He had left his village without any previous thought or plan. If he had continued there he would have carried on the work of his forefathers – namely, tilling the land, living, marrying and ripening in his cornfield and ancestral home. But that was not to be. He had to leave home without telling anyone, and he could not rest till he left it behind a couple hundred miles. To a villager it is a great deal, as if an ocean flowed between.
Narayan, R. K. Malgudi Days. New York: Penguin, 1984. Print.
This paragraph, although it may not seem it, gives a lot of cultural background to the story. It shows how his life was pretty much decided for him when he was born and that he no longer wanted these restraining forces on him. The biggest insight is the reference of how “it is a great deal as if ocean flowed between” them as if saying they are not only physically distant from each other they are also emotionally detached from each other as well.
Melanctha (1909), Mrs. Dalloway (1925), In Our Time (1925), As I Lay Dying (1930),
Even with the extensive amount of time between Melanctha, Mrs. Dalloway, and As I Lay Dying is separated by at most by 21 years the style of writing in a stream of the characters consciousness can be seen throughout. In Melanctha and Mrs. Dalloway nothing really breaks up the conversations and actions from one character to another, everything flows right into another, unlike in As I Lay Dying by William Faulkner and In Our Time by Ernest Hemingway. In their books each chapter is broken up into separate pieces. For Faulkner each chapter we saw in the perspective of that one single character which helped form an individual idea about each character, whereas the stream of consciousness in Melanctha and Mrs. Dalloway was a continuous stream. In Our Time by Hemingway was also broken up into individual pieces like Faulkner’s. If you read the chapters that coincide with one another a different picture and story is seen. One of the biggest differences I saw within these books is between Melanctha and As I Lay Dying is when it came to race. These two books are published 21 years from one another. The differences in style can be seen from the way it was written, Faulkner’s style of different characters point of views as a chapter and Steins way of a continuous stream of contentiousness, to the style of speech and the identification of character differentiation. In Melanctha we could clearly see which characters were considered black and who weren’t. There was an out word expression and even in the actual style of dialog was different, but in As I Lay Dying it’s not as clear of a picture. In Faulkner’s book the black character is harder to pick out and seems to not even be present despite taking place in the Deep South.
That irritated Hicks and he didn’t know why. He was the average mortal. It troubled him to get used to the world one way then suddenly have it turn different. (39)
Hurston, Zora N. Their Eyes Were Watching God. New York: Perennial Library, 1990. Print.
The language at the end of the quote emphasizes the experience of a human by simply explaining the changes that happen through time. Although it does not explain that he is describing time and change out front, it can be drawn from our own human experience, what he is talking about.
Brisk, yet steady, his capacity for active application to the task he had in hand seemed to flow like constant water from a natural spring. Each muscle of his body, hard as a rock when it came into play, seemed to shine forth like glass.
Anand, Mulk Raj. Untouchable. 15-16. London, England: Penguin, 1986. Print.
In this short passage the imagery of the flow of water gives a sense of smoothness and ease just as the image of glass does. The descriptions give him a sense of fluidity and strength.
“I pass him and mount the path, beginning to hear Cash’s saw” “Addie Bundern could not want a better one, a better box to lie in.”
Faulkner, William. As I Lay Dying. New York: Random House. 1992. PRINT
The first introduction to these characters were originally given by Darl and it seemed as though they were being represented through objects. It is instantly clear that Cash is a carpenter, but what is more interesting is the way Addie is introduced. Before we even know anything about the character we learn that he is about to die. They are not given extravagant detail, but for Addie it’s more than enough.
And Elizabeth didn’t like it either. (Still the last tremors of the great booming voice shook the air around him; the half-hour; still early; only half past eleven still.)
Woolf, Virginia. Mrs. Dalloway. New York: Harcourt, Inc. 1925. Print. p.49
Woolf seems to use parentheses a lot in this writing. It seems that it usually is used to give information on what a specific characters internal thoughts and detail that is going on around them.
“Then I told the Turk the man was being sent on board ship and would be most severely dealt with. Oh most rigorously. He felt topping about it. Great friends we were.” (p.11)
E. Hemingway. In Our Time. “On the Quai at Smyrna”. New York: Scribner. 2003. Print.
This is just one of the first examples I have found in this boo about how emphasis is created through a repetition.He also uses a rhetorical device with the last sentence to portray a sense of either a point of truth or irony. (I’m not really quite sure)
Melanchtha needed to badly to have it, this love which she had always wanted, she did not know what she should do to save it. Melanchta saw now, Jem Richards always had something wrong inside him. Melanchta soon dared not ask him. Jem was busy now, he had to sell things and see men to raise money. Jem could not meet Melanchta now so often.
Stein, Gertrude. “Melanctha.” Three lives. Dover Publications, New York. 1994. 132. Print
The way this paragraph is written captured my attention because it is an excellent example of what I’ve noticed through the entire story. It’s very clear that this story is being narrated but it’s almost as if a child is narrating it. Each sentence starts off with a name and a brief sentence almost like a child’s game where they would talk in third person.
You remember I told you I had been struck at the distance by certain attempts at ornamentation, rather remarkable int he ruinous aspect of the place. Now I had suddenly a nearer view, and its first result was to make me throw my head back as if before a blow. Then I went carefully from post to post with my glass, and I saw my mistake. These round knobs were not ornamental but symbolic, they were expressive and puzzling, striking and disturbing – food for thought and also for the vultures if there had been any looking down from the sky; but at all events for such ants were industrious enough to ascent the pole.
Conrad, Joseph. Heart of Darkness and Other Tales. “Heart of Darkness”, 164. Oxford: Oxford NY, 2002.
You have no idea what Conrad is talking about in this paragraph until you get to the end where you find out that the “ornaments” are heads on poles. This is an example of delayed specification.
If we want understanding of the soul and heart where else shall we find it of comparable profundity? If we are sick of our own materialism the least considerable of their novelist has right of birth a natural reverence for the human spirit.
Woolf, Virginia. “Modern Fiction.” In The Common Reader, 15. San Diego, CA: Harcourt, 1925.
Words of fiction is a confounding captivation of human lives that is an escape from our reality into another.