Approximate Scheme of the Analysis of а Fiction Text

1. The text (extract, excerpt, episode, passage, piece, paragraph) under consideration (analysis)
comes from
- (indefinite) а work of literature (novel, story, short story, tale, play, fable, poem) written by ...
name of the author,
- (definite) the book (novel, story, short story, tale, play, fable, poem) ... name of the work...
written by... name of the author.
2. The author of the extract under analysis. The author of the extract under analysis / review is а
famous / well-known / outstanding / celebrated/ prominent American / British writer / poet /
dramatist / essay-writer ... (his name, some biographical fact about the writer, especially his
eth- ical, esthetical, political etc. views, his belonging to а certain literary and cultural
tradition) (4- 5 sentences)
- The extract conceшs (is devoted to, deals with) ..
- The basic theme is ...
- The central idea finds it's particularization in .../is disclosed through the following collision (inter-
naГexternal conflict) ..
3. The choice of the point of view. The extract / story is told from the point of view of the author /
the chief character / the onlooker. (It is important to distinguish between the author, the person
who wrote the story, and the narrator, the person or voice telling the story. The author may se-
lect а first-person narrative, when one character tells of things that only he or she saw and felt.
In а third-person narrative, the omniscient author moves in and out of people’s thoughts and
comments freely оп what the characters think, say and do.)
From the point of view of presentation the text is :
- the 1't, 33d person narrative
- rather а description than а narration
- rather а narration than а description
- а mixture of narration and description
With some а) insertions of direct/ interior/ represented speech; b) lyrical/ critical/ philosophical digres-
siorr retardatiorr foreshadowing/ flashbacks to the past.
4. The form of speech. The extract is told in: а) direct speech;
b) indirect speech;
с) mixture type of speech.
(The form of speech of the text under analysis is prevailingly indirect. The author employs also the sam-
ples of direct speech.... Гexamples...))
5. The plot of the extract under analvsis. The scene of the extract is laid / takes place in ... The
extract deals with .../ touches upon.../ dwells or describes... / shows... / depicts... / gives
coverage to... (Mat is the text about? What is the focus of author's attention? What aspects of
the topic are touched upon in the text? Does the text have а simple, or complex, or intricate
plot? Is the setting of events realistic/historical/fantastic/exotic/rural?)(Point out the exposition,
the devel- opment, the climax and the denouement of the action (8-10 sentences))(the exposition
usually contains the setting of the scene (і.е. the time and place of the action) and some
preliminary in- formation about the topic and subject of the story, its main characters etc. Ву
nature it is а static part of the story and contains по action. The plot consists of а series of
episodes relating to the development of the central confiict of the story. It usually starts with the
so-called narrative hook, which introduces the confiict and begins the dynamic action aiming at
the ultimate resolu- tion of the confiict. The highest point in the development of the plot is called
the climax. The post-climax events that are falling action coming to а resolution are called
denouement. j
6. The plot is simple/ complev intricate. It centres around .
7. Character drawing. The character drawing is indirect / direct / о[а mixture type. Direct char-
acter drawing is such а type when the author describes his characters, appearances directly
through words. Indirect character drawing - through their actions, attitudes to other personag-
 es, their gestures and pantomime their speech and deeds, his attitude to them texamples...1 ага-
ditionally, all characters are divided into principal (or main) and secondary ones. Those, who
form the focus of the author's (and, hence, the reader's) attention, and take an active part in the
central conflict of the story are the main characters; others serve as the background for the por-
trayal of the main characters and their conflict (secondary ones). The analysis of the characters
should include their physical description, social background, some distinctive trains of the char-
acter, their typical ideas, attitudes, manner of speech, actions, relations with other characters and
their role in the central conflict, and, finally, the author's attitude them.)
8. The setting of the events is realistic/ historical/ fantastic/ exotic/ rural.
9. The span of time the extract covers is (obviously) .
10. The narrative flow is straight/ compleж circular/ frame-like.
11. The climax of the plot development is presented in .
12. The denouement is shown in . .
13. Functional stvle of speech. Since the text under consideration presents а story it belongs to
belles-lettres style, emotive prose substyle. Belles-lettres style includes poetry (the genres of
short poem or verse or big poeт), emotive prose (а piece of science fiction, а detective story, а
love story, а psychological story) and drama

