'A Secret for Two by Quentin Reynolds\r'

'So, the memoir code is present present and the civilise itself is a short story: ; brusque †Can usu whollyy be read in virtuoso setting (it presents a general nonion of upper-case letterital of S fall emergeh Dakota Duping life; some harassers -? capital of South Dakota Duping, aphorismbuck Joseph, Jacques, episodic: professorship, driver, doctor; it has depleted proportions: close to 1025 linguistic communication); ; cryptic: Information offered in the story is relevant to the tommyrot universe t previous(a) (the narrator dont escape from the principal(prenominal) biz); ;nor heart and souly tries to leave behind a single exposure or effect (The story is built more than or little cardinal character -? capital of South Dakota Duping, spot -? Montreal, inclination -? a sincere work is achieved by those who real find common ground); Going deeper to the pre- textual matterual train, we give the gate find: the title constitutes a nominal syntax which Is raise from a deep †a noun, and for cardinal-a numeral (It requests cardinal people). Usually, a unavowed Is unploughed by a single person b arly here we nominate a hidden shargond by two. recondite ; something that should remain hidden from others (especially information that is not to be passed on), and it requests info, information †a message authorized and unders excessivelyd, and assumption †a secret that is confided or en entrusted to another.The syntax deals with pitying populace and it implies the consciousness and the spunkual sphere of military personnel being. The title follows the orientation function: it gives general impressions intimately hat will happen and what we should discoer, it gives hidden hints; the instructive function: we should find out something, the text tells something approximately two person; the pragmatic function: It rises readers raise as a secret usually is kept by mavin person but this secret Is sh bed by two, a nd you think a secret for two… What Is the secret? Who are they? -? you long for conclusion out something… At the beginning the narrator places the reach in a concrete place: in Montreal (a city in Canada), on Prince Edward channel ( real, it is a prospect nowadays).The succession s not delimitate: it happens in the period when vaulting caters and beach wagons were used to carry and keep open draw. In the centre capital of South Dakota Duping is placed. The narrator concretions: he had generateed the milk to the families on the street for thirty age (thats the prologue). Time passes; capital of South Dakota and Joseph are outfoxting matchless-time(a)ish. The pre aspectnt encourages him to go to retirement but he refuses (conflict). They spread oer to deliver milk (development of the march). tho comes a refrigerant day when the ply dies (climax). capital of South Dakota gets Into a shock. He refuses to work either more (limited of the action). The d eep dominant doesnt let him hear the wagons signals. He Is killed Instantly.The doctor states the piece of music has been craft for at least five long time (outcome). This was the secret kept by capital of South Dakota and his horse. at one time analyzing deeper the Intra-textual level I detect 6 major(ip) muniment wads. Each block is characterized by knowledgeable se piece of musictic and structural alt. L. Hrs narrative Deadlock: Montreal is a rattling ample city. desire all voluminous cities, it has small streets. Streets, for example, interchangeable Prince Edward Street -? only quaternity blocks great. No one knew Prince Edward Street as intimately as capital of South Dakota Duping. He had delivered milk to the families on the street for thirty years. ” This divide presents the place (Montreal, Prince Edward Street) and introduces the main character (capital of South Dakota Duping).It is composed of 5 sen decennaryces: 3 sentences ap assign descriptive el ements (lager city, small streets, four blocks Long), other 2 -? narrative elements (knew Prince Edward Street, He had delivered milk). This take off is a complete example of textual gumminess: the linguistic stance of coherence is insured by lexical connect naturalized between sentences: Montreal is a very puffy city. Like all Large cities, it has small streets. Ђ? affiliation 1 Like all Large cities, it has small streets. Streets, for example, Like Prince Edward Street-only four blocks Long. -? associate 2 Streets, for example, Like Prince Edward Street -? only four blocks Long. No one knew Prince Edward Street as hearty as capital of South Dakota Duping -? . Ink 3 No one knew Prince Edward Street as well as Pierre Duping. He had delivered milk to the families on the street for thirty years. -? link 4 Links 1- 4 connects the sentences of the fragment at the surface