Foreign words
in E. Hemingway & # 8217 ; s The Old Man and the Sea:
semantics, maps, frequence

Introduction

The paper is devoted to Ernest Hemingway & # 8217 ; s narrative The Old Man and the Sea. It discusses critical jobs of the characters every bit good as foreign words in the novelette.

It consists of the debut, 3 chapters, the decision, and the list of literature used.

The first chapter is devoted to Ernest Hemingway and his last life-time publication The Old Man and the Sea which brought him the Nobel Prize. The 2nd chapter focal points on adoptions in English and the historical procedure of their come ining the linguistic communication. Chapter 3 touches the foreign words in the novelette The Old Man and the Sea and their division into semantic groups.

The list of plants used in the readying of this paper consists of 16 entries. Theoretical beginnings constitute 1, mention beginnings & # 8211 ; 6, the researched text & # 8211 ; 114 pages.

1.
Earnest Hemingway and his novelette “ The old adult male and the sea ”

Ernest Miller Hemingway was an American novelist, short-story author and journalist. Many of his narratives reflect his rich life experiences as a war letter writer, out-of-door sportswoman, and bullfight partisan. His composing manner is simple yet graphic, and his characters embody the thought of & # 171 ; grace under pressure. & # 187 ; His plants are regarded as classics in the canon of American literature as essayist Joan Didion, Poet Derek Walcott, Poet Russell Banks say. [ 16 ] . Some have even been made into gesture images.

Hemingway was born in the quiet town of Oak Park, Illinois, a suburb of Chicago, on July 21, 1899. His male parent was a doctor, and Ernest was the 2nd of six kids born to Dr. and Mrs. Clarence E. Hemingway. His female parent, a devout, spiritual adult female with considerable music endowment, hoped that her boy would develop an involvement in music. Alternatively, Ernest acquired his male parent & # 8217 ; s enthusiasm for guns and for angling trips in the north forests of Michigan.

Earnest was educated at Oak Park High School. After graduating in 1917, he became a newsman for the Kansas City Star, but he left his occupation within a few months to function as a voluntary ambulance driver in Italy during World War I. He subsequently transferred to the Italian foot and was badly wounded.

After the war he served as a letter writer for the Toronto Star and so settled in Paris. While at that place, he was encouraged in originative work by the American exile authors Ezra Pound and Gertrude Stein. After 1927 Hemingway spent long periods of clip in Key West, Florida, and in Spain and Africa. During the Spanish Civil War ( 1936 & # 8211 ; 1939 ) , he returned to Spain as a newspaper letter writer. In World War II ( 1939 & # 8211 ; 1945 ) he once more was a letter writer and subsequently was a newsman for the United States First Army. Although he was non a soldier, he participated in several conflicts. After the war Hemingway settled nigh Havana, Cuba, and in 1958 he moved to Ketchum, Idaho.

Hemingway drew to a great extent on his experiences as an devouring fisherman, huntsman, and bullfight partisan in his authorship. His adventuresome life brought him near to decease several times: in the Spanish Civil War when shells burst inside his hotel room ; in World War II when he was struck by a cab during a blackout, and in 1954 when his aeroplane crashed in Africa. He led a disruptive societal life and was married four times [ 16 ] .

The Old Man and the Sea led to legion awards for Hemingway, including the 1953 Pulitzer Prize for Fiction. He besides earned the Award of Merit Medal for the Novel from the American Academy of Letters that same twelvemonth. Most prestigiously, the Nobel Prize in Literature came in 1954, & # 171 ; for his command of the art of narrative, most late demonstrated in The Old Man and the Sea, and for the influence that he has exerted on modern-day style. & # 187 ; He received the Pulitzer Prize in 1953 for The Old Man and the Sea and the Nobel Prize in Literature in 1954. In 1961, at age 61, he committed suicide, as his male parent did before him [ 10 ] .

While Hemingway was populating in Cuba, get downing in 1940 with his 3rd married woman Martha Gellhorn, one of his favourite interests was to sail and angle in his boat, named The Pilar. General biographical consensus holds that the theoretical account for Santiago in The Old Man and the Sea was, at least in portion, the Cuban fisherman Gregorio Fuentes [ 8 ] . Hemingway hired him to look after his boat. During Hemingway ‘s Cuban old ages a strong friendly relationship formed between Hemingway and Fuentes. For about 30 old ages, Fuentes served as the captain of The Pilar. Fuentes died in 2002 when he was 104 old ages old. Prior to his decease, he donated Hemingway ‘s Pilar to the Cuban authorities. He ne’er read The Old Man and the Sea.

A great trade has been written about Ernest Hemingway & # 8217 ; s typical manner as Journalist Jim Wolf, Journalist Steve Paul, Writer James Nigel, Novelist Annie Proulx say [ 7 ] .From about the beginning of his composing calling in the 1920 & # 8217 ; s, he has been the topic of munificent congratulations and sometimes savage unfavorable judgment. Critic Harry Levin pointed out the failing of sentence structure and enunciation in Hemingway & # 8217 ; s authorship, but was speedy to praise his ability to convey action [ 9 ] .

To explicate Hemingway & # 8217 ; s manner in a few paragraphs in such a mode as to fulfill those who have read his articles and books is about impossible. It is a simple manner, straightforward, modest and slightly apparent. Hemingway does non give manner to lengthy geographical and psychological description. His manner has been said to miss substance because he avoids direct statements and descriptions of emotion [ 3 ] . He developed a forceful prose manner characterized by simple sentences and few adverbs or adjectives. He wrote concise, graphic duologue and exact description of topographic points and things. He relates a narrative in the signifier of consecutive news media, but because he is a maestro of conveying emotion without embroidering it, the narrative is even more gratifying [ 10 ] .

