The text under study is a piece of belles-lettres writing, namely “A Roundabout. Chapter between London and Hampshire” (Chapter XLIV) written by famous English writer William Makepeace Thackeray. The actions take place in a rich house in England, where the main characters live, including a young boy named Rawdon Crawley, his mother, and household staff members such as the cook, the butler, the maid, etc.
The events of the text are presented in the form of the author`s narration with insertions of dialogues. The narration is done mostly in the third person singular, for example “Lord Steyne also heartily disliked the boy”. These forms of presentation interrelate with description. They overlap and run together. We also observe description at the beginning of the text (for example: “He was a fine open-faced boy, with blue eyes and waving flaxen hair, sturdy in limb, but generous and soft in heart”), and in the middle of the text (for example: “a woman in a great party in a splendid saloon, surrounded by faithful admirers, distributing sparkling glances, dressed to perfection, curled, rouged, smiling and happy”. Through the dialogues the characters are portrayed better. It also brings the action nearer to the reader, makes it more intense. Also the author uses the author’s remarks and the author’s narration.
The main character of the story is Rawdon Crawley, an affectionate and endearing young boy, described as open and generous, but who suffers rejection and hostility from his mother. During the chapter, we can trace the strained relations of Rawdon with his mother, Becky, a woman who harbors a deep resentment towards her son, demonstrating dislike and even hatred towards him. She treats him with severity and coldness. The minor characters of the chapter are Lord Steyne, a contemptuous and sarcastic nobleman, hostile towards Rawdon and clearly manifesting his dislike towards him, and the household staff, characters who observe the events and the relations of the family with attention, forming a kind of informal “court” that judges and comments on the interactions.
This text highlights the complex and sometimes conflicting relationships within a family and highlights the deep emotions and tensions between the characters, thus creating a dramatic picture of family and social dynamics.
Since the text under analysis belongs to belles-lettres functional style, both types of information can be elicited from it, namely, the factual and the conceptual ones.
The factual information can be formulated in the following way: the text describes the complex and troubled relationships between members of a family and other characters in their entourage. It highlights the intense emotions, such as love, hatred, resentment, cruelty, as well as the tensions and conflicts that arise from them.
In terms of its factual information, the text can be divided into four logically complete parts:
The first logically complete part starts from the beginning of the text, with words “He was a fine open-faced boy...” and ends with words “... Here, as he grew to be about eight years old, his attachments may be said to have ended”. It describes the young boy's childhood, his kind personality and his attachment to various people surrounding him.
The second logically complete part begins with words “The beautiful mother-vision had faded away after awhile...” and ends at “...sat on Rebecca at the moment”. It describes how the relationship between the boy and his mother deteriorates as she shows contempt for him. She hates him because of his illnesses and because she is tired of him. She slaps him when he tries to overhear on her singing, which pushes him to other staff members for comfort.
The third logically complete part begins with words “After this incident, the mother's dislike increased to hatred...” and ends at “... Fear, doubt, and resistance sprang up, too, in the boy's own bosom”. It exposes the growing hostility of the mother towards her son and the escalation of emotional tensions between them.
The fourth and concluding logically complete part begins with words “Lord Steyne also heartily disliked the boy...” and ends at the end of the text. This part relates how the contempt for the boy extends to other influential characters, thus illustrating the conflicts and the complex social relationships present in the context of the story.
In my opinion the conceptual information of the present text can be formulated in the following way: despite the fact that the ranks are changing, laws and morals are changing, but the love of money, rank worship, gossip, slander, anger will always be inherent in human hearts.
The general emotional tone of the text presented is quite melancholic and filled with a sense of rejection, sadness, and growing animosity. The initial depiction of the child's affectionate nature towards his surroundings, with descriptions of his attachment to various individuals, sets a warm and nurturing atmosphere. However, as the text progresses, a shift occurs towards a darker tone marked by a lack of maternal affection and harsh treatment.
The emotions conveyed include a sense of abandonment as the child's mother displays clear dislike and cruelty towards him. The boy's longing for his mother's care and attention, juxtaposed with her blatant indifference and mistreatment, evokes feelings of sorrow and betrayal. The text unfolds a narrative of emotional pain experienced by the child, culminating in a deep sense of rejection and alienation both from his mother and other significant figures in his life.
