a study of translation of stylistic devices in “thời xa vắng” by lê lựu into english i

THE UNIVERSITY OF DANANG
UNIVERSITY OF FOREIGN LANGUAGE STUDIES

TRẦN THỊ KIỀU PHƯƠNG

A STUDY OF TRANSLATION OF STYLISTIC DEVICES
IN “THỜI XA VẮNG” BY LÊ LỰU INTO ENGLISH IN
“A TIME FAR PAST”

Major:

ENGLISH LINGUISTICS

Code:

822.02.01

MASTER THESIS IN
LINGUISTICS AND CULTURAL STUDIES OF FOREIGN
COUNTRIES

Da Nang, 2020


THE UNIVERSITY OF DANANG
UNIVERSITY OF FOREIGN LANGUAGE STUDIES

TRẦN THỊ KIỀU PHƯƠNG

A STUDY OF TRANSLATION OF STYLISTIC DEVICES
IN “THỜI XA VẮNG” BY LÊ LỰU INTO ENGLISH IN

“A TIME FAR PAST”

Major: ENGLISH LINGUISTICS
Code: 822 02 01
MASTER THESIS IN
LINGUISTICS AND CULTURAL STUDIES OF FOREIGN
COUNTRIES

SUPERVISOR: LÊ TẤN THI, Ph.D

Da Nang, 2020



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ABSTRACT
This study aims to examine the translation procedures of the stylistic devices
(SDs) from Vietnamese into English. Specifically, this thesis was carried out to
investigate the commonly used SDs, i.e. antithesis, simile and metaphor in “Thời xa
vắng” by Lê Lựu and their English translational equivalents in “A Time Far Past”.
218 samples related to these SDs in Vietnamese and their English equivalents were
collected from these books to support the investigation. Both qualitative and
quantitative approaches were applied in order to help the researcher achieve the
aims and objectives proposed. Furthermore, after studying the findings of the thesis,
it was discovered that many different procedures of translating suggested by Peter
Newmark were used to translate these SDs from Vietnamese into English. Finally, I
hope that the results of the study could provide teachers and learners of English as
well as Vietnamese with a better understanding of translation procedures from
Vietnamese into English in terms of SDs, and giving some suggestions for further

research and implications for language teaching and learning as well.


iii

TABLE OF CONTENTS
Statement of Authorship.................................................................................................... i
Abstract .............................................................................................................................. ii
Table of Contents ............................................................................................................. iii
List of Abbreviations and Symbols................................................................................. vi
List of Tables ................................................................................................................... vii
List of Charts .................................................................................................................. viii
Chapter One. INTRODUCTION .................................................................................... 1
1.1. RATIONALE....................................................................................................1
1.2. AIMS AND OBJECTIVES ..............................................................................2
1.2.1. Aims ...........................................................................................................2
1.2.2. Objectives ...................................................................................................2
1.3. SCOPE OF THE STUDY .................................................................................3
1.4. RESEARCH QUESTIONS ..............................................................................3
1.5. SIGNIFICANCE OF THE STUDY .................................................................3
1.6. ORGANIZATION OF THE STUDY ...............................................................4
Chapter
Two.
LITERATURE
REVIEW
AND
THEORETICAL
BACKGROUND ............................................................................................................... 5
2.1. LITERATURE REVIEW .................................................................................5
2.2. THEORETICAL BACKGROUND..................................................................7

2.2.1. Stylistic devices ..........................................................................................7
2.2.1.1. Definition of stylistic devices ...............................................................7
2.2.1.2. Function of stylistic devices .................................................................8
2.2.1.3. Classification of stylistic devices .........................................................9
2.2.1.4. Stylistic devices ....................................................................................9
2.2.2. Theory of translation ................................................................................18
2.2.2.1. Definitions of translation ...................................................................18
2.2.2.3. Literary translation ............................................................................19
2.2.2.4. Translation methods...........................................................................20


