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Учебно-методическое пособие по аналитическому чтению

Стилистический анализ художественного текста

О.Б. Козлова

Предисловие

стилистика художественный текст

Данное пособие содержит методические рекомендации по аналитическому чтению для студентов 3-5 курсов факультета иностранных языков.

Цель данного пособия - обобщить и систематизировать теоретические положения по анализу текста и отработать навыки аналитического чтения художественного текста, его идейного содержания и художественной формы.

В задачи пособия входит:

представить систему стилистических приемов и выразительных средств языка;

ознакомить студентов с опорными фразами и клише, необходимыми для анализа художественного текста, для ведения беседы о его художественной ценности;

сформировать навыки комплексного анализа художественного текста.

Пособие включает в себя:

а) схему стилистического анализа текста;

б) подробный комментарий каждого пункта схемы, включая опорные слова и словосочетания (в зависимости от ступени обучения и степени подготовленности группы, преподаватель может корректировать (упрощать или усложнять) некоторые пункты схемы);

в) образец стилистического анализа отрывка художественного текста на примере произведения Дж. Голсуорси “To let”;

г) два приложения. Приложение 1 представляет собой краткий словарь-справочник стилистических приемов и примеров их иллюстрирующих. Приложение 2 содержит список дополнительных (вспомогательных) слов и выражений для аналитического чтения, которые могут быть полезными и помогут студентам лучше и точнее сформулировать свою мысль;

д) список рекомендуемой литературы по аналитическому чтению.

Предлагаемое пособие может быть использовано для самостоятельной работы при подготовке к анализу художественного текста, а также при изучении теоретического курса «Стилистика английского языка». В качестве материала для анализа рекомендуется использовать фрагменты художественных текстов, представленные в учебниках «Практический курс английского языка» под редакцией В.Д Аракина для студентов 3-5 курсов педагогических вузов по специальности «Иностранные языки».

THE SCHEME FOR THE STYLISTIC ANALYSIS OF THE TEXT Последовательность некоторых пунктов в предлагаемой схеме может быть изменена по усмотрению преподавателя.

Speak of the author of the text.

Discuss the text.

2.1. Share your first impressions of the text.

2.2. Give the general definition of the text.

2.3. Give the summary of the text.

2.4. State the main idea of the text and point out the problems touched upon by the author.

2.5. Enlarge on the general mood.

Analyse the plot and point out the compositional pattern of the text.

Divide the text into logically complete parts.

Give the detailed analysis of each logically complete part.

Make up the character sketches.

Think what is more important in the text: plot development or character drawing.

Summarize all your observations.

Commentaries on the procedure of the analysis.

1. Speak of the author (put it in a nutshell)

1.1 What do you know about the author's family and his life?

You can use the following phrases:

- to spring from a … family; to come of (from) a family;	- быть выходцем из … семьи;
- to show (to give) promise (at an early age);	- подавать надежды (в раннем возрасте);
- to earn (make) one's living as a writer; to live by writing; to live by one's pen.	- зарабатывать на жизнь творчеством.

What do you know about the author's literary career?

The following phrases will help you:

- to try one's hand at drama (writing plays, short stories);	Пробовать писать для театра (пьесы, рассказы);
- to draw on one's own experience;	Писать на основании собственного опыта;
- to choose the novel (the short story …) as one's medium; to write in the genre of the short story (detective story);	Выбирать жанр романа (рассказа); писать в жанре рассказа (детективного рассказа);
- to gain (win) recognition (popularity);	Добиться признания, стать известным;
- recognition was slow to come (to him);	Он не сразу добился признания;
- to set out as a critic, …;	Начинать как критик;
- to be ( to have) a success;	Иметь успех;
- to be a failure;	Потерпеть провал;
- to be a critical and a commercial success (failure); to be critically and commercially a success (a failure);	Получить благоприятные (неблагоприятные) отзывы и принести большой доход (убытки);
- to be a writer of (outstanding, great) promise; to be a writer to watch;	Быть многообещающим писателем; быть писателем с будущим;
- to subject somebody, something to scathing (devastating, scorching) criticism;	Подвергнуть кого - либо, что - либо резкой (уничтожающей, суровой…) критике;
- to take somebody as one's model;	Считать кого - либо образцом для подражания;
- to come to (literary, dramatic) prominence;	Выйти в число выдающихся писателей (драматургов);
- to be (make) a (smashing, crashing) hit;	Иметь огромный (колоссальный) успех;
- to be a best-seller;	Быть бестселлером, ходовой книгой; быть автором бестселлера;
- to make a stir; to be a sensation;	Произвести сенсацию;
- to draw one's subject (characters) from everyday life; to turn to everyday life for one's subject (characters);	Обращаться к повседневной жизни в поисках тем (героев);
- a prolific author;	Плодовитый писатель;
- to be at the height of one's popularity (one's creative powers);	Быть в расцвете славы (творчества);
- to be (now) at work on…	В настоящее время работать над…

NOTE!

В английском языке нет прилагательного «гениальный». Такое словосочетание как «гениальный поэт (писатель, драматург и т.д.)» переводится существительным genius (гений, гениальный человек, гениальная личность) или словосочетанием a poet (writer, playwright) of genius, где слово genius тоже является существительным. Можно использовать прилагательные: brilliant, outstanding. Например, a brilliant novel, writer, an outstanding play, story, writer.

