Tackling the Unseen Prose

1. Tackling the Unseen Prose

2. The tackling of the unseen propose is a two step process: • Analysing the plot structure – This involves taking a look at the overall structure of the prose i.e. the introduction of the conflict, the building of conflict to the climax and then the resolution. It is somewhat like a narrative essay. • Analysing the use of literary devices – This involves the style which the write employs to make his story captivating. It involves using devices like imagery, irony, tension, suspense, characterisation, point-of-view, diction etc

3. PART 1: Narrative Structure

4. General plot structure of an unseen prose • A plot structure involves arranging events (usually in a chronological order i.e. according to a continuous timeline) which involve characters in conflict. • A typical plot structure contains three main areas: Conflict (This is where building of tension and/or suspense occurs) Climax (The dramatic turning point of the story) Resolution (The ending or solution to the problem)

5. 1. Conflict • At the start of the story, the writer usually prepares the reader by providing some background information on the character, setting and mood. He will also introduce the central conflict of the story. • Conflict refers to the key problem or tension in the story. • Conflict takes on two main forms (can involve either or both): • External conflict with other characters or the environment (society, nature, God etc) • Internal/Inner conflict within the individual such as a mental struggle over a certain issue or decision. In may also involve a personal fear or paranoia.

6. Examples (External Conflict) • Unseen Prose (Web of tradition - Kay Liang and family) • Kay Liang experiences the following external conflicts • Family (… “could not oppose the will of an ancient institution like a united family…baulk at its old traditions especially when an honorable profession was at stake”) • Society ( where writers ‘starved on the streets’. Even his pre-university teacher advised him to forget his ‘fanciful notions’ and ‘he would never make it to college without Physics’) ** This is a form of pragmatism which means that a form thinking which stresses on practical consequences or reality.

7. Examples (Internal Conflict) • Kay Liang was torn between his dreams then and now as he was determined to change his career aspirations. (…“In spite of his early desire to be a doctor…”) • Kay Liang was torn between fulfilling his role as a dutiful son to achieving what he felt was a greater calling. • Kay Liang was torn between his personal fulfillment of the need to heal others and his road towards a clouded future which may involve poverty and even forgoing marriage. (…I’ll never marry…” and ‘but the other girl, the one he liked more...’)

8. 2. Climax • The conflict, which is often introduced at the beginning of a story, must be gradually built up in order to sustain interest (usually either through TENSION or SUSPENSE). When the conflict has been developed to its highest point, we call this the climax of the story.

9. Example of Climax (Unseen Prose example: Journey by night) • The highest point in this story would probably be when the protagonist shouts aloud yet the driver keep going on faster and faster till finally nearing his destination. • The writer has involved the use of both tension and suspense to build up the story to its climax. The tension is shown in the conflict the protagonist experiences throughout the journey in the taxi.

10. Resolution • After the climax, writers conclude the story with some form of resolution in which the key issues are addressed. • There can be several forms of resolution: • Complete resolution – the issue or conflict is resolved. • Ironic resolution- an unexpected resolution occurs. • The revelation – a type of ending when the character gains a new revelation or awareness of the issue. In a sense, the character matures and is able to reflect on his experiences. • The open ending – This happens when the issue is not resolved or partially resolved. This creates a realistic setting as happy endings in reality are rare. It also causes the readers to probe further and imagine other possible outcomes.

11. 3. Point of view • Point of view refers to the perspective from which a story is told. The two most common forms are the first and third person point of view.

12. Part 2: Style • Use of literary devices

13. 1. Tension and suspense • Tension refers to the element of excitement in the text • Suspense refers to the reader’s expectation of what may happen in the text as he reads.

14. Functions of purpose and suspense. • To add to a sense of excitement in the text. • Cause a sense of anticipation in the reader and thus keep him eager to read on.

15. Tension (What causes tension?) • Lighting - The lack of lighting and even the colour of the lighting often create a certain mood which may enhance the sense of tension in the text.) • Setting – Refers to the description of the time as well as the place or environment. • Character conflict – internet and external conflict (see part 1 slides on conflict) • Sound effects – the creation of sound in our minds through our impression of the setting and by the writer’s choice of words. • Language - repetition of ideas and words

16. Suspense (What causes suspense?) • Foreshadowing – refers to our anticipation of what is going to happen before it does happen. For tragedies, it is often disturbing and ominous.

17. 2. Characterisation • Characterisation is important because we only understand the storyline and issues through the characters by connecting with them emotionally. • We analyse a character by looking at both the character’s inner personality as well as outward appearance and behaviour. • We do this because we want to understand the hidden motivations behind their action.

18. How to analyse a character • By his environment • By his appearance • By his thoughts and words • By his actions and behaviour • By his relationship with others

19. 3. Tone – Comical, Serious, Reflective or Tragic? • The tone can be derived through: • The situation (E.g. Exaggerated or unexpected events) • The characters (E.g. Strange habits or exaggerated behaviour) • The language • Ironic twist

20. 4. Language • Writer have specific language use which aids in portraying the mood, meaning, setting etc. • We analyse language in prose through: • Identifying the techniques used e.g. imagery, diction • Picking up repetition of words or ideas and see what patterns emerge from the repetition.

21. 5. Point of view (1st and 3rd) • Refers to the perspective from which a story is told. The most common forms are 1st and 3rd person point of view. • 1st person point of view is when the story is told by the character who is involved in the story. There is usually the pronoun ‘I’ in the story. He is usually the main (but this may not be so all the time) character in the story. • This is effective because it enables the reader to see things from the point of view of the narrator which makes it more personal and realistic. • The disadvantage is that it is limited as the reader cannot know everything else that is going on outside the character.

22. 3rd Person narration • Events and characters are told by a narrator who is outside the text but appears to know what is going on in the story. • The narrator could be omniscient who knows everything in the story or a limited narrator who can only see things through the eyes of a certain character. • It provides a more objective account of events because it enables the reader to look at events from the perspectives of various characters and this allows the reader to make his own judgment.

23. Summary • While the structure of analysing an unseen propose is straightforward, students need to be flexible in using them to explain their answers. A question may require a student to explain the creation of suspense leading to a dramatic climax through the use of language or other techniques. • In a nutshell, part 2 is supposed to help you explain part 1.