1.

Reading for the Plot

The beginning, middle and end are the key components of a plot. Aristotle believed that plot is
what tragedy exists for and that it should be coherent and connected.
There should be no excluded or displaced scenes in the plot, and each new event should be a
consequence of the previous one. In a well-made plot, nothing can be eliminated, transposed, or
rearranged.
At the beginning, we’re introduced to the characters and their situation. Destabilizing events are
those that put the plot into motion and revel hidden problems and conflicts.
The middle is where complications arise, and we get a better sense of what the characters are up
against.
The ending is where the conflicts exposed in the beginning and explored through the middle are
finally worked out.
Traditionally plots resolve themselves in two ways: comically and tragically.
Since 19th century open endings
Plot VS Story
Plot is the list of the events in order of their presentation to the reader.
Story is the same events listed in chronological order, the order of their original occurrence.

2–3. Description
•A descriptive text is usually defined as a type of discourse concerned with the representation of
people, animals, objects, atmospheres, landscapes, actions and feelings by means of words
•Descriptive texts to focus on image
•The purpose of a descriptive text is to create a mental image in the reader’s mind (in fiction or
real life) by answering the question “What is it like?”
•The genres that fit the descriptive text structure are similar to those of narrative: folktales (wonder
tales, fables, legends, myths, tall tales, and realistic tales); contemporary fiction; mysteries, science
fiction, realistic fiction, fantasy, and historical fiction

Types of descriptions
1) Subjective (found in literary texts, advertising) – is based on the power of observation and tells
us something about the writer’s feelings and opinions about the item to be described; the main aim
is to provoke emotions about the object to be described rather than reflecting the item as it is.
2) Objective (in instructive, technical, and scientific texts) – it provides generalized information
on facts, qualities, and characteristics about the object under consideration; the main aim is to
provide information
3) Other types:
– dynamic descriptions / chronologies since they represent an age or a period of time where
important events take place (a setting, an individual, setting atmosphere).
– static / ‘topographies’, which represent an inanimate item (a place, a house, a garden, a village,
a mountain) displaying a spatial relationship among objects themselves with establish hierarchies).

People’s description may be divided into four types:

1. prosopography, which describes the physical appearance of a person (‘Portrait of the Artist’
by James Joyce),
2. etopeia, which includes a moral or phychological description of a fictional or real character
(‘The Secret Agent’ by Joseph Conrad)
3. a portrait, which combines both physical (prosopography) and psychological (etopeia) features
(‘Wuthering Heights’ by Emily Bronte)

4. a caricature, which is associated with the idea of overloading or exaggeration under the
principle of dominant impression.
Linguistic Features:
– Present Tenses
– the use of adjectives, which bear the burden in description.
– Nouns: concrete or abstract
– verbs, which may imply something about the nature of the person or item to be described (i.e.
shouted, whispered, screamed)
– adverbs, which enable the writer/speaker to get an effect with great economy but fusing the
quality of a thing with its action
– Specific syntactic structures, such as subordinate clauses (relative, both defining and non-
defining), prepositional and adverbial clauses.

4. Characters
– flat (with simple personalities)
– round (with complex personalities, surprise us in a convincing way)
– flat pretending to be round (surprise us, but not in a convincing way)

– major characters (predominate and the action revolves around them and among them lies the
central character or the protagonist)
– minor characters (a role that should not be overlooked because it may serve as an important key
to discovering the themes that the novel is exploring)

– static (unchanging) static portrait- a detailed account of the personage’s ap pearance is given
simultaneously (the colour of the hair, eyes; facial features; figure)
– dynamic (changing) dynamic portrait details are accumulating in the course of the whole text
(smile, laughter, gestures, mimicry, gait, expression of the face).

5. WAYS OF LEARNING ABOUT CHARACTER

• Dialogue
• Actions
• Attire/Clothing
• Opinions
• Point of view

THE NATURE OF CHARACTERS CAN BE REVEALED

– Directly: the author tells what a certain character is like.
– Indirectly: author’s suggestions about what he thinks, says, does, fails to do, or chooses not to
do.
– Objectively: the author gives actual account of the appearance or structure of the object and it
is usually detailed.
– Subjectively: the description is emotional and focuses on the mood, giving only striking details.

6. Strong positions of the text

Foregrounding means a specific role that some language items play in a certain context when the
reader's attention cannot but be drawn to them.
The term foregrounding is used to refer to unusual prominence given to one element of a text,
relative to other less noticeable aspects.

