Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta THE ELEMENTS OF POETRY A Compilation The most primitive people have used poetry, and the most civilized have cultivated it. It appeals, in its simpler forms, to the uneducated and to children. Why? First, because is gives pleasure. Also, it has been regarded as something central to each man’s existence, something having unique value to the fully realized life, something that he is better off for having and spiritually impoverished without Initially, poetry might be defined as a kind of language that says more and says it more intensely than does ordinary language. Let us remember that language has different uses. Perhaps the commonest, is to communicate information. This we might call the practical use of language; it helps us with the ordinary business of living. Short stories and plays and poems are written to bring us a sense and a perception of life, to widen and sharpen our contacts with existence. Their concern is with experience. We all have an inner need to live more deeply and fully and with greater awareness, to know the experience of others and to know better our own experience. The poet, from his own store of felt, observed, or imagined experiences, selects, combines, and reorganizes. He creates significant new experiences for the reader, in which the reader can participate and that he may use to give him a greater awareness and understanding of his world. Literature, in other words, can be used as a gear for stepping up the intensity and increasing the range of our experience and as a glass for clarifying. This is the literary use of language, for literature is not only an aid to living but a means of living. The Eagle He clasps the crag with crooked hands; Close to the sun in lonely lands, Ringed with the azure world, he stands. The wrinkled sea beneath him crawls; He watches from his mountain walls, And like a thunderbolt he falls. Alfred, Lord Tennyson (18091892) Poetry achieves its extra dimensions by drawing more fully and more consistently than does ordinary language on a number of languages resources, none of which is peculiar to poetry. Among them are connotation, imagery, metaphor, personification, synecdoche, metonymy, symbol, allegory, paradox, paradox, overstatement (hyperbole), understatement, irony, sarcasm, satire, allusion. musical devices: rhyme, rhythm, and pattern. SUGGESTIONS ON HOW TO READ A POEM 1. Read a poem more than once: a good poem is not like a newspaper, to be read and cast into the wastebasket. It is to be hung on the wall of one’s mind. 2. Keep a dictionary by you and use it: one might as well try to play tennis without a ball. One of your primary purposes at university should be to build a good vocabulary, and the study of poetry gives you an excellent opportunity. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta 3. Read so as to hear the sounds of the words in your mind. Poetry is written to be heard: its meanings are conveyed through sound as well as through print. 4. Always pay careful attention to what the poem is saying: pay attention to sounds and to meaning. Make an effort follow the thought continuously and to grasp the full implications and suggestions. 5. Practice reading poems aloud. Try to read it in a way that your listener will like it too. a. Read affectionately, but not affectedly. b. Reading too fast offers greater danger than reading too slow. c. Read the poem so that the rhythmical pattern is felt but not exaggerated. QUESTIONS YOU CAN ASK YOURSELF TO HELP UNDERSTANDING A POEM A. Who is the speaker and what is the occasion? Don’t assume always that the speaker is someone other than the poet himself. Be cautious about identifying anything in a poem with the biography of the poet. B. What is the central purpose of the poem? It may be to tell a story, to reveal human character, to impart a vivid impression of a scene, to express an emotion, or to convey an idea or attitude. C. By what means is that purpose achieved? This is partially answered by describing the poem’s dramatic framework, if it has any. DENOTATION AND CONNOTATION To understand the literary and the practical use of language, we need to examine the composition of a word. The average word has three component parts: sound, denotation, and connotation. It begins as a combination of tones and noises, uttered by the lips, tongue, and throat, for which the written word is a notation. But it differs from a musical tone or a noise in that it has a meaning attached to it. The basic part of this meaning is its DENOTATION, THAT IS, THE DICTIONARY MEANING OR MEANINGS OF THE WORD. The CONNOTATIONS are what a word suggests beyond what it expresses: its overtones of meaning. The word home, for instance, by denotation means only a place where one lives but by connotation it suggests security, love, comfort, and family. Connotation is very important for it is one of the means by which he can concentrate or enrich his meaning. Imagery IMAGERY may be defined as the representation through language of sense experience. Poetry appeals directly to our sense, of course, through its music and rhythm, which we actually hear when it is read aloud. But indirectly it appeals to our senses through imagery, the representation to the imagination of sense experience. Visual images are the most frequently occurring kind of imagery in poetry, but an image may also represent a sound, a smell, a taste, a tactile experience such as wetness or cold; an internal sensation, such as hunger or thirst, or movement or tension the in muscles or joints. FIGURATIVE LANGUAGE: METAPHOR, PERSONIFICATION, METONYMY We many times say one thing and mean another, like the time your friend came in our of rainstorm and you said to him: “Well, you’re a pretty sight! Got slightly wet, didn’t you?” And he replied: “Wet? I’m Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta drowned! It’s raining cats and dogs outside!” He said what he wanted to say more vividly and forcefully by using figurative language: we say one thing and mean another. We can say more by figurative language than we can by literal statements. FIGURATIVE LANGUAGE – language using figures of speech – IS LANGUAGE THAT CANNOT BE TAKEN LITERALLY. METAPHOR AND SIMILE are both comparisons between things essentially unlike. In simile the comparison is expressed by the use of some word or phrase such as like, as, than, similar to, or resembles. In metaphor the comparison is implied – that is, the figurative term is substituted for or identified with the literal term. Eg.: Tennyson, in his eagle poem, says that it “clasps the crag with crooked hands” ...... Then he says that the eagle falls “like a thunderbolt”............... PERSONIFICATION consists in giving the attributes of a human being to an animal, an object, or an idea. Eg.: Browning’s reference to the “startled little waves” Closely related to personification is APOSTROPHE, which consists in addressing someone absent or something nonhuman as if it were alive and present