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In this extract the author touches upon the most burning problems of mankind, the eternal problems.

SAMPLE TEXT FOR ANALYSIS.

EXTRACT FROM "DOMBEY AND SON" BY CHARLES DICKENS

CHAPTER 47.

Florence took her seat at the dinner-table, on the day before the second anniversary of her father's marriage to Edith [...], with an uneasiness amounting to dread. She had no other warrant for it, than the occasion, the expression of her father's marriage to Edith [...] with an uneasiness amounting to dread. She had no other warrant for it, than the occasion, the expression of her father’s face, in the hasty glance she caught of it, and the presence of Mr. Carker, which, always unpleasant to her, was more so on this day, than she had ever felt it before.

Edith was richly dress, for she and Mr. Dombey were engaged in the evening to some large assembly, and the dinner-hour that day was late. She did not appear until they were seated at table, when Mr. Carker rose handled her to her chair. Beautiful and lustrous as she was, there was that in her face an air which seemed to separate her hopelessly from Florence, and from every one, for ever more. And yet, for an instant, Florence saw a beam of kindness in her eyes, when they were turned on her, that made the distance to which she had withdrawn herself, a greater cause of sorrow and regret than ever.

There was very little said at dinner. Florence heard her father speak to Mr. Carker sometimes on business matters, and heard him softly reply, but she paid little attention to what they said, and only wished the dinner at an end. When the dessert was placed in>on die table, and they were left alone, with no servant in attendance, Mr. Dombey, who had been several times clearing his throat in a manner that augured no good, said-

"Mrs. Dombey, you know, I suppose, that I have instructed the housekeeper that there will be some company to dinner here tomorrow."

"I do not dine at home," she answered.

"Not a large party," pursued Mr. Dombey, with an indifferent assumption of not having heard her; "merely some twelve or fourteen. My sister, Major Bagstock, and some others whom you know but slightly."

"I do not dine at home," she answered.

"However doubtful reason 1 may have, Mrs. Dombey," said Mr. Dombey, still going majestically on, as if she had not spoken, "to hold the occasion in very pleasant remembrance just now, there are appearances in these things which must be maintained before the world. If you have no respect for yourself, Mrs. Dombey"

"I have none," she said.

"Madam," cried Mr. Dombey, striking his hand upon the table, "hear me if you please.' I say, if you have no respect for yourself"

"And 1 say I have none," she answered.

He looked at her, but the face she showed him in return would not have changed, if death itself had looked.

"Carker," said Mr. Dombey, turning more quietly to that gentleman, "as you have been ray medium of communication with Mrs. Dombey on former occasions, and as I choose to preserve the decencies of life, so far as I am individually concerned, I will trouble you to have the goodness to inform Mrs. Dombey that if she has no respect for herself, I have some respect for myself, and therefore insist on my arrangements for tomorrow."

"Tell your sovereign master, sir," said Edith, "That I will take leave to speak to him on this subject by-and-by, and that 1 will speak to him alone."[..,]

"I am not accustomed to ask, Mrs. Dombey, " he observed; "I direct." "I will bold no place in your house tomorrow, or on any recurrence or tomorrow. I will be exhibited to no one, as the refractory slave you purchased, such a time. If I kept my marriage-day, I would keep it as a day of shame. Self-respect! Appearances before the world! What are these to me? You have done all you can to make them nothing to me, and they are nothing."

"I will hold no place in your house tomorrow, or will be exhibited to no one, as the refractory slave you have purchased, such a time. If I kept my marriage-day, I would keep it as a day of shame. Self-respect! Appearances before the world! What are these to me? You have done all you can to make them nothing to me, and they are nothing."

"Carker," said Mr. Dombey, speaking with knitted brows, and after a moment's consideration, "Mr. Dombey is so forgetful of herself and me in all this, and places me in a position so unsuited to my character, that I must bring this state of matters to a close."

"Release me, then," said Edith, immovable in voice, in took, and bearing as she had been throughout, "from the chain by which I am bound. Let me go."

"Madam?" exclaimed Mr. Dombey.

"Loose me. Set me free!"

"Madam." he repeated, "Mrs. Dombey?"

"Tell him," said Edith, addressing her proud face to Carker, "that I wish for a separation between us. That there had better be one. That I recommend it to him Tell him it may take place on his own terms - his wealth is nothing to me - but that it cannot be too soon."

