Text analysis of the short story Piano by William Saroyan

Text analysis of the short story Piano by William Saroyan

Text analysis of the short story Piano by William Saroyan

Pianoby William Saroyan

Text Analysis

Saroyan,William (1908–1981) was a successful playwright. The eccentric,spirited author was born in Fresno, California, where his Armenianparents were fruit farmers and where he worked at odd jobs beforegaining fame as a short‐storywriter.

He came to playgoers' attention with MyHeart's in the Highlandsbut became famous with his much lauded TheTimeof Your Life, which won the Pulitzer Prize, although Saroyan noisily rejected it.

His later works included Love'sOld Sweet Song(1940); TheBeautiful People;Acrossthe Board on Tomorrow Morningand Talkingto You; Hello,Out There;GetAway Old Man;and TheCave Dwellers.

Wolcott Gibbscalled the writer “the most completely undisciplined talent inAmerican letters,” and Brooks Atkinson, in a preface to Saroyan'spublished plays, noted, “When he writes general relish,usually in isolated scenes, [he] is at his best and made a definitecontribution to the mood of these times, [but] when he permitshimself to discuss ideas he can write some of the worst nonsense thatever clattered a typewriter.”

Asin most of his stories, William Saroyan presents, in Piano,a casual episode of the common life. The narrative, descriptive anddialogical sequences form together a perfect technique of renderingthe content in a captivating way.

The work of non-fiction ischaracterized by the presence of a covert narrator, who keeps to amore or less neutral voice and a fixed focalization.

Thus, thethird-person narrative creates the impression of objectivity in anattempt of seeming more trustworthy for the readers.saroyanpiano documentary life

The main narrativecode employed is the documentary one, which reproduces a true-to lifesituation, involving the reader in a vital issue.

Thus, by readingthe story, one is a spectator of Ben and Emma’s walk andconversations, the young man’s short performance in a shop, andtheir genuine regret of the fact that he cannot buy a piano, despitehis natural talent of playing.

The simplicity of the plot centers thereader’s attention to the main themes explored by the author, talent, poverty and hope. These seem to stand for the three stages ofthe short story, which present the process of discovering the youngman’s personality through the eyes of Emma.

Therefore, at the verybeginning, she becomes aware of his gift of playing the piano, thenshe realizes his inability of accomplishing his dream and buy apiano, and finally, she expresses her optimism stating that one dayhe will be able to purchase the object of his passion.

Thestory follows a straight-line narrative, in which the elements of theplot uncover the events arranged in a chronological order, andsignificant elements of flashback. In order to grasp the reader’sattention, the author begins with an unconventional expositionconsisting of a dialogue. The two characters involved pass by astore.

Ben is attracted by a piano and he asks for Emma’s accord toget in and try a small piano in the corner. From the very beginning,his passion for music becomes obvious: Iget excited every time I see a piano.

Thisindirect way of expressing the idea denotes the fact that this sortof feeling is inexplicable to the protagonist himself and his furtherreply confirms it: Idon’t know.The small piano in the corner is a symbol of Ben’s modesty, and thehidden, mysterious aspect of his talent is marked by the place-inthe corner.

Emma was unaware of this ness, so she becomes puzzled, facing aninner conflict: She’dgo along for a while thinking she knew him and then all of a suddenshe’d know she didn’t.Therepetition of the question Canyou play? emphasizesthe girl’s interest in understanding the young man.

Ben repliesnegatively, but his actions contradict his statement, as shown in thesimile hishands go quietly to the white and black keys, a real pianist’s.The adjective quietly,in this context, is meant to point out his fear of being seen usingthe piano, an idea reinforced by the epithet quietchords.

Thegirl is amazed by the playing, and she expresses her feelings withthe first chance: Ithink it’s wonderful,while Ben disregards his own participation, referring only to theinstrument: Itsounds good, followedby an explanation ithas a fine tone, especially for a small piano. Anew character, a clerk, comes into the picture, making a short speechabout the product.

The young man’s first question about the pricealludes to his desire of buying it. The price of 249, 50 is evaluatedas high even by the clerk himself, as he immediately adds Youcan have terms, of course.

The interlocutor’s way of changing the sub>ject hints at the factthat he doesn’t afford such a luxury, setting thus the conflict ofthe short story, followed by the development of the action.

Ben’sstrong desire of playing some more becomes more intensified, as it isvisible even to the seller, who allows him to tryit some more.

At this stage, he is still skeptical of the fact that his activity isactually called playing, but he is reassured by the clerk: soundedgood to me,go ahead, I’d to hear you play some more.

This comment is meant to diminish the self-criticism emphasizing theidea of a great inborn talent.

Thesentence hefooled around fifteen or twenty seconds and then found something a melody and stayed with it two minutesis highly significant. First and foremost, by mentioning the seconds,the author underlines the value of every moment in front of thepiano.