and could reply to what is being said. Eg.: “My love, my love, my love, why have you left me alone?” (James Joyce’s I hear an army) SYNECDOCHE (the use of the part for the whole) and METONYMY (the use of something closely related for the thing actually meant) are alike in that both substitute some significant detail or aspect of an experience of the experience itself. Eg.: the cuckoo’s song is unpleasant to a “married ear” ear: .................... The cuckoo “paints the meadows with delight” do you paint with delight? .... Many synecdoches and metonymies like many metaphors, have become so much a part of the language that they no longer strike us as figurative; such is the case with redskins for indians. Exercises: Look for examples of synecdoches and metonymies in Beowolf and The Canterbury Tales SYMBOL AND ALLEGORY A SYMBOL may be roughly defined as something that means more than what it is. Image, metaphor, and symbol shade into each other and are sometimes difficult to distinguish. In general, however, an image means only what it is; a metaphor means something other than what it is, and a symbol means what it is and something more too. The symbol is the richest and at the same time the most difficult of the poetical figures. Both its richness and its difficulty result from its imprecision. Eg.: In The Road Not Taken, what it the choice? Meanings ray out from a symbol, like the corona around the sun or like connotations around a richly suggestive word. Accurate interpretation of the symbol requires delicacy, tact, and good sense. Above all, we should avoid the disease of seeing symbols everywhere. ALLEGORY is a narrative or description that has a second meaning beneath the surface one. The author’s major interest is in the ulterior meaning. Think about the Bible story, when Pharaoh has a dream in which seven fat kine are devoured by seven lean kine. The story does not become significant until Joseph interprets its allegorical meaning: that Egypt is to enjoy seven years of fruitfulness and prosperity followed by seven years of famine. Allegory has been defined sometimes as an extended metaphor, and sometimes as a series of related symbols. It is unlike extended metaphor in that it involves a system of related comparisons rather than one comparison drawn out. It differs from symbolism in that it puts less emphasis on the images for their own sake and more on their ulterior meanings. Also, these meanings are more fixed. In allegory usually there is a one-to-one correspondence between the details and a single set of ulterior meanings. Allegory is less popular in modern literature than it was in medieval and Renaissance writing, and it is much less often found in short poems than in long works such as The Faerie Queene, Everyman, and The Pilgrim’s Progress. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta PARADOX, OVERSTATEMENT (HYPERBOLE), UNDERSTATEMENT, IRONY A PARADOX is an apparent contradiction that is nevertheless somehow true. It may be either a situation or a statement. As a figure of speech, a paradox is a statement. When the 18th century writer Alexander Pope wrote that a literary critic of his time would “dam with faint praise,” he was using a verbal paradox, for how can a man damn by praising?. Here, the word “damn” is being used figuratively, that Pope means only that a too reserved praise may damage an author with the public almost as much as adverse criticism. In a paradoxical statement the contradiction usually stems from one of the words being used figuratively or in more than one sense. The value of the paradox is its shock value: its seeming impossibility startles the reader into attention and, thus, by the fact of its apparent absurdity, it underscores the truth of what is being said. OVERSTATEMENT, or hyperbole, is simply exaggeration but exaggeration in the service of truth. It’s not as if you said “I’m starved!” or “I’ll die if I don’t pass this course.” When Tennyson says of his eagle that it is “Close to the sun in lonely lands,” he says what appears to be literally true, though we know from our study of astronomy that it is not. UNDERSTATEMENT , or saying less than one means, may exist in what one says or merely in how one says it. If, for instance, upon sitting down to a loaded dinner plate, you say, “This looks like a good bite,” you are actually stating less than the truth. Like paradox, IRONY has meanings that extend beyond its use merely as a figure of speech. VERBAL IRONY, saying the opposite of what one means, is often confused with sarcasm and with satire. SARCASM and SATIRE both imply ridicule, one on the colloquial level, the other on the literary level. Sarcasm is simply bitter or cutting speech, intended to wound the feelings (it comes from a Greek word meaning to tear flesh). It is cruel, and means to hurt. Satire is a more formal term, usually applied to written literature rather than to speech, and ordinarily implying a higher motive: it is ridicule (either bitter or gentle) of human folly or vice, with the purpose of bringing about reform or at least of keeping other people from falling into similar folly or vice. Irony, on the other hand, is a literary device or figure that may be used in the service of sarcasm or ridicule or may not. In DRAMATIC IRONY the discrepancy in not between what the speaker says and what he means, but between what the speaker says and what the author means. The speaker’s words may be perfectly straightforward, but the author, by putting these words in a particular speaker’s mouth, may be indicating to the reader ideas or attitudes quite opposed to those the speaker is voicing. ALLUSION is a reference to something in history or previous literature. It is like a richly connotative word or a symbol, a means of suggesting far more than it says. TONE in literature, may be defined as the writer’s or speaker’s attitude toward his subject, his audience, or himself. It is the emotional colouring, or the emotional meaning, of the work, and is an extremely important part of the full meaning. In spoken language it is indicated by the inflections of the speaker’s voice: the emotional meaning of his statement may very widely according to the tone of the voice with which he utters it. We may say that in poetry, tine is very important because we have not really undestood a poem unless we have accurately senses whether the attitude it manifests is playful or solemn, mocking or reverent, calm or excited. In poetry, we do not have the speaker’s voice to guide us; we must learn to recognize tone by other means. Almost all the elements of poetry go into indicating its tone: connotation, imagery, and metaphor; irony and understatement; rhythm, sentence construction, and formal pattern. