The theme of a literary work can be easily understood * from the plot (the surface layer) of the work: it allows of a schematic formulation, such, for instance, as: "this is a story of race discrimination in the USA", and the like.

The idea of a literary work is the underlying thought and emotional attitude transmitted to the reader by the whole poetic structure of the literary text. Poetic structures being a multi-layered entity, all of its layers pertain to the expression of the idea.

We shall try to illustrate this by E. Caldwell's seven-page story "Wild Flower". The story has a direct metaphorical and symbolic layer. It is out of an interplay of all these that the poetic idea emerges.

The plot of the story (the direct, surface layer) is aus­terely simple. Somewhere deep in the South of the USA a young tenant and his wife (an expectant mother) are ordered to leave the dilapidated house they live in. The two set out on a long and exhaustive tramp across the lonely country of sand and pines in search of a shelter.. Exhaustion precipitates that what otherwise would have come about in another week or two. The husband runs for help which is not easy to find in that country of a few isolated homesteads. When, at length, he returns with two Negroes, who have agreed to help, he finds his wife dead. She has died in childbirth, alone amidst beautiful but indifferent Nature. Such is the surface plot of the story. It tells the tragedy of a young couple, denied a home, and evicted in spite of the condition the woman was in.

This idea, which is easily gathered from the surface layer, is made more profound by a metaphor, a pronounced analogy between the young couple and wild flowers that grow hidden by weeds and scrubs near the road the two trudges by. The metaphor clearly indicated in the title "Wild Flowers", adds an nuance to the idea, expressed in the plot. It ever so imaginatively suggests the frailty of the protagonists’ existence, their insecurity in the face of a cruel and indifferent world. The world of those who give orders and evict is not directly shown in the story, it is obliquely represented by a “he”, who, the reader finds out, had been pleaded with by Vern, the husband, to be allowed to stay, but remained adamant. “Doesn’t he care, Vern?” asks Nelly, alluding to the state she is in. “I guess, he doesn’t”, answers Vern.

The story is set amidst Nature. There are just Vern and Nelly and the flat sandy country that extends mile after mile in every direction. In that country of pine and sand the farms and houses are sometimes ten or fifteen miles apart. Silence, deep and mysterious, hangs over the land. The recurrent image of the vast and silent country is not a mere setting of the story. It has an impact more profound, symbolizing the solitude of Vera and Nelly, complete indifference of the vast world to their existence. The image of Nature thus constitutes the symbolic layer of the story.

The reader's discovery of all these layers deepens his perception of the poetic idea, and, as a result, affords him greater aesthetic pleasure.

There are no two works that have exactly the same poetic idea; there are no two works that have exactly the same mode of representation. The poetic idea and its mode of representation form a unity, a unity of content and form.

Plot is a sequence of events in which the characters are involved, the theme and the idea revealed. Events are made up of episodes, episodes, in their turn, of smaller action details. Thus, for example, in "The Quiet Ameri­can" the events of the war in Viet-Nam are built up out of a series of episodes, such as Fowler's visit to the front­line, his flight, in a French plane, over the front-line vil­lages, his crossing of the river full of dead bodies, etc. The event of Pyle's assassination is prepared and developed in such episodes as Fowler's visit to the lumber-shop in which he finds evidence of Pyle's criminal activity, in the episode of an explosion in the square, instigated by Pyle and others.

Each and every event that represents a conflict (the gist of the plot) has a beginning, a development and an end. The plot, accordingly, consists of exposition, story, climax and denouement.

In the exposition the necessary preliminaries to the action are laid out, such as the time, the place, and the subject of the action. Also some light may be cast on the circumstances that will influence the development of the action. Here is the exposition from L. Hughes's story "Cora Unashamed" that may well illustrate the pattern. "Mel­ton was one of those miserable in-between little places, not large enough to be a town, nor small enough to be a vil­lage — that is, a village in the rural, charming sense of the word. Melton had no charm about it. It was merely a non-descript collection of houses and buildings in a re­gion of farms — one of those sad American places with sidewalks, but no paved streets; electric-lights, but no sewage; a station but no trains.., Cora Jenkins was one of the least of the citizens of Melton. She was what the people referred to when they wanted to be polite, as a Ne­gress, and when they wanted to be rude, as a nigger — sometimes adding the word "wench" Tor no good reason, for Cora was usually an inoffensive soul, except that she sometimes cussed,"

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Story is that part of the plot which represents the begin­ning of the collision and the collision itself. In L., Hugh­es's "Cora Unashamed" (Part 1) it is the arrival at Mel­ton of a white boy, Joe, Cora's short love, and the birth of her baby.