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2.2.2.5. Translation procedures ......................................................................22
2.2.3. Overview of “Thời xa vắng” ....................................................................26
2.2.3.1. Lê Lựu – The author ..........................................................................26
2.2.3.2. “Thời xa vắng” – The original version .............................................26
2.2.3.3. “A Time Far Past” - The English version .........................................26
2.2.3.4. The Content of “Thời xa vắng” .........................................................27
Chapter Three. RESEARCH DESIGN AND METHODOLOGY ............................. 28
3.1. RESEARCH DESIGN ....................................................................................28
3.2. RESEARCH METHODOLOGY ...................................................................28
3.2.1. Sampling ...................................................................................................28
3.2.2. Data collection ..........................................................................................28
3.2.3. Data analysis .............................................................................................28
3.3. RESEARCH PROCEDURES ........................................................................29
3.4. RELIABILITY AND VALIDITY ..................................................................29
Chapter Four. FINDINGS AND DISCUSSION .......................................................... 31
4.1. ANTITHESIS IN “THỜI XA VẮNG” ............................................................31
4.1.1. Antithesis ..................................................................................................31

4.1.2. Translation procedures of antithesis .........................................................34
4.1.3. Frequency of procedures for translating antithesis ..................................48
4.1.4. Summary ..................................................................................................49
4.2. SIMILE IN “THỜI XA VẮNG” ......................................................................51
4.2.1. Simile ........................................................................................................51
4.2.2. Translation procedures of simile ..............................................................54
4.2.3. Frequency of procedures for translating simile ........................................66
4.2.4. Summary ..................................................................................................67
4.3. METAPHOR IN “THỜI XA VẮNG” .............................................................68
4.3.1. Metaphor ..................................................................................................68
4.3.2. Translation procedures of metaphor .........................................................70
4.3.3. Frequency of procedures for translating metaphor ..................................76


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4.3.4. Summary ..................................................................................................78
Chapter Five. CONCLUSION ....................................................................................... 79
5.1. CONCLUSION ...............................................................................................79
5.2. IMPLICATION OF THE STUDY .................................................................81
5.2.1. Implications for language teaching and learning .....................................81
5.2.2. Implications for translating ......................................................................82
5.3. LIMITATIONS OF THE STUDY .................................................................83
5.4. SOME SUGGESTIONS FOR FURTHER RESEARCH ...............................83
REFERENCES ................................................................................................................ 84
QUYẾT ĐỊNH GIAO ĐỀ TÀI ....................................................................................... 87
APPENDIX ...................................................................................................................... 88


vi

LIST OF ABBREVIATIONS AND SYMBOLS

SYMBOLS
Ø

Omission

%

Percentage

ABBREVIATIONS

SDs

Stylistic devices

SD

Stylistic device

SL

Source language

TL

Target language

vii

LIST OF TABLES

Number of

Name of Tables

Tables
4.1.

4.2.

4.3.

The occurrence frequencies of the antithesis’ s translation
procedures
The occurrence frequencies of the simile’ s translation
procedures
The occurrence frequencies of the metaphor’ s translation
procedures

Page

48

66

77

viii

LIST OF CHARTS

Number of
Charts

Name of Charts

Page

4.1.

The occurrence percentage of the antithesis’ s translation
procedures

48

4.2.

The occurrence percentage of the simile’ s translation
procedures

67

4.3.

The occurrence percentage of the metaphor’ s translation

procedures

78


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Chapter one
INTRODUCTION
1.1. RATIONALE
It is true that the modern life makes all people busier and busier. Hence, we
often look for different forms of entertainment after a hard working day in order to
have the relaxation. Reading something is also one of the most popular leisure
activities in the community. Among them, we can relax by reading the works of
literature of the famous writers both in Vietnam and all over the world, which is
very useful. Literature, undoubtedly, plays an important role in societies since it is a
mirror of things happening or having happened within a society. Actually, literature
can be not only a way for us to broaden our knowledge but also a way for us to
reduce certain amount of stress in our own lives. Obviously, no one can deny great
values of literature as well as benefits of reading interesting stories. Besides,
literature is an integral part of language and it is the useful device to clearly show
the beauty of a language. Through language, people can exchange their feelings,
their emotion, and their opinion. With writers, to reach perfection in a work, they
have to use a variety of linguistic means. One of the most powerful and useful
literature means is stylistic device (SD). Specifically, the stylistic devices (SDs) are
the use of language that is intended to have an effect on its audience. It refers to the
typical structures used by writers in their works to convey his or her message in a
simple manner to his or her readers. This is the important reason why I choose to
study the SDs, especially the translation of SDs from one language to another one.
Rather, the novel “Thời xa vắng” by Lê Lựu is an extremely famous writing

in the period after Vietnam’s liberation. Thanks to the stylistic devices in his story,
the author expressed successfully his style and the beauty of the work as well. As a
result, “Thời xa vắng” is the best known novel of Lê Lựu’s writing career. This
story was filmed by director Hồ Quang Minh and awarded “Cánh diều bạc” prize
in 2004. After that, it was translated into English by the co-translators Ngô Vinh


