【正文】 I t is i mpossibl e to tr anslat e a li ter ar y wor k。 and t he grammat ical, r at her t han lexical, aspect of styl e is t he one on whi ch Ohm ann concent rates. Thus i n t he analysis of a wr i ter’s style i n a wor k of f icti on, we should study what t he wri ter has wri t en against the backgr ound of what he /she mi ght have wr it ten。 of tr ansit ive or i nt ransit ive verb const ruct ions) ? Ar e there any unusual order ings (i niti al adverbi al s, f ronti ng of object or plement, etc) ? Do speci al ki nds of clause constr uct ion occur (such as t hose wi th pr epar ator y it or there) ? Noun phrases: Are they rel at ively si mple or plex? Wher e does t he plexit y li e (i n pr em odi fi cat ion by adjecti ves, nouns, et c, or i n post modif icati on by preposi ti on by preposi ti onal phr ases, relat ive clauses, et c)? Ver b phrases: Are there any signif icant depart ures f rom the use of the simpl e past tense? For example, not ice occur rences and f unct ions of the pr esent t ense, of the progr essive aspect, of the perf ect aspect , of modal auxi li ar ies. ot her phr ase t ypes: Is t her e anyt hing t o be sai d about other phrases t ypes, such as preposi ti onal phrases, adver b phrases, adj ect ive phrases? Wor d classes: Having alr eady consi dered maj or wor d classes, we may consi der m inor word cl ases (eg f unct ional wor ds) , such as pr eposi t i ons, conj unct ions, pr onouns, deter miner s, auxi li ari es, int er jecti ons. Ar e par ti cul ar words of these types used f or par ticul ar ef ect ( eg demonst rati ves such as this and t hat , negati ves such as not , not hing)? Gener al : Note whet her any gener al t ypes of gramm at ical constr uct ion ar e used t o special ef ect ( eg par ative or super lat ive constr ucti ons, coor di native or l isti ng constr uct ions, par ent het ical constr uct ions, i nterj ect ions and af ter thought s as occur in causal speech). And see to the number of l ists and coordinat ions. Fi gur es of Speech Here we consider the f eat ur es which ar e for egr ounded by vir tue of depar ti ng in some way fr om general nor ms of municati on by means of the language code, f or exampl e, exploit ati on of deviati ons fr om t he li ngui st ic code. Gr ammat ical and l exi cal schemes ( for egr ounded r epeti ti ons of expressi on) : Are there any cases of f or mal and st ructur al r epet it ion ( anaphora, par al lel ism, etc) or of m ir ror i mage pat terns ( chi asm us) ? Is t he rhetor ical ef fect of these one of anti thesi s, r einfor cem ent , cl i m ax, ant i cl i m ax, et c? Phonol ogi cal schem es: Ar e t her e any phonol ogi cal pat t er ns of r hym e, al l i t er at i on, assonance, et c? Ar e t her e any sal i ent r hyt hm i cal pat t er n s? Do vowel s and consonant sounds pat t er n or cl ust er i n par t i cul ar ways? How do t hese phonol ogi cal f eat ur es i nt er act wi t h m eani ng? Tr opes ( f or egr ounded i r r egul ar i t i es of cont ent ) : Ar e t her e any obvi ous vi ol at i ons of or neol ogi sm s f r om t he t he m ai n verb (shown in capit als) occurs i n mi dparal leli sm and for ms a concealed center of gravit y, balancing subj ect against pr edi cat e. I t is obviously t he aestheti cs of f orm t hat tends to at tr act t he reader ’s at tenti on her e rat her t han the meaning. We mi ght pl ausibl y say that Lyl y has em br oidered an el abor at e garment round t he si mple i dea ―Eupheus was a young dandy. ‖ If ―ador nment‖ i s to be ident if ied i n l inguisti c pat terns whi ch have l it tl e sem ant ic f unct ion, we can poi nt to t he al li ter at ions clustered i n t he end of t he thir d sent ence. We can also point t o grammat ical par al leli sm whi ch, t hough not devoi d of content, seem mer el y t o play a r ole of embell ishment , providi ng fur ther exampl es of a concept alr eady expressed: ―The sweetest r ose hat h his pr ickle‖ alr eady conveys t he meani ng ―even t he best thi ngs ar e al loyed wi th bad,‖ and t hus t he repeti ti on of t he pat ter n in ―t he fi nest velvet hi s brack, t he fai rest f lower his br an’ i s redundant. Lyl y mi ght not have, then, added the l ast piece of pat tern unl es he had elaborated on t he al l i t er ati ve funct ion of ―holi est head‖ and ―wicked way.‖ However, t he el abor at ion of f orm wi l inevit abl y bri ng an elaborati on of meani ng. The r epet it on of par al el of exam pl es fr om di f erent experi ence ( ―r ose… vel vet … fl ower … wit … head‖) spurs our asoci ati on wit h t he generali ty of a di dact ic pr inciple which i s ot her wi se seen to be par ti cul ar . The repeti ion i n ―wi t… weal th… wisdom‖ i s not m er e r epeti ti on but a pr ogressi on im pl ying an i ncr easing wei ghtiness of the qual it ies li sted. The par al leli sm of ―inf er ior t o none in pl easant concei ts‖ and ―super ior t o al in honest condit ions‖ gi ves a schemati c bal ance t o the i mage of som et hing l ight (― pleasant conceit s‖) bei ng weighed agai nst something heavy (―honest condi ti ons‖), under li ning t he fault y logi c of Eupheus’ s yout hful mi nd. So t he schemati sm of for m ai ms at the i deas bei ng present ed. A more general and tenabl e def ini ti on of st yle i s the ―manner of expresi on‖: ever y wr it er necessar il y makes choi ces of expr esi on, and it i s in t hese choices, i n his/her ―way of put ti ng t hi ngs, ‖ that st yle r esi des. Thi s defi ni ti on of st yle abides by the beli ef that there can be dif fer ent ways of conveying t he same content and dr aws paral el s wi th ot her ar t f orm s such as music, pai nti ng and ar chi tectur e, and to var ied acti viti es such as playing t he piano or playing t enni s for elucidati on. I n such acti vit ies, t her e some invari ant r ules that must be foll owed, but there ar e also vari ant ways i