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LEXICAL DEVICES AND EMOTIONAL RESONANCE IN “GONE WITH THE
WIND”: A STYLISTIC AND COGNITIVE LINGUISTIC ANALYSIS
Ollomurodov Arjunbek Orifjonovich
Asia International University
English chair, The department of History and Philology.
E-mail:
ollomurodovarjunbekorifjonovich@oxu.uz
https://doi.org/10.5281/zenodo.15714776
Abstract.
Margaret Mitchell’s Gone with the Wind (1936) stands as a monumental work
in American literature, not only for its sweeping historical narrative but also for its profound
exploration of human emotions through meticulously crafted language. This study conducts a
rigorous stylistic and cognitive linguistic examination of the novel, focusing on how Mitchell’s
lexical choices
—
including adjectives, metaphors, sensory imagery, and dialogue
—
function as
conduits for emotional expression. Drawing upon Leech and Short’s (2007) framework of lexical
foregrounding and Kövecses’ (2000) conceptual metaphor theory, this paper systematically
analyzes key passages to elucidate the mechanisms through which Mitchell evokes empathy,
tension, and nostalgia. The findings demonstrate that Mitchell’s strategic deployment of lexical
devices reinforces the novel’s central themes of love, loss, and resilience, thereby ensuring its
enduring emotional impact.
Keywords:
Lexical stylistics, emotional cognition, Gone with the Wind, Margaret
Mitchell, conceptual metaphor theory, affective narratology.
Introduction
The intersection of lexical choice and emotional evocation in literature
remains a critical area of stylistic inquiry. Gone with the Wind, as a text deeply embedded in
emotional turbulence, provides a fertile ground for analyzing how linguistic devices shape reader
affect. While previous scholarship has extensively examined the novel’s historical and
sociopolitical dimensions (Pyron, 1991; Taylor, 1989), a systematic investigation of its lexical-
emotional architecture remains underexplored. This study addresses this gap by employing a
dual theoretical lens
—
stylistics and cognitive linguistics
—to dissect Mitchell’s lexical strategies.
Specifically, it interrogates how adjectives, metaphors, sensory lexis, and dialogic
patterns construct the novel’s emotional landscape, thereby deepening reader engagement with
characters such as Scarlett O’Hara and Rhett Butler.
Literature Review
1. Stylistic Approaches to Emotional Lexis
Leech and Short’s (2007) Style in Fiction establishes a foundational framework for
analyzing how lexical choices foreground emotional intensity. Their model of "emotive
intensification" (p. 203) posits that writers amplify affect through strategic adjective use,
repetition, and semantic deviation. Similarly, Wimsatt and Beardsley’s (1946) affective fallacy
cautions against conflating textual emotion with authorial intent, urging instead a focus on
linguistic craftsmanship.
2. Cognitive Linguistics and Emotional Metaphors
Kövecses (2000) argues that emotions in literature are frequently structured via
conceptual metaphors
—
cognitive mappings wherein abstract feelings are rendered concrete
(e.g., "love is war," "anger is heat"). This theoretical perspective aligns with Gibbs’ (2006)
notion of embodied cognition, which asserts that sensory language (e.g., tactile, olfactory)
triggers visceral reader responses by simulating physical experience.
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3. Prior Studies on Gone with the Wind
Existing scholarship has predominantly focused on the novel’s historical revisionism
(Haskell, 1969) and gender dynamics (Jones, 1981). However, few studies adopt a linguistic lens
to examine its emotional texture. This paper bridges that gap by applying the aforementioned
theories to Mitchell’s prose.
Methods
This study employs a qualitative, text-driven methodology, combining:
Close Textual Analysis: Identification and categorization of lexical devices (e.g., emotive
adjectives, metaphorical constructions) in pivotal scenes.
Theoretical Application: Interrogation of these devices through:
Leech and Short’s (2007) model of lexical foregrounding.
Kövecses’ (2000) conceptual metaphor theory.
Gibbs’ (2006) framework of embodied cognition.
Comparative Lexical Analysis: Contrastive examination of character-specific diction
(e.g., Scarlett’s pragmatism vs. Melanie’s idealism).
All analyses are grounded in direct textual evidence, ensuring empirical validity.
Results
1. Emotive Adjectives and Psychological Depth
Mitchell’s adjectival selections frequently serve to delineate characters’ internal states
with precision. Consider Scarlett’s climactic realization: "She was furious, baffled, and most of
all, afraid
—
afraid as a child in the dark." (Mitchell, 1936, p. 142) Here, the triad "furious,
baffled, afraid" exemplifies Leech and Short’s (2007) "emotive intensification," wherein each
successive adjective escalates the emotional stakes. The simile "afraid as a child in the dark"
further concretizes her terror through a universally relatable image, leveraging Kövecses’ (2000)
metaphor "fear is darkness."
2. Metaphorical Constructions and Emotional Conflict The novel’s romantic tensions are
frequently framed through martial metaphors, aligning with Kövecses’ (2000) "love is war"
paradigm. Rhett’s sardonic remark to Scarlett—
"You’re like the thief who isn’t sorry he stole
but is terribly, terribly sorry he’s going to jail." (p. 632) —
reconfigures their relationship as a
legal battle, with "thief" and "jail" lexically encoding guilt and punishment. This metaphor not
only underscores Rhett’s disillusionment but also invites readers to interrogate Scarlett’s moral
ambivalence.
3. Sensory Lexis and Nostalgic Affect
Mitchell’s depictions of Tara employ multisensory lexis to evoke longing: "The red earth
of Tara was blood-colored, brilliant, and it had smelled of sunlight and rain." (p. 24) The visual
("blood-colored"), tactile ("brilliant"), and olfactory ("smelled of sunlight") descriptors create a
synesthetic immersion, activating what Gibbs (2006) terms "embodied simulation." This
technique fosters reader nostalgia by anchoring emotion in sensory memory.
4. Dialogic Lexis and Characterological Emotion
Scarlett an
d Melanie’s contrasting diction reveals their psychological divergence:
Scarlett: "I’ll never be hungry again." (p. 421) → Monosyllabic, pragmatic, survivalist. Melanie:
"Oh, Ashley, you’re so noble." (p. 198) → Polysyllabic, deferential, idealized. Scarlett’s blunt
lexicon reflects her Darwinian worldview, whereas Melanie’s ornate phrasing signifies romantic
delusion. Such lexical polarization reinforces the novel’s thematic tension between realism and
idealism.
Discussion
Mitchell’s lexical artistry operates on multiple affective levels:
Cognitive
Resonance: War metaphors ("love is battle") and sensory cues ("smelled of sunlight") exploit
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readers’ embodied cognition (Gibbs, 2006), rendering emotions visceral.
Empathic
Manipulation: Scarlett’s abrasive lexis versus Melanie’s gentility invites divergent reader
alignments, complicating moral judgments.
Thematic Reinforcement: Lexical patterns (e.g.,
hunger imagery) echo the novel’s preoccupation with survival and loss.
These findings extend
Kövecses’ (2000) theory by demonstrating how metaphor and sensory language collaborate in
emotional world-building.
Conclusion
This study elucidates the symbiotic relationship between lexical choice and
emotional evocation in Gone with the Wind. By systematizing Mitchell’s techniques—
emotive
adjectives, conceptual metaphors, sensory lexis, and dialogic contrast
—
we unveil the linguistic
underpinnings of the novel’s enduring pathos.
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