Stylistic Analysis of OTHER TEXT TYPE

Product-Oriented Communication: A Linguistic Analysis of Selected Adverts

Jairos Kagira, Polytechnic of Namibia

Introduction

         

          The language that is used in commercial advertisements in general often does more

than just inform the public about products that are on sale; the language usually has

an extra crucial task of trying to persuade potential customers to buy the products.

The question that may be asked right at the outset is: How do designers of adverts

make them persuasive? The main focus of this paper is to answer this and other

related questions. From a linguistic point of view, it is evident that, among other

things, designers of adverts pay attention to the morpho-syntactic, semantic and

phonological aspects of the language used in an advert.

Body

Linguistics Features of Different Adverts

          The general structure of adverts follows what Fielding (1997: 338) calls the

AIDA approach, that is, adverts must attract the Attention of the reader, arouse

the reader’s Interest and Desire in the product, resulting in the reader’s Action.

Capturing people’s attention and interest is perhaps the most difficult thing to do in

designing an advert. Competition from other adverts, sometimes on the same page

in a publication, presents a problem, which must always be borne in mind when

designing an advert. So, designers of adverts usually use embellished language in

order to convince customers to buy certain kinds of products.

AD 1: In the heading look WHO CHOOSES BIG and GENTLE JADE in AD1 (The herald, 13 July 1999) we can identify alliteration on GENTLE JADE, a linguistic devise that makes the phrase memorable. In pronouncing the two words we use the voiced alveopalatal affricate. Alliteration is also found in the text “We love it because it lastsso long and it’s really economical,” words that are supposedly spoken by the mother in the illustration that accompanies the advert. This illustration communicates a nonverbal massage which helps the text to be more convincing; the smiles on the faces of the members of the Makiwa family have an implicature of happiness arising from the use of Jade soap. The slogan of the advert, BIG ON QUALITY, GENTLE ON YOUR SKIN, is more appealing as it is a short memorable phrase that has been made possible by the use of disjunctive syntax, which cannot be read in formal texts. It would be cumbersome to have a slogan which reads JADE SOAP IS BIG ON QUALITY AND IT IS GENTLE ON YOUR SKIN as this would defeat the purpose of a slogan being short and catchy. It is not clear what the meaning of BIG ON QUALITY is, but the adjective BIG and the noun QUALITY are most likely going to influence customers into thinking that they are getting value for their money if they buy Jade soap. Besides alliteration, adverts use rhyming words to make the massage interesting and memorable. In AD 2 below, the copywriter uses the words “bite” and “right” to produce rhyme.

AD 2: STORK MARGARINE

“Just one bite, And you know you are right.”

Adverts also strive on the use of comparatives and superlatives in order to

communicate massages effectively. Comparatives are made possible by the use of

the words “more” and “less” and the inflectional morpheme “-er”. On the other hand, in order to form superlatives, the words “most” and the inflectional morpheme “-est” are used.

AD 3: (Horizon, October 1998) in which comparatives have been underlined: “Sunbeam. The polish that gives you more shine and more time.

SUNBEAM SHINES BRIGHTER, DRIES FASTER AND LASTS MUCH LONGER”.

The implication here is that Sunbeam” polish is better than any other floor polish.

This impression is supported by the illustration (non-verbal communication) which

shows two women (mother and daughter) leisurely talking in a room that has a

sparkling floor, suggesting the good results of using sunbeam floor polish. In the

body copy, the older woman says her daughter never used to have time with her

because of the poor type of floor polish that the daughter used. “Now we have

more time to get together”, says the older woman because she has introduced

her daughter to ‘Sunbeam polish with Wondershine’. The use of compound words

in this advert is effective as Sunbeam (Sun + beam) suggests a reflection of the

sun from a well-polished surface; Wondershine (Wonder +shine) implies that the

use of this brand of polish produces an extraordinary shining of the floor. Related

to compounding is a linguistic technique called blending. This is when a word is

formed from parts taken from other words, for example WINDOLENE (a name of a

liquid used to clean windows) named from the words “window” and “cleaner”. This

technique is usually used to form brand names of products.

AD 4: Still on comparatives, JIK (AD 4, Horizon, October 1998) is compared to no other bleach. Again, comparatives are underlined in the following text: NO BLEACH

WHITENS AND REMOVES STAINS OR IS SAFER ON FABRICS THAN JIK. NO

BLEACH IS BETTER THAN JIK THAT’S A PROMISE. Besides the comparative

force of the above text, the massage is strengthened by the illustration (non-verbal communication) of a nun dressed in white and also by the white garment she is

hanging on the line. The nun is used as a symbol of purity, implying, if one uses JIK,

one’s clothes are likely to be pure and as white as those of the nun in the picture.