"Good heaven, Mrs. Dombey!" said her husband, with supreme amazement, "do you imagine it possible that I could ever listen to such a proposition? Do you know who I am, madam? Do you know what I represent? Did you ever hear of Dombey and Son? People say that Mr. Dombey - Mr. Dombey! - was separated from his wife! Common people to talk of Mr. Dombey and his domestic affairs! Do you seriously think, Mrs. Dombey that I would permit my name to be handed about in such connection? Pooh, Pooh, madam! Fie for shame! You're absurd," Mr. Dombey absolutely laughed.

But not as she did. She had better have been dead than laugh as she did, in reply, with her intent look fixed upon him. He had better have been dead, than sitting there, in his magnificence, to hear her. [...]

She had better have turned hideous and dropped dead, than have stood up with such a smile upon her face, in such a fallen spirit's majesty of scorn and beauty. She lifted her hand to the tiara of bright jewels radiant on her hand, and. plucking it off with a force that dragged and strained her rich black hair with heedless cruelty, and brought it tumbling wildly on her shoulders, cast the gems upon the ground. From each arm, she unclasped a diamond bracelet, flung it down, and trod upon the glittering heap. Without a word, without a shadow on the fire of her bright eye, without abatement of .her awful smile, she looked on Mr. Dombey to the last, in moving to the door; and left him. [...]

Yielding at once to the impulse of her affection, timid at all other times, but bold in its truth to him in his adversity, and undaunted by past repulse, Florence, dressed as she was, hurried down-stairs. As she set her light foot in the hall, he came out of his room. She hastened towards him unchecked, with her arms stretched out and crying "Oh dear, dear papa!" as if she would have clasped him round the neck.

And so she would have done. But in his frenzy, he lifted up his cruel arm, and struck her, crosswise, with that heaviness, that she tottered on the marble floor; and as he dealt the blow, he told her what Edith was, and bade her follow her, since they had always been in league,

She did not sink down at his feet; she did not shut out the sight of him with her trembling hands; she did not weep; she did not utter one word of reproach. But she looked at him, and a cry of desolation issued from her heart. For as she looked, she saw him murdering that fond idea to which she had held in spite of him. She saw his cruelty, neglect, and hatred dominant above it, and stamping it down. She saw she had no father upon earth, and ran out, orphaned, from his house. [...]

Comments

The extract under analysis is taken from the novel «Dombey and Son» which belongs to the pen of the prominent English writer Ch. Dickens, who represented the brilliant school of critical realists. Dickens's childhood was full of hardships and he had to start working at a very young age. His education was mainly achieved by extensive; reading and keen observation of people and things around him. In 1837 his first novel «The Posthumous Papers of Pickwick Club» appeared which brought him fame and recognition all over Europe. Then Dickens created a number of novels, specially notable for critical and comic treatment of Victorian England. AH Dickens's great works - «Oliver Twist», «The Old Curiosity Shop», «David Copperfield», «Bleak House», «Great Expectations» and others carry a profound moral message. In the books of Dickens we have an astonishing combination of creative vigor, inimitable humor and abundant variety of literary technique. Every personality Dickens describes is full of life, striking and unforgettable. Many of them have become recognizable types in English fiction.

The writer possessed a keen and observant eye and in his best works he touched upon the most significant social problems, drawing the reader's attention to work -houses, the ruling classes' hypocrisy, egotism and the cruelty of state.

The extract under consideration is taken from the novel «Dombey and Son». The main character of it is Mr. Dombey, head of the firm, a person who is obsessed with money and his business considerations. His best hopes connected with the prosperity of his firm are ruined with the death of his son Paul, his heir. Mr. Dombey, preoccupied with the prestige of his firm marries a second time. His new wife, Edith Granger is a beautiful and proud woman coming from an impoverished aristocratic family. She doesn't share her husband's principles. The tension in Mr. Dombey's family is increasing. And it is clearly seen from this extract, which may be considered one of the climaxes of the whole novel. The extract depicts the scene of a quarrel between Edith and Mr. Dombey at dinner.

