Interaction of different types of lexical meaning

 

Words in context, as has been pointed out, may acquire additional lexical meanings not fixed in dictionaries, what we have called contextual meanings. The latter may sometimes deviate from the dictionary meaning to such a degree that the new meaning even becomes the opposite of the primary meaning, as, for example, with the word sophisticated (see p. 121). This is especially the case when we deal with transferred meanings.

What is known in linguistics as transferred meaning is practically the interrelation between two types of lexical meaning: dictionary and contextual. The contextual meaning will always depend on the dictionary (logical) meaning to a greater or lesser extent. When the deviation from the acknowledged meaning is carried to a degree that it causes an unexpected turn in the recognized logical meanings, we register a stylistic device.

The transferred meaning of a word may be fixed in dictionaries as a result of long and frequent use of the word other than in its primary meaning. In this case we register a derivative meaning of the word. The term 'transferred' points to the process of formation of the derivative meaning. Hence the term 'transferred' should be used, to our mind, as a lexicographical term signifying diachronically the development of the semantic structure of the word. In this case we do not perceive two meanings.

When, however, we perceive two meanings of a word simultaneously, we are confronted with a stylistic device in which the two meanings interact.

INTERACTION OF PRIMARY DICTIONARY AND CONTEXTUALLY IMPOSED MEANINGS

 

The interaction or interplay between the primary dictionary meaning (the meaning which is registered in the language code as an easily recognized sign for an abstract notion designating a certain phenomenon or object) and a meaning which is imposed on the word by a micro-context may be maintained along different lines. One line is when the author identifies two objects which have nothing in common, but in which he subjectively sees a function, or a property, or a feature, or a quality that may make the reader perceive these two objects as identical. Another line is when the author finds it possible to substitute one object for another on the grounds that there is some kind of interdependence or interrelation between the two corresponding objects. A third line is when a certain property or quality of an object is used in an opposite or contradictory sense.

The stylistic device based on the principle of identification of two Objects is called a metaphоr. The SD based on the principle of substitution of one object for another is called metonутy and the SD based on contrary concepts is called irony.

Let us now proceed with a detailed anaiysis of the ontology, structure and functions of these stylistic devices.

Metaphor

 

The term 'metaphor', as the etymology of the word reveals, means transference of some quality from one object to another. From the times of ancient Greek and Roman rhetoric, the term has been known to denote the transference of meaning from one word to another. It is still widely used to designate the process in which a word acquires a derivative meaning. Quintilian remarks: "It is due to the metaphor that each thing seems to have its name in language." Language as a whole has been figuratively defined as a dictionary of faded metaphors. Thus by transference of meaning the words grasp, get and see come to have the derivative meaning of understand. When these words are used with that meaning we can only register the derivative meaning existing in the semantic structures of the words. Though the derivative meaning is metaphorical in origin, there is no stylistic effect because the primary meaning is no longer felt.

A metaphor becomes a stylistic device when two different phenomena (things, events, ideas, actions) are simultaneously brought to mind by the imposition of some or all of the inherent properties of one object on the other which by nature is deprived of these properties. Such an imposition generally results when the creator of the metaphor finds in the two corresponding objects certain features which to his eye have something in common.

 

The definition of a metaphor is "a figure of speech containing an implied comparison, in which a word or phrase ordinarily and primarily used of one thing is applied to another. For example, "the curtain of night"

Metaphor Examples

You may have often heard expressions such as:

· He drowned in a sea of grief.

· She is fishing in troubled waters.

· Success is a bastard as it has many fathers, and failure is an orphan, with no takers.

All these expressions have one thing in common: a situation is compared to a real thing, although the situation is not actually that particular thing.

· Sea of grief - How and where does one come across a sea that is filled not with water, but with grief?

· Fishing - It is not used to mean that the person is actually fishing; it is an expression which is used to signify that the person is looking for something that is difficult to obtain.