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Hải, Nguyễn Bá Chung, Kevin Bowen, and David Hunt and was published by
University of Massachusetts Press in 1997.
Furthermore, with the role of an English teacher and a postgraduate of the
University of Foreign Language Studies - the University of Da Nang, in major of
Linguistics, it is very necessary for me to study the translation procedures of
stylistic devices in the stories from Vietnamese into English in order to have a better
understanding about this aspect. So far, many authors have devoted their time to
study on SDs used in English and Vietnamese literary works; however, an
investigation into translation of SDs used in “Thời xa vắng” and in its English
translational equivalent has not been discussed in terms of translation procedures
yet. Thus, I choose my topic with the title “A Study of Translation of Stylistic
Devices in “Thời Xa Vắng” by Lê Lựu into English in “A Time Far Past””. The
researcher hopes to help learners of English to have an insight into this interesting
aspect of both languages along with contributing a small part to teaching and
learning languages.
1.2. AIMS AND OBJECTIVES

1.2.1. Aims
The aim of the study is (a) to investigate the occurrence frequencies of three
Vietnamese SDs antithesis, simile and metaphor used in “Thời xa vắng” by Lê Lựu,
and (b) to analyze the translation of these SDs into English in its translational

version “A Time Far Past” in order to find out reduction and expansion of
translation procedures. Finally, this investigation is carried out with the wish of (c)
giving a useful reference source for those who want to further seek the data in their
interest combined with helping the Vietnamese learners of English to be more
aware of SDs from Vietnamese into English in terms of translation procedures.

1.2.2. Objectives
To reach the above-mentioned aims, this research is intended:


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- To investigate, analyze and find out the occurrence frequencies of
antithesis, simile and metaphor as SDs employed the most commonly in “Thời xa
vắng” and their English translational equivalents
- To examine the translation theory and procedures used for translating SDs
in English version.
- To give some implications for translating SDs from Vietnamese to English.
1.3. SCOPE OF THE STUDY
The researcher found out many SDs applied in “Thời xa vắng” and
procedures of translating employed to render these SDs into English in “A Time Far
Past”. However, this study only investigates and analyzes three commonly used
SDs i.e. antithesis, simile and metaphor. I use the novel “Thời xa vắng” written by
Lê Lựu and its English version “A Time Far Past” translated by Ngô Vinh Hải,
Nguyễn Bá Chung, Kevin Bowen, and David Hunt to become my research data.
1.4. RESEARCH QUESTIONS
The investigation tries to find out the answers to the following questions:
1. What are translation procedures employed to render Vietnamese antithesis
in “Thời xa vắng” into English in “A Time Far Past”?
2. What are translation procedures used to translate Vietnamese simile in

“Thời xa vắng” into English in “A Time Far Past”?
3. What are translation procedures applied to render Vietnamese metaphor in
“Thời xa vắng” into English in “A Time Far Past”?
1.5. SIGNIFICANCE OF THE STUDY
The purpose of the study is to investigate three Vietnamese SDs namely as
antithesis, simile and metaphor found out in “Thời xa vắng” by Lê Lựu and to
analyze the translation of these SDs into English in its translational version “A Time
Far Past”. Therefore, thanks to this research, it is expected to make some positive


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contributions to the studies of translation of SDs, especially translation procedures
for rendering SDs from Vietnamese into English. Furthermore, the researcher hopes
this study will be useful for learners and translators in reading and translating the
Vietnamese stories into English effectively.
1.6. ORGANIZATION OF THE STUDY
This thesis consists of 5 main chapters as follows:
Chapter 1. Introduction
The first chapter presents the rationale, the aims and objectives, the research
questions, the scope of the study, the significance of the study and the organization
of the study.
Chapter 2. Literature review and theoretical background
This second chapter states a review of previous studies closely related to the
thesis and some theoretical framework selected to make a linguistic foundation for
this study.
Chapter 3. Research Design and Methodology
The third chapter exposes the research method, research design, description
of samples, data collection, and data analysis and research procedure of the thesis.
Chapter 4. Findings and Discussion

The fourth chapter identifies the stylistic devices: antithesis, simile and
metaphor in “Thời xa vắng” and gives the analysis as well as the comparison of
translation procedures of the SDs from the Vietnamese original version into the
English translational version collected and investigated in this study. Through this
investigation, the occurrence frequencies of procedures for translating these SDs
were presented in order to provide specific data for the findings.
Chapter 5. Conclusion
The fifth chapter summarizes the major findings and gives the conclusions of
the whole study, the implication of the study, represents the limitations of the study
and puts forward some suggestions for further studies as well.