The author offers no judgments to the actions, described in the chapter. The main characters are fully characterized. Their actions are implicitly embedded into their utterances. Most of the story is presented from author’s viewpoint. There are many signals of his subjective attitude to the described, e.g. “During near two years she had scarcely spoken to the child. She disliked him”. The author explicitly describes the appearance and emotions of the characters. For example, the boy is portrayed as «a fine open-faced boy, with blue eyes and waving flaxen hair, sturdy in limb, but generous and soft in heart». This explicit description gives the reader a clear visual image of the main character. By observing the interactions and reactions of the characters, readers can infer their emotions, attitudes, and relationships. For instance, the boy's feelings of rejection and sorrow are implicit in his actions and dialogues after being mistreated by his mother and others. The resentment and animosity between characters, such as the boy and Lord Steyne, are revealed through their exchanges and confrontations.
In the text provided, the author builds up an atmosphere of social scrutiny, gossip, and judgment through various stylistic devices and language choices. Let's analyze the means of building up the atmosphere and mood in the given passage:
The use of hyperboles such as “huge face” increases the dramatic tension and exaggerates the significance of certain elements, intensifying the scrutiny and judgment portrayed in the text.
Verbs of motion like “to flutter and fidget about, to miss, to wait, to hurry” contribute to a sense of restlessness and anticipation, enhancing the mood of anxiety and unease.
Descriptive terms like “the awful kitchen inquisition” and the use of epithets throughout the text help create a vivid and evocative portrayal of the critical and judgmental environment.
The comparison of societal judgment to a spider's web being swept away by Molly, the housemaid, adds a layer of symbolism, illustrating how quickly reputations can be destroyed or altered by external forces.
The atmosphere created in this text is one of intense social observation, rumor-mongering, and the impact of societal perceptions on an individual, particularly focusing on Rebecca's character and her relationships with her son.
In the text provided, the author's attitude is expressed implicitly, that of a critical observer, portraying the characters and events without explicit judgment but with a sense of irony and societal commentary. The author presents the story through a lens that reveals the hypocrisies, social expectations, and harsh consequences of societal judgment on individuals like Rebecca. The author does not express explicit sympathy or condemnation towards the characters but rather paints a picture of the harsh realities of social scrutiny and gossip. The author highlights the impact of societal perceptions and the injustices faced by characters like Rebecca without blatantly taking a side. The author vividly describes the servants' gossip and judgment towards Rebecca, portraying the harshness of their critiques: “And, I shame to say, she would not have got credit had they not believed her to be guilty”.
The author employs irony and social critique when discussing the servants' inquisition: “The man who brought her refreshment and stood behind her chair, had talked her character over with the large gentleman in motley-colored clothes at his side... it is awful, that servants’ inquisition!”. The author's attitude towards the characters and events described is one of detached observation infused with a sense of social critique and irony.
The composition of the story, focusing on the main character Rawdon, in the provided text can be outlined as follows:
The introduction details Rawdon as a young boy, describing his physical appearance - fine open-faced, blue eyes, waving flaxen hair, and his traits - sturdy in limb, generous, and soft-hearted. It sets the initial characterization of Rawdon as a likable and affectionate child, highlighting his relationships with various individuals in his life.
The exposition delves into Rawdon's family dynamics, particularly his strained relationship with his mother. It reveals the mother's growing dislike towards Rawdon, leading to a significant incident where she physically strikes him, showcasing the tensions within the family.
The story progresses through Rawdon's emotional turmoil following the incident with his mother. His feelings of betrayal, grief, and confusion are highlighted as he seeks comfort in the kitchen among the lower household staff, contrasting with his strained interactions with his mother and other high-class individuals like Lord Steyne.
The climax occurs as society's judgment and perception, represented by the servants' scrutiny and gossip regarding Rebecca, reach a peak. The question of Rebecca's guilt or innocence becomes a central point of discussion, reflecting the harsh realities of societal expectations and rumors that impact individuals like Rebecca and potentially Rawdon by association.
The denouement reveals the consequences of societal judgment on Rebecca, who, despite likely being innocent, faces social isolation and degradation. The text portrays the enduring effects of reputation and appearances on individuals within the social hierarchy of Vanity Fair.
The ending offers a poignant analogy through Molly, the housemaid, observing a spider's diligent efforts being abruptly swept away, symbolizing the swift and unjust nature of societal judgment and its destructive impact on individuals like Rebecca and potentially Rawdon within the societal milieu depicted in the story.
