The apple tree by john galsworthy краткий пересказ
The Apple Tree (1917) is a long short story written by a prominent English novelist, playwright and short story writer John Galsworthy. His most famous novels are The Man of Property, A Modern Comedy and The Forsyte Saga. In his works, he gives a truthful picture of English bourgeois society at the end of the 19th and the beginning of the 20th centuries. The Apple Tree is called «most finely crafted, most symbolic, and most poetic tale».
The extract under analysis shows us two no-longer-students Frank Ashurst and Robert Garton who want to get to Chagford, Ashurst having an aching knee. On their way, they decide to put up for a night on some farm. They see a girl who invites them in her aunt’s farm and whom Ashurst find quite attractive. On the farm, they ask for a stream to have a bath and are told about one near an apple tree.
In the given extract, there is no conflict; it is only an exposition of the story, where we can see only the beginning of the relationship between Ashurst and Megan. In this part, the author shows us the contrast between people of different social classes.
The main characters are Frank Ashurst and Megan David. He is a representative of the upper class, a graduate from the university, he is «pale, idealistic», and he has a bent for literature. As an educated person, he loves talking about philosophical matters. The girl they meet is different. She’s wearing a «dark frieze skirt», «worn and old greyish blouse», «split shoes» and a Scottish bonnet worn usually by men, her hands are «rough and red», and her neck is «browned» because of working under the sun. She is, surely, not that educated as Ashurst is.
Two more characters reflecting this contrast are Ashurst’s friend Garton and Megan’s aunt Mrs. Narracombe. Garton is opposed to Ashurst to some extent (he is «like some primeval beast» and very communicative, while Ashurst is more meditative), but mostly for diversity of characters. He is also well-educated and intellectual and may even seem somewhat haughty. Mrs. Narracombe is hospitable, and this trait of character is more often demonstrated by representatives of the lower class.
In order to prove his point of view, the author uses stylistic devices. Firstly, there are a number of epithets in descriptions («peacock tam-o’-shanter», «crisp voice», «round-the-corner», «dewy eyes»), idioms («talking through his hat»), metaphors («haven’t met a soul for miles»), similes, trite and genuine («thin as rails», «like some primeval beast»). All these devices are used to create the atmosphere, to make the descriptions more artistic and underline the characters’ peculiarities in a more accurate way. There are also some poetic words («maiden»).
Galsworthy uses such a graphic means as graphon («I thought you were a Celt»). The reason to italicize the word «thought» is to show that Garton makes a special stress on it as if emphasizing his knowledge. There is one more graphon of different kind, which serves to create the atmosphere. The author uses dialectal forms «strame, sittin’, an'» instead of «stream, sitting, and» to show that the action takes place in Devonshire.
Besides, in order to reveal Ashurst’s feelings and meditation at the end of extract, the author uses enumeration of things which belong to different spheres: «He thought of Theocritus, and the river Cherwell, of the moon, and the maiden with dewy eyes». Here we can see also an example of polysyndeton which makes the sentence smoother and more poetic.
As for syntactic structure, there are both simple and complex sentences. The former are used in dialogues accompanied by ellipsis (which, alongside the absence of the author’s speech, makes them more vivid and natural), and the latter are used mostly in descriptions. In the description of Megan there is also anaphora («her shoes were, . her little hands, . her neck…») and some chaotic repetitions («her face was short, her upper lip short», «her brows were straight and dark, her lashes long and dark, her nose straight»). Those repetitions of simple adjectives create rhythm and, probably, make us think that Ashurst’s eyes are quickly jumping from one part of Megan’s body to another. In addition, there is an example of inversion («by the house door stood a woman») for the purpose of smoother narration.
The extract is written in a third-person narrative. The author helps us to see the action with Ashurst’s eyes and listen to his inner thoughts. Those thoughts characterize him well enough: we could do even without his direct description to understand that he is «full of absence». His thoughts change their direction quickly, e.g.: «The sky, the flowers, the songs of birds! Robert was talking through his hat.»
There is also a symbol in this story — the apple tree (the title is not occasional, of course). In Celtic culture (Megan is a Celt), the apple tree deals with love, truth, beauty, remembrance, purity. These meanings are only hinted at in this extract, but we can see them fully in the whole story.
I cannot help admiring this work. I am charmed by the style and the master use of expressive means and stylistic devices, especially syntactic ones. They make me want to read the story again and again. I am also attracted by symbolism and poetics of the story. Besides, it is necessary to say that Galsworthy managed to create a good image of people from different social classes and living in different places.
Источник
John Galsworthy The Apple Tree
On the first of May, after their last year together at college, Frank Ashurst and his friend Robert Garton were on a tramp. They had walked that day from Brent, intending to make Chagford, but Ashurst’s football knee had given out, and according to their map they had still some seven miles to go. They were sitting on a bank beside the road, where a track crossed alongside a wood, resting the knee and talking of the universe, as young men will. Both were over six feet, and thin as rails; Ashurst pale, idealistic, full of absence; Garton queer, round-the-corner, knotted, curly, like some primeval beast. Both had a literary bent; neither wore a hat. Ashurst’s was smooth, pale, wavy, and had a way of rising on either side of his brow, as if always being flung back; Garton’s was a kind of dark unfathomed mop. They had not met a soul for miles.
