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Analyzing Prose
BLO G A RC H IV E
LANGUAGE
▼ 2009 (2)
▼ November (1) 1. Diction: types of words.
Techniques for Prose a. Connotative words vs. denotative words: this is a simple
Analysis distinction in theory; in practice, it requires some judgement to tell the
difference between the two. Denotative words refer to a specific
► August (1) referent; connotative language has other associations in addition
to its primary meaning. A general word (such as "home") is more likely
to have connotative value than specific language (such as "house," which
describes a type of building). Understanding connotation is not a science,
because it depends on the cultural, conventional associations with the
word.
b. i. Genre of discourse: the words: "commit homicide," "blow away,"
and "murder" all mean to kill someone. They come, respectively, from
legal discourse, vocal slang, and everyday (middle style) usage. "Blow
away" and "murder" each carry a distinct connotative and emotive value.
In every case, the first usage is essentially descriptive; the more poetic
usage is richer in connotation. Generally speaking, it is more emotive. It is
instructive to examine the reasons for an author's choice of neutral or
connotative language.
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An author's verb choices create the tone of the work. Verbs create the
reality depicted in the text, whether physical, interior, or conceptual. Of
interest too is the way an author moves from one verbal mode to another.
ii) linking verbs: These are inactive verbs that put the stress on the
predicate. (An important question to ask when analyzing sentences: is the
stress on the subject or predicate or modification?)
iii) An auxiliary verb modifies another verb: I was walking to Oxford Town.
"Was" in this case is not a linking verb, because it is followed by another
verb. Auxiliary verbs tell the manner of the action in the main verb.
NOTES ON COMPOSITION
C omposition is the big picture of prose; our concern here is with micro-
analysis. Nonetheless, it is necessary to have a basic sense of big picture
rhetoric.
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a. Themes or motifs. Any concept that ties a text together and which is
referred to throughout a text. "Looking for something lost." Or a specific
thing: transitions, light, the seasons.
b. Repetition of key words.
c. Counterpoints (or antithesis). An effective structuring principle in
nonfiction or fiction: darkness / light; justice / freedom.
d. False modesty. The author shows vulnerability or a species of self-
denigrating charm to put the reader off guard.
e. Imagery. To this I would add: language that engages the senses,
including feeling, aural experience, even smell.
f. Metaphor. "My affection for her swelled to such a height I feared I
would be toppled by its eventual, inevitable crash." Metaphors are
frequently embedded in prose and contain a whole area of content outside
the primary meaning of the passage.
g. Framing strategies. "False modesty" is a sub-category of this. There
are many effective framing strategies, including misdirection - leading the
reader to believe you're speaking about something other than your
eventual subject matter.
h. Strategies of voice: irony, hyperbole, sarcasm, emotional
directness... The quality of voice is created by diction and sentence
structure, and is probably the most important aspect of compositional
rhetoric.
i. Paradoxes and oxymorons. These are neat formulations that can be
very effective in prose: "I looked at her, startled by her faithless
devotion." or "I looked at her, realizing she was at once my savior and my
undoing."
j. Parody and allusion. In Roland Barthes' short essays he parodies
common formulations and belief systems. Montaigne's essays are rich in
allusions to classical literature. (This is a mode of persuasion and a way of
forming a bond with the reader.) Woody Allen's short, comic stories
occasionally parody trite storytelling conventions. They also include
allusions to well-known passages from literature.
k. Mythic overtones. Used to great effect by political speakers like Bill
C linton; manifesto authors like Marx and Engels; founders of new
disciplines like Sigmund Freud. Or novelists like Fitzgerald.
COHESION IN PROSE
Poetry has meter, rhyme, alliterative techniques, and - most importantly -
the line to lend it cohesion. C ohesion is what gives a text a sense of
consistency or wholeness. The most basic type of cohesion is repetition of
whatever type.
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In general, repetition is used as a persuasive technique. Like all rhetorical
styles, however, it may be used ironically or as a parody of classic or
formal writing.
1. Textual versus sounded cohesion. The following sentence has
textual cohesion that is not reflected in its sound - due to the repetition of
the letter "g."
"Gary might have bought some top-flight freight instead of the ignoble
choices he made."
English phonemes such as "ough"=/aw/; "eigh"=/ay/ contain silent letters.
On a written level, the sentence has added cohesion due to the repetition
of the letter "g." This creates an awareness of the distinction between the
textual and aural components of the text.
2. Types of sounded cohesion in prose:
a. alliteration
b. assonance
c. rhythmic repetition (stresses)
d. rhyme
e. repetition of word-patterns
f. repetition of specific words
g. homonyms - use of similar-sounding words
h. repetition of consonant sounds within words
"It was the best of times; it was the worst of times." The opposition of
"best" and "worst," in addition to the repeated phrases, gives this a
rhythmic, persuasive quality.
