Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

Argumentation,
or expository writing, is a narrative-compositional form which 
was normal and most popular in the English prose of the 18-19 centuries. The author 
could appear on his own pages as a commentator and moralist, revealing directly his 
own thoughts, ideas, attitude to his characters and other matters he portrayed. In such 
digressions, he might not only explain and speculate about the characters’ behaviour, 

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but give his own considerations about moral, aesthetic, ethical, ideological and other 
issues. Such auctorial digressions may fall into (1) 
philosophical and publicist
, and 
(2) 
lyrical digressions
, according to T.Plekhanova [54: 141]. In argumentation of any 
kind, be it philosophical (
expressing the author s outlook
), 
publicist (denouncing 
social vices and evils of modern life) or lyrical digressions (revealing the author s 
aesthetic feelings and emotions),
the writer, as it were, interrupts the narrative to offer 
his comments, explanations or evaluations of what he depicts at the moment. 
The 
main distinctive features of auctorial digressions
of various kinds are: (1) the tense-
shift (the use of the present tenses against the background of the Past tenses of the 
narration); (2) the shift from the third to the first person singular or plural; (3) the shift 
from the Indicative Mood to the Imperative or Subjunctive Moods, usually combined 
with direct addresses to the reader or the hero, or some other prominent person, e.g. 
Oh, Shakespeare! Had I thy pen! O, Hogarth! Had I thy pencil! Then would I draw 
the picture of the poor serving man
... (H.Fielding) [quoted from 54, p. 140]. Various 
types of digression in English prose have gradually become less popular and 
beginning with the end of the 19th century and in modern fiction they are only micro-
digressions containing the authors’ most condensed ideas on this or that issue and/or 
most concise characterization of characters, as in, for example, many stories and 
novels by S.W.Maugham. However, we should stress that all these 
narrativecompositional forms are seldom used “in their ‘pure’, uninterrupted way” 
[47: 103]. As a rule, they intermingle even within the boundaries of a paragraph. 
Finally, all the narrative-compositional forms - narrative proper, description and 
argumentation - can be found in all the types of narrative but with varying 
frequencies. 
The second
very important type of 
narrative 
in a work of fiction is the 
character's discourse. The character’s speech may be monological, dialogical, or take 
the form of a polylogue [48], It is here, in the characters’ speech, that the various 
levels of their consciousness are reflected. This may be realized through the use of 

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uttered speech (