literature

CHARAHARIZATIOT

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It’s the unifying generalization about life stated or implied by the story
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1. An author has seriously attempted to record life
accurately or to reveal some truth about it
2. An author has deliberately introduced as a unifying
element some concept or theory or life that the story
illuminates

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Characters are dramatized . If we are
to believe in the selfishness of a
character, we must see the character
acting selfishly
The characters are consistent
in thier behaviour
The characters words and actions
spring from motivations the reader
can understand and believe
The characters must be plausible
or lifelike. They cannot be perfectly
virtuous or monsters of evil
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1. Theme should be expressible in the form of a statement with a
subject and predicate .
2. The theme should be stated as a generalization about life .
3. We must be careful not to make the generalization larger than
is justified by the theme of the story .
4. Theme is the unifying concept of a story : Usually have one or two Round characters are complex and
predominant traits, they can be many sided, they have the three
a. It accounts for all the major details of the story summed up in a sentence or two
Minor characters must necessarily remain FLAT
dimentional quality of real people
How he looks

b. The theme is not contradicted by any detail of the story How he thinks
What he does

c. The theme cannot rely upon supposed facts, fact

STATIC
5. There is no one way of stating the theme of a story
6. We should avoid any statement that reduces the theme to
Remains essentially the same
person from the beginning of the
story to the end
VS DEVO
loping
Undergoes some distinct change of
characters, personality ot outlook

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some familiar saying that we have heard all our lives
= ELEMENTS of THE Plot =
It’s the moment of the
developing character’s change

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mincing change must meet three conditions

* WE DONT LOOK FOR A LESSON OR A MORAL in LITERAL WORKS 1. It must be consistent with the individual’s characterization
as dramatized in the story.
2. It must be sufficiently motivated by the circumstances in
wich the character is placed.
3. The story must offer sufficient time for the change to take
place and still be believable

1 Conflict 2 SUSPENSE 3 Endings 4 Artistic unity

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ELEMENTS of fiction
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H.UMORXIRO.my points of VIEW
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exposing some incongruity of a character’s behaviour or society’s traditions A

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A literary symbol is something that means more than what it suggests on the surface .

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Is a figure of speech wich the speaker says the The contrast is between what a character says or think and
opposite of what he or she intends to say what the reader knows to be true
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For maximum revelation of the material To conceal certain information till the end of the story To deliberately mislead readers by presenting the events
1. The story itself must furnish a clue that a detail is to be and thus maintain suspense and create surprise through a character who puts a false interpretation on them

" " . taken symbolically

The discrepancy is between appearance and reality, or between expectations
and fulfillment, or between what is and what seems appropriate 2. The meaning of a literary symbol must be established
and supported by the entire context of the story

3. To be called a symbol, an item must suggest a meaning

different in kind from it’s literal meaning, a symbol is
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something more than the representative of a class of type

4. A symbol may have more than one meaning, it may

suggest a cluster of meaning

An
Alligory IS i A story within the story

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LITERATURE
WRITTEN CONSIDERED swiftRio R OR LASTING Artistic merit
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PROSE DRAMA POETERY

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fiction nonfiction COMEDY TRAGEDY Q : How to READ fiction ?

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↳ ELEMENTS of fiction .
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AUTHOR CONSTRUCTS A STORY
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CONVENTIONAL COMPLEX
SEVERAL interwoven
1 Exposition 2.Raising action 3 climax EVENTS AND PLOTS
riant itist # turning point

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CHARACTERS f- ATE

4 f- AILING Action 5 Resolution

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ELEMENTS of THE Plot

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Conflict 2 SUSPENSE 3 Endings 4 Artistic unity

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HASH of Actions OR IDEAS OR Wills

is THE
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Quality in A- Story THAT "

THE DRIVING FORCE FOR THE Plot "

WHAT 's Gonna HAPPEN NEXT ?
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 CHARA HARRAH:O n
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= METHODS Of PRESENTATION =

DIRECT INDIRECT .

Through The Author Through The Dialouge

= principles for GOODCHARACTARIZATION =

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Motivation
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Dramatization consistEhsy %AUsiBiliTy

Characters are dramatized . If we are The characters are consistent The characters words and actions The characters must be plausible
to believe in the selfishness of a in thier behaviour spring from motivations the reader
or lifelike. They cannot be perfectly
can understand and believe
character, we must see the character virtuous or monsters of evil
acting selfishly

TYPES Of CHARACTERS
BY E. M FORSTER -

ASPECTS Of THE NOVEL

FLAT VS ROUND
Usually have one or two Round characters are complex and
predominant traits, they can be many sided, they have the three
summed up in a sentence or two dimentional quality of real people
Minor characters must necessarily remain FLAT How he looks
How he thinks
What he does

STATIC
Remains essentially the same
person from the beginning of the
story to the end
VS DEVO
loping
Undergoes some distinct change of
characters, personality ot outlook

t.pip.ie#..ent
It’s the moment of the
developing character’s change

a-
eoonnvviineinngg change must meet Three conditions
1. It must be consistent with the individual’s characterization
as dramatized in the story.
2. It must be sufficiently motivated by the circumstances in
wich the character is placed.
3. The story must offer sufficient time for the change to take
place and still be believable
 THEME
It’s the unifying generalization about life stated or implied by the story

THEME EXISTS Only WHEN i

1. An author has seriously attempted to record life

accurately or to reveal some truth about it
2. An author has deliberately introduced as a unifying
element some concept or theory or life that the story
illuminates

= BASIC principles to find OUT THE THEME -

1. Theme should be expressible in the form of a statement with a

subject and predicate .
2. The theme should be stated as a generalization about life .
3. We must be careful not to make the generalization larger than
is justified by the theme of the story .
4. Theme is the unifying concept of a story :
a. It accounts for all the major details of the story
b. The theme is not contradicted by any detail of the story
c. The theme cannot rely upon supposed facts, fact
5. There is no one way of stating the theme of a story
6. We should avoid any statement that reduces the theme to
some familiar saying that we have heard all our lives

* WE Dont LOOK FOR A LESSON OR A MORAL in LITERAL WORKS

 points of view

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THE AUTHOR CHOSES THE point Of VIEW TO :

2 .
2 .
3 .

For maximum revelation of the material To conceal certain information till the end of the story To deliberately mislead readers by presenting the events
and thus maintain suspense and create surprise through a character who puts a false interpretation on them
 SYMBOLS
A literary symbol is something that means more than what it suggests on the surface .

: How to Interpret A SYMBOL ?-

METHODS

1. The story itself must furnish a clue that a detail is to be

taken symbolically

2. The meaning of a literary symbol must be established

and supported by the entire context of the story

3. To be called a symbol, an item must suggest a meaning

different in kind from it’s literal meaning, a symbol is
something more than the representative of a class of type

4. A symbol may have more than one meaning, it may

suggest a cluster of meaning

AN ALL
igory IS i A story within the story

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= The Nell ace =

conviction at Plot

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 HUMOR X IRONY
A literary technique used to convey a truth about human experience by
exposing some incongruity of a character’s behaviour or society’s traditions

aim

i.
TYPES Of IRONY =

1. VERBAL IRONY 2 .
DRAMATIC IRONY
Is a figure of speech wich the speaker says the The contrast is between what a character says or think and
opposite of what he or she intends to say what the reader knows to be true

3.
Irony of situation
The discrepancy is between appearance and reality, or between expectations
and fulfillment, or between what is and what seems appropriate