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The Stylistic Analysis of Anthony in Blue Alsatia

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Eleanor Farjeon (13 February 1881 – 5 June 1965) was an English author of children's stories and plays, poetry, biography, history and satire. Many of her works had charming illustrations by Edward Ardizzone. Some of her correspondence has also been published. She won many literary awards and the prestigious Eleanor Farjeon Award for children's literature is presented annually in her memory by the Children's Book Circle, a society of publishers.
The daughter of a British novelist and granddaughter of a U.S. actor, Eleanor Farjeon grew up in the bohemian literary and dramatic circles of London. Attending opera and theatre at 4 and writing on her father’s typewriter at 7, Farjeon came to public attention at 16 as the librettist of an opera, …show more content…

They were concerned with business, were lack of time and were too busy to look out of the window and take pleasure of nature outside. So, we can see a contrast between the world of real life in which the passengers live and the world of imagination where lives Anthony.
At the beginning the story is a third person narration, interrupted by dialogues but then in order to make a deep emotional appeal the author applies for stream of consciousness. There are interior monologues, for example: “Oh, no,…of course not!”. Constant moving of nature carried the rhythm of the story. There are a lot of stylistic devices in the text, such as extended metaphor which helps the author to describe boy’s imagination and his specific order of mind. For example: “He felt that the gauze, which could not contain the torrents of world’s activities, might house this butterfly and not brush off its bloom”. A special device in this text is framing because we can see a story in a story here and framing is used to express that a story is imaginary. The author applies inversion to intensify the atmosphere of mystery. For example: “To whom has it not happened, time and again, on his way to the Seaside, the Moors, or the Highlands, to cry in his heart, at some glimpse of Paradise from the carriage windows: " That is where I really wanted to go — that is where I would like to get out!”. The author uses also repetitions, for example, word “Heavens” repeated several times or “That is where…”.

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