The story is written in a matter-of-fact (tragic, ironic, humorous, epic, satirical, elevated, etc.) tone (style, key).
The text (passage) under analysis presents....
The author employs a number of stylistic devices that produce ... effect.
The author links... to...;
The author likens (smth) to a human being.
Here the author employs...
Here the author enhances the desired effect with the help of...
The author imposes his perception of the thing described on the reader.
These epithets daze us with the emotional force they carry.
The powerful effect produced by these expressive means is unquestionable.
The author’s object in imploying these stylistic devices is quite evident.
It is described in a few masterful strokes.
... due to the vivid stylistic colouring.
It draws the reader’s attention to...
It emphasizes...
The ... lends some stylistic colouring to the description of the man’s portrait.
They contribute largely to the vividness of its representation.
This device colours the utterance emotionally.
This stylistic device aims at a mocking effect.
The humorous effect is achieved by...
The metaphor ... strikes the reader with its vividness and makes him feel...
The desired effect is strengthened by... (is more enchanted by…)
The similies the author resorts to make the description far too picturesque and very illustrative.
This metonymy may be interpreted as the author’s attempt to...
These devices help to depict...
The author’s irony is directed at…
Within this phrase we can see some other expressive means...
The author strives for a ... effect.
The humorous effect is achieved by the incongruous combination of the solemn form and insignificant meaning.
Here the author bursts with emotions. He is unable to conceal his feelings towards his own creation and pours on him the full measure of his disgust (sympathy, love, etc.)
This is the case of climax. The sentences are so arranged that each of the consecutive sentences is more important, more significant and more emotionally coloured than the preceding one, all of them forming a chain of interdependent elements.
The starting point of the climax is... The peak of the climax is... The climax serves to…
The denouement is unexpected.
The idea of the passage is as follows (or it may be summed up in the following words).
The idea lies on the surface.
The analysis would be incomplete if we did not touch upon man’s individual speech.
The author individualizes his character’s speech for a definite purpose. By doing this he gives us some additional information concerning his character. It shows... .
The syntax of the dialogue is very simple; plenty of ... make the speech expressive and emotionally coloured.
The narrative part of the story is illustrative of literary-bookish English. It contains bookish words (ex.), long sentences with different participial and gerundial constructions (ex.).
The speech of the characters is full of colloquial words (ex). The author’s aim here is … .
The text contains some realias (ex.), terms (ex.), professionalisms (ex). They make us feel (understand)…
The passage (story) is wholly narrative; wholly a dialogue; partially narrative and partially a dialogue.
The plot of the passage (story) is built around (is unfolded around; deals with)...
By the way of conclusion I’d like to...
Раздел 3. ПРИМЕР ЛИНГВОСТИЛИСТИЧЕСКОГО АНАЛИЗА ХУДОЖЕСВЕННОГО ТЕКСТА
Данный раздел пособия предлагает читателям ознакомиться с аналитической работой, выполненной студентом факультета иностранных языков в условиях реального процесса обучения. Материалом для лингвостилистического анализа послужил рассказ У.С.Моэма «Побег» (The Escape), полный текст которого приводится ниже.
Поскольку, несмотря на высокое качество выполнения, студенческая работа не лишена недочетов, далее предлагается квалифицированный комментарий преподавателя. Все это, по замыслу авторов пособия, должно направить деятельность студентов – пользователей данного пособия в конструктивное русло интерпретационной деятельности в рамках практического курса английского языка.
THE ESCAPE
By W.Somerset Maugham
W. Somerset Maugham, a famous English writer, was born in 1874 in Paris. He received his medical degree, but he never practiced medicine; the ambition to write dominated his entire life. In 1897 "Liza of Lambeth", Maugham's first novel, appeared. It had no success. For the next ten years Maugham wrote and starved. He turned out a steady stream of plays and novels none of which excited much attention. His luck changed in 1907. In that year "Lady Frederic", a comedy of manners, was produced in London. It had a bright, fashionable success. By and by, Maugham became internationally celebrated; his plays were performed all over the world. Now independent and well able to enjoy life Maugham began to travel. He came to know Europe thoroughly and spent long periods in the United States, the South Seas and China. His favorite country was Spain ("The Land of the Blessed Virgin" and "Don Fernando"). In 1915 Maugham published a novel that had been in preparation for many years. Called "Of Human Bondage" it was received by critics with great respect. Over the years, it has become a modern classic. Many popular successes followed its publication: "Ashenden", "Moon and Sixpence", "Cakes and Ale", etc. He died in 1965.
