Стилистический анализ языка поэтических произведений У. Шекспира ( на примере сонетов 23 и 73 )

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.
The aim of the given work consists in a theoretical and practical substantiation of a question on features of stylistics of Shake¬speare's sonnets.
Object of work has demanded the decision of the following specific tasks:
- To consider features of the poetic discourse;
- To study different semantic and structural characteristics of poetic discourse;
- To make stylistics of Shake¬speare's sonnets.
Object of research in the given work is Shake¬speare's creativity.
Subject is the of stylistics features of Shake¬speare's sonnets.
Theoretical value - the given work brings the contribution to development of theoretical aspects of studying of creativity of Shake¬speare.
Practical value is, that the concrete theoretical material can be used in training courses under the theory of language, linguistics of the text, functional grammar, stylistics, rhetoric, literary criticism, transition theory, lectures on stylistics, the literature and other disciplines.
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., A
old I.V., Yakusheva I.V., van Deik, Kolshanskiy and others. We used also the articles from the the periodical editions....

On the basis of the aforesaid it is possible to draw the following conclusions.
Discourse as a count noun, as a category for designating particular ways of representing particular aspects of social life. The category of ‘discourse’ in this second sense is defined through its relation to and difference from two other categories, ‘genre’ and ‘style’.
Discourses as imaginaries also come to be enacted in new ways of acting and interacting, and such enactments are in part ‘intra-semiotic’: discourses become enacted as genres. Discourses as imaginaries may also come to be inculcated as new ways of being, new identities.
Also we came to a conclusion on the basis of our researches that Shakespeare's Sonnets are full of different stylistics devices.
Style is Shakespeare's careful choice of words and arrangement of words, sentences, and paragraphs to produce a specific effect on the reader.
Style allows the Shakespeare to shape how the reader experiences the work. For example, one writer may use simple words and straightforward sentences, while another may use difficult vocabulary and elaborate sentence structures. Even if the themes of both works are similar, the differences in the authors’ styles make the experiences of reading the two works distinct.
Shakespeare's style evolves out of the chosen point-of-view technique. The omniscient point of view produces a relatively complex style; the first-person point of view results in a simple style if it is recorded as “spoken,” more complex if written; and third-person point of view generates a style that typically is slightly elevated above the intelligence level of the focal character.
Stylistics devices have also the stylistic functions. As we have defined, the stylistic function reveals expressive potential of these units and their interaction in a text.
We have found in the Sonnets many stylistics devices which have the definite stylistic functions. We have revealed that mostly the author uses epithets, metaphor...