AD 5: In the BLACK OPAL cosmetic advert, we see a comparative

that is used in a negative form: YOU NEVER LOOKED MORE BEAUTIFUL. This

comparative has an illocutionary force of persuading the potential customers to buy

the product with the belief that if they buy this product, one becomes more beautiful. Although it does not openly say that one must use Black Opal, the comparative used has a connotative meaning, which is left to the reader to work out.

Superlatives are a common feature in adverts. People are made to believe that if

they use brand X of a product, they will always get the best results.

The following show how the superlative inflectional morpheme “-est” is used:

AD 6: if one uses SUPER BLUE SURF, one gets the cleanest wash ever!

AD 7: HARVEST MARGARINE is purportedly made from the purest vegetable oil. And when one buys a Mazda, one is definitely making the cleverest choice.

AD 8: In the heading, ‘The most trusted name in

colour cosmetics and skincare products’ in AD above, we are given the impression

that BLACK OPAL is the only trusted cosmetic that one can use among a wide

range of skincare products. In general, the language that is used in skin care products is more emotive and powerful that more people, especially women, are made to believe that beauty is a result of the use of these products and not a natural quality or characteristic.

AD 9: It is claimed that Lanolene Milk ‘gently pampers and conditions

your skin, penetrating deeply to cleanse and moisturise, nourishing and revitalising

it to a fragrant, sensual softness’. The advert is appealing because of the careful

use of adverbial phrases gently pampers and penetrating deeply, the adjectival

phrase fragrant, sensual softness and the verbs moisturise, cleanse, nourishing

and revitalising.

AD 10: The following phrases in the AMBER VALLETTA deodorant

 are attractive in the sense that the underlying topic is love:

A FRAGRANCE SENSATION, A SPARKLING LOVE STORY, WONDERFULLY

ROMANTIC.

AD 11: What would be your interpretations of the following advert selling a piece of furniture?

“FOR SALE:

AN ANTIQUE DESK SUITABLE FOR LADY WITH GOOD LEGS AND

LARGE DRAWERS”

          There are two possible meanings: the old, valuable desk has good legs and

large drawers; The lady has good legs and large drawers (old-fashioned female

underwear) The advert shows a case of structural ambiguity, “a term used in

linguistics to refer to a construction with more than one grammatical interpretation

in terms of constituent analysis” (Crystal 1991: 330). To produce humour which is

intended to draw the attention and interest of readers, the designer of the advert

uses this linguistic aspect. The advert puns on the words “legs” and “drawers”.

There is nothing unusual in the first meaning but eyebrows are raised when the

“legs” and “drawers” refer to a woman’s. It is clear that this second meaning of

the advert is in bad taste. Designers of adverts usually use puns to make adverts

appealing as explained above.

Structural ambiguity can also be caused by the omission of a word or words in a

structure. The linguistic term used when there is omission of word is called ellipsis.

Advert designers sometimes use this linguistic technique, to make the advert

attractive.

AD 12: Consider this heading of an Ortho-King bed advert:

“NOBODY IS BETTER IN BED”

          When I first came across this heading, I thought there was something wrong with

it. I thought the copywriter wanted to say NOBODY’S BETTER BED! I refused to

think that it meant what it literally implies that there is no one who is better than the

other in bed, a meaning that may be interpreted as being in bad taste. The other

meaning is that no one is better in bed manufacturing than Ortho-King, the maker

of the spring bed that was being advertised. The designer of this advert intentionally

omitted the lexical item MANUFACTURING at the end so that the heading could

have a double meaning. The elliptical heading shows emphasis on the product

being advertised and is more likely to capture the attention of potential customers.

What is interesting with this advert is that all the people who were asked to interpret

the heading were able to bring out only the literal meaning; they were unable to

notice that this elliptical structure could mean something else.

