Home Random Page


CATEGORIES:

BiologyChemistryConstructionCultureEcologyEconomyElectronicsFinanceGeographyHistoryInformaticsLawMathematicsMechanicsMedicineOtherPedagogyPhilosophyPhysicsPolicyPsychologySociologySportTourism






Read, translate, analyse the following examples paying attention to rhetorical questions and their stylistic functions.

 

1. Must I argue the wrongfulness of slavery? Is that a question for republicans? Is it to be settled by the rules of logic and argumentation, as a matter beset with great difficulty, involving a doubtful application of the principle of justice, hard to understand? (Frederick Douglass)

2. Did this in Caesar seem ambitious?

When that the poor have cried, Caesar hath wept:

Ambition should be made of sterner stuff:

Yet Brutus says he was ambitious;

And Brutus is an honourable man.

You all did see that on the Lupercal

I thrice presented him a kingly crown,

Which he did thrice refuse: was this ambition? (W. Shakespeare)

3. Can we forge against these enemies a grand and global alliance, North and South, East and West, that can assure a more fruitful life for all mankind? Will you join in that historic effort? (JFK Inaugural Address)

4. Gentleness in passion! What could have been more seductive to the scared, starved heart of that girl? (J. Cary)

5. Why do we need refreshment, my friends? Because we are but mortal, because we are but sinful, because we are but of the earth, because we are not of the air? Can we fly, my friends? We cannot. Why can we not fly? Is it because we are calculated to walk? (Ch.Dickens)

6. But what words shall describe the Mississippi, great father of the rivers, who (praise be to Heaven) has no young children like him? (Ch.Dickens)

7. How should a highborn lady be known from a sun-burnt milk-maid, save that spears are broken for the one, and only haze poles shattered for the other? (W. Scott)

8. Who will be open where there is no sympathy, or has call to speak to those who never can understand? (W.Thackerey)

9 .Wouldn't we all do better not trying to understand accepting the fact that no human being will ever understand another, not a wife a husband, a lover a mistress, nor a parent a child? (Gr. Greene)

 

 

TEXTS FOR COMPLEX STYLISTIC ANALYSIS

AND INFORMATION ABOUT THE AUTHORS

 

 

Sherwood Anderson

(1876 – 1941) is an American novelist and short story writer. Writers he has influenced include Ernest Hemingway, William Faulkner, John Steinbeck, J. D. Salinger, and Amos Oz. Anderson's first novel, Windy McPherson's Son, was published in 1916, followed, three years later, by his second major work, Marching Men. However, he is most famous for the collection of interrelated short stories, which were published in 1919, known as Winesburg, Ohio. He claimed that "Hands", the opening story, was the first "real" story he ever wrote. Although his short stories were very successful, Anderson felt the need to write novels. In 1920, he published Poor White, which was rather successful. He saw himself as part of the literary tradition of Whitman, Twain, and Dreiser, men who had appreciated the common American. His influence affected many of the upcoming writers, such as Hemingway, Faulkner, Steinbeck, Fitzgerald, Wolfe, and Saroyan. Anderson was among the earliest American writers, who responded to Freud's theories, and his best works influenced almost every important American writer of the next generation. He also encouraged William Faulkner and Ernest Hemingway in their writing aspirations, although they eventually turned against him. Hemingway parodied Anderson's style in The Torrents of Spring (1926). Though Gertrude Stein declared that Anderson was "a much more original writer" than Hemingway. Thematically, he is often compared with T. S. Eliot in the modernist movement. He was lecturing around the country and studied the labor conditionduring the Depression. He wrote, «. . . Joseph Conrad said that a writer only began to live after he began to write. It pleased me to think I was after all but ten years old. Plenty of time ahead for such a young one." He was given the first Dial award for distinguished service to American Letters in 1922 but soon was derided by the same publication when his popularity waned. Anderson has been rediscovered and appreciated as idealizing the modes of thought and societal themes he had been criticized for after his peak.

Considered one of the most original early twentieth-century writers, Anderson was among the first American authors to explore the influence of the unconscious on human behavior. A writer of brooding, introspective works, his “hunger to see beneath the surface of lives” was best expressed in the bittersweet stories that form the classic Winesburg, Ohio: A Group of Tales of Ohio Small Town Life (1919). This, his most important book, exhibits the author's characteristically simple prose style and his personal vision, which combines a sense of wonder at the potential beauty of life with despair over its tragic aspects.

