lit. room: Analysing Literature: LITERARY DEVICES

seribulan

a'kum..

since I'm a linguistics n literature graduate... i'll try my best to assist anyone who has problem in this subject...

a bit on definition

literature
     n 1: creative writing of recognized artistic value
     2: the humanistic study of a body of literature; "he took a
        course in French literature"
     3: published writings in a particular style on a particular
        subject; "the technical literature"; "one aspect of
        Waterloo has not yet been treated in the literature"
     4: the profession or art of a writer; "her place in literature
        is secure"


Source: Webster's Revised Unabridged Dictionary (1913)

Literature \Lit"er*a*ture\, n. [F. litt['e]rature, L.
   litteratura, literatura, learning, grammar, writing, fr.
   littera, litera, letter. See Letter.]
   1. Learning; acquaintance with letters or books.

   2. The collective body of literary productions, embracing the
      entire results of knowledge and fancy preserved in
      writing; also, the whole body of literary productions or
      writings upon a given subject, or in reference to a
      particular science or branch of knowledge, or of a given
      country or period; as, the literature of Biblical
      criticism; the literature of chemistry.

   3. The class of writings distinguished for beauty of style or
      expression, as poetry, essays, or history, in distinction
      from scientific treatises and works which contain positive
      knowledge; belles-lettres.

   4. The occupation, profession, or business of doing literary
      work. --Lamp.

[ Last edited by seribulan on 8-1-2004 at 06:16 PM ]

seribulan

William Shakespeare

--------------------------------------------------------------------------------

To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death.
Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

William Shakespeare
[Macbeth, V. i. 19.]






keywords:
candle , creeps , death , dusty , fools , frets , fury , hour , idiot , lifes , lighted , pace , petty , player , poor , recorded , shadow , signifying , stage , struts , syllable , walking , yesterdays

mbhcsf

okay dear La Lune..
tell me a bit more about those characters in  EMMA by JAnne Austen especially EMMA Woodhouse and not to mention Mr Knightley .

Why Jane austen is so good at writing those type of novels ?
what are the strength in her writings which are so engaging ?
next topic
PRIDE AND PREJUDICE

seribulan

amboit...first customer...
punya power ranger question..
ni kena bukak note balik...
thanx M...
i'll be posting the answer...
ni tgh mamai lagik..
still brain-dead...
heheheheh...

seribulan

Jane Austen's Writings
"There's a tendency for people to view the sudden popularity of Jane Austen as a reaction against some feature of current society. I think the phenomenon runs deeper than that. You don't have to be running or recoiling from something else to feel delight upon discovering Jane Austen."
-- Karen P. on AUSTEN-L
"Jane Austen can in fact get more drama out of morality than most other writers can get from shipwreck, battle, murder, or mayhem."
-- Ronald Blythe

seribulan

Characters whose names are in parentheses died before the period of the main action of the novel

Woodhouses and Knightleys
Mr. Henry Woodhouse === (Mrs. Woodhouse)
                     |
            +--------+-------+              +------------------+
            |                |              |                  |
            |                |              |                  |
     Emma Woodhouse      Isabella === John Knightley   George Knightley
                                   |                      ELDEST SON
                          +-----+--+--+-----+-----+
                          |     |     |     |     |
                        Henry John  Bella George Emma

Westons and Churchills
                                   +---------------+
                                   |               |
                                   |               |
Anne Taylor/ ===  Mr.  === (Miss Churchill)  Mr. Churchill === Mrs. Churchill
Mrs. Weston   |  Weston |                     of Enscombe
              |         |
            Anna     Frank Weston
           Weston     Churchill

Fairfaxes and Bateses, Campbells and Dixons
       Mrs. Bates
            |
      +-----+------+
      |            |
Hetty Bates  (Jane Bates) === (Lieut.       Colonel === Mrs. Campbell
                            |  Fairfax)     Campbell  |
                            |                         |
                       Jane Fairfax          Miss Campbell/ === Mr. Dixon
                                               Mrs. Dixon

Suckling, Hawkins, and Elton
                          +-------------------+
                          |                   |
   Mr. Suckling === Selina Hawkins     Augusta Hawkins === Mr. Elton

seribulan

Emma "works"somewhat differently from Austen's other realistic prose narratives. Austen still exploits the differences between psychological and calendar time to pace her book and our response to it, and she paces the events of the book in a closely intertwined way with detailed references that move back and forth in time; she still introduces but one new turn at a time. However, in this book she pays attention to seasons as well as the artificial calendar, she plays hidden games with the reader, and at turn in the narrative time is allowed to seem to float free (although a study of all the references to time shows that Austen is still using her almanac to attach narratives consistently to one another across hundreds of pages.