The title plays an important part in providing a clue to the meaning of the whole, being the starting
point of a chain of expectations that tune the reader's mind to what he perceives.
– may point out the main idea and the theme of the book, either directly or by an allusion.
– titles focuses the reader's attention on the main character or characters. (Jane Eyre)
– giving a metonymical characteristic of the protagonists (e.g. “Sense and Sensibility” and “Pride
and Prejudice”)
– give a generalized description of several characters (Wives and Daughters)
– give prominence to the scene of action or to the sphere of life depicted (Airport)
An exposition is the traditional beginning of a literary text giving the necessary preliminaries in
which the reader is introduced into the time, the setting of action, makes the acquaintance of the
characters or learns about the events preceding those of the narrative.
– complete
– partial
A prologue is a beginning detached from the rest of the text, given in a separate chapter not
immediately connected with the course of events narrated but interpreting them in a general way.
An epigraph is a quotation or a motto, put at the beginning of a book or its part, generalizing or
echoing or commenting on the main idea of the text.
Closure is the reduction of a work’s meaning to a single and complete sense that includes the
claims of other interpretations.

7. Principles of incomplete representation

A literary image represents features that are most characteristic of an object, or which at least,
seem such to the author. It is used to stir up the reader’s attention by making them crave to fill in
the gaps.

The term ‘poetic detail’ is the part selected to represent the whole in a literary work. The term
"poetic detail" defies a rigorous definition for as any other element of poetic structure it is a
functional category. It emerges as a result of correlation with other elements of the text and can be
evaluated only against the background of all of these. A poetic detail may be some directly
observed and directly expressed feature of an image. The nature of a truly poetic detail is such that
it both typifies and individualizes the image.

8. Irony

Irony is a literary device in which contradictory statements or situations reveal a reality that is
different from what appears to be true. Verbal irony can create suspense, tension, or a comic effect.

In verbal irony the intended meaning of a statement is the opposite of what is actually said.

An ironic understatement creates contrast by undermining the impact of something, though the
thing itself will be rather substantial or severe.

An ironic overstatement makes something minor sound like a much bigger deal to emphasize a
quality it lacks.

Situational irony is a literary or plot device occurring when there is a discrepancy between what
is expected to happen and what actually happens. You can use it to create suspense, humor, and
surprise in your writing.

Dramatic irony occurs when the reader or viewer knows something that the characters in the story
do not. This can create a sense of unease or anticipation as the audience waits to see how the
characters will react to the situation they are in.

There are numerous minor types of irony:

Stable irony - 100 percent obvious
Unstable irony - vague irony
Romantic irony - contrast between the protagonist's romantic ideals and the reality of their
situations.
Cosmic irony - place in life and the universe.

An ambiguous word or statement is one that can be interpreted in at least two ways.

9. Recurrence

The recurrence of an element may have several functions, i. e. be meaningful in a variety of

ways. One of these functions is that of organizing the subject matter, giving it a dynamic flow.

A recurrent element may represent the leit-motif of the literary work, expressing the author's
message. Poetic structure of the literary text is so modeled that certain of its elements which have
already occurred in the text recur again at definite intervals. These recurrent elements may be a
poetic detail, an image, a phrase, a word.

10. Setting

Setting is where and when a story takes place. It may and may not be symbolic.
The setting of a story – not only the physical locale but also the time of day or the year or the
century – may or may not be symbolic.
The setting may suggest:
– The prevailing atmosphere or mood of the novel
– Internal and external conflicts
– Potential contrasts between characters or ideas.

What setting tells us

– It can be connected to the values, ideals, and attitudes of a place in different times
– can add an important dimension of meaning, reflecting character and embodying theme
– can influence the entire novel and the readers' response to that novel

Setting and meaning

Time
1. Clock time
2. Calendar time
3. Seasonal time
4. Historical time
Place
1. The physical environment, including weather conditions
2. The nonphysical environment includes cultural influences such as education, social standing,
economic class, and religious belief
Uses of setting
1. It can create an atmosphere that affects our response to the work.
2. It may have a direct effect on a character's motivation.
3. An external force may enter the setting and change it, causing conflict for the characters.
4. The setting itself may be an antagonist.
5. Two settings may come into conflict with each other, causing conflict in the characters.

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11. Poetic structure

Verbal and Supra-verbal Layers of the Literary Text

The verbal layer – the combination of words into phrases, sentences, paragraphs, and larger
passages.
Supra-verbal layer focuses on the events, conflicts, characters, plot, genre, style, and image that
emerge from the word sequences.
The supra-verbal layer is inseparable from the verbal layer and gives meaning to the text.
The cohesion of the verbal and supra-verbal layers forms the poetic structure of the literary text,
where each component, including words, plays a significant role in conveying the author's
message.

Macro- and micro-elements is a functional, not an absolute category.

Macro-elements, such as the image of a character or the entire literary work itself, are composed
of micro-elements, such as similes or specific words.