While the simple, impressionistic style and unconventional narrative technique of his short stories at one time caused Anderson to be dismissed as a primitive minor talent, he has long since been recognized as one of the most important American authors of his time.

 

HANDS  
UPON the half decayed veranda of a small frame house that stood near the edge of a ravine near the town of Winesburg, Ohio, a fat little old man walked nervously up and down. Across a long field that had been seeded for clover but that had produced only a dense crop of yellow mustard weeds, he could see the public highway along which went a wagon filled with berry pickers returning from the fields. The berry pickers, youths and maidens, laughed and shouted boisterously. A boy clad in a blue shirt leaped from the wagon and attempted to drag after him one of the maidens, who screamed and protested shrilly. The feet of the boy in the road kicked up a cloud of dust that floated across the face of the departing sun. Over the long field came a thin girlish voice. “Oh, you Wing Biddlebaum, comb your hair, it’s falling into your eyes,” commanded the voice to the man, who was bald and whose nervous little hands fiddled about the bare white forehead as though arranging a mass of tangled locks.
Wing Biddlebaum, forever frightened and beset by a ghostly band of doubts, did not think of himself as in any way a part of the life of the town where he had lived for twenty years. Among all the people of Winesburg but one had come close to him. With George Willard, son of Tom Willard, the proprietor of the New Willard House, he had formed something like a friendship. George Willard was the reporter on the Winesburg Eagle and sometimes in the evenings he walked out along the highway to Wing Biddlebaum’s house. Now as the old man walked up and down on the veranda, his hands moving nervously about, he was hoping that George Willard would come and spend the evening with him. After the wagon containing the berry pickers had passed, he went across the field through the tall mustard weeds and climbing a rail fence peered anxiously along the road to the town. For a moment he stood thus, rubbing his hands together and looking up and down the road, and then, fear overcoming him, ran back to walk again upon the porch on his own house.
In the presence of George Willard, Wing Biddlebaum, who for twenty years had been the town mystery, lost something of his timidity, and his shadowy personality, submerged in a sea of doubts, came forth to look at the world. With the young reporter at his side, he ventured in the light of day into Main Street or strode up and down on the rickety front porch of his own house, talking excitedly. The voice that had been low and trembling became shrill and loud. The bent figure straightened. With a kind of wriggle, like a fish returned to the brook by the fisherman, Biddlebaum the silent began to talk, striving to put into words the ideas that had been accumulated by his mind during long years of silence.
Wing Biddlebaum talked much with his hands. The slender expressive fingers, forever active, forever striving to conceal themselves in his pockets or behind his back, came forth and became the piston rods of his machinery of expression.
The story of Wing Biddlebaum is a story of hands. Their restless activity, like unto the beating of the wings of an imprisoned bird, had given him his name. Some obscure poet of the town had thought of it. The hands alarmed their owner. He wanted to keep them hidden away and looked with amazement at the quiet inexpressive hands of other men who worked beside him in the fields, or passed, driving sleepy teams on country roads.
When he talked to George Willard, Wing Biddlebaum closed his fists and beat with them upon a table or on the walls of his house. The action made him more comfortable. If the desire to talk came to him when the two were walking in the fields, he sought out a stump or the top board of a fence and with his hands pounding busily talked with renewed ease.
The story of Wing Biddlebaum’s hands is worth a book in itself. Sympathetically set forth it would tap many strange, beautiful qualities in obscure men. It is a job for a poet. In Winesburg the hands had attracted attention merely because of their activity. With them Wing Biddlebaum had picked as high as a hundred and forty quarts of strawberries in a day. They became his distinguishing feature, the source of his fame. Also they made more grotesque an already grotesque and elusive individuality. Winesburg was proud of the hands of Wing Biddlebaum in the same spirit in which it was proud of Banker White’s new stone house and Wesley Moyer’s bay stallion, Tony Tip, that had won the two-fifteen trot at the fall races in Cleveland.
As for George Willard, he had many times wanted to ask about the hands. At times an almost overwhelming curiosity had taken hold of him. He felt that there must be a reason for their strange activity and their inclination to keep hidden away and only a growing respect for Wing Biddlebaum kept him from blurting out the questions that were often in his mind.
Once he had been on the point of asking. The two were walking in the fields on a summer afternoon and had stopped to sit upon a grassy bank. All afternoon Wing Biddlebaum had talked as one inspired. By a fence he had stopped and beating like a giant woodpecker upon the top board had shouted at George Willard, condemning his tendency to be too much influenced by the people about him. “You are destroying yourself,” he cried. “You have the inclination to be alone and to dream and you are afraid of dreams. You want to be like others in town here. You hear them talk and you try to imitate them.”