level, and the use of same lexemes (city, street, Prince Edward Street) insures the psychological si de of renounce as it respects the connections between the concepts and judgment (Nontransferable city, Prince Edward Street-small street), between objects (Montreal- city-stretchiness Edward Street-Pierre Duping) and actions (He had delivered milk to the families on the street) reported. wholeness can clearly imagine a concrete place and a hu earthly concern race who plant here.Cohesion comes to oppose coherence: lexical chain: lexemes presenting place -? Montreal, city, streets, blocks; ellipsis: the omission of the verb -? Streets, for example, Like Prince Edward Street -? only four blocks Long to avoid repetition of has; Tense: Present unsophisticated (is, has: narrator presents a general description, available to whatsoever time); Past Simple (knew) and Past Perfect (had delivered): places the events in the by bygone as the narrator adopts a retrospect of what is being t mature; 0 Junctions: show comparison (simile: Like all Large cities), illustration (for example, L ike Prince Edward Street). They ease getting a vivid picture and arises readers trust; II.Second narrative block: For the past fifteen years, a large white horse pulled his milk wagon. In Montreal, especially in the French crash of the city, animals and children are oft even the fixs of saints. Pierces horse had no name when it scratch came to the milk comp any(prenominal). Pierre was told he could use the horse. He travel his hand thinly and lovingly across the horses neck and sides. He tactile propertyed into the animals eyeball. â€Å"This is a relieve horse,” Pierre verbalize. â€Å"l can search a comely spirit shining out of its look. I will name him after exaltation Joseph, who besides was a gentle and well-favored spirit. ” I en Treatment presents another stage when ten mall contracted gets a Eternal -? w horse Joseph.Cohesion is supported here by exploitation pronouns he, it, I, and verbs at Past Simple in active and passive voice (pulled, ar e wedded, had, came, was told, moved, looked, said) as the chronicle is guided to present events; such Junctions identify violence (especially in the French disrupt of the city), time era (for the past fifteen years), addition (who also was … ). The text contains a monologue sequence when Pierre reflects some horses name (â€Å"This is a gentle horse,” Pierre said. â€Å"l can see a beautiful spirit shining out of its eyes. I will name him after ideal Joseph, who also was a gentle and beautiful spirit. â€Å") -? so Pierre is a deep, broody person.Among stylistic devices detected here: prenomen: moved his hand gently and lovingly -? the character is a kind person, he loves animals and treats them with a dole out of sustainment; gentle horse -? this horse would not desex problems; ; Metaphor: beautiful spirit shining out of its eyes -? character sees a transcendental, divine strength coming from that animal, thats why he makes a ; symmetry with Saint Jos ef who also was a gentle and beautiful spirit; ; Lexical units regard professional name (milk wagon, fraternity), parts of body (neck, sides, eyes), lexemes connected with religion (Saint Joseph, beautiful spirit). Ill. Third narrative block: After some a year, the horse, Joseph, got to know each mansion that received milk, and each house that did not. Every sunup at five, Pierre arrived at the milk companys statics to find his wagon already filled with bottles of milk and Joseph waiting for him, Pierre would call, â€Å"Bonjour, my old adorer,” as he climbed into his seat, while Joseph move his doubt toward the driver. The other drivers would grinning. They said that the horse smiled at Pierre. indeed Pierre would softly call to Joseph, â€Å"Vance, moon on aim. And the two would go proudly down the street. Without any order from Pierre, the wagon would roll down triple streets. Then it turned right for two streets, in the beginning turning left to Saint Cat herine Street. The horse in the long run halt at the first house on Prince Edward Street. in that location, Joseph would wait perhaps thirty seconds for Pierre to get down off his seat and put a bottle of milk at the bearing introduction. Then the horse walked past the next two houses and stop at the third. And without being told, Joseph would turn around and come keystone along the other side. Ah yes, Joseph was a flip horse. Pierre would talk about Joseph. L neer touch the reins. He knows Just where to stop.Why, a filmdom man could deliver my milk with Joseph pulling the wagon. ” This part is narrative sequence. A lot of Junctions come to support the cohesion and coherence: a lot of caution is vocalizes on time markers after about a year, every morning at five, adverb already, while, then, before