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta MUSICAL DEVICES The poet, unlike the man who uses language to convey only information, chooses his words for sound as well as for meaning, and he uses the sound as a means of reinforcing his meaning. Edgar Allan Poe, for instance, describes poetry as “music ... combined with a pleasurable idea. There are two broad ways by which the poet achieves his musical quality: by his choice and arrangement of sounds and by his arrangement of accents. An essential element in all music is repetition. We may say that all things we enjoy greatly and lastingly have repetition and variation. We like the familiar, we like variety, but we like them combined. The composer of music, therefore repeats certain musical tones, in certain combinations, or chords; and he repeats them in certain patters or melodies. The poet likewise repeats certain sounds in certain combinations and arrangements, and then gives organization and structure to his verse. The poet may repeat any unit of sound from the smallest to the largest. He may repeat individual vowel and consonant sounds, whole syllables, words, phrases, lines or groups of lines. A syllable consists of a vowel sound that may be preceded or followed by consonant sounds. Any of these sounds may be repeated. The repetition of initial consonant sounds, as in “tried and true,” “safe and sound,” is ALLITERATION. The repetition of vosel sounds, as in “mad as a hatter,” “time out of mind” is ASSONANCE. The repetition of final consonant sounds, as in “first and last,” “odds and ends” is CONSONANCE. Alliteration and assonance may be combines as in “time and tide,” “thick and thin.” RIME is the repetition of the accented vowel sound and all succeeding sounds. It is called masculine when the rime sounds involves only one syllable, as in decks and sex or support and retort. It is feminine when the rime sounds involve two or more syllables, as in fertile or spitefully and delightfully. RHYTHM AND METER The term RHYTHM refers to any wavelike recurrence of motion or sound. In speech it is the natural rise and fall of language. METER is the kind of rhythm we can tap our foot to. In language that is metrical the accents are so arranged as to occur at apparently equal intervals of time, and it is this interval we mark off with the tap of out foot. Metrical language is called VERSE. Non-metrical language is PROSE. For measuring verse we use the foot, the line and (sometimes) the stanza. The basic metrical unit, the FOOT, consists normally of one accented syllable plus one or two unaccented syllables, though occasionally there may be no unaccented syllable, and very rarely there may be three. The basic kinds of feet are as follows: EXAMPLE NAME OF FOOT To day iamb Day ly trochee In ter vene anapest NAME OF METER - __ __ - - - __ Estudios Literarios II Licenciatura en Lengua Inglesa Yes ter day dactyl Day break spondee Day monosyllabic foot Lic. Mariana Mussetta __ - __ __ The secondary unit of measurement, THE LINE, is measured by naming the number of feet in it. The following names are used: Monometer Dimeter Trimeter Tetrameter one foor two feet three feet four feet Pentameter five feet Hexameter six feet Heptameter seven feet Octameter eight feet The third unit, the STANZA, consists of a group of lines whose metrical pattern is repeated throughout the poem. PATTERN In addition to the internal ordering of materials, images, ideas, and sounds, the poet may also impose some external pattern on his poem, may give it no only an inside logical order but an outside symmetry. In doing so, he appeals to the human instinct for design, for our love of the shapely. In STANZAIC FORM, the poet writes in a series of stanzas, that is, repeated units having the same number of lines, the same metrical pattern, and often an identical rime scheme. A stanza form may b described by designating four things: the rime scheme (if there is one), the position of the refrain (if there is one), the prevailing metrical foot, and the number of feet in each line. The SONNET is fourteen lines in length, and it almost always is iambic pentameter, but in structure and rime scheme there may be considerable leeway. In general, models may be the Italian and the English. The ITALIAN OR PETRARCHAN SONNET is divided usually between eight lines called the octave, using two rimes arranged a b b a a b b a, and six lines called the sestet, using any arrangement of either two of three rimes: c d c d c d and c d e c d e are common patterns. The ENGLISH OR SHAKESPEAREAN SONNET (invented by Surrey and made famous by Shakespeare) is composed of three quatrains and a concluding couplet, riming abab cdcd efef gg Imagery IMAGERY may be defined as the representation through language of sense experience. Poetry appeals directly to our sense, of course, through its music and rhythm, which we actually hear when it is read aloud. But indirectly it appeals to our senses through imagery, the representation to the imagination of sense experience. Visual images are the most frequently occurring kind of imagery in poetry, but an image may also represent a sound, a smell, a taste, a tactile experience such as wetness or cold; an internal sensation, such as hunger or thirst, or movement or tension the in muscles or joints. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta The Elements of the Short Story Plot is the sequence of incidents or events of which a story is composed. When recounted by itself, it bears about the same relationship to a story that a map does to a journey. Just as a map may be drawn on a finer or grosser scale, so a plot may be recounted with lesser or greater detail. It may include what a character says or thinks, as well as what he does. But it leaves out description and analysis and concentrates ordinarily on major happenings. Because plot is the easiest element in fiction to comprehend and put into words, some readers tend to equate it with the content of the work. When asked what a story is about, they will say that it is about a person to whom particular events happen, not that it is about a certain kind of person or that it presents a particular insight into life. Immature readers read chiefly for plot, while mature readers read for whatever revelations of character or life may be presented by means of plot. If readers can be satisfied only with these stories, they are like those persons who can enjoy only highly spiced food. Physical action by itself, after all, is meaningless. In a good story a minimum of physical action may be used to yield a maximum of insight. Every story must have some action, but for a worthwhile story it must be significant action. Conceivably a plot might consist merely of a sequence of related actions. Ordinarily, however, both the excitement craved by the beginning reader and the meaningfulness demanded by the mature reader arise out of some sort of CONFLICT—a clash of action, ideas, desires or wills. The main character may be pitted against some other person or group of persons (man against man); he may be in conflict with some external force—physical nature, society, or “fate” (man against the environment); or the may be in conflict with some element in this own nature (man against himself). The conflict may be physical, mental, emotional, or