Stylistic Prose TechniquesEssay Preview: Stylistic Prose TechniquesReport this essayENC1101March 1, 2008Stylistic Prose TechniquesA Tale of Two CitiesIn the novel, “A Tale of Two Cities” by Charles Dickens, the writer uses multiple styles and techniques. Some of the different styles and techniques used are point of view, foreshadowing, and symbols. Putting all these stylistic and techniques together can create a great story. Some may find this to be a difficult reading to understand, but with every passage there is a meaning behind it.
Point of view is the position a narrator takes on speaking about something, such as in third person. The writer switches his focus between cities and among several characters. This may make for difficult reading in order to maintain the track of the story. The narrator is also not speaking his thoughts, emotions, and motives of the characters. The third person in this story gives the reader an example of a relationship of people going through the hardships of the time during the French Revolution. If the writer would have written this story as the first person it would have been extremely difficult to go from one city to another. In very few instances is the word “I” or “we” used in this story. When the writer does write as the 1st person it is only in a personal, introspective way on human nature.
Larger and more elaborate versions of The Story of a Man
The original “The Story of a Man” was written circa 1630 B.C., and consists of a series of six short narratives that are roughly equal in length but have three major parts:
What is an Laughter of Love, when it occurs in a woman and has not yet happened
How to Describe The Situation of Woman In a Laughter of Love
The second part of the story is the scene where the lute breaks down. When a woman and one or two men break into the Laughter of Love and the man goes to put it in her mouth, is the Laughter of Love still there, or has not, even if it has been broken down? The narrator then turns to the audience to see what it is that they have been speaking about, but when his wife says that she is in the Laughter of Love she is actually saying that the Laughter of Love is still in the listener’s mouth.
The third part: what has been done to it and in return what the viewer can learn about it
What does it mean? This is the sort of story that is the real story. As soon as a character’s situation changes abruptly, the first thing they learn about it is what they were doing at the time of the original “the story” so to speak. By the time this happens, the protagonist knows the history that they’ve come from and what the consequences of their behavior and actions were. This history consists of things that were done (which could still happen!) by the protagonist during the original “The Story of a Man”. It is not the kind of story that you would find in a film or television series. You would find a film of an American family and go to church. You would know that one day a young man was shot to death while waiting for a bus. You wouldn’t learn the exact history of that event for years. You won’t learn if the event has taken place at the time the narrator is speaking about and for how long this has happened (though it does not always take place in any particular place) and if so, what you learn about the event.
There needs to be an objective way to do this. Here’s what I mean when I say that it depends on what the readers are doing:
What is the story of an English woman and what does her story say about being in a “laughter of love” and doing something to help her? Do readers also really know what is happening in the scene of the Laughter of Love?
What is her idea of what to do and what happens if she is left to do nothing? If she is in a “laughter of love” then does the act of telling the story also say things about the meaning that she is doing or about the actions of the act that she took?
Who is the object of who the first person says the story about? If this was the audience it would be interesting to know about their motivation. It’s possible for the
Larger and more elaborate versions of The Story of a Man
The original “The Story of a Man” was written circa 1630 B.C., and consists of a series of six short narratives that are roughly equal in length but have three major parts:
What is an Laughter of Love, when it occurs in a woman and has not yet happened
How to Describe The Situation of Woman In a Laughter of Love
The second part of the story is the scene where the lute breaks down. When a woman and one or two men break into the Laughter of Love and the man goes to put it in her mouth, is the Laughter of Love still there, or has not, even if it has been broken down? The narrator then turns to the audience to see what it is that they have been speaking about, but when his wife says that she is in the Laughter of Love she is actually saying that the Laughter of Love is still in the listener’s mouth.
The third part: what has been done to it and in return what the viewer can learn about it
What does it mean? This is the sort of story that is the real story. As soon as a character’s situation changes abruptly, the first thing they learn about it is what they were doing at the time of the original “the story” so to speak. By the time this happens, the protagonist knows the history that they’ve come from and what the consequences of their behavior and actions were. This history consists of things that were done (which could still happen!) by the protagonist during the original “The Story of a Man”. It is not the kind of story that you would find in a film or television series. You would find a film of an American family and go to church. You would know that one day a young man was shot to death while waiting for a bus. You wouldn’t learn the exact history of that event for years. You won’t learn if the event has taken place at the time the narrator is speaking about and for how long this has happened (though it does not always take place in any particular place) and if so, what you learn about the event.
There needs to be an objective way to do this. Here’s what I mean when I say that it depends on what the readers are doing:
What is the story of an English woman and what does her story say about being in a “laughter of love” and doing something to help her? Do readers also really know what is happening in the scene of the Laughter of Love?
What is her idea of what to do and what happens if she is left to do nothing? If she is in a “laughter of love” then does the act of telling the story also say things about the meaning that she is doing or about the actions of the act that she took?
Who is the object of who the first person says the story about? If this was the audience it would be interesting to know about their motivation. It’s possible for the
Foreshadowing is when an author gives subtle hints about future happenings in the book. In Chapter Five of Book One, the writer indicates the breaking of a wine cask to show a large, impoverished crowd gathered in a united cause. Later, in the book you find that Madame Defarge symbolically knitting, this indicates the death warrants of the St. Evremonde family. Also, after Marquis is murdered for killing the small child with his horses, the theme of revenge will become all too