Commentary to the table

a) Literary Colloquial style.

Phonetic features. Compression of frequently used forms (it’s don’t, I’ve), omission of non-stressed elements (you know him?)

Morphological features. Regular morphological features, with interception of evaluative suffixes e. g. doggie, duckie. Prevalence of active and finite verb forms.

Lexical features. Wide range of vocabulary strata in accordance with the register of communication and participants' roles: formal and informal, neutral and bookish, terms and foreign words. Basic stylistically neutral stock of communicative vocabulary.

Use of socially accepted contracted forms and abbreviations, e.g. fridge for refrigerator, ice for ice-cream, TV for television, CD for compact disk, etc.; of etiquette language and conversational formulas, such as nice to see you, my pleasure, on behalf of, etc.; of interjections and exclamations, e. g. Dear me, My God, Goodness, well, why, now, oh; of indefinite meaning like thing, stuff; of phraseological expressions, idioms and figures of speech.

Extensive use of intensifiers and gap-fillers, e.g. absolutely, definitely, awfully, kind of, so to speak, I mean, if I may say so; of phrasal verbs let smb down, put up with, stand smb up.

Avoidance of slang, vulgarisms, dialect words, jargon.

Syntactical features. Simple sentences with a number of participial and infinitive constructions and numerous parentheses; syntactically correct utterances compliant with the literary norm; various types of syntactical compression, simplicity of syntac­tical connection; grammar forms for emphatic purposes, e. g. progressive verb forms to express emotions of irritation, anger etc.

Decomposition and ellipsis of sentences in a dialogue (easily recon­structed from the context).

Use of special colloquial phrases, e. g. that friend of yours.

Compositional features. Can be used in written and spoken varieties: dialogue, monologue, personal letters, diaries, essays, articles, etc.

Prepared types of texts may have thought out and logical composi­tion, to a certain extent determined by conventional forms (letters, presentations, articles, interviews).

Spontaneous types have a loose structure, relative coherence and uniformity of form and content.

b) Familiar colloquial style (represented in spoken variety).

Phonetic features. Casual and often careless pronunciation, use of deviant forms, e. g. gonna= going to, whatcha = what do you, dunno = don't know.

Use of reduced and contracted forms, e.g. you're, they've, I'd.

Omission of unaccented elements due to quick tempo, e. g. you hear me?

Emphasis on intonation as a powerful semantic and stylistic instru­ment capable to render subtle nuances of thought and feeling.

Use of onomatopoeic words, e.g. whoosh, hush, yodeling, yum, yak.

Morphological features. Use of evaluative suffixes, nonce words formed on morphological and phonetic analogy with other nominal words: e.g. baldish, mawkish, moody, hanky-panky, helter-skelter, plates of meet (feet).

Lexical features. Combination of neutral, familiar and low colloquial vocabulary, including slang, vulgar and taboo words.

Extensive use of words of genetfl meaning, specified in meaning by the situation guy, job, get, do, fix, affair.

Limited vocabulary resources, use of the same word in different meanings it may not possess, e-g- 'some' meaning good: some guy! some game! 'nice' meaning impressive, fascinating, high quality: nice music.

Abundance of specific colloquial interjections: boy, wow, hey, there.

Use of hyperbole, epithets, evaluative vocabulary, trite metaphors and simile,e.g. if you say it once more I'll kill you, as old as the hills, horrid, awesome, etc.

Tautological substitution of personal pronouns and names by other nouns, e.g. you-baby, Johnny-boy.

Mixture of curse words and euphemisms, e.g. damn, dash, darned, shoot.

Extensive use of collocations and phrasal verbs instead of neutral and literary equivalents: e. g. to turn in instead of to go to bed.

Syntactical features. Use of simple short sentences, echo questions, parallel structures, repetitions of various kinds.

Dialogues are usually of the question-answer type.

In complex sentences asyndetic coordination is the norm.

Coordination is used more often than subordination, repeated use of conjunction and is a sign of spontaneity rather than an expressive device.

Extensive use of ellipsis, including the subject of the sentence, e. g. Can't say anything; syntactic tautology, e. g. That girl, she was something else!

Abundance of gap-fillers and parenthetical elements, such as sure, indeed, to be more exact, okay, veil.

Compositional features. Use of deviant language on all levels, strong emotional colouring, loose syntactical organization of an utterance, frequently little coherence or adherence to the topic. No special compositional patterns.