When The Old Man and the Sea was published in 1952, it was a popular success. The novelette foremost appeared as portion of the September 1, 1952 edition of Life magazine. 5.3 million transcripts of that issue were sold within two yearss. The narrative won the Pulitzer Prize for fiction in 1953. A twelvemonth subsequently, Hemingway was awarded the Nobel Prize for Literature. The Old Man and the Sea is by and large considered by many to be his coronating accomplishment as The Nobel Prize Committee and Journalist Susan F. Beegel say [ 7 ] . It was the last major work of fiction to be produced by Hemingway and published in his life-time. The work was particularly praised for its word picture of a new dimension to the typical Hemingway hero, less butch andmore respectful of life. In Santiago, Hemingway had eventually achieved a character who could confront the human status and survive without cynically disregarding it or deceasing while trying to break it. In Santiago & # 8217 ; s relationship with the universe and those around him, Hemingway had discovered a manner to proclaim the power of love in a wider and deeper manner than in his old plants [ 2 ] .

It is a epic narrative of adult male & # 8217 ; s strength pitted against forces he can non command. It is a narrative about an old Cuban fisherman and his three-day conflict with a elephantine marlin. The fisherman Santiago goes out and battles nature in the signifier of awful forces and unsafe animals, among them, a marlin, sharks and hungriness.

He starts the narrative in a little skiff and moves out in a journey to capture a fish after a long losing run of 84 yearss. Unfortunately his friend, a immature male child called

Manolin, was non allowed by his parents to angle with Santiago any longer. Santiago is viewed as an castaway in his small town. Yet the male child feels an resistless sum of regard and trueness for the old fisherman. Even Santiago doesn & # 8217 ; t believe of the male child as a kid but as an equal. Age is non a factor in their relationship. Manolin does non even move as a immature male child. He is mature and sensitive to Santiago & # 8217 ; s feelings.

Manolin is present merely in the beginning and at the terminal of The Old Man and the Sea, but his presence is of import because Manolin & # 8217 ; s devotedness to Santiago high spots Santiago & # 8217 ; s value as a individual and as a fisherman. Manolin demonstrates his love for Santiago openly. He makes certain that the old adult male has nutrient, covers, and can rest without being bothered. Despite Hemingway & # 8217 ; s insisting that his characters were a existent old adult male and a existent male child, Manolin & # 8217 ; s pureness and dedication elevate him to the degree of a symbolic character. Manolin & # 8217 ; s actions are non tainted by the confusion, ambivalency, or unruliness that typify adolescence. Alternatively, he is a comrade who feels nil but love and devotedness. He even offers to travel against his parents & # 8217 ; wants and accompany Santiago on his fishing trips. In the narrative we can see Manolin & # 8217 ; s trueness to Santiago: even when his parents forbid him he wants to assist his friend.

Hemingway intimations at the male child & # 8217 ; s bitterness for his male parent, whose wants Manolin obeys by abandoning the old adult male after 40 yearss without catching a fish. This fact helps to set up the male child as a existent human being, as a individual with conflicting truenesss who faces hard determinations. By the terminal of the book, nevertheless, the male child abandons his responsibility to his male parent, cursing that he will sail with the old adult male regardless of the effects. He stands, in the novelette & # 8217 ; s concluding pages, as a symbol of uncompromising love and fidelity. As the old adult male & # 8217 ; s learner, he besides represents life that will guarantee decease. His dedication to larning from the old adult male ensures that Santiago will populate on.

In the novel, Santiago is a maestro craftsman. He depends on himself merely. While the other fishermen use powerboats, Santiago uses his skiff. While the other work forces have many workers and assistants to keep several lines, Santiago has three lines all operated by his ain manus. He is an expert. He goes much farther out than the other fishermen and dramatis personaes bait in much deeper H2O because he knows the Waterss and the motions of the fish. Although he is taking a greater hazard by traveling out deeper, he has a better opportunity of catching the bigger fish.

Another thing that makes Santiago a maestro craftsman is his experience. He has been a fisherman all his life. Therefore he has had much clip to get the hang this art. Though many fishermen might doubt him, he is great. He has accomplishment and he applies it in order to win. He uses his custodies and he uses his inherent aptitudes to get the hang the art of being a fisherman. Santiago uses himself, his physical and mental strength to catch the fish, and by making these things, his hard undertaking becomes easier. He is a maestro craftsman non merely through his accomplishment, but besides through his finding [ 4 ] .

Although he has gone 84 yearss without catching a fish, he does non give up: & # 171 ; Tomorrow is traveling to be a good twenty-four hours with this current, & # 187 ; Santiago said. ( 9 ) *

Santiago ‘s age does non intend anything to him. He believes that he can make anything he wants. He is really strong physically and mentally. He does non believe that he is acquiring old and it ‘s clip for him to loosen up as many old people believe. Santiago goes out to angle every twenty-four hours as he used to make when he was a immature adult male.

He exposes himself to dangers by traveling out much farther and projecting come-on in deeper Waterss. He goes out on his 85th twenty-four hours with hope that he will catch a fish. This is what keeps him traveling. He knows that he still has the ability and strength to be a good fisherman. He ne’er gives up: & # 171 ; How do you experience, angle? I feel good and my left manus is better and I have nutrient for a dark and a twenty-four hours. Pull the boat, fish. & # 187 ; ( 65 )

All through the book Santiago dreams of the same thing, his pleasant dreams of the king of beastss. The first clip is the dark before he departs on his three-day fishing expedition, the 2nd occurs when he sleeps on the boat for a few hours in the center of his battle with the marlin, and the 3rd takes topographic point at the very terminal of the book.

In fact, the sober promise of the victory and regeneration with which the novelette closes is supported by the concluding image of the king of beastss. Because Santiago associates the king of beastss with his young person, the dream suggests the round nature of life. Additionally, because

Santiago imagines the king of beastss, ferocious marauders, playing, his dream suggests harmoniousness between the opposing forces of nature & # 8211 ; life and decease, love and hatred, devastation and regeneration.