(drama proper and poetical drama, comedy, tragedy). Besides belles-lettre style there are such func-
tional styles as publicistic, newspaper, scientific and the style of the official documents.
14. Morphology: The extract under analysis is characterized by the use of ... sentences. The spo-
ken type of speech is characterized by the wide use of present and future tense-forms, while the
written type of speech — by the wide use of past tense-forms. Past tense-forms are mostly used
in author's narrations or descriptions and present or future tense-forms are mostly used in con-
versations or dialogues; repetition of the root .../the prefix .../the suffix ... /the inflexion ... is
used to denote; the morphological transposition of ... characterizes;
(Exemplify your answers)
The student is supposed to analyze the use of articles as to their meaning, non-fmite forms of the
verb as to their form and function in the sentence, modals as to their usage and moods.
[Link]. The analysis of the stylistic devices of the text.

Tvpes of Stylistic Devices

Phonetic Stylistic Devices

ALLITERATION is а deliberate repeated use of similar or acoustically close consonant sounds in
close succession.
e.g. The possessive instinct never stands still. Through florescence and feud, frosts and fкes it
follows the laws of progression.
ASSONANCE is the repetition of similar or acoustically close vowels, e.g. Tenderly bury the fair
young dead...
name.”

Lexico-semantic Stylistic Devices

(Figures of substitution)

HYPERBOLE is а deliberate exaggeration of а certain qualiiy of an object or phenomenon.

e.g. Marry was scared to death.
I beg а thousand pardons.
 MEIOSIS. This figure of quantity is opposite in meaning to hyperbole. Meiosis is a deliberate dimi-
nution of a certain quality of an object or phenomenon.
e.g. There was a drop of water left in the bucket.
It was a cat-size pony.
LITOTES — is a specific variant of meiosis.
e.g. After the brawl Julia was not dissatisfied with herself.
Martin is not without sense of humour.
METONYMY — is a transference of a name of one object to another object. Metonymic transfer-
ence of names is based upon the principle of contiguity of the two objects.
e.g. I wish you had Gary's ears and Jack's eves.
Linda gave her heart to the grocer's young man.
SYNECDOCHE. This variety of metonymy is realized in two variants. The first variant is naming
the whole object by mentioning part of it.
e.g. Caroline lives with Jack under the same roof(under the same roof= in the same house).
The second variant of synecdoche is using the name of the whole object to denote a constituent part
of this object.
e.g. The school went to the zoo.
The blue suit bowed and left the room.
PERIPHRASIS — this variant of metonymy is the replacement of a direct name of a thing or phe-
nomenon by the description of some quality of this thing or phenomenon.
e.g. “This is mv better half(wife)” — he said.
When I was going to enter the university my mother wanted me to become one of those in a
white gowns. (medical men)
EUPHEMISM — it is a word or word- combination which is used to replace an unpleasantly
sound- ing word or word-combination.
e.g. Recently, green dragon became one of his best friend. (an alcohol drink)
According to our President, the life of the less fortunate elements (poor people) will change.
METAPHOR — metaphor like metonymy, is also the result of transference of the name of one
object to another object. However, metaphoric transference is of different nature. it is based upon
similari- ty of the objects (not contiguity).
e.g. One more day has died.
A witty idea has come to me.
EPITHET — epithets are such attributes which describe objects expressively.
e.g. Voiceless sands and helpless loneliness are the obvious characteristics of a thirsty
desert. There was a blank face on the picture.
ANTONOMASIA — this variety of metaphor is based upon the principle of identification of human
beings with things which surround them.
e.g. John is a real Romeo.
The Snake entered the room (instead of Marry entered the room)
PERSONIFICATION — when the speaker describes human behavior, thoughts and actions to inani-
mate objects, he resorts to the stylistic device of personification.
e.g. Lie is a strange creature, and a very mean
one. The night was creeping towards the
travelers.
IRONY — this figure of quality is realized when the speaker intentionally breaks the principle of sin-
cerity of speech.
e.g. Cutting off chickens' heeds! Such a fascinating process to watch.
It must be delightful to find oneself in a foreign country without a penny in one's pocket.

