclusions as to the purport of the author.

Nothing gives more pleasure and satisfaction than realizing that one has the ability to penetrate into the hidden tissue of events, phenomena and human activity, and to perceive the relation between various seemingly unconnected facts brought together by the creative mind of the writer.

Since the belles-lettres style has a cognitive function as well as an aesthetic one, it follows that it has something in common with scientific style, which will be discussed in detail later, but which is теге mentioned for the sake of comparison. The purpose of science js a branch of human activity is to disclose by research the inner substance of things and phenomena of objective reality and find out the laws regulating them, thus enabling man to predict, control and died their further development in order to improve the material and social life of mankind. The style of scientific prose is therefore mainly characterized by an arrangement of language means which will bring proofs to clinch a theory. Therefore we say that the main function of scientific prose is proof.

The purpose of the belles-lettres style is not to prove but only to suggest a possible interpretation of the phenomena of life by forcing the reader to see the viewpoint of the writer. This is the cognitive function of the belles-lettres style.                                                  

From all this it follows, therefore, that the belles-lettres  must select a system of language means which will secure the ell., sought, which is an aesthetico-cognitive effect.

The belles-lettres style rests on certain indispensable linguistic features which are:²

1. Genuine, not trite, imagery, achieved by purely linguistic devices.

2.   The use of words in contextual and very often in more than one dictionary meaning, or greatly influenced by the lexical environment.

3.  A vocabulary which will reflect  the author's personal evaluation of things or phenomena.

4.   A peculiar individual selection of vocabulary and syntax, a kind of lexical and  syntactical idiosyncrasy.

5. The introduction of the typical features of colloquial language to a full degree (in plays) or a lesser one (in emotive prose) or a slight  degree, if any (in poems).

The belles-lettres style is individual in essence. This is one of its most distinctive properties. Individuality in selecting language means (including stylistic  devices),  extremely  apparent  in  poetic style., becomes gradually less in,  let us say, publicistic style,  is hardly noticeable in the style of scientific prose and is entirely lacking in newspapers and in official style.

 

1.2. Syntactic Expressive Means and Stylistic Devices

 

In linguistics there are different terms to denote those particular means by which a writer obtains his effect. Expressive means, stylistic means, stylistic devices and other terms are all used indiscriminately. For our purposes it is necessary to make a distinction between expressive means and stylistic devices.

All stylistic means of a language can be divided into expressive means (EM), which are used in some specific way, and special devices called   stylistic devices   (SD).

The expressive means of a language are those phonetic means, morphological forms, means of word-building lexical, phraseological and syntactical forms, all of which function in the language for emotional or logical intensification of utterance. These intensifying forms of the language, wrought by social usage and recognized by their semantic function have been fixed in grammars and dictionaries. Some of them are normalized, and good dictionaries label them as intensifiers.³ In most cases they have corresponding neutral synonymous forms.      

Different syntactical phenomena may serve as an expressive stylistic means. Its expressive effect may be based on the absence of logically required components of speech - parts of the sentence, formal words or on the other hand on a superabundance of components of speech; they may be founded on an unusual order of components of speech, the change of meaning of syntactical constructions and other phenomena.

The expressive means of the language are studied respectively in  manuals of phonetics, grammar, lexicology and stylistics. Stylistics, c. however, observes not only the nature of an expressive means, but also, its potential capacity of becoming a stylistic device.

What then is a stylistic device (SD)? It is a conscious and intentional literary use of some of the facts of the language (including expressive means) in which the most essential features (both structural and semantic) of the language forms are raised to a generalized level and thereby present a generative model. Most stylistic devices may be regarded as aiming at the further intensification of the emotional or logical emphasis contained in the corresponding expressive means.

Ellipsis. Elliptical sentences are sentences in which one or more words are omitted, leaving the full form to be understood by the reader or hearer.

e.g. I beg your pardon, sir. Didn’t know. Sorry to have bothered you.”

Aposiopesis is found in sentences unfinished logically or structurally due to which the expression of the thought conveyed is limited to a hint.

e.g. “If you don’t give me your signature when I come back tomorrow …”

(implies threat).

One member sentences are those which have no separate subject and predicate but only one main part. This main part may be expressed by a noun (so-called nominal sentences) or an infinitive (infinitive sentences).

e.g. An astonishing experience, another blow to his preconception of a stiff and formal race! (Galsworthy).

e.g. To be alive! To have youth and the world before one!

