Plan of literary work analysis

1. Identify the extralinguistic characteristics/parameters of the literary work essential for the organisation of the text and its inter­preting such as the time and history of its creation, the author’s personality and creative activity, the social, cultural and intellectual delineations of the work, its particular personal, gen­der, racial, class and other perspectives and ideological aspects.

2. Define the functional style the literary work belongs to and specify its genre peculiarity.

3. Analyse the ideologic(al) content of the literary work that com­prises the theme, the problems, the message and the emotional/emo­tive tone.

The theme is a subject or topic of artistic representation chosen by the author and treated or indicated in the literary work. “The themes of lite­rature have at once an infinite variety and an abiding constancy. They can be taken from myth, from history, or from contemporary occurrence, or they can be pure invention (but even if they are inven­ted, they are nonetheless constructed from the constant materials of real experience, no matter how fantastic the invention)” [Britannica 1997].

The problems of the literary work are the most essential issues, questions the author raises or focuses on.

The message of the literary work is an underlying idea, opinion, conviction, or a principle expressed or fore grounded by the author.

The emotional/emotive tone, or the author’s emotional attitude to the problems raised and the characters depicted, as it is revealed in the language of a literary work, can be heroic, tragic, dramatic, satirical, humorous, romantic, and sentimental.

The theme, the problems, the message and the emotional/emotive tone of the literary work can be defined with the help of the key words analysis: discover the bank of key words, point out the basic notion/concept, analyse the lexico-semantic nature of the key words and the way they contribute to the creation of the author’s world-view.

4. Analyse the setting of the literary work (the time and place of action including the historical period, social milieu of the characters, geographical location, descriptions of indoor and outdoor locales, etc.), its particular culturally coded significance and the textual means of its representation.

5. Dwell on the representation of reality: “A narrative might be very concrete and adhere closely to time and place, representing every-day events; on the other hand it may for instance represent psychological or moral or spiritual aspects through symbols, characters used representatively or symbolically, improbable events, and other devices” [Critical Reading: a Guide 1997].

6. Analyse the major word pictures/images: their functions (word images can accompany the action, intensify the emotional tone, create significance, extend or complicate the meaning, contribute to the depiction of the personages, or function as motifs rousing ideas or feelings, bringing people or events to the reader’s mind) and the linguistic means of their representation in the text.

7. Dwell on the personages/characters of the literary work.

Characters are persons who appear in the story; they may perform actions, speak to other characters, be described by the narrator, or be remembered (or even imagined) by other characters. Characters to notice in a story are the main character or protagonist/agonist, the antagonist, characters who are parallel or foils for each other, and sometimes minor c haracters. The analysis of the characters should include the following issues:

· the role of the character in the literary work;

· the social status of the character, and the way it is reflected in the narration;

· a particular character type and the representation of a certain idea, credo, value, quality or attitude;

· the way the author creates the personages (characterisation): direct characterisation (through comment and description, with the help of the character’s prehistory or biography) or indirect characterisation (through the characters’ behaviour, speech, thought and mutual attitudes);

· the character’s appearance and the linguistic means employed by the author in description;

· the sensibility of the character: the character’s feelings, emotions and attitude to others (the person can be ironic, witty, alert to the good or attuned to evil in others, optimistic or pessimistic, romantic or not romantic, cynical, or realistic, etc.);

· discourse features: the tone or attitude the talk seems to have, the manner of the personage’s speaking (see if the speaker avoids saying things, deliberately or unconsciously withholds infor­mation, communicates by indirection, etc.), the language of the personage including lexicon and syntax (analyse the speaker’s choice of words, the use of rhetorical devices, the types, length and other features of the sentences and see if the sentences are logically joined or disjointed, rational or otherwise ordered, or disorderly);

· the author’s attitude to the character and the way this attitude is expressed (for example, the nomination of the characters, epithets, etc.).

8. Dwell on the story’s narrator, the one who tells the story. This voice might belong to a character in the story whom other characters can see, hear, interact with, etc.; the voice might appear to belong to the author but, like the persona, the narrator should not be confused with the author. “This person or persons will see things from a certain perspective, or point of view, in terms of their relation to the events and in terms of their attitude(s) towards the events and characters” [Critical Reading: a Guide 1997]. The narrator may fit into one or more of these categories.

· External Narrator, the narrator outside the story, or third-person narrator, not a character in the story referring to the story’s characters as “he” and “she” and telling it with an ostensibly objective and omniscient voice (can tell what any or all characters are thinking and feeling). “An omniscient, external narrator may achieve the narrative by telling or by showing, and she may keep the reader in a relation of suspense to the story (we know no more than the characters) or in a relation of irony (we know things the characters are unaware of). If a narration by an omniscient external narrator carries us into the thoughts of a character in the story, that character is known as a reflector character: such a character does not know he or she is a character, is unaware of the narration or the narrator” [Critical Reading: a Guide 1997]. On the other hand, there is a limited narrator that can only tell what one person is thinking or feeling. In this case it is crucial to understand why the author has chosen to show readers only this person’s thoughts.