When Santiago eventually catches the marlin, he is proud of himself. He looks frontward to demoing the male child and the other fishermen that he is still strong. But he couldn & # 8217 ; t conceive of what was traveling to go on. Unable to bind the line fast to the boat for fright the fish would snarl a tight line, the old adult male bears the strain of the line with his shoulders, back, and custodies, ready to give slack should the marlin make a tally. The fish pulls the boat all through the twenty-four hours, through the dark, through another twenty-four hours, and through another dark. It swims steadily north-west until at last it tires and swims E with the current. The full clip, Santiago endures changeless hurting from the fishing line. Whenever the fish lurchs, springs, or makes a elan for freedom, the cord cuts him severely. His whole organic structure achings, he & # 8217 ; s tired and hungry, but he doesn & # 8217 ; t allow travel of the line. This shows his finding to win the conflict and the fish. Although hurt and weary, the old adult male feels a deep empathy and esteem for the marlin, his brother in agony, strength, and resoluteness.

Magnificent and glorious, the marlin symbolizes the ideal opposition. In a universe in which everything putting to deaths everything else in some manner, Santiago feels truly lucky to happen himself matched against a animal that brings out the best in him: his strength and bravery, his love and regard.

While Santiago struggles with the fish he besides prays. He prays to God to give him strength to get the better of the mighty fish: & # 171 ; Now that I have him coming so attractively, God assist me digest. I & # 8217 ; ll say a 100 Our Fathers and a 100 Hail Marys. But I can non state them now. & # 187 ; ( 78 )

But religion is non the lone thing that drives his doggedness. Santiago besides draws upon his past triumphs for strength. After he hooked the Marlin he often recalled his conflict with a indigen in what he called the manus game.

It was non merely an arm wrestle triumph for him it was a reminder of his young person: & # 171 ; And at daytime when the betters were inquiring that it be called a draw and the referee was agitating his caput, he had unleashed his attempt and forced the manus of the negro down and down until it rested on the wood. & # 187 ;

His remembrances of this event normally preceeded a frequent dream of his in which he saw many king of beastss on a peaceable shore. These king of beastss represented him when he was immature and strong and could get the better of any challenge. These ideas helped him remain strong.

During the hard hours in the skiff, Santiago started speaking to the Fish. He deeply respects fish in general and this facet of his relationship to the fish is clearly shown throughout the book: & # 171 ; Fish, & # 187 ; he said quietly, aloud, & # 171 ; I & # 8217 ; ll remain with you until I am dead. & # 187 ; ( 45 )

There are many cases where Santiago displays his regard for fish. Hiting the fish on the caput and kicking the fish is a mark of regard. Another illustration of Santiago ‘s regard is when he describes the fish. He says that he has ne’er seen a greater or more beautiful thing. Santiago describes the fish with adjectives that imply the greatest regard for the fish: & # 171 ; Fish, & # 187 ; he said, & # 171 ; I love you and esteem you really much. But I will kill you dead before this twenty-four hours ends. & # 187 ; ( 47 )

Besides, he calls the fish & # 171 ; brother & # 187 ; which means he has so much regard that he considers him a brother and household. Santiago does n’t look down on the fish as being inferior, he looks at the fish as an equal.

Santiago cared for each fish he caught and treated them with the uttermost attention. He respected the fish and ever showed his regard by thanking him. In decision, Santiago and his relationship with fish in general was made up of lovingness, regard, and the thought of fish being equal: & # 171 ; I wish I could feed the fish, he thought. He is my brother. & # 187 ; ( 51 )

Because Santiago is pitted against the animals of the sea, some readers choose to see the narrative as a history of adult male & # 8217 ; s conflict against the natural universe, but the novelette is, more accurately, the narrative of adult male & # 8217 ; s topographic point within nature. Both Santiago and the marlin show qualities of pride, award, and courage, and both are capable to the same ageless jurisprudence: they must kill or be killed.

As Santiago reflects when he watches the weary warbler fly toward shore, where it will necessarily run into the hawk, the universe is filled with marauders, and no living thing can get away the inevitable battle that will take to its decease.

In Hemingway & # 8217 ; s portrayal of the universe, decease is inevitable, but the best work forces and animate beings will however decline to give in to its power. Consequently, adult male and fish will fight to the decease, merely as hungry sharks will put waste to an old adult male & # 8217 ; s trophy gimmick.

The fresh suggests that it is possible to exceed this natural jurisprudence. In fact, the really inevitableness of devastation creates the footings that allow a worthy adult male or animal to exceed it. It is exactly through the attempt to conflict the inevitable that a adult male can turn out himself. Indeed, a adult male can turn out this finding over and over through the worthiness of the oppositions he chooses to confront [ 1 ] . Santiago finds the marlin worthy of a battle, merely as he one time found the great Black of Cienfuegos worthy. His esteem for these oppositions brings love and regard into an equation with decease, as their devastation becomes a point of award and courage that confirms Santiago & # 8217 ; s epic qualities.

In the narrative he manages to catch a winging fish and a mahimahi which he eats natural. This manner he tries to maintain up his strength, the strength that the marlin bargains from him small by small. He struggles in order to stay undefeated. He has fought these conflicts 100s of times earlier, he suffered, but he won. Still, this conflict is different. He fights in a manner he had ne’er fought earlier and he suffers. He wishes the male child to be by his side, to assist him with the hard undertaking.

The modern-day fishermen go out to angle with cyberspaces, which is a commercially profitable pattern. It, nevertheless, requires small accomplishment. It is nil more than a job. After 84 yearss without gimmick, Santiago sustains himself on what small nutrient a barman sends him out of commiseration. Yet he still waits for his large fish. It is more of import to him than hungriness. And the large fish eventually arrives.

Santiago ignored hungriness to turn out his fishing art, but he is non entitled to maintain his gimmick. His astonishing luck is balanced against his material loss. While being able to come out on top in his battle against the fish and against the hurting and infirmity of his ain organic structure, this is to be his lone wages. His lucks turn when he refocuses from passion for catching the fish to greed for gaining from it. The sea does non honor greed.

