Climax and Anticlimax

1. The core of culmination and anti mop up The Greek member sexual climax means ladder the Latin gradatio means ascent, climbing up. In climax we deal with strings of synonyms or at least semantically link up dustup belonging to the same thematic group. 4, p. 155 According to Efimov L. P. , climax (or Gradation) is the figure of unequality, which consists in arranging the utterance so that s everally accompanying comp anent of it amplifications logical implication, grandeur or worked up tension of narration. 1, p. 69 Galperin I. R. iews climax as an arrangement of sentences (or of the homogeneous move of nonpareil sentence) which secures a gradual amplification in implication, bear oniveness, or randy tension in the utterance, as in It was a benignant city, a fine-looking city, a arrestly city, a true gem of a city. or in Ne restriction wall, ne river dark and wide, Ne terrible crags, nor mountains dark and tall Rise deal the rocks that part Hispanias land from Gaul. (Byron) Gradual increase in frantic evaluation in the stolon illustration and in significance in the second gear is realized by the distribution of the corresponding lexical items.Each serial unit is perceived as stronger than the preceding one. Of course, there be no accusing linguistic criteria to estimate the degree of importance or significance of each constituent. It is that the formal homogeneity of these component move and the test of synonymy in the rowing lovely, beautiful, fair, veritable gem, in the first modeling and the congenator inaccessibility of the barriers wall, river, crags, mountains together with the epithets deep and wide horrid, dark and tall that make us feel the increase in importance of each. 1, p. 220 2. Different types of climax A gradual increase in significance may be maintained in terce ways logical, aroused and quantitative. Logical climax is establish on the coition importance of the component parts looked at from the dose of view of the c one timepts embodied in them. This relative importance may be evaluated two aimly and subjectively, the actors attitude towards the objects or phenomena in question being disclosed. Thus, the following separate from monsters Christmas Carol shows the relative importance in the uthors mind of the things and phenomena described Nobody ever stopped him in the street to say, with glad looks, My dear Scrooge, how are you? When will you come to picture me? No beggars imgjored him to bestow a trifle, no squirtren asked Jiim what it -was oclock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the cunning mens dogs appeared to know him, and when they saw him approach shot on, would tug their owners into doorways and up courts and wherefore would lineup their tails, as though they say, No essence at all is better than an dark eye, dark master The array of the statements shows what the compose c onsiders the culmination of the climax. The passage by Dickens should be considered subjective, because there is no general recognition of the relative significance of the statements in the paragraph. The climax in the lines from Byrons Ne barrier may be considered intent because such things as wall, river, crags, mountains are objectively ranked according to their accessibility. activated climax is based on the relative emotional tension produced by wrangling with emotive meaning, as in the first use with the words lovely, beautiful, fair.Of course, emotional climax based on synonymous strings of words with emotive meaning will unavoidably cause certain semantic differences in these words such is the linguistic disposition of stylistic synonyms, but emotive meaning will be the prevailing one. Emotional climax is mainly found in sentences, more rarely in bimestrial syntactical units. This is natural. Emotional charge can non harmonise long. As becomes obvious from the ana lysis of the higher up utilizations of climatic order, the arrangement of the component parts calls for collimate construction which, being a kind of syntactical repetition, is ofttimes attach to by lexical repetition.Here is an different example of emotional climax built on this pattern He was pleased when the child began to adventure across the floors on circulate and knees he was gratified, when she managed the trick of balancing herself on two legs he was delighted when she first said ta-ta and he was rejoiced when she recognized him and smiled at him. (Alan Paton) Finally, we come to quantitative climax. This is an evident increase in the volume of the corresponding concepts, as in They looked at hundreds of houses they climbed thousands of stairs they inspected limitless kitchens. (Maugham) Here the climax is achieved by truthful numerical increase. 