Foundations of Literary Analysis - Spring 2005 - Prof. Steve Evans

25 January 2005 — Quiz One

Identify the following passages by author

My it’s a good thing the men couldn’t hear us. Wouldn’t they just laugh! Getting all stirred up over a little thing like a—dead canary.

Oh yeah? I had to smile to myself. After all, I had already fallen in love with the savage brat, the parents were contemptible to me. In the ensuing struggle they grew more and more abject, crushed, exhausted while she surely rose to magnificent heights of insane fury of effort bred of her terror of me.

She felt like a chess player who, by the clever handling of his pieces, sees the game taking the course intended. Her eyes were bright and tender with a smile as they glanced up into his; and her lips looked hungry for the kiss which they invited.

He told me of his prospecting days in South America. It was a tale of high adventure, fraught with mortal dangers, hair-raising escapes, and improbable twists of fortune: hacking his way through the jungle with a machete, fighting off bandits with his bare hands, shooting his donkey when it broke its leg.

The fact that narrative is so universal, so ‘natural,’ may hide what is strange and problematic about it. Exactly what psychological or social functions do stories serve? Just why do we need stories, lots of them, all the time?

In an S bus (which is not to be confused with a trespass), I saw (not an eyesore) a chap (not a Bath one) wearing a dark soft hat (and not a hot daft sack), which hat was encircled by a plaited cord (and not by an applauded cat).

The child’s life wasn’t in vain because the polar bears had been made holy by its suffering. The child had been a test, a message from god for polar bears.”

Poetry had fallen foul of the Romantics, become a mawkish, womanly affair full of gush and fine feeling. Language had gone soft and lost its virility: it needed to be stiffened up again, made hard and stone-like, reconnected to the physical world.

Why don’t you say something? You haven’t said a word all this time. You’ve just let me go on talking. You have sat there with your eyes drawing all these thoughts out of me—they were there in me like silk in a cocoon....

But of the two of us I had to be, at any price, the first to see the other. For had she touched me with the match of her eyes, I should have gone up like a magazine.

Name (1) the literary theorist and (2) the sociolinguist whose work we’ve used to discuss the basic elements of all narratives.

Name and briefly define the six elements common to all narrative.

 

 

We have made a distinction in this class between two terms often used interchangeably in everyday discourse, story and plot. Briefly explain the distinction.


Briefly define the following terms:

montage

mise-en-scene

prosopopoeia

[one additional word you have learned from the reading]