Figures of combination
SIMILE — this figure of identity consists in expressive comparison of two objects which have
something in common.
e.g. John behaves like his father.
 Robin looked at Sibil as a mouse might look at a cat.
OXYMORON — this figure of contrast is a combination of words which are semantically incompatible.
e.g. That was a horribly beautiful lady.
I'd never say, that it is possible to feel a loving hate.
ANTITHESIS — this figure of contrast stands close to oxymoron. The major difference between them
is structural. oxymoron is realized through a single word-combination, while antithesis is a
confrontation of at least two separate phrases semantically opposite.
Compare: “wise foolishness” — oxymoron
“... the age of wisdom, the age of foolishness” — antithesis.
e.g. It was the season of light, it was the season of
darkness. Gilbert wears fine clothes, while I go in rags.
CLIMAX (GRADATION) — this figure of inequality consists in arranging the utterance so that each
subsequent component of it increases significance, importance or emotional tension of narration.
e.g. I am sorrv, I am so very sorrv, I am so extremelv sorry.
There was the boom, then instantly the shriek and
burst.

ANTICLIMAX- counterpart of climax, where emotional or logical importance is accumulated only to

be unexpectedly broken and brought to a sudden break, e.g. This was appalling — and soon forgotten.
ZEUGMA — a zeugmatic construction of at least three constituents. The basic word of it stands in the
same grammatical but different semantic relations to a couple of adjacent words. The basic word com-
bined with the first adjacent word forms a phraseological word-combination. The same basic word
combined with the second adjacent word forms a free word-combination.
e.g. Freddy got out of bed and low spirits.
Marry dropped a tear and her handkerchief.
PUN- a stylistic device in which one word is deliberately used in two meanings.
e.g. There is one brand of tobacco allowed her— “ Three nons”. None today, none tomorrow, and none
e the day after.( nun- «oepHHufl» , none-
«moueH»)

Syntactic stylistic devices

ELLIPSIS — an elliptical sentence is such a syntactic structure in which there is no subject, or
predica- tive, or both.
e.g. — Where do you go?
To the disco.

Hullo! Who are

you?
The staff
Where are the
others?
At the front.
APOSIOPESIS (BREAK-IN-THE-NARRATIVE) — like ellipsis, aposiopesis is also realized
through incompleteness of sentence structure, though this incompleteness is of different structural and
semantic nature.
e.g. If you go on like this ....
So, you just go, and what about . .
ASYNDETON — it is deliberate omission of structurally significant conjunctions and connectives.
e.g. John couldn't have done such a silly thing, he is enough clever for that. Father, mother, brother,
cousins.
We had heard planes coining, seen them pass overhead, watched them go far to the left, heard them
bombing.
REPETITION — stylistic repetition of language units in speech (separate words, word-combinations
or sentences) is one of the most frequent and potent stylistic devices.
e.g. I am wearv, weary, wearv of the whole thing!
Victory is what we need, victory is what we
expect.
ENUMERATION — it is a syntactic device of naming object so that there appears a chain of homoge-
neous parts of the sentence.
e.g. There were cows, hens, goats, peacocks and sheep in the village.
The principal production of these towns appears to be soldiers, sailors, Jews,chalk, shrimps,
officers and dock-vard men.
POLYSINDETON — it is stylistically motivated redundant repetition of conjunctions or prepositions.
e.g. The dog barked and pulled Jack, and growled and raged.
He no longer dreamed of storms, nor of women, nor of great occurrences, nor of great fish, nor
fights, nor contests of strength.
PARALLEL CONSTRUCTIONS — parallelism is a stylistic device of producing two or more
syntac- tic structures according to the same syntactic pattern.
e.g. Marry cooked dinner, John watched TV, Peter played tennis.

The cock is crowing,

The stream is
flowing.
INVERSION — it is а stylistic phenomenon of intentional changing word-order of the initial sentence
model.
e.g. In come Jack. Little chances Benny had.