moral, The central character in the conflict, whether he be a sympathetic or an unsympathetic person, is referred to as the PROTAGONIST; the forces arrayed against him, whether persons, things, conventions of society, or traits of his own character, are the ANTAGONISTS. In some stories the conflict is single, clearcut, and easily identifiable. In others it is multiple, various, and subtle. A person may be in conflict with other persons, with society or nature, and with himself, all at the same time, and sometimes he may be involved in conflict without being aware of it. SUSPENSE is the quality in a story that makes the reader ask “What’s going to happen next?” and impels him to read on to find the answers to these questions. In the old serial movies—often appropriately called “cliffhangers”—a strong element of suspense was created at the end of each episode by leaving the hero hanging from the edge of a cliff of the heroine tied to the railroad tracks with the express train rapidly approaching. The forms of suspense range from crude to subtle and may concern not only actions but psychological considerations and moral issues. Two common devices for achieving suspense are to introduce an element of MYSTERY—an unusual set of circumstances for which the reader craves an explanation; or to place the hero or heroine in a DILEMMA—A position in which he must choose between two courses of action, both undesirable. Suspense is usually the first quality mentioned by a young reader when asked what makes a good story—and, indeed, unless a story makes us eager to keep on reading it, it can have little merit at all. Nevertheless, the importance of suspense is often overrated. After all, we don't listen to a Beethoven symphony to discover how it will turn out. A good story, like a good dinner, should furnish its pleasure as it goes, because it is amusing or well-written or morally penetrating or because the characters are interesting to live with. Closely connected with the element of suspense in a short story is the element of SURPRISE. If we know ahead of time exactly what is going to happen in a story and why, there can be no suspense; as long as we do not know, whatever happens comes with an element of surprise. The surprise is proportional to the unexpectedness of what happens. As regards a surprising ending, which is what most inexperienced readers demand, we may say that the legitimacy of them may be judged by 1) the fairness with which it is achieved; 2) by the purpose that it serves. If the surprise is brought about as the result of an improbable coincidence or an unlikely series of Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta small coincidences, or by the planting of false clues, or the withholding of information, then we may well dismiss it as a cheap trick. If, on the other hand, the ending that comes at first as a surprise seems perfectly logical and natural as we look back over the story, we may grant it as fairly achieved. Many readers also demand a HAPPY ENDING; the protagonist must solve his problem, defeat the villain, win the girl, “live happily ever after.” Two justifications may be made for the UNHAPPY ENDING. First, if fiction is to illuminate life, it must present defeat as well as triumph. Second, the unhappy ending has a peculiar value for the writer who wishes us to ponder life. It may make us brood over the results, go over the story in our minds, search out its implications to get more from it. But a story may have an INDETERMINATE ENDING, one that has no definitive conclusion. Conclusion of some sort there must of course be: the story, if it is to be an artistic unit, cannot simply stop. But the conclusion need not be in terms of a resolved conflict. Some stories are more effective without a resolution, for the fact that the individual conflict may merely symptomize a larger social conflict that has no easy solution. ARTISTIC UNITY is essential to a good plot. There must be nothing in the story that is irrelevant or that does not contribute to the total meaning. The incidents and episodes should be placed in the most effective order, which is not necessarily the chronological order, and, when rearranged in chronological order, should make a logical progression. When a writer gives his story a turn unjustified by the situation or the characters involved, he is guilty of PLOT MANIPULATION. Chance cannot be barred from fiction, of course, any more than it cannot be barred from life. But, if an author uses an improbable chance to effect a resolution to this story, the story loses its sense of conviction and inevitability. Coincidence may be justifiably used to initiate a story, and occasionally to complicate it, but not to resolve it. CHARACTERS Reading for character is more difficult than reading for plot, for character is much more complex, variable, and ambiguous. Many readers demand that the character be easily identifiable and clearly labeled as good or bad; but, while interpretive fictions does not renounce the attractive central character, it furnishes a greater variety of central characters that are less easily labeled, and that are, sometimes, unsympathetic. Many times fiction offers an unparalleled opportunity to observe human nature in al its complexity and multiplicity. For one thing, we are enabled to observe characters in situations that are always significant and that serve to bring forth their character as the ordinary situations of life only occasionally do. For another, we can view their inner life in a way that is impossible to us in ordinary life. An author can tell us exactly what is going on in a character’s mind and exactly what the character feels. In real life we can only guess at these inner thoughts and feelings from a person’s external behavior, which may be designed to conceal what is going on inside. An author may present his character either directly or indirectly. In DIRECT REPRESENTATION he tells us straight out, by exposition or analysis, what a character is like, or has someone else in the story tell us what he is like. In INDIRECT REPRESENTATION the author shows us the character in action; we infer what he is like from what he thinks or says or does. While the method of direct representation is a clear and economical way of presenting characters, if it not supported by indirect representation, it will not be emotionally convincing. The reader must be shown, not only told. To be convincing, characterization must also observe three other principles. First, the characters must be CONSISTENT in their behavior. Second, they must by be clearly MOTIVATED in whatever they do, especially when there is any change in their behavior. Third, the characters must be PLAUSIBLE or lifelike. Whether we have observed anyone like them in our own experience or not, we must feel that they have come from the author’s experience—that they could appear somewhere in the normal course of events. In proportion to the fullness of their development, the characters in a story are relatively flat