On the 3rd twenty-four hours the fish tyres, and Santiago, sleep-deprived, hurting, and about hallucinating, manages to draw the marlin in near adequate to kill it with a harpoon push. Dead beside the skiff, the marlin is the largest Santiago has of all time seen. He lashes it to his boat, raises the little mast, and sets sail for place. While Santiago is excited by the monetary value that the marlin will convey at market, he is more concerned that the people who will eat the fish are unworthy of its illustriousness.

On his manner place sharks attack the fish. As the sharks tear apart the marlin spot by spot, it is as they are rupturing apart his self-respect spot by spot. Through all this agony, he fights the sharks, for he entirely has to digest the agonies to carry through his fate. This is his outlook, he knows what he must make and so he does it. He ne’er lets down his guard and he fights with consistent strength. That is why Santiago could non stand to look at the grisly remains of the marlin. Everything he worked for, everything he gambled his life for, everything he endured hurting for was traveling down to deep deepnesss in the sea in the oral cavities of the sharks he so furiously killed. Although the seafaring became much easier without the marlin attached to the skiff. There was nil left of the marlin but its skeleton.

Santiago & # 8217 ; s pride besides motivates his desire to exceed the destructive forces of nature. Throughout the novel, no affair how baneful his fortunes become, the old adult male exhibits unflagging finding to catch the marlin and convey it to shore. When the first shark arrives, Santiago & # 8217 ; s decide is mentioned twice in the infinite of merely a few paragraphs. First we are told that the old adult male was full of declaration but he had small hope. Then, a few sentences subsequently, the storyteller says: He hit the shark without hope but with declaration. ( 91 )

The old adult male meets every challenge with the same firm finding: he is willing to decease for conveying in the marlin, and he is willing to decease contending the eating sharks. It is this witting determination to move, to contend, to ne’er give up that enables Santiago to avoid licking. Although he returns to Havana without the trophy of his long conflict, he returns with the cognition that he has acquitted himself proudly and manly. Hemingway seems to propose that triumph is non a requirement for award. Alternatively, glorification depends upon one holding the pride to see a battle through to its terminal, irrespective of the result. Even if the old adult male had returned with the marlin integral, his minute of glorification, like the marlin & # 8217 ; s meat, would hold been ephemeral. The glorification and award Santiago accrues comes non from his conflict itself but from his pride and finding to contend.

Santiago, a baronial hero, accepts his licking. The fish was eaten and he has returned place with its remains. He realizes that he went out excessively far and that he made a error. He fought a tough conflict and in the terminal, he was defeated. He even admits to himself that he has been beaten: He knew he was beaten now eventually and without redress & # 8230 ; .

Although through most of the novel he has great strength in contending the fish and he is determined to win, in the terminal he knows what had happened. Throughout his life he had struggled and suffered and won but this was his concluding conflict. And though he lost, he lost while contending. He realized now that it is over for him.

He is over contending and it does n’t count any longer. He knew he was beaten now eventually and without redress. He knows besides, that it is his mistake. He realizes his error and that he can non alter what had already happened. He went out excessively far and although this caught him the biggest fish, it besides caused him failure. He says it to himself, he was attention

less and he was responsible for his ain failure. He tried to make more than he was capable of making. He couldn’t alteration anything. He was defeated.

After his ocean trip was completed Santiago was exhausted and weak. While transporting the mast from his boat he stumbled three times under the weight of it resting upon his shoulders. He besides stopped five times to take a remainder before he reached place. When he was back in his hovel he fell asleep on his bed.

The following forenoon, a crowd of astonied fishermen gathers around the skeletal carcase of the fish, which is still lashed to the boat. Knowing nil of the old adult male & # 8217 ; s battle, tourers at a nearby caf & # 1081 ; detect the remains of the elephantine marlin and misidentify it for a shark. Manolin, who has been worried sick over the old adult male & # 8217 ; s absence, is moved to cryings when he finds Santiago safe in his bed. The male child fetches the old adult male some java and the day-to-day documents with the baseball tonss, and watches him sleep. When the old adult male wakes, the two agree to angle as spouses one time more. The old adult male returns to kip and woolgather his usual dream of king of beastss at drama on the beaches of Africa which were a symbol of his young person and strength.

Santiago realizes that he had completed his last challenge and that his clip as a fisherman was up. He passed on the blade from the great fish to Manolin for the continuance of the accomplishments he had taught his learner.

Santiago proves to be a baronial hero in the eyes of Hemingway. He is a maestro craftsman in his enduring strength, accomplishment, and cognition of fishing. He knows fast ones and occupies himself with bettering his ability to angle. He struggles and suffers in order to remain undefeated. He beats all odds and battles all conflicts with the idea that he can and will win. And so he does. He goes far out and acts on what he thinks is right. He does non fear his actions nor does he repent them. He fights every conflict as if it were his last and hence comes out on top. Finally, he accepts licking. This is the most honest characteristic. No affair how hard he had fought, once it is over, he does non look back wishing he could hold acted otherwise. He accepts his errors and recognizes that he had overstepped the boundary of adult male ‘s finite and limited nature. His actions and the effects of them are easy noticed and should non be looked down upon. In the long tally, Santiago answered his naming, fought his conflicts, and when he was eventually defeated by his ain pride, he recognized it and accepted it. This makes Santiago a baronial hero.

The action of the novelette takes topographic point in Cuba, and all the characters are Spanish-speaking.

To convey the ambiance of Spanish address ( in the duologues of Santiago, in his soliloquies & # 8211 ; both verbalized and interior ) the writer on occasion uses Spanish words.

Harmonizing to the English linguistic communication literary tradition, foreign words are printed in italics which instantly emphasizes them on the page.