12. Plot structure

The plot is a sequence of events in which the characters are involved, the theme and the ideas are
revealed.

The exposition is like the set-up of the story. The background information that is needed to
understand the story is provided, such as the main character, the setting, the basic conflict, and so
forth.

Conflict is a point of time in which all of the major characters have been introduced, their motives
and allegiances have been made clear, and they have begun to struggle against one another.

Rising action involves the buildup of events until the climax. During rising action, the basic
conflict is complicated by secondary conflicts, such as obstacles and challenges that frustrate the
main character’s attempt to reach their goal.

The climax is the turning point or highest point of the story.

The falling action phase consists of events that lead to the ending. Character's actions resolve the
problem.

Resolution. In this phase the protagonist and antagonist have solved their problems and either the
protagonist or antagonist wins the conflict. The conflict officially ends.

Types of plot structure:

A Dramatic or Progressive Plot: This is a chronological structure which first establishes the
setting and conflict, then follows the rising action through to a climax (the peak of the action and
turning point), and concludes with a denouement (a wrapping up of loose ends).

An Episodic Plot: This is also a chronological structure, but it consists of a series of loosely
related incidents, usually of chapter length, tied together by a common theme and/or characters.
Episodic plots work best when the writer wishes to explore the personalities of the characters, the
nature of their existence, and the flavor of an era.
A Parallel Plot: The writer weaves two or more dramatic plots that are usually linked by a
common character and a similar theme.

A Flashback: This structure conveys information about events that occurred earlier. It
permits authors to begin the story in the midst of the action but later fill in the background for full
understanding of the present events. Flashbacks can occur more than once and in different parts of
a story.

The closed plot structure presupposes the presence of a denouement, which explicitly states the
moral of a story, or prompts it to the reader.

With the open plot structure, which lacks a clear-cut denouement, the moral of the story is
frequently hidden or ambiguous, and the reader draws conclusions for himself.

The plot of a text forms the basis for its composition —the structure, resulting from the
arrangement and cohesion of definite plot-lines, episodes, details, descriptions, digressions,
characters’ remarks, etc. into an integral whole with the view to subordinating them to the main
idea.

Composition may be simple, complicated or complex.

1. Simple composition is based on joining different episodes around one protagonist (for example,
in fairy-tales)
2. Complicated composition involves more than one conflict and secondary lines of the plot, it is
prevalent in literature

3. Complex composition involves several protagonists, many conflicts and plot-lines

13, 14, 15. POV is angle of vision from which the people,
Events, and details of a text are viewed.

1. Participant (or first-person) point of view. (the narrator is the central character, the character
whose actions – whose life, we might say – most interests the reader. But sometimes a first-person
narrator tells a story that focuses on another character)
They may be reliable, in which case the reader can pretty much accept what they say, or they
may be unreliable narrators, perhaps because they have an ax to grind, perhaps because they are
not perceptive enough to grasp the full implications of what they report, or perhaps because they
are mentally impaired, even insane.
One special kind of unreliable first-person narrator (whether major or minor) is the innocent eye:
the narrator is naive (usually a child, or a not-too bright adult), telling what he or she sees and
feels; the contrast between what the narrator perceives and what the reader understands produces
an ironic effect.

2. Nonparticipant (or third-person) point of view. (the teller of the tale is not a character in the
tale)
- omniscient (can at any time enter the mind of any or all of the characters; )
- neutral omniscience (the narrator recounts deeds and thoughts, but does not judge)
- editorial omniscience (the narrator not only recounts, but also judges)
- selective omniscience means to be all knowing, but to be selective about what you know by
choosing to allow yourself to consciously know certain things and remain consciously ignorant
about others. In an effort to reproduce the unending activity of the mind, some authors who use
the stream-of consciousness point of view dispense with conventional word order, punctuation,
and logical transitions.
-objective; sometimes called the camera or fly-on-the-wall narrator (does not enter even a single
mind, but records only what crosses a dispassionate eye).

16. Imagery
Imagery is used to refer to whatever in a poem appeals to any of our sensations, including
sensations of pressure and heat as well as of sight, smell, taste, touch, and sound.

Natural symbols are recognized as standing for something in particular even by people from
different cultures.

Conventional symbols, which people have agreed to accept as standing for something other than
themselves.

A symbol is an image so loaded with significance that it is not simply literal, and it does not simply
stand for something else; it is both itself and something else that it richly suggests, a manifestation
of something too complex or too elusive to be otherwise revealed.

20. Conflict
Conflict in fiction is the opposition (or struggle) between forces or characters.

Types of external conflict:

• Man against man, when the plot is based on the opposition between two or more people
•Man against nature (the sea, the desert, the frozen North or wild beasts)
•Man against society or man against the established order in the society
•The conflict between one set of values against another set of values.