Climax is the highest point of the action. In "Cora Unashamed" it is the death and burial of Cora's baby.

Denouement is the event or events that bring the action to an end. The story referred to (Part I) ends with Cora returning after the burial of her baby to work for the family of white folks: to nurse their baby.

There is no uniformity as far as the above mentioned elements of the plot and their sequence in the text are concerned. Thus, among short stories, there are such which begin straight with the action (the conflict) without any exposition. Here is how Ring Lardner's story "Hair­cut" begins "I got another barber that comes from Carterville and helps me out Saturdays, but the rest of the time I can get along all right alone", while others have no de­nouement in the conventional sense of the word ("most of E. Hemingway's stories may serve as an example). A work of narrative prose that has all the elements mentioned above: exposition, story, climax, denouement as clearly discernable parts, is said to have a closed plot struc­ture. This type of writing was most consistently cul­tivated by such American short story writers as W. Ir­ving, E. Poe, N. Hawthorn, Bret Hart, H. James, and O. Henry and others.

A literary work in which the action is represented with­out an obvious culmination, which does not contain all the above mentioned elements understood in their conventional sense, is said to have an open plot struc­ture.

Plot structure is not a formal factor. It is as meaningful as any other component of the literary work: whether it is open or closed is conditioned entirely by the content. For illustration let us refer to the short .story genre (which by the way, is considered by some writers to be the highest form of narrative prose).

There are known two types of short stories. First: a plot (action) short story. As a rule, this type has a closed structure, it's plot being built upon one collision. ' The action dramatically develops only to explode at the very end; the sequence of events thus forms an ascending line from the exposition on to the climax and down to the denouement. O. Henry's stories reveal this pattern very well.

Second: a psychological (character) short story. It generally shows the drama of a character's inner world. The structure in such a story is open. The traditional com­ponents of the plot are not clearly discernable and the action is less dynamic as compared to that of the plot short story. Many of E. Hemingway's stories are of such a type. Little, if anything, happens in his "Cat in the Rain". A young American couple is staying at an Italian hotel. It is raining. The wife stands at the window looking out at a cat that sits crouching under a table. The wife goes out to fetch the cat, for "it isn't any fun to be a poor kitty out in the rain". But the cat is gone. Back in the room she sits at the mirror, with her husband reading. There is a knock at the door. It is the maid with a big tortoise-shell cat sent to the American wife by the hotel-keeper. The plot, as such, is practically eventless. But an attentive reader will see that the life situation it represents makes only the surface layer. He will also see that out of this surface layer there emerges another — the implied,, the metaphor -ic. The image of a cat crouching under a table to avoid the rain suggests an analogy with the state of misery and nostalgic restlessness the young American woman is in. This poetic content has conditioned the specific compo­sition and plot-structure.

Speaking about the two types of short stories, i. e. the plot short story and the character short story, it should be emphasized that they do not represent the only types. The more usual is the so-called mixed type, which in­cludes a great variety of stories ranging from psychological plot short stories (G. Greene's "Special Duties") to short story-essays (S. Lewis's "Americans in Italy. Mr. Eglan­tine") in each of which the specific content conditions its own form of representation, i. e. its own type of composi­tion and plot-structure.

It is doubtless, that the content always bears within itself the nucleus of the form.

Plot Structure and Literary Time

Life events span in lime; they make a sequence of the past, the present and the future. Each single event takes the place of one that has occurred before so that they all may be figured as forming one straight Hue.

Time in the literary work differs from natural, histor­ical time. The narrative may begin at any moment in the life of the character and end at any other moment, which is not necessarily the one which chronologically follows the former. It may end with the event that preceded those given at the beginning or in the middle of the narrative. Time in the literary work is called literary or poetic, and its representation is conditioned by the laws of narrative literature and the work's content. The difference between a natural sequence of events and their arrangement (or disposition) in a work of narrative prose as well as the meaningfulness of this arrangement may be shown by the example of G. Greene's "The Quiet American".