To happen out their maps in the text, their construction and frequence, we have carried out our research of unassimilated adoptions ( foreign words, brutalities ) in The Old Man and the Sea. To continue, we will present a short study of the survey of adoptions in the English linguistic communication.

2. Borrowings in the English linguistic communication and in the old adult male and the sea

In its 15-century-long recorded history, the English linguistic communication happened to come in long and close contact with several other linguistic communications, chiefly Latin, French, Old Norse ( Norse ) . The great inflow of adoptions from these beginnings can be accounted for by a figure of historical causes. Due to the great influence of the Roman civilisation Latin was for a long clip used in England as the linguistic communication of acquisition and faith. Old Norse was the linguistic communication of the vanquishers who were on the same degree of societal and cultural development. French was the linguistic communication of ulterior vanquishers who brought with them a batch of new impressions of a higher societal system & # 8211 ; developed feudal system, it was the linguistic communication of upper categories, of official paperss and school direction from the center of the 11th
century to the terminal of the 14th
century [ 5 ] .

In the survey of borrowed elements in English the chief accent is as a regulation placed on the Middle English period. Borrowings of subsequently periods became the object of scholarly involvement merely in recent decennaries and research has shown that the flow of adoptions has been steady and uninterrupted. The greatest figure of them has come from Gallic. They refer to assorted Fieldss of social-political, scientific and cultural life.

The figure and character of borrowed words tell us of the dealingss between the peoples, the degree of their civilization, etc. It is for this ground that adoptions have frequently been called the mileposts of history [ 5 ] . Therefore if we go through the lists of adoptions in English and set up them in groups harmonizing to their significance we shall be able to obtain much valuable information with respect to England & # 8217 ; s contacts with many states. Some adoptions, nevertheless, can non be explained by the direct influence of certain historical conditions, they do non come along with any new objects or thoughts. Such were the words air, topographic point, brave borrowed from Gallic [ 5 ] .

It must be pointed out that while general historical grounds for borrowing from different linguistic communications have been studied with a considerable grade of thoroughness, the strictly lingual grounds for adoption are still unfastened to probe [ 5 ] .

The figure and character of adoptions do non merely depend on the historical conditions, but besides on the nature and length of the contacts. The closer the linguistic communications the deeper and more versatile is the influence.

Borrowings enter the linguistic communication in two ways: through unwritten address ( by immediate contact between people ) and through written address ( by indirect contact through books etc. ) .

Though borrowed words undergo alterations in the adopting linguistic communication, they preserve some of their former distinctive features. In some instances the pronunciation of the word ( unusual sounds, sound combinations, place of emphasis etc. ) , its spelling and the correlativity between sounds and letters are an indicant of the foreign beginning of the word. Such as the instance of walk-in ( G. ) , psychological science ( Gr. ) , souffl & # 1081 ; ( Fr. ) The initial place of the sounds [ 5 ] , [ vitamin Domega
] , [omega
] or of the letters x, J, omega is a certain mark that the word was borrowed.

The morphological construction of the word and its grammatical signifiers may besides bear informant to the word being adopted from another linguistic communication. Thus the postfixs in the in the words neuroticism ( Gr. ) and violoncello ( It. ) betray the foreign beginning of the words.

These standards are non ever helpful. Some early adoptions have become so exhaustively assimilated that they are unrecognisable as acceptances without a historical analysis, e.g. chalk, stat mi ( L. ) , badly, ugly ( Scand. ) , enemy, auto ( Fr. ) .

It must besides be taken into consideration that the closer the relation between the linguistic communications, the more hard it is to distinguish adoptions.

The volume of adoptions in English left its imprint upon the linguistic communication. The first consequence of foreign influence is observed in the growing of the vocabulary. Due to its history the English linguistic communication, more than any other modern linguistic communication, has absorbed foreign elements in its vocabulary [ 5 ] .

It has been mentioned that when borrowed words were indistinguishable in intending with those already working in English, the adoptive word really frequently displaced the native 1. In most instances, nevertheless, the adoptions and synonymous native words both remained in the linguistic communication, going more or less differentiated in significance and in usage & # 8211 ; for case the domain of application and significance of provender and nourish, seek and endeavor, meet and brush. As a consequence the figure of synonymic groups in English greatly increased. This brought about a rise in the per centum of stylistic equivalent word.

As said earlier, many adoptions have undergone alterations and have adapted themselves to the distinctive features of the English linguistic communication. All the alterations that borrowed elements undergo may be divided into two big groups.

On the one manus there are alterations specific of borrowed words merely. These alterations aim at accommodating words of foreign beginning to the norms of the adoption linguistic communication. Thus the combinations [ pn ] , [ PS ] , [ platinum ] in the words pneumatics, psychological science of Grecian beginning were simplified into [ n ] , [ s ] , [ T ] , since the harmonic combinations [ pn ] , [ PS ] , [ platinum ] , frequent at the terminal of English words ( as in slumbers, stopped, etc. ) , were ne’er used in the initial place.

On the other manus we observe alterations that are characteristic of both borrowed and native words. These alterations are due to the development of the word harmonizing to the Torahs of the given linguistic communication.

When the extremely inflected Old English system of declension changed into the simpler system of Middle English, early adoptions conformed with the general regulation. Under the influence of the alleged inflexional levelling adoptions like phonograph record, ( MnE. dish ) , str & # 1078 ; T ( MnE. street ) that had a figure of grammatical signifiers in Old English: common instance and genitive instance singular and plural ( street, streets ) .

It is really of import to know apart between the two procedures & # 8211 ; the version of borrowed stuff to the norms of the linguistic communication and the development of these words harmonizing to the Torahs of the linguistic communication.

Since the procedure of assimilation of adoptions includes alterations in sound-form, morphological construction, grammar features, significance and use most linguists distinguish phonic, grammatical and lexical assimilation of adoptions.

Phonetic assimilation, consisting alterations in sound-form and emphasis, is possibly the most conspicuous.