Zeugma is a figure of speech in which a verb or adjective does duty with two or sometimes more than two nouns and to only one of which it is strictly applicable. Zeugma is based on polysemy, often on the literal and figurative meanings of a word. It may be based on the meaning of a set expression as a whole and the literal meaning of the separate words – its components. It may also be based on the different meanings of homonyms. Zeugma usually, though not necessarily, produces a satiric or humorous effect.

e.g. then came fish and silence.

Superabundance of Components of Speech may be found in different types of repetition and in the emphatic construction.

1. Simple reiteration is limited to the repetition of the same word, phrase or sentence though not necessarily in one sentence or even paragraph, it may be found in much larger syntactical units. It plays an important role in creating a definite emotional colouring.⁴ This colouring may be different depending on the lexical meaning of the word or words repeated.

2. The repetition of the root is a special type of reiteration in which only the root of the word and not the full word is repeated. Depending on the context it may have different stylistic colouring.

e.g. To live again in the youth of the young (a tinge of regret for fast passing youth).

3. Framing is a type of repetition, when the same word or words, standing at the beginning of the sentence or syntactical unit are repeated at the end of it. They occupy the emphatic syntactic positions in the sentence.

e.g. Those kids were getting it all right, with busted heads and bleeding faces – those kids were getting it.

4. Anadiplosis is a repetition of a word or a group of words, which come at the end of a phrase or clause and at the beginning of a new phrase or clause. It serves to emphasize the most important part of the statement.

e.g. Especially as Mr. Spears, Mrs. Spears of all people, whose two boys were so exemplary, was waiting for her in the drawing-room.

5. Syntactic tautology is the repletion of a part of the sentence, usually the subject, expressed by a noun by a pronoun, sometimes vice versa. Syntactic tautology may be used for the sake of emphasis or to render low colloquial of which it is typical. It is often found in nursery rhymes, and poetry imitating the style of popular ballads.

e.g. The Widow Douglass, she took me for her son, and allowed she would civilize me.

6. Polysyndeton is the repetition of the conjunction or some other formal word before each following homogeneous part of the sentence. It serves as a means of distinguishing each part by isolating them from each other and at the same time connecting them into one sense unit.⁵ The repetition of conjunctions lends a definite rhythmical quality to the statement. Polysyndeton stresses the simultaneousness of actions, or the close connection of the qualities or phenomena enumerated. When rendering colloquial speech it may serve as a means of characterizing a personage’s speech underlining its primitive construction.

e.g. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect.

7. Anaphora is the repetition of the same word or words at the beginning of clauses, sentences, periods, or in poetry at the beginning of lines, stanzas.

e.g. “Why didn’t you dare it before?” he asked harshly. “when I hadn’t a job ? When I was starving? When I was just as I am now as a man, as an artist, the same Martin Eden?”

8. Epiphora is the repetition of the same word or words at the end of two or more succeeding clauses, sentences, verses etc. Epiphora even in a greater degree than anaphora creates a rhythmic pattern of the narration. Besides that, epiphora underlines the logical connection and emotional identity of adjoining units of speech.

e.g. It’s their wealth and security that makes everything possible makes your art possible, makes literature, science, even religion possible (Galsworthy).

Synonymic Repetition is a peculiar type of repetition consisting in the use of synonymous means to express the same idea. The words repeated are not necessarily synonyms, but become such in the context.

Emphatic Constructions are sentences with the anticipatory “it” which serves to stress any part of the sentence.

e.g. It was Winifred who went up to him.

e.g. It was while passing through Moulsey lock that Harris told me about his maze experience.

An insertion (inserted clause) appears within another clause and interrupts its structure. Their stylistic functions are rather versatile. They usually contain some information serving to make clearer what is said in the main body of the sentence, or are a casual interruption due to the speaker suddenly thinking of something vaguely connected with what he is speaking about and thus serve as a characterization of a personage’s speech manner or his state. They may serve to create two parallel speech planes, for instance, when we have reported speech.

Parallel Constructions – Parallelism is the repetition of the same syntactical structure in two or more succeeding sentences. Parallel arrangement serves to bring forth either the similarity or the difference between the objects in question. Parallelism lends a definite rhythm to the narration and due to its sameness it creates a certain background to emphasize the necessary word or phrase. This word or phrase is usually repeated in the parallel constructions. Parallelism is found in literary works where it serves as an expressive means. It is also found in scientific prose and official documents.

e.g. The sun was shining, the birds were singing, and I was whistling as I walked past the studio gates.