The scene is laid in the house of Mr. Dombey. At the beginning of the text the author describes the feelings of Florence before dinner. Florence was Mr. Dombey's daughter whom he didn't like and neglected. She was full of apprehensions and forebodings. Edith is described as a beautiful and lustrous woman, but particular attention should be paid to the fact that «there was in her face an air which seemed to separate her hopelessly from Florence, and from every one, for over more.» Further on the author passes on to the description of what happened at dinner and after it. It must be mentioned that there was very little said at dinner. Then Mr. Dombey addressed his wife and told her that next day there would be a large company at his place to mark the second anniversary of their marriage. Edith remarked that she didn't dine at home. Mr. Dombey very calmly continued pursuing his subject as if he hadn't heard his wife speak. But finally he lost his temper and stressing the fact that he had to maintain certain appearances before the world he insisted on his arrangements for the next day.

There was one more person present at the table - Mr. Carker, Mr. Dombey's business partner, whom both husband and wife chose as the medium of communication, though they were both in the room. This fact gives some ironical flavor to the narration and stresses once again that there was an abyss of misunderstanding between husband and wife.

As the action develops we obtain further information about the characters. From the next paragraphs we learn that Edith wasn't going to stay in that house any longer. She begged her husband to set her free and said she wished for their separation. As far as Mr. Dombey was concerned a separation was absurd, unthinkable to him, because he was too much preoccupied with what other people would say about him in such a case. He laughed into the face of his wife, and she, unable to bear it anymore, plucked off her tiara and jewels and left the room.

To finish with, the author describes a detestable scene between Mr. Dombey and Florence. The girl, being very tender and sensitive by nature cams up to her father, tried to cairn him down; she was going to embrace him, when he struck her cruelly so that she fell on the floor.

The extract ends with Florence's leaving the house when she understood that actually she had no father on earth.

As for the structure of the text it may be subdivided into three logically complete parts. The first part (it may be called a kind of exposition) comprises the first two paragraphs, where Florence and Edith, their relations and their feelings before dinner are introduced. There are already some signs of tension here, some signs of the coming storm.

The second part is the largest one. It may be called -«The quarrel between Edith and Mr. Dombey.» It finishes with the words: "... she looked on Mr. Dombey to the last, in moving to the door, and left him."

The last part may be called «The incident between Florence and Mr. Dombey. » It cannot possibly be regarded as the denouement of the text, for the tension hardly slackens here. There is no denouement here in the usual sense of the word, but for die climax the scene of Edith's leaving her husband may be considered as such. (From «She lifted her hand to the tiara...» up to «... and left him.»)

The text presents mostly a narration into which the description of Edith's appearance and the dialogue and between Edith and Mr. Dombey are blended. Some instances of psychological portraiture of the characters can also be distinguished, first of all, in the first pan of the text when the inner state of Florence and Edith is described.

The general atmosphere of the text can be identified as dramatic tension which is increasing from the beginning till the climax and reaches its pinnacle there. In the very beginning the author manages to create the atmosphere of suspense. The reader can't help but feel that something unpleasant is sure to happen. The words with negative connotation such as «uneasiness», «dread», «unpleasant», «sorrow», and «regret» don't fail to produce the effect of impending tragedy. The situation itself, the contents of the dialogue between husband and wife, their manner of speech and behavior also brings a dramatic flavor into the narration. There are as well a number of stylistic devices which help the author to outline the conflict and the psychological state of his characters more sharply and vividly.

E.g.: Repetitions and parallel constructions:

«J do not dine at home»

"I have none" she said.... "And 1 say I have none," she answered.

"I will hold no place in your house... I will be exhibited to no one... You have done all you can to make them nothing to me, and they are nothing."

"Do you know who I am, madam? Do you know what I represent? Did you ever hear of Dombey and Son?" etc.

She had better have been dead... He had better have been dead ... She had better have turned hideous....

Without a word, without a shadow on the fire of her bright eye, without abatement of her awful smile, (note this epithet "awful", which is especially powerful when used together with such a noun as “smile”)_t etc.