Internal conflicts, often termed as “man against himself”, take place within one character and are
rendered through his thoughts, feelings, intellectual processes.
– desire VS fear,
– good VS evil,
– competing desires
The Man of Property

John Galsworthy came from a wealthy English family with businesses in many countries. He
studied law but abandoned his plans to become a lawyer and instead travelled widely to look
after the family’s businesses.
His travel journey had a significant impact on his writing and worldview. It exposed him to new
and different perspectives, which helped to broaden his outlook and gave him a deeper
appreciation of life. It allowed him to observe the world and its complexities, which he reflected
in his works.
His works mainly focused on the social class system prevalent during that era, and specifically
the upper middle class to which his family belonged. Today he is mainly remembered for The
Forsyte Saga series.

2. The events in the given passage take place in London in a rich neighbourhood where the
family of June gathers due to the engagement of her and her fiancé whose name isn't given by
the author. Her family watches him as if they were in the zoo and experiences uneasiness
observing his appearance. Especially the couple is closely monitored by an elegant and charming
woman whose name is later known as Irene.

3. The main problem raised is social ineqaluality and people's bias based on it. June's family
judges the groom by his appearance, choosing a wedding present that matches his style, manners,
hair, body constitution and face. On top of all that they are against him from the very beginning
of the story that is clear when the author indicates the groom as a "common peril"

5. The text is written in 3rd person omniscient since the author plunges into reflections and
feelings of the acting characters.
According to the classification of compositional forms this text can be attributed to narration
which is interlaced with descriptive passages and reflextions of the characters

6. To set sarcastic and ironic mood the author uses following SDs: metaphors like
"they had taken arms against a
common peril", or simile "like cattle when a dog comes into the field" Metonymy "the author of
the uneasiness". On top of all that, the narrator compares the characters to animals at the zoo
which makes the reader distance themselves from those and observe them as if to be at the zoo
observing animals in cages.

7. As the extract is taken from the exposition of the story, no plot structure can be distinguished
here. The sequence of actions is chronological, so the plot structure technique can be attributed
to straight line narrative presentation

8. The text also contains retardation element. The author doesn't indicate the grooms name due
to some reasons whether to point out their indifference and disrespect toward him or to show that
they are somehow frightened. Furthermore last sentence of the passage is a bright element of
foreshadowing. There is a clear hint that unconscious will become conscious, and passive will
turn into active, which presupposes a peculiar connection of Irene with the couple in future

9. The passage can be subdivided into 3 logical parts: description of the family, description of
the couple, description of Irene.
Words and collocations used in the 1st part such as cattle, mysteriously united creates an image
of an unfriendly and aloof family the only common ground of which is their last name and
concernment about money.

The next part depicts appearance and manners of June and her fiancé. The latter is described with
these words: "curly hair" "rumpled appearance", "having a joke
all to himself". Author makes us understand that he is aware of the fact that he stands out from
the crowd and all the attention is drawn to him. Still being under pressure he cracks jokes to
himself, making it clear to the reader that he isn't anxious at all, and even makes them feel
uneasy intentionally.
June yet is shown to be on the crossroads between her family and her fiancé and tries to protect
him. The Autor describes her a fearless, lively and sturdy thus comparing her to a lion.

The last part is completely dedicated to Irene. A tall woman, with a beautiful figure , shadowy
smile, compared to a heathen goddess. All the passage contains alliteration of hissing and
whistling sounds, directing reader's minds to perceive her as a snake.

10. The most blatant symbol given by the author is the title of the story. Not property of the man,
but rather "the man of property" that directly aims at the dependency of people on finances and
property. But here property also takes another connotation, Irene is perceived by her husband as
a mere form of property. By this symbol Galsworthy wants to show the consequences of such
attitude towards people and possession and makes the reader ponder on it.