· First- person narrator, the narrator within the story that stands out as a character (or characters) and refers to himself or herself, using “I”, and tells the story in the first person (either central characters or observer characters, bit players looking in on the scene). First-person characters may be reliable, telling the truth, knowing everything that is necessary to the story, seeing things right, or they may be unreliable, lacking in perspective or self-knowledge, not knowing all the relevant information, being intoxicated or mentally ill.

· Second- person narrator: addresses the reader and/or the main character as “you” (and may also use first-person narration, but not necessarily).

Key issues in the making of meaning in narrative therefore are: who it is who tells the story, from what perspective, with what sense of distance or closeness, with what possibilities of knowledge, and with what interest.

9. Study the plot and the peculiarities of the conflict structure. The plot is the arrangement of actions, events in a particular (usually narrative) work of literature, in the order the story gives them.A typical plot has five parts: exposition, rising action, crisis or climax, falling action, and resolution.

· Exposition: the first section of the typical plot, in which characters are introduced, the setting is described, and any necessary background information is given.

· Rising action: the second section of the typical plot, in which the main character begins to grapple with the story’s main conflict; the rising action contains several events which usually are arranged in an order of increasing importance. Not all the events of a long or com­plicated story are part of the rising action. Some events belong to subplots (smaller stories embedded in the main story and performing significant functions in the narration); or in the case of the mystery novel, may exist only to distract the reader from the really important rising action.

· Crisis or Climax: the moment or event in the plot in which the conflict is most directly addressed: the main character “wins” or “loses”; the secret is revealed; the ending of the story becomes inevitable, etc. In many stories, there are several points in the plot which are plausible crises. This is especially true when there are several almost-equal major characters. Finding the crucial, the most impor­tant moment and discuss why it deserves to be thought of as the crisis of the plot or explain why this particular story seems to have no crisis.

· Falling action: the part of the plot after the climax, containing events caused by the climax and contributing to the resolution. Depending on where the story’s crisis is, there may not appear to be much falling action. Point out what events are required to finish the conflict once and for all. Name the events of the falling action, or explain why the crisis and resolution do not require much (or any) falling action.

· Resolution / Dé nouement: parallel to the exposition, this last part of the plot wraps up any loose ends, explains any remaining puzzles, or extends the story into the “future.” The final resolution or clarification of a dramatic or narrative plot. The events following the climax of a drama or novel in which such a resolution or clarification takes place. See if there is a resolution section in the story you are examining. If so, figure out what needs to be explained or re-evaluated. If not, why doesn’t the story need resolution – or why has the author chosen to leave certain matters in the story unresolved?

10. Analyse the formal structure/framework/architectonics of the text: the arrangement and interrelation of elements in a literary work. Define the structural-and- semantic centre of the text.

Determine and dwell on the forms of the author’s speech (description, narration, discourse, digression), on the representation of the personages’ speech (a polylogue, a dialogue, a monologue, the direct, indirect and represented speech, the stream of consciousness, the inner monologue).

Analyse the text coherence and how it is achieved (logical, semantic and grammatical means).

11. Define and describe the dominant ways of the meaning actua­lization:

· the peculiarity of the choice of words;

· the frequent use of certain syntactical structures;

· the peculiarities of the word order;

· the use of imagery and stylistic devices.

12. Draw a conclusion embracing the relevance of the literary work in the writer's creative activity and in the history of the national and world's literature, the distinction of the author’s style and your appreciation of the literary work.

A sample of literary work analysis:
E. Hemingway “Hills like white elephants”

The hills across the valley of the Ebro were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was the warm shadow оf the building and a curtain, made of strings of bamboo beads, hung across the open door into the bar, to keep out flies. The American and the girl with him sat at a table in the shade, outside the building. It was very hot and the express from Barcelona would come in forty minutes. It stopped at this junction^: for two minutes and went on to Madrid.

“What should we drink? ” the girl asked. She had taken off her hat and put it on the table.

“It's pretty hot, ” the man said.

“Let's drink beer.”

“Dos cervezas” the man said into the curtain.

“Big ones? ” a woman asked from the doorway.

“Yes. Two big ones.”

The woman brought two glasses of beer and two felt pads. She put the felt pads and the beer glasses on the table and looked at the man and the girl. The^: girl was looking off at the line of hills. They were white in the sun and the country was brown and dry.

“They look like white elephants, ” she said.

“I've never seen one, ” the man drank his beer.

“No, you wouldn't have.”

“I might have, ” the man said. “Just because you say I wouldn’t have doesn't prove anything.”

The girl looked at the bead curtain. “They’ve painted something on it, ” she said. “What does it say? ” “Anis del Тоrо. It's a drink.”

“Could we try it? ”

The man called “Listen” through the curtain. The woman came out from the bar.

“Four reales.”

“We want two Anis del Тоrо.”

“With water? ”

“Do you want it with water? ”

“I don't know, ” the girl said. “Is it good with water? ”

“It's all right.”

“You want them with water? ” asked the woman,

“Yes, with water.”

“It tastes like licorice, ” the girl said and put the glass down.