«My dear fellow,» Garton was saying, «pity’s only an effect of self-consciousness; it’s a disease of the last five thousand years. The world was happier without.»
Ashurst, following the clouds with his eyes, answered:
«It’s the pearl in the oyster, anyway.»
«My dear chap, all our modern unhappiness comes from pity. Look at animals, and Red Indians, limited to feeling their own occasional misfortunes; then look at ourselves-never free from feeling the toothaches of others. Let’s get back to feeling for nobody, and have a better time.»
«You’ll never practise that.» Garton pensively stirred the hotch-potch of his hair.
«To attain full growth, one mustn’t be squeamish. To starve oneself emotionally’s a mistake. All emotion is to the good-enriches life.»
«Yes, and when it runs up against chivalry?»
«Ah! That’s so English! If you speak of emotion the English always think you want something physical, and are shocked. They’re afraid of passion, but not of lust-oh, no!-so long as they can keep it secret.»
Ashurst did not answer; he had plucked a blue flower, and was twiddling it against the sky. A cuckoo began calling from a thorn tree. The sky, the flowers, the songs of birds! Robert was talking through his hat! And he said:
«Well, let’s go on, and find some farm where we can put up.» In uttering those words, he was conscious of a girl coming down from the common just above them. She was outlined against the sky, carrying a basket, and you could see that sky through the crook of her arm. And Ashurst, who saw beauty without wondering how it could advantage him, thought: ‘How pretty!» The wind, blowing her dark frieze skirt against her legs, lifted her battered peacock tam-o’-shanter; her greyish blouse was worn and old, her shoes were split, her little hands rough and red, her neck browned. Her dark hair waved untidy across her broad forehead, her face was short, her upper lip short, showing a glint of teeth, her brows were straight and dark, her lashes long and dark, her nose straight; but her grey eyes were the wonder-dewy as if opened for the first time that day. She looked at Ashurst-perhaps he struck her as strange, limping along without a hat, with his large eyes on her, and his hair flung back. He could not take off what was not on his head, but put up his hand in a salute, and said:
«Can you tell us if there’s a farm near here where we could stay the night? I’ve gone lame.»
«There’s only our farm near, sir.» She spoke without shyness, in a pretty soft crisp voice.
«And where is that?»
«Would you put us up?»
«Oh! I think we would.»
«Will you show us the way?»
«Yes, sir.» He limped on, silent, and Garton took up the catechism.
«Are you a Devonshire girl?»
«Ah! I thought you were a Celt; so it’s not your farm?»
«And your uncle’s?»
«Who farms it, then?»
«My aunt, and my three cousins.»
«But your uncle was a Devonshire man?»
«Have you lived here long?»
«And how d’you like it after Wales?»
«I don’t know, sir.»
«I suppose you don’t remember?»
«Oh, yes! But it is different.»
Ashurst broke in suddenly:
«How old are you?»
«And what’s your name?»
«This is Robert Garton, and 1 am Frank Ashurst. We wanted to get on to Chagford.»
«It is a pity your leg is hurting you.»
Ashurst smiled, and when he smiled his face was rather beautiful.
Descending past the narrow wood, they came on the farm suddenly-a long, low, stone-built dwelling with casement windows, in a farmyard where pigs and fowls and an old mare were straying. A short steep-up grass hill behind was crowned with a few Scotch firs, and in front, an old orchard of apple trees, just breaking into flower, stretched down to a stream and a long wild meadow. A little boy with oblique dark eyes was shepherding a pig, and by the house door stood a woman, who came towards them. The girl said:
«It is Mrs. Narracombe, my aunt.»
«Mrs. Narracombe, my aunt,» had a quick, dark eye, like a mother wild-duck’s, and something of the same snaky turn about her neck.
«We met your niece on the road,» said Ashurst; «she thought you might perhaps put us up for the night.»
Mrs. Narracombe, taking them in from head to heel, answered:
«Well, 1 can, if you don’t mind one room. Megan, get the spare room ready, and a bowl of cream. You’ll be wanting tea, I suppose.»
Passing through a sort of porch made by two yew trees and some flowering-currant bushes, the girl disappeared into the house, her peacock tam-o’-shanter bright thwart that rosy-pink and the dark green of the yews.
«Will you come into the parlour and rest your leg? You’ll be from college, perhaps?»
«We were, but we’ve gone down now.»
Mrs. Narracombe nodded sagely.
The parlour, brick-floored, with bare table and shiny chairs and sofa stuffed with horsehair, seemed never to have been used, it was so terribly clean. Ashurst sat down at once on the sofa, holding his lame knee between his hands, and Mrs. Narracombe gazed at him. He was the only son of a late professor of chemistry, but people found a certain lordliness in one who was often so sublimely unconscious of them.