On the grassy bank Wing Biddlebaum had tried again to drive his point home. His voice became soft and reminiscent, and with a sigh of contentment he launched into a long rambling talk, speaking as one lost in a dream.
Out of the dream Wing Biddlebaum made a picture for George Willard. In the picture men lived again in a kind of pastoral golden age. Across a green open country came clean-limbed young men, some afoot, some mounted upon horses. In crowds the young men came to gather about the feet of an old man who sat beneath a tree in a tiny garden and who talked to them.
Wing Biddlebaum became wholly inspired. For once he forgot the hands. Slowly they stole forth and lay upon George Willard’s shoulders. Something new and bold came into the voice that talked. “You must try to forget all you have learned,” said the old man. “You must begin to dream. From this time on you must shut your ears to the roaring of the voices.”
Pausing in his speech, Wing Biddlebaum looked long and earnestly at George Willard. His eyes glowed. Again he raised the hands to caress the boy and then a look of horror swept over his face.
With a convulsive movement of his body, Wing Biddlebaum sprang to his feet and thrust his hands deep into his trousers pockets. Tears came to his eyes. “I must be getting along home. I can talk no more with you,” he said nervously.
Without looking back, the old man had hurried down the hillside and across a meadow, leaving George Willard perplexed and frightened upon the grassy slope. With a shiver of dread the boy arose and went along the road toward town. “I’ll not ask him about his hands,” he thought, touched by the memory of the terror he had seen in the man’s eyes. “There’s something wrong, but I don’t want to know what it is. His hands have something to do with his fear of me and of everyone.” POOR WHITE CHAPTER I Hugh McVey was born in a little hole of a town stuck on a mud bank on the western shore of the Mississippi River in the State of Missouri. It was a miserable place in which to be born. With the exception of a narrow strip of black mud along the river, the land for ten miles back from the town—called in derision by river men “Mudcat Landing”—was almost entirely worthless and unproductive. The soil, yellow, shallow and stony, was tilled, in Hugh's time, by a race of long gaunt men who seemed as exhausted and no-account as the land on which they lived. They were chronically discouraged, and the merchants and artisans of the town were in the same state. The merchants, who ran their stores—poor tumble-down ramshackle affairs—on the credit system, could not get pay for the goods they handed out over their counters and the artisans, the shoemakers, carpenters and harnessmakers, could not get pay for the work they did. Only the town's two saloons prospered. The saloon keepers sold their wares for cash and, as the men of the town and the farmers who drove into town felt that without drink life was unbearable, cash always could be found for the purpose of getting drunk. Hugh McVey's father, John McVey, had been a farm hand in his youth but before Hugh was born had moved into town to find employment in a tannery. The tannery ran for a year or two and then failed, but John McVey stayed in town. He also became a drunkard. It was the easy obvious thing for him to do. During the time of his employment in the tannery he had been married and his son had been born. Then his wife died and the idle workman took his child and went to live in a tiny fishing shack by the river. How the boy lived through the next few years no one ever knew. John McVey loitered in the streets and on the river bank and only awakened out of his habitual stupor when, driven by hunger or the craving for drink, he went for a day's work in some farmer's field at harvest time or joined a number of other idlers for an adventurous trip down river on a lumber raft. The baby was left shut up in the shack by the river or carried about wrapped in a soiled blanket. Soon after he was old enough to walk he was compelled to find work in order that he might eat. The boy of ten went listlessly about town at the heels of his father. The two found work, which the boy did while the man lay sleeping in the sun. They cleaned cisterns, swept out stores and saloons and at night went with a wheelbarrow and a box to remove and dump in the river the contents of out-houses. At fourteen Hugh was as tall as his father and almost without education. He could read a little and could write his own name, had picked up these accomplishments from other boys who came to fish with him in the river, but he had never been to school. For days sometimes he did nothing but lie half asleep in the shade of a bush on the river bank. The fish he caught on his more industrious days he sold for a few cents to some housewife, and thus got money to buy food for his big growing indolent body. Like an animal that has come to its maturity he turned away from his father, not because of resentment for his hard youth, but because he thought it time to begin to go his own way. In his fourteenth year and when the boy was on the point of sinking into the sort of animal-like stupor in which his father had lived, something happened to him. A railroad pushed its way down along the river to his town and he got a job as