The events of the present text are represented in the form of narration with insertions of dialogue. The narration is done in the third person singular. These forms of presentation interrelate with description. They overlap and run together. In the present text, the type of speech used is a combination of description, dialogue, and narration with elements of internal speech. The description is evident in the portrayal of the boy's physical appearance and character traits. Dialogue is present in the exchanges between characters, such as the interaction between the boy and his mother. The narration provides an overall telling of events and actions within the story. Internal speech is also evident through the boy's inner thoughts and feelings, particularly when he expresses his emotions about his mother's treatment. Overall, the text utilizes a mix of these speech types to convey the story effectively and engage the reader in the emotions and dynamics of the characters.
The author uses different paragraphs. Some of them are very small and others are long. There is only asyndetic connection between the paragraphs. Every paragraph has a logical connection with the previous and following paragraphs, because it’s a dialogical story.
The initial paragraph describes the boy's physical appearance and his emotional nature, highlighting his attachments and endearing qualities. The use of contrasting conjunctions like “but” and the transition to emphasize the fading relationship with his mother create continuity and connection within this paragraph. The following paragraph delves into the strained relationship between the boy and his mother, depicting a heartbreaking incident where the mother exhibits harsh treatment towards him. This paragraph showcases the deterioration of their bond and the impact it has on the boy emotionally. The emotional distress experienced by the boy serves as the link between this and the previous paragraph. The next paragraph explores the escalating hatred and aversion the mother holds for the boy, indicating a shift in their dynamic. It also introduces Lord Steyne's animosity towards the boy, setting up a new conflict within the story. The transition from the mother's dislike to hatred towards the boy establishes a logical connection with the previous paragraph. The final paragraph in this suggested division hints at the boy's growing defiance towards his adversaries, particularly Lord Steyne, as revealed through a humorous incident involving the hat. The spread of information about the family through the household staff serves as the conclusion of this division.
Lexico-grammatical analysis (Diction)
1. Morphological level
It is a common knowledge that any literary text is based on the principles of poetic structure cohesion. They are the principle of recurrence, the principle of analogy and contrast, and the principle of incomplete representation. I would like to have a closer look at those SD which serve to convey the author’s implications. The author deliberately makes use of this SD to make the image more expressive, to give a greater expressive force to the utterance. The passage contains several stylistic devices that contribute to its overall effect and tone. Here are some of the stylistic devices used in the text:
In order to describe the servants of all these noble gentlemen, the author uses allegory, calling the servants Discovery and Calumny: “Discovery walks respectfully up to her, in the shape of a huge powdered man with large calves and a tray offices – with Calumny (which is as fatal as truth) behind him, in the shape of the hulking fellow carrying the wafer-biscuits”. By this, the writer wanted to say that every noble lord or lady will have their own secrets, which will be seen by hundreds of eyes, discussed by hundreds of mouths.
Finally, the resolution begins with a direct condemnation of Rebecca by the servants: “Was Rebecca guilty or not?” the Vehmgericht of the servants' hall had pronounced against her”. The writer uses a metonymy here, calling the servants a secret court in German. This passage discusses the behaviour, shaky status of Rebecca in society. The servants did not consider her a worthy person, and even "lost and ruined". They were convinced only by the constant presence of Lord Stein at her side. It is stated indirectly.
The author also uses a sustained metaphor, when Molly the cook watches a spider that weaves its web and easily sweeps it away with a broom: “So you see Molly, the housemaid, of a morning, watching a spider in the doorpost lay his thread and laboriously crawl up it, until, tired of the sport, she raises her broom and sweeps away the thread and the artificer”. Thanks to this device, we can understand how precarious Becky's position in society is; her climbing up the social ladder is comparable to a spider that can be swept away with a single movement of a broom. It is stated indirectly.
“Open-faced”, “flaxen hair”, “soft in heart”, “bald-headed”, “savage-looking”, “splendid saloon”, “faithful admirers”, “distributing sparkling glances”, “blackness of midnight” are epithets.
“Little spy”, “rapt in delight”, “an agony of grief”, “wound up”, “heart that was bleeding”, “kitchen inquisition”; “fear, doubt and resistance sprang up” are metaphors.
“Who crammed him with ghost stories at night, and with good things from the dinner” is zeugma.
“Friends of the kitchen” is paraphrase.
“Only-only” is repetition.