Poppy Seeds
1. Jerome Advanier was a German writer of the 1st part of the 20th century. He lived and wrote
during that time period.
2. The story revolves around a woman whose abusive husband suffers a breakdown after seeing
poppies outside their house. She reflects on her past lover, who had introduced her to poppies
and promised her an escape. She realizes that her husband killed her lover and buried him in the
outhouse, where she finds bones under the poppies.
3. The author addresses issues such as the social status of women in the 20th century, true love,
and the role of love, faithfulness, and infidelity within families.
4. And the main idea can be expressed in the one short sentence: "The truth will always come
out".
5. The story is written in 3d person limited as the woman is the only central figure and the reader
sees and feels only her emotions. The compositional form of the text is narration with elements
of description. The principle the text is built on is the principle of reccurence.
6. The prevailing mood of this short story is enegmatic and tragic or pessimistic. It can be
determined by the description by the couple's relationship "ten years, he ill-treated her
throughout their marriage, "her inability to share her anguish " , she had experienced no
emotions at all.
7. Since this is a complete short story we can speak about plot structure. The exposition starts at
the point where the woman sees flowers. At the same time we are introduced to the setting of the
story. "Old dilapidated place" mirrors the relationship of the couple and the inner state of hers
8. As long as the story contains a flashback scene it's safe to say that the plot structure technique
is a complex narrative structure. What's more the place doesn't change while the attitude of the
woman does by the end. The story is also complicated with circular latter as it starts and ends in
the bedroom by her husband. Still her emotional state differe drastically. Once Dried up inside
she is described with curiousity in her face. Furthermore she occurs to be a round character
since she's got through the conflict of duty and desire and decided to keep the farm.
9. The title is a bunch of symbols that contribute to the leit-motive of the story. Firstly poppies
which symbolize memory and suggest some past remembrance . Then poppy seeds represent
grains of truth that is revealed at the end. Thus we can state it to include an element of
foreshadowing that suggests that the truth will come out and everyone will get what they
deserve.

The main idea is encapsulated in the phrase "The truth will always come out." The story is written
in the third person limited perspective, focusing on the woman's emotions. It is composed of
narration with descriptive elements and follows a principle of recurrence. The prevailing mood is
enigmatic and tragic or pessimistic, reflected in the couple's relationship and the woman's
emotional state. The plot structure includes an exposition with the introduction of the setting,
which mirrors the relationship of the couple and the woman's inner state. The story employs a
complex narrative structure with a flashback scene, and it is complicated by a circular narrative,
starting and ending in the bedroom with the woman's emotional transformation. The woman is a
round character who goes through a conflict of duty and desire and decides to keep the farm. The
title includes symbols such as poppies, representing memory and past remembrance, and poppy
seeds, symbolizing grains of truth that are revealed at the end. These symbols foreshadow that the
truth will be revealed, and justice will be served.

The Invisible Japanese Gentlemen

1. Graham Greene, (born October 2, 1904, Berkhamsted, Hertfordshire, England—died April 3,
1991, Vevey, Switzerland), English novelist, short-story writer, playwright, and journalist whose
novels treat life's moral ambiguities in the context of contemporary political settings.

Greene travelled the world extensively and was recruited by MI6 as a result. He worked for the
agency for four years. Often Greene would use his travels to inspire the settings and characters of
his fiction. It would not be unusual for Greene's novels to be set worldwide, from Cuba to
Vietnam and beyond. Another significant influence on Greene's books was his Catholicism. His
novels would usually include a character going through a moral or spiritual crisis, like the novel
The Power and the Glory (1940).

2. The story goes about a couple in a restaurant that is observed by the narrator. Between them
occurs a company of eight Japanese gentlemen who are einjoying their dinner. Meanwhile the
couple is having a serious conversation that the narrator catches from time to time and finds out
that the girl turns out to be a writer as well as he is.

3. The main idea of the story is to show that society is a dynamic structure where novelties are
just a matter of time. So one should be ready to accept or at least tolerate current tendencies and
realities.

4. These excact tendencies and realities are the problems of the story. Gender roles, generation
gap, contradiction between eastern and western cultures and many others ensuing

5. The story is given in the 1st person. Still we can't say for sure if he is reliable or not since he's
getting through a conflict of competing desires and cannot determine whether to envy her or to
be happy for her achievements as a writer
According to the classification of compositional forms this text can be attributed to description
with dynamic dialogues inserted to create the volume that makes the story seem to be narration.

6. The prevailing mood of the story is ironical, since the author satirizes the girl's attentiveness
and observation skill that she is so proud of. Having looked at the Japanese gentlemen several
times, she still wonders what Japanese her fiancé speaks about. Furthermore Greene uses
antithesis when comparing their physical appearance to their manners and behaviour. Oringinally
the woman is described as "pretty, petite and miniature" and the man is compared to a young
officer in Nelson's navy for whom weakness and sensitivity are no bar to promotion. They are
seen as if to be a perfect couple, where everyone is doing their part. And as soon as they start to
talk to each other expectations about them are broken. Her harsh way of speaking, persistence
and sometimes excessive self-confidence and him being calm, evasive and depending on the
opinion of others suggest their change of roles. To highlight the ridiculousness of this the author
uses metaphor :he was doomed to defeat

7. Being a passage from a whole story, it has no particular plot structure, still we can determine it
to be a straight line narrative presentation

8. Surely the principles used in the text are analogy and contrast, which is represented through
the vivid difference between the couple and the Japanese gentlemen, and recurrence, that is
expressed with multiple mention of Japanese who at first seem to be insignificant but turn out to
be the element of irony satirizing the woman and her excellent observation skills

10. Except from expressing irony Japanese gentlemen also come to be representatives of eastern
society, where traditional values prevail. It can clearly be seen in their manners. Thus they are
also counterposed to the couple whose perspectives are rather different.