There are two explanations for this. First Emma was never written as an epistolary novel over a sequence of time. Individual letters (like Frank's at the end) were always planned to be "dropt" into the book. Second the book is very indirect; Austen is coy, hidden; she is intensely concerned to marginalise some of her stories so we only see them out of her heroine's eye. The hidden nature of the calendar is of a piece with the book's silences and Austen's distance from this heroine.

seribulan

Summary
The story of Highbury and its residents is told from two different perspectives. Jane Austen's Emma is an unflinching look at a wealthy young woman who tends to meddle.

Author Biography
Jane Austen was born in 1775 to the Reverend George Austen. The seventh of eight children, Jane's childhood was a happy and fairly retired one. Although she did have a period of formal education, most of her education was garnered through the home. She shared a close relationship throughout her life with her older sister Cassandra. After having written six full-length novels and a number of minor works, as well, Jane Austen died in 1817 at the age of 41.

seribulan

Analysis of Major Characters

Emma Woodhouse - The narrator introduces Emma to us by emphasizing her good fortune: "handsome, clever, and rich, with a comfortable home and happy disposition," Emma "had lived nearly twenty-one years in the world with very little to distress or vex her." But, the narrator soon warns us, Emma possesses "the power of having rather too much her own way, and a disposition to think a little too well of herself." Emma's stubbornness and vanity produce many of the novel's major conflicts, as Emma struggles to develop emotionally.
Emma makes three major mistakes. First, she attempts to make Harriet into the wife of a gentleman, when Harriet's social position dictates that she would be better suited to the farmer who loves her. Then, she flirts with Frank Churchill even though she does not care for him, making unfair comments about Jane Fairfax along the way. Most important, she does not realize that, rather than being committed to staying single (as she always claims), she is in love with and wants to marry Mr. Knightley. Emma's mistakes seriously threaten Harriet's happiness, cause her embarrassment, and create obstacles to her own achievement of true love, but none of them has lasting consequences. Throughout the novel, Knightley corrects and guides Emma, and, in marrying Knightley, Emma signals that her judgment has aligned with his.
Austen predicted that Emma would be "a character whom no one but me will much like." Though most of her readers have proven her wrong, Austen's narration creates many ambiguities. The novel is narrated using free indirect discourse, which means that, although the all-knowing narrator speaks in the third person, she often relates things from Emma's point of view and describes things in language we might imagine Emma using. This style of narration creates a complex mixture of sympathy with Emma and ironic judgment on her behavior. It is not always clear when we are to share Emma's perceptions and when we are to see through them. Nor do we know how harshly Austen expects us to judge Emma's behavior. Though it creates problems of interpretation for the reader, this narrative strategy makes Emma a richly multidimensional character.
Emma does not have one specific foil, but the implicit distinctions made between her and the other women in the novel offer us a context within which to evaluate her character. Jane is similar to Emma in most ways, but she does not have Emma's financial independence, so her difficulties reinforce Emma's privileged nature. Mrs. Elton, like Emma, is independent and imposes her will upon her friends, but her crudeness and vanity reinforce our sense of Emma's refinement and fundamentally good heart. Emma's sister, Isabella, is stereotypically feminine梥oft-hearted, completely devoted to her family, dependent, and not terribly bright. The novel implicitly prefers Emma's independence and cleverness to her sister's more traditional deportment, although we are still faced with the paradox that though Emma is clever, she is almost always mistaken.