man of all work for the station master. He swept out the station, put trunks on trains, mowed the grass in the station yard and helped in a hundred odd ways the man who held the combined jobs of ticket seller, baggage master and telegraph operator at the little out-of-the-way place. Hugh began a little to awaken. He lived with his employer, Henry Shepard, and his wife, Sarah Shepard, and for the first time in his life sat down regularly at table. His life, lying on the river bank through long summer afternoons or sitting perfectly still for endless hours in a boat, had bred in him a dreamy detached outlook on life. He found it hard to be definite and to do definite things, but for all his stupidity the boy had a great store of patience, a heritage perhaps from his mother. In his new place the station master's wife, Sarah Shepard, a sharp-tongued, good-natured woman, who hated the town and the people among whom fate had thrown her, scolded at him all day long. She treated him like a child of six, told him how to sit at table, how to hold his fork when he ate, how to address people who came to the house or to the station. The mother in her was aroused by Hugh's helplessness and, having no children of her own, she began to take the tall awkward boy to her heart. She was a small woman and when she stood in the house scolding the great stupid boy who stared down at her with his small perplexed eyes, the two made a picture that afforded endless amusement to her husband, a short fat bald-headed man who went about clad in blue overalls and a blue cotton shirt. Coming to the back door of his house, that was within a stone's throw of the station, Henry Shepard stood with his hand on the door-jamb and watched the woman and the boy. Above the scolding voice of the woman his own voice arose. “Look out, Hugh,” he called. “Be on the jump, lad! Perk yourself up. She'll be biting you if you don't go mighty careful in there.” Hugh got little money for his work at the railroad station but for the first time in his life he began to fare well. Henry Shepard bought the boy clothes, and his wife, Sarah, who was a master of the art of cooking, loaded the table with good things to eat. Hugh ate until both the man and woman declared he would burst if he did not stop. Then when they were not looking he went into the station yard and crawling under a bush went to sleep. The station master came to look for him. He cut a switch from the bush and began to beat the boy's bare feet. Hugh awoke and was overcome with confusion. He got to his feet and stood trembling, half afraid he was to be driven away from his new home. The man and the confused blushing boy confronted each other for a moment and then the man adopted the method of his wife and began to scold. He was annoyed at what he thought the boy's indolence and found a hundred little tasks for him to do. He devoted himself to finding tasks for Hugh, and when he could think of no new ones, invented them. “We will have to keep the big lazy fellow on the jump. That's the secret of things,” he said to his wife. The boy learned to keep his naturally indolent body moving and his clouded sleepy mind fixed on definite things. For hours he plodded straight ahead, doing over and over some appointed task. He forgot the purpose of the job he had been given to do and did it because it was a job and would keep him awake. One morning he was told to sweep the station platform and as his employer had gone away without giving him additional tasks and as he was afraid that if he sat down he would fall into the odd detached kind of stupor in which he had spent so large a part of his life, he continued to sweep for two or three hours. The station platform was built of rough boards and Hugh's arms were very powerful. The broom he was using began to go to pieces. Bits of it flew about and after an hour's work the platform looked more uncleanly than when he began. Sarah Shepard came to the door of her house and stood watching. She was about to call to him and to scold him again for his stupidity when a new impulse came to her. She saw the serious determined look on the boy's long gaunt face and a flash of understanding came to her. Tears came into her eyes and her arms ached to take the great boy and hold him tightly against her breast. With all her mother's soul she wanted to protect Hugh from a world she was sure would treat him always as a beast of burden and would take no account of what she thought of as the handicap of his birth. Her morning's work was done and without saying anything to Hugh, who continued to go up and down the platform laboriously sweeping, she went out at the front door of the house and to one of the town stores. There she bought a half dozen books, a geography, an arithmetic, a speller and two or three readers. She had made up her mind to become Hugh McVey's school teacher and with characteristic energy did not put the matter off, but went about it at once. When she got back to her house and saw the boy still going doggedly up and down the platform, she did not scold but spoke to him with a new gentleness in her manner. “Well, my boy, you may put the broom away now and come to the house,” she suggested. “I've made up my mind to take you for my own boy and I don't want to be ashamed of you. If you're going to live with me I can't have you growing up to be a lazy good-for-nothing like your father and the other men in this hole of a place. You'll have to learn things and I suppose I'll have to be your teacher.