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If we array in chronological order all the major events narrated in the novel, their sequence would be as follows:

a. Fowler, an English reporter, and Pyle, a young Ameri­can on a special mission in Viet-Nam, meet at a hotel in Saigon.

b. Two months after his arrival Pyle meets Phuong (a young Vietnamese girl, Fowler's mistress) at the same hotel.

c. Fowler goes to the front-line to file news for his newspa­per.

d. In the dead of night in the front-line village he is awak­ened by Pyle who has punted there from Saigon to tell Fowler he loves Phuong.

e. Pyle makes a proposal of marriage to Phuong through Fowler who is to act as an interpreter.

f. Fowler meets Pyle at a Caodaist ceremony held near Saigon. On their way back to Saigon they are both trapped in a paddy-field.

g. Fowler is given evidence of Pyle's subversive activity in Saigon.

h. Phuong leaves Fowler; and moves to Pyle's place.

i. A bomb explodes in the Square with heavy civilian casualties and Pyle appears to him responsible for this.

j. Fowler at last "takes sides" and decides to help the Vietnamese communists to eliminate Pyle: he invites Pyle 1o dine at a restaurant and informs the Viet­namese about it.

k. Pyle does not turn up at the restaurant at the appoint­ed time.

1. Fowler in his flat is anxiously waiting for Pyle until midnight when lie and Phuong are suddenly summoned to the French police station.

m. At the police-station they are asked to identify the body of Pyle.

n. The French police repeatedly make Fowler give proof of his alibi.

o. Fowler is left in peace at last and Phuong is by his side, but there is little peace in his heart. All the above-enumerated events (only the principal ones are enumerated) could be represented as making one straight line, were they the events that occurred in actual life.

In the novel, however, these events are differently ar­ranged. The first sentence of the novel — "I sat and waited for Pyle in my room over the rue Catinat. He has said, 'I'll be with you at latest by ten,' and when midnight had struck I couldn't stay quiet any longer and went down into the street," — plunges the reader straight into what is practically the denouement of the novel and what we have marked as point 1. The action then moves on to point m. at the police-station, then back to what chronologically makes the first item: Fowler and Pyle meet at a hotel in Saigon, then again, come the events following Pyle's murder: sum­mons to the French police-station; Fowler's visit to Pyle's former flat; Phuong's return, etc. These forward and back­ward shifts in time characterize the plot-structure of the novel. (See the following diagram.)

The split of the natural time sequence in "The Quiet American" is a device, and as such it has a meaning. Fowler is the narrator of the events, he is also their participant. The narrative is retrospective, i. e. Fowler does not narrate the events as they occur, he speaks of them retrospectively, and he recreates them, bringing them to light from the past. He meditates over them, for he is not just merely an observ­er, he is an active participant of the drama. He is to take a decision, "he is to take sides". For the man who had prid­ed himself on not being involved, on being just a report­er, the decision is hard to take. He is perturbed and hesi­tant and this is indirectly conveyed by the split time sequence and the nervous rhythm it creates. When Fowler finally takes sides for "one has to take sides if one is to remain human", he does so with deep sorrow which is sum­marily expressed in the last sentence of the novel: "Every­thing had gone right with me since he (Pyle) had died, but how I wished there existed someone to whom I could say that I was sorry".

Another vivid example of the meaningfulness of liter­ary time representation is W. Faulkner's novel "The Sound and the Fury". It consists of four parts, each being entirely self-contained principally because it is narrated as seen by a different character.

The first part is focused on a 33-year-old idiot. He is the narrator of his own feelings, sensations and distorted mem­ories. There is no time perspective at all in this part as there is no consciousness of time for the imbecile. The past and the present as such do not exist for him. In his mind there are mingled pictures of what must have happened some time ago and what lie sees happening now.

The second part is a deliriously confused (temporally and thematically) narration of and about Quentin, the brother of the idiot. The reader gradually comes to under­stand that what torments him is the thought about his sister Caddy, who is ruined and disgraced. The part ends, with Quentin's suicide.