AD 13: The use of homonyms (homophones) shows how copywriters can be creative in advert designing. Homonyms are words that are pronounced the same but have different meanings. These words may or may not be spelt the same (Fromkin and Rodman 1996), for example “meet” and “meat”; and “bank” and “bank”. The way the Marvo stationery advert uses the homonym “secretary” in AD 13 (The Business Herald, 28 January 1999) is very interesting. A huge picture of a secretary bird is accompanied with the heading “About the only secretary we can’t satisfy”. The implication is that Marvo stationers can satisfy all needs of ordinary secretaries, that is human beings, but not the needs of a bird. The contrast between a human being and a bird in relation to the use of the stationery makes this advert interesting. The use of this semantic technique is further extended to the slogan of the same advert. It reads: MAKE THE WRITE IMPRESSION. Instead of using the word RIGHT, the designer used WRITE. Both words have the same pronunciation. The effect of using WRITE is that it emphasises to the reader that the product being advertised has something to do with WRITING. The word WRITE is used in the slogan asa reminder that the advert is about stationery. The same technique is used in aninteresting way in another Marvo stationery advert below:

AD 14: When we say stationery

We don’t mean stop!

Quality, range, service and quick delivery.

Move to the first class stationery

The advert is accompanied with a big stationary truck. In this advert, the copywriters

plays around with the same sound of homonyms “stationery” as for office use and

“stationary” meaning “not moving”. The denotative versus the connotative meaning

makes the advert interesting to read.

Advert designers may also use words in a way that might arouse nationalistic

feelings in people. This may make people associate themselves with the product.

AD 15:  “We feel sari for anyone who doesn’t take advantage of these value for

money specials to see the real India.” (Air Mauritius)

The word “sari” which refers to part of the dress code of Indian women, is used

instead of “sorry”. The designer breaks the rules of meaning and uses a word that

does not have anything to do with being sorry. The designer also takes advantage

of the fact that the words “sari” and “sorry” are nearly pronounced the same.

Conclusion

It can be concluded that rhetoric is the essence of advertising. Adverts aim at

eliciting changes in people’s behaviour, habits, attitudes and tastes in relation to certain products. Designers of adverts make use of linguistic theory, that is, they use their knowledge of the phonetics, phonology, syntax, morphology, semantics and pragmatics of a language, including of course the non- verbal communication in the language. It has also been demonstrated that the use of some of the techniques discussed above results in adverts that are in bad taste. It is always advisable to treat adverts with a critical mind.

Source:

http://ir.polytechnic.edu.na/bitstream/10628/20/1/Kangira.%202009.%20Product-oriented%20communication.pdf

Stylistic Analysis of a SHORT STORY

A Stylistic Analysis on “The Nightingale and The Rose”

Introduction

    The Nightingale and the Rose was published in 1888. In the story, a student fell in love with a professor’s daughter who wouldn’t want to dance with him in the prince’s ball, unless he can find a red rose for her to wear. Because of cold weather, it is hard for the student to find a red rose for the girl, “the need of a red rose made his life wretched”. When the nightingale heard of his sorrow, he was moved by the girl’s passion and “true love”. The bird decided to sacrifice himself just for exchanging a red rose. Tragically, the red rose ended up under the wheel of a cart, because the professor’s daughter really wanted was ascendancy and wealth.

          Oscar Wilde’s The Nightingale and the Rose, similar to other Oscar Wilde’s short stories, is written in an aesthetic voice. Throughout the story, Oscar Wilde employs various stylistic devices for the expression of aesthetic concept. In order to show how Oscar Wilde engross readers in this incredible story through stylistics analysis, this paper firstly presents an overview of stylistics based on the textbook English Stylistics by Xu Youzhi and gives a brief introduction of Oscar Wilde and some knowledge on The Nightingale and the Rose. Then, with the basis of stylistic theory, a comprehensive stylistic analysis of the story in phonetic, lexical, syntactic, semantic and contextual aspects will be carried out.

Body

Linguistic Features of the Story:

1.   Phonological features

In the description of The Nightingale and the Rose，Wilde applies onomatopoeia to make the vivid and lively description. It is very helpful to describe the different characters’ inner mental activities thoroughly and show the exact feelings, respectively. (Zou Tao, 2003) For example:

"The prince gives a ball to-morrow night,” murmured the young Student.

   In this sentence, it is just by using the word“murmur”to show the student’s feelings of grievance and helplessness. Responding to the word murmur，the word “tomorrow” may be twisted as to-morrow and the normal pronunciation of it is changed into/tu:mo rou/.Because the vowel sound/ u:/and the diphthong are usually connected with the words blue and low respectively, naturally we can imagine the student’s feelings of anxiousness, fret as well as his low spirits .

2. Lexical Features

The words used in the fairy story are accurate, vivid, expressive and plentiful. There is a sentence listed below to illustrate the lexical features.

Her hand will be clasped in mine.