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Chapter two
LITERATURE REVIEW AND THEORETICAL BACKGROUND
2.1. LITERATURE REVIEW
A stylistic device is a technique an author or speaker using to convey to the
recipients a meaning in order to persuade them towards considering a topic from a
different perspective, which is using sentences designed to encourage or provoke
an emotional display of a given perspective or action. Thanks to stylistic devices
(SDs), the speeches, essays, etc. will become more interesting and lively. In
addition, SDs help writers/speakers connect to readers/listeners in order to make
them understand better when they read or listen to a novel or a story of the author.
As a result, they are reasons why SDs were often appeared in the literary works of
the writers. Also, the translation procedures of the SDs were researched by wellknown English and Vietnamese linguists. There are a lot of language researchers
studying on this topic such as Galperin (1977), Catford (1965), Nida (1969),
Newmark (1995), Đinh Trọng Lạc (1996), Wales (2001), Verdonk (2003), Đinh
Trọng Lạc & Nguyễn Thái Hòa (2006) and so on.
In terms of SDs, in English, at the beginning of the 20th century, stylistics

used to be only considered as a secondary component of rhetorical and grammatical
analyses or in general studies of literature and literary language. However, it was
likely a discipline which was the study shown in the work “On Style” of Demetrius.
In the same time, the Anglo-American linguistics stated the same research. In detail,
a link between literary stylistics and structural linguistic analysis can also be shown.
Then there were two contributions of this field appearing, which were the journals
named Style (1967) and Language and Style (1968). Thanks to these researches,
stylistics were seen as an academic discipline in Britain and America. Later, other
linguists like Galperin (1977), Widdowson, Thorne, Crystal, etc also studied a
series of related works.
Galperin (1977) discussed the concept as well as classification of SDs in his


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book “Stylistics”. Furthermore, in “Stylistics”, Verdonk (2003) researched the
study of style in language, how their styles and features can be recognized. In
Vietnam, Đinh Trọng Lạc (1996) classified 99 SDs and gave their own definition
and examples in “99 phương tiện và biện pháp tu từ tiếng Việt”. Besides, Đinh
Trọng Lạc and Nguyễn Thái Hòa (2006) studied SDs in another book entitled
“Phong cách học tiếng Việt”.
In relation to translation, in English, Newmark (1982 &1988b) stated theory
of translation, translation methods, and procedures in the book “Approach to
Translation”. At the same time, Nida and Taber (1969) diccussed the translation in
their writing “The Theory and Practice of Translation”. Previously, this problem
was mentioned in the book “A Linguistic Theory of Translation” by Catford (1965).
After that Bell (1991) and Duff (1996) stated the translation in two books
“Translation and Translating: Theory and Practice” and “Translation”
respectively. In Vietnamese, Hoàng Vân Vân (2005) gave some comments about
translation with vivid illustrations in his study “Nghiên cứu dịch thuật”.

Furthermore, up to now, there have been many previous studies into the
translation of SDs. Specifically, there is a thesis on these SDs about translation of
metaphor and simile by Lê Văn Thành (2011) with the title “An Investigation into
Translation of Metaphor and Simile in The Tale of Kieu from Vietnamese into
English”. Besides, the thesis with the name “An investigation into stylistic devices
using in “The Life We Were Given” by Dana Sachs and their Vietnamese
translational equivalents” was carried out by Nguyễn Thị Thy Thơ (2014). Nearly,
Võ Thị Vân Vân (2016) also researched SDs and the translation of simile,
hyperbole and antithesis in her master thesis “An investigation into translating SDs
in Cho Tôi Xin Một Vé Đi Tuổi Thơ by Nguyễn Nhật Ánh into English in Ticket To
Childhood by William Naythons.” according to the translation theory of Peter
Newmark. At the same time, Đỗ Thị Bích Trâm (2016) studied about the translation
procedures of stylistic devices with the title “An Investigation into Stylistic Devices
in the English Script of Oscar Winning Films and Their Vietnamese Equivalents”.