The third and the fourth parts are different from the first two in that the narration here is clear and consistent. The third part is focused on Jason, the third brother, cruel, tough and money-thirsty. He narrates the events as he sees them, lie consistently reports the happenings in the family and the render sees the image of a tyrant, completely devoid of humane warmth and family feeling.

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The fourth part, narrated by the author, is focused upon Dilsey, an old Negro woman-servant. She alone retains good sense in this shattered household, she is the stays of it.

There is no natural passage from one part to another, the time perspective is twisted or altogether lost. Due to all this the plot structure of the novel may appear to be oddly if not confusedly organized. But on perusing the whole book the reader comes to perceive the meaningfulness of this device, i. e. the meaningfulness of the twisted time perspective, of the disunity between the parts, etc. The novel narrates about a decayed family of Southern aristo­crats, a family that had once been great and thriving but now is defeated from within, is disintegrated and dying. This content has conditioned a specific form: the outward disunity of its parts, a lack of time perspective, etc. Thus, what might seem at first sight to be an oddly loose writing, when viewed from within, from the content, turns out to be meaningful and consequently well-organized.

Composition. The subject matter of a literary work (the sequence of events, character collisions, etc.) may be represented in a variety of ways. Intuitively or not, an author chooses his technique according to his meaning.

The narration may be done in the first person, the nar­rator being either his own protagonist: "When I had first opened the door, I did not know what I was about to do; but now that I had seen her in her room, kneeling in prayer beside her bed, unaware that I was looking upon her and hearing her words and sobs, I was certain that I could never care for anyone else as I did for her. I had not known until then, but in the revelation of a .few seconds I knew that I did love her. (E. Caldwell, "Warm River"); or focusing on another: "Oh, there were hundreds of things she had said. I remember everything, but 1 can't recall the words she used. I can't repeat them. She uttered them in a jumble of things. They had come from her lips like the jumbled parts of a cut-out puzzle. There was no man wise enough or patient enough to put the words in their correct order. If I attempted to put them together, there would be too many 'ands', and 'buts' and 'theys' and thousands of other words left over. They would make no sense in human ears. They were messages from her heart. Only feeling is intelli­gible there." (E. Caldwell)

The narration may be done in the third person. The narrator then focuses on some other character or characters. He may have direct knowledge of these find net as tin observer. For instance. "He had been contemptuous of those who wrecked. You did not have to like it because you understood it. He could beat anything, he thought, because no thing could hurt him if he did not care.

All right. Now he would not care for death. One thing he had always dreaded was the pain. He could stand pain as well as any man, until it went on too long, and wore him out, but here he had something that had hurt frightfully and just when he had felt it breaking him, the pain had stopped." (E. Hemingway, "The Snows of Kilimanjaro")

The narrator may have no direct relation to the persons he speaks about, he may not be present at all, be entirely anonymous, as in the following: "But the weather held clear, and by nightfall he knew that the men were certain to be holding his tracks. By nightfall Roy was too exhaust­ed to be cunning, and he lay in his sleeping bag in the first dry corner he found in the rocks." (J. Aldridge, "The Hunter")

The narration, whatever it is: first-person, third-per­son, anonymous, rests on such forms as:

Interior monologue. The narrator as his own protago­nist or the character he narrates about speaks to himself. "Soames moved along Piccadilly deep in reflections excited by his cousin's words. He himself had always been a worker and a saver, George always a drone and a spender; and yet, if confiscation once began, it was he — the worker and the saver — who would be looted! That was the negation of all virtue, the overturning of all Forsyte principles. Could civilization be built on any other? He did not think so." (J. Galsworthy, "To Let")

Dramatic monologue. The narrator (as his own protago­nist) or a character speaks alone but there are those he ad­dresses himself to,  g. "I think you take too much care," said Winifred. "If I were you, 1 should tell her of that old matter. It's no good thinking that girls in these days are as they used to be. Where they pick up their knowledge I can't tell, but they seem to know everything." (J. Galsworthy, "To Let")

Dialogue. The speech of two or more characters ad­dressed to each other. (The term is too obvious to need illustration.)