· Success is a sense of achievement, it is not an illegitimate child! - The saying is used to reinforce the age-old belief that everyone wants to take credit for something that became a success, either by fluke or by conscious effort. On the other hand, no matter how much effort or creativity may have gone into an enterprise, the moment it is considered a failure, no one wants to take responsibility for it, much like an abandoned infant.

· Broken heart - Your heart is not literally broken into pieces; you just feel hurt and sad.

· The light of my life - The person described by this metaphor isn't really providing physical light. He or she is just someone who brings happiness or joy.

· It's raining men - Men do not literally pour from the sky; there are simply an abundance of male suitors around at the time.

· Time is a thief - Time isn't really stealing anything, this metaphor just indicates that time passes quickly and our lives pass us by.

· He is the apple of my eye - There is, of course, no real apple in a person's eye. The "apple" is someone beloved and held dear.

· Bubbly personality - A bubbly personality doesn't mean a person is bubbling over with anything, just that the person is cheerful.

· Feel blue - No one actually ever feels like the color blue, although many people say they are "feeling blue" to mean they are feeling sad.

· Fade off to sleep - You don't actually fade, you simply go to sleep.

· Inflamed your temper - The news inflamed your temper is not a situation where there is any actual fire or flames, it is just a situation where someone gets mad.

· Rollercoaster of emotions - A rollercoaster of emotions doesn't exist anywhere, so when people are on a rollercoaster of emotions, they are simply experiencing lots of ups and downs.

· Stench of failure - The stench of failure is strong, according to the common metaphor, but of course failing doesn't really smell.

All of these expressions are examples of metaphors. They are juxtaposing an actual (literal) thing and a figurative thing in order to give more meaning to the figurative concept.

Purpose of Metaphors

Expressions are used to give effect to a statement. Imagine how bland a statement such as “he was sad” is, compared to a statement describing a “sea of grief.” The metaphor is sure to give the reader a better idea of the depths of grief in this situation.

Metonymy

 

Metonymy is based on a different type of relation between the dictionary and contextual meanings, a relation based not on identification, but on some kind of association connecting the two concepts which these meanings represent.

Thus, the word crown may stand for 'king or queen', cup or glass for 'the drink it contains', woolsack for 'the Chancellor of the Exchequer who sits on it, or the position and dignity of the Lord Chancellor', e. g., "Here the noble lord inclined his knee to the Woolsack." (from Hansard).

Here also the interrelation between the dictionary and contextual meanings should stand out clearly and conspicuously. Only then can we state that a stylistic device is used. Otherwise we must turn our mind to lexicological problems, i.e. to the ways and means by which new words and meanings are coined. The examples of metonymy given above are traditional. In fact they are derivative logical meanings and therefore fixed in dictionaries. However, when such meanings are included in dictionaries, there is usually a label fig ('figurative use'). This shows that the new meaning has not replaced the primary one, but, as it were, co-exists with it.

Metonymy is a figure of speech in which something is called by a new name that is related in meaning to the original thing or concept. For example, it’s common practice to refer to celebrity life and culture in the United States as “ Hollywood,” as in “Hollywood is obsessed with this new diet.” The meaning of this statement is not that the place itself has any obsession, of course, but instead refers to the celebrities and wannabe celebrities who reside there.

As noted above, “Hollywood” can act as a metonym for celebrity culture. There are many other place names that act metonymically in the same way, such as “Wall Street” for the financial sector and “Washington” for the United States government. However, there are many more words in common usage that are metonyms. Here are more examples of metonymy:

§ The big house—Refers to prison

§ Stuffed shirts—People in positions of authority, especially in a business setting

§ The crown—a royal person

§ The Yankees/The Red Sox/The Cowboys, etc.—any team name is regularly used as a metonym for the players on the team. This is a less obvious metonym because often the team name is a group of people (the Cowboys, for instance), yet of course the football players who make up the Dallas Cowboys are not, in fact, cowboys.