Much of the rhythm in this passage comes from the repetition of similar
stress patterns either within a phrase or between consecutive phrases. The
pattern of repetition is introduced in the first two sentences, each
consisting of a single phrase identical in syntax, syllable structure, and
stress. The fourth and fifth setnences each likewise begin with paired
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parallel phrases, in which likeness of stress pattern accompanies virtually
identical syntactic and syllable structure.
As a prose analyst you will need to discover how the rhythm, in itself,
contains meaning or alters the meaning of the text. It will be easier to
analyze rhythm if you have some experience with verse prosody.
CONTEXTS OF PROSE
1. Prose, unlike poetry, must be analyzed with careful awareness
of its context. A poem, rightly or wrongly, is often viewed as a self-
standing text. Prose fiction or nonfiction is assumed to be more explicitly
purpose-driven, and often assumes knowledge of the author's reputation
and biography. These things must be taken into account when interpreting
a text.
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ironic writers can create a deliberate lack of clarity as to the location of the
speaker/character.
b. Temporal frame of reference. This can be a historical time and
place, or even the future, or simply a nonspecific "now." Within that "now,"
it can be a time of day or of the week ("late Tuesday afternoon").
c. Shared domains of knowledge. The speaker identifies his listener
and him/herself mainly through assumptions about what that listener
would know or believe. ("He was the kind of tousle-haired, no longer
young fool you tend to meet in the Arab Quarter.") This alliance, or
assumption of shared knowledge and beliefs, can of course be used
ironically. All literature is built on assumptions. You must ask: what kind of
person would have these assumptions? What kind of reader would share
them? (Much of what the speaker and reader know in common is merely
ordinary beliefs and assumptions; this is why a story by Hemingway or
Lawrence can carry such a rich subtext beneath its terse surface.)
d. Point of view. Who is the speaker? And what does the speaker know?
How should we understand what the speaker appears to know - should we
take it lightly or seriously? In the beginning of The Great Gatsby, Nick, the
narrator, announces his goals for the summer, which were to read: "to
establish myself as that most limited of specialists, the well-rounded man.
This isn't just an epigram -- life is much more successfully looked at from
a single window, after all." This paradox, that a broad view is too limited
and a limited one revealing, comes to define Nick. He also locates himself
as an anonymous fellow who had decided that "the stock market could
support one more man" and in terms of the part of Long Island to which he
has come to stay, a geographical anomoly both limited and broad.
Through the novel Nick seems to miss obvious facts and to know others
that would be hard to divine. We believe it, though, because Nick has
established his point of view as somewhat inconsistent, like someone who
looks through both ends of a telescope. A nonfiction speaker establishes
his point of view in social terms, ordinarily: identity, beliefs, perspective,
agenda, purpose.
To believe and understand that hypotactic sentence, you have to accept its
logic and assumptions. Writers like Roland Barthes use hypotaxis,
ironically, to parody glib, conventional assumptions. Sylvia Plath in The
Bell Jar, for the most part, uses hypotaxis in a straightforward manner.
Barthes has a complex bond with his reader; he and his reader are
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mocking conventional ways of thinking. Plath's relationship to her reader is
one of sympathy.
"Sleep came slowly to him that night; morning seemed to hardly interrupt
the night; noon declared itself shyly in the overcast day; night came again
unaccompanied by sleep."
In a sense this author is more present, though, since she has obviously
calculated the relationship between events.
"C OMPLAC ENC IES of the peignoir, and late coffee and oranges in a sunny
chair, and the green freedom of a cockatoo upon a rug, mingle to dissipate
the holy hush of ancient sacrifice."
Description style sentences often use forms of "is." They create a (possibly
false) sense of objectivity, concealing the author's presence and point of
view.
The sentence structure is: men sing and dance to imitate natural objects.
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This very suspensive reversed style puts the emphasis on qualifications
and observations. Generally speaking, digressive sentences place the
emphasis outside the noun and verb; 18th century sentences create an
elegantly suspensive effect, putting the verb late or last.
He sat in the old Dodge, an old duffel bag on the seat next to him, a
feeling of dread guiding him as he turned the key in the ignition, the cold
metal burning his fingertips, the sound of the engine grinding unpleasantly,
the bag within an arms reach, a short reach to open it and take out the '38
revolver buried inside.
MON DA Y , A U GU ST 24 , 2 009
The blog assumes the reader knows basic rhetorical terms, as explained in
Richard Lanham's Analyzing Prose and numerous other sources.
It will also be useful to look at the examples in the original close reading
blog and the blogs linked thereto. In particular, I would point you to the
posts giving examples of sentence types in a paragraph, the post on types
of words, and the brief analytic notes on Nabokov, Joyce's Dubliners, an
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essay by James Baldwin, Flannery O'C onnor, and the prophetic tones of
Karl Marx.
Home
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