Narration. The presentation of events in their develop­ment, e. g. "The Collector had watched the arrest from the interior of the waiting-room, and throwing open its perfora­ted doors of zinc, he was now revealed like a god in a shrine. When Fielding entered the doors clapped to, and were guarded by a servant, while punkah, to mark the impor­tance of the moment, flapped dirty petticoats over their heads." (E. M. Forster, "A Passage to India")

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Description. The presentation of the atmosphere, the scenery and the like of the literary work, e. g. "They are dark. Even when they open towards the sun, very little light penetrates down the entrance tunnel into the circular chamber. There is little to see, and no eye to see it, until the visitor arrives for his five minutes and strikes a match." (E. M. Forster, "A Passage to India")

All these forms of presentation, as a rule, interrelate in a literary text, with one or another of them standing out more prominent.

The arrangement and disposition of all the forms of the subject matter presentation make up the composition of the literary text.¹

Genre. The word "genre" which comes from French, where its primary meaning is "a kind", denotes in the theory of literature a historically formed type of literary work.

As with all other art categories it is the content that imposes upon the genre its peculiar limitations.

Who represents the aesthetic reality; what particular aspect of reality is represented; how is the time of repre­sented events related to the time of speech — these and other factors are relevant to genre.

If it is outside events that are objectively narrated by an author, the genre is epic with narrative prose as its main variety.

If the author speaks about an aspect of reality reflected in his own inner world, if his emotions and meditations are represented without a clearly delimited thematic or tempo­ral setting, the genre is lyric with lyric poetry as its main variety. Consider as an instance of such the follow­ing sonnet by John Keats "Keen, Fitful Gusts":

MEANINGS OF LINGUISTIC UNITS

1. Denotative meaning of the word. An act of verbal communication between the speaker and the hearer is made possible primarily due to the fact that units of communica­tion (i. e. words) are referable to extralinguistic situa­tions, things meant. The word denotes a concrete thing as well as a concept of a thing; the word has a denotative meaning. Thus, the word blue denotes an object that is blue (a blue dress) and the respective concept: something blue or blueness. The word table denotes any object that is a table; it is the name of a whole class of objects that are tables.

An isolated word table denotes the concept of the thing that is a table. The word table within a certain context denotes a definite thing; i. e. has a definite meaning (He bought a deal table). The property of the word enabl­ing it to denote a concrete thing as well as a generalized concept of a thing is an objective feature which has been worked out in the course of a people's history. The knowl­edge of the word-denotation is shared by all those who speak in the given language and this is what makes com­munication possible. Denotative meaning is thus the loading task of any notional word.

b) Connotative meaning of the word. The word besides denoting a concrete thing, action, or concept, may also carry a connotation, an overtone. These overtones or con­notations vary in character. They may express the speak­er's attitude to the thing spoken about (emotive component of meaning), or indicate the so­cial sphere in which the discourse takes place (sty­listic reference). Both these components may be part of the word's dictionary meaning, i. e. be present in the word when it is taken in isolation. They may, on the other hand, be part of the word's contextual mean­ing, i. e. emerge in the word as a result of its correlation with other words. Below we first consider connotation as part of the word's dictionary meaning — it being essen­tial for readers to see the inherent properties of words — only to dwell at length later on the connotations words acquire when they occur in texts.

CONNOTATION IN THE WORD'S DICTIONARY MEANING

An emotive component of meaning may have linguistic expression with the help of suffixes; for example, the suffix ie/y in such words as birdie, or Freddy serves to express the diminutive/the hypocoristic. The emotive component of meaning may have no .specific linguistic form but be contained in the concept the given word denotes, as for example, in the words horrid, terrifying, lovely, etc. There are words of purely emotive meaning. These are interjec­tions which differ from words with denotative meanings (i. e. notional words) by their peculiar sound pattern: oh, ouch, alas, hm, etc. They also differ by their syntactic role in an utterance: they are not components but equiv­alents of sentences.

Stylistic reference. Verbal communication takes place in different spheres of human activity, such as everyday life, business, science, etc. Each of these spheres has a peculiar mode of linguistic expression which is gener­ally known as a functional style. Words that are prefer­ably used in one functional style are said to have a stylistic reference conditioned by the respective sphere.

The overtone of stylistic reference is always present in the word alongside its denotative meaning. This can well be illustrated by sets of words with similar denota­tive meanings: get — obtain — procure; dismiss — dis­charge — sack; follow — pursue — go after. Words may be grouped together on the basis of their common stylistic reference. Consider, for example, the following groups of words:

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