Death of a hero (анализ текста)

Death of a hero (анализ текста)


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(R. Aldington)
They had crossed the road outside Bushey Park and entered the palace gates. Between the wall which backs the Long Border, the Tudor side of the palace, and another long high wall, is the Wilderness, or old English garden, composed on the grandiose scale advocated by Bacon. It is both a garden and a ´wilderness´, in the sense that it is planted with innumerable bulbs (which are thinned and renewed from time to time), but otherwise allowed to run wild. George and Elizabeth stopped with that sudden ecstasy of delight felt by the sensitive young - a few of them - at the sight of loveliness. Great secular trees, better protected than those in the outer Park, held up vast fans of glittering green-and-gold foliage which trembled in the light wind and formed moving patterns on the tender blue sky. The lilacs had just unfolded their pale hearts, showing the slim stalk of closed buds which would break open later in a foam of white and blue blossoms. Underfoot was the stouter green of wild plants, spread out like an evening sky of verdure for the thick clustered constellations of flowers. There shone the soft, slim yellow trumpet of the wild daffodil; the daffodil which has a pointed ruff of white petals to display its gold head; and the more opulent double daffodil which, compared with the other two, is like an ostentatious merchant between Florizel and Perdita. There were the many-headed jonquils, creamy and thick-scented; the starry narcissus, so alert on its long, slender, stiff stem, so sharp-eyed, so unlike a languid youth gazing into a pool; the hyacinth-blue frail squilla almost lost in the lush herbs; and the hyacinth, blue and white and red, with its firm, thick-set stem and innumerable bells curling back their open points. Among them stood tulips - the red, like thin blown bubbles of dark wine; the yellow, more cup-like, more sensually open to the soft furry entry of the eager bees; the large parti-coloured gold and red, noble and sombre like the royal banner of Spain.
English spring flowers! What an answer to our ridiculous ´cosmic woe´, how salutary, what a soft reproach to bitterness and avarice and despair, what balm to hurt minds! The lovely bulb-flowers, loveliest of the year, so unpretentious, so cordial, so unconscious, so free from the striving after originality of the gardener´s tamed pets! The spring flowers of the English woods, so surprising under those bleak skies, and the flowers the English love so much and tend so skilfully in the cleanly wantonness of their gardens, as surprisingly beautiful as the poets of that bleak race! When the inevitable ´fuit Ilium´ resounds mournfully over London among the appalling crash of huge bombs and the foul reek of deadly gases while the planes roar overhead, will the conqueror think regretfully and tenderly of the flowers and the poets~.


Bacon, Francis - an English philosopher. Here is the allusion to his essay "Of gardens" Florizel and Perdita - characters from Shakespeare´s "Winter Tale", who love each other with clear. idyll love
squilla = squill
fuit Ilium - Troy was - a phrase used to remind of Troy´s being destroyed.
CR. Aldington)

(на эти вопросы не обязательно отвечать, их только использовать для анализа)

I. Introduce the selection. Define it as a kind of writing.
2. Into how many parts may we divide the extract thematically" Speak about their main Ideas in general.
3. Comment upon the opening passage and say how it is related to the whole. Find repeated words and meanings in the opening passage.
4.Read the description of the Park. Comment on the stylistic devices conveYing its beauty.
5.What is the tone of the closure of the text What key-words create it Disclose the symbolic value of the image of spring in the text. Reveal the symbolic character of allusion in the last paragraph.
6 Summarize your notes

Дополнительная информация:

CR. Aldington
Part III. 2

At last the train started and puffed slowly out of the station, Winterbourne sat quite still, listening to the crashes growing fainter and fainter as the train gathered speed. At last they disappeared altogether in the rattle of wheels. In place of the long, slow crawl coming up, the train clattered along at great speed. He passed undamaged stations, thronged with French peasants, French soldiers on leave, and British troops; he saw the lovely Corot poplars and willows shimmering in the sun as they wavered in the light breeze; there were cows in the fields, and he noticed yellow iris in the wet ditches, and tall, white hog´s parsley. A field of red clover and white daisies made him think of the old days at Martin´s Point. An immense effort of imagination was needed to link himself now with himself then. He looked almost with curiosity at his familiar khaki and rifle ~ so strange that ten years later that boy should be a soldier. Then he noticed that he had forgotten to sheath his bayonet. It had been fixed so long that he had to wrench it off. There was a little ring of rust round the bayonet boss. He got out his oily rag and anxiously cleaned it. The bayonet sheath was so full of dried mud that he had to clean that too.
At Boulogne he sent a telegram to Elizabeth. The R.T.O. told him to leave his kit on the quay, and to take only his personal belongings. He slipped off his equipment and laid his rifle beside his dinted helmet, feeling as if he were carrying out some strange valedictory rite. He went on board ship, holding his razor, soap, tooth-brush, comb, and some letters, wrapped in a clean khaki handkerchief. He managed to scrounge a haversack and strap on board.
The troop train from Folkestone to London was filled with leave men and others returned from France. As the train puffed up to the junction, the men crowded to the windows. Girls and women walking in the parallel street, standing in the doorways, leaning out the windows, waved pocket-handkerchiefs, cheered shrilly, and threw them kisses. The excited men waved and shouted to them. Winterbourne was amazed at the beauty, the almost angelic beauty, of women. He had not seen a woman for seven months.
It was dark when they got to Victoria, but the station was brilliantly lighted. A long barrier separated a crowd from the soldiers, who thronged out at one end. Here and there a woman threw her arms around the neck of a soldier in a close embrace which at least at that moment was sincere. The women´s shoulder´s trembled with their sobs; the men stood very still, holding them close a moment, and then drew them away. At once the women made an effort and seemed gay and unconcerned.
Many of the men were proceeding elsewhere, and were not met. Winterbourne saw Elizabeth standing, in a wide-brimmed hat, at the end of the barrier. Again he was amazed at the beauty of women. Could it be that he knew, that he had dared to touch, so beautiful a creature She looked so slender, so young, so exquisite. And so elegant. He was intimidated, and hung back in the crowd of passing soldiers; watching her. She was scanning the faces as they passed; twice she looked at him, and looked away. He made his way through the throng towards her. She looked at him again carefully, and once more began scanning the passing faces. He walked straight up to her and held out his hands:
"Elizabeth !"
She started violently, stared at him, and then kissed him with the barrier between them:
"Why, George! How you´ve altered! I didn´t recognize you!"

(на эти вопросы не обязательно отвечать, их только использовать для анализа)

I. What is the symbolic meaning of the train
2. Analyse all the epithets used in describing the scenery in France.
3 Speak about the stylistic function of antithesis "dark - brilliantly lighted".
4.What does the word "barrier" symbolize
5.Explain the meaning of Elizabeth´s words addressed to George.



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