Now that you are through with the basic facts about the author of the text, you can begin analysing the text proper.

2. Discuss the text

After the first reading of the text you are expected to share your (first) impressions.

2.1 Preliminary discussion.

What do you think of the story (text)? /What is your opinion of the story? What is your general impression of the text?

Who are the main characters?

Where and when does the story take place?

The following phrases will come useful:

- it is a very enjoyable text;	- чтение текста доставило удовольствие;
- it is a powerful story (extract);	- этот рассказ (отрывок) производит сильное впечатление;
- the power of the story;	- сила воздействия рассказа
- to be (make) good (easy, difficult, etc.) reading;	- читается с интересом (легко, с трудом);
- to hold the reader's attention (interest); to keep the reader interested;	- завладеть вниманием читателя; удерживать интерес читателя;
- to keep the reader in suspense; to have (a sense of) suspense;	- держать читателя в напряжении;
- the greatness (merit) of the text lies (rests) in its profound satire;	- достоинством текста является глубина сатирического описания;
- to read a text with unflagging (with never slackening) interest;	- читать текст с неослабевающим интересом (вниманием);
- one's interest (attention) (never) flags (dwindles);	- интерес (внимание) (не ослабевает) начинает ослабевать;
- to have great merits;	- иметь большие достоинства;
- to have some demerits;	- иметь недостатки;
- to rate a novel (story) among the best in …;	- относить роман (рассказ) к лучшим произведениям в …;
- of all times;	- когда-либо существовавших в истории;
- to deal with problems of topical interest;	- затрагивать злободневные, актуальные темы;
- the text is chiefly concerned with (chiefly deals with);	- содержанием текста является… ;
- it's a novel (a story) (written, meant) for teenagers (adolescents, young people), etc.; the text is addressed to teenagers, etc.;	- роман (рассказ) (написан, предназначен) для подростков (взрослых, молодежи) и т.д.;
- some of the episodes are not quite satisfactory (didn't come off);	- некоторые эпизоды не совсем удачны;
- the author is successful at (in)…;	- автору удается (удаются)…;
- (not) to be the author's strong point (forte).	- (не) быть сильной стороной писателя.

2.2 Give the general definition of the text under study (under discussion/ consideration/ observation/ examination)

Any work of fiction consists of relatively independent elements - narration, description, dialogue, interior monologue, digression, etc.

Narration is dynamic, it gives a continuous account of events.

Description is static, it is a verbal portraiture of an object, person or scene. It may be detailed and direct or impressionistic, giving few but striking details.

Through the dialogue the characters are better portrayed, it also brings the action nearer to the reader, makes it seem swifter and more intense.

Interior monologue renders the thoughts and feelings of a character.

Digression consists of an insertion of material that has no immediate relation to the theme or action. It may be lyrical, philosophical, critical, psychological, etc.

Thus you should say if the text under analysis presents a piece of narration, namely a first-person narrative or a third-person narrative. To analyse the type of narrative, it is important to distinguish between the author (the person who wrote the story), and the narrator (the person or voice telling the story). The author may select a first-person narrative, when one of the characters tells of things that only he or she saw and felt. In a third-person narrative the omniscient (всеведущий) author moves in and out of people's thoughts and comments freely on what the characters think, say, do.

According to its genre, the text may represent: a detective story or whodunnit (детектив), spy story, travelogue, fairy-tale story, ghost story, adventure story, myth, tear-jerker, story with social significance, folk-tale, thriller/ spine-chiller/ horror story, humorous story, science-fiction story, legend, crime story, romantic story, western, parable, joke, love story, etc). The text may be intercepted (interwoven, interlaced, intermingled) with a dialogue, a description, character drawing, an account of events, portraiture, a historical event, a satirical portrayal of society, a humorous episode, a psychological portrayal of personages, etc.

If the text contains various elements, name all of them and give examples from the text under study to prove your statements.

2.3 Give the summary of the text

A summary is the expression in a condensed form (сжатое выражение) of the principal content of any piece of writing. In other words the summarizer should briefly render the main idea in his own words.

A summary is a good test of your ability to understand what you have read. If you can pick out essential points and then find your own ways of expressing them, you have really understood the passage.

The procedure for preparing a summary consists of four steps: 1) reading; 2) selecting; 3) writing; 4) comparing.

First you should read the passage carefully to understand its meaning, then picking out the essentials, put the idea expressed into your own words. Having grasped the essentials you now reread the passage to see how well you have understood the details.

A very important point in summarizing is that you should omit examples and details where possible.

The last step in writing a summary is comparing the written summary with the original passage to make sure that the essence of the original has been reproduced in a distinctly different language, that no idea, which was not in the original, has been introduced in the summary.

As for the length, the summary should be shorter than the original piece of writing. How much shorter is determined by the purpose of summary. If it is to serve as a self-aid in reviewing, the summarizer has to give only a general statement of the essential thought of the original. As for the summary, supposed for analysis of the text, its length can vary from 1/10 to 1/4 of the length of the original.

How to write a summary:

Read the passage that you will have to summarize carefully.