or round. The FLAT CHARACTER can be characterized by one or two traits, and can be summed up in a sentence. The Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta ROUND CHARACTER is complex and many-sided. Whatever we find in a story, we must remember that the requirement of good fiction is that each character be characterized fully enough to justify his role in the story and make it convincing. Finally, all fictional characters maybe classified as static or developing. The STATIC CHARACTER is the same sort of person at the end of the story as he was at the beginning. The DEVELOPING CHARACTER undergoes a permanent change in some aspect of his character, personality or outlook. The change may be a large or a small one, it may be for better of for worse, but is something important and basic. To conclude, let us remember that human life began, we are told, when God breathed life into a handful of dust and created Adam. Fictional life begins when an author breathes life into his characters and convinces us of their reality. THEME The THEME of a piece of fiction is its controlling idea or its central insight. It is the unifying generalization about life stated or implied by the story. To derive the theme of a story, we must ask what its central purpose is: What view of life it supports or what insight into life it reveals. The purpose of a horror story may by simply to scare the reader and give his gooseflesh. The purpose of an adventure story may be simply to carry the reader through a series of exciting escapades. The purpose of a murder mystery may be simply to pose a problem for the reader to try to solve. Theme exists only 1. when an author has seriously attempted to record life accurately or to reveal some truth about it or 2. when he has mechanically introduced some concept or theory of life into it that he uses as a unifying element and that his story is meant to illustrate. Theme exists in all interpretive fiction - it is the purpose of the story, but it exists only in some escape fiction, where it is merely an excuse. The theme of a story, like its plot, maybe stated very briefly or at greater length. A rich story may give us many and complex insights into life. In stating the theme in a sentence, we must pick the central insight, the one that explains the greater number of elements in the story and relates them to each other. Sometimes the theme is explicitly stated, but more often it is implied. Discovering and stating the theme of a story is often a delicate task, and our ability to state theme is a test of our understanding of a story. There is no prescribed method for discovering theme. Sometimes we can best get at it by asking in what way the main character has changed in the course of the story and what, if anything, he has learned before its end. Sometimes the best approach it to explore the nature of the central conflict and its outcome, but at all times we should keep in mind the following principles: 1. Theme must be expressible in the form of a statement with a subject and a predicates. It is insufficient to say that the theme of a story is "motherhood," or "loyalty to the country." Theme must be a statement about a subject, like "Motherhood sometimes has more frustrations than rewards". If we express it in the form of a phrase, it must be convertible to sentence form. Eg.: "the futility of envy" may be rephrased into "Envy is futile." 2. The theme must be stated as a generalization about life. In stating it, we do not use the names of the characters in the story because if we did so, we would be making a specific rather than a general statement. 3. We must be careful not to make the generalization larger than is justified by the terms of the story. Terms like every, all, always, should be used very cautiously. Terms like some, sometimes, may, are often more accurate. 4. Theme is the central and unifying concept of the story. It must be based on the data of the story itself, not on assumptions supplied from our own experience. 5. There is no one way of stating the theme of a story. The story is not a guessing game that is supposed to yield some magic verbal formula that won´t work if a syllable is changed. It merely presents a view of life. 6. We should avoid any statement that reduces the theme to some familiar saying that we have heard all our lives, such as "You can´t judge a book by its cover." Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta POINT OF VIEW The primitive story teller, unbothered by considerations of form, simply spun a tale. "Once upon a time," he began, and proceeded to narrate the story to his listeners, describing the characters when necessary, telling what they thought and felt as well as what they did, and interjecting, comments and ideas of his own. The modern fiction writer is artistically more self-conscious. He realizes that there are many ways of telling a story, he decides upon a method before he begins and may even set up rules for himself. Instead of telling the story himself, he may let one of his characters tell it for him, he may tell it by means of letters or diaries, he may confine himself to recording the thoughts of one of his characters. With the growth of artistic consciousness, the question of point of view, and, therefore, of how it gets told, has assumed especial importance. To determine the point of view of a story we ask, "Who tells the story?" and "How much is he allowed to know?" and especially, "To what extent does the author look inside this characters and report their thoughts and feelings?" Though many variations and combinations are possible, the basic points of view are four, as follows: 1. OMNISCIENT 2. LIMITED OMNISCIENT a. Major Character b. Minor Character 3. FIRST PERSON a. Major Character b. Minor Character 4. OBJECTIVE 1. In the OMNISCIENT POINT OF VIEW, the story is told by the author, using the third person, and his knowledge and prerogative are unlimited. He is free to go wherever he wishes, to peer inside the minds and hearts of his characters at will and tell us what they are thinking or feeling. He can interpret their behavior, and he can comment, if he wishes, on the significance of the story he is telling. He knows all. He can tell us as much or as little as he pleases. The following version of Aesop's fable "The Ant and the Grasshopper" is told from the omniscient point of view. Notice that in it we are told not only what both characters do and say, but also what they think and feel; also, that the author comments at the end on the significance of his story. Stories told from the omniscient point of view may differ widely in the amount of omniscience the author allows himself. The omniscient is the most flexible point of view and permits the widest scope. It is all the most subject to abuse. It offers constant danger that the author may come between the reader and the story, or that the continual shifting of viewpoint from character to character may cause a breakdown in coherence or unity. Used skillfully it enables the author to achieve simultaneous breadth and depth. Unskillfully used, it can destroy the illusion of reality that the story attempts to create. 