Stylistic analysis of the part of the novel "Rebecca" by Daphne Du Maurier

Stylistic syntax. The style of any work as well as the style of the any author is substantially defined by

Stylistic analysis of the part of the novel "Rebecca" by Daphne Du Maurier


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e was consumed with jealousy and doubted that he could love her as much as he had loved the other woman. It seems likely that this woman may well have been developed to create the character of Rebecca. Either way there can be little doubt that the nameless second Mrs de Winter is none other than Daphne Du Maurier herself.

Over the years many people have asked why the second Mrs de Winter does not have a name. Daphne Du Mauriers reply to this was that she could not think of one and it became a challenge in technique to write the whole story without naming her. It proved to be a very effective way of making the character appear to be a lesser person than Rebecca.

In 1939 Daphne Du Maurier adapted REBECCA for the stage and the play, like the novel, has retained its popularity ever since. The story does leave one with lots of unanswered questions and there have been a number of attempts to write sequels to REBECCA. In 1993 Susan Hill wrote Mrs de Winter, which continues the story, and in 2001 Sally Beauman wrote Rebecccas Tale, which moves the story on twenty years and then looks back at what happened with interesting results and without spoiling any of the tension of the original novel. Undoubtedly the interest in REBECCA will continue for a long time to come.

I also interested in REBECCA thats why I have chosen the following part of the novel to the stylistic analysis:

I drummed with my fingers on the table, uncertain of myself and of him. Was he still laughing at me, was it all a joke? He looked up, and saw the anxiety on my face. 'I'm being rather a brute to you, aren't I?' he said; 'this isn't your idea of a proposal. We ought to be in a conservatory, you in a white frock with a rose in your hand, and a violin playing a waltz in the distance. And I should make violent love to you behind a palm tree. You would feel then you were getting your money's worth. Poor darling, what a shame. Never mind, I'll take you to Venice for our honeymoon and we'll hold hands in the gondola. But we won't stay too long, because I want to show you Manderley.'

He wanted to show me Manderley.... And suddenly I realized that it would all happen; I would be his wife, we would walk in the garden together, we would stroll down that path in the valley to the shingle beach. I knew how I would stand on the steps after breakfast, looking at the day, throwing crumbs to the birds, and later wander out in a shady hat with long scissors in my hand, and cut flowers for the house. I knew now why I had bought that picture post-card as a child; it was a premonition, a blank step into the future.

He wanted to show me Manderley.... My mind ran riot then, figures came before me and picture after picture and all the while he ate his tangerine, giving me a piece now and then, and watching me. We would be in a crowd of people, and he would say, 'I don't think you have met my wife.' Mrs de Winter. I would be Mrs de Winter. I considered my name, and the signature on cheques, to tradesmen, and in letters asking people to dinner. I heard myself talking on the telephone 'Why not come down to Manderley next week-end?' People, always a throng of people. 'Oh, but she's simply charming, you must meet her This about me, a whisper on the fringe of a crowd, and I would turn away, pretending I had not heard.

Going down to the lodge with a basket on my arm, grapes and peaches for the old lady who was sick. Her hands stretched out to me, 'The Lord bless you, Madam, for being so good,' and my saying 'Just send up to the house for anything you want.' Mrs de Winter. I would be Mrs de Winter. I saw the polished table in the dining-room, and the long candles. Maxim sitting at the end. A party of twenty-four. I had a flower in my hair. Everyone looked towards me, holding up his glass. 'We must drink the health of the bride,' and Maxim saying afterwards, 'I have never seen you look so lovely.' Great cool rooms, filled with flowers. My bedroom, with a fire in the winter, someone knocking at the door. And a woman comes in, smiling; she is Maxim's sister, and she is saying, 'It's really wonderful how happy you have made him; everyone is so pleased, you are such a success.' Mrs de Winter. I would be Mrs de Winter.

'The rest of the tangerine is sour, I shouldn't eat it,' he said, and I stared at him, the words going slowly to my head, then looked down at the fruit on my plate. The quarter was hard and pale. He was right. The tangerine was very sour. I had a sharp, bitter taste in my mouth, and I had only just noticed it.

REBECCA was translated into Russian by the talented interpreter Halina Ostrovskaya. The offered part of text was translated in such way:


Я барабанила пальцами по столу, я ничего не понимала, ни его, ни себя. Он все еще смеется надо мной? Это шутка? Он поднял глаза и увидел тревогу у меня на лице.

