Emotive prose.

The substyle of emotive prose has the same common features as the belles-lettres style in general; but all these features are correlated differently in emotive prose. The imagery is not so rich and the percentage of words with contextual meaning is not so high as in the poetry; it contains a combination of the spoken and written varieties of the language. There are always 2 forms of communication present – monologue (the writer’s speech) and dialogue (the speech of the characters).

The language of the writer follows the literary norms of the given period in the development of the English literary language. The language of the hero of a novel or a story will be chosen in order to characterize the person himself.

The colloquial language in the belles-lettres style is not a pure and simple reproduction of what might be the natural speech of living people. The colloquial speech has been made “literature-like” by the author. Only the most striking elements are made use of, and even these have undergone some kind of transformation.

Emotive prose allows the use of elements from other styles as well.

Emotive prose as a separate form of imaginative literature, that is fiction, came into being rather late in the history of the English literary language. The first were translations from Latin of stories from the Bible, in the 12^th and 13^th centuries there appeared “Tales of King Arthur and his Round Table”, but actually it began in the 2^nd half of the 15^th century with bringing of printing to Britain.

Language of the drama.

The 3^rd subdivision of the belles-lettres style is the language of plays. It is entirely a dialogue. The author’s speech is practically excluded except for the playwright’s remarks and stage directions.

But the language of the characters is in no way the exact reproduction of the norms of colloquial language, although the playwright seeks to reproduce actual conversation as far as the norms of the written language will allow. The language of plays is always stylized, that is, it strives to retain the modus of literary English. The playwright uses non-literary forms and expressions with particular aim, but he does it sparingly.

W. Shakespeare was the 1^st to use prose in his plays; before him all the plays were written in the form of a verse.

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