A model of the analysis of an extract.
The taxonomic procedure ascertains that the excerpt under analysis is poetry. This is due to the arrangement of the sentences and phrases, the combinations of the words, (the rhyming scheme and the rhythm) which we can quite easily discern from readings.
I’ll give only a most general description of the taxonomic aspect of the above stanzas. It ought to be deeper because this stage of analysis manifests itself in various forms, varied compositional designs and in many pragmatic functions.
There are various compositional designs of stanzas, metres, lines. In the poem chosen for analysis the lines are almost all equal in length and present a definite scheme that can easily be drawn by scanning. Thus we state that in each line there are 16 syllables and in each line the stress is placed on the first, third, fifth syllable and so on, i.e. on the odd one. The even syllables are unstressed, for example: "Once upon a midnight dreary..." So this is trochaic octometer with a peculiar rhyming scheme: In the first line, "Once upon a midnight dreary when I pondered weak and weary..."—there is inner rhyme. Inner rhyme again appears in the third line. This system of rhyming becomes particularly clear a little further.
As to the second procedure, named the content-grasping stage, it aims at disclosing the factual information contained in the stanzas. The content may be given in a few words: a sad melancholy man is sitting alone in his chamber reading and thinking of his lost beloved, vainly trying to find consolation in books. This is clear even from a cursory reading. That is all we can infer from this stage of the analysis.
The most relevant procedure of investigation, which discloses the inner relations between the facts expressed and the content-conceptual information, is the semantic stage. It presupposes a detailed analysis of the meaning of words, word-combinations, sentences, and even of larger units such as whole stanzas. To show how this may be done, we must analyse nearly every word separately. For instance, if we take the first two lines:
"Once upon a midnight dreary, while I pondered, weak and weary,"—
we observe that the word "pondered" catches our attention. If we look it up in the Concise Oxford Dictionary we will find the nuances of meaning of this word: "weigh mentally; muse over". These definitions reveal specific shades of meaning when compared to the word "think". Contextually, "to ponder" denotes meditative thinking, deep emotional involvement in the subject. The semantic analysis of the words "weak" and "weary" in the same lines shows us that the man is not only tired but also unable to solve the problems he sets before himself. It might well be mentioned here that the use of these two all iterate words, which are paired synonyms, deepens the meaning contained in each word separately and thus new nuances of meaning are added to each word thus making them one semantic unit.
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In the third line:
"Over many a quaint and curious volume of forgotten lore"—the semantic analysis reveals what is meant by "forgotten lore". By leaping a little ahead the reader may draw the conclusion that "forgotten lore" is magic, and "many a volume" is books in which the man has been seeking ways to meet his beloved in the other world. If we subject each word of the poem to such a detailed semantic analysis we shall be able to get a clear idea of the author's thoughts and feelings.
It must be noted that the semantic procedure should not be solely confined to the analysis of words; it should also embrace the syntactic and compositional arrangement of the text. Thus in the given excerpt the transfer from the first stanza to the second can be described as a deviation from the main topic that is dealt with—the second stanza is a lyrical digression.
The structural design of the sentences within the two stanzas should also be taken into consideration. There are parallel constructions along with other syntactic features. It is understandably impossible to bring out all the peculiarities of the syntactic arrangement of the sentences in the above two stanzas, but those we have mentioned show what is meant by the semantic investigation of the structure of the poem.
As to stylistic analysis, we should single out repetition as the key device expressed at all levels (phonetic, lexical, syntactical). It is necessary to take into account cases of direct repetition: "rapping—rapping," "sorrow—sorrow," and-paired synonymous repetitions reinforced by alliteration: "weak and weary", "quaint and curious". Stylistically relevant are instances of inversion: "Eagerly I wished the morrow;—vainly I had sought to borrow..."—
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the words "eagerly and vainly" are used to intensify the meaning. The effect is further strengthened by the parallel constructions formed by the above mentioned words.
The analysis of, we might call it, particularly adjectives, reveals the general gloomy atmosphere in which the mood of the poet is characterized as "dreary", "weary," "bleak," "dying as well as the nouns "midnight," "sorrow," "ghost" we can see that these words by realizing their dictionary and acquired additional contextual meanings contribute to the description the poet.