I have always been convinced that if a woman once made up her mind to marry a man nothing but instant flight could save him. Not always that; for once a friend of mine, seeing the inevitable loom menacingly before him, took ship from a certain port (with a toothbrush for all his luggage, so conscious was he of his danger and the necessity for immediate action) and spent a year travelling round the world; but when, thinking himself safe (women are fickle, he said, and in twelve months she will have forgotten all about me), he landed at the selfsame port the first person he saw gaily waving to him from the quay was the little lady from whom he had fled. I have only once known a man who in such circumstances managed to extricate himself. His name was Roger Charing. He was no longer young when he fell in love with Ruth Barlow and he had had sufficient experience to make him careful; but Ruth Barlow had a gift (or should I call it a, quality?) that renders most men defenseless, and it was this that dispossessed Roger of his common sense, his prudence and his worldy wisdom. He went down like a row of ninebins. This was the gift of pathos. Mrs. Barlow, for she was twice a widow, had splendid dark eyes and they were the most moving I ever saw; they seemed to be ever on the point of filling with tears; they suggested that the world was too much for her, and you felt that, poor dear, her sufferings had been more than anyone should be asked to bear. If, like Roger Charing, you were a strong, hefty fellow with plenty of money, it was almost inevitable that you should say to yourself: I must stand between the hazards of life and this helpless little thing, or, how wonderful it would be to take the sadness out of those big and lovely eyes! I gathered from Roger that everyone had treated Mrs. Barlow very badly. She was apparently one of those unfortunate persons with whom nothing by any chance goes right. If she married a husband he beat her; if she employed a broker he cheated her; if she engaged a cook she drank. She never had a little lamb but it was sure to die.
When Roger told me that he had at last persuaded her to marry him, I wished him joy.
"I hope you'll be good friends," he said. "She's a little afraid of you, you know; she thinks you're callous.
"Upon my word I don't know why she should think that."
"You do like her, don't you?"
"Very much."
"She's had a rotten time, poor dear. I feel so dreadfully sorry for her."
"Yes," I said.
I couldn't say less. I knew she was stupid and I thought she was scheming. My own belief was that she was as hard as nails.
The first time I met her we had played bridge together and when she was my partner she twice trumped my best card. I behaved like an angel, but I confess that I thought if the tears were going to well up into anybody’s eyes they should have been mine rather than hers. And when, having by the end of the evening lost a good deal of money to me, she said she would send me a cheque and never did, I could not but think that I and not she should have worn a pathetic expression when next we met.
Roger introduced her to his friends. He gave her lovely jewels. He took her here, there, and everywhere. Their marriage was announced for the immediate future. Roger was very happy. He was committing a good action and at the same time doing something he had very much a mind to. It is an uncommon situation and it is not surprising if he was a trifle more pleased with himself than was altogether becoming.
Then, on a sudden, he fell out of love. I do not know why. It could hardly have been that he grew tired of her conversation, for she had never had any conversation. Perhaps it was merely that this pathetic look of hers ceased to wring his heart-strings. His eyes were opened and he was once more the shrewd man of the world he had been. He became acutely conscious that Ruth Barlow had made up her mind to marry him and he swore a solemn oath that nothing would induce him to marry Ruth Barlow. But he was in a quandary. Now that he was in possession of his senses he saw with clearness the sort of woman he had to deal with and he was aware that, if he asked her to release him, she would (in her appealing way) assess her wounded feelings at an immoderately high figure. Besides, it is always awkward for a man to jilt a woman. People are apt to think he has behaved badly.