Find the topic sentence of each paragraph. Write a list of points in a note form. Don't include unnecessary facts.

Connect your points to write a rough draft of the summary in your own words. Link all your sentences in a logical progressive or chronological arrangement. Refer to the passage only when you want to make sure of some points.

Compare your summary with the original and cut out all non-essential points.

Mind some of the ways used in cutting down the length of a passage:

illustrative details must be omitted;

ideas expressed in the figurative language must be put simply and directly;

change direct narration to indirect whenever it is possible;

use words instead of word combinations and word combinations instead of sentences;

omit figures of speech, repetitions and most examples;

do not use personal pronouns, use proper names;

do not introduce any extra material by way of opinion, interpretation or appreciation.

2.4 State (formulate, point out) the main idea (theme, the main line of thought, the author's message, the main thread) that goes through the text

What is the theme(the idea) of the text?

Theme is a salient abstract idea that emerges from a literary work's treatment of its subject-matter; or a topic recurring in a number of literary works. While the subject of a work is described concretely in terms of its action (e.g. “the adventure of a newcomer in a big city”), its theme or themes will be described in more abstract terms (e.g. love, war, revenge, betrayal, fate, etc.). The theme of a work may be announced explicitly, but more often it emerges indirectly. It is up to the reader to collect and combine all his observations and finally to try to formulate the idea illustrated by the story.

You can find the following phrases useful when formulating the main idea of the text:

- the main point the author is trying to make clear (to put across is …); the main idea he is trying to convey (to express) is …;	- главная мысль автора заключается в …
- to carry (have) a deep social (psychological) message;	- нести (содержать) глубокую социальную (психологическую) направленность.
- to expose the vices (evils, faults) of society;	- изобличать пороки (недостатки) общества.
- to preach retreat (escape) from reality;	- проповедовать уход от действительности.
(not) to cut oneself off from the outside world the text is impregnated (penetrated) throughout with the ideals of (+gerund);	(не) изолироваться от окружающего мира. текст пронизан идеей(ями)…
- the hero's outlook (ideals);	- мировоззрение (духовный мир) героя.
- the idea the author carries to the mind of the reader can be formulated by a proverb …	- мысль, которую автор старается донести до читателя, может быть выражена пословицей…

Point out the problem(s) that the author touches upon in the text under study.

Some texts are problematic, but some are more informative. In the text analysed you should single out the problems raised by the writer. Usually there are several problems in the text. Sometimes the central problem concerns the main idea of the text.

You should always remember that to formulate the problem, you should first of all single out the existing contradictions in the subject matter of a story, which can serve the ground for the problem.

The problem(s) may be of psychological, social, philosophical, etc. character (e.g. the problem of incomplete family, or of imperfection of the system of education, or of racial discrimination, etc.). They may concern educational, medical, cultural, economic, political, etc. spheres of men's activity. Mind that the author doesn't always suggest the solution of the problems but just touches upon them.

2.5 Enlarge on the general mood (slant, tenor, tone, key) of the text

The author's choice of characters, events, situations, details and his choice of words are by no means accidental. Whatever leads us to grasp the author's attitude to his/her subject matter is called mood (настроение) of the text.

So, the general mood of the text is the emotional atmosphere of the text (or of any piece of writing), as it impresses the reader.

The general mood of the text, concerning its subject-matter, may be satirical, humorous, pathetic, (un) emotional, cheerful, light, solemn, nervous, gloomy, optimistic, pessimistic, lyrical, dramatic, melodramatic, matter-of-fact, dry, ironic(al), sentimental, business-like, depressing, etc.

Mind that in this point of stylistic analysis you should just characterize the mood in general, without examples, explanation and without details, but pay attention to any change of the mood as the events unfold (You'll analyse the atmosphere of the text in detail when analysing each logically complete part of it, see point 5).

3. Analyse the plot of the text (extract, story) and point out the compositional pattern of the text (постройте сюжетную линию текста)

Plot (фабула) is the plan of a literary composition comprising a series of incidents which are gradually unfolded. As every plot is the selected version of events and situations presented to the reader in a certain order, you should follow and name the exact events from the text (without describing them), when analysing the compositional pattern of the text.

Do not try to read, count and list sentences or paragraphs. Point out only the events. No matter how insignificant or deceptively casual, the events of the story are meant to suggest the character's morals and motives. Sometimes the events in the plot are organized chronologically. At other times there are flashbacks (воспоминания) and foreshadowing (предвосхищение) - jumps back and forth in time.

The four structural components of the plot are: exposition (the beginning of the plot), complication (the rising action), climax (the culmination) and denouement (the falling action).

Thus you should point out:

Exposition (завязка). It contains a short presentation of time, place and characters of the story. It is usually to be found at the beginning of the text, but may also be interwoven in the narrative by means of flashbacks. There are stories in which something has already happened before the extract begins - then it is impossible to name the beginning of the plot. But often it is possible to identify the exact event, which serves as the beginning of the plot itself.

Complication (развитие сюжета). It is a series of separate incidents, helping to unfold the action, and might involve thoughts and feelings as well. Say exactly what events the complication includes.

Climax (кульминация). It is a decisive moment on which the fate of the characters and the final action depends. It is the highest point of an action in a story, the moment of the greatest intensity. Try to indicate this moment. Sometimes climax is manifested in one phrase or even a powerful word.

