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Analyzing Symbol and Allegory

1. 
   What symbols or patterns of symbolism (or allegory) are present in the work? Are the symbols traditional, original or private?
   
2. 
   What aspects of the work (e.g., theme, setting, plot, characterization) does the symbolism (allegory) serve to explain, clarify, or reinforce?
   
3. 
   Does the author’s use of symbolism (allegory) seem contrived or forced in any way, or does it arise naturally out of the interplay of the story’s major elements?
   

14 Lecture. Text interpretation and its connection with other subjects
Plan:
1.Style and tone
2. Syntax
3.Stylistics
Key words and expressions: style, tone, grammar, syntax, lexics, stylistics,
STYLE AND TONE
Style
The distinctive quality of literature that sets it apart from all other forms of artistic expressions is its reliance on language. Using words is the writer’s craft. They the writer’s means of recovering and objectifying experience; and they are his or her means of presenting, shaping and controlling subject matter. Language is also the means by which the writer controls and influences the reader: in responding to literature we are always responding to and through the author’s words. The literary critic must pat close attention to those words; not only because the convey the sun and the substance of the author’s message – the story he wishes to tell – but because they provide important clues to the author’s emotional and psychological life, beliefs, and attitudes and to the way in which he perceives and experiences himself and the world around him.
When we talk about an author’s words and the characteristic ways he uses the resources of language to achieve certain effects, we are talking about style. In its most general sense, style consists of diction (the individual words an author chooses) and syntax (the arrangement of those words into phrases, clauses, and sentences), as well as such devices as rhythm and sound, allusion, ambiguity, irony, parody, and figurative language. The latter elements of style are crucial to the art of poetry; and they are discussed more fully under that heading. We will touch on them here in order to establish that the language of fiction, no less than the language of poetry and drama, is distinguished by the author’s ability to make full and effective use of the language at his or her command.
Each writer’s style is unique. “Every writer,” British critic David Lodge notes in his Language of Fiction, “displays his own unique ‘signature’ in the way he uses language, something which all his works, however diverse, have in common, and which distinguishes them from the work of any other writer…”
One test of distinctiveness of an author’s style is its ability to resist paraphrase. The test is relatively simple. Take a passage from any well-regarded work and paraphrase it. Although the underlying ideas may remain the same, the words themselves will probably register a quite different effect upon you. Much the same dilemma is faced by thee translator, who attempts to reproduce the stylistic qualities of an author’s poetry or prose. The words may have translatable equivalents, but what they often lack in translation are the emotional qualities and nuances of their originals.
By examining the style of a work of fiction we are seeking as critics to accomplish a number of objectives. First of all, we are seeking to isolate and identify those distinctive traits that comprise the authors ‘signature’. Second, we are interested in understanding the effects influence our response to the work’s other elements – particularly character, incident, setting, and theme – and to the work as a whole. Third, we are attempting, by way of evaluation, to arrive at a judgement based on a consideration of just how effectively the author has managed to integrate form and content. This examination is an attempt to measure just how well an author has succeeded in a given work with the style he or she has chosen. It is not intended to demonstrate, or even imply, the inherent superiority of the author’s style – or one kind of style – over another, although comparisons can, of course, be made.