Roger kept his own counsel. He gave neither by word nor gesture an indication that his feelings towards Ruth Barlow had changed. He remained attentive to all her wishes; he took her to dine at restaurants, they went to the play together, he sent her flowers; he was sympathetic and charming. They had made up their minds that they would be married as soon as they found a house that suited them, for he lived in chambers and she in furnished rooms; and they set about looking at desirable residences. The agents sent Roger orders to view and he took Ruth to see a number of houses. It was very hard to find anything that was quite satisfactory. Roger applied to more agents. They visited house after house. They went over them thoroughly, examining them from the cellars in the basement to the attics under the roof. Sometimes they were too large and sometimes they were too small, sometimes they were too far from the centre of things and sometimes they were too close; sometimes they were too expensive and sometimes they wanted too many repairs; sometimes they were too stuffy and sometimes they were too airy; sometimes they were too dark and sometimes they were too bleak. Roger always found a fault that made the house unsuitable. Of course he was hard to please; he could not bear to ask his dear Ruth to live in any but the perfect house, and the perfect house wanted finding. House-hunting is a tiring and a tiresome business and presently Ruth began to grow peevish. Roger begged her to have patience; somewhere, surely, existed the very house they were looking for, and it only needed a little perseverance and they would find it. They looked at hundreds of houses; they climbed thousands of stairs; they inspected innumerable kitchens. Ruth was exhausted and more than once lost her temper.
"If you don't find a house soon," she said, "I shall have to reconsider my position. Why, if you go on like this we shan't be married for years."
"Don't say that," he answered. "I beseech you to have patience. I've just received some entirely new lists from agents I've only just heard of. There must be at least sixty houses on them."
They set out on the chase again. They looked at more houses and more houses. For two years they looked at houses. Ruth grew silent and scornful: her pathetic, beautiful eyes acquired an expression that was almost sullen. There are limits to human endurance. Mrs. Barlow had the patience of an angel, but at last she revolted.
"Do you want to marry me or do you not?" she asked him.
There was an unaccustomed hardness in her voice, but it did not affect the gentleness of his reply.
"Of course I do. We'll be married the very moment we find a house. By the way I've just heard of something that might suit us."
"I don't feel well enough to look at any more houses just yet."
"Poor dear, I was afraid you were looking rather tired."
Ruth Barlow took to her bed. She would not see Roger and he had to content himself with calling at her lodgings to enquire and sending her flowers. He was as ever assiduous and gallant. Every day he wrote and told her that he had heard of another house for them to look at. A week passed and then he received the following letter:
Roger,
I do not think you really love me. I have found someone who is anxious to take care of me and I am going to be married to him today.
Ruth.
He sent back his reply by special messenger:
Ruth,
Your news shatters me. 1 shall never get over the blow, but of course your happiness must be my first consideration. 1 send you herewith seven orders to view; they arrived by this morning's post and lam quite sure you will find among them a house that will exactly suit you.
Roger.
ЛИНГВОСТИЛИСТИЧЕСКИЙ АНАЛИЗ РАССКАЗА СОМЕРСЕТА МОЭМА « ПОБЕГ», ВЫПОЛНЕННЫЙ СТУДЕНТОМ
The text under analysis presents a story written by one of the most outstanding English authors - Somerset Maugham. He was a well-known novelist, playwright and short-story writer who achieved wide recognition in the 1930-s for his literary talent. The titles of Maugham’s novels are familiar to several generations of readers. His works include the novels Of Human Bondage, The Moon and the Sixpence etc.
The story under analysis features the relations between a man and a woman. The story is set in England in the 20-30s of the 20th century. The protagonist of the story is a middle-aged man Roger Charing. At the start of the story Roger fell in love with Ruth Barlow, an unfortunate, helpless woman who seemed to be the most unfortunate and fragile creature in the world. They had all the happy and pleasant moments of relations that a young couple usually enjoys and intended to marry when suddenly Roger fell out of love with her and tried to find a way to make Ruth give him up. So he said they would marry the day they found the perfect house for them to live in. However, Roger rejected all the houses they visited. At last, Ruth lost her temper and left Roger herself to marry another man.