There is also a subtype of climax - anticlimax. Anticlimax is an abrupt lapse from growing intensity to triviality with the effect of disappointed expectation or deflated suspense. Usually the author gradually leads the reader to the only logical outcome of the story - the climax. And when this expected outcome is completely defeated (usually by one phrase at the end of the text), thus breaking the readers expectations, we observe not climax, but anticlimax (e.g. “Art's nothing,” snapped the old man. “I bought the Lathrop Gallery last month...” in the text “Art for Heart's Sake” by R.Goldberg).

Denouement [dai?nu:maз] (развязка). It is the unwinding of the action. Usually it is a final scene or events in a story or a play immediately following the climax, in which mysteries, confusions and doubtful destinies are clarified, and which bring the action to an end.

Not all stories have a denouement. Some texts end right with the climax (or anticlimax), leaving it up to the reader to judge what will be the outcome of the conflict.

The following questions will help you to sum up your observations of the plot:

What are the bare facts of the story?

What are the exposition, complication, climax and denouement?

Are the events of the plot ordered chronologically?

How does the story begin?

Has anything happened before the extract begins?

Is the action fast/slow moving?

Which episodes have been given the greatest emphasis?

Is the end clear-cut and conclusive or does it leave room for suggestion?

On what note does the story end?

Does the author speak in his own voice or does he present the events from the point of view of one of the characters?

Divide the text into logically complete parts.

(It's easier to analyse the shorter pieces, that's why the junior students are supposed to divide the text, while the senior students should work with the whole text, without dividing it.)

Look through the text under analysis once again and divide it into logically complete parts. Nearly always the borders of the part coincide with the borders of paragraphs and a logically complete part may comprise several paragraphs. Suggest the possible title for every part; choose a key-sentence in each part. A key-sentence is a sentence, which embodies the main idea (the essence) of the part or discloses the chief thought of the writer. Rarely there can be two key-sentences.

5. Give the detailed (rigorous) analysis of each logically complete part.

This point of the stylistic analysis is the most important for it completes and deepens all your previous observations of the text. It helps to understand thoroughly all the peculiarities of literary arrangement of the text and finally to grasp the author's individual style and ideas and to extract the most useful linguistic information.

Analyse each part according to the following scheme:¹1 Эта часть пункта обязательна для студентов, изучающих курс стилистики. Остальным студентам достаточно указать знакомые приемы из курса В.Д. Аракина «Практический курс английского языка» и объяснить их значимость.

give a gist of the part. (What do we get to know from this part?);

b) describe the atmosphere created in the part.

What is the difference between the mood and atmosphere? Atmosphere is subtler and is observed in the part of the text, while mood is characterization of the text in general. Roughly speaking, the general mood of the text (see p.2.5) comprises the atmosphere of all its logically complete parts. You needn't supply the defined mood with the examples, while it is obligatory to show how the writer manages to create this or that atmosphere of the logically complete part. Every logically complete part has its own peculiar atmosphere, which differs from the atmosphere of other parts. That's why if it isn't the first part of the text, compare its atmosphere with the previous one and say how it differs.

c) Say how the author manages to create this particular atmosphere.

The atmosphere is created by different lexical, syntactical and phonetic means. So the detailed analysis of each logically complete part consists of bringing out and explaining the peculiarities and details of 3 levels: 1) lexical, 2) syntactical and 3) phono - graphical.

Lexical level

Great attention must be paid to the vocabulary employed by the author, for you know that words are the basic means of conveying a thought and consequently of creating the certain atmosphere. That is why first of all analyse the author's choice of words.

What functional style (formal, neutral, and colloquial) do the majority of words in the part under analysis belong to? Prove it with examples. If the part presents a mixture of styles, indicate examples of every style.

Search for groups of words, belonging to different spheres of men's activity (educational, juridical, military, medical, etc.). It's especially important if the text bears a thematical character. Say how these words contribute to the atmosphere. For example, the frequent usage of military words creates a tragic, gloomy, war-like, nervous atmosphere, but if the same words are out-of-place, their usage in certain context is likely to create a humorous or ironical atmosphere.

Point out synonyms, antonyms, homonyms, wrong or out-of-place usage of words, polysemantic words used in their different meanings (the latter often create a humorous effect). Bring out their effectiveness.

Pay attention to words, used in their emotive meaning, usually these are words with negative or positive connotation. As a rule they are very suggestive, such as: nervously, happily, majestically, gorgeous, coward hatred, etc.

Indicate the peculiar use of set expressions: cliches, proverbs, sayings, idioms, quotations and allusions. Explain their usage.

Finally point out lexical expressive means and stylistic devices. Bring out their effectiveness. Explain what the narration gains through them. Try to read between the lines and interpret the implication (подтекст) considering these devices.

The following stylistic devices and expressive means should be considered here: metaphor, metonymy, irony, zeugma, pun, epithets, oxymoron, simile, periphrasis, euphemisms, hyperbole (see Supplement 1).

Remember that your aim is not to find and list as many stylistic devices as possible, but what is more important - to interpret them, to explain what idea the author tried to bring to the mind of the reader by these devices. And don't tend to explain each device separately: remember about the convergence of stylistic devices.