WYSTAN HUGH AUDEN

(1907 – 1973), who published as W. H. Auden, is an Anglo-American poet, born in England, later an American citizen, regarded by many as one of the greatest writers of the 20th century. His work is noted for its stylistic and technical achievements, its engagement with moral and political issues, and its variety of tone, form and content. The central themes of his poetry are love, politics and citizenship, religion and morals, and the relationship between unique human beings and the anonymous, impersonal world of nature.

Auden grew up in Birmingham in a professional middle class family and read English literature at Christ Church, Oxford. As a young man he was influenced by the poetry of Thomas Hardy and Robert Frost, as well as William Blake, Emily Dickinson, Gerard Manley Hopkins, and Old English verse. At Oxford his precocity as a poet was immediately apparent, and he formed lifelong friendships with two fellow writers, Stephen Spender and Christopher Isherwood.

His early poems, written in the late 1920s and early 1930s, alternated between telegraphic modern styles and fluent traditional ones, were written in an intense and dramatic tone, and established his reputation as a left-wing political poet and prophet. He became uncomfortable in this role in the later 1930s, and abandoned it after he moved to the United States in 1939, where he became an American citizen in 1946. His poems in the 1940s explored religious and ethical themes in a less dramatic manner than his earlier works, but still combined traditional forms and styles with new forms devised by Auden himself. In the 1950s and 1960s many of his poems focused on the ways in which words revealed and concealed emotions, and he took a particular interest in writing opera librettos, a form ideally suited to direct expression of strong feelings.

He was also a prolific writer of prose essays and reviews on literary, political, psychological and religious subjects, and he worked at various times on documentary films, poetic plays and other forms of performance. Throughout his career he was both controversial and influential. After his death, some of his poems, notably "Funeral Blues" ("Stop all the clocks") and "September 1, 1939", became widely known through films, broadcasts and popular media.

His poetry was encyclopaedic in scope and method, ranging in style from obscure twentieth-century modernism to the lucid traditional forms such as ballads and limericks, from doggerel through haiku and villanelles to a "Christmas Oratorio" and a baroque eclogue in Anglo-Saxon meters. The tone and content of his poems ranged from pop-song clichés to complex philosophical meditations, from the corns on his toes to atoms and stars, from contemporary crises to the evolution of society.

For the remainder of his life, Auden’s religious views permeated his poetry and other writings (mainly essays) and affected his quest for wisdom, a quest seldom articulated but present nevertheless. But what sets him apart from most Christians—besides his great poetic talent—is that in seeking to live a wiser life, he emphasized and articulated the importance of humor, which is defined here (following the Oxford Dictionary) as the quality of being amusing or comic. As Auden said during the last few years of his life, “I have always thought of myself as a comic poet.”

Funeral Blues

Stop all the clocks, cut off the telephone.
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling in the sky the message He is Dead,
Put crêpe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest
My noon, my midnight, my talk, my song;
I thought that love would last forever, I was wrong.

The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun.
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good.

I could tell you

Time will say nothing but I told you so,
Time only knows the price we have to pay;
If I could tell you I would let you know.

If we should weep when clowns put on their show,
If we should stumble when musicians play,
Time will say nothing but I told you so.

There are no fortunes to be told, although,
Because I love you more than I can say,
If I could tell you I would let you know.

The winds must come from somewhere when they blow,
There must be reasons why the leaves decay;
Time will say nothing but I told you so.