Sounds that were foreign to the English linguistic communication were fitted into its strategy of sounds. Familiar sounds or sound combinations, the place of which was unusual to the English linguistic communication, were replaced by other sounds or sound combinations to do the words conform to the norms of the linguistic communication. Substitution of native sounds for foreign 1s normally takes topographic point in the really act of adoption.

In words that were added to English from foreign beginnings, particularly from Gallic or Latin, the speech pattern was bit by bit transferred to the first syllable. Therefore words like award, ground were accented on the same rule as the native male parent, female parent.

Normally every bit shortly as words from other linguistic communications were introduced into English they lost their former grammatical classs and inflections and acquired new grammatical classs and paradigms by analogy with other English words as in:

Com. sing. Sputnik

Poss. sing. Sputnik & # 8217 ; s

Com. pl. Sputniks

Poss. pl. Sputniks & # 8217 ;

All adoptions that were composite in construction in their native linguistic communication appeared in English as indivisible root-words, unless there were already words with the same morphemes in it. Therefore in the word saunter the Gallic infinitive inflection & # 8211 ;Er
is retained ( cp. OFr. s & # 8217 ; auntrer ) . But they have changed their quality, preserved in all other grammatical signifiers of the word ( cp. saunters, sauntered, strolling ) , which means that it has become portion of the root in English.

When a word is taken over into another linguistic communication, its semantic construction as a regulation undergoes alterations. In the procedure of its historical development a adoption sometimes acquired new significances that were non to be found in its former semantic construction. As a regulation, the development of new significances takes topographic point 50 & # 8211 ; 100 old ages after the word is borrowed.

The semantic construction of adoptions alterations in other ways as good. Some significances become more general, others more specialised etc. For case, the word terrorist, that was taken over from Gallic in the significance of & # 171 ; Jacobin & # 187 ; , widened its significance to & # 171 ; one who governs, or opposes a authorities, by violent means. & # 187 ; The word umbrella, borrowed in the significance of a awning or sunshade ( from It. ombrella & lt ; ombra & # 8211 ; & # 171 ; shade & # 187 ; ) came to denote similar protection from the rain every bit good. Normally the primary significance of a borrowed word is retained throughout its history, but sometimes it becomes a secondary significance. Thus the Norse adoptions flying, root, take and many others have retained their primary significance to the present twenty-four hours, whereas in the Old English f & # 275 ; & # 333 ; laze ( MnE. chap ) which was borrowed from the same linguistic communication in the significance of & # 171 ; companion, comrade & # 187 ; , the primary significance that appeared in New English merely & # 171 ; a adult male or a male child & # 187 ; . Sometimes alteration of significance is the consequence of tie ining borrowed words with familiar words which slightly resemble them in sound but which are non at all related. This procedure, which is termed folk etymology, frequently changes the signifier of the word in whole or in portion, so as to convey it nearer to the word or words with which it is thought to be connected. Thus the Gallic verb Sur ( o ) under had the significance of & # 171 ; overflow & # 187 ; . In English R ( o ) under was associated by error with unit of ammunition & # 8211 ; & # 1082 ; & # 1088 ; & # 1091 ; & # 1075 ; & # 1083 ; & # 1099 ; & # 1081 ; and the verb was interpreted as significance & # 171 ; envelop on all sides, encircle & # 187 ; .

Folk-etymologization is a slow procedure. Peoples first effort to give the foreign adoption its foreign pronunciation, but bit by bit popular usage evolves a new pronunciation and spelling.

Even a superficial scrutiny of borrowed words in the English word-stock shows that there are words among them that are easy recognized as foreign ( such as vitamin D & # 1081 ; ferrule & # 1081 ; , graffiti, Zeitgeist, voile ) and there are others that have become so steadfastly rooted in the linguistic communication, so exhaustively assimilated that it is sometimes highly hard to separate them from words of Anglo-Saxon beginning ( these are words like student, maestro, metropolis, river, etc ) .

It is the first group that makes the focal point of our attending in the undermentioned chapter.

3. Foreign words in the old adult male and the sea

hemingway novella adult male sea

Unassimilated adoptions differ from assimilated 1s in their pronunciation, spelling, frequence, semantic construction and domain of application. However, there is no distinguishable boundary line between the two groups.

So far no linguist has been able to propose more or less comprehensive standards for finding the grade of assimilation of adoptions. The latter depends in the first topographic point upon the clip of adoption: the earlier it takes topographic point, the more thoroughly it tends to follow normal English wonts of accentuation, pronunciation etc. It is but natural that the bulk of early adoptions have acquired full English citizenship and that most English speech production people are astonished on first hearing, that such mundane words as widow, chair, dish, box have non ever belonged to their linguistic communication.

However mere age is non the exclusive factor. Not merely adoptions long in usage, but besides borrowed words of recent day of the month may be wholly made over to conform to English forms if they are widely and popularly employed. Wordss that are seldom used in mundane address, that are known to a little group of people retain their foreign distinctive features. Therefore many 19th
century Gallic adoptions have been wholly assimilated ( clinic, turbine, development, diplomat ) , whereas the words noblesse [ no’bles ] , ennui [ & # 227 ; : nwi ] ( 1667 ) , & # 233 ; clat [ vitamin E & # 305 ; ‘kl & # 1073 ; : ] ( 1674 ) have non been assimilated even in point of pronunciation.

Another factor finding the procedure of assimilation is the manner in which the adoption was adopted into the linguistic communication. Wordss borrowed orally are assimilated more readily, they undergo greater alterations, whereas with words adopted through composing the procedure of assimilation is longer and more arduous.

Apart from adoptions in the vocabulary of the English linguistic communication there is a considerable bed of words called brutalities [ 12 ] . These are words of foreign beginning, which have non been assimilated into the English linguistic communication. They bear the visual aspect of a foreign word and are felt as something foreigner to the native lingua, retaining their & # 171 ; strangeness & # 187 ; [ 6 ] .