Syntactical level

Now you are to analyse the syntactical arrangement of logically complete part. The syntactical arrangement is not less important for understanding the atmosphere of the part under study than choice of words.

Pay attention to the paragraph building, length of paragraphs, and length of sentences in paragraphs. Draw parallels between the seriousness of the theme and length of the sentences and paragraphs. A series of short, unexpended sentences may contribute to creation of a nervous, restless atmosphere, atmosphere of great intensity and holds the reader in suspense, a kind of nervous pulsation is created, as if a regular beat in one's mind and heart. Long, with plenty of subordinate clauses sentences may signify the depth of the author's idea, thought, conflict, problem, etc. And a chaotic arrangement of short and long sentences may reflect the inner state of the character, his great hesitation, despair, chaos in his thoughts, involved internal conflict of the character.

Analyse the compositional patterns of syntactical arrangement: indicate the cases of stylistic inversion, parallel constructions, chiasmus, repetitions (anaphora, epiphora, framing, and catch repetition), enumeration, antithesis, suspense. Explain what is gained through them. (see Supplement 1).

Investigate types of connection between parts of the sentences, between sentences themselves. Here mind coordination, subordination, asyndeton, and polysyndeton. Try to notice some specific features, such as: the cases, when the coordinating conjunction and expresses subordination and is probably used to make each following statement stand out more clearly. On the other hand subordination and coordination may be effectively expressed through participial phrases and constructions. A comparatively wide range of relations is expressed by means of participial constructions. (“We roamed about sweet Sonning for an hour or so, and then, it being too late to push on past Reading, we decided to go back to one of the Shiplake islands, and put up there for the night.” Jerome K. Jerome). In case of asyndeton it's necessary to determine the difference between the omission of the conjunction as the norm of the language, both literary and colloquial, and as stylistic devices used for special informative and aesthetic purposes.

Explain the peculiar use of colloquial constructions: ellipsis, suppression, and aposiopesis, questions in the narrative, uttered and unuttered (inner) represented speech.

Phono-graphical level

The stylistic use of phonemes and their graphical representation is very important for the creation of expressive and emotive connotations.

Graphical expressive means serve to convey in the written form those emotions, which in the oral type of speech are expressed by intonation and stress.

Any emphatic use of punctuation can reflect the emphatic intonation of the speaker, and consequently should attract your attention as well as any deliberate change of spelling of a word. (For example: “I ref-use his money altogezzer”.)

In the analysis of phonetic side of a logically complete part try to find and interpret the following phonetic stylistic devices: onomatopoeia (звукоподражание), alliteration (repetition of consonants), assonance (repetition of similar vowels).(see Supplement 1)

Often the author resorts to such graphical means as italics, CAPITALIZATION, h-y-p-h-e-n-a-t-i-o-n, multiplication, as in the example of desperate appeal capitalization is used : “Help. Help. HELP!”

All graphical peculiarities are aimed at revealing and emphasizing the author's viewpoint and at giving additional information about the speaker such as: blurred, incoherent or careless pronunciation caused by temporary or permanent factors (social, territorial, etc. status).

6. Make up the character sketches (раскройте образы героев)

Most writers attempt to create characters that strike us, not as stereotypes, but as unique individuals. Characters are called round if they are complex and develop or change in the course of the story as for example, the character of Atticus Finch in H. Lee's “To Kill a Mockingbird”. Flat characters are usually one - sided as, for example, the character of Mayella Ewell in H. Lee's “To Kill a Mockingbird” or the character of aunt in “The Lumber-Room” by H. Munro. Round and flat characters have different functions in the conflict of the story.

The conflict may be external, which is between human beings or between man and the environment (individual against nature, individual against the established order, values in the society). The internal conflict takes place in the mind, here the character is torn between opposing features of his personality.

Note!

The Russian word «герой» has English equivalents “character” or “personage”, and «главный герой» - “hero” or “protagonist”, or “central (main, principal) character” (for example, It's clear that the author wants us to like his young hero (protagonist). The author's portrayal of the central characters (not main heroes!) is quite life - like). The Russian word combination «второстепенные герои» is translated as “minor characters (personages)”.

You'd better begin making character sketches with separating the main characters of the text from the minor ones. Start with the character sketches of the main personages because minor characters often serve to form certain background (фон) for the better and deeper understanding of the main ones. That's why sometimes it is not necessary to characterize the minor personages.

Note!

Герои произведения могут подразделяться на heroes и villains, что примерно соответствует такому же делению в русском языке на положительных и отрицательных героев. В таком же значении могут противопоставляться good (virtuous) and bad (evil) characters, но не positive and negative characters, хотя можно говорить о positive and negative traits (features) of characters.

The description of the different aspects (physical, moral, social, etc.) of a character is known as characterization. Each personage should be analysed according to the method of characterization.

Direct characterization is when the author himself or another personage defines the character for the reader by describing or explaining it, thus offering his own interpretation of the personage. Thus, this method suggests the author's subjective idea of the personage.

Indirect characterization is when the author shows the character in action and leaves it to the reader to judge the character: a) through his actions, deeds, conversations, thoughts; b) by what they say and in what manner they speak; c) by their mode of behaviour and way of thinking.