Perhaps the roses really want to grow,
The vision seriously intends to stay;
If I could tell you I would let you know.

Suppose the lions all get up and go,
And all the brooks and soldiers run away;
Will Time say nothing but I told you so?
If I could tell you I would let you know.

 

Concerning the Unpredictable (An Essay)

Introduction to Loren Eiseley's "The Star Thrower"

In creation there is not only a Yes but also a No; not only a height but also an abyss; not only clarity but also obscurity; not only progress and continuation but also impediment and limitation . . not only value but also worthlessness. . . . It is true that individual creatures and men experience these things in most unequal measure, their lots being assigned by a justice which is curious or very much concealed. Yet it is irrefutable that creation and creature are good even in the fact that all that is exists in this contrast and antithesis.

Karl Barth in Church Dogmatícs

Rather oddly, I first heard of Dr. Loren Eiseley not in this country but in Oxford, where a student gave me a copy of The Immense Journey, since which time I have eagerly read anything of his I could lay my hands on. His obvious ancestors, as both writers and thinkers, are Thoreau and Emerson, but he often reminds me of Ruskin, Richard Jefferies, W. H. Hudson, whom, I feel sure, he must have read, and of two writers, Novalis (a German) and Adalbert Stifter (an Austrian), whom perhaps he hasn't. But I wouldn't be sure. Some of the quotations in The Unexpected Universe surprised me. I would not have expected someone who is an American and a scientist to have read such little-known literary works as the Voluspá, James Thomson's The City of Dreadful Night,and Charles Williams's play Cranmer. . . .

Dr Eiseley happens to be an archaeologist, an anthropologist, and a naturalist, but, if I have understood him rightly, the first point he wishes to make is that in order to be a scientist, an artist, a doctor, a lawyer, or what-have-you, one has first to be a human being. No member of any other species can have a special "field." One question his book raises is: "What differences have recent scientific discoveries, in physics, astronomy, biology, etc., made to man's conception, individually or collectively, of himself?" The answer is, I believe, very little.
We did not have to wait for Darwin to tell us that, as physical creatures, we are akin to other animals. Like them, we breathe, eat, digest, excrete, copulate, are viviparously born, and, whatever views we may have about an "afterlife," must certainly suffer physical death in this. Indeed, one result of urbanization has been that, despite what we now know about our ancestry, we feel far less akin and grateful to the animal kingdom than did primitive tribes, with their totem systems and animal folktales.
Speaking of the recognition of Odysseus by his dog Argos, Dr. Eiseley says:
"The magic that gleams an instant between Argos and Odysseus is both the recognition of diversity and the need for affection across the illusions of form. It is nature's cry to homeless, far-wandering, insatiable man: 'Do not forget your brethren, nor the green wood from which you sprang. To do so is to invite disaster. . . . One does not meet oneself until one catches the reflection from an eye other than human.' "
Before Descartes, such a warning would have been unnecessary. On the other hand, nothing Darwin and the geneticists have to tell us can alter the fact that, as self-conscious beings who speak (that is to say, give Proper Names to other beings), who laugh, who pray, and who, as creators of history and culture, continue to change after our biological evolution is complete, we are unique among all the creatures we know of. All attempts to account for our behavior on the basis of our pre-human ancestors are myths, and usually invented to justify base behavior. As Karl Kraus wrote:
"When a man is treated like a beast, he says, 'After all, I'm human.' When he behaves like a beast, he says, 'After all, I'm only human.' "

AUSTEN JANE

(16 December 1775 – 18 July 1817) is an English novelist whose works of romantic fiction earned her a place as one of the most widely read writers in English literature, her realism and biting social commentary cementing her historical importance among scholars and critics. Austen lived her entire life as part of a close-knit. She was educated primarily by her father and older brothers as well as through her own reading. Her artistic apprenticeship lasted from her teenage years into her thirties. From 1811 until 1816, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published posthumously in 1818, and began a third, which was eventually titled Sanditon, but died before completing it.