Brutalities are, like archaicisms, considered to be on the outskirts of the literary linguistic communication. Most of them have matching English equivalent word: e. g. smart ( =stylish ) , bon mot ( =a clever witty stating ) , en passant ( = in go throughing ) , ad infinitum ( = to eternity ) and many other words and phrases.

It is really of import for strictly stylistic intents to separate between brutalities and foreign words proper. Brutalities are words, which have already become facts of the English linguistic communication. They are, as it were, portion and package of the English word-stock, though they remain on the outskirts of the literary vocabulary [ 13 ] .

Foreign words, though used for certain stylistic intents, do non belong to the English vocabulary. They are non registered by English lexicons, except in a sort of supplement which gives the significances of the foreign words most often used in literary English, while brutalities are by and large given in the organic structure of the dictionary. In printed plants foreign words and phrases are by and large italicized to bespeak their foreign nature. Barbarisms, on the contrary, are non made conspicuous in the text unless they bear a particular burden of stylistic information. There are foreign words in the English vocabulary, which fulfill a terminological map [ 11 ] .

It is apparent that brutalities are a historical class. Many words and phrases which were one time merely foreign words used in literary English to show a construct non-existent in English world, have little by little entered the category of words named brutalities, many of which have bit by bit lost their foreign distinctive features, go more or less naturalized and have merged with the native English stock of words.

Foreign words in inventive prose are used to make the consequence of genuineness of the described vicinity, cultural group, professional/social position of characters, i.e. foreign words fulfill the maps of word picture and accent.

The action of Hemingway & # 8217 ; s narrative The Old Man and the Sea takes topographic point in Cuba. All the characters in the book are Spanish-speaking, and Hemingway wants really much to convey the genuineness of Spanish address in the soliloquies and duologues of his characters. To accomplish the consequence he uses Spanish words.

They are chiefly used by the chief hero Santiago, in his address at sea when mentioning to the fish, the sharks, the mahimahis, the conditions, and to his province. He besides uses them on land when talking with Manolin about baseball. So there are really two subjects which involvement him, and, correspondingly, all Spanish words can be divided into two semantic groups: sea-oriented and sports-oriented. The first are largely Spanish names for fishes, angling equipment, and conditions conditions. The 2nd group contains Spanish names of baseball squads, games, and baseballers.

The first group is much larger, it consists of 10 lexemes, used 23 times. Their list, interlingual rendition and frequence are presented in the tabular array.

Table 1. The sea & # 8211 ; oriented semantic group

Nitrogen	Spanish Lexeme	English interlingual rendition	Fa
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.	Galanos Bonito Agua mala Brisa Dorado Salao Tiburon Calambre Cordel Espuela de hueso	Shark Mackerel ( fish ) Jelly fish Breeze Dolphinfish Unlucky chap A sort of shark Cramp, cramp Rope Bone goad	7 3 2 2 2 2 2 1 1 1
Entire	23

The 2nd group is twice smaller and contains merely personal names, each of which is used merely one time:

Table 2. The athleticss & # 8211 ; oriented semantic group

Nitrogen	Spanish Lexeme	English interlingual rendition	Fa
1. 2. 3. 4. 5.	Bodegas Campe & # 1091 ; n Gran Ligas Juego Tigres	Wine store ( the topographic point where the characters talked about baseball ) Champion Large Leagues ( the best baseball squads ) Game Lttes ( name of a baseball squad in Detroit, USA )	1 1 1 1 1
Entire	5

The significance of Spanish words is made clear to English readers by the context.

Decision

Hemingway & # 8217 ; s novella The Old Man and The Sea ( 1953 ) became his last life-time publication. It was besides instrumental in conveying him his Nobel Prize for literature in 1954 and is considered his best literary accomplishment by quite a few critics. The first chapter of the paper concentrates on the novelette.

To make the reliable ambiance of the narrative, which takes topographic point in Cuba and has Spanish-speaking characters, the writer inserts Spanish words into their address. To understand the function of foreign words in the vocabulary of a linguistic communication, a short study of lexical adoptions is given in Chapter 2 of the paper.

The list of Spanish words found in the text, their semantic features, maps and frequence are discussed in Chapter 3.

Literature

1. & # 1040 ; & # 1085 ; & # 1072 ; & # 1089 ; & # 1090 ; & # 1072 ; & # 1089 ; & # 1100 ; & # 1077 ; & # 1074 ; & # 1053 ; . & # 1058 ; & # 1074 ; & # 1086 ; & # 1088 ; & # 1095 ; & # 1077 ; & # 1089 ; & # 1090 ; & # 1074 ; & # 1086 ; & # 1069 ; . & # 1061 ; & # 1077 ; & # 1084 ; & # 1080 ; & # 1085 ; & # 1075 ; & # 1091 ; & # 1101 ; & # 1103 ; : & # 1050 ; & # 1085 ; & # 1080 ; & # 1075 ; & # 1072 ; & # 1076 ; & # 1083 ; & # 1103 ; & # 1091 ; & # 1095 ; & # 1072 ; & # 1097 ; & # 1080 ; & # 1093 ; & # 1089 ; & # 1103 ; . & # 8211 ; & # 1052 ; . : & # 171 ; & # 1055 ; & # 1088 ; & # 1086 ; & # 1089 ; & # 1074 ; & # 1077 ; & # 1097 ; & # 1077 ; & # 1085 ; & # 1080 ; & # 1077 ; & # 187 ; , 1981. & # 8211 ; 140 & # 1089 ; .