The story presents a third-person narration with some elements of dialogue and description. The general tone of the story is ironical.
The story can be logically divided into 4 parts. In the exposition the author gives a general description of the relations between males and females. The opening line of the story “I have always been convinced that if a woman once made up her mind to marry a man nothing but instant flight could save him” is followed by a story of the author’s friend who tried to resort to escape from the woman he doesn’t want to marry. The anecdote features the popular stereotypes about male and female attitudes toward marriage. The man is panic-stricken, the horror of the coming marriage is conveyed through the hyperbole “with a toothbrush for all luggage”, the metaphor coupled with an expressive epithet “the inevitable loom menacingly”. The exposition tunes the reader in the ironical tone of the story.
The second part of the story contains the descriptions of the main characters - Ruth and Roger. Roger “has sufficient experience to make him careful” - this periphrasis of the word “marriage” creates a vivid image of Roger’s attitude toward marriage which is rather conventional and stereotypical. The author shows Roger’s condition with the help of the simile “he went down like a row of ninepins”. Ruth’s appearance is described with the help of descriptive attributes and epithets: “splendid dark eyes” and “they were the most moving I ever saw”, “big and lovely eyes”
The description of Ruth’s misery is tinged with irony. The author uses some synonyms “poor dear”, “helpless little thing”, the words “sadness” and “sufferings”. Ruth is also described through the hyperboles “the word was too much for her”, “her suffering had been more than anyone should be asked to bear”. The parallel constructions “If she married a husband he beat her; if she employed a broker he cheated her; if she engaged a cook she drank. She never had a little lamb but it was sure to die” highten the ironic effect. The allusion to the children’s rhyme about Mary and her little lamb makes the ironical image complete.
Ruth’s image seen through Roger’s eyes is contrasted with the narrator’s attitude to Ruth by the simile “ she was as hard as nails”. Ruth is directly described by the narrator as “stupid” and “scheming”, and the sentence “It could hardly have been that he grew tired of her conversation, for she had never had any conversation”. The narrator hints at Ruth’s financial interest in Roger with the help of the phrases “a hefty fellow with plenty of money”, “He gave her lovely jewels” and metaphor “if he asked her to release him, she would (in her appealing way) assess her wounded feelings at an immoderately high figure.”
The next stage in the complication of the story comes when Roger falls out of love with Ruth. The author uses an ironic metaphor “it was merely that this pathetic look of hers ceased to wring his heart-strings” to explain the reason of Poger’s feelings.
The cunning Roger employs the trick of looking for a perfect house. The difficulty of the business is conveyed with the help of an alliteration “House-hunting is a tiring and a tiresome business” and the parallel constructions echoing Roger’s complaints: ”They visited house after house. They went over them thoroughly, examining them from the cellars in the basement to the attics under the roof. Sometimes they were too large and sometimes they were too small, sometimes they were too far from the centre of things and sometimes they were too close; sometimes they were too expensive and sometimes they wanted too many repairs; sometimes they were too stuffy and sometimes they were too airy; sometimes they were too dark and sometimes they were too bleak.”
The atmosphere of the story becomes very heated. The author uses gradation “They looked at hundreds of houses; they climbed thousands of stairs; they inspected innumerable kitchens. Ruth grew silent and scornful: her pathetic, beautiful eyes acquired an expression that was almost sullen. There are limits to human endurance. Mrs. Barlow had the patience of an angel, but at last she revolted.” The story reaches the climax in the sentence "Do you want to marry me or do you not?"
The last paragraphs of the story feature the denouement of the story – Ruth’s marriage to another man and Roger’s polite letter of congratulations.
In my opinion, in the story the author sympathises with neither men nor women - makes keen observations about human nature and its weaknesses.
Дата: 2018-12-21, просмотров: 376.
