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The Belles-lettres style.

Belles-lettres style or the style of imaginative literature may be called the richest register of comнmunication: besides its own language means which are not used in any other sphere of communicaнtion, belles-lettres style makes ample use of other styles too, for in numerous works of literary art we find elements of scientific, official and other functional types of speech. Besides informative and persuasive functions, also found in other functional styles, the belles-lettres style has a unique task to impress the reader aesthetically.

Speaking of belles-lettres style most scholars almost automatiнcally refer to it prose works, reнgarding poetry the domain of a special poetic style. Viewed diachronically this opinion does not seem controversial, for poems of previous centuries, indeed, adhered to a very specific vocabulary and its ordering. But poetry of the twentieth century does not show much difference from prose voнcabulary, its subjects are no more limited to several specific "poetic" fields but widely cover practiнcally all spheres of existence of contemporary man. So it is hardly relevant to speak of a separate poetic style in reference to contemporary literature.

Substyles:

- The language of poetry (verse) Ц rhyme, rhythmic and phonetic arrangement, strict orderly arнrangement, compact, brevity of expresнsion, epigram-like utterances; fresh, unexpected imaginary; elliptical and fragmentary sentences and other . Versification and prosody.

- Emotive prose (fiction): the imagery not so rich and the % of words with contextual meaning is not so high as it is in poetry,  the idiosynнcrasy of the author not so clearly discernible; monologue and diaнlogue, use of elements from other styles (newspaper, official, scienнtific);

- The language of drama.: stylised language, entirely dialogue, the author's speech is almost entirely excluded except for the playwright's remarks and stage directions, significant though they may be. Use the norms of the literary language of the given period.

 

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