Chiasmus is a type of parallelism with cross arrangement of the elements.

Detached (loose) parts of the sentence are such parts which are less closely, less intimately connected with the rest of the sentence. They have a certain independence which finds expression in the intonation and, in writing, in punctuation. Detachment is a stylistic expressive means for it serves to emphasize the loose part of the sentence. Practically any secondary part of the sentence, direct, indirect objects, and especially often adverbial modifiers, attributes and appositions may be detached

Rhetoric questions is a widely used expressive means. It is an affirmative or negative statement in the form of the question. It is emotionally coloured, is distinct from an ordinary question which is asked to draw forth some information, the rhetoric question does not require any answer; it serves the purpose of calling the reader’s (or hearer’s) attention to a particular point in the discourse, writing, speech, etc. The appeal to the reader or hearer which the rhetoric question contains serves as a means of enhancing the expressiveness of monologue speech making it more lively, more versatile (varied).

e.g. What will not necessity do?

As you know the English sentence is characterized by a rather strict and rigid word order. The putting of a part of the sentence in an abnormal place, in a place unusual for it, i.e. inversion, brings this word into prominence, emphasizes it. In this way inversion becomes a significant expressive means. The main stylistic affect of inversion is emphasis. But it may acquire other connotations depending on the context.

Inversion always brings about either change in the logical content of the sentence, or lends an additional emotional colouring to the narration. Inversion is usually found in written speech, its use in colloquial speech is rather a rare occurrence.⁶

Enumeration is another expressive means which consists in naming over various qualities or recounting different objects or actions with the purpose of giving a many-sided artistic characterization to the phenomenon described. The words enumerated are homogeneous parts of a sentence.

Represented speech is a form of utterance which renders the actual words of the speaker through the mouth of the writer retaining the peculiarities of the speaker’s manner of expression.

Represented speech loses the remoteness of indirect speech and approximates direct speech, as it in a great measure retains the latter’s phrasing, syntactical structure and inner colloquial intonation. The peculiarities of represented speech are that the past tense is used instead of the present, the pronoun of the third person is used instead of the pronouns of the first and second persons.

There are two varieties of represented speech: a) uttered represented speech and b) unuttered or inner represented speech. Morphologically there is no difference between them. The syntactical pattern is somewhat different.

Uttered represented speech is employed in belles-lettre style and newspaper style.

Unuttered (inner) represented speech renders the thoughts and feelings of the character he does not express aloud.

 

 

 

 

 

 

 

 

 

Chapter II. The stylistic functions of excess components of speech (Syntactic Expressive Means) in novels of Jerome K. Jerome

 