“That’s the way with everything.”

“Yes, ” said the girl. “Everything tastes of licorice. Especially all the things you've waited so long for, like absinthe.”

“Oh, cut it out.”

“You started it, ” the girl said. “I was being amused. I was having a fine time.”

“Well, let's try to have a fine time.”

“All right. I was trying, I said the mountains looked like white elephants. Wasn't that bright? ”

“That was bright.”

“I wanted to try this new drink. That's all we do, isn't it − look at things and try new drinks.”

“I guess so.”

The girl looked across at the hills. “They’re lovely hills, ” she said. “They don't really look like white elephants. I just meant the coloring of their skin through the trees.” “Should we have another drink? ”

“All right.”

The warm wind blew the bead curtain against the table.

“The beer’s nice and cool, ” the man said.

“It's lovely, ” the girl said.

“It's really an awfully simple operation, Jig, ” the man said. “It’s not re­ally an operation at all.”

The girl looked at the ground the table legs rested on.

“I know you wouldn't mind it, Jig. It’s really not anything. It’s just to let the air in.”

The girl did not say anything.

“I’ll go with you and I'll stay with you all the time. They just let the air in and then it’s all perfectly natural.” “Then what will we do afterward? ” “We’ll be fine afterward. Just like we were before.” “What makes you think so? ” “That’s the only thing that bothers us. It’s the only thing that's made us unhappy.”

The girl looked at the bead curtain, put her hand out and took hold of two of the strings of beads.

“And you think then we’ll be all right and be happy.”

“I know we will. You don't have to be afraid. I’ve known lots of people that have done it.”

“So have I, ” said the girl. “And afterward they were all so happy.” “Well, ” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. Bui I know it’s perfectly simple.”

“And you really want to? ”

“I think it’s the best thing to do. But I don’t want you to do it if you don’t really want to.”

“And if I do it you’ll be happy and things will be like they were and you’ll love me? ”

“I love you now. You know I love you.”

“I know. But if I do it then it will be nice again if I say things are like white elephants, and you’ll like it? ”

“I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry.”

“If I do it you won’t ever worry.”

“I won’t worry about that because it’s perfectly simple.”

“Then I’ll do it. Because I don’t care about me.”

“What do you mean? ”

“I don’t care about me.”

“Well, I care about you.”

“Oh, yes. But I don’t care about me. And I’ll do it and then everything will be fine.”

“I don’t want you to do it if you feel that way.” The girl stood up and walked to the end of the station. Across, on the other side, were fields of grain and trees along the banks of the Ebro. Far away, beyond the river, were mountains. The shadow of a cloud moved across the field of grain and she saw the river through the trees.

“And we could have all this, ” she said. “And we could have everything and every day we make it more impossible.” “What did you say? ” “I said we could have everything.” “We can have everything.” “No, we can't.”

“We can have the whole world.” “No, we can’t.” “We can go every­where, ” “No, we can’t. It isn’t ours any more.” “It’s ours.”

“No, it isn’t. And once they take it away, you never get it back.” “But they haven’t taken it away.” “We’ll wait and see.”

“Come on back in the shade, ” he said. “You mustn’t feel that way.” “I don’t feel any way, ” the girl said. “I just know things.” “I don’t want you to do anything that you don’t want to do − ” “Nor that isn't good for me, ” she said. “I know. Could we have another beer.”

“All right. But you’ve got to realize − “ “I realize, ” the girl said. “Can’t we stop talking? ” They sat down at the table and the girl looked across at the hills on the dry side of the valley and the man looked at her and at the table.

“You’ve got to realize, ” he said, “that I don’t want you to do it if you don’t want to. I’m perfectly willing to go through with it if it means anything to you.”

“Doesn’t it mean anything to you? We could get along.” “Of course it does. But I don’t want anybody but you. I don’t want any one else. And I know it’s perfectly simple.” “Yes, you know it’s perfectly simple.” “It’s all right for you to say that, but I do know it.” “Would you do something for me now? ” “I’d do anything for you.”

“Would you please please please please please please please stop talking? ”

He did not say anything but looked at the bags against the wall of the sta­tion. There were labels on them from all the hotels where they had spent nights.

“But I don’t want you to, ” he said. “I don’t care anything about it.”

“I’ll scream, ” said the girl.

The woman came out through the curtains with two glasses of beer and put them down on the damp felt pads. “The train comes in five minutes, ” she said.

“What did she say? ” asked the girl.

“That the train is coming in five minutes.”

The girl smiled brightly at the woman, to thank her.

“I’d better take the bags over to the other side of the station, ” the man said. She smiled at him.

“All right. Then come back and we’ll finish the beer.” He picked up the two heavy bags and carried them around the station to the other tracks. He looked up the tracks but could not see the train. Coming back, he walked through the barroom, where people waiting for the train were drinking. He drank an Anis at the bar and looked at the people. They were all waiting rea­sonably for the train. He went out through the bead curtain. She was sitting at the table and smiled at him. “Do you feel better? ” he asked. “I feel fine, ” she said. “There’s nothing wrong with me. I feel fine.”