ll these features are correlated differently in emotive prose. The imagery is no as rich as it is in poetry, the percentage of words with contextual meaning is not as high as in poetry, and the idiosyncrasy of the author is not so clearly discernible.form meter and rhyme, what most of all distinguishes emotive prose form the poetic style is the combination of the literary variant of the language, both in words and syntax, with the colloquial variant. It would perhaps be more exact to define this as a combination of the spoken and written varieties of the language, inasmuch as there are always two forms of communication present - monologue (the writer s speech) and dialogue (the speech of the characters).
It follows then that the colloquial language in the belles-lettres style is not a pure and simple reproduction of what might be the natural speech of living people. It has undergone changes introduced by the writer. The colloquial speech has been made «literature-like.» This means that only the most striking elements of what might have been a conversation in life are made use of, and even these gave undergone some kind of transformation. Emotive prose allows the use of elements from other styles as well. Thus we find elements of the newspaper style in Sinclair Lewisґs «It Canґt Happen Here», the official style in the business letters exchanged between two characters in Galsworthyґs novel «The Man of Property», the style of scientific prose in Croninґs «Citadel» where medical language is used.all these styles under the influence of emotive prose undergo a kind of transformation. Passages written in other styles may be viewed only as interpolation and not as constituents of the style. Present day emotive prose is to a large extent characterized by the breaking-up of traditional syntactical designs of the preceding periods. Not only detached construction, but also fragmentation of syntactical models, peculiar, unexpected ways of combining sentences, especially the gap-sentence link and other modern syntactical patterns, are freely introduced into present-day emotive prose. [39, 387] third is the language of the drama . The stylization of colloquial language is one of the features of plays which at different stages in the history of English drama has manifested itself in different ways revealing, on the one hand, the general trends of the literary language and, on the other, the personal idiosyncrasies of the writer. Thus the language of plays is a stylized type of the spoken variety of language. The analysis of the language texture of plays has shown that the most characteristic feature here is to use the term of the theory of information, redundancy of information caused by the necessity to amplify the utterance. This is done for the sake of the audience.language of plays is entirely dialogue. The authorґs speech is almost entirely excluded except for the playwrightґs remark and stage directions. The language of the characters is in no way the exact reproduction of the norms of colloquial language, although the playwright seeks to reproduce actual conversation as far as the norms of the written language will allow. This variety of belles-lettres style has used the norms of the literary language of the given period. So 16 th century drama is much different from 20 th century drama. [40, 200]
So, resuming the theory on belles-lett...