12. The title is a bright element of irony, by means of which the author ridicules the main
character and counterposes her to the Japanese gentlemen

Death of a Hero
The text under analysis is an excerpt from the novel "Death of a hero by Richard Aldington. It
was his 1st novel published in 1929 and thought to be autobiografical since the author took part
in World War 1st himself.
Richard Aldington is an essaist, writer and poet. Since 1912 his work has been associated with
the Imagist movement. He is considered to be one of the representatives of Imagism as a literary
movement. His participation in the war radically changed his view of life and put an imprint of
hopelessness on his work. During his literary life the writer created 7 novels, the most eminnet of
them is considered to be "Death of a Hero". It's dedicated to the so-called lost generation and is
about how the Beautiful and the Sublime dies and the Hypocritical reigns.

2. In this work the author describes the world from 2 opposite sides, the beauty of peace on the 1
hand and the horrors and consequences of war on the other. This is indicated by the contrast of
vocabulary between 2 parts. For instance, such words as delight" „ecstasy", "loveliness" "tender"
given in the first part to instill a sense of pacification, tranquility, happiness, which cannot be
said about the second part in which the contradictory nature of the work can be traced. It is
represented with such words as bitterness, avarice, despair.

3. The problem raised in the text is quite discernable. Consequences of war that are vividly
described here make the reader clearly see what happened to people who had to go through that
nightmare. No more sense in life, no more normal way of living, change of values, no certainty
about the future. Those things shaped the next generation, changing their lives drastically.

4. The main idea is to show 2 absolutely opposite sides of life which are war and peace. And by
comparing and describing them author claims that there's nothing perpetual. Life is a dynamic
essence which presupposes that it consists of cycles of good and bad, of calm and hectic. It can't
stay always in the same position.
5. The extract is written in 3rd person narration, which makes it trasparently clear to see the
whole picture due to the numerous details described. The author gives his view on what he also
saw with his own eyes. According to the classification of compositional forms this text can be
attributed to the description that is clear due to numerous adjectives and lack of dynamic.

6. The prevailing mood of the text is mostly pessimistic and emitional, though that mood is
indicated in the second smaller part, it still leaves a larger trace than the first positive and
sentimental paragraph.

7. As it is an extract from a story, we can trace no plot structure but as a part of a whole text it is
an exposition.

8. Concerning the plot structure techniques it is safe to say that we see here a straight line
narratibe presentation and gradual xhange of details from bright and optimistic to emotional and
pessimistic.

9. As for presentational sequencing we can indicate flashbacks , esp due to Past Perfect tense
used

10. The text begins with a variety of trops, mainly metaphors, for instance: the lilcas had just
unfolded their pale hearts" "the daffodil which has a pointed ruff of white petals to display its
gold head" author uses them to convey the beauty of peace and to make further contrast more
vivid. After a rich description of unimaginable nature with various stylistic devices filling the
text with figurativeness a sharp unexpected contrast occurs. The former bright joyful atmosphere
turns into the tonality of regret and sadness. The 2nd part of the text strikes with the complete
opposite, which is clearly expressed through the used epithets such as appalling, deadly ,
regretfully, foul. All this carries a depressive mood, instills the fear that people create in
conditions of war

11. The author's main tool of symbolism is flowers which accompany the reader through all the
passage in the 1st part as well as in the 2nd one. Flowers are people, innocent people who died or
faded away during the war and of whom "the conqueror" would probably not think regretfully
and tenderly.

13. The title itself presupposes a death of a person which is a foreshadowing. The hero is unknown
which makes us consider it to be everyone who's gone through these horrendous events.

The One Who Waits

1. Ray Bradbury was born in Waukegan, Illinois, on August 22, 1920. Bradbury had an
enjoyable childhood where he spent much of his time with family, going to the local library, and
reading. As a child, Bradbury loved fantasy fiction, particularly the works of Jules Verne, Edgar
Rice Burroughs, and L. Frank Baum. His family encouraged his love of fantasy, and their
enthusiasm created memories that Bradbury would later incorporate into his writing. He enjoyed
attending carnivals to see the magicians as a source of inspiration. Real-world events such as the
Great Depression and World War II also impacted his writing. As a result he has become an
American author best known for highly imaginative short stories and novels that blend a poetic
style, nostalgia for childhood, social criticism, and an awareness of the hazards of runaway
technology.

