Language, Form And Structure In Heritage Texts
Bayani Gaba-gaba
Shakespeare's characters speak in a rhythm that runs under the words like a pulse, and the moments where the pulse breaks are the moments that matter. Austen slides in and out of her heroine's mind so smoothly that you can read a whole page before realising the opinions are not the narrator's. Dickens wrote in weekly instalments, so every few chapters has to end on a hook.
Heritage writing uses forms that modern fiction mostly abandoned, and its language is four hundred or two hundred years old. This note teaches the forms you will actually meet in 4ET1: blank verse and soliloquy, the five-act shape, sustained image patterns, free indirect style, the structural effects of serial publication, and a working method for older diction.
Manufura
- Understand how writers create literary effects in heritage literature
- Understand and use appropriate literary terminology
- Analyse the language, form and structure used by a writer to create meanings and effects
Takardar Darasi
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- Blank verse is best defined as: A) Rhymed iambic pentameter B) Unrhymed iambic pentameter C) Any verse without a regular metre D) Prose printed in short lines Answer: B
- A line that opens on a stressed syllable, reversing the expected first foot, is called a: A) Feminine ending B) Caesura C) Trochaic inversion D) Shared line Answer: C
- In Juliet's question 'Wherefore art thou Romeo?', 'wherefore' means: A) Where B) When C) Why D) How Answer: C
- Free indirect style is: A) First-person narration with no quotation marks B) Third-person narration that takes on a character's voice without attribution C) Dialogue reported in the past tense D) A soliloquy written in prose Answer: B
- Great Expectations was first published: A) As a single volume in 1861 B) In weekly instalments in All the Year Round, 1860 to 1861 C) In monthly parts over two years D) Serially in Household Words in the 1850s Answer: B
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