A composite dictionary of Philippine Creole Spanish (PCS) by Maria Isabelita O Riego de Dios

By Maria Isabelita O Riego de Dios

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They emphasise plastic shape rather than movement, and the staticness of a gazer at something presented before him rather than a participator in changeable, unfolding events. Tanner compares Hardy's art to the words painted on walls and fences by a man in Tess, each word separated from the next by a comma. Just so are the series of 'prominent notations, and emphatic pauses which temporarily isolate, and thus vivify, key incidents and objects' in Hardy's novels. Colour is of the first importance to an artist who works particularly from the visual, and Tanner takes as the first demonstration ofhis case Hardy's use of the colour red.

The 'IDEAS' APPROACHES 21 section in which she moves from her home to Talbothays Dairy after the death of her baby is entitled 'The Rally', and clearly this means that Tess herself is to be seen as recovering from her setback, determinedly building up her life, and finding new love. For every moment of self-abasement before Clare, there is at least one clearsighted condemnation of his cruelty by Tess. She has a determination to survive, seen in its lowest form in her dogged working on through the winter at Flintcomb-Ash, and at its highest when she contemplates suicide as Angel, sleepwalking, carries her across a river (she rejects the idea because he would drown too).

Language as form Both Ian Gregor and Tony Tanner approach the idea of'form' 'FORMAL' OR 'STRUCTURAL' APPROACHES 39 in the novel with the assumption that it is to be found in imitation. That novels are a convincing imitation of life is perhaps the fact about them that most people would recognise before all else. So we might expect that the shape given to his work by a novelist would be some version of the shape of life, scenes and colours which imprint themselves upon the eye, or the unrolling of events.

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