When characterizing a personage make your specific interpretation of his personality. With what main problem is the personage faced? Is it an external or internal conflict and how does he manage to overcome the problems? Describing personages you may need the following adjectives: sad, sinister, pathetic, vulnerable, reliable, stupid, cruel, awkward, (un) trustworthy, honest, unpleasant, mean, (in) sensitive, clever, romantic, generous, grateful, compassionate, practical, tender, cynical, sentimental, kind, shallow, (un) educated, rude, (in) sincere, egocentric, reasonable, reserved, well - bred, frank, modest, shy, ill - bred, ambitious, pompous, obstinate, selfish, stingy, etc.

Finally draw a conclusion about author's attitude towards the personage. Say if the author sympathizes with the personage or not, if he makes the reader like the personage or not. If possible point out stylistic devices aimed at delineating the personage.

The following questions will help you to organize your thoughts more logically and compactly:

What are the characters' names and what do they look like?

Does this have any significance?

Are the characters round or flat?

Does the narrator employ interior monologue to render the thoughts and feelings of the characters? Are the characters credible? Do they act consistently? If not, why not? With what main problem is the protagonist faced? Is it a conflict with another individual? With society? Within himself? In the course of the story do the characters change as a result of their experience? Does the narrator sympathize with the character? Remains aloof and detached?

You may find the following phrases useful when giving character sketches

- the author endows (invests) the hero (the character) with the following traits (features, characteristics)…	- автор наделяет героя следующими чертами…
- to bring in (introduce) a lot of (very few) characters.	- вводить много (очень мало) персонажей.
- to draw (portray) character truthfully (faithfully), with convincing strokes.	- рисовать (писать) образ правдоподобно, убедительно.
- to represent (present, depict, portray).	- изображать.
- a truthful, life - like, etc. representation (presentation, depiction, portrayal) of a character.	- правдивое, жизненное изображение героя.
- fidelity of representation is achieved through…	- правдивость изображения достигается при помощи…
- the character is merely sketched in…	- образ дан схематично.

7. Think what is more important in the text under analysis: plot development or character drawing.

This point should follow point 3 and 6, when both the plot and the characters are analysed. Usually this point brings on a heated discussion, for so many men, so many minds.

If you are of two minds, try to think of the conflict the main character faces. Often if it is the internal conflict, the author's aim is to show the development of personality, how a man behaves in a difficult situation, how he is influenced by the surrounding, how his way of thinking or mode of behaviour change with the development of events. The events themselves are not of great importance, but the character drawing really is. Such texts, as a rule, have a psychological slant, the author resorts to indirect method of characterization. The plot is trivial and banal in itself. When the characters are flat, directly characterized, there is nothing to speak of personalities, but the sequence of events is unusually involved, complicated, then, probably, the plot is of greater importance (but it is not a rule). In fact in such texts the situation may be usual, trivial, but the events unfold in a strange, unusual way and the outcome is not predictable. But there are texts in which both plot development and character drawing are equally important.

8. Summarize all your comments.

This point of stylistic analysis of the text is very important for you are supposed to recollect all your observations and reach the aim of your hard work on the text - to share your views on the author's style.

For a moment imagine you are a literary critic and speak on your personal perception of the author's individual style, his manner of writing. Comment on the language peculiarities, which make up the essential properties of the individual style of the author. Does the story abound in tropes or does the narrator use them sparingly? And, to crown it all, say what the impact (воздействие) of the text is. What is it due to? Discuss the literary properties of the story.

Here the following phrases will help you:

- a vivid (graphic) description of something;	- яркое описание чего - либо (not bright);
- to bring out an idea (a point, a mood, feelings, etc.) more clearly;	- раскрыть (показать) мысль (настроение, чувства и т.п.) более полно;
- to abandon (reject) the traditional form of narrative (technique, etc.);	- отказаться от традиционной формы повествования(техники и т.п.);
- the story (scene) is set in …; the scene is laid in …;	- действие происходит в …;
- distinctive traits, features;	- отличительные характерные черты;
- the probability of incident, of historical setting (background), etc.;	- правдоподобие сюжетных линий (происшествий), исторической обстановки и т.п.;
- the text is (a little) lacking in action;	- в тексте (немного) не хватает динамизма;
- as the plot progresses (goes on)/ as the story unfolds;	- по мере того, как развивается действие;
- the boldness (originality) of (the author's) concept (conception);	- смелость\ оригинальность идеи (замысла);
- an interesting (bold, original) treatment of the subject;	- интересная (смелая, оригинальная) трактовка (интересное и т.д. решение) темы;
- the speech (language) of the characters;	- речевая характеристика героев;
- the author has a feeling for (a scene of) …;	- автор обладает чувством (чего - либо);
- the story is written in the first person; it is (a) first - person narration;	- рассказ написан от первого лица;
- the narrator;	- автор - рассказчик;
- stock (trite, hackneyed) phrases, expressions, metaphors, similes, comparisons, words;	- шаблонные (избитые, “заезженные”) фразы, выражения, метафоры, сравнения, слова;
-a clear, lively, swift, free - flown, exciting narrative;	- ясное, живое, динамичное, свободное, увлекательное изложение;
- the writing (language) is vivid (crisp);	- манера письма (язык) живая (живой);
- to be described vividly, with infinite skill, with subtle irony, etc.;	- быть описанным живо, чрезвычайно, искусно, с тонкой иронией и т.п.;
- the story has brilliant wit, sparkling (glittering) humour;	- рассказ написан остроумно, с блеском, с искрящимся юмором;
- the author's power (gift) of observation;	- наблюдательность автора;
- the author has a fluent pen; the author writes with facility;	- автор пишет легко;
- the story has a happy, tragic, unexpected, “forced” ending;	- конец рассказа счастливый, трагичный, неожиданный, “натянутый”;

Here are some questions and tasks for self - control:

After you are through with all points of the stylistic analysis of the text, make sure that you are able to answer the following questions and can do the tasks without hesitation.