2. The action in the story takes place on Mars, where a crew of earth dwellers come to a well that
is inhabited by a soul that is waiting there for sth new. The soul possesses bodies of the crew
members one by one killing them when they start to resist it. Once all of them are dead it returns
back to the well and waits for sth new.

5. The text is written in 1st person. And we can state it to be unreliable as the creature's language
style is given in short sentences as if to be childish and frivolous. Also it changes reader's
perception of it. At first it seems to be a calm, harmless being but as it switches bodies, killing
them the reader understands that the creature should not be trusted.
Later throught the story we can see the shift from 1st person singular to 1st person plural as well
when it possesses all the bodies at once.

The story is written in tense that is called “historical present”. The author depicts past events as
if they were in the present to create suspense, routine, which implies the life of the soul, circle of
life possession-death,. It makes the narration vivid and natural on the one hand. On the other
hand, verbs in present or present simple can express an elected future action. Everything goes
according to the plan of the creature.
According to the classification of compositional forms this text can be attributed to narratiom
interlaced with dialogues of the personages

6. To set a mysterious and alarming mood author uses a great number of similes for instance
"live like smoke”, “like vapour”, “fall like rain”, “hang like a flower pollen”, “turn like a wheel”,
“hover like a dust”. used with numerous and widely varying verbs, denoting this mystical
creature's strange states and actions. At the very 1st line we can also see gradation which author
uses to create some kind of suspense and tension.

7. Although it is a passage it has a complete plot structure since there is a sequence of actions
with a logical ending as a constituent part of the story. While reading we can trace exposition,
development of actions, climax when the captinan of the crew shoots himself in an attempt to
resist the soul, and resolution.

8. The vivid resemblence of the beginning and the ending determines circular pattern of the
extract, which emphasizes routine life and repeating cycle of the actions of the creature and
makes reader understand that it has killed many crews before and will do it again and again.

10. At the beginning of the story the creature describes its senses and state. " I am sad and I am
old". " I wait in cool silence and there will be a day when I no longer wait". From here we get to
know that it is too old and is striving to stop waiting and to do sth except from it. That is why it
is ready to do anything for his own freedom. After killing all the crew members and getting back
to the well the creature feels nothing but a renewed desire to stop waiting. For the creature it is
always a fresh start which is clearly distinguished at the ending where it uses indefinite article
again "I live in a well". Thus we can surely say that the creature is flat, as it has no inner conflict
that is resolved. The creature is so due to the age mostly.

11. To convey his message Bradbury uses plenty of symbols, most of which are colours. The
first most blatant colour is red, the colour of Mars. It implies danger and blood and gives a
warning sign. Opposed to this colour we see the golden one, and to be precise the golden tan of
people who came to this planet. It directly indicates prosperity and affluence and thus
conuterposes people to that bodiless creature. And here we can define the problem. Though
humanity has succeded in technological development they are still helpless bodies without its
products. Their souls' power isn't enough to deal with the Mars inhabitant. That's why they can't
handle it and die. Even when they are supposed to be the most rational creatures in the world
they are nothing against the soul. Thus Bradbury encourages people to develop not only mentally
but also spiritually to be capable of tackling any hindrance that is always waiting for them
12. As for the title, author intentionally changes the perspective to creare distance and thus to
exalt the creature above others, highlighting its uniqueness.

The Macbeth Murder Mystery

James Thurber was a humorist, cartoonist, author, playwright, and journalist known for his
quirky and relatable characters and themes. One of the foremost American humorists of the 20th
century, his inimitable wit and pithy prose spanned a breadth of mediums and genres, including
short stories, illustrations, modern commentary, fables, children's fantasy, and letters. Many of
Thurber’s drawings and stories first appeared in The New Yorker.

2. In the short story ‘The Macbeth murder mystery’ an Englishman, who is also a narrator,
meets an American lady while he is staying at a hotel in the English lake country. She tells him
she purchased a Penguin book called "The Tragedy of Macbeth", thinking it was a detective
story, and was annoyed to find out it was a Shakespeare play. She read it as there was nothing
else to read, one night. She says that the real murderer was Duncan, not Macbeth or Lady
Macbeth. The writer is amazed. He reads the play again himself but comes up with another
solution. He suspects it was Lady Macbeth's father who committed the crime.
3. The author tries to remind the reader how important it is to be able to see one thing from
different angles and to avoid stereotypical thinking.

4. The main problem raised in the text is lack of critical thinking thus inability to look at the
situation from a different angle. Also the author arises typical stereotypes about American and
English people.

