A. Intentional mixing of the stylistic aspect of words

Heterogeneity of the component parts of the utterance is the basis
for a stylistic device called b а t h о s. Unrelated elements are brought
together as if they denoted things equal in rank or belonging to one
class, as if they were of the same stylistic aspect. By being forcibly linked
together, the elements acquire a slight modification of meaning.

"Sooner shall heaven kiss earth— (here he fell sicker)

Oh, Julia! what is every other woe? —
(For God's sake let me have a glass of liquor;

Pedro, Battista, help me down below)
Julia, my love! — (you rascal, Pedro, quicker) —

Oh, Julia! — (this curst vessel pitches so) —
Beloved Julia, hear me still beseeching!"
(Here he grew inarticulate with retching.)

Such poetic expressions as 'heaven kiss earth', 'what is every other
woe'; 'beloved Julia, hear me still beseeching' are joined in one flow of
utterance with colloquial expressions — 'For God's sake; you rascal;
help me down below', 'this curst vessel pitches so'. This produces an
effect which serves the purpose of lowering the loftiness of expression,
inasmuch as there is a sudden drop from the elevated to the commonplace
or even the ridiculous.

As is seen from this example, it is not so easy to distinguish whether
the device is more linguistic or more logical. But the logical and lin-
guistic are closely interwoven in problems of stylistics.

Another example is the following—

"But oh? ambrosial cash! Ah! who would lose thee?
When we no more can use, or even abuse thee!"

("Don Juan")

Ambrosial is a poetic word meaning 'delicious', 'fragrant', 'divine'.
Cash is a common colloquial word meaning 'money', 'money that a per-
son actually has', 'ready money'.

Whenever literary words come into collision with non-literary ones
there arises incongruity, which in any style is always deliberate, inas-
much as a style presupposes a conscious selection of language means.

The following sentence from Dickens' "A Christmas Carol" illust-
rates with what skill the author combines elevated words and phrases
and common colloquial ones in order to achieve the desired impact on
the reader—it being the combination of the supernatural and the
ordinary.

"But the wisdom of our ancestors is in the simile; and my un-
hallowed hands shall not disturb it, or the Country's done for."

The elevated ancestors, simile, unhallowed, disturb (in the now obsolete
meaning of tear to pieces) are put alongside the colloquial contraction
the Country's (the country is) and the colloquial done for.

This device is a very subtle one and not always discernible even to
an experienced literary critic, to say nothing of the rank-and-file read-
er. The difficulty lies first of all in the inability of the inexperienced
reader to perceive the incongruity of the component parts of the utterance.

Byron often uses bathos, for example,

"They grieved for those who perished with the cutter
And also for the biscuit-casks and butter."

The copulative conjunction and as well as the adverb also suggest the
homogeneity of the concepts those who perished and biscuit-casks and
butter. The people who perished are placed on the same level as the
biscuits and butter lost at the same time. This arrangement may lead
to at least two inferences:

for the survivors the loss of food was as tragic as the loss of friends
who perished in the shipwreck;

the loss of food was even more disastrous, hence the elevated
grieved... for food.

It must be born in mind, however, that this interpretation of the
subtle stylistic-device employed here is prompted by purely linguistic
analysis: the verbs to grieve and to perish, which are elevated in conno-
tation, are more appropriate when used to refer to people—and are
out of place when used to refer to food. The every-day-life cares and
worries overshadow the grief for the dead, or at least are put on the same
level. The verb to grieve, when used in reference to both the people who
perished and the food which was lost, weakens, as it were, the effect of
the first and strengthens the effect of the second.

The implications and inferences drawn from a detailed and metic-
ulous analysis of language means and stylistic devices can draw addi-
tional information from the communication. This kind of implied meaning
is derived not directly from the words but from a much finer analysis called supralinear or suprasegmental.

Almost of the same kind are the following lines, also from Byron:

"Let us have wine and women, mirth and laughter,
Sermons and soda-water —the day after."

Again we have incongruity of concepts caused by the heterogeneity
of the conventionally paired classes of things in the first line and the
alliterated unconventional pair in the second line. It needs no proof

that the words sermons and soda-water are used metonymically here
signifying 'repentance' and 'sickness' correspondingly. The decoded
form of this utterance will thus be: "Let us now enjoy ourselves in spite
of consequences." But the most significant item in the linguistic analysis
here will, of course, be the identical formal structure of the pairs 1. wine
and women; 2. mirth and laughter and 3. sermons and soda-water. The sec-
ond pair consists of words so closely related that they may be considered
almost synonymous. This affects the last pair and makes the words
sermons and soda-water sound as if they were as closely related as the words
in the first two pairs. A deeper insight into the author's intention may
lead the reader to interpret them as a tedious but unavoidable remedy
for the sins committed.

Byron especially favours the device of bathos in his "Don Juan."
Almost every stanza contains ordinarily unconnected concepts linked
together by a coordinating conjunction and producing a mocking ef-
fect or a realistic approach to those phenomena of life which imperatively
demand recognition, no matter how elevated the subject-matter may be.

Here are other illustrations from this epoch-making poem:

"heaviness of heart or rather stomach;"

"There's nought, no doubt, so much the spirit calms

As rum and true religion"

"...his tutor and his spaniel"

"who loved philosophy and a good dinner"

"I cried upon my first wife's dying day

And also when my second ran away."

We have already pointed out the peculiarity of the device, that
it is half linguistic, half logical. But the linguistic side becomes es-
pecially conspicuous when there is a combination of stylistically hetero-
geneous words and phrases. Indeed, the juxtaposition of highly liter-
ary norms of expression and words or phrases that must be classed as
non-literary, sometimes low colloquial or even vulgar, will again un-
doubtedly produce a stylistic effect, and when decoded, will contrib-
ute to the content of the utterance, often adding an element of humour.
Thus, for instance, the following from Somerset Maugham's "The Hour
before Dawn":

'"Will you oblige me by keeping your trap shut, darling?' he retorted."

The device is frequently presented in the structural model which
we shall call heterogeneous enumeration (see p. 216).