“The cook looked at the housemaid, the housemaid looked knowingly at the footman” is anadiplosis.
“…the awful kitchen inquisition which sits in judgement in every house and knows everything – sat on Rebecca at that moment” is satirical effect.
“What mayn't I hear her singing?”, “Was Rebecca guilty or not?” are rhetorical questions.
“with Calumny (which is as fatal as truth) behind him…”; “And so guiltless very likely she was writhing…” are detachments.
“Vehmgericht” is metonymy.
“pointing at her as lost and ruined” is simily.
These stylistic devices help create a vivid and engaging narrative that conveys the narrator's perspective on the painting and its significance in the story.
The principle of analogy and contrast
The world of upper class
In the text provided, the theme of the upper and lower class is evident through the portrayal of the characters. The upper class is represented by characters such as Lord Steyne and Mrs. Rawdon Crawley, who hold positions of power and privilege. They are shown to have disdain and contempt towards those they consider beneath them, such as the servants and Rawdon, the young boy.
Lord Steyne is described as wealthy and powerful, “bald-headed man with the large teeth”. He holds a position of influence and looks down upon those he deems inferior, such as the young boy Rawdon. Lord Steyne's disdain for the boy is evident in his interactions and sarcastic remarks towards him for example: “Lord Steyne also heartily disliked the boy”, “he made sarcastic bows or remarks to the child, or glared at him with savage-looking eyes”.
Mrs. Rawdon Crawley is depicted as a woman of higher social standing who similarly mistreats and neglects the young boy. Her dislike and hatred for her own child showcase the class-based prejudices and callousness of the upper class. It can be traced through the words: “During near two years she had scarcely spoken to the child”, “She disliked him”, “He bored her”. Initially distant and disliking of her son, her feelings escalate to hatred following an incident. The boy's presence becomes a source of reproach and pain for her: “His mother came out and struck him violently a couple of boxes on the ear”, “the consciousness that the child was in the house was a reproach and a pain to her”, “His very sight annoyed her”.
The world of lower class
On the other hand, the lower class is depicted through characters like the servants, the footman, and Rawdon, who are treated poorly and looked down upon by the upper class. Rawdon, the young boy, experiences neglect and mistreatment from his mother and Lord Steyne, highlighting the class-based animosity and unequal power dynamics at play.
Rawdon, the young boy, is described as loving and affectionate, with a soft heart: “a fine open-faced boy”, “generous and soft in heart”, “fondly attaching himself to all who were good to him”. Despite his kind nature, he faces neglect and mistreatment from his own mother and Lord Steyne: “The beautiful mother-vision had faded away after awhile”, “the little boy’s heart that was bleeding”.
The mention of mutes as servants who cannot write reflects a desire to control information and prevent servants from spreading rumors or gossip. The fear of being judged guilty, whether one is innocent or not, underscores the importance of maintaining a certain image in society.
The reference to the Marquis of Steyne's carriage-lamps at Rebecca's door and the servants' reactions to it highlight the influence of social status and wealth in shaping perceptions and judgments. Rebecca's efforts to climb the social ladder are met with skepticism and condemnation from those around her, leading to feelings of isolation and ostracism.
The analogy of Molly the housemaid watching a spider and then sweeping away its web symbolizes the transience and fragility of social standing. Despite Rebecca's innocence, she is perceived as tainted and doomed by society's unforgiving gaze.
By contrasting the behaviors and treatment of characters from different social classes in the text, the author effectively illustrates the stark divide between the upper and lower classes and the impact of class-based discrimination on individuals within society.
The principle of recurrence
Let's have a closer look how the principle of recurrence is presented in the text.
One of the most potent and impactful methods by which this concept is expressed is the recurrence of a central keyword. In the passage focusing on the character of Rawdon Crawley, the principle of recurrence is evident through the repetition of key words and themes that highlight his relationships, emotions, and interactions within the narrative. The central keywords "affection" and "dislike" are recurrent elements that illustrate Rawdon's evolving feelings and connections with various individuals.
The term "affection" is depicted through the repetition of phrases that underscore Rawdon's genuine warmth and attachment towards specific characters in his life. From his fondness for the pony and Lord Southdown to his loyalty towards individuals like the groom, Molly, and Briggs, Rawdon's affections are consistently described in detail. The repetition of "affection" emphasizes Rawdon's emotional depth and his capacity for forming strong bonds with those who treat him kindly.
