[ اللغة الانجليزية ] : Third year - 6th level - 0ld plan @.@

[what ever !]

ياحبايب ماعليكم امر عندكم ايميل د/ يمنى !! بغيته ضروري يجزاكم الجنه

[استفاق الجرح]

مرررحبا صبااايا
ابي اسال كيف طريقة يمنى باختبار المعتذرررات من اختبر مع المعتذرات الفصل الاول
ياليت تقوول كيف
مووفقين

[شتاء عمري]

اسم القصيده

[heavy rain20]

شنو بنات في او لا تراني علي مسرح مقدر اذاكر شعر خلنا قلنا يد وحده هي ما قالت

[شتاء عمري]

يعني محد يعرف اسم قصيده بكرا؟؟؟؟؟؟؟؟؟

[رنومه..]

المشاركة الأصلية كتبت بواسطة شتاء عمري

يعني محد يعرف اسم قصيده بكرا؟؟؟؟؟؟؟؟؟

Pied beauty
By
Hopkins..

i'm not sure from the spelling..
she wants us to prepare something about the writer only..
and the next week we'll disscus the poem..

good luck..

[Diamond brooch]

بنات الساعه كم الكويز الشعر ...؟
بليززز..

[شتاء عمري]

وقت المحاضره

[حكايا الورد]

طيب ويش الجزئيه الي فيها الكويز ؟؟؟
بقرآها ع الاقل قبل لا انام .،

[Aro0oj]

Style

Point of View

This novel is told from the third-person point of view, which means that the narrator is a disembodied voice, referring to each character as "he" or "she." However, the narrative is not omniscient. This means that the narrator looks at the story unfolding from different points of view, but when it settles on any particular viewpoint it stays consistent, if only for a short amount of time. When new information is introduced into the story, that information is initially understood only in terms of the narrator's point of view at the time.

For instance, when Wildeve first appears, readers are not told who he is; his character is revealed by what he says. Clym is a mystery for Eustacia to fantasize about long before his thoughts are related. In fact, even when they do talk outside of the Christmas party, the narrative shifts from her perspective to his then back to hers. Giving readers access to just one person's experience at a time is called "limited omniscience."

By limiting the flow of information to the reader, Hardy is able to create a sense of mystery in the story. This is accomplished because the motivations and intentions of the characters are not always immediately clear. When Hardy wants to convey theories and opinions, he frequently presents a scene in which several of the local characters are gathered together and talking while doing something else. This occurs in the bonfire scene in the chapter called "The Custom of the Country" and in the later chapter where people gather and discuss the best way to deal with a snakebite. A contrast to this is the scene of hauling the bucket out of the well: general knowledge of the subject of bucket retrieval is conveyed directly from the narrator to the reader here, rather than through the conversation of the locals.

Structure

This book was written for magazine serialization, and this is reflected in its structure. Actions occur within specific episodes, and future developments in the story are foreshadowed. Chapters end with lines that are meant to raise curiosity, a technique that is effective to keep readers of novels turning the pages. Moreover, it was meant to inspire excitement so the reader would buy the next month's installment.

A good example of this technique is when Thomasin returns unmarried from Angelbury. The chapter ends with her aunt asking, "Now Thomasin what's the meaning of this disgraceful performance?" Readers know that the explanation will follow, but it does not follow right away. Viewers of television — where shows are regularly scheduled in weekly installments — are very familiar with this technique.

Critics have also contended that this book is structured like a Shakespearean drama. Most of Shakespeare's plays were organized in five acts, with a climactic conclusion in the last act. Although The Return of the Native is presented in six books, most critics agree that its artistic structure only requires five — the sixth was added to please general audiences that wanted to see everything turn out all right in the end. A clue to the book's debt to Shakespeare is the reference to King Lear, one of Shakespeare's greatest tragedies, in the introduction.