W. Golding and his prose. The particularities of his literary style, the main ideas and themes.
The work of the English writer, Nobel Prize in Literature William Golding (1911-1993) is one of the most striking and contradictory phenomena of British post-war prose. Fame to the author brought his debut novel "Lord of the Flies", published in 1954.
The name of its creator in the shortest possible time gained fame both in the native writer of England and far beyond its borders: An unusual work of form, externally representing a fascinating story about the adventures of English schoolchildren on a desert island, but at the same time raising serious philosophical questions at a deep level, aroused interest among readers of different ages, and in academic circles.
The novel "Lord of the Flies" was recognized not only the pinnacle of creativity by William Golding, but also a kind of standard of modern parable prose, the classic version of the non-classical parable. In various textbooks and monographs on foreign literature of the last century, this work is analyzed as one of the most striking examples of the author's parable of the 20th century.
It should be noted that Golding himself not only did not object to such a definition of his debut novel, but also explained in his statements exactly what meaning he puts into the concept of “parable”(притча) and why he addressed this literary form in his first book. The writer's explanations only contributed to the fact that the label of the “parable writer” was firmly entrenched behind him, and whatever the author’s pen after “Lord of the Flies,” many researchers were inclined to automatically classify the parables.
In our opinion, the development of the creative method of Golding is not only deep, but also in breadth. Certainly, all his works are distinguished by a special Goldingovian style, but at the same time the range of problems covered by the author expands from the novel to the novel, the plot and compositional design of the works changes, the writer's philosophical views evolve, and the search for new artistic techniques is underway.
Arthur Conan Doyle as a master of detective stories. His innovations in the field of crime fiction.
One of the most popular literary forms is the detective genre. The most remarkable detective author of all time is the late nineteenth century writer Sir Arthur Conan Doyle. His most prominent works are the famous Sherlock Holmes stories. These novels and short stories set the standard for the genre. Arthur Conan Doyle's Sherlock Holmes stories can be considered a model for detective fiction because each is centered on a mystery, Sherlock is a brilliant detective, and clues are a prerequisite for success. He considered Edgar Poe, the world's best storytelling artist, and Emile Gaboriau, author of more prosaic police novels of the 1860s, to be his predecessors in the detective genre.
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Doyle introduced a number of brilliant innovations into the genre. Taken as a whole, the novels celebrate (like the cricket Doyle loved) the British cult of ‘amateurism’. Holmes is brilliant, but he has no profession and – although cleverer, we are informed, than his professors – never troubled to finish his medical degree.
Doyle introduced three devices into detective fiction narrative which have become major conventions in the genre. One is the so-called ‘idiot friend’, who must have everything explained to him (thus informing, as well, the idiot reader). Dr Watson, of course, is such a companion in the Holmes stories. And the good doctor is close kin to such figures as Major Hastings, Poirot’s ‘idiot friend’, in Agatha Christie’s detective stories, and many others.
Another of Doyle’s innovations was the arch criminal, or ‘Napoleon of Crime’, who is far too clever for the clod-hopping, uniformed, agents of law and order (‘flatfoots’), such as Inspector Lestrade. In the Holmes stories the arch-criminal is ‘Professor’ Moriarty.
“He is a man of good birth and excellent education, endowed by nature with a phenomenal mathematical faculty. At the age of twenty-one he wrote a treatise upon the binomial theorem which has had a European vogue. On the strength of it, he won the mathematical chair at one of our smaller universities, and had, to all appearances, a most brilliant career before him. But the man had hereditary tendencies of the most diabolical kind. A criminal strain ran in his blood ... He is the Napoleon of crime, Watson. He is the organiser of half that is evil and of nearly all that is undetected in this great city ... (‘The Final Problem’ (1893)).”
The third innovation is ‘forensic science’ as a means of cracking cases. We first encounter Holmes, in A Study in Scarlet (Ch. 1) investigating the properties of haemoglobin in his Baker Street laboratory. He exclaims it to be (to a sceptical Watson):
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‘It is the most practical medico-legal discovery for years. Don’t you see that it gives us an infallible test for blood stains?’
In his second Holmes work, The Sign of Four, finger-prints are similarly introduced, as essentials in the detective’s tool-kit.
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