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So far, there have been a large number of studies on translation and
translation of SDs in English as well as in Vietnamese. However, to my best
knowledge, an investigation into SDs used in “Thời xa vắng” and translation of
these SDs in their English translational equivalents has not been found yet. Thus, I
choose my topic entitled “A Study of Translation of SDs in “Thời Xa Vắng” by Lê
Lựu into English in “A Time Far Past””. Through this study, the researcher
wishes to partly help English learners as well as translators widen their awareness
of SDs along with translation procedures for rendering SDs in the writings from
Vietnamese into English and vice versa.
2.2. THEORETICAL BACKGROUND

2.2.1. Stylistic devices

2.2.1.1. Definition of stylistic devices
Stylistics is a branch of general linguistics which is the study and
interpretation of texts regarding to their linguistic and tonal style.
Galperin (1977) stated in the book “Stylistics” that “Stylistic device is a
branch of general linguistic which is regarded as a language science. It deals with
the result of the act of communication. It means that rhetoric takes into
consideration the output of the act of communication.”
In the linguistic field, SDs are also called rhetorical devices or figures of
speech.
Lunsford (2009) claimed that “Rhetoric is the art, practice and the study of
human communication.”
Or Plato exposed that “Rhetoric is the art of winning the soul by discourse.”
What is more, Quintillian showed that“Rhetoric is the art of speaking well.”
According to Đinh Trọng Lạc (1996, p.11), “phương tiện tu từ là những
phương tiện ngơn ngữ mà ngồi ý nghĩa cơ bản (ý nghĩa sự vật – logic) chúng còn


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có ý nghĩa bổ sung, cịn có màu sắc tu từ” (Rhetorical devices are means of
language that additionally carry some supplementary senses and rhetorical figures,
besides the basic sense).
SD is stated as using words in a certain way to convey meaning or to
persuade. It can also be a technique used to evoke emotions within the reader or
audience.
Or, a figure of speech or rhetorical figure is figurative language in the form
of a single word or phrase. It can be a special repetition, arrangement or omission of
words with literal meaning, or a phrase with a specialized meaning not based on the
literal meaning of the words.
To sum up, SDs are figures of speech which the author employed in his/her

work so as to present and convey his/her intention to readers effectively.
In this study, the writer mainly applied SDs theory suggested by Galperin,
(1977) and Đinh Trọng Lạc (1999) for describing SDs in terms of semantic features.

2.2.1.2. Function of stylistic devices
Burker (1969) exposed the basic function of SDs (rhetoric) in his writing “A
rhetoric of motive” that it is the use of words by human agents to form attitudes to
induce actions in other human agents.
Meanwhile, Wales (1989) claimed in “A Dictionary of Stylistics” that “The
function of most SDs is not simply to describe the formal features of texts for their
own sake, but in order to show their functional significance for the interpretation of
the text; or in order to relate literary effects to linguistic ‘causes’ where these are
felt to be relevant.”
General speaking, SDs help to make the text more interesting and lively as
well as attract the reader’s / listener’s intention.


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2.2.1.3. Classification of stylistic devices
As defined in "Stylistics” by Galperin (1997), SDs are divided into three
groups: phonetic, lexical and syntactic.
- Phonetic SDs: This is a SD which uses phonemes and their graphical
representation. The kind of this SD consists of rhythm, rhythmical structure, rhyme,
alliteration, assonance, onomatopoeia i.e. correlation of the sound form and
meaning, deviation in normative pronunciation and so on.
- Lexical SDs: This SD is employed to express both functions of direct and
figurative meanings and help realize the contextual meaning of a word in the text.
Lexical SDs include metaphor, metonymy, irony, pun, hyperbole, simile,
personification, allegory, allusion.

- Syntactical SDs: This type refers to variants of the general syntactical
models of the language. It aims to study syntactic, expressive means, word order
and word combinations, different types of sentences, the length and the structure of
a sentence and types of syntactic connections.