example	translation	stylistic functions
He had been out with his aunt that morning; and if he looks wistfully at a pastrycook's window she takes him inside and buys him cream buns and "maids-of-honour" until he insists that he has had enough, and politely, but firmly, refuses to eat another anything.	Если  мальчик  с самого утра  выходит гулять с тетей, которая  при первом  же  его  многозначительном  взгляде  на  витрину кондитерской заходит  с ним туда и пичкает его  булочками с кремом до тех пор, пока  он не начнет  утверждать, что в него больше не лезет, - то  нет ничего подозрительного в том, что  после  этого за завтраком он съедает  только одну порцию  пудинга.	In this example we can find polysyndeton. The repetition of conjunctions and other means of connection makes an utterance more rhythmical; so much so that prose may even seem like verse.
It was the sort of suggestion George would make.	Такие  вещи  могут предлагать  разве  что холостяки.	In this example we can find emphatic constructions. The given design acts as means of an intensification of value of one of elements of a syntactic design. Potential opportunities of the given design in the plan of stylistic are great enough, With its help logically it is possible to allocate anyone (except for a predicate) a part of the sentence.
He said that if we were mean and cowardly and false - hearted enough to stoop to such a shabby trick, he supposed he couldn't help it; and that if I didn't intend to finish the whole bottle of claret myself, he would trouble me to spare him a glass.	Он  сразу переменил тон, и даже не изящно: он  отвечал, что если у  нас хватит низости устроить такую штуку, то, конечно, он ничего не сможет сделать.	In this example we can find epiphora. The object meant is not explicitly named but rather substituted by a closely associated feature, a characteristic part or a proper name. It is uses to give the reader an association
With a man like George kindness is of no use; you have to be firm.	С таким человеком, как Джордж, нечего любезничать.	The author uses inversion. It makes a strong impact on the reader, so much so, that the reader unwittingly begins to see and evaluate things as the writer wants him to.
This little point settled, the question was: What sort of a change?	Таким  образом,   первый  пункт  выяснился.   Осталось   только   решить окончательно - каким  образом мы можем развеяться.	The author uses rhetoric questions. The interrogative form is transposed and gets new communicative sense:
Harris, as usual, was for the sea. He said he knew a yacht, just the very thing-one that we could manage by ourselves; no skulking lot of lubbers loafing about, adding to the expense and taking away from the romance.	Гаррис, по обыкновению, стоял за море: ему была известна какая-то яхта, с которой мы могли бы отлично управиться сами без лентяев-матросов, сводящих на нет всю романтику  плавания; но оказалось, что  и мы с Джорджем  знаем эту яхту.	The author uses parallelism to makes a strong impact on the reader.
We knew that yacht, and we told him so; we had been on it with Harris before.	Оказалось, что  и мы с Джорджем  знаем эту яхту.	In this example we can find detached constructions. The detached appendix usually designates proper name, a social status
It smells of bilge-water and greens to the exclusion of all other scents; no ordinary sea air can hope to head against it.	Она вся пропитана  запахом трюмной  воды, которого не  может развеять и самый свежий морской  ветер; негде спрятаться от  дождя	In this example we can find detached constructions. The detached appendix usually designates proper name, a social status
With me, it was my liver that was out of order.	Что касается меня, то у меня была не в порядке печень.	The author uses inversion. It is used to give emphasis.
I tried to examine myself. I felt my pulse. I could not at first feel any pulse at all. Then, all of a sudden, it seemed to start off. I pulled out my watch and timed it. I made it a hundred and forty-seven to the minute. I tried to feel my heart. I could not feel my heart. It had stopped beating. I have since been induced to come to the opinion that it must have been there all the time, and must have been beating, but I cannot account for it. I patted myself all over my front, from what I call my waist up to my head, and I went a bit round each side, and a little way up the back. But I could not feel or hear anything. I tried to look at my tongue. I stuck it out as far as ever it would go, and I shut one eye, and tried to examine it with the other. I could only see the tip, and the only thing that I could gain from that was to feel more certain than before that I had scarlet fever.	Я решил устроить себе врачебный осмотр. Я пощупал свой пульс. Сначала никакого пульса не было. Вдруг он появился. Я вынул часы и стал считать. Вышло сто сорок  семь ударов в минуту. Я стал искать у себя сердце. Я его не нашел…Я  постукал себя спереди, начиная от того места, которое я называю талией, до шеи, потом прошелся по обоим бокам с заходом на спину. Я не нашел ничего особенного. Я попробовал осмотреть свой язык. Я высунул язык как можно дальше и стал разглядывать его одним глазом, зажмурив другой.	The author uses the repetition of the root to characterize one object by bringing it into contact with another object belonging to an entirely different class of things.
Then he opened me and looked down me, and clutched hold of my wrist, and then he hit me over the chest when I wasn't expecting it - a cowardly thing to do, I call it - and immediately afterwards butted me with the side of his head.	Тогда он задрал рубашку на моей груди, осмотрел меня, затем крепко стиснул  мне запястье, и вдруг, без всякого  предупреждения, двинул меня в грудь, — по-моему, это просто свинство, — и вдобавок боднул в живот.	In this example we can find polysyndeton. It is a stylistic scheme used to achieve a variety of effects.