Conversely, the recurring term "dislike" reveals Rawdon's strained relationships and negative feelings towards certain individuals, particularly his mother and Lord Steyne. The text portrays Rawdon's growing aversion towards his mother, driven by her indifference and harsh treatment. Similarly, his animosity towards Lord Steyne is palpable through confrontations and gestures of defiance, indicating a strong sense of conflict and resentment.
Through the repetition of "affection" and "dislike," the text effectively conveys the internal struggles and external tensions faced by Rawdon Crawley in his relationships with others. These recurrent themes of attachment and aversion deepen the characterization of Rawdon and provide insights into his emotional journey and social dynamics within the narrative.
The Principle of Incomplete Representation
Furthermore, it is also possible trace the principle of incomplete representation in the text. The incomplete representation creates suspense and intrigue, prompting the reader to continue reading to find out the full story behind the picture and its significance. By presenting information in a partially revealed manner, the text engages the reader and builds anticipation for the resolution of the story. The principle of incomplete representation can be observed in the text through the use of ellipsis, which is a punctuation mark that indicates the omission of words in a sentence.
In the analyzed text, an element of incomplete representation intrigues the reader by withholding information and creating a sense of suspense. The passage presents partial details about Rawdon Crawley's experiences and relationships, prompting curiosity and a desire to uncover the complete story behind his emotional journey. By utilizing ellipsis and selective disclosure of information, the text engages the reader's interest and encourages deeper exploration of Rawdon's complex character and the dynamics within the household.
This principle of incomplete representation is evident in the narrative's fragmented portrayal of Rawdon's attachments, conflicts, and emotional struggles. The text hints at significant events like Rawdon's mother's disdain, violent outbursts towards him, and his confrontations with Lord Steyne without providing exhaustive explanations or resolutions: “«What mayn’t I hear her singing? Why don’t she ever sing to me»”, “Fear, doubt, and resistance sprang up, too, in the boy’s own bosom”, “They were separated from that day of the boxes on the ear”. This deliberate partial disclosure of Rawdon's story heightens the reader's anticipation and encourages continued engagement to unravel the complexities of his relationships and inner turmoil.
Furthermore, the juxtaposition of contrasting emotions and reactions within Rawdon's interactions with his mother and Lord Steyne adds layers to his character, portraying him as both vulnerable and defiant in the face of rejection and hostility. The incomplete representation of these interpersonal dynamics adds depth to Rawdon's character development and invites the reader to speculate on the underlying motivations and consequences of his experiences.
In essence, the text's strategic use of incomplete representation enhances the narrative's dramatic tension, psychological depth, and reader engagement by withholding crucial details and inviting interpretation and exploration of Rawdon Crawley's multifaceted relationships and struggles within the intricate social milieu of "Vanity Fair."
Morphological level
Speaking about morphological peculiarities of the present text, we can find different parts of speech with the reference to the situation described: nouns, adjectives, adverbs, verbs.
Let us have a close look at the verbs. As it is mainly a narration the majority of verbs are used in the Past Indefinite Tense (“She disliked”, “mother came out”, “he grew”, “the footman found”). The purpose of this usage is to show that the actions or requests being made are general and ongoing, rather than specific to a certain time or situation. This creates a sense of immediacy and urgency, as if the speaker is demanding immediate attention or action. It also adds a sense of authority and importance to the commands or requests being made, making them feels more impactful and urgent. Past Continuous tense is used in the text to show a temporary situation in the past that did not last long (“the little boy’s heart that was bleeding”, “he was standing at the landing-place”). Overall, the use of the Present Indefinite tense helps to create a sense of urgency and importance in the narrative, driving the plot forward and engaging the reader (“You see a woman”, “Discovery walks”, “it is awful”). The text is also filled with the verbs in the Past Perfect tense (“mother-vision had faded away”, “she had scarcely spoken to the child”, “the servants’ hall had pronounced”) and several cases of Future Simple Tense (“Jeames will tell Chawles”, “your secret will be talked over”).
It is essential to say a few words about the frequent use of modal verbs. The author uses them in the narration and it’s quite natural because the characters speak about different things and express their attitude to different actions and circumstances of their life. The modal verb could is used to denote physical ability (“mutes who could not write”). The modal verb may is used to denote possibility due to circumstances (“his attachments may be said to have ended”; “What mayn’t I hear her singing?”, “That fellow behind your chair may be a janissary”). The modal verb ought to is used to express obligation which in context may acquire conditional shades of meaning, such as advisability and desirability (“Some people ought to have mutes for servants in Vanity Fair”).
