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.The sentences are also determined by the analysis.Thus thethree sentences of the first paragraph distinguish (1) thecovers on the conveyor belt, (2) the iron arms placing sealerson the pots, and (3) the fixing of the lids onto the jars.Notice,too, the long sentence in the fourth paragraph; it uses parallelverbs to analyze the filler's movements. DESCRIPTIONProcess description may be either objective or subjective.Both the foregoing examples are relatively objective, thougheach suggests responses.Even though Dillard's subject is hor-rifying and she actually expresses her reaction ("it was a mon-strous and terrifying thing"), her images are objective.Dillardconcentrates on rendering the visual experience in and of itself(which in a case like this perhaps best communicates thehorror).Despite its objective surface, Garson's description also im-plies a reaction.Her the words imitatingthe inhuman quality of the assembly line.Her fourth paragraph cleverly hints her feelings about workon the line.The long elaborate first sentence describing theworker's mechanized movements is followed by a briefmatter-of-fact announcement that "the bottles go past atthirty-three a minute." The implication makes sensitive read-ers wince. CHAPTER31NarrationA narrative is a meaningful sequence of events told in words.It is sequential in that the events are ordered, not merely ran-dom.Sequence always involves an arrangement in time (andusually other arrangements as well).A straightforward move-ment from the event to the last constitutes the simplestchronology.However, chronology is sometimes complicatedby presenting the events in another order: for example, a storymay open with the episode and then flash back to allthat preceded it.A narrative has meaning in that it conveys an evaluation ofsome kind.The writer reacts to the story he or she tells, andstates or implies that reaction.This is the "meaning," some-times called the "theme," of a story.Meaning must always berendered.The writer has to do more than tell us the truth hesees in the story; he must manifest that truth in the charactersand the action.Characters and action are the essential elements of anystory.Also important, but not as essential, is the setting, theplace where the action occurs.Characters are usuallysometimes actual people, as in history books or newspaperstories, sometimes imaginary ones, as in novels.Occasionallycharacters are animals (as in an Aesop fable), and sometimes NARRATIONa dominant feature of the environment functions almost likea character (the sea, an old house).The action is what the characters say and do and anythingthat happens to them, even if it arises from a nonhumanstorm, for instance, or a fire.Action is often pre-sented in the form of a plot.Action is, so to speak, the rawmaterial; plot, the finished product, the fitting together of thebits and pieces of action into a coherent pattern.Usually,though not invariably, plot takes the form of a cause-and-effect chain: event A produces event B; B leads to C; C to D;and so on until the final episode, X.In a well-constructed plotof this kind we can work back from X to A and see the con-nections that made the end of the story likely and perhapsinevitable.Stories can be very long and complicated, with many char-acters, elaborate plots, and subtle interpenetration of charac-ter, action, and setting.In writing that is primarily expository,however, narratives are shorter and simpler.Most often theyare factual rather than imaginary, as when an historian de-scribes an event.And often in exposition an illustration mayinvolve a simple narrative.Being able to tell a story, then,while not the primary concern of the expository writer, is askill which he or she will now and again be called upon touse.Organizing a NarrativeAs with so much in composition, the first step in narration isto analyze the story in your own mind.In the actual telling,the analysis provides the organization.The simplest kind ofnarrative is the episode, a single event unified by time andplace.But even an episode must be organized.The writermust break it down into parts and present these in a mean-ingful order.In the following case the episode is the brief landing of apassenger ship at the Mediterranean island of Malta.Afterdescribing the setting in the first paragraph, the writer divides DESCRIPTION AND NARRATIONhis story into two parts: the problems of getting ashore (par-agraphs 2 and 3), and the difficulties of returning to the ship(4).We called at Malta, a curious town where there is nothing butchurches, and the only sound of life is the ringing of church bells.The whole place reminded me of the strange towns one often seesin the nightmares of delirium.As soon as the ship anchored, a regular battle began betweenthe boatmen for possession of the passengers.These unhappy crea-tures were hustled hither and thither, and finally one, waving hisarms like a marionette unhinged, lost his balance and fell back intoa boat.It immediately bore him off with a cry of triumph, and thedefeated boatman revenged himself by carrying off his luggage ina different direction.All this took place amid a of oaths inMaltese, with many suggestive Arab words intermingled.The young priests in the second class, freshly hatched out of theseminary, turned vividly pink, and the good nuns covered theirfaces with their veils and fled under the mocking gaze of an oldbearded missionary, who wasn't to be upset by such trifles.did not go ashore, for getting back to the ship was too much ofa problem.Some passengers had to pay a veritable ransom beforethey could return.Two French sailors, who had got mixed up withchurches when looking for a building of quite another character,solved the matter very simply by throwing their grasping boatmaninto the sea.A few strokes with the oars, and they were alongside,and as a tug was just leaving they tied the little boat to it, to theaccompaniment of the indignant shrieks from the owner as hefloundered in the water [ Pobierz całość w formacie PDF ]