Here, “clasp” means to hold tightly. But why does not the author use the word “grip” or “grasp”? This word is powerful enough to express the student’s strongest passion and love to the Professor’s daughter. And the action of the word clasp is also capable of revealing the student’s eagerness as well as his beautiful daydreaming.

3. Syntactic Feature

The syntactic features of the tale are that the short but elliptical sentences are applied frequently. The language is very clear and easy to be understood, which makes the tale more close to the readers. It is featured by the colloquial style. According to Wang Shouyuan (1990:52), ellipsis is the omission from a sentence of words needed to complete a construction. Ellipsis in spoken English and normal everyday written discourse is usually a grammatical device for economy of words. In literature, ellipsis is not merely a grammatical means to make the work compact, but a stylistic device to express the meaning or message of the work. For example:

    "No red rose in all my garden!” He cried.

"Why, indeed?" said a Butterfly.

    The complete sentence should be "There is no red rose in all my garden". While "Why, indeed?" should be "Why is he weeping, indeed?" These elliptical sentences have the same expressive effect as a whole. The ellipsis here, from a stylistic perspective，seems to be multifunctional

Moreover, in this tale, Oscar Wilde also used inversion devices to make the languages rich and colorful. Here are some syntactic parallel constructions to show the inversion. For example:

    …    louder and louder grew her song ,

    …    bitter and bitter was the pain，wilder and wilder grew her song

….    fainter and fainter grew her song.

    The above sentences are inverted, but they are more important in view of parallelism. When we read, the tone is up and down with strong rhythm. It gives us a musical effect to the readers.

4. Semantic features/figures of speech

In the tale, Oscar Wilde uses many figures of speech to accomplish the semantic expressions. Personification is a typical rhetorical device in fairy tales. In the fairy tale, the Nightingale just symbolizes Oscar Wilde himself, and the Rose stands for the true love and the true art. Furthermore, this tale also applied simile，metaphor，and antithesis，which make the language diversified and beautiful. Here lists some examples excerpted from this tale to illustrate the semantic features in the tale.

    1) She sang first of the birth of love in the heart of a boy and a girl.

    2) She sang of the birth of passion in the soul of a man and a maid.

    3) She sang of the Love is perfected by Death of the Love that dies not in the tomb.

These three sentences run through the whole process of the tale, in which the Nightingale fostered the red rose by heart and blood, accompanied with her sad and moving songs. The readers are moved not by birth，neither love nor death, but by the determination and devotion to foster the true love perfected by death. (Zou Tao, 2003)

Conclusion

       The style of the language that Oscar Wilde applied is tactful in The Nightingale and the Rose. Oscar Wilde has set a brilliant example of achieving the delicate harmony between the language and his own artistic view. For Oscar Wilde，the purest art is worthy of his life and is the highest in society. This paper mainly adopts the pattern for stylistic analysis in Xu Youzhi’s book English Stylistics, to illustrate this tale which may give readers a new angle to know better about Oscar Wilde’s fairy tale.

Appendix

THE NIGHTINGALE AND THE ROSE

"She said that she would dance with me if I brought her red roses," cried the young Student; "but in all my garden there is no red rose."

From her nest in the holm-oak tree the Nightingale heard him, ands he looked out through the leaves, and wondered.

"No red rose in all my garden!" he cried, and his beautiful eyes filled with tears. "Ah, on what little things does happiness depend! I have read all that the wise men have written, and all the secrets of philosophy are mine, yet for want of a red rose is my life made wretched."

"Here at last is a true lover," said the Nightingale. "Night after night have I sung of him, though I knew him not: night after night have I told his story to the stars, and now I see him. His hair is dark as the hyacinth-blossom, and his lips are red as the rose of his desire; but passion has made his face like pale ivory, and sorrow has set her seal upon his brow."

"The Prince gives a ball to-morrow night," murmured the young Student, "and my love will be of the company. If I bring her a red rose she will dance with me till dawn. If I bring her a red rose, I shall hold her in my arms, and she will lean her head upon my shoulder, and her hand will be clasped in mine. But there is no red rose in my garden, so I shall sit lonely, and she will pass me by. She will have no heed of me, and my heart will break."

"Here indeed is the true lover," said the Nightingale. "What I sing of, he suffers--what is joy to me, to him is pain. Surely Love is a wonderful thing. It is more precious than emeralds, and dearer than fine opals. Pearls and pomegranates cannot buy it, nor is it set forth in the marketplace. It may not be purchased of the merchants, nor can it be weighed out in the balance for gold."