2. In the LIMITED OMNISCIENT POINT OF VIEW, the author tells the story in the third person, but he tells it from the viewpoint of one character in the story. The author places himself at the elbow of this character, so to speak, and looks at the events of the story through his eyes and through his mind. He moves both inside and out side this character but never leaves his side. He tells us what this character sees and hears and what he thinks and feels; he possibly interprets the character's, thoughts and behavior. He knows everything about this character—more than the character knows about himself—but he shows no knowledge of what other characters are thinking or feeling or doing, except for what his chosen character knows or can infer. The chosen character may be either a major or a minor character, a participant or an observer, and this choice also will be a very important one for the story. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta The limited omniscient point of view, since it acquaints us with the world through the mind and senses of only one person, approximates more closely than the omniscient the conditions of real life; it also offers a ready-made unifying element, since all details of the story are the experience of one person. At the same time it offers a limited field of observation, for the reader can go nowhere except where the chosen character goes, and there may be difficulty in having him naturally cognizant of all important events. 3. In the FIRST PERSON POINT OF VIEW, the author disappears into one of the characters, who tells the story in the first person. This character, again, may be either a major or minor character, protagonist or observer, and it will make considerable difference whether the protagonist tells his own story or someone else tells it in the first person. The story below is told in the first person from the point of view of the grasshopper. The first-person point of view shares the virtues and limitations of the limited omniscient. It offers, sometimes, a gain in immediacy and reality, since we get the story direcly from a participant, the author as middleman being eliminated. It offers no opportunity, however, for direct interpretation by the author, and there is constant danger that the narrator may be made to transcend his sensitivity, his knowledge, or his powers of language in telling the story. A good author, however, can make tremendous literary capital out of the very limitations of his narrator. The first-person point of view offers excellent opportunities for dramatic irony and for studies in limited or blunted human perceptivity. 4. In the OBJECTIVE POINT OF VIEW, the author disappears into a kind of roving sound camera. This camera can go anywhere but can record only what is seen and heard. It cannot comment, interpret, or enter a characters mind. With this point of view (sometimes called also the DRAMATIC POINT OF VIEW) the reader is placed in the position of a spectator at a movie or play. He sees what the characters do and hears what they say but can only infer what they think or feel and what they are like. The author is not there to explain. The purest example of a story told from the objective point of view would be one written entirely in dialogue, for as soon as the author adds words of his own, he begins to interpret through his very choice of words. Actually, few stories using this point of view are antiseptically pure, for the limitations it imposes on the author are severe. "Hills Like White Elephants" is an excellent example, however. The following version of "The Grasshopper and the Ant" is also told from the objective point of view. The objective point of view has the most speed and the most action; also, it forces the reader to make his own interpretations. On the other hand, it must rely heavily on external action and dialogue, and it offers no opportunities for interpretation by the author. Each of the points of view has its advantages, its limitations, and its peculiar uses. Ideally the choice of the author will depend on his story materials and his purpose. He should choose the point of view that enables him to present his particular materials most effectively in terms of his purpose. If he is writing a murder mystery, he will ordinarily avoid using the point of view of the murderer or the brilliant detective: otherwise he would have to reveal at the beginning the secrets e wishes to conceal till the end. On the other hand, if he is interested in exploring criminal psychology, the murderer’s point of view might be by far the most effective. In the Sherlock Holmes stories, A.Conan Doyle effectively uses the somewhat imperceptive Dr. Watson as his narrator, so that the reader may be kept in the dark as long as possible and then be as amazed as Watson is by Holmes’s deductive powers. In Dostoevsky's Crime and Punishment, however, the author is interested not in mystifying and surprising but in illuminating the moral and psychological operations of the human soul in the act of taking life; he therefore tells the story from the viewpoint of a sensitive and intelligent murderer. SYMBOL AND IRONY Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta Most successful stories are characterized by compression. The writer´s aim is to say as much as possible as briefly as possible. This means that nothing is wasted and that each word and detail are chosen for maximum effectiveness. There are two contributory resources of the writer for gaining compression: symbol and irony. A literary SYMBOL is something that means more than what it is. It is an object, a person, a situation, an action, or some other item that has a literal meaning in the story but suggests or represents other meanings as well. A very simple illustration is to be found in name-symbolism. Most names are simply labels, but in a story, the author may choose names for his characters that serve not only to label them but also to suggest something about them. More important than name-symbolism is the symbolic use of objects and actions, which may reinforce and add to the meaning, or may carry the meaning themselves. The ability to recognize and identify symbols requires perception and tact, and we should keep in mind that most stories operate almost wholly at the literal level. When looking for symbolical meanings we should observe the following cautions: 1. The story itself must furnish a clue that a detail is to be taken symbolically. 