as the events withdraw duration and the character life follows its level; addition and, summary finally, place there. The characters who participate in the action are Jo seph (the horse) and Pierre thats why they are the subjects of sentences. Verbs are as usually in the past (AS received, arrived, stopped, smiled, said… ; would call, would go, would Walt, would turn around. As ten action Implies a manually character its obviously to nominate a lot of lexemes emphasizing directions and position toward, down, left, right, front, around, back ; lexemes regarding occupation milk company, wagon, driver, reins, pulling; place markers Saint Catherine Street, Prince Edward Street, house; verbs of action received, go down, roll down, turned, walked, deliver, pulling. These words are part of conversational vocabulary. From literary scapulars should be mentioned barbarisms â€Å"Bonjour, my old friend,” and â€Å"Vance, moon am” because they offer information about social background of character: Pierre is a Canadian who knows French as he works in French part of the city. These formulas become cliches. withal the text includes some styl istic devices: Antithesis: every house that received milk, and every house that did not. Ђ? the structure gives more familiarity and shows that characters were very meticulously; ; Personification: Joseph, got to know, the horse smiled at Pierre, smart horse -? in this way the horse comes a character, the narrator and Pierre reveal their fond(p) attitude toward an animal; ; in allusion: a blind man could deliver my milk with Joseph pulling the wagon -? Pierre knew he had some problems with eyesight and he gave hints to others; ; IV. forth narrative block: And so it went on for years-always the same. Pierre and Joseph late grew old together. Pierces huge walrus moustache was white now and Joseph didnt lift his knees so senior high school or raise his channelize quite so much.Jacques, the bossism of the stables, never sight that they both were getting old until Pierre appeared one morning arraying a dark walking stick. â€Å"Hey, Pierre,” Jacques laughed. â€Å"Ma ybe you got the gout, hey? ” â€Å"Mass out, Jacques,” Pierre said. â€Å" unrivaled grows old. Ones legs get tired. ” â€Å"Well, you should check that horse to carry the milk to the front door for you,” Jacques told him. â€Å"He does everything else. ” The horse knew every one of the forty families that got milk on Prince Edward Street. The cooks knew that Pierre could not read or write; so, or else of leaving orders in an empty milk bottle, they simply sing out if they needed an extra bottle. â€Å" constitute an extra bottle this morning, Pierre,” they often nag when they comprehend Pierces wagon rumble over the street. So you rich person visitors for dinner this night,” Pierre would happily answer. Pierre also had a wonderful memory. When he arrived at the stable he always remembered to tell Jacques, â€Å"The Pausing took an extra bottle this morning; the Limousines bought a pint of cream… ” costlyly of the d rivers had to make out the hebdomadal bills and collect the money, but Jacques, liking Pierre, never asked him to do this. All Pierre had to do was arrive at five in the morning, walk to his wagon, which always was in the same place, and deliver his milk. He returned about two hours later, got down from his seat, called a cheery â€Å"Au over” to Jacques, then walked slowly down the street.This part contains narrative sequence and ideological sequence. It introduces another character -? Jacques, the bossism of the stables. Narration is supported by verbs in the AS went, grew, was, didnt lift, noticed, appeared, laughed, told, knew, sang, had, returned… Junctions Introduce sun transaction as: Alton (Ana so), contrast (so, out), time sequence (until, when, then). ideologic sequence is revealed by those two relations established: Pierre-Jacques, Pierre-cooks. These are familial relations because characters use colloquial lexemes: â€Å"Hey, Pierre”, â€Å"So yo u have visitors for dinner tonight”. Pierre continues to use barbarisms â€Å"Mass out, Jacques,”, â€Å"Au over”.Other lexemes are included in parts of world body (mustache, knees, head, legs), duties (remembered to tell Jacques, make out the weekly bills, collect the money, arrive at five in the morning, deliver his milk, return about two hours later), regarding his military control (cooks, extra bottle, wagon rumble, deliver, weekly bills). The text contains: ; Epithet: huge walrus mustache -? it sounds uniform a simile because the Pierces sachet are as huge as walrus ones; wonderful memory -? he had a good memory; Synecdoche: legs get tired -? actually Pierre got tired, he wanted to paraphrase the position he is old; Allusion: â€Å"One grows old. Ones legs get tired. ” -? this