The text is especially notable for its brilliant character drawing and it is to the characters that the reader's special attention must be paid. The text is the third person narration, but the presence of the author is not felt very greatly here, though some instances of direct characterization can be found, e.g. "beautiful and lustrous","proud face” (Edith), "cruelty, neglect and hatred" (Mr. Dombey), Mainly the author pictures his characters through their actions and words. Let us first consider the speech characterizes of Mr., Dombey. In the first part of the conversation Mr. Dombey uses pompous and stilted syntax and vocabulary. Maybe it's his usual manner of communication even with his wife, which ought to have been something more natural and sincere. But his artificial manner of speech and the fact that he used Carker as the interpreter between his wife and himself leave no doubts as to what kind of relations existed between them. It's awful! that a man should speak so addressing his wife as if he were addressing some high-ranking official during negotiations or something like that. The following examples will suffice to show it: "However doubtful reason I may have, Mrs. Dombey, still going majestically’ on, as if she had not spoken, "to hold the occasion in very pleasant remembrance, etc. or: "Carker," said Mr. Dombey, turning more quietly to that gentleman, "as you have been my medium of communication with Mrs., Dombey on former occasions, and as I choose to preserve the decencies of life, so far as I am individually concerned, I will trouble you to have the goodness to inform Mrs. Dombey...," etc. This endless sentence already borders on absurdity.

In this connection special attention should be paid to the repetition of the word "dead", to the metaphor "she saw him murdering that fond ides". Their significance can't be overestimated, they indicate at the death of any normal human relations between any members of this family.

But further on, even Mr. Dombey, who is accustomed to being obeyed to in everything, having understood that Edith isn't going to fulfill his orders, that it is an open rebellion on her part, loses his temper and flies into a passion. His manner of speech changes. In his last remark he uses plenty of exclamations, repetitions, interjections and rhetorical questions. (See: "Good heaven, Mrs. Dombey!..." up to "you are absurd"). The author managed to convey this change in Mr. Dombey's state of mind and feelings brilliantly. At first he seemed to be a person as if made of stone, devoid of any emotions, then irritation and anger appeared, and they were caused by Edith's defiance, by the fact that she had dared to say something against him. Only this managed to arouse some emotions in Mr. Dombey's heart of stone. Of course no love or affection, parental or that of a spouse can be dwelt upon here.

Mr. Dombey had practically never experienced such feelings and that's why only anger and irritation were able to arouse some emotions in him. Of course, he is pictured by Dickens only from one side. Not a single positive, or at least, human feature can be found in him. He is represented as a heartless stony monster, devoid of any human feelings, he is a real embodiment of cruelty and hatred, as the author directly puts it in the final lines of the extract. In the same way Edith may be called an embodiment of pride and the spirit of disobedience, freedom and independence. She is not a dynamic character in the extract and that's why, maybe, not so interesting as Mr. Dombey. In the very beginning the author declares that there was an air in her face «which seemed to separate her hopelessly from Florence and from every one, for ever more». She intentionally cut herself off from everybody, she is too far from the others, and there will never be any connections between her and the other inhabitants of this house. Her persistence and perseverance are accentuated by her manner of speech, full of repetitions. Her defiant, self-willed, independent character is outlined to the best advantage in the climax of the text (the scene of plucking off the jewellery and leaving the room). But like Mr. Dombey, she is too fiat a character to discuss it in detail. Thus, their characters may be reduced to one feature, he to cruelty, she to pride. The central conflict of the extract (between husband and wife) is the conflict of two totally dissimilar outlooks, two absolutely different sets of values. Roughly it may be reduced to the everlasting conflict between Money and Beauty. It is interesting enough that some parallels with Galsworthy's "Man of Property" can be drawn, particularly with the opposition between Soames and Irene.

As far Florence, she is patience and virtue in flesh. Perhaps she is the character who arouses the warmest feelings in the reader, we can't but feel pity for her. She is represented as a peace-maker, as a girl, who, having lost her mother, sincerely loves her father and wants to love her stepmother, at least to establish good relations with her. And it is not her fault that she fails in her good intentions.

Characterizing the style of Dickens one must first of ail mention the vividness of narration, brilliant technique of character drawing and his mastership in creating a certain atmosphere. The writer uses a number of expressive means and stylistic devices to achieve his aim. Repetitions and parallel constructions are rather favored by Dickens here and their ample use can be accounted for by the aim of conveying to the reader all the shades of the emotional stale of his characters. By changes in the syntactical patterns, by the extensive use of exclamatory and interrogative sentences the author brilliantly managed to convey Mr. Dombey's anger and frenzy and Edith's proud and independent nature.