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11. Choice of words. 12. Stylistic devices. 13. Syntax. Sample I. Stylistic Analysis of While the Auto Waits. by O. Henry
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11. Choice of words.
12. Stylistic devices.
13. Syntax.
14. Appraisal part - where you are to express your general impression on the whole idea of the text, on the text in general, on the author’s style, on the characters introduced.
Sample I
Stylistic Analysis of While the Auto Waits
by O. Henry
The author of the story under discussion is O. Henry – an American writer. O. Henry's short stories are known for witty narration, wordplay, warm characterization and clever twist endings. Most of O. Henry's stories are set in his own time, the early 20th century. Many take place in New York City and for the most part deal with ordinary people: clerks, policemen, waitresses, etc. O. Henry had an inimitable hand for isolating some element of society and describing it with an incredible economy and grace of language.
The story under analysis is a brilliant example of O. Henry’s style. By genre it’s a social and psychological short story.
The theme of social inequality and the senselessness of upper classes’ lifestyle are revealed through the text. -stylelassese sensgroup.
est fears and desires of the protagonist numerous exclamatory sentences, represented speech
The story is written in an ironic key, the following examples prove this: “burnt sacrifices to the great joss, Lucky”, “the vassal of Luck”, “…remark upon the weather that introductory topic responsible for so much of the world’s unhappiness”. The unexpected end of the story produces highly humorous effect.
The text presents a piece of a third-person narration and skillfully comprises such types of narration as description, dialogue and account of events.
The choice of words is neutral, but the language of main heroes contains colloquial and bookish words, this emphasizes the difference of their social status.
The exposition of the story produces the mysterious effect. The peculiar choice of words supports the atmosphere of secret: “promptly at the beginning of twilight”, “to mask”, “a large meshed veil imprisoned her turban hat and a face” and the repetition of the word “quiet” strengthens this idea: “that quiet corner of that quiet, small park”. The author draws our attention to an ordinary unnoticeable from the first glance girl with the help of inversion: “came again…the girl in gray” and repetition: “To repeat: Her dress was gray, and plain enough to mask its impeccancy of style and fit”.
The girl comes to the park very often and to emphasize it O. Henry uses parallel construction: “at the same hour on the day previous, and on the day before that, and there was one who knows it”.
And the young man is first introduced, O. Henry doesn’t give us direct description of this man from the very beginning, he uses indirect methods of characterization through metaphors: “the vassal of Luck”, particular choice of verbs and irony: “hovered, relying upon burnt sacrifices to the great joss, Luck”, “pounced upon it with instant avidity”, prolonged metaphors: “with that air that seems to flourish in parks and public places”, “a compound of gallantry and hope, tempered with respect for the policeman on the beat”.
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The girl looks at him leisurely “at his ordinary, neat dress and his features distinguished by nothing particular in the way of expression”.
But the plain ordinary style of their clothes is the only thing they have in common. Their behaviors contrast with each other: the girl behaves like an aristocratic lady, speaking in “deliberate contralto” and “icy tones”, deliberately mispronouncing his surname, using bookish style: “You may sit down, if you like”, “you must remember that I am a lady. I will excuse the remark you have just made because the mistake was, doubtless, not an unnatural one – in your circle. I asked you to sit down; if the invitation must constitute me your honeysuckle, consider it withdrawn. ” With the help of the detached litotes: “not an unnatural one – in your circle” she stresses the social gap between her and the young man. The young man, as an antithesis to her, speaks colloquial language: “stunningest girl”, “honeysuckle”, “had my eye on you”, “pretty lamps of yours”, and at last he feels “penitence and humility”.
The girl confides her story to that man. She belongs to “the holy of holies”, this hyperbole convinces the reader of her noble origin. She is fed up of high society, its constant foolish entertainments, attentions of dukes and princes, spoiled by “the despicable gloss of wealth and supposed social superiority”, she is “sick of pleasure, of jewels, of travel, of society, of luxuries of all kinds”. The used gradation makes us believe in her extraordinary wealth and nobility. And all she dreams of is to talk with “a natural man”, or to love a man of lowly station.
At the end of the story the author leads us to the abrupt and unexpected end of the story: the secret is revealed, the masks are torn off, and all the actors come to their colourless existence.
This story is full of vivid, witty and detailed description of characters and situation, which is characteristic of O. Henry’s talent as a short stories’ writer.
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