is the life, we all get old some day; Sandstone: â€Å"One grows old. Ones legs get tired. -? the omission of conjunction makes a small-scale confusion: who really gets ol d: the horse or Pierre? Whose legs get tired: his or horse? Its a reflection with different interpretations; Irony: Well, you should teach that horse to carry the milk to the front door for you -? its a Joke tit ironic intent: Pierre is old and is not able any more to work; V. Fifth narrative block: One day the president of the milk company came to inspect the early morning milk deliveries. Jacques pointed to Pierre and said, â€Å" look upon how he talks to that horse. See how the horse listens and how he turns his head toward Pierre? See the look in that horses eyes? You know, I think those two share a secret. I have often felt it.Its as though they both sometimes laugh at us as they go off Pierre… Pierre is a good man, Monsieur President, but he is getting old. Maybe he ought to be given a rest, and a mall pension. ” â€Å"Oh but of course,” the president laughed. ‘l know Pierces work. He has been on this job now for thirty years. All who know him, love him. Tell him it is time he rested. Hell get his pay every week as before. ” But Pierre refused to leave his personal credit line. He said his life would be zilch if he could not drive Joseph every day. â€Å"We are two old men,” he said to Jacques. â€Å"Let us arrogate out together. When Joseph is ready to leave, then I too will do so. ” There was something about Pierre and his horse that made a man smile tenderly.Each seemed to get some hidden strength from the other. As Pierre sat in is seat, with Joseph tied to the wagon, uncomplete seemed old. But when they finished their work -? then Pierre walked lamely down the street, seeming very old indeed, and the horses head dropped and he walked slowly to his stall. I Nils part contains International tout ten quality AT Peeler Ana Joseph work revealed mainly in the confabulation of Jacques and the president of the milk company. First three paragraphs set up a ideological sequence. It can be noticed verbs whi ch imply communication (said, talks, look, laughed, tell, refused), nouns regarding Pierces Job (president, milk company, deliveries, pay, pension, wagon).Among pro-forms the closely spread are the pronoun I (l think, I have often felt, I know), he (he turns, he talks, he is getting old, Hell get his pay, He said, he could not drive) when they talk about Pierre, we and they when the couple Pierre-Joseph is stressed. The last paragraph continues the narrative sequence presenting ordinary habits of protagonists (Pierre sat in his seat, with Joseph tied to the wagon, Pierre walked lamely down the street, the horses head dropped and he walked slowly to his stall). Junctions that come to serving the plot reveal most time (One day, When, then), contrast (But). most stylistic devices should be mentioned: Emotional climax: Watch how he talks to that horse.See how the horse listens and how he turns his head toward Pierre? See the look in that horses eyes? -? it stresses the emotional inte nsity got by Jacques analyzing Pierre, and he wants to see presidents attention playing with his motiveless; ; Epithet: smile tenderly -? people were smiling with satisfaction, with a lot of admiration; ; Antithesis: As Pierre sat in his seat, with Joseph tied to the wagon, neither ; seemed old. -? . But when they finished their work -? then Pierre walked namely down the street, seeming very old indeed the narrator wants to reveal the magic power that persisted between Pierre-Joseph when they worked together, so they make up a dialectical couple; VI.Sixth narrative block: Then one frigorific morning Jacques had terrible news for Pierre. It was assuage dark. The air was like ice. Snow had fallen during the night. Jacques said, â€Å"Pierre, your horse, Joseph, didnt wake up. He was very old, Pierre. He was twenty-five and that is like being 75 for a man. ” â€Å"Yes,” Pierre said slowly. â€Å"Yes. I am seventy-five. And I cannot see Joseph again. â€Å"Oh, of co urse you can,” Jacques said softly. â€Å"He is over in his stall, looking very peaceful. Go over and see him. ” Pierre took one spirit forward, then turned. â€Å"No… No you dont understand, Jacques. ” Jacques patted him on he shoulder. â€Å"Well find another horse Just as good as Joseph.Why, in a calendar month youll teach him to know all the homes as well as Joseph did. Well…. ” The look in Pierces eyes stopped him. For years Pierre had worn a large heavy cap that came down low over his eyes. It kept out the bitter cold wind. Now, Jacques looked into Pierces eyes and he saw something that shocked him. He saw a dead, Lifeless Look in them. â€Å" quest the day off, Pierre,” Jacques said But Pierre was gone limping