2. The meaning of a literary symbol must be established and supported by the entire context of the story. The symbol has its meaning in the story, not outside it. 3. To be called a symbol , an item must suggest a meaning different in kind from its literal meaning. We ought not to use the phrase is a symbol of when we can as easily use is, or is an example of or is an evidence of. 4. A symbol may have more than one meaning. It may suggest a cluster of meanings: It may be like a jewel that flashes different colors when turned in the light. Yet, the area of possible meanings is always controlled by the context. Irony is a term with a range of meanings, all of them involving some sort of discrepancy or incongruity. It is a contrast in which one term of the contrast in some way mocks the other term. It is not to be confused with SARCASM, however, which is simply language designed to cause pain. Three kinds of irony may be distinguished: 1. Verbal irony: it is the simplest and the least important kind. It is a figure of speech in which the opposite is said from what is intended. The discrepancy is between what is said and what is meant. I spoke of your amiability, of your patience under this severe affliction (he has not been patient under affliction),of your touching gratitude when when Dillon brings you little presents of fruit, of your tenderness to your sister Fanny, whom you would not allow to stay in town to nurse you, and how you heroically sent her back to Newport, preferring to remain alone with Mary, the cook, and your man Watkins, to whom, by the way, you were devotedly attached. (he did not remain alone: he sated with 2 persons!) 2. Dramatic irony: here the contrast is between what a character says and what the reader knows to be true. The value of this kind of irony lies in the comment it implies on the speaker or his expectations. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta Elements of Fiction The Formal Elements of Fiction An understanding of the elements of fiction and elements of story in general can be used by readers to increase their enjoyment and understanding of different literary pieces. The main elements which fiction writers use to develop a story and is Theme are Plot, Setting, Character, Conflict, and Point of View. Many classifications include Style and Tone As regards style, we could say that it is the language used in a book, the way in which an author uses words that give his or her work a distinctive manner of expression. It is the combined qualities that distinguish one writer's work from another. Writers use many devices of style to make stories interesting. • Imagery is the most frequently used device. It is an appeal to any of the senses--taste, touch, sight, sound, and smell. It paints pictures in our mind. • Figurative language uses words in a nonliteral way, giving them a meaning beyond their ordinary one. o Personification gives human traits to animals, nonhuman beings, or inanimate objects: "The trees bowed before the wind." o A simile compares two different things, using the words "as," "like," or "than": "The snowbank looked like a huge pile of marshmallow syrup." o A metaphor is an implied comparison stating the resemblance between two things: "Her presence was a ray of light in a dark world." • Devices of sound can increase pleasure and clarity. Books which use many such devices should be read aloud. Poetry is particularly rich in such devices. o Onomatopoeia is the use of words that sound like their meaning: a skirt "swishes," a bat "cracks," a hasty eater "gulps" his food. o Alliteration is repetition of initial consonants: "the soft surge of the sea." o Consonance is repetition of consonants sounds anywhere in the words: "The sight of the apple and maple trees pleased the people." o Rhyme is the repetition of a stressed sound, usually the final syllable: "His aim was to blame the dame." o Assonance is repetition of vowel sounds in a phrase: The owl swept out of the woods and circled the house." o Rhythm is the recurring flow of strong and weak beats in a phrase: "Chicka, chicka, boom, boom! Will there be enough room?" Meter is the regular rhythmic pattern of stressed and unstressed syllables found in a line of poetry. The less regular rhythm sometimes found in prose is often called cadence. • Puns and other plays on words add interest and humor: "By the time the milking was finished, the new farmhand was thoroughly cowed." Puns are said to be "the lowest form of wit," but people usually enjoy them even as they groan. • Hyperbole is exaggeration: "He was frightened out of his wits." Understatement is the opposite: "He was upset when he learned he had AIDS." • Allusion is an indirect reference to something outside the current literary work: "He was a veritable Hercules." The reference may be to something in literature, history, modern culture, or another area. Allusion is often difficult for children to recognize because they lack the necessary background knowledge. The proponents of "cultural literacy" believe that all children should acquire a common fund of knowledge in order to understand allusions. • A symbol is something--a person, object, situation, or action--which operates on two levels, the literal and the symbolic. For instance, an engagement ring is a real object, but it is also stands for the abiding love of the engaged couple. Symbols add depth and meaning to a story. Symbols may be universal (as the engagement ring) or specific to a particular story. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta • Qualities which should be avoided in style include triteness (dull, stale, overused expressions), condescension (talking down to children, making them feel unintelligent or immature), didacticism, sensationalism, and sentimentality. In poetry, avoid a too regular meter which can become a sing-song rhythm. Tone is the author's attitude toward what he or she writes, but it may be easier to understand if you think of it as the attitude that you (the reader) get from the author's words. It is the hardest literary element to discuss; often we can recognize it but not put it into words. The easiest tone to recognize is humor. In describing tone, use adjectives: humorous, mysterious, creepy, straight-forward, matter-of-fact, exciting, boring, etc Plot is the sequence of events which involves the characters in conflict. The following are plots often found in modern literature. Sometimes they are also found in traditional stories. The sequence of events is called the narrative order: • The most common type of narrative order in children's books is chronological. In this case, the events are told in the order they happen. • A flashback occurs when the author narrates an event that took place before the current time of the story. Flashbacks are uncommon in children's literature because the passage of time is difficult for children to understand. The opposite effect, a flash forward, is even rarer. • A time lapse occurs when the story skips a period of time that seems unusual compared to the rest of the plot. There is no standard amount of time that might constitute a time lapse; it depends upon the reader's sense that a longer than usual period of time has passed since the previous episode. Setting includes the place and the time period in which the story takes place. Setting may or may not have an important influence on the story: • An integral setting is essential to the