ANADIPLOSIS (catch repetition) - repetition of the same element or unit at the end of the preceding
and at the beginning of the following utterance,
e.g. With Bewick оп my knee I felt happv: happy at last in my way.
ANAPHORA - repetition of the first word or group of words at the beginning of several successive
sentences or clauses,
e.g. And everywhere there were people. People going into gates and people coming out of gates. People
staggering and falling. People fighting and cursing.
CHAIN REPETITION - combination of several catch repetitions,
e.g. А smile would come into Мг. Pickwick's face: а smile be extended into laugh, the laugh into roar,
the roar became general.
CHIASMUS - reversed parallelisism,
e.g. The public wants а thing, therefore it is supplied with it; or the public is supplied with а thing,
therefore it wants it.
DETACHMENT - isolation ofsome parts of the sentence to make it more prominent,
e.g. А sound of singing came down the water to him, trailing, distant, high and sweet.
EPIPHORA - repetition of the final word or groups of words in several succeeding sentences or claus-
es,
e.g. Through the brain slowly shifted the things they had done together. Walking together. Dancing to-
gether.
RHETORICAL QUESTION - presentation of an affirmative or negative statement in the form of а
question,
e.g. Is there not blood enough upon your penal codes that must be pored forth?
 Art for heart's sake
By R. Goldberg
Reuben Lucius Goldberg (1883-1970), an American sculptor , cartoonist and writer was born
in San Francisco. Alter graduating from the University of California in 1904 he worked as a
cartoonist for a number of newspapers and magazines. He produced several series of cartoons all
of which were highly popular.
Among his best works are Is there a Doctor in the House?(1929), Rube Goldberg’s Guide to
Eu- rope (1954) and I Made my Bed. (1960).
“Here, take your pineapple juice”, gently persuaded Koppel, the male nurse.
“Nope!” grunted Collis P. Ellsworth.
“But it's good for you, sir”.
“Nope!”
“It's doctor's
orders” “Nope!”
Koppel heard the front door bell and was glad to leave the room. He found Doctor Caswell in
the hall downstairs. “I can't do a thing with him”, he told the doctor. “He won't take his
pineapple juice. He doesn't want me to read to him. He hates the radio. He doesn't like
anything!”
Doctor Caswell received the information with his usual professional calm. He had done some con-
structive thinking since his last visit. This was no ordinary case. The old gentleman was in
pretty good shape for a man of seventy-six. But he had to be kept from buying things. He had
suffered his last heart attack after his disastrous purchase of that jerkwater(1) railroad(2) out in
Iowa(3). All his purchases of recent years had to be liquidated at a great sacrifice both to his
health and his pocket- book.
The doctor drew up a chair and sat down close to the old man.
“I've got a proposition for you”, he said quietly.
Old Ellsworth looked suspiciously over his spectacles.
“How'd you like to take up art?” The doctor had his stethoscope ready in case the abruptness
of the suggestion proved too much for the patient's heart.
But the old gentleman's answer was a vigorous “Rot”! (4)
“I don't mean seriously”. Said the doctor, relieved that disaster had been averted. “Just fool around
with chalk and crayons. It’ll be fun”.
“Bosh!”(5)
“All right.” The doctor stood up. “I just suggested it, that's all”.
“But, Caswell, how do I start playing with the chalk — that is, if I am foolish enough to start?”
“I've thought of that too. I can get a student from one of the art schools to come here once a
week
and show you”.
Doctor Caswell went to his friend, Judson Livingston, head of the Atlantic Art Institute, and ex-
plained the situation. Livingstone had just the young man — Frank Swain, eighteen years old
and a promising student. He needed the money. Ran an elevator at night to pay tuition. How
much would he get? Five dollars a visit. Fine.
Next afternoon young Swain was shown into the big living. Collis [Link] looked at him
ap- praisingly.
“Sir, I'm not an artist yet”, answered the young man.
“Umph?”
Swain arranged some paper and crayons on the table. “Let's try and draw that vase over there on the
mantelpiece”, he suggested. “Try it Mister Ellsworth, please.”
“Umph!” The old man took a piece of crayon in a shaky hand and made a scrawl. He made
anoth- er scrawl and connected the two with a couple of crude lines. “There it is, young man,”
he snapped with a grunt of satisfaction. “Such foolishness. Poppy-cock!”(7)