As far as the category of voice is concerned, both voices can be traced in the text. The author uses the active voice in the majority of cases, because the characters are the doers of the action (“She disliked him. He had the measles and the hoping-cough. He bored her”). The passive voice serves to show that the person that the person or thing denoted by the subject of the sentence is not the doer of the action expressed by the predicate verb, but is the object of this action (“a moment before had been rapt in delight”).
As far as the category of mood is concerned, the Indicative and the Subjunctive mood can be traced in this text. The text includes instances of the Indicative mood, as the author describes actions and events that have occurred in the past tense. However, there are also several examples of the Subjunctive mood used to express unreal actions or hypothetical situations. For example, when the author writes "I’ve heard people say she was sort of nice-looking if she wouldn’t make up so much," the Subjunctive mood is used to present a hypothetical scenario.
In the text, the Subjunctive mood is also used in phrases such as "What mayn’t I hear her singing? Why don’t she ever sing to me?" These phrases express the boy's longing for his mother's affection and the unrealized desire for her to sing to him. Additionally, the use of phrases like "It is not because it hurts me" and "Why don’t she ever sing to me" also indicate a sense of uncertainty or doubt, further highlighting the use of the Subjunctive mood in the text.
Lexical level
On a lexical level, the language used in the text is rich in describing the characters and their emotions. The language used in the passage is rich, ornate, and descriptive, with a mix of colloquial and emotional vocabulary. The author employs various descriptors such as "open-faced boy," "beautiful mother-vision," "sturdy in limb," "bald-headed man with the large teeth," "agony of grief," and "storm," which are used to convey the physical and emotional states of the characters.
Different figures of speech and literary devices are utilized throughout the text to enhance the narrative. For instance, metaphorical phrases like "bleeding heart," "bursting into an agony of grief," "writhing and pushing onward," and "housemaid watching a spider" illustrate deep emotional turmoil and struggles within the characters.
The text also contains colloquial elements such as exclamations, expressions, and dialogues that reflect the characters' personalities and interactions. For example, the boy's outbursts of "What mayn’t I hear her singing?" and the kitchen inquisition moment create a sense of authenticity in the story.
The language used is formal, with words like "hulking," "wafer-biscuits," "janissary," "plush," "guilt," "contemplated," and "artificer." Specific terms related to social status and intrigue are present, such as "Vanity Fair," "club at the public-house," "servants' hall," "Marquis of Steyne," and "a position in society." The passage also contains archaic language, like "Vehmgericht" (a historical German term for a type of court) and "mutes" (a term for silent servants).
There are metaphors and similes employed, such as "as ruinous as guilt," "tremble," and the comparison of Rebecca to a spider spinning thread. The use of the phrase "Guilty very likely - she was writhing and pushing onward" conveys a sense of internal conflict and struggle. Proper names like "Rebecca," "Madam," "Jeames," "Chawles," "Raggles," "Marquis of Steyne," and "Molly" are used to specify characters and add detail to the narrative. The absence of geographical names and general appellations focuses the attention on the interpersonal dynamics and conflicts within the story. The passage revolves around themes of guilt, reputation, social status, judgment, intrigue, and societal scrutiny. It also touches on concepts of appearances versus reality, societal expectations, and the impact of others' perceptions on an individual's fate.
The author makes use of phrasal verbs ("crept down" – conveys the movement of the boy quietly descending; "struck him" – describes the action of the mother hitting the boy”). I come across colloquial set-phrases ("bursting into an agony of grief" – a vivid expression of intense emotional distress; "at various intervals" – a casual way of indicating time passing intermittently; "gasped out" – shows how the boy is expressing his emotions). These words are used to show the reaction of the speakers more expressive and emotional. The author uses adjectives in this story. Adjectives are words expressing properties of objects. They are used in the story for the emotional colouring of the dialogue ("fine," "blue," "waving," "flaxen," "sturdy," "generous," "soft," "curious," "beautiful," "bald-headed," "free," "artless," "awful," "knowing," "savage-looking," "large," "motley-colored," "faithful," "sparkling," "perfect," "curled," "rouged," "happy" – provide detailed descriptions of characters and settings). The adverbs are used to denote the emotional state of the characters ("fondly," "scarcely," "violently," "knowingly," "heartily," "soon afterward," "respectfully," "perfectly" – modify verbs and add depth to the actions and emotions portrayed). Nouns like "boy," "pony," "Lord Southdown," "horse," "groom," "Molly," "cook," "Briggs," "father," "mother," "Marquis," "Becky," "Rawdon," "footman," "kitchen," "inquisition," "hat," "porter," "servants," "functionaries," "refreshment," "man," "admirers," "saloon," "Discovery," "Calumny," "ices" – identify people, objects, and places relevant to the story. Pronouns like "he," "who," "her," "they," "his," "It," "me," "I," "she," "they," "it," "them" – refer to specific entities in the narrative. Conjunctions like "but," "especially," "and," "during," "as," "too," "or" – connect phrases and clauses to show relationships.