5. The text is written in 1st person. We can assume the narrator to be reliable one even
though he doesn’t loose a chance to mock the woman. However he’s able to think objectively
and avoid judging and bias. According to the classification of compositional forms this text can
be attributed to narration with some dynamic dialogues (inserted to create some volume).
6. The author creates an ironic mood from the very beginning as he combines a well-known
title of ‘the Tragedy of Macbeth’ with a very common title for detective stories ‘murder
mystery,. So, the reader has a set of expectations. He never calls the woman by the name, using
only mockery things like ‘the murder specialist’, my companion, my informant’. Besides,
contrasting the characters the author arises some stereotypes of these two cultures. The
Englishman is depicted as restrained, patient, polite, educated gentleman whereas the American
lady is talkative, shallow and ill mannered as she’s constantly interrupting him. As the woman is
used to reading detective stories, she reads Sheakspear’s masterpiece in the same way. While the
man, who is very familiar with the play, still has managed to look at the plot from different angle
and to follow the woman’s lead.
7. As the text begins with the middle of their conversation, we can identify here open linear
plot structure.
8. The text includes different types of principles. For example, principle of recurrence, the
principle of incomplete representation as the characters are described indirectly through their
manner of speech and nationalities. Analogy and contrast are expressed in their difference too.
9. In the first sentence the foreshadowing can be identified as the woman mentions the
book, which is discussed further in the story.
10. As for the devices allusion and alliteration can be traced in the title of the story. The
woman’s speech is also full of omissions which transmit her manner of speech. The author also
mocks the reader.
the Ant and the Grasshopper

1. W. Somerset Maugham, (born Jan. 25, 1874, Paris, France—died Dec. 16, 1965, Nice),
English novelist, playwright, and short-story writer whose work is characterized by a clear
unadorned style, cosmopolitan settings, and a shrewd understanding of human nature.
Maugham trained as a medical doctor at St. Thomas's hospital's medical school, London, but
then decided to become a full-time writer. He wrote many works including such well-known
ones as Liza of Lambeth (1897), The Magician (1908), Of Human Bondage (1915), The Moon
and Sixpence (1919), Cakes and Ale (1930) and The Razor's Edge (1944).

2. The story goes about 2 brothers who are absolutely different in character. One is hardworking,
responsible, diligent and patient still the other is hedonistic and frivolous, and does everything to
live off other people. And while the 1st one expects his brother to finally fail, the latter receives a
large inheritance from his old mistress and carries on to relish his life.

3. The author directs us to ponder on life and its injustice. It isn't always what we want it to be,
it's full of coincidence, luck and failure sometimes regardless of one's effrot and struggle.

5. The text is written in 1st person. And we can assume the narrator to be entrusted one, as his
opinion to the situation is objective, though he feels empathetic to the elder brother.
According to the classification of compositional forms this text can be attributed to narration
with descriptive passage, inserted into the storyline.

6. To create an ironic mood the author refers to the fable by La Fontain " The Ant and the
Grasshopper". At the very beginnig he makes the reader believe that the story will end up
analogically, and keeps the one in anticipation of Tom's failure. And unexpectedly for everyone,
Tom becomes the luckiest hero in the story, which makes his envious brother look even more
miserable. To emphasize metaphor "burst into a shout of laughter" is used to describe the
narrator's reaction to the outcome.

7. The story has complete plot structure since there is a sequence of actions with a logical ending
as a constituent part of the story. While reading we can trace exposition, development of actions,
climax, when George reveals an unexpected ending of Tom's journey, falling action. We can
even indicate here some kind of a prologue, which is the introductory part where the author
refers to the fable on which the whole story is based. Thus he creates one more aspect for
analysing which is intertextuality, that presupposes one fable inserted into another, and without
knowing the 1st the reader won't be able to understand the entire story completely.

8. The story is given in chronological order that's why we can surely name it to be linear plot
structure.

9. Still it is complicated due to retardation and foreshadowing elements. The first one appears as
the story is compared to the fable, making the reader expect Tom's failure at the end, which
actually doesn't happen. The latter is hidden in the very title, that occurs to be allusion to the
storyline, it represents the characters of the story, gives us an expectation that later will be
broken. It also implies the principle of recurrence

10. Both brothers though being almost peers and being raised in the same family and the same
conditions turn out to be completely different. Here we can trace one more principle of analogy
and contrast. The Author uses opposite adjectives to describe them: honest, industrious for George
and worthy and thoughtless,selfish and for Tom. Even though George is a better person, has a
beloved family and is also wealthy, he is still jealous because he has to work for this unlike his
brother. This indicates a conflict of duty and desire which is not resolved, but we can't call him a
round or a flat charchter. The same can't be said about his brother, who has overcome the same
kind of conflict, choosing between hardwork and hedonism in favour of the latter. Though his
character is quite contradictory since for a long period of time he does not develop and rath