Text A is a fictional story extract from Charles Dickens’ “Great Expectations”. This piece of writing will have been aimed at well-educated people who were looking for mental stimulation. On a wider scale, Dickens will have aimed this at those in power at the time who weren’t doing anything to improve the education system. […]
Text A, the beginning of Lawrence Durrell’s book “Prospero’s Cell”, contains his description of the island as it was when he lived there with his family in the 1930s. The purpose of this book will be to inform his readership of his experience of Greece. His readership would be those interested in geography and adventure – the complex language choices indicating an intelligent audience.[…]
Text A shows a transcription of a radio interview recorded in 1953 – 8 years after the end of World War II – with an interviewer trying to gain information about Tunbridge Wells from a 102-year-old resident. This kind of interview usually appeals to Radio 4/local radio listeners, who are old enough to have sufficient time to be interested in such matters! I believe that this interview would have taken place in the street.[…]
Ishiguro uses many techniques to elicit an intense emotional response from the reader. For example, there is a wide employment of dramatic irony: we often have more insight than the narrator, Stevens, into his own experiences. This is shown when Miss Kenton declares that she has been proposed to – we make the link that she wants Stevens to say “Don’t marry him, marry me”, and sweep her off her feet; unfortunately Stevens does not make this inference. Thus, the reader feels frustrated at Stevens’ short-sightedness and lack of perception.[…]
Mr Farraday is introduced to us early on in the novel, with Stevens relating the reasons behind his journey – Mr Farraday was the man who prompted Stevens to undertake his trip, saying, “Why don’t you take the car and drive off somewhere for a few days? You look like you could make good use of a break.” This is clearly one of Mr Farraday’s roles in the novel: the man who opens the door for Stevens’ reminiscences and self-development.[…]
In this section of the novel, Mr and Mrs Wakefield visit Mr Farraday to inspect his “acquisition”, Darlington Hall. Mrs Wakefield questions the genuineness of the “arch” in the hall, proceeds to tap Stevens for information concerning Lord Darlington, and leaves Mr Farraday disappointed, “Mrs Wakefield wasn’t as impressed with this house as I believe she ought to have been.” The ‘incident’ which advances our understanding of Stevens is his blatant denial of ever working for Lord Darlington, “I didn’t madam, no.”[…]
Through the use of the 1923 conference, Ishiguro is able to emphasise the changing social and political beliefs of that time. His characters Lord Darlington and Stevens underline the clinging to ‘old ways’ and trusty thinking in this time of change – what Lord Darlington likes to call ‘honour’. Mr Lewis challenges the methods employed by Lord Darlington, seeing them as acts of ‘amateurism’.[…]
From the beginning of the novel, Stevens uses convoluted syntax in his attempt to justify and qualify everything he does. For example, his desire to see Miss Kenton again is purely down to a “preoccupation with these very same professional matters”. He also admits that he has “been responsible for a series of small errors in the carrying out of my duties” – his wish to sound respectable prevents him using a more vernacular description of his failings. In this way, Ishiguro appears to be building up a character that is very insecure of himself and is worried about what others think of him.[…]
One significant conversation is related to us by Stevens, as he analyses a story which made a lasting impression on his father. “Concerning a certain butler who had travelled with his employer to India and served there for many years…”, the particular quote which has significance is: […]
Edmund’s first soliloquy, “Thou Nature art… for Bastards”, is worded using a verse form; a form suitable for conveying Edmund’s passionate, personal beliefs.
From the very beginning, it is clear that Edmund is a firm believer in the natural world, “Thou Nature art my Goddess”. He prefers the ‘every man for himself’ attitude of the natural world to conventional, less mercenary religions – he takes a pre-Darwinian “Survival of the fittest” view.[…]
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