Frank Swain was patient. He needed the five dollars. “If you want to draw you will have to look at
what you drawing, sir.”
Old Ellsworth squinted and looked. By gum(8), it's kinda(9) pretty, I never noticed it before.”
 When the art student came the following week there was a drawing on the table that had a
slight resemblance to the vase.
The wrinkles deepened at the corners of the old gentleman's eyes as he asked elfishly, (10) “Well,
what do you think of it?”
“Not bad, sir,” answered Swain, “But it's a bit lopsided.”
By gum, “ Old Ellsworth chuckled. I see. The halves don't match.” He added a few lines with
a palsied hand and colored(11) the open spaces blue like a child playing with a picture book.
Then he looked towards the door. “Listen, young man,” he whispered, “I want to ask you
something before old pineapple juice comes back.”
“Yes, sir,” responded Swain respectively.
“ I was thinking could you spare the time to come twice a week or perhaps three times?”
“Sure, Mister Ellsworth.”
“Good. Let's make it Monday, Wednesday and Friday. Four o'clock.”
As the weeks went by Swain's visits grew more frequent. He brought the old man a box of
water- colors and some tubes of oils.
When Doctor Caswell called Ellsworth would talk about the graceful lines of the andirons. He
would dwell on the rich variety of color in a bowl of fruit. He proudly displayed the variegated
smears of paint on his heavy silk dressing gown. He would not allow his valet to send it to the clean-
er's. He wanted to show the doctor hoe hard he'd been working.
The treatment was working perfectly. No more trips downtown to become involved in
purchases of enterprises of doubtful solvency.
The doctor thought it safe to allow Ellsworth to visit the Metropolitan (12), the Museum of
Mod- ern Art(13) and other exhibitions with Swain. An entirely new world opened up it's
charming mys- teries. The old man displayed an insatiable curiosity about the galleries and the
painters who exhib- ited in them. How were the galleries run? Who selected the canvases for the
exhibitions? An idea was forming in his brain.
When the late spring sun began to cloak the fields and gardens with color, Ellsworth executed
a god-awful smudge which he called “Trees dressed in white”. Then he made a startling
announce- ment. He was going to exhibit it in the Summer show at the Lathrop Gallery!
For the summer show at the Lathrop gallery was the biggest art exhibit of the year in quality, if not
in size. The lifetime dream of every mature artist in the United States was a Lathrop prize. Upon this
distinguished group Ellsworth was going to foist his “Trees dressed in white”, which resembled
a gob(14) of salad dressing thrown violently up against the side of a house!.
“If the papers het hold of this, Mister Ellsworth will become a laughing-stock. We've got to
stop him”, groaned Koppel.
“No”, admonished(15) the doctor. “We can't interfere with him now and take a chance of spoiling
all the good work that we've accomplished.”
To the utter astonishment of all three — and especially Swain — “Trees dressed in white” was ac-
cepted for the Lathrop show.
Fortunately, the painting was hung in an inconspicuous place where it could not excite any notice-
able comment. Young Swain sneaked into the Gallery one afternoon and blushed to the tops of
his ears when he saw “Trees dressed in white”, a loud, raucous splash on the wall. As two
giggling stu- dents stopped before the strange anomaly Swain fled in terror. He could not bear to
hear what they had to say.
During the course of the exhibition the old man kept on taking his lessons, seldom mentioning
his entry in the exhibition. He was unusually cheerful.
Two days before the close of the exhibition a special messenger brought a long official-looking en-
velope to Mister Ellsworth while Swain, Koppel and the doctor were in the room. “Read it to
me, requested the old man.” “My eyes are tired from painting.”
“It gives the Lathrop Gallery pleasure to announce that the First Lathrop Prize of $1,000 has been
awarded to Collis P. Ellsworth for his painting, “Trees dressed in white.”
 Swain and Koppel uttered a series of inarticulate gurgles. Doctor Caswell, exercising his
profes- sional self-control with a supreme effort, said: “Congratulations, Mister Ellsworth. Fine,
fine ... See, see ... Of course, I didn't expect such great news. But, but — well, how, you'll have
to admit that art is much more satisfying than business.”
“Art's nothing,” snapped the old man. “I bought the Lathrop Gallery last month.”