Mr. Knightley - Mr. Knightley serves as the novel's model of good sense. From his very first conversation with Emma and her father in Chapter 1, it is clear that his purpose is to correct the excesses and missteps of those around him. He is unfailingly honest but tempers his honesty with tact and kindheartedness. Almost always, we can depend upon him to provide the correct evaluation of the other characters' behavior and personal worth. He intuitively understands and kindly makes allowances for Mr. Woodhouse's whims; he is sympathetic to and protective of the women in the community, including Jane, Harriet, and Miss Bates; and, most of all, even though he frequently disapproves of her behavior, he dotes on Emma.
Knightley's love for Emma梩he one emotion he cannot govern fully條eads to his only lapses of judgment and self-control. Before even meeting Frank, Knightley decides that he does not like him. It gradually becomes clear that Knightley feels jealous梙e does not welcome a rival. When Knightley believes Emma has become too attached to Frank, he acts with uncharacteristic impulsiveness in running away to London. His declaration of love on his return bursts out uncontrollably, unlike most of his prudent, well-planned actions. Yet Knightley's loss of control humanizes him rather than makes him seem like a failure.
Like Emma, Knightley stands out in comparison to his peers. His brother, Mr. John Knightley, shares Knightley's clear-sightedness but lacks his unfailing kindness and tact. Both Frank and Knightley are perceptive, warm-hearted, and dynamic, but whereas Frank uses his intelligence to conceal his real feelings and invent clever compliments to please those around him, Knightley uses his intelligence to discern right moral conduct. Knightley has little use for cleverness for its own sake; he rates propriety and concern for others more highly.

Frank Churchill - Frank epitomizes attractiveness in speech, manner, and appearance. He goes out of his way to please everyone, and, while the more perceptive characters question his seriousness, everyone except Knightley is charmed enough to be willing to indulge him. Frank is the character who most resembles Emma, a connection she points out at the novel's close when she states that "destiny

seribulan

Originally posted by seribulan at 27/9/03 04:59 PM:
William Shakespeare

--------------------------------------------------------------------------------

To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To  ...

Soliloquy Analysis

The opposition of light and dark as symbols for life and death is the foundation upon which much of Shakesphere's Macbeth is built. In Act V Scene V of Macbeth, strong words covey all of these thoughts to the reader. The tone for Macbeth's speech is immediately set after hearing of the death of Lady Macbeth. Having lost his queen, and seeing his hopes turn to ashes, the bitter Macbeth now comments on life in caustic words. "Tomorrow creeps in this petty pace." The basic feel of this brings a negative connotation to tomorrow. Iit keeps coming slowly and slyly as if to attack. What exactly does this petty pace refer to? It is the progression of life, as Macbeth now sees it. This negative and dark imagery continues to grow because tomorrow is unrelenting. "[T]ommorow creeps...To the last syllable of recorded time." With these dreary remarks Macbeth presents his hopeless outlook. He feels the only way to end the pain of life is through death. "And all our yesterdays have lighted fools The way to dusty death." What can be taken from this is that from our earliest recollection, we are constantly being guided forward from yesterday to our death. If light is life, then the light just leads us to death. When these lines are read together it enables the reader to see the despair and agony Macbeth is now suffering. The past is pushing him ahead and the future is creeping in on him. He has nowhere in time or space to escape. Death is the only place left to go. "Out, out brief candle!" Lady Macbeth's candle has burnt out and soon his will also. Although he talks here about life being light (the candle flame), light is not desirable to him. He wants to extinguish it.

Macbeth is at the point in his life where he is now trapped by his fate. The consequences of his actions have caught up with him. This may very well be why he has such a dreary outlook on life. Life is associated with light but Macbeth is at a state where he sees no significance in having lived. " Life's but a walking shadow." Macbeth is saying here that one's life is dark and dreary, and that the light of life only serves to cast a dark shadow . " [A] poor player that struts and frets his hour upon the stage And then is heard no more." A person lives his life like a bad actor. He only get one chance on the stage, and he does a terrible job. "Struts and Frets his hour" says that everyone overdramatizes events. Life according to Macbeth is like this and it ends.... "Signifying nothing."

We can easily distinguish between what is life and what is death in the world of Macbeth through the interpretation of light/dark imagery. Towards the end of this play, however, it becomes difficult for me to relate to the character because he presents ideas in the direct opposite of what I generally associate with life and death. His feelings at this dismal point are that life is pain and he presents life with the imagery of darkness. The general connotation of death is one of darkness and sorrow. However, he now views it as an escape or an end to the darkness, possibly light. This reversal of the light and dark imagery Shakesphere uses causes me to have to stretch to relate to the character. By reaching to try and relate to Macbeth's agony, I see how Darkness/Evil blinded Macbeth and when he was no longer blinded, it was to late.