«Is there a stream where we could bathe?»
«There’s the strame at the bottom of the orchard, but sittin’ down you’ll not be covered!»
«Well, ’tis about a foot and a half, maybe.»
«Oh! That’ll do fine. Which way?»
«Down the lane, through the second gate on the right, an’ the pool’s by the big apple tree that stands by itself. There’s trout there, if you can tickle them.»
«They’re more likely to tickle us!»
Mrs. Narracombe smiled. «There’ll be the tea ready when you come back.»
Источник
Analysis — The Apple Tree
The Apple Tree (1917) is a long short story written by a prominent English novelist, playwright and short story writer John Galsworthy. His most famous novels are The Man of Property, A Modern Comedy and The Forsyte Saga. In his works, he gives a truthful picture of English bourgeois society at the end of the 19th and the beginning of the 20th centuries. The Apple Tree is called «most finely crafted, most symbolic, and most poetic tale».
The extract under analysis shows us two no-longer-students Frank Ashurst and Robert Garton who want to get to Chagford, Ashurst having an aching knee. On their way, they decide to put up for a night on some farm. They see a girl who invites them in her aunt’s farm and whom Ashurst find quite attractive. On the farm, they ask for a stream to have a bath and are told about one near an apple tree.
In the given extract, there is no conflict; it is only an exposition of the story, where we can see only the beginning of the relationship between Ashurst and Megan. In this part, the author shows us the contrast between people of different social classes.
The main characters are Frank Ashurst and Megan David. He is a representative of the upper class, a graduate from the university, he is «pale, idealistic», and he has a bent for literature. As an educated person, he loves talking about philosophical matters. The girl they meet is different. She’s wearing a «dark frieze skirt», «worn and old greyish blouse», «split shoes» and a Scottish bonnet worn usually by men, her hands are «rough and red», and her neck is «browned» because of working under the sun. She is, surely, not that educated as Ashurst is.
Two more characters reflecting this contrast are Ashurst’s friend Garton and Megan’s aunt Mrs. Narracombe. Garton is opposed to Ashurst to some extent (he is «like some primeval beast» and very communicative, while Ashurst is more meditative), but mostly for diversity of characters. He is also well-educated and intellectual and may even seem somewhat haughty. Mrs. Narracombe is hospitable, and this trait of character is more often demonstrated by representatives of the lower class.
In order to prove his point of view, the author uses stylistic devices. First, there are a number of epithets in descriptions («peacock tam-o’-shanter», «crisp voice», «round-the-corner», «dewy eyes»), idioms («talking through his hat»), metaphors («haven’t met a soul for miles»), similes, trite and genuine («thin as rails», «like some primeval beast»). All these devices are used to create the atmosphere, to make the descriptions more artistic and underline the characters’ peculiarities in a more accurate way. There are also some poetic words («maiden»).
Galsworthy uses such a graphic means as graphon («I thought you were a Celt»). The reason to italicize the word «thought» is to show that Garton makes a special stress on it as if emphasizing his knowledge. There is one more graphon of different kind, which serves to create the atmosphere. The author uses dialectal forms «strame, sittin’, an'» instead of «stream, sitting, and» to show that the action takes place in Devonshire.
Besides, in order to reveal Ashurst’s feelings and meditation at the end of extract, the author uses enumeration of things which belong to different spheres: «He thought of Theocritus, and the river Cherwell, of the moon, and the maiden with dewy eyes». Here we can see also an example of polysyndeton which makes the sentence smoother and more poetic.
As for syntactic structure, there are both simple and complex sentences. The former are used in dialogues accompanied by ellipsis (which, alongside the absence of the author’s speech, makes them more vivid and natural), and the latter are used mostly in descriptions. In the description of Megan there is also anaphora («her shoes were, . her little hands, . her neck…») and some chaotic repetitions («her face was short, her upper lip short», «her brows were straight and dark, her lashes long and dark, her nose straight»). Those repetitions of simple adjectives create rhythm and, probably, make us think that Ashurst’s eyes are quickly jumping from one part of Megan’s body to another. In addition, there is an example of inversion («by the house door stood a woman») for the purpose of smoother narration.
The extract is written in a third-person narrative. The author helps us to see the action with Ashurst’s eyes and listen to his inner thoughts. Those thoughts characterize him well enough: we could do even without his direct description to understand that he is «full of absence». His thoughts change their direction quickly, e.g.: «The sky, the flowers, the songs of birds! Robert was talking through his hat.»
There is also a symbol in this story — the apple tree (the title is not occasional, of course). In Celtic culture (Megan is a Celt), the apple tree deals with love, truth, beauty, remembrance, purity. These meanings are only hinted at in this extract, but we can see them fully in the whole story.
I cannot help admiring this work. I am charmed by the style and the master use of expressive means and stylistic devices, especially syntactic ones. They make me want to read the story again and again. I am also attracted by symbolism and poetics of the story. Besides, it is necessary to say that Galsworthy managed to create a good image of people from different social classes and living in different places.
Источник