EXPLENATORY NOTES
1. jerkwater (Am. colloq.): small, unimportant.
2. railroad (Am.): railway. The lexical differences between the British and American English
are not great in number but they are considerable enough to make the mixture of the two
variants sound strange and unnatural. А student of English should bear in mind that different
words are used for the same objects, such as can, candy, truck, mailbox, subway, instead
of tin, sweets, lorry„ pillar-box, underground.
3. lowa: а north central state of the USA. The noun is derived from the name of an Indian tribe.
Quite а number of states, towns, rivers and the lake in America are named by Indian words,
e.g. Massachusetts, Ilйnois, Ohio, Kansa, Mississippi, Missouri, Michigan.
4. rot (s/.): foolish remarks or ideas.
5. bosh (sl.). empty talk, nonsense.
6. umph: an interjection expressing uncertainty or suspicion.
7. poppycock: foolish nonsense.
8. by gum (dial.): by God.
9. kinda: the spelling fixes contraction of the preposition “of’ and its assimilation with the preced-
ing noun which is а characteristic train of American pronunciation.
10. elfish: (becoming rate) (of people or behaviour) having the quality or habit of playing tricks on
people like an elf; mischievous.
11. colored: the American spelling is somewhat simpler than its British counterpan. The suffix —our
is spelled —or.
12. the Metropoйtan Museum of Art: the leading museum in America, was founded in 1870.
Its collections cover а period 5,000 years, representing the cultures of the Ancient world and
Near and Far East as well as the arts of Europe and America. Among the collections are the
paintings, which include oils, pastels, water-colors, miniatures and drawings. There are over
5,000 exhibits, among which are the works of Italian, Spanish, Dutch, Flemish, English and
American artists.
13. the Museum of Modern Art: а repository of art peculiar to the twentieth century, was
opened in 1929. It has several departments among which are the department of architecture
and design, the department of painting and sculpture, the department of photography.
gobbs/. : а mass of something sticky.
admonish: to scold or warn gently.
 The analvsis of the text “АП for heaП's sake”
by Reuben Goldberg
The text under analysis comes form the novel “Art for heart's sake” written by Reuben Goldberg, who
was an American sculpture, canoonist and writer. Не is famous for his vivid style of writing. “There
а doctor in the house”, “Reuben Goldberg's guide to Europe” and “I made my bed” are in the list of
his best literary works.
The extract deals with а new kind of psychological dependence's treatment, that Is — an art therapy.
The basic theme of the text — is the power(inf1uence) of money in American society.
From the point of view of presentation, the text is the 3d person narrative, it is rather а narration then а
description with some insertions of direct speech.
Now, I would like to say а few words about the characters of the text. Of course, there are а lot of
characters represented in the text, but some of them, such as: Doctor Caswell, Collis Р. Ellswonh, Frank
Swain are the main characters. What concerns Mr. Ellsworth, I can say that he was а man of seventy-six
in а pretty good shape. It is known, that he had some problems with his health to be more concrete
— with his heart and these problems were caused by his psychological dependence — shop holism.
Accord- ing to Doctor Caswell, who was treating Мг. Ellsworth, the young artist Frank Swain was
supposed to help the patient with his problem by means of art therapy. And of course, it required а
lot of patience from the young Swain.
From my point of view, the plot of the text is simple and intricate at the same time, because the reader
can't guess the end of the story.
As for me, the setting of the events is realistic, because an everyday life is described in the text.
I suppose, that the span of time the extract covers is obviously the beginning of the 20'h century.
То prove this fact I can say, that institutes and railroads existed already, as well as art galleries. The
other proof is that the Prize the artist was awarded was $1000 and for the 19th or 18th centuries it was а
fantas- tically huge amount of money, no matter in what kind of competition.
The narrative flow, from my point of view, is frame-like, because the problem we've meat at the
be- ginning of the story (I mean the patient's dependence) also arose at the end of the story.
As for me, the climax of the plot development coincides with it's ending, because only in the last
sen- tence we got to know the reason of Мг. Ellswonh's victory and understood that the treatment didn't
help at all.
The sentence structure is predominantly simple, because the text consists of dialogues mostly, but
some of them are complicated by the following homogeneous enumerations of the objects of the
furni- ture, pictures on the walls, or the authors of the books on the shelves. It is aimed at evoking а
feeling of being а witness of the story. (ДаНиіі a63ail Не ВідНОСИТЬСя no ііього КОНкреТНого
Техсту, ne лише
МОЖЛИВИіі п]ЭИКЈІад ОдНО]ЭідНих члеНіВ речеННя, ЯKl МОЖ b6 И ЗОбражеНі В TexcTi)