"I will not take up your time, dear boy, with telling you what is the matter with me. Life is brief, and you might pass away before I had finished. But I will tell you what is not the matter with me. I have not got housemaid's knee. Why I have not got housemaid's knee, I cannot tell you; but the fact remains that I have not got it. Everything else, however, I have got."	Дружище, я не буду отнимать у тебя время  рассказами о том, чем я заболел. Жизнь коротка, и ты можешь отойти в иной мир, прежде чем я окончу свою повесть. Лучше я расскажу тебе, чем я не заболел: у меня нет  родильной горячки. Я не смогу  тебе объяснить, почему у меня нет родильной горячки, но это факт. Все остальное у меня есть.	In this example we can find syntactic tautology. The author uses it to give special emphasis to a situation or idea.
And they didn't give me pills; they gave me clumps on the side of the head.	И они не давали мне  пилюль — они давали мне подзатыльники.	In this example we can find parallel constructions. Using three simple verbs to list the things he did, the author makes coming, seeing, and conquering all equal in importance. He also implies that for him, conquering was as easy as coming and seeing.
And they didn't give me pills; they gave me clumps on the side of the head. And, strange as it may appear, those clumps on the head often cured me - for the time being.	И они не давали мне пилюль — они давали мне подзатыльники. И как это ни удивительно, подзатыльники часто меня вылечивали, во всяком случае — на время.	The author uses the polysyndeton It makes a strong impact on the reader, so much so, that the reader unwittingly begins to see and evaluate things as the writer wants.
Harris said he didn't think George ought to do anything that would have a tendency to make him sleepier than he always was, as it might be dangerous.   Should we "camp out" or sleep at inns?	Гаррис сказал, что Джорджу едва ли следует предпринимать что-либо для улучшения сна, — это опасно.       Но где мы будем ночевать: под  открытым небом или в гостиницах?	The author uses chiasmus to attract reader’s attention.                       The author uses rhetoric questions. The author uses it to give special emphasis to a situation.
You can never rouse Harris. There is no poetry about Harris - no wild yearning for the unattainable. Harris never "weeps, he knows not why." If Harris's eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop. If you were to stand at night by the sea-shore with Harris, and say	Вам никогда не удастся  оторвать Гарриса от прозы жизни. В нем нет никакого порыва, нет  безотчетного томления по недосягаемому  идеалу. Гаррис не способен «плакать, сам  не зная о чем». Если на глазах Гарриса  слезы, вы можете смело биться об заклад, что он только что наелся сырого луку или свою отбивную котлету чересчур жирно намазал горчицей. Окажитесь как-нибудь ночью вдвоем с Гаррисом на берегу моря и воскликните	The author uses framing. It is used to hide the truth or to leave the reader uncertain about the author’s real attitude.
"Oh, it's you, is it?" he says, recognising you at the same moment. "Yes," you answer, rubbing your eyes; "what's happened?" "Bally tent's blown down, I think," he says. "Where's Bill?" Then you both raise up your voices and shout for "Bill!" and the ground beneath you heaves and rocks, and the muffled voice that you heard before replies from out the ruin:    "Get off my head, can't you?"	«Как, это ты?» —  говорит он, тоже внезапно узнавая  вас. «Да, — отвечаете вы, протирая глаза, — что тут творится?» «Кажется, чертова палатка  свалилась, — говорит он. — А где Билл?» Тут вы оба принимаетесь аукать и кричать: «Билл!» — и  почва под вами начинает колебаться, собираться в складки, и полузадушенный, но знакомый голос отвечает откуда-то из развалин: «Эй, вы, слезете вы когда-нибудь с моей головы?»	The author uses represented speech to characterize the main hero.
We therefore decided that we would sleep out on fine nights; and hotel it, and inn it, and pub. it, like respectable folks, when it was wet, or when we felt inclined for a change.	В конце концов мы решили, что в  ясные ночи будем спать под  открытым небом, а в плохую погоду или когда нам захочется разнообразия, будем, как порядочные люди, останавливаться в отелях, в гостиницах и на постоялых дворах.	The author uses the polysyndeton. It makes a strong impact on the reader, so much so, that the reader unwittingly begins to see and evaluate things as the writer wants.
Тут он снимает пиджак и принимается  за работу	And then he would take off his coat, and begin.	The author uses inversion. It is used to give emphasis.
And then he would lift up the picture, and drop it, and it would come out of the frame, and he would try to save the glass, and cut himself; and then he would spring round the room, looking for his handkerchief. He could not find his handkerchief, because it was in the pocket of the coat he had taken off, and he did not know where he had put the coat, and all the house had to leave off looking for his tools, and start looking for his coat; while he would dance round and hinder them.	Носового платка найти  он не может, потому что носовой платок — в кармане пиджака, который  он снял, а куда девался пиджак, он не помнит, и все домашние должны оставить поиски инструментов и приняться  за поиски пиджака, в то время как  сам герой пляшет по комнате и путается у всех под ногами.	The author uses the polysyndeton to show that the events are changing very quickly.
"Oh, with pleasure, dear boy," I replied, "with pleasure."	«С удовольствием, дружище, — ответил я, — с удовольствием!»	The author uses epiphora. It reflects the mood of the author and his attitude towards his subject: love, delication.