e.g.: (Present continuous as future time.)

Pete is staring a new life tomorrow.

(The present continuous introduces the negative connotations of irritation, regret, sadness and others)

John is constantly grumbling.

There is a rule that verbs of sense perception and mental activity are not used in the continuous tense forms. This rule is often broken intentionally or subconsciously. In both cases verbal forms convey additional stylistic meanings of subjective modality:

e.g.: I an seeing you = I am not blind.

e.g.: I am understanding you = You need not go into further details.

I am feeling your touch = So tender you are, etc.

The author marks that «historical present» brightens the narration, raises its emotional tension, expresses intrigue, makes the continuity of events visual and graphic.

e.g.: It was yesterday and looked this way. The perpetrator comes to his victim, takes a long dagger out of his inner pocket and stabs the poor man right into. - his belly without saying a word…

Transposition is not the only way to make expressive. A good many verbal forms are expressive in themselves, for example, the imperative mood.

e.g.: Just come to me now - «may contextually imply love or hate, threat of warning, promise or desire.

The wide range of subjunctive mood forms offers a good stylistic choice of synonymous ways to verbalize one and the same idea.

e.g.: It is time for me to go (stylistically neutral)

It is time that I went (bookish and obsolescent)

In many contexts passive verbal forma are more expressive.

e.g.: A round table occupied the centre of the room,

cf: The centre of the room was occupied by a round table.

e.g.: They answered him nothing=He was answered nothing.

All these notes are very important for our paper: they give some additional features to our subject but it is not enough for leaning in the frames of stylistic potential of tense-aspect verbal forms.

Thus, the pedagogical quest has long been to find ways of developing a student's knowledge about grammar which are both enlivening and rewarding, and it continues to be an important goal of contemporary educational linguistics. The field of grammar is often divided into two domains: morphology and syntax. In our case we have examined some points from transformational relations that were involved in tense-aspect formations of the morphological level. Different kind of transformations depend on the purpose of communication and can be treated only in the contexts.

In this case we can say about stylistic potential of tense-aspect verbal forms of modern English. Interactions between grammar and stylistics are of the essence of language and probably the most significant point to notice in studing of a language in general. A special interest attaches to the correlation between meanings expressed by grammatical forms and their stylistic meanings to which in our paper we repeatedly draw our attention.

2. The analysis of stylistic potential of tense-aspect verbal forms in modern English

The main aim of the second part is to research and pick out some interesting examples from original English literature according to two tables (4, 12) that is two types of grammatical transpositions and aspectuality in the frames of the peripheral field. Our purpose is to confirm the central principles included in these tables and to present a lot of samples to enrich the Theoretical Grammar with new visual and practical material that gives real jerk to teachers to complete students' seminars on this subject more interesting and productive.

The main methords which have been used in our research paper are:

- philological observations;

- revealind some samples, examples, facts from original literature of English authors and generalization;

- contextolpgical analysis of some contexts; description some important fact in considerable details.

Our results were obtained on the edge of some liguistic sciences:

Sty1istics, Functional Grammar, Syntax, Functional and Communicative Linguistics, The Theory of Interpretation of Texts, The Theory of Contextual Situation and others.

The application of these methods makes it possible to establish the concrete system in the frames of this students can observe stylistic potential of verbal forms in real environment and circumstances. The given gu tations from different sources serve to show how the two types of transpositions and aspectuality in the frames of peripheral field have been variously used by different English writers.

Stylistic Potential of Tense-Aspectual forms of English Verbs

2.1 The types of transpositions of verbal forms as stylistic came in the category of tense

Transposition with functional-stylistic characters expressed by verbal forms.

Archaisms are words which were once common but now are (Table 1.4) replaced by synonyms. When the author consider the grammatical system of English verbs as an adaotive system has to mark some, thing historical important in narrative, description or poetry they use archaic verbal forms. N.M. Rayevska characterizes: «The archaic variant forms are used for stylistic purposes to create the atmosphere of elevated speech in pictorical language, in poetry or in proverbial saying». (29, p. 55) There are only some forms: Table «Archaic Forms of the Auxiliaries». The forms given in the tables above are those of modern standard English. One may also come across archaic forms, mainly in. poetry or texts where an archaic effect is intended.

We can add some more examples:

Saith = says; Modal verbs:

endeth = ends; canst, needest, mayest.

knoweth = knows;

spake = spoke;

throve = thrived;

bare = bore

art = is;

stretchest, coverest fwalketh, maketh, layeth, gettest, didst, stiteth, beginneth, heareth and others.

e.g.: Byron, George Noel GORDON, Lord -1788-1824.

«…For it hath been by sorrow nursed,

And ach'd in sleepless silence long;

And now 'tis doom'd to know the worst,

And break at once-or yield to song.»

(G.G. Byron. My soul is dark. 17, p. 16.)

«…Thy tree hath lost its blossoms, and the rind,

Chopp'd by the axe, looks rough and little worth,

But the sap lasts, - and still the seed we find

Sown deep, even in the bosom of the North;

So shall a better spring lees bitter fruit bring forth.»

(G.G. Byron, From Childe Harold's Piligrimage, 17, p. 211)

«…Thou stand'st along unrevall'd, till the fire

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