What concerns morphology, I'd like to analyze the usage of the tense forms. The extract under review
is characterized by the use of Present Simple, Present Perfect tenses as well as Past Simple, Continuous,
Perfect and Past Perfect Continuous tenses. The spoken type of speech is characterized by the wide
use of Present and Future Simple tense forms, while the written type of speech by — by the wide use of
past tense forms. Past tense forms are mostly used in author's narrations and descriptions, while Present
and Future tense forms are mostly used in conversations and dialogues. For example:
Present Simple Tense: “It's doctor's order”, “He doesn't want me to read to him”, “Sir, I'm not an
artist yet” and many others , to express permanent facts and situations, to express things that happen
regularly.
Present Perfect: “I've got a preposition for you” to express the situation which has not ended.
Future Simple: “It’ll be fun—” to denote possible future actions.
Past Simple Tense: “Koppel heard the front door bell and was glad to leave the room”, “Doctor
Caswell received the information with his usual professional calm”— this tense form is used to express
the past action.
 Past Continuous: “I was thinking could you spare the time to come twice a week ...”- it is used to de-
scribe an action in progress at a specific time in the past.
Past Perfect Continuous:” He wanted to show the doctor how hard he'd been working” — expresses
events in progress before another event in the past.

What concerns the usage of the articles, it is known that there are definite and indefinite articles in
English.
Indefinite article is used in it's 4 functions:
In it's nominating function — when the speaker denotes what kind of object we have to do with:
“I can't do а thing with him”
“Doctor drew up а chair”
“Five dollars а visit”
“... made а scrawl”
Classifying function —is used to classify people or things, to say what group, class or type they belong
to.
“Sir, I am not an artist yet”
“... Mr. Ellsworth will become а laughing-stock”
Generalizing function: when the noun is used in а general sense, to talk about any one member of а
class.
“А spider in my room, has 8 legs” (ІЈей приклад Не s TexcTy, npOCTO для прикладу даНої фуНкііп)
Numeric function: this meaning is generally found with nouns denoting time, measure and weight, and
with numerals “hundred”, “million”, “dozen”.
“... here once а
week” “... twice а
week”
What concerns the usage of the definite article. It is used in it's specifying meaning — when the noun
denotes an object or objects which the speaker singles out from all the objects of а given class.
“... the painting was hung in an inconspicuous place”
“Не found Doctor Caswell in the hall downstairs”
“...and explained the situation”
“Swain arranged some paper and crayons on the table”
Generic meaning: this function expresses typical characteristics, the definite article is used with singular
nouns referring to а class of objects as а whole.
“ The seagull is а scavenging bird” (Цей прихлад Не з Техсту, В naHoMy техсті Taxa фуНкііія Не
BwxBaeTi•Cfl).
While analyzing the text I came across the repetition of the word sufficres, such as suffix —ly, for
exam- ple: suspiciously, gently, appraisingly, unusually, quietly.
It is a well-known fact, that the Infinitive, Gerund, Participle I and Participle II are the representatives
of the non-finite forms of the verb. As to the Gerund, there are a lot of gerunds in the a given
text used in different functions.
Gerund performs the function of an object:
“He had done some constructive thinking since his last visit”
“But he had to be kept from buying things...”
The function of a predicative:
“...like a child playing with a picture book”
The function of a subject:
“Fortunately, the painting was hung in an inconspicuous place”
With verbs denoting the beginning, the duration or the end of an action the Gerund forms part of a com-
pound verbal aspect:
“During the course of the exhibition the old man kept on taking his lessons, seldom mentioning his
entry in the exhibition.”
“But Caswell, how do I start playing with the chalk — ...”
As to the Participle 2 in the text it performs the function of an attribute:
 “Doctor Caswell, exercising his professional self-controll...”
And of course, there are a lot of infinitives in the extract, such as:
“...the front door bell and was glad to leave the room”
“He doesn't want me to read to him”
“Ran an elevator at night to pay tuition”
Now, a few words about the usage of modal verbs. Mostly, they are represented in the text expressing
physical or mental ability or possibility:
“I can get a student from one of the art schools...”
Impossibility:
“...the painting was hung ... where it could not excite any comment”
“He could not bear to hear what they had to say”
“Necessity:
“He had to be liquidated at a great sacrifice ...”
“He had to be kept from buying things ...”
Polite requests:
“Could vou spare me the time?”
Also some conditional sentences are used in the text, such as the 1 type Conditional, to express true and
factual ideas in the present or future: “If you want to draw you will have to look at what you are draw-
8”
Syntax. The extract under review is characterized by the use of short simple, long compound, com-
