ANTONOMASIA

This variety of metaphor is based upon the principle of identifica­tion of human beings with things which surround them. People may be identified with other people, with animals, with inanimate objects and natural phenomena.

When the speaker resorts to antonomasia, he creates the so-called "talk­ing names" which aim at depicting certain traits of human character: moral and psychological features, peculiarities of behaviour, outlook, etc.:

John is a real Romeo.

The Snake entered the room (instead of Mary entered the room).

Yesterday Jack came across Miss Careless again.

Sam is the Napoleon of crime.

I haven't seen the Pimple of late.

Будь ти проклятий навіки, Чорте-зі-Свічечкою!

Кудипошлють сів на пароплаву поплив і приплив.

Після того Дев'ятий, глянувши в конспект, удався до інших прикладів.

Пане Забудько, ви знову залишили ключі вдома?

Ви ж просто Шаляпін. такий голос маєте!

Лазар ненавидів тюремного смотрителя, якому тюрма дала прізвище Морда.

PERSONIFICATION

When the speaker ascribes human behaviour, thoughts and ac­tions to inanimate objects, he resorts to the stylistic device of personifi­cation:

In the book Alfred found Love which was hiding herself between the pages.

Lie is a strange creature, and a very mean one.

The nig ht was creeping towards the travelers.

Вітер утомився цілоденною борнею, ізнемігся, заблудився серед вулиць і в безладді тихо крутить пил і сміття і, плазуючи, питає, що ж робити?

З неба ж широко-величного, ясного та чистого радісно дивилось на них сонце й сміялось.

На синіх долонях вечора темним смутком горбатився старий вітряк і в благанні простягав завмерлі руки чи то до неба, чи то до людей: звикнувши до прачі, до гурту, він німотно каравсябез них, і тихі сльози скапували з його крил. Сонце стояло якесь безпомічне і нерішуче. Боялось навітьморгнути.

ALLEGORY

Factually, allegory is antonomasia. The only difference between them lies in their usage: the domain of allegory is not a sentence but the whole text (a logically completed narration of facts or events).

There are allegoric tales and fables, stories and novels. Completely alle­goric are such fables by I. Krylov as "Elephant and mongrel", "Donkey and nightingale", "Monkey and spectacles". Allegoric fables are not about elephants, dogs and donkeys. They are about people who behave like these animals:

He було порятунку ні від Бога, ні від чорта, ні від людей. Суддеюбув Ведмідь. Вовки були підсудки.Свиня з Мурахою сперечалися, хто з них двох багатший. А Вілбув свідком правоти і побічним суддею. [...І "Не те ви лічили, пане Віл ", - перебила його мову Мураха.

IRONY

This figure of quality is realized when the speaker intentionally breaks the principle of sincerity of speech. Ironically used words acquire meanings opposite to their primary language meanings: ironical good means bad, enough means not enough, pleased means displeased, etc.

Assigned features. Though irony is a contextual stylistic device, there exist words and word-combinations which convey ironical meaning out of context: too clever by half a young hopeful, head cook and bottle washer, to orate, to oratorizjk. In order to help the addressee decode irony the speaker often resorts to appropriate intonation and gestures. Communicative function. Irony is generally used to convey a negative meaning or emotion: irritation, regret, dissatisfaction, disappointment, displeasure, etc.

More examples:

What a noble illustration of the tender laws of this.

Favoured country! - they let the paupers go to sleep!

Cutting off chickens' heeds! Such a fascinating process to watch

It must be delightful to find oneself in a foreign country without a

penny in one's pocket.

Thank vo u very much for trumping my ace!

Він такий розумний, що й "два плюс два" не второпає.

Аякже, рада вас бачити, тільки б ще три роки не приходили.

Схожа свиня на коня, тільки шерсть не така.

Боюсь, як торішнього снігу.

Гарне життя: як собаці на прив'язі.

Irony

• There are various types of irony. They have in common the adoption of a distance from the subject for satirical or critical effect.

• A speaker might take up an opponent's argument and then exaggerate it to reveal its weaknesses. This is Socratic irony.

Writers or speakers might pretend to hold opinions which are the exact opposite of what they truly believe. [The reader or listener must be alert and skillful to avoid being drawn into a trap.]

• Dramatic irony occurs when the audience at a play know something of which the characters on stage are ignorant [the lover hidden in the next room].

Irony is often classed as a form of humour, along with sarcasm and satire. These do not necessarily evoke laughter, but rather a wry shrug or assent to the idea that the received world picture has been disturbed.

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