2. & # 1043 ; & # 1080 ; & # 1083 ; & # 1077 ; & # 1085 ; & # 1089 ; & # 1086 ; & # 1085 ; & # 1041 ; . & # 1040 ; . & # 1069 ; & # 1088 ; & # 1085 ; & # 1077 ; & # 1089 ; & # 1090 ; & # 1061 ; & # 1077 ; & # 1084 ; & # 1080 ; & # 1085 ; & # 1075 ; & # 1091 ; & # 1101 ; & # 1081 ; : & # 1050 ; & # 1085 ; & # 1080 ; & # 1075 ; & # 1072 ; & # 1076 ; & # 1083 ; & # 1103 ; & # 1091 ; & # 1095 ; & # 1072 ; & # 1097 ; & # 1080 ; & # 1093 ; & # 1089 ; & # 1103 ; . & # 8211 ; & # 1052 ; . : & # 1055 ; & # 1088 ; & # 1086 ; & # 1089 ; & # 1074 ; & # 1077 ; & # 1097 ; & # 1077 ; & # 1085 ; & # 1080 ; & # 1077 ; , 1991. & # 8211 ; 192 & # 1089 ; .

3. & # 1043 ; & # 1088 ; & # 1080 ; & # 1073 ; & # 1072 ; & # 1085 ; & # 1086 ; & # 1074 ; & # 1041 ; . & # 1058 ; . & # 1069 ; & # 1088 ; & # 1085 ; & # 1077 ; & # 1089 ; & # 1090 ; & # 1061 ; & # 1077 ; & # 1084 ; & # 1080 ; & # 1085 ; & # 1075 ; & # 1091 ; & # 1101 ; & # 1081 ; : & # 1075 ; & # 1077 ; & # 1088 ; & # 1086 ; & # 1081 ; & # 1080 ; & # 1074 ; & # 1088 ; & # 1077 ; & # 1084 ; & # 1103 ; . & # 8211 ; & # 1052 ; . : & # 1061 ; & # 1091 ; & # 1076 ; & # 1086 ; & # 1078 ; . & # 1083 ; & # 1080 ; & # 1090 ; . , 1980 & # 8211 ; 255 & # 1089 ; .

4. & # 1051 ; & # 1080 ; & # 1076 ; & # 1089 ; & # 1082 ; & # 1080 ; & # 1081 ; & # 1070 ; . & # 1071 ; . & # 1058 ; & # 1074 ; & # 1086 ; & # 1088 ; & # 1095 ; & # 1077 ; & # 1089 ; & # 1090 ; & # 1074 ; & # 1086 ; & # 1069 ; . & # 1061 ; & # 1077 ; & # 1084 ; & # 1080 ; & # 1085 ; & # 1075 ; & # 1091 ; & # 1101 ; & # 1103 ; . & # 1048 ; & # 1079 ; & # 1076 ; & # 1072 ; & # 1085 ; & # 1080 ; & # 1077 ; 2- & # 1077 ; , & # 1087 ; & # 1077 ; & # 1088 ; & # 1077 ; & # 1088 ; & # 1072 ; & # 1073 ; & # 1086 ; & # 1090 ; & # 1072 ; & # 1085 ; & # 1085 ; & # 1086 ; & # 1077 ; , & # 1050 ; & # 1080 ; & # 1077 ; & # 1074 ; , & # 171 ; & # 1053 ; & # 1072 ; & # 1091 ; & # 1082 ; & # 1086 ; & # 1074 ; & # 1072 ; & # 1044 ; & # 1091 ; & # 1084 ; & # 1082 ; & # 1072 ; & # 187 ; 1978 & # 8211 ; 420 & # 1089 ; .

5. & # 1051 ; & # 1077 ; & # 1082 ; & # 1089 ; & # 1080 ; & # 1082 ; & # 1086 ; & # 1083 ; & # 1086 ; & # 1075 ; & # 1080 ; & # 1103 ; & # 1072 ; & # 1085 ; & # 1075 ; & # 1083 ; & # 1080 ; & # 1081 ; & # 1089 ; & # 1082 ; & # 1086 ; & # 1075 ; & # 1086 ; & # 1103 ; & # 1079 ; & # 1099 ; & # 1082 ; & # 1072 ; : & # 1059 ; & # 1095 ; & # 1077 ; & # 1073 ; & # 1085 ; & # 1080 ; & # 1082 ; & # 1076 ; & # 1083 ; & # 1103 ; & # 1080 ; & # 1085 ; – & # 1090 ; & # 1086 ; & # 1074 ; & # 1080 ; & # 1092 ; & # 1072 ; & # 1082 ; . & # 1080 ; & # 1085 ; & # 1086 ; & # 1089 ; & # 1090 ; & # 1088 ; . & # 1103 ; & # 1079 ; ./ & # 1056 ; . 3. & # 1043 ; & # 1080 ; & # 1085 ; & # 1079 ; & # 1073 ; & # 1091 ; & # 1088 ; & # 1075 ; , & # 1057 ; . & # 1057 ; . & # 1061 ; & # 1080 ; & # 1076 ; & # 1077 ; & # 1082 ; & # 1077 ; & # 1083 ; & # 1100 ; , & # 1043 ; . & # 1070 ; . & # 1050 ; & # 1085 ; & # 1103 ; & # 1079 ; & # 1077 ; & # 1074 ; & # 1072 ; & # 1080 ; & # 1040 ; . & # 1040 ; . & # 1057 ; & # 1072 ; & # 1085 ; & # 1082 ; & # 1080 ; & # 1085 ; . & # 8211 ; 2- & # 1077 ; & # 1080 ; & # 1079 ; & # 1076 ; . , & # 1080 ; & # 1089 ; & # 1087 ; & # 1088 ; . & # 1080 ; & # 1076 ; & # 1086 ; & # 1087 ; . & # 8211 ; & # 1052 ; . : & # 1042 ; & # 1099 ; & # 1089 ; & # 1096 ; . & # 1096 ; & # 1082 ; & # 1086 ; & # 1083 ; & # 1072 ; , 1979. & # 8211 ; 269 & # 1089 ; .

6. Barbarisms in the English linguistic communication: Stylistics & # 8211 ; hypertext transfer protocol: //www.ranez.ru/article/id/114.