"The musicians will sit in their gallery," said the young Student, "and play upon their stringed instruments, and my love will dance to the sound of the harp and the violin. She will dance so lightly that her feet will not touch the floor, and the courtiers in their gay dresses will throng round her. But with me she will not dance, for I have no red rose to give her"; and he flung himself down on the grass, and buried his face in his hands, and wept.

"Why is he weeping?" asked a little Green Lizard, as he ran past him with his tail in the air.

"Why, indeed?" said a Butterfly, who was fluttering about after a sunbeam.

"Why, indeed?" whispered a Daisy to his neighbor, in a soft, low voice.

"He is weeping for a red rose," said the Nightingale.

"For a red rose?" they cried; "how very ridiculous!" and the little Lizard, who was something of a cynic, laughed outright.

But the Nightingale understood the secret of the Student's sorrow, and she sat silent in the oak-tree, and thought about the mystery of Love.

Suddenly she spread her brown wings for flight, and soared into the air. She passed through the grove like a shadow, and like a shadow she sailed across the garden.

In the centre of the grass-plot was standing a beautiful Rose-tree, and when she saw it she flew over to it, and lit upon a spray.

"Give me a red rose," she cried, "and I will sing you my sweetest song."

But the Tree shook its head.

"My roses are white," it answered; "as white as the foam of the sea, and whiter than the snow upon the mountain. But go to my brother who grows round the old sun-dial, and perhaps he will give you what you want."

So the Nightingale flew over to the Rose-tree that was growing round the old sun-dial.

"Give me a red rose," she cried, "and I will sing you my sweetest

song."

But the Tree shook its head.

"My roses are yellow," it answered; "as yellow as the hair of the mermaiden who sits upon an amber throne, and yellower than the daffodil that blooms in the meadow before the mower comes with his scythe. But go to my brother who grows beneath the Student's window, and perhaps he will give you what you want."

So the Nightingale flew over to the Rose-tree that was growing beneath the Student's window.

"Give me a red rose," she cried, "and I will sing you my sweetest song."

But the Tree shook its head.

"My roses are red," it answered, "as red as the feet of the dove, and redder than the great fans of coral that wave and wave in the ocean-cavern. But the winter has chilled my veins, and the frost has nipped my buds, and the storm has broken my branches, and I shall have no roses at all this year."

"One red rose is all I want," cried the Nightingale, "only one red rose! Is there no way by which I can get it?"

"There is away," answered the Tree; "but it is so terrible that I dare not tell it to you."

"Tell it to me," said the Nightingale, "I am not afraid."

"If you want a red rose," said the Tree, "you must build it out of music by moonlight, and stain it with your own heart's-blood. You must sing to me with your breast against a thorn. All night long you must sing to me, and the thorn must pierce your heart, and your life-blood must flow into my veins, and become mine."

"Death is a great price to pay for a red rose," cried the Nightingale, "and Life is very dear to all. It is pleasant to sit in the green wood, and to watch the Sun in his chariot of gold, and the Moon in her chariot of pearl. Sweet is the scent of the hawthorn, and sweet are the bluebells that hide in the valley, and the heather that blows on the hill. Yet Love is better than Life, and what is the heart of a bird compared to the heart of a man?"

So she spread her brown wings for flight, and soared into the air. She swept over the garden like a shadow, and like a shadow she sailed through the grove.

The young Student was still lying on the grass, where she had left him, and the tears were not yet dry in his beautiful eyes.

"Be happy," cried the Nightingale, "be happy; you shall have your red rose. I will build it out of music by moonlight, and stain it with my own heart's-blood. All that I ask of you in return is that

you will be a true lover, for Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty. Flame-colored are his wings, and colored like flame is his body. His lips are sweet as honey, and his breath is like frankincense."

The Student looked up from the grass, and listened, but he could not understand what the Nightingale was saying to him, for he only knew the things that are written down in books.

But the Oak-tree understood, and felt sad, for he was very fond of the little Nightingale who had built her nest in his branches.

"Sing me one last song," he whispered; "I shall feel very lonely when you are gone."

So the Nightingale sang to the Oak-tree, and her voice was like water bubbling from a silver jar.

When she had finished her song the Student got up, and pulled a note-book and a lead-pencil out of his pocket.

"She has form," he said to himself, as he walked away through the grove--"that cannot be denied to her; but has she got feeling? I am afraid not. In fact, she is like most artists; she is all

style, without any sincerity. She would not sacrifice herself for others. She thinks merely of music, and everybody knows that the arts are selfish. Still, it must be admitted that she has some beautiful notes in her voice. What a pity it is that they do not mean anything, or do any practical good." And he went into his room, and lay down on his little pallet-bed, and began to think of his love; and, after a time, he fell asleep.