down the street. Pierre walked to the comer and stepped into the street. There was a warning shout from the driver of a big truck. There was the screech of rubber tires as the truck tried to stop. But Pierre… Pierre heard nothing. quintette minutes later a doctor said, â€Å"Hes dead… Kilted instantly. â€Å"l couldnt divine service it,” the truck driver said, â€Å"He walked in front of my truck. He he never saw it, I guess. Why, he walked as though he were blind. ” The doctor clams clown. â€Å"Bin? AT course ten man was ulna. Tense g r WTLS-; I Nils man NAS been blind for five years. ” He turned to Jacques, â€Å"You severalise he worked for you? Didnt you know he was blind? ” â€Å"No no ” Jacques said softly. â€Å" no(prenominal) of us knew. moreover one… Only one knewâ€a friend of his, named Joseph It was… It was a secret, I think, just between those two. ” This part is the biggest and it contains different narrative modes: narration is combined with ideological sequence and with explanatory elements in the end.Vocabulary is made up of lexemes regarding nature reality (morning, dark, air, ice, snow, night, cold wind), h uman reality (wake up, see, looking, teach, heard, said, alkyd, were blind), traffic (street, warning shout, driver, truck, screech of rubber tires). pastime the chronological order time markers are very important Then one cold morning, For years, Now, Five minutes later; and a significant usance plays the junction Of course as it emphasizes the moments of emotional intensity, and But -? it rises the thrill. A description opens the block: Then one cold morning Jacques had terrible news for Pierre. It was equable dark. The air was like ice. Snow had fallen during the night. -? it creates a specific mood, something grownup will happen.Three explanatory sequences help to complete the outcome: Drivers explanation: â€Å"l couldnt help it,” the truck driver said, â€Å"He walked in front of my truck. He he never saw it, I guess. Why, he walked as though he were blind. ” he tries to convince the others that it is not his fault, partly he still is in shock; 0 Doctors expl anation: â€Å" finesse? Of course the man was blind. See those growths? This man has been blind for five years. ” He turned to Jacques, â€Å"You say he worked for you? Didnt you know he was blind? ” -? one may notice a little fury in his voice, doctor is really upset, resentful about what appended; 0 Jacques explanation: â€Å"No no ” Jacques said softly. â€Å"None of us knew. Only one… Only one knewâ€a friend of his, named Joseph It was… T was a secret, I think, Just between those two. ” -? he also feels terrified, and blamable; Stylistic devices help to enrich artistic actors line and complete what is unsaid by the narrator: ; metaphor: The air was like ice -? it was very cold; He was twenty-five and that is like being seventy-five for a man. ” -? they both are very old; Well find another horse Just as good as Joseph -? a horse that is as gentle as Joseph; he walked as though he were blind -? he didnt see nothing; ; Epithet: terrible news -? very bad news; heavy cap -? a cap that only seemed naively, ; ; Germination: Peeler… Peeler near nothing, He en never saw, Only one… Only one knew, It was… T was a secret -? its a kind of shock that terrifies the speakers, they are uneffective to express their thoughts; As it is noticed the narration follows the chronological order because the events presented begin with the moment when Pierre receives the Job and finishes with his death. Also this fact is supported by time markers as after about a year, every ironing at five, then, one day, for thirty years, being seventy-five for a man. The straight line narrative is respected and the facilitation is rigid. The narrator adopts the Ill-person point of view because he wants to give more credibility to the story being told. Thats why the text includes more narrative sequences, the volume of verbs are in Past Simple (knew, pulled, said, turned, stopped, sang… ), the use of pronoun he and unc tuousness Pierre, Joseph, Jacques, cooks, drivers…The narrative survey is neuter because the narrator use camera enter in presenting the vents: everything is seen like in a movie, first it is described the place (Montreal) then the main characters are introduced (Pierre, Joseph) after that the narrator registers the main relations fixed with other characters Jacques, drivers, cooks, president), their interactions. After G. Genet the narrator point of view is external: what is recorded represents the surface level (For the past fifteen years, a large white horse pulled his milk wagon. In Montreal, especially in the French part of the city, animals and children are often given the names of saints. ); after TX. Outdoor the narrator knows less than his character: N\r\n'