plot; it influences action, character or theme. • A backdrop setting is relatively unimportant to the plot; it is like the featureless curtain or flat painted scenery of a theater. • Readers may interpret the importance of the setting differently; one may say that the setting is integral because the story must happen in a big city; another may say the same thing is backdrop because it may happen in any big city. (The former statement is probably more accurate, but either is acceptable if the meaning is clear.) Setting can clarify conflict, illuminate character, affect the mood, and act as a symbol. The setting itself can be an antagonist in a person-against-nature conflict. Characters are the people that are in the story. A character is a person presented in a dramatic or narrative work, and characterization is the process by which a writer makes that character seem real to the reader. A character can be revealed through his/her actions, speech, and appearance. It also can be revealed by the comments of other characters and of the author. Types of characters that may appear a work of fiction. The protagonist is the central character (person, animal, or personified object) in the plot's conflict. The antagonist is the force in conflict with the protagonist. It may be society, nature, or fate, as well as another person. It can also be the protagonist's own self, if he or she has an internal conflict. A stereotype is a character who possesses expected traits of a group rather than being an individual. Using stereotypes is usually considered an indication of poor quality, especially in cases such as members of minority groups, people with disabilities, or women. However, stereotypes can be useful in furthering the story quickly and are acceptable in minor roles if they do not provide hurtful portraits of the groups in question. Estudios Literarios II Licenciatura en Lengua Inglesa Lic. Mariana Mussetta Character development shows the multitude of traits and behaviors that give the literary character the complexity of a human being. The amount of character development affects the quality of the story: Conflict is the struggle between the protagonist and an opposing force. There are several types of conflict: Elements which may be found in plots include: • Suspense is a state of tension, a sense of uncertainty, an emotional pull which keeps the reader reading. All plots need some suspense to sustain interest. • Foreshadowing is the planting of hints about what will happen later in the story. It prepares children for the outcome and reassures them when the suspense is very high. Good foreshadowing is subtle and often contributes to high quality in a story. • Coincidence, the concurrence of events which happen by chance, is a fact in real life. However, real life is not a plot that moves from problem to climax to resolution. In fiction, coincidence seems contrived; it weakens the plot. Coincidence in a plot is acceptable if it is carefully but subtly foreshadowed. • Inevitability is the sense that the outcome is necessary and inescapable. It had to happen, given these characters and this situation; it is not contrived. It is a sign of high quality in writing. • Sensationalism is unrelieved suspense; it often includes violence and may produce fear in the reader. Readers often like it, as the popularity of horror books and films attest, but it is usually considered a sign of poor quality. Even the Disney Studio, known for wholesome entertainment, is guilty of sensationalism. Sixty years ago, many children were frightened by the witch in Snow White. More recently The Lion King was criticized for excessive violence. In films, suspense is often heightened by cutting quickly between scenes and by the adroit use of background music to create a mood. • Sentimentality is the opposite of sensationalism; it is the overuse of sentiment (a natural concern for another person) that produces a tear-jerker. It is dwelling too much on the "cute" and the "precious." Like sensationalism, it is a sign of poor quality but is often popular. Movies such as Love Story and Terms of Endearment are examples of sentimentality. Many popular children's books are overly sentimental. Black Beauty, The Velveteen Rabbit, The Giving Tree, I'll Love You Forever, and the works of Joan Walsh Anglund have all been criticized for this. Theme is the underlying meaning of the story, a universal truth, a significant statement the story is making about society, human nature, or the human condition. A book's theme must be described in universal terms, not in terms of the plot. The plot is the way the universal theme is carried out in that particular book. Themes can be applied to the reader's own life or to other literature. Themes must be clearly stated; one word is not usually enough. To say that a book's theme is "friendship" is not clear. It may mean, "Friends are a person's most valuable possession." It may also mean, "Friends can never be trusted if their own interests are opposed to yours." An understanding of theme is dependent upon one's previous experience of life and literature. At the same time, theme in literature can enlarge one's understanding of life. Not every good book has a significant theme; some books' value lies in the pleasure they give, rather than the message they bring. Books of humor, for instance, may or may not have a significant theme. Point of view Every story is told by a narrator, who is created by the author, and usually different from the author's voice. The narrator controls the story by talking from a particular point of view. Depending upon who the narrator is, and how much he or she knows, points of view have traditionally been classed as first person, second person and third person. • First person - uses "I" - A character is telling the story. • Second person - uses "you" - The author speaks directly to the reader. Second person is seldom used; it is found most often in nonfiction today. Estudios Literarios II • Licenciatura en Lengua Inglesa Lic. Mariana Mussetta Third person - uses "he," "she," or "it" - The author is telling about the characters. There are three third person points of view: o Limited omniscient - We are told the thoughts and feelings of only one character (sometimes, but very seldom, of two or three characters). o Omniscient - We are told everything about the story, including the thoughts and feelings of all the characters, and even information in the author's mind which no character knows. o Dramatic or objective - We are told only what happens and what is said; we do not know any thoughts or feelings of the characters. It is called "dramatic" because it includes the words and actions, just what you would see and hear if it were in a play or film. Sources: Di Yanni, Robert. Literature. McGraw Hill Higher Education, 2000. Perrine, Laurence. Literature, Structure, Sound and Sense. Harcourt, Brace & World, 1970. http://www.cas.usf.edu/lis/lis6585/class/litelem.html
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