Austen's works are part of the transition to 19th-century realism. Her plots highlight the dependence of women on marriage to secure social standing and economic security.[6] Her work brought her little personal fame and only a few positive reviews during her lifetime, but the publication in 1869 of her nephew's A Memoir of Jane Austen introduced her to a wider public, and by the 1940s she had become widely accepted in academia as a great English writer. Jane Austen is widely celebrated as a supreme stylist - a writer of perfectly polished sentences. Jane Austen wrote about her world and the things that she knew best. Her intricate detail outlines human behavior precisely and accurately. Her humor is enjoyable as some of her characters make big pompous displays and occasionally make fools of themselves. She portrays life as it truly is and that is even accurate in modern ways today. Her writing style was elegant and satirical.

Emma was written in comic tone. It tells the story of Emma Woodhouse, who finds her destiny in marriage. Emma is a wealthy, pretty, self-satisfied young woman. She is left alone with her hypochondriac father. Her governess, Miss Taylor, marries a neighbor, Mr. Weston. Emma has too much time and she spends it choosing proper partners for her friends and neighbors – blind to her own feelings. She makes a protégée of Harriet Smith, an illegitimate girl of no social status and tries to manipulate a marriage between Harriet and Mr. Elton, a young clergyman, who has set his sight on Emma. Emma has feelings about Mr. Weston's son. When Harriet becomes interested in George Knightley, a neighboring squire who has been her friend, Emma starts to understand her own limitations. He has been her moral adviser, and secretly loves her. Finally Emma finds her destiny in marriage with him. Harriet, who is left to decide for herself, marries Robert Martin, a young farmer.

EMMA

Chapter 1

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.

Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.

The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.

Sorrow came--a gentle sorrow--but not at all in the shape of any disagreeable consciousness--Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding-day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride-people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.

The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her. The want of Miss Taylor would be felt every hour of every day. She recalled her past kindness--the kindness, the affection of sixteen years--how she had taught and how she had played with her from five years old--how she had devoted all her powers to attach and amuse her in health--and how nursed her through the various illnesses of childhood. A large debt of gratitude was owing here; but the intercourse of the last seven years, the equal footing and perfect unreserve which had soon followed Isabella's marriage, on their being left to each other, was yet a dearer, tenderer recollection. She had been a friend and companion such as few possessed: intelligent, well-informed, useful, gentle, knowing all the ways of the family, interested in all its concerns, and peculiarly interested in herself, in every pleasure, every scheme of hers--one to whom she could speak every thought as it arose, and who had such an affection for her as could never find fault.

How was she to bear the change?--It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.

The evil of the actual disparity in their ages (and Mr. Woodhouse had not married early) was much increased by his constitution and habits; for having been a valetudinarian all his life, without activity of mind or body, he was a much older man in ways than in years; and though everywhere beloved for the friendliness of his heart and his amiable temper, his talents could not have recommended him at any time.

Her sister, though comparatively but little removed by matrimony, being settled in London, only sixteen miles off, was much beyond her daily reach; and many a long October and November evening must be struggled through at Hartfield, before Christmas brought the next visit from Isabella and her husband, and their little children, to fill the house, and give her pleasant society again.

Highbury, the large and populous village, almost amounting to a town, to which Hartfield, in spite of its separate lawn, and shrubberies, and name, did really belong, afforded her no equals. The Woodhouses were first in consequence there. All looked up to them. She had many acquaintance in the place, for her father was universally civil, but not one among them who could be accepted in lieu of Miss Taylor for even half a day. It was a melancholy change; and Emma could not but sigh over it, and wish for impossible things, till her father awoke, and made it necessary to be cheerful. His spirits required support. He was a nervous man, easily depressed; fond of every body that he was used to, and hating to part with them; hating change of every kind. Matrimony, as the origin of change, was always disagreeable; and he was by no means yet reconciled to his own daughter's marrying, nor could ever speak of her but with compassion, though it had been entirely a match of affection, when he was now obliged to part with Miss Taylor too; and from his habits of gentle selfishness, and of being never able to suppose that other people could feel differently from himself, he was very much disposed to think Miss Taylor had done as sad a thing for herself as for them, and would have been a great deal happier if she had spent all the rest of her life at Hartfield.

 

Date: 2015-12-24; view: 1464

<== previous page | next page ==>
Read, translate, analyse the following examples paying attention to ellipsis and its stylistic functions. | An Occurrence at Owl Creek Bridge
doclecture.net - lectures - 2014-2024 year. Copyright infringement or personal data (0.015 sec.)