Я безобразно себя веду, да? сказал он. Разве так делают предложения?! Мы должны были бы сидеть в оранжерее, ты в белом платье и с розой в руке, а издалека доносились бы звуки вальса. На скрипке. И я должен был бы страстно объясняться тебе в любви позади пальмы. Ты так все это себе представляешь? Тогда бы ты чувствовала, что получила все сполна. Бедная девочка. Просто стыд и срам. Ну, не важно, я увезу тебя на медовый месяц в Венецию, и мы будем держаться за руки в гондоле. Но мы не останемся там надолго, потому что я хочу показать тебе Мэндерли.

Он хочет показать мне Мэндерли... И внезапно я осознала, что это действительно произойдет, я стану его женой, мы будем гулять вместе в саду, пройдем по тропинке к морю, к усеянному галькой берегу. Я уже видела, как стою после завтрака на ступенях, глядя, какая погода, кидая крошки птицам, а позднее, в шляпе с большими полями, с длинными ножницами в руках выхожу в сад и срезаю цветы для дома. Теперь я знала, почему купила в детстве ту открытку. Это было предчувствие, неведомый мне самой шаг в будущее.

Он хочет показать мне Мэндерли... Воображение мое разыгралось, передо мной одна за другой замелькали картины, возникли какие-то фигуры... и все это время он ел мандарин, не спуская с меня глаз и подкладывая мне время от времени дольку. Вот мы в толпе людей, и он произносит: «Вы, кажется, еще не знакомы с моей женой». Миссис де Уинтер. Я буду миссис де Уинтер. Я подумала, как это будет звучать, как будет выглядеть подпись на чеках торговцам и на письмах с приглашением к обеду. Я слышала, как говорю по телефону: «Почему бы вам нее приехать в Мэндерли в конце следующей недели?» Люди, всегда масса людей. «О, она просто обворожительна. Вы должны с ней познакомиться...» Это обо мне шепоток, пробегающий в толпе, и я отворачиваюсь, дела вид, что ничего не слышала.

Прогулка в домик привратника, в руке корзинка с виноградом и персиками для его прихворнувшей престарелой матушки. Ее руки, протянутые ко мне: «Благослови вас Господь, мадам, вы так добры», и я в ответ: «Присылайте к нам за всем, что вам может понадобиться». Миссис де Уинтер. Я видела полированный стол в столовой и высокие свечи. Максим во главе стола. Прием на двадцать четыре персоны. У меня в волосах роза. Все глядят на меня, подняв бокалы. «За здоровье новобрачной». А потом, после их отъезда, Максим: «Я еще никогда не видел тебя такой прелестной». Большие прохладные комнаты полны цветов. Моя спальня зимой, с горящим камином. Стук в дверь. Входит незнакомая женщина, она улыбается, это сестра Максима. «Просто удивительно, каким вы его сделали счастливым, все в таком восторге, вы имеете огромный успех!» говорит она. Миссис де Уинтер. Я буду миссис де Уинтер...

Эти дольки кислые, я бы не стал их есть, сказал он, я уставилась на него до меня с трудом дошел смысл его слов, затем посмотрела на четвертушку мандарина, лежащую передо мной на тарелке. Она была жесткой и светлой. Он прав. Мандарин был очень кислый. Во рту у меня щипало и горчило, а я только сейчас это заметила.


It is meaningful to explain a situation, which had taken place up to this fragment. The main heroes, Maxim and the narrator, were having a breakfast. Maxim asked the narrator to marry him. By the way before that scene Maxim frequently told the narrator about his famous manor Manderley. And she recollected a long time ago, when she was just a child, she had bought a card with a photo of a manor and had fallen in love with this majestic house. Its interesting that the novel opens not with the exposition. In the beginning of REBECCA we learn about the outcome, which will be described after in the form of the main heroines memoirs. So we have the composite device of the story in the story.

To begin the stylistic analysis we ought to mention that the narration is conducted from the first person thats why the described events had subjective character. The author has a possibility not just to show some events, but also to open the internal world of the storyteller. It defines the specificity of the further reader's recognition.

Stylistic morphology. In the given part of the text we can find a few usages devices of the stylistic morphology. It is necessary to emphasize a transposition. It is the usage of a word-form in unusual context where it gets unusual meaning. Framed in transposition some abstract nouns can get meaning of an object: 'It's really wonderful how happy you have made him; everyone is so pleased, you are such a success'. In this example the abstract noun success is combined with a pronoun and so gets a tinge of an object.

Also there is a stylistic device of categories of time usage. In the given text fragment we hav

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