What is the time and setting of the text (story)?

What is the essential plot of the story?

What is the central idea of the text?

What do you think of the author's ability to draw character? Write a character-study of the main persons in the text.

What literary devices does the author use to bring out his point more clearly?

Do you think the narrative would gain or lose if it were (not) written in the first person?

Give the summary of the text/ story.

What emotions are aroused in the reader as the story unfolds?

Do you think that the ending is justifiable? Does it spring naturally from the facts of the story, or is it “forced”?

What is the compositional structure of the text/ story?

Sum up your opinion of the text/story.

If you feel difficult or uncertain about some questions, go back to necessary points of this brochure.

In case all the questions and tasks come easy to you, one can be sure you have made a good job of the stylistic analysis of the text and you are ready for fruitful discussion in your group.

4. Примерный анализ отрывка из художественного произведения Дж. Голсуорси “To let”

John Galsworthy (Born 1867 - Died 1933)

TO LET

(1922)

This novel is the last volume of the Forsyte Saga. It marks both the end of the first, stage in the development of the Forsytes and the beginning of the second, post-war stage in the chronicle of their doings. That final stage is the subject of Galsworthy's second trilogy, the Modern Comedy, where the younger generation of the Forsytes are depicted against the background of England's post-war decay. In the following extract the novelist holds up to ridicule the decadence of modern bourgeois art. On this occasion he puts his ideas into the mouth of Soames Forsyte, formerly satirized as the "man of property". Soames's scornful bewilderment at sight of Expressionist paintings renders the feelings of the novelist himself.

CHAPTER I

Encounter

Arriving at the Gallery оff Cork Street, however, he paid his shilling, picked up a catalogue, and entered. Some ten persons were prowling round. Soames took steps and came on what looked to him like a lamp-post bent by collision with a motor omnibus. It was advanced some three paces from the wall, and was described in his catalogue as "Jupiter". He examined it with curiosity, having recently turned some of his attention to sculpture. "If that's Jupiter," he thought, "I wonder what Juno's like." And suddenly he saw her, opposite. She appeared to him like nothing so much as a pump with two handles, lightly clad in snow. He was still gazing at her, when two of the prowlers halted on his left. "Epatant!” he beard one say.

"Jargon!" growled Soames to himself.

The other boyish voice replied:

"Missed it, old bean; he's pulling your leg. When Jove and Juno created he them, he was saying: 'I'll sec how much these fools will swallow.' And they've lapped up the lot." "You young duffer! Vospovitch is an innovator. Don't yon see that lie's brought satire into sculpture? The future of plastic art, of music, painting, and even architecture, has set in satiric. It was bound to. People are tired -- the bottom's tumbled out of sentiment."

"Well, I'm quite equal to taking a little interest in beauty. I was through the War. You've dropped your handkerchief, sir."

Soames saw a handkerchief held out in front of him. He took it with some natural suspicion, and approached it to his nose. It had the right scent -- of distant Eau dc Cologne -- and his initials in a corner. Slightly reassured, he raised his eyes to the young man's face. It had rather fawn-like ears, a laughing mouth, with half a toothbrush growing out of it on each side, and small lively eyes above a normally dressed appearance.

"Thank you," he said; and moved by a sort of irritation, added:

"Glad to hear you like beauty; that's rare, nowadays."

"I dote on it," said the young man; "but you and I are the last of the old guard, sir."

Soames smiled.

"If you really care for pictures," he said, "here's my card. I can show you some quite good ones any Sunday, if you're down the river and care to look in."

"Awfully nice of you, sir. I'll drop in like a bird. My name's Mont -- Michael." And he took off his hat.

Soames, already regretting his impulse, raised his own slightly in response, with a downward look at the young man's companion, who had a purple tie, dreadful little sluglike whiskers, and a scornful look -- as if he were a poet!