The excerpt presents a narrative that delves into the dynamics of social relationships and personal struggles within a family setting. The lexical analysis showcases various thematic groups and linguistic features that contribute to the depiction of characters and emotional states.
1. Nouns: "boy," "pony," "Lord Southdown," "horse," "groom," "Molly," "cook," "Briggs," "father," "mother," "Marquis," "Becky," "Rawdon," "footman," "kitchen" depict the characters and their roles in the narrative. These nouns showcase the social interactions and relationships within the household, highlighting attachments, dislikes, and conflicts.
2. Adjectives, Adverbs, Numerals: "fine," "open-faced," "blue," "waving," "flaxen," "sturdy," "generous," "soft," "beautiful," "curious," "little," "free," "artless," "knowing," "faithful," "large," "motley-colored," "happy," "fondly," "curled," "rouged," "awful," "suddenly," "violently," "free," "heartily," "knowingly," "perfectly," "pathological," "serious," "nervous," "tense," "obvious," "absolutely," "safely," "finally," "quickly," "patiently" convey emotional states, physical attributes, and actions of the characters.
3. Abstract Nouns: "grief," "storm," "rage," "hatred," "pain," "fear," "doubt," "resistance" reflect the internal struggles and conflicts experienced by the characters.
4. Verbs of motion and Emotions: "crept down," "struck," "singing," "laugh," "bursting," "gasped out," "bleeding," "looked," "sat," "increased," "annoyed," "sprang up," "separated," "disliked," "glared," "stare," "anger" depict the actions, emotions, and reactions of the characters in various situations.
Overall, the usage of these lexical elements contributes to the intricate portrayal of social hierarchies, emotional turmoil, and personal struggles within the familial relationships depicted in the text. The detailed descriptions and nuanced character interactions enrich the narrative, creating a vivid and engaging storyline.
Syntactical level
As far as the syntactical peculiarities of the text are concerned, it should be stressed that we first of all encounter the use of various communicative types of sentences:
a. Statements: The text uses statements to make events more truthful, such as "He heard a laugh from the Marquis in the inner room," conveying the happenings accurately.
b. Questions: Questions like "What mayn’t I hear her singing?" highlight the characters' concerns and interests in the narrative.
c. Exclamations: Exclamations like "Oh, dear!" express the characters' reactions to specific situations, emphasizing their emotions.
The author uses simple sentences in dialogues to convey urgency and hastiness, as seen in "It is not because it hurts me" showing the little boy's distress. The narration employs complex and compound sentences to provide detailed descriptions and convey a sequence of events, as in "He crept down from the upper regions, attracted by the sound of his mother’s voice".
Special emphasis should be laid on the use of syntactic SD and EM. They are:
a. The text uses repetitions like "He knew" and "Yes, dear, yes!" for emphasis and emotional impact, reinforcing key ideas.
b. Enumerations, such as "she took them for walks and fed them cakes," build tension and create a sense of cumulative action in the narrative.
c. Ellipses like "Won’t you?" and "There!" enhance the sense of haste and urgency in the characters' speech and actions.
d. The use of polysyndeton, as in "she took them for walks and fed … and bought … and told …," slows down the actions, adding depth to the narrative.
The author's main concern is to highlight the complexity of human nature and the unexpected capabilities of individuals. The text portrays a character, the young boy Rawdon, who experiences neglect and mistreatment, revealing the darker aspects of familial relationships and emotions. The narrative showcases the boy's emotional turmoil and the impact of his mother's actions on him, underscoring the theme of vulnerability and betrayal within the family dynamic.
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