§ The New York Times/Morgan Stanley/Wells Fargo, etc.—any organization or company name is often used to stand in for the people who work there, such as “The New York Times stated that…” or “Wells Fargo has decided….”

 

Scholars have long been interested in metonymy as a literary and rhetorical device. Ancient Greek and Latin scholars discussed the way in which metonymy changed words and meanings by providing new referents and connections between concepts. Authors have used metonymy for millennia for many different reasons. One primary reason is simply to address something in a more poetic and unique way. Authors can also add more complexity and meaning to ordinary words by using metonymy, thereby drawing the reader’s attention to what otherwise would not be noticed. Sometimes metonymy is also helpful to make statements more concise.

Irony

 

Irony is a stylistic device also based on the simultaneous realization of twological meanings—dictionary and contextual, but the two meanings stand in opposition to each other. For example: "It must be delightful to find oneself in a foreign country without a penny in one's pocket."

As a literary device, irony is a contrast or incongruity between expectations for a situation and what is reality. This can be a difference between the surface meaning of something that is said and the underlying meaning. It can also be a difference between what might be expected to happen and what actually occurs. The definition of irony can further be divided into three main types: verbal, dramatic, and situational. We describe these types in detail below.

The word “irony” comes from the Greek character Eiron, who was an underdog and used his wit to overcome a stronger character. The Greek word eironeía derived from this character and came to mean “dissimulation” or “purposely affected ignorance.” The word then entered Latin as ironia, and eventually became common as a figure of speech in English in the 16th century.

Irony is sometimes confused with events that are just unfortunate coincidences. For example, Alanis Morrissette’s song “Ironic” contains many events that are not ironic in any sense. She cites “rain on your wedding day” and “a traffic jam when you’re already late” as ironic situations, yet these are merely bad luck.

 

Types of Irony

Verbal Irony

Verbal irony takes place when the speaker says something in sharp contrast to his or her actual meaning. The speaker often makes a statement that seems very direct, yet indicates that the opposite is in fact true, or what the speaker really means. Looking at Alanis Morrissette’s “Ironic” again, the one true instance of irony comes when the man whose plane is going down says, “Well, isn’t this nice.” Clearly, the plane crash is anything but nice, and thus this utterance conveys the opposite of the man’s true feelings. Unlike dramatic and situational irony, verbal irony is always intentional on the part of the speaker.

Verbal irony can also consist of “ironic similes”, which are comparisons in which the two things are not alike at all. For example, “as soft as sandpaper” or “as warm as ice.” These similes mean that the thing in question is actually not soft or warm at all. The author Daniel Handler (who writes with the pen name Lemony Snicket) takes ironic similes to an extreme by qualifying them so they actually become real comparisons. For example: “Today was a very cold and bitter day, as cold and bitter as a cup of hot chocolate, if the cup of hot chocolate had vinegar added to it and were placed in a refrigerator for several hours.”

Dramatic Irony

Dramatic irony occurs when the audience has more information than one or more characters in a work of literature. This literary device originated in Greek tragedy and often leads to tragic outcomes. For example, in Shakespeare’s Othello, the audience is aware that Othello’s best friend Iago is villainous and attempting to bring Othello down. The audience is also aware that Desdemona has been faithful, though Othello doesn’t know this. The audience can foresee the imminent disaster.

There are three stages of dramatic irony: installation, exploitation, and resolution. In the case of Othello, the installation is when Iago persuades Othello to suspect that Desdemona is having an affair with a man named Cassio. Iago then exploits the situation by planting Desdemona’s handkerchief, a gift from Othello, in Cassio’s room. The resolution is only after Othello has murdered Desdemona when her friend Emilia reveals Iago’s scheme.

Situational Irony

Situational irony consists of a situation in which the outcome is very different from what was expected. There are contradictions and contrasts present in cases of situational irony. For example, in The Wonderful Wizard of Oz, the citizens of the Emerald City assume that Oz is great and all-powerful, yet the man behind the curtain is revealed to be an old man with no special powers.