2.2.1.4. Stylistic devices
a. Antithesis
 Definition of antithesis
The oxford dictionary releases the definition of antithesis that “It is a
rhetorical or literary device in which an opposition or contrast of ideas is
expressed.”
Galperin (1997) stated that, “Antithesis is based on relative opposition which
arises out of the context through the expansion of objectively contrasting pairs with
the purpose of characterizing the nature of things or phenomena.”
Đinh Trọng Lạc (1996) presented the same idea with Galperin in his book
“99 Phương tiện và Biện Pháp Tu Từ Tiếng Việt” that antithesis is “SDs in which
the contrastive imaginary notions expressed by different word units is placed in the


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same syntax with the aim of highlighting the object’s nature under the pressure of
contrastive position.”
Both Galperin and Đinh Trọng Lạc claimed antithesis is set up based on the
context.
Specifically, antithesis, which literally means “opposite”, is a rhetorical
device in which two opposite ideas are put together in a sentence to achieve a
contrasting effect. Antithesis aims to emphasize the contrast idea by parallel
structures of the contrasted phrases or clauses. The structures of phrases and clauses
are similar with the purpose to draw the attention of the listeners or readers.

In conclusion, it is believed that antithesis is a stylistic device employed to
reveal an opposition or contrast of ideas.
Some following examples are presented as an illustration.
The opening lines of Charles Dickens’ novel “A Tale of Two Cities” provide
an unforgettable antithesis example.
E.g. “It was the best of times, it was the worst of times, it was the age of
wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch
of incredulity, it was the season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair, we had everything before us, we had
nothing before us, we were all going direct to Heaven, we were all going direct the
other way.”
The contrasting ideas, set in parallel structures, markedly highlight
the conflict that existed in the time discussed in the novel.
Also, we can find antithesis in John Donne’s poem “Community”:
“Good we must love, and must hate ill,
For ill is ill, and good good still;
But there are things indifferent,
Which we may neither hate, nor love,
But one, and then another prove,
As we shall find our fancy bent.”


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The combination of two contrasting words “love” and “hate” in the above
lines aims to emphasize that we love good because it is always good, and we hate
bad because it is always bad. Clearly, it is a matter of choice to love or hate things
which are neither good nor bad.
Or Martin Luther King, Jr. said that "We must learn to live together as
brothers or perish together as fools." In fact, life always needs the choice. You

choose to become my friend, whereas you are my opponent. This sentence
successfully expresses the opposite choice in Martin Luther King’s statement.
 Stylistic Function of antithesis
Galperin (1997) pointed out that antithesis has four basic functions as bellows:
- Rhythm-forming;
- Copulative;
- Dissevering; and
- Comparative.
Interestingly, these functions often go together and intermingle in their own
peculiar manner.
In terms of the function of antithesis, Đinh Trọng Lạc (1996) stated that
antithesis is widely used in artistic, scientific and style of publicity. Also, he
emphasizes the power created by the association between antithesis and some other
SDs in style of publicity.
The function of antithesis as a SD confirmed:
-

To convey ideas in different ways from the common words and
expressions of daily life. Therefore, it conveys meaning more vividly
than ordinary speech. When contrasting ideas are brought together, the
idea is expressed more emphatically.

-

To examine pros and cons of a subject under discussion, and helps to
bring forth judgment on that particular subject.

In short, the function of antithesis is to emphasize the difference between

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two ideas and add interest to writing.
 Classification of antithesis
There are four types of antithesis:
 Pure antithesis: This type uses antonym as a base.
E.g. “That's one small step for man, one giant leap for mankind.”
(Neil Armstrong)
 Negative antithesis: This expression is the negative form of the other,
which is expressed by a negative particle such as no, not,… không, chẳng,
chưa, etc.
E.g. “Folks who have no vices have very few virtues.”
(Abraham Lincoln)
 Descriptive antithesis: one of two cohesive expressions is a phrase
describing the signal of the contrastive attribute.
E.g. “Có những đứa khơng phải là nắng mà cứ thích chói chang
 Contex-bound antithesis: two expressions are not antonymous (both direct
and indirect). However, under the pressure of the co-existence in certain
context, they become context-bound antithesis.
E.g. “20 years, still work well”
(The slogan of Electrolux)
b. Simile
 Definition of simile
According to Oxford Advanced Learner’s Dictionary (2006), “Simile is the
use of a word or phrase that compares something to something else, using the
words like or as.”
Galperin (1997, p.167) defined that “Simile is a figure of speech in which an
explicit comparison between two things, two different entities on the basis of a
common feature, using words such as like, as, as if, than, similar to, resemble or
seem.”