plex, and composite sentences. The spoken type of speech is characterized by the use of simple sentenc-
es:
“Old Ellsworth looked suspiciously over his spectacles”
“Next afternoon young Swain was shown into the big living room.”
It is also characterized by the use of short simple sentences:
“The doctor stood up”
“Read it to me”
In the written type of speech, mostly long compound, complex and composite sentences are used.
So, compound sentences which contain two independent clauses joined by a coordinator. The coordi-
nators are as follows: for, and, nor, but, or, yet, so.
“Young Swain sneaked into the Gallery one afternoon and blushed to the top o his ears”
“The doctor drew up a chair and sat down close to the old man”
“We can't interfere with him now and take a chance of spoiling all the good work”
Complex sentences: this kind of sentence has an independent clause joined by one or more dependent
clauses. A complex sentence always has a subordinator such as: “because”, “since”, “after”, “although”,
“when” or a relative pronoun, such as “that”, “who”, or “which”. In a complex sentence there is one
main “idea” and one or more subordinate “ideas” (clauses).
“He had suffered his last heart attack after his disastrous purchase of that jerkwater railroad in Iowa”
“Upon this distinguished group Ellsworth was going to foist his “Trees dressed in white”, which resem-
bled a gob of salad dressing thrown violently up against the side of a house”
Complex and compound sentences are mostly used in narrations and descriptions and simple sentenc-
es are mostly used in conversations and dialogues.
As to the vocabulary common/neutral words prevail, such as: juice, door, room, a chair, the chalk, etc.
In a spoken type of speech most of the words are colloquial, for example: bosh, umph, jerkwater, poppy-
cock, by gum, it's kinda.
In the written type of speech there are many bookish and literary words (they are mostly scientific
words and also words which are not understandable to uneducated people): the abruptness, a vigorous,
to squint, to admonish.
The main sphere of words. Form my point of view, the text is devoted to the problems of art and also
it has to do with the process of treatment. That is why, there are many words in the extract that help the
author to enclose the theme. They are :
 Treatment: the nurse, а hean, а patient, а doctor, treatment, heart attack.
Art: the lost landscape prize, canvases, exhibitions, а drawing, the ап student, galleries.
I believe that all the words in the extract are equally important, but there are some that contribute more
to the purport and are worth to be analysed deeper. I'd like to analyse the verb “to draw”. This verb
has а lot of meanings:
1. to produce а picture of something using а pencil, pen, etc.
“Katie had drawn а cottage with а little stream running next to it”
2. to get а particular kind of reaction from someone.
“His remarks drew an angry response from Democrats”
3. to give information in reply to questions about something.
“She refused to be drawn on the subject of her family”
4. to take air or smoke into your lungs.
“She drew а deep breath”
5. to choose by chance а card, ticket etc. that will win а prize.
“The winning ticket will be drawn at the Christmas Party”
There are many phrasal verbs with the verb “to draw”, for example:
Draw back, that means — to move backwards, especially because you are frightened- “Suddenly, she
drew back, startled”
Draw in- if the days or night draw in, it starts to get dark earlier in the evening, because winter is com-
ing.
“In October the nights start drawing in”
Draw sth up- to prepare а written document, such as а list or contract.
“Draw up а list of all the things you want to do”
The word “draw” can be used as а noun. The first meaning is like this:
1. the final result of а game or competition in which both teams or players have the same number
of points.
“The match ended in а draw”
2. an occasion when someone or something is chosen by chance, especially the winning ticket in а
lottery, or the teams who will play against each other in а competition.
“England has been selected to play Germany in the draw for the fкst round of the World Cup”
3. а performer, place, event, that а lot of people come to see
“It is hoped that а new art gallery will be а big draw for the visitors”
There are also several derivatives, such as:
Drawer (m- а part of а piece of furniture, such as а desk that you pull out and push in and use to
keep things in it: “She took а file from her desk drawer”
Drawing(m- а picture that you draw: “...а drawing of Canterbury Cathedral”

Form the point of view of stylistic, there are many stylistic devices in the text. Here are some of
them:
Zeugma: “All his purchases of recent years had to be liquidated at a great sacrifice both to his
health and his pocketbook”
Simile: “... the open spaces blue like a child plaving with a picture book”
Personification: “When the late spring sun began to cloak the fields and gardens with colour...”,
“An entirely new world opened up it's charming mysteries”
Metonvmv: “I want to ask you something before old pine apple juice comes back”
In general, I suppose that the tone of the piece of literature is informal, conversational, casual and
ironical.