EL3221: Literary Stylistics
Discussion date: 6th September 2005
Relevant lecture notes: 2, 3 & 6.
This is a continuation of the previous tutorial. We will be dealing with the D. H. Lawrence passage again. You should draw to a close your discussion of whatever parts of speech you have not managed to complete in the last tutorial. You should also extend your analyses to morphemes, lexical items, numerals, possessive case, pronouns and determiners — are they of significance in your interpretation of the passage and in the creation of its emotional atmosphere? You should also extend your discussion to the clause as found in the third and sixth lecture notes, and to the sentence. If you have the time, you may want to briefly extend the discussion to the Emily Dickinson poem that follows the prose passage.
Like your previous tutorial, the technicalities discussed in this tutorial are relevant for your take-home essay, As in the previous tutorial, I hope the tutorial will give you good preparation for interpreting the technical features in the context of a given text.
►Project: Tentative titles
Everything seemed so different, so unreal. There seemed no reason why people should go along the street, and houses pile up in the daylight. There seemed no reason why these things should occupy the space, instead of leaving it empty. His friends talked to him: he heard the sounds, and he answered. But why there should be the noise of speech he could not understand.
He was most himself when he was alone, or working hard and mechanically at the factory. In the latter case there was pure forgetfulness, when he lapsed from consciousness. But it had to come to an end. It hurt him so, that things had lost their reality. The first snowdrops came. He saw the tiny drop-pearls among the grey. They would have given him the liveliest emotion at one time. Now they were there, but they did not seem to mean anything. In a few moments they would cease to occupy that place, and just the space would be, where they had been. Tall, brilliant tram-cars ran along the street at night. It seemed almost a wonder they should trouble to rustle backwards and forwards. "Why trouble to go tilting down to Trent Bridges?" he asked of the big trams. It seemed they just as well might NOT be as be.
The realest thing was the thick darkness at night. That seemed to him whole and comprehensible and restful. He could leave himself to it. Suddenly a piece of paper started near his feet and blew along down the pavement. He stood still, rigid, with clenched fists, a flame of agony going over him. And he saw again the sick-room, his mother, her eyes. Unconsciously he had been with her, in her company. The swift hop of the paper reminded him she was gone. But he had been with her. He wanted everything to stand still, so that he could be with her again.
The days passed, the weeks. But everything seemed to have fused, gone into a conglomerated mass. He could not tell one day from another, one week from another, hardly one place from another. Nothing was distinct or distinguishable. Often he lost himself for an hour at a time, could not remember what he had done.
One evening he came home late to his lodging. The fire was burning low; everybody was in bed. He threw on some more coal, glanced at the table, and decided he wanted no supper. Then he sat down in the arm-chair. It was perfectly still. He did not know anything, yet he saw the dim smoke wavering up the chimney. Presently two mice came out, cautiously, nibbling the fallen crumbs. He watched them as it were from a long way off. The church clock struck two. Far away he could hear the sharp clinking of the trucks on the railway. No, it was not they that were far away. They were there in their places. But where was he himself?
The Soul selects her own Society —
Then — shuts the Door —
To her divine Majority —
Present no more —
Unmoved — she notes the Chariots — pausing
At her low Gate —
Unmoved — an Emperor be kneeling
Upon her Mat —
I've known her — from an ample nation —
Choose One —
Then — close the Valves of her attention —
Like Stone —
Previous tutorial || Next tutorial
Last revised: 16 December 2005