And when the Moon shone in the heavens the Nightingale flew to the Rose-tree, and set her breast against the thorn. All night long she sang with her breast against the thorn, and the cold crystal

Moon leaned down and listened. All night long she sang, and the thorn went deeper and deeper into her breast, and her life-blood ebbed away from her.

She sang first of the birth of love in the heart of a boy and a girl. And on the top-most spray of the Rose-tree there blossomed a marvelous rose, petal following petal, as song followed song. Pale was it, at first, as the mist that hangs over the river—pale as the feet of the morning, and silver as the wings of the dawn. As the shadow of a rose in a mirror of silver, as the shadow of a

rose in a water-pool, so was the rose that blossomed on the topmost

spray of the Tree.

But the Tree cried to the Nightingale to press closer against the thorn. "Press closer, little Nightingale," cried the Tree, "or the Day will come before the rose is finished."

So the Nightingale pressed closer against the thorn, and louder and louder grew her song, for she sang of the birth of passion in the soul of a man and a maid.

And a delicate flush of pink came into the leaves of the rose, like the flush in the face of the bridegroom when he kisses the lips of the bride. But the thorn had not yet reached her heart, so the

rose's heart remained white, for only a Nightingale's heart's-blood can crimson the heart of a rose.

And the Tree cried to the Nightingale to press closer against the thorn. "Press closer, little Nightingale," cried the Tree, "or the Day will come before the rose is finished."

So the Nightingale pressed closer against the thorn, and the thorn touched her heart, and a fierce pang of pain shot through her. Bitter, bitter was the pain, and wilder and wilder grew her song, for she sang of the Love that is perfected by Death, of the Love that dies not in the tomb.

And the marvelous rose became crimson, like the rose of the eastern sky. Crimson was the girdle of petals, and crimson as a ruby was the heart.

But the Nightingale's voice grew fainter, and her little wings began to beat, and a film came over her eyes. Fainter and fainter grew her song, and she felt something choking her in her throat.

Then she gave one last burst of music. The white Moon heard it, and she forgot the dawn, and lingered on in the sky. The red rose heard it, and it trembled all over with ecstasy, and opened its

petals to the cold morning air. Echo bore it to her purple cavern in the hills, and woke the sleeping shepherds from their dreams. It floated through the reeds of the river, and they carried its

message to the sea.

"Look, look!" cried the Tree, "the rose is finished now"; but the Nightingale made no answer, for she was lying dead in the long grass, with the thorn in her heart.

And at noon the Student opened his window and looked out.

"Why, what a wonderful piece of luck!" he cried; "here is a red rose! I have never seen any rose like it in all my life. It is so beautiful that I am sure it has a long Latin name"; and he leaned

down and plucked it.

Then he put on his hat, and ran up to the Professor's house with the rose in his hand.

The daughter of the Professor was sitting in the doorway winding blue silk on a reel, and her little dog was lying at her feet.

"You said that you would dance with me if I brought you a red rose," cried the Student. "Here is the reddest rose in all the world. You will wear it to-night next your heart, and as we dance together it will tell you how I love you."

But the girl frowned.

"I am afraid it will not go with my dress," she answered; "and, besides, the Chamberlain's nephew has sent me some real jewels, and everybody knows that jewels cost far more than flowers."

"Well, upon my word, you are very ungrateful," said the Student angrily; and he threw the rose into the street, where it fell into the gutter, and a cart-wheel went over it.

"Ungrateful!" said the girl. "I tell you what, you are very rude; and, after all, who are you? Only a Student. Why, I don't believe you have even got silver buckles to your shoes as the Chamberlain's

nephew has"; and she got up from her chair and went into the house.

"What I a silly thing Love is," said the Student as he walked away. "It is not half as useful as Logic, for it does not prove anything, and it is always telling one of things that are not going to happen, and making one believe things that are not true. In fact, it is quite unpractical, and, as in this age to be practical is everything, I shall go back to Philosophy and study Metaphysics."

So he returned to his room and pulled out a great dusty book, and began to read.

Source:

http://www.google.com.ph/#hl=tl&biw=1280&bih=619&q=stylistic+analysis+of+the+nightingale+and+the+rose&aq=f&aqi=&aql=&oq=&fp=cc550a70a730a3ed