away, he tried to bite off my nose.”
“It was just an accident,” he said,
https://www.51lunwen.org/kaitibaogao/ putting his hand to his cheek.
“One night, in a calm, with a heavy sea running, the main-boom-lift carried away, an’ next the tackle. The lift was wire, an’ it was threshin’around like a snake. The whole watch was tryin’to grab it, an’ I rushed in an’ got swatted.”
“Oh,”she said, this time with an accent of comprehension, though secretly his speech had been so much Greek to her and she was wondering what a LIFT was and what SWATTED meant.
“This man Swineburne,” he began, attempting to put his plan into execution and pronouncing the I long.
“Who?”
“Swineburne,” he repeated, with the same mispronunciation. “The poet.”
“Swinburne,”she corrected.
“Yes, that’s the chap,” he stammered, his cheeks hot again. “How long since he died?”
“Why, I haven’t heard that he was dead.” She looked at him curiously. “Where did you make his acquaintance?”
“I never clapped eyes on him,” was the reply. “But I read some of his poetry out of that book there on the table just before you come in. How do you like his poetry?”
These two parts are clearly reflects the linguistic features of Martin Eden when he is a sailor. Sociolinguistics is the sub discipline of linguistics that studies language in social contexts. So the Sociolinguistists are concerned with the social significance of language variation and language use in different speech communities including regional, ethnic and social groups. This period, Martin Eden still lived with his sister and his fellows, they were all lower class, and they have their own language, although it is not very formal, but it used frequently in their society because of the social context. And during this period, He talked only when he had to, and then his speech was like his walk to the table, filled with jerks and halts as he groped in his polyglot vocabulary for words, debating over words he knew were fit but which he feared he could not pronounce, rejecting other words he knew would not be understood or would be raw and harsh. But all the time he was oppressed by the consciousness that this carefulness of diction was making a booby of him, preventing him from expressing what he had in him. Also, his love of freedom chafed against the restriction in much the same way his neck chafed against the starched fetter of a collar. Besides, he was confident that he could not keep it up. He was by nature powerful of thought and sensibility, and the creative spirit was restive and urgent. He was swiftly mastered by the concept or sensation in him that struggled in birth-throes to receive expression and form, and then he forgot himself and where he was, and the old words - the tools of speech he knew - slipped out. So the features of his language in this period is informal, vulgar, mediocre, bad manners and difficult to be understood.
But, when he is a writer, he has another feature in his language. Let see some examples:
(In his one class): Martin was not so sure but what he had followed him.
"Then I'll try to explain," he said. "I remember reading in Egyptian
history something to the effect that understanding could not be had of Egyptian art without first studying the land question."
"Quite right," the professor nodded.
"And it seems to me," Martin continued, "that knowledge of the land question, in turn, of all questions, for that matter, cannot be had without previous knowledge of the stuff and
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