Stylistic analysis can be successfully maintained providing the preceding stages have been well investigated it the function of stylistic analysis to gather together all the data drawn from the taxonomic, content-grasping and semantic stages of investigation. Only then will the stylistic analysis disclose the idea of the work as conceived by the author.
In conclusion I’d like to say that the suggested example provides only the general idea as to a possible approach to analysis of texts as we have dealt with only a part of a text, not a whole text. Nevertheless, this cursory analysis will serve the reader as a sample; it will direct his attention to the necessity of carrying out the different procedure, for if any of them is omitted it will be rather difficult to get the final content-conceptual information
МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ К НАПИСАНИЮ СТИЛИСТИЧЕСКОГО АНАЛИЗА ТЕКСТА В ГРУППАХ СПЕЦИАЛЬНОСТИ «АНГЛИЙСКИЙ ЯЗЫК»
Может быть предложен следующий порядок изложения пунктов в стилистическом анализе:
1) вводное предложение. Обычно выражается в стандартной фразе: "Тhе tехt study /consideration is a passage from the novel …. by …/ is a short story by …."
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2) the subject matter of the story - должна быть выражена в одном предложении. Существует два подхода к формулировке: общий (The text is about how to get happiness in life), конкретный (…. Is about a man who wanted to go to Spain and came to the narrator to get his advice.)
3) summary, some rules: do not use author’s words, emotionally charged words; do not mention details; join up sentences into complicated structures.
4) композиция текста (соmроsition), общий эмоциональный тон (general tone of slant). Обычно смена эмоционального тона происходит на границе частей композиции текста.
5) что собой представляет текст (narration, description, dialogue, portrayal, author’s dwellings, etc.).
6) в каком лице ведется рассказ (от первого или от третьего).
7) характеристика лексики, употребляемой в тексте (стилевые различия); особенности синтаксических конструкций, составляющих текст (choice of words, construction of the sentences).
8) метод характеризования (method of characterisation): прямой или косвенный.
9) конфликт в произведении (внутренний - внешний); рrotagonist-antoganist (с характеристикой главных героев).
10) стилистические приемы в тексте, эффект от которых складывается в общий смысл текста, в его основную идею. Как правило, в конце указывается место в тексте, на которое выпадает кульминация, и то, как она достигается.
11) решение конфликта (the solution of the conflict, the conclusion); основная идея произведения (the main idea).
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12) ваше собственное отношение к анализируемому произведению.
Приведенный порядок представления пунктов стилистического анализа не является единственно возможным. Допускается перестановка каких-либо пунктов. Но следует в целом придерживаться общей логики выполнения этого вида работы: вводная информация, проблемы, поднимаемые в произведении и их художественное отображение в тексте, кульминация конфликта, его решение, основная идея произведения, собственное отношение к прочитанному.
Предлагаются некоторые клишированные формулировкидляописания эффекта, производимого тем или иным стилистическим приемом:
"Тhe stylistic effect is based on …"
"Тhe author wants to bringhome to the reader the idea that …."
"Тhe device is heavily with the meaning ……"
"Тhe device expresses …."
………. leaves on the reader the impression that … "
In this device the imaginary of … is brought up…."
Тhе еeffect of this stylistic device adds to the case of simile on page..." и т. д.
*не стоит группировать стилистические приемы по принципу их однородности (сначала все метафоры, затем - гиперболы и т.д.), правильно будет расположить их таким образом, чтобы логически выстроить доказательства своего видения проблемы в тексте и ее решения (к примеру, сначала приемы, показывающие атмосферу события, затем - рисующие портрет героя, затем - конфликтную ситуацию, затем - чье-либо отношение и т.д.).
При этом требуется, чтобы каждое утверждение автора стилистического анализа подкреплялось цитатой стилистического приема или средства из текста.
*Информацию о существующих стилистических средствах и приемах можно узнать из учебников по стилистике, например:
Арнольд И.В. Стилистика современного английского языка. - М.; Просвещение, 1990-300[1] с.
Гальперин И.Р. Стилистика английского языка. Учебник. 3-е изд.-М.; Высш. шк., 1981. – 334 с.
Кухаренко В.А. Практикум по стилистике английского языка. - М.; Высш. шк., 1986. – 144 с.
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