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Meanwhile, Đinh Trọng Lạc (1996) insisted, “Simile is also called figurative
comparison, it is a kind of semantic trope in which two different entirely
heterogeneous classes of thing in the objective reality were compared to express
figuratively a new way of perception about compared thing.”
In other words, a simile is a figure of speech that makes a comparison,
showing similarities between two different things. Unlike a metaphor, a simile
draws resemblance with the help of the words “like” or “as.” Therefore, it is a direct
comparison.
Obviously, similes are easily recognized by comparison markers used in the
discource. In English, the available markers include seem, look like, act like, sound
like, resemble, similar to, the same as; like, as, as if/though, as when, compare,
than.
Similarly, in Vietnamese, Bùi Trọng Ngoãn (2010) listed comparative words
appears in simile in the journal “Tạp Chí Khoa Học Và Công Nghệ, 05(40)” with
the article “Further Discussion on Rhetorical Comparison” such as: ‘như’, ‘như
là’, như thể, ‘giống như’, ‘tày’, ‘ngang’, ‘bằng’, ‘hơn’, ‘kém’, ‘khác chi’, khác gì,
and ‘na ná’.
The examples of simile are used commonly in any sayings of people, as well
as in any literary works. Then, I would like to show the two following examples for
an illustration.
The first example is “Bright as the sun”.
This is a popular simile applied frequently to concretize the level of the light.
The simile in this case is realized by the comparison marker “as”. This kind of the
SD makes a comparison with a familiar thing “the sun” to the recipient in order to
clear the meaning. Obviously, thanks to simile, the reader/ listener can imagine the
thing compared easily.

Or another example: “At exam time, the high school student was as busy as a bee.”


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This sentence uses the comparison marker “as…as” like the simile, which is very
useful to express the busyness of students in the exam period. They are similar to
bees which always work hard all time.
Moreover, take a look the instance in the poem “A Birthday” (By Christina
“My heart is like a singing bird
Whose nest is in a water’d shoot;
My heart is like an apple-tree
Whose boughs are bent with thickset fruit;
My heart is like a rainbow shell
That paddles in a halcyon sea;
My heart is gladder than all these
Because my love is come to me.”
It can be seen that Rossetti uses simile three times in above poetic sentences.
Her heart is compared as “a singing bird,” “an apple-tree,” and “a rainbow shell.”
Rossetti compares the heart to a joyful bird in a full nest, an apple tree full of fruit,
and a beautiful shell in a peaceful sea so that she can poetically describe its joy,
fullness, and peacefulness.
 Stylistic Function of simile
Fromilhague (1995) showed various functions of simile in his writing “Les
Figures de Style" as follows:
-

At first, they serve to communicate concisely and efficiently. They are
one of a set of linguistic devices that extend the linguistic resources
available.

-

Secondly, they can function as cognitive tools for thought in that they
enable us to think of the world in novel, alternative ways.

Generally, a writer uses similes with the aim to enable the reader to imagine
in his mind what the writer is saying. This is the reason why a writer compares one
thing to another with which the reader is familiar. Clearly, the main purpose of


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using simile is to clear the meaning of the text. In other words, simile is an excellent
way for an author in order to make not only an unusual thing more familiar but also
a familiar thing become more unique. In this way, similes can help the reader
imagine the fictive world of a piece of literature. Good similes can also make
readers think about things in a new way, and can sometimes create a lasting effect.
 Classification of simile
The classification of simile is based on the subjects of the similes not the
objects. Tininis (1971) stated that there are four types of similes as follows:
 Human beings as subject in similes
E.g. “The student moved as fast as lightning after getting permission
from the teacher for an early release.”
In above mentioned example, “The student” is the subject in simile.
 Abstract concepts as subject in similes
The following example uses the abstract concept like “temper” as
subject in simile.
E.g. “Her temper was as explosive as an volcano.”
 Specific things as subject in similes

E.g. “The sun is like a yellow marble in the sky.”
The instance employs the specific thing “The sun” as subject in simile.
 Animals as subject in similes
E.g. As strong as an ox
The example above takes the animal “ox” as subject in simile.
c. Metaphor
 Definition of metaphor
Galperin (1997) defined a metaphor “as a relation between the dictionary and
contextual logical meanings based on the affinity or similarity of certain properties or
features of the two corresponding concept.”