Interpretation of literary

Parts of the text containing the author's digressions also play an 
important role in disclosing the conceptual information. The author's 
discourses usually take the form of deep philosophic generalizations, 
conclusions, judgments and individual epigrams. The author's 
reasonings very distinctly show his position, his social, political and 
aesthetic credo. It is just the author's reasonings that very frankly express 
his ideologic and aesthetic point of view, his personal evaluation of 
depicted things. Thus, the author's discourses arc characterized by an 
extraordinary functional load, performing the role of principal turning 
points in a literary production, most ponderous in ideological and artistic 
respects. The enumerated forms of context-variative segmentation-
narration, description, discourse — constitute the plan of the author's 
speech. The speech of the personages is represented in the text by the 
forms of dialogues, monologues and represented speech. 
Dialogue of a literary work is a complex and polyfunctional 
formation. Being an analogue of oral speech, it, on one side, reflects the 
regularities intrinsic to oral intercourse and on the other side it 
immediately expresses individual peculiarities of a speaker and 
characterizes his life standing, ideologic, aesthetic and social status'. The 
dialogic context is a portrayal of personages: ilreveals their speech 
peculiarities, discloses their world outlook and clearly shows their 
emotional, ethic and moral traits. Let's again it-urn to the analysis of the 

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extract from J.Galsworthy's novel "The Man of Property". As it has been 
stated above, the disposition of the given episode at the beginning of the 
new chapter, the rupture in the nutritional chain signalizes the 
significance of this text span in revealing the conceptual informatio n. 
The extract begins with narration. The very first sentence indicates 
implied importance of the described event. The word "Dinner" is 
emphasized graphically. The sentence is isolated into a separate 
paragraph. The pause following the paragraph makes it possible to 
comprehend the utterance, to imagine the solemn ceremony of the 
dinner. In subsequent sentences our attention is attracted by the 
repetition of the word — "in silence", given in the function of 
anadiplosis and placed in the initial, the most prominent, position of the 
sentence. In this way the word becomes stylistically marked and makes 
the utterance emotionally-coloured. Thanks to this we feel the tense 
atmosphere, the excitement of the people at the dinner table. Analyzing 
direct speech of the personages, we draw deductions about their 
emotional state. Irene and Bo sinney arc excited, show interest in each 
other, perceptive to the beauty of the awakening nature. Their speech 
contains exclamatory sentences, words of positive emotional evaluation. 
It is interesting to mark that although the conversation at the table is 
general, Irene's and Bosinney's talk is addressed only to each other. 
Their cues, like an echo, always follow each other: "Bosinney ventured: 
it's the first spring day! Irene echoed softly: Yes, the first spring day!" 
The reader feels the personal interest Irene and Bossinney have for each 
other, the source of their love, when every word becomes significant, 
when words of one person find response in the heart of the other. June's 
speech reflects a quite contrary emotional state-She denies everything 
that Irene and Bossinney say. She doesn't like spring: "there isn't a 
breath of air", the scent of flowers: "How can you like the scent? » the 
sunset "A London sunset!" June's words contain negative emotional 
evaluation: "Wine's such horrid •stuff!" Thus June's speech reflects her 
inner state —she is out of spirits, she is irritated and angry. She is 
jealous, feeling Irene's and Bossinney's mutual attraction, she cannot 
conceal her bad mood. 
Soames, in contradistinction to the three outliners, is quite calm 
and unaware of their feelings. His speech characterizes him as a neutral 
man, entirely indifferent to everything that doesn't immediately concern 
his own interests. For Soames this dinner is only an occasion for 
establishing business contacts with Bossinncy. He is concerned only 

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with the dinner-itself. Against the background of the general emotional 
tension Soames cues about cutlets, wine, olives cause nothing but an 
ironical smile on the part of the reader. 
Thus, dialogue supplies material for characterization of the 
personages and in this way plays an important role in revealing the 
.general conceptual information of the- text. 
It is necessary to remark that the analysed speech forms are seldom 
used in their pure state. They are usually mixed up or combined with one 
another. There arc different ways of joining them: either one form is 
interspersed with elements of the other, or one form intrudes in big 
portions into the other, or several forms are mixed up together. 
Replenishing each other they blend so organically that sometimes it is 
difficult to disjoin them. And yet they present different kinds of 
information dynamic (action, movement, communication) and static (the 
description of an object and its environment).