The use of light and dark imagery brings a heavy tone to this play. Although the traditional values of light for life and dark for death are used by Macbeth, as he starts to see that neither life nor death hold any meaning for him, the light becomes darker ( a shadow) and the opposition becomes weaker. His struggle for life ends and he starts to see life and death as a single tone of darkness. We feel his strong emotions, the heaviness of his heart and his sense of despair as he expresses that everything has lost it's light. When the opposition The opposition of light and dark as symbols for life and death is the foundation upon which much of Shakesphere's Macbeth is built. In Act V Scene V of Macbeth, strong words covey all of these thoughts to the reader. The tone for Macbeth's speech is immediately set after hearing of the death of Lady Macbeth. Having lost his queen, and seeing his hopes turn to ashes, the bitter Macbeth now comments on life in caustic words. "Tomorrow creeps in this petty pace." The basic feel of this brings a negative connotation to tomorrow. Iit keeps coming slowly and slyly as if to attack. What exactly does this petty pace refer to? It is the progression of life, as Macbeth now sees it. This negative and dark imagery continues to grow because tomorrow is unrelenting. "[T]ommorow creeps...To the last syllable of recorded time." With these dreary remarks Macbeth presents his hopeless outlook. He feels the only way to end the pain of life is through death. "And all our yesterdays have lighted fools The way to dusty death." What can be taken from this is that from our earliest recollection, we are constantly being guided forward from yesterday to our death. If light is life, then the light just leads us to death. When these lines are read together it enables the reader to see the despair and agony Macbeth is now suffering. The past is pushing him ahead and the future is creeping in on him. He has nowhere in time or space to escape. Death is the only place left to go. "Out, out brief candle!" Lady Macbeth's candle has burnt out and soon his will also. Although he talks here about life being light (the candle flame), light is not desirable to him. He wants to extinguish it.

Macbeth is at the point in his life where he is now trapped by his fate. The consequences of his actions have caught up with him. This may very well be why he has such a dreary outlook on life. Life is associated with light but Macbeth is at a state where he sees no significance in having lived. " Life's but a walking shadow." Macbeth is saying here that one's life is dark and dreary, and that the light of life only serves to cast a dark shadow . " [A] poor player that struts and frets his hour upon the stage And then is heard no more." A person lives his life like a bad actor. He only get one chance on the stage, and he does a terrible job. "Struts and Frets his hour" says that everyone overdramatizes events. Life according to Macbeth is like this and it ends.... "Signifying nothing."

We can easily distinguish between what is life and what is death in the world of Macbeth through the interpretation of light/dark imagery. Towards the end of this play, however, it becomes difficult for me to relate to the character because he presents ideas in the direct opposite of what I generally associate with life and death. His feelings at this dismal point are that life is pain and he presents life with the imagery of darkness. The general connotation of death is one of darkness and sorrow. However, he now views it as an escape or an end to the darkness, possibly light. This reversal of the light and dark imagery Shakesphere uses causes me to have to stretch to relate to the character. By reaching to try and relate to Macbeth's agony, I see how Darkness/Evil blinded Macbeth and when he was no longer blinded, it was to late.
The use of light and dark imagery brings a heavy tone to this play. Although the traditional values of light for life and dark for death are used by Macbeth, as he starts to see that neither life nor death hold any meaning for him, the light becomes darker ( a shadow) and the opposition becomes weaker. His struggle for life ends and he starts to see life and death as a single tone of darkness. We feel his strong emotions, the heaviness of his heart and his sense of despair as he expresses that everything has lost it's light.

gorgonz

thanks for the info...

seribulan

any thing to inquire???

mbhcsf

hey LA Lune  why do you think about the character Elizabeth Bennet in Pride and Prejudice?
In my opinion the author ( Jane austen) had succeeded in depicting her as a bright  and intelligent and sensible lady . I wonder whether these qualities are rarely uswed to describe a lady  during this Elizabethan period?

elizabethan or Victorian ? i lupa and tak tau laaa

seribulan

victorian...

nanti i post the answer..

mbhcsf

salam La Lunar
thank you

kalau u bz, i tolong paste pun ok.. hihihi

seribulan

Originally posted by helga`sinclair at 2/10/03 02:49 AM:
kalau u bz, i tolong paste pun ok.. hihihi

itu sudah bagus...thanx:nana::nana::nana:

seribulan

baru kenai ke ratu cut n paste nih...
ms. seribulan...hehehheeh....

for you M...

