Periphrases are divided into


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Explain features of lexical stylistic devices as a result of intensification of a certain feature of a thing or phenomenon (simile, periphrasis, euphemism, hyperbole).

CHARACTER
The relationship between plot and character is a vital and necessary one. Without character, there would be no plot and, hence, no story. For most readers of fiction the primary attraction lies in the characters, in the endlessly fascinating collection of men and women whose experiences and adventures in life form the basis of the plots of the novels and stories in which they appear.
Part of the fascination with the characters of fiction is that we come to know them so well, perhaps at times too well. In real life we come to know people for the most part only on the basis of externals – on the basis of what they say and what they do; the essential complexity of their inner lives can be inferred only after years of close acquaintance, if at all. Fiction, on the other hand, often provides us with direct and immediate access to that inner life – to the intellectual, emotional, and moral complexities of human personality that lie beneath the surface. And even when the author withholds that access, he usually provides sufficient information to allow us to make judgements about the internal makeup of the men and women to whom we are introduced. In either case, however, the ability to make such judgements - the ability to interpret correctly the evidence the author provides – is always crucial to our understanding.
When we speak of characters in terms of literary analysis, we are concerned essentially with three separate but closely connected activities. We are concerned, first of all, with being able to establish the personalities of the characters themselves and to identify their intellectual, emotional, and moral qualities. Second, we are concerned with the techniques an author uses to create, develop, and present characters to the reader. Third, we are concerned with whether the characters so presented are credible and convincing. Naturally, such an evaluation can only take place within the context of the work as a whole, which inevitably links character to the other elements of fiction.


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