By: Esther Marie B. Ladines Dr. Ma. Asuncion Christine V.

Dequilla
-it is the literary element that describes the ways that the author uses words
-it also describes how the author describes events, objects, and ideas.

-may be conscious or unconscious

-it has a profound impact on the way texts are structured and interpreted
-experiential function-on important marker of style
 According to Brooks and Warner, ‘style is
usually within the poet’s manner of choosing,
ordering and arranging his words. But of course,
when one asks on what ground certain words are
chosen and ordered, one is raising the whole
problem of form. Style, in its larger sense is
essentially the same thing as form (Enkvist,
1964:15)
 Choice is a very vital instrument of stylistics since it
deals with the variations and the options that are
available to an author. Since language provides its users
with more than one choice in a given situation, there
are different choices available to the writer in a given
text. This then depends on the situation and genre the
writer chooses in expressing thoughts and opinions.
Traugott and Pratt (1980: 29 – 30)
 Conscious choice between synonyms or quasi-synonyms is
often dictated by considerations which have nothing to do
with cognitive meaning. Some examples:

1. One term is general than another (refuse vs reject)

2. One term is more intense than another (refuse vs repudiate)
3. One term is more emotive than another (reject vs. decline)
4. One term may imply moral
approbation or censure (thrifty vs economical)
5. One term is more professional than
another (deceased vs death)
 Conscious choice between synonyms or quasi-synonyms is
often dictated by considerations which have nothing to do
with cognitive meaning. Some examples:

6. One term is more literary than another (passing vs death)

7. One term is more colloquial than
another (turn down vs refuse)
8. One term is more local or dialectal than (papag vs wooden bed)
another

9. One term belongs to child talk (daddy vs father)

From Ulmann (ed.). LANGUAGE AND STYLE.
Collected Papers by Stephen Ulmann, 1966
The choices that a writer can make are limited
Factors that limit the choice of analogies:
1. The images need to conform to the personality of the people who use them
2. The general atmosphere of the work in question
3. The tone of the passage and the author’s attitude to his subject
4. The author’s personality and experience

The more unusual the construction, the more expressive

force it will have
 Sentence Time Sequencing/
Allusions Point of View
Structure Chronology

Character
Pace
Development

Diction Tone

Figure of Word Color/

Speech Word Sound

Paragraph/
Use of Dialogue Experimentation in Meta Fictional Chapter Structure
Language Techniques
Valediction
sa
Hillcrest
(Iowa City, 1958)
by: Rolando Tinio
Rolando S. Tinio,
playwright, thespian,
poet, teacher, critic and
translator, marked his
career with prolific artistic
productions. Tinio’s chief
distinction is as a stage
director whose original
insights into the scripts he
handled brought forth
productions notable for
their visual impact and
(1997)
intellectual cogency. (March 5, 1937 – July 7, 1997)
Valediction sa Hillcrest
Rolando Tinio
Pagkacollect ng Railway Express sa aking things
(Derecho na iyon sa barko while I take the plane)
Inakyat kong muli ang N-311 at dahil dead of winter,
Nakatopcoat at galoshes akong
Nagright turn sa N wing ng mahabang dilim
(Tunnel yatang aabot hanggang Tondo).
Kinapa ko ang switch sa hall.
Sa isang pitik, nagshrink ang imaginary tunnel,
Nagparang ataol.
Or catacomb
Strangely absolute ang impression
Ng hilera ng mga pintong nagpuprusisyon:
Individual identification, parang mummy cases,
De-nameplate, de-numero, de-hometown address.
Antiseptic ang atmosphere, streamlined yet,
Kung hindi catacomb, at least
E filing cabinet
Filing, hindi naman deaths ha.
Remembrances, oo. Yung medyo malapot
Dahil, alam mo na I’m quitting the place
After two and a half years.
After two and a half years,
Di man nagkatiyempong mag-ugat, ika nga,
Siyempre’y nagging attached, parang morning glory’ng
Mahirap mapaknit sa alambreng trellis.
At pagkabukas ko sa kwarto
Hubo’t hubad na ang matresses,
Wala na ang kutson sa easy chair,
Mga drawer ng bureau’y nakanganga,
Saba’y sabay mag-ooration,
Nagkahiyaan, nabara
Of course, tuloy ang radiator sa paggaragal:
Nasa New York na si Bob and two Allans,
Yung mga quarterback across the hall
Pihadong panay ang display sa Des Moines.
Don and Constance aren’t coming back at all.
Gusto ko nang magpaalam---
to whom?
The drapes? The washbowl? Sa double decker
Na pinaikot-ikot naming ni Kandaswamy
To create space, hopeless, talagang impossible.
Of course, tuloy ang radiator sa paglagutok.
(and the stone silence,
nakakaiyak kung sumagot.)
Bueno, let’s get it over with,
It’s a long walk to the depot.
Tama na ang sophistication-sophistication.
So steep incline pababa sa highway
Where all things level, sabi nga.
There’s a flurry ang gentle-gentle.
Pag whoosh-whoosh ng paa ko,
The snow melts right under.
Nagtutubig parang asukal
Humuhulas,
nagsesentimental.
http://shodhganga.inflibnet.ac.in/bitstream/10603/60167/7/07_chapter%201.pdf
https://en.wikipedia.org/wiki/Rolando_Tinio