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.The sentences are also determined by the analysis.Thus thethree sentences of the first paragraph distinguish (1) thecovers on the conveyor belt, (2) the iron arms placing sealerson the pots, and (3) the fixing of the lids onto the jars.Notice,too, the long sentence in the fourth paragraph; it uses parallelverbs to analyze the filler's movements. DESCRIPTIONProcess description may be either objective or subjective.Both the foregoing examples are relatively objective, thougheach suggests responses.Even though Dillard's subject is hor-rifying and she actually expresses her reaction ("it was a mon-strous and terrifying thing"), her images are objective.Dillardconcentrates on rendering the visual experience in and of itself(which in a case like this perhaps best communicates thehorror).Despite its objective surface, Garson's description also im-plies a reaction.Her the words imitatingthe inhuman quality of the assembly line.Her fourth paragraph cleverly hints her feelings about workon the line.The long elaborate first sentence describing theworker's mechanized movements is followed by a briefmatter-of-fact announcement that "the bottles go past atthirty-three a minute." The implication makes sensitive read-ers wince. CHAPTER31NarrationA narrative is a meaningful sequence of events told in words.It is sequential in that the events are ordered, not merely ran-dom.Sequence always involves an arrangement in time (andusually other arrangements as well).A straightforward move-ment from the event to the last constitutes the simplestchronology.However, chronology is sometimes complicatedby presenting the events in another order: for example, a storymay open with the episode and then flash back to allthat preceded it.A narrative has meaning in that it conveys an evaluation ofsome kind.The writer reacts to the story he or she tells, andstates or implies that reaction.This is the "meaning," some-times called the "theme," of a story.Meaning must always berendered.The writer has to do more than tell us the truth hesees in the story; he must manifest that truth in the charactersand the action.Characters and action are the essential elements of anystory.Also important, but not as essential, is the setting, theplace where the action occurs.Characters are usuallysometimes actual people, as in history books or newspaperstories, sometimes imaginary ones, as in novels.Occasionallycharacters are animals (as in an Aesop fable), and sometimes NARRATIONa dominant feature of the environment functions almost likea character (the sea, an old house).The action is what the characters say and do and anythingthat happens to them, even if it arises from a nonhumanstorm, for instance, or a fire.Action is often pre-sented in the form of a plot.Action is, so to speak, the rawmaterial; plot, the finished product, the fitting together of thebits and pieces of action into a coherent pattern.Usually,though not invariably, plot takes the form of a cause-and-effect chain: event A produces event B; B leads to C; C to D;and so on until the final episode, X.In a well-constructed plotof this kind we can work back from X to A and see the con-nections that made the end of the story likely and perhapsinevitable.Stories can be very long and complicated, with many char-acters, elaborate plots, and subtle interpenetration of charac-ter, action, and setting.In writing that is primarily expository,however, narratives are shorter and simpler.Most often theyare factual rather than imaginary, as when an historian de-scribes an event.And often in exposition an illustration mayinvolve a simple narrative.Being able to tell a story, then,while not the primary concern of the expository writer, is askill which he or she will now and again be called upon touse.Organizing a NarrativeAs with so much in composition, the first step in narration isto analyze the story in your own mind.In the actual telling,the analysis provides the organization.The simplest kind ofnarrative is the episode, a single event unified by time andplace.But even an episode must be organized.The writermust break it down into parts and present these in a mean-ingful order.In the following case the episode is the brief landing of apassenger ship at the Mediterranean island of Malta.Afterdescribing the setting in the first paragraph, the writer divides DESCRIPTION AND NARRATIONhis story into two parts: the problems of getting ashore (par-agraphs 2 and 3), and the difficulties of returning to the ship(4).We called at Malta, a curious town where there is nothing butchurches, and the only sound of life is the ringing of church bells.The whole place reminded me of the strange towns one often seesin the nightmares of delirium.As soon as the ship anchored, a regular battle began betweenthe boatmen for possession of the passengers.These unhappy crea-tures were hustled hither and thither, and finally one, waving hisarms like a marionette unhinged, lost his balance and fell back intoa boat.It immediately bore him off with a cry of triumph, and thedefeated boatman revenged himself by carrying off his luggage ina different direction.All this took place amid a of oaths inMaltese, with many suggestive Arab words intermingled.The young priests in the second class, freshly hatched out of theseminary, turned vividly pink, and the good nuns covered theirfaces with their veils and fled under the mocking gaze of an oldbearded missionary, who wasn't to be upset by such trifles.did not go ashore, for getting back to the ship was too much ofa problem.Some passengers had to pay a veritable ransom beforethey could return.Two French sailors, who had got mixed up withchurches when looking for a building of quite another character,solved the matter very simply by throwing their grasping boatmaninto the sea.A few strokes with the oars, and they were alongside,and as a tug was just leaving they tied the little boat to it, to theaccompaniment of the indignant shrieks from the owner as hefloundered in the water [ Pobierz całość w formacie PDF ]