It was the first indiscretion he had committed for so long that he went and sat down in an alcove. What had possessed him to give his card to a rackety young fellow, who went about with a thing like that? And Fleur, always at the back of his thoughts, started out like a filigree figure from a clock when the hour strikes. On the screen opposite the alcove was a large canvas with a great many square tomato-coloured blobs on it, and nothing else, so far as Soames could see from where he sat. He looked at his catalogue: "No. 32 - 'The Future Town' -- Paul Post." "I suppose that's satiric too," he thought. "What a thing!" But his second impulse was more cautious. It did not do to condemn hurriedly. There had been those stripey, streaky creations of Monet's, which had turned out. such trumps; and then the stippled school, and Gauguin. Why, oven since the Post-Impressionists there had been one or two painters not to be sneezed at. During the thirty-eight years of his connoisseur's life, indeed, he had marked so many "movements", seen the tides of taste and technique so ebb and flow, that there was money to be made out of every change of fashion. This too might quite well he a case where one must subdue primordial instinct, or lose the market. He got up and stood before the picture, trying hard to see it with the eyes of other people. Above the tomato blobs was what he took to be a sunset, till some оnе passing said: "He's got the airplanes wonderfully, don't you think!" Below the tomato blobs was a band of white vertical black stripes, to which he could assign no meaning whatever till some one else came by, murmuring: "What expression he gets with his foreground!" Expression? Of what? Soames went back to his seat. The thing was "rich", as his father would have said, and wouldn't give a damn for it! Expression! Ah! they wore all Expressionists now, he had heard, on the Continent. So it was coming here too, was it? He remembered the first wave of influenza in 1887 -- or 8 - hatched in China, so they said. He wondered where this -- this Expressionism--had been hatched. The thing was a regular disease!

(J. Galsworthy. To Let, Foreign Languages Publishing House. Moscow, 1952, pp. 48-50)

COMMENTS

In this description of Soamcs's impressions of a gallery stocked with pieces of modern art Galsworthy's realism is displayed to great advantage. Within a very few pages the reader gets a vivid notion not only of the new school in painting, but also of the man who is so indignant with it. On the one hand his disgust and his perplexity throw light on the fictitious masterpieces and their false standards of beauty; on the other hand those masterpieces become an efficient means of characterizing Soames himself. The same end is served by the contrast between the soundness of his judgment and the flightiness, the restlessness of those of the new generation who delight in such works of art. Abundance of thought and feeling in a short passage where nothing much actually happens, dislike of emphasis and pathos is an important feature of Galsworthy's quiet and restrained art.

His intense contempt for the mannerisms of modern painting is not poured out either in withering sarcasm or in grotesque exaggeration, but finds an outlet, in a tone of matter-of-fact irony. The supposed statues of Jupiter and Juno arc to Soames just "a lamp-post bent by collision with a motor omnibus" and "a pump with two handles" respectively. Seen through the eyes of hard common-sense, brought down to the crudest elements, these statues appear particularly ridiculous.

The same process of reducing a complex whole -- a pretentious picture of "The Future Town" - to a number of primitive daubs serves to expose the futility of Expressionist art. However hard Soames tries, he can sec nothing but "a great many square tomato-coloured blobs" and "a band of white with vertical black stripes". The very sound of the word "blob", imitating the dripping of some liquid, is derogatory here and suggests that the paint was dropped on the canvas anyhow. This plain, sensible view is comically opposed to the enthusiasm of other and younger spectators who seem to recognize a wonderful picture of airplanes in the red blobs and a peculiar "expression" in the black and white stripes. The false pretences of the picture bearing the pompous name of "The Future Town" are the more clearly revealed as Soames anxiously does his best to go abreast of the times and make his taste sufficiently up to date. The harder the beholder's efforts to appreciate, the clearer the painter's failure to succeed. Soames's business instincts are well expressed in his fear to misunderstand the exhibits and to miss an opportunity of profit. Thus, oven when Galsworthy does make a mouthpiece of his hero, the latter's utterances, however close they come to the author's opinions, are appropriate to the personality of the speaker and come convincing from his lips. It is Galsworthy himself who has no respect for Expressionism, but Soames voices that feeling in a way peculiarly Forsytean: he is afraid to trust his eminently healthy taste, his own sense of beauty, for, as he reminds himself, "it did not do to condemn hurriedly. There had been those stripey, streaky creations of Monet's..."

These words make part of a prolonged inner monologue, which in the later volumes of the Forsyte Saga and in the whole of the Modern Comedy becomes Galsworthy's favourite method of characterization. The inner speech of the hero is indissolubly linked with the author's comments, so much so, really, that when speaking of Soames, for example, Galsworthy resorts to expressions entirely suitable to Soames ("His second impulse was more cautious", "He remembered the first wave of influenza in 1887 -- or 8 -- hatched in China, so they said").

With Galsworthy the inner monologue is different from what it is, say, in Meredith's books. For one thing, the author of the Forsyte Saga uses it much more often. For another thing, he interferes with his comments much less than his predecessor. Lastly, the language of the monologues (particularly when they are Soamcs's) is much more concise and laconic, utterly devoid of sentiment. It is quite free of abstract terms, and is exceedingly terse, practical and full of idiomatic constructions commonly used in everyday speech ("painters not to be sneezed at", "they had turned out such trumps" etc.). Soames the businessman makes himself heard when in his meditations on art practical considerations come to the top: "there was money to be made out of every change of fashion", "lose the market" and others. Even his metaphors, when they put in an appearance, are few and definitely "low" - as, for instance, the comparison of Expressionism to influenza hatched in China: "He wondered where this -- this Expressionism -- had been hatched. The thing was a regular disease!" These metaphors are born out of Soames's disgust for what he considers a corruption of art and are therefore significant of his attitude towards painting: they prove that Soames had aesthetic criteria of his own and was capable of disinterested evaluation.

...