Jane Austen was born in Steventon, England, in 1775, where she lived for the first twenty-five years of her life. Her father, George Austen, was the rector of the local parish and taught her largely at home. She began to write while in her teens and completed the original manuscript of Pride and Prejudice, titled First Impressions, between 1796 and 1797. A publisher rejected the manuscript, and it was not until 1809 that Austen began the revisions that would bring it to its final form. Pride and Prejudice was published in January 1813, two years after Sense and Sensibility, her first novel, and it achieved a popularity that has endured to this day. Austen published four more novels: Mansfield Park,Emma,Northanger Abbey, and Persuasion. The last two were published in 1818, a year after her death.




During Austen's life, however, only her immediate family knew of her authorship of these novels. At one point, she wrote behind a door that creaked when visitors approached; this warning allowed her to hide manuscripts before anyone could enter. Though publishing anonymously prevented her from acquiring an authorial reputation, it also enabled her to preserve her privacy at a time when English society associated a female's entrance into the public sphere with a reprehensible loss of femininity. Additionally, Austen may have sought anonymity because of the more general atmosphere of repression pervading her era. As the Napoleonic Wars (1800–1815) threatened the safety of monarchies throughout Europe, government censorship of literature proliferated.

The social milieu of Austen's Regency England was particularly stratified, and class divisions were rooted in family connections and wealth. In her work, Austen is often critical of the assumptions and prejudices of upper class England. She distinguishes between internal merit (goodness of person) and external merit (rank and possessions). Though she frequently satirizes snobs, she also pokes fun at the poor breeding and misbehavior of those lower on the social scale. Nevertheless, Austen was in many ways a realist, and the England she depicts is one in which social mobility is limited and class- consciousness is strong.

Socially regimented ideas of appropriate behavior for each gender factored into Austen's work as well. While social advancement for young men lay in the military, church, or law, the chief method of self-improvement for women was the acquisition of wealth. Women could only accomplish this goal through successful marriage, which explains the ubiquity of matrimony as a goal and topic of conversation in Austen's writing. Though young women of Austen's day had more freedom to choose their husbands than in the early eighteenth century, practical considerations continued to limit their options.

Even so, critics often accuse Austen of portraying a limited world. As a clergyman's daughter, Austen would have done parish work and was certainly aware of the poor around her. However, she wrote about her own world, not theirs. The critiques she makes of class structure seem to include only the middle class and upper class; the lower classes, if they appear at all, are generally servants who seem perfectly pleased with their lot. This lack of interest in the lives of the poor may be a failure on Austen's part, but it should be understood as a failure shared by almost all of English society at the time.

In general, Austen occupies a curious position between the eighteenth and nineteenth centuries. Her favorite writer, whom she often quotes in her novels, was Dr. Samuel Johnson, the great model of eighteenth-century classicism and reason. Her plots, which often feature characters forging their respective ways through an established and rigid social hierarchy, bear similarities to such works of Johnson's contemporaries as Pamela, written by Samuel Richardson. However, Austen's novels also display an ambiguity about emotion and an appreciation for intelligence and natural beauty that aligns them with Romanticism. In their awareness of the conditions of modernity and city life and the consequences for family structure and individual characters, they prefigure much Victorian literature (as does her usage of such elements as frequent formal social gatherings, sketchy characters, and scandal).


lepas nih kita mintak helga's cut n paste...

boleh tak dia buat...

come-on helga...
cuba cari materials on women
portrayal in literature during
the victorian period...

i challenge you...
jgn pandai cakap jer..

hehheheh...

Originally posted by seribulan at 2-10-2003 06:51 PM:
baru kenai ke ratu cut n paste nih...
ms. seribulan...hehehheeh....

for you M...

Jane Austen was born in Steventon, England, in 1775, where she lived for the first twenty-five years of her  ...

hehehe! i tak nak u kehilangan gelaran RATU tu...

seribulan

takut @ malas @
... hahhhahahahah...