1, p. 220 3. The indispensable constituents of climax What then are the indispensable constituents of climax? They are a) the distributional constituent close proximity of the component parts arranged in increasing order of importance or significance b)the syntactical pattern parallel constructions with possible lexical repetition c)the implicit constituent the explanatory context which helps the referee to grasp the gradation, as no. .. ver once in all his life, nobody ever, nobody, No beggars (Dickens) deep and wide, horrid, dark and tall (Byron) veritable (gem of a city). Climax, like umteen other stylistic gizmos, is a means by which the reason discloses his globe outlook, his evaluation of objective facts and phenomena. The concrete stylistic function of this device is to show the relative importance of things as seen by the author (especially in emotional climax), or to impress upon the contributor the significance of the things described by suggested comparison, or to show phenomena dynamically. 3. What is Anticlimax?According to Efimov, anticlimax (or Bathos) is a stylistic device whi ch consists in arranging the utterance so that each subsequent component of it decreases significance, importance or emotional tension of narration If Johns eyes fill with tears, you may rich person no doubt he has been eating raw onions. 2, p. 70 Kukharenko V. A. views anticlimax as an unannounced turn of the thought which defeats expectations of the reader (listener) and ends in complete semantic reversal of the accentuate idea. 3, p. 93 The device thus called is characterized by well-nigh authors as back gradation.As its rattling name shows, it is the opposite to climax, but this conjecture is not quite correct. It would serve no purpose whatever making the second element weaker than the first, the third still weaker, and so on. A real anticlimax is a explosive deception of the recepient it consists in adding one weaker element to one or some(prenominal) strong ones, mentioned before. The recepient is disaappointed in his expectations he predicted a stronger element to f ollow instead, some undistinguished idea follows the significant one (ones). free to say, anticlimax is employed with a mirthful aim.For example, in Its abloody lie and not quite true, we see the absurdity of assortment up an offensive statement with a polite remark. 4, p. 156 The ideas expressed may be arranged in lift order of significance, or they may be poetical or elevated, but the last-place one, which the reader expects to be the culminating one, as in climax, is lazy or farcical. There is a sudden drop from the lofty or spartan to the ridiculous. A typical example is Aesops allegory The Mountain in Labour. In days of yore, a mighty mutter was heard in a Mountain.It was said to be in labour, and multitudes flocked together, from far and near, to see what it would produce. After long expectation and many wise conjectures from the bystanders out popped, a swipe Here we hurt deliberate anticlimax, which is a recognized form of humour. Anti- climax is frequently us ed by humorists like specialise Twain and Jerome K. Jerome. In Three hands in a Boat, for example, a poetical passage is invariably followed by ludicrous scene. For example, the author expands on the beauties of the erstwhile(a) on the river and concludes But we didnt sail into the world of golden sunset we went slap into that old punt where the gentlemen were fishing. Another example is This war-like speech, authoritative with many a cheer, Had filled them with appetite of fame, and beer (Byron) 1, p. 221 4. Conclusions There are some types of semantically complicated parallelism. They are presente by climax and anticlimax. Climax, like many other stylistic devices, is a means by which the author discloses his world, outlook, his evaluation of objective facts and phenomena.The concrete stylistic function of this device is to show the relative importance of things as seen by the author (especially in emotional climax), or to impress upon the reader the significance of the thi ngs described by suggested comparison, or to depict phenomena dynamically. Climax which increases emotional tension of the utterance may be called emotional. Emotional gradation is created by synonymic words with emotive meanings nice handsome beautiful marvellous gorgeous Climax reveal the quantity of objects may be called quantitative There were dozens of planets, hundreds of meteorites, innumerable crook of stars.There is a device which is called anticlimax. The ideas expressed may be arranged in ascending order of significance, or they may be poetical or elevated, but the final one, which the reader expects to be the culminating one, as in climax, is trifling or farcical. There is a sudden drop from the lofty or serious to the ridiculous. For example The fire fire Johns house down and he anomic his cell phone. Yesterday I had great sleep but I have to meet my uncle today. References 1. ?. ?. / ?. . . ?. , 1981 2. ?. ?. , ?. ?. ? . - . , 2004. ?. 69-71 3. ?. ?. ? . . , 2000 160 ?. 4. ?. ?. - ? . . . / ?. ?. . 2-? . , . ?. , 2003. 221, 3 ?. ( . ).