The expression hefooled around classifiesBen’s activity as entertaining and spontaneous. Further on,something a melody highlightshis status as an amateur rather than a professional, one who trustshis instincts.

A repeated mentioning of the immediate time: 2 minutesis just another way of saying that the time spent in front of thepiano flies too fast for him.

The young man’s passion increasessub>stantially, and his sadness at his approaching depart is felt inthe music, which suggests the fact that he plays from the depth ofhis heart, rendering his feelings through the music: beforehe was through the music became quiet and sorrowful and Ben himselecame more and more please with the piano.

Benand Emma then go to a little restaurant and order sandwiches andcoffee. These details and the previously mentioned financialsituation make the reader think that both persons belong to anaverage social class of people, the sort of people who have toconsider making enough money for a living and postponing therealization of their dreams.

Ben explains, by means of flashback, theorigins of his passion and its evolution. He touches upon the themeof money. The simile hesmiled the way he did when e stood over the piano looking down at thekeyboardshows that he s Emma, that she is another of his passions andthis makes her happy: Emmafelt flattered.

This fact points out the reciprocity of their relationship. Thislatter idea is reinforced some time later by shesmiled back at him the way he was smiling at her.

One may consider that the displaying of these feelings constitutesthe climax, the point when they seem to see a sort of connectionbetween themselves, when the emotion near a piano finally equalizeswith the emotional next to a dare person.

Thetext has an open text structure, only suggesting a possible outcome:somehowor other she knew he’d get a piano some day, and everything else,too.But the character cannot be considered trustworthy due to heremotional implication in the entire affair. In such a way, her desiremay generate the prediction and not the facts.

Ben may beconsidered a dynamic character, as he changes his concept about hismusical activity, becoming aware of the fact that what he producesreally is music.

He is sensitive, polite in addressing the clerk, andacts a real gentleman with Emma (asks her before entering theshop, talks about his great passion, sees her off to The Emporium).

The girl, on the other hand, is also a dynamic character, as shechanges her perception of Ben, she has new ideas, and the two becomecloser due to the sharing of personal information and mutual support.

The title of thetext has an orientative, providing a general idea on the content. Itis a noun which encodes a hobby: playing the piano. The definitearticle is avoided in order to make the term more general, as theprotagonist doesn’t possess a piano of himself and the specificinstrument used in the text is only one among many others that he hadtried.

Theshort story created a sad atmosphere which is intended to resonatewith the readers. They are expected to feel compassion andappreciation towards the protagonist, becoming aware of the fact thattalented people are, sooner or later appreciated.

The main idea isrendered directly by Ben himself, who states a general truth: Neverhaving money keeps a man away from lots of things he figures he oughtto have by rights.

Thisphilosophical approach to his own situation illustrates thecharacter’s mature attitude and his partial resignation, as heaccepts his destiny humbly, without complain.

However, Emma’s lastwords induce a positive expectation, arousing the reader’s hope fora happy end, for the triumph of justice over fatality: Somehowor other she knew he’d get the piano some day, and anything else,too.

Ifit is to regard the text from the perspective of music being an outerexposition of the inner state, denoting the musician’s feelings,the text bears a remarkable resemblance to an extract of the novelRagtimebyE.L. Doctorow. The passage when Coalhouse Walker Jr.

plays the pianoto render his true feelings towards Sarah, the regret of losing herand the hope for reconciliation. wise, Ben’s music alsoexpresses the regret and the hardly perceptible hope: thedisappointment of not having a piano and the hope of ever gettingone.

The two works have a similar style too, as the dialogicalmarkers are completely missing, simplifying the form to the advantageof the meaning. To sum it up, the two works are indeed works of art,exploring literature in a musical way.

Therefore, a form of art whichexpresses the beauty of another is bound to rejoice success.

Источник: http://vuz-24.ru/nex/vuz-80110.php

Литература : зарубежная: Text analysis of the short story Piano by William Saroyan, Реферат

Text analysis of the short story Piano by William Saroyan

Piano by William Saroyan

Text Analysis

Saroyan, William (1908–1981) was a successful playwright. The eccentric, spirited author was born in Fresno, California, where his Armenian parents were fruit farmers and where he worked at odd jobs before gaining fame as a short‐story writer.

He came to playgoers' attention with My Heart's in the Highlands but became famous with his much lauded The Time of Your Life , which won the Pulitzer Prize, although Saroyan noisily rejected it.

His later works included Love's Old Sweet Song (1940); The Beautiful People; Across the Board on Tomorrow Morning and Talking to You ; Hello, Out There; Get Away Old Man; and The Cave Dwellers.

Wolcott Gibbs called the writer “the most completely undisciplined talent in American letters,” and Brooks Atkinson, in a preface to Saroyan's published plays, noted, “When he writes general relish, usually in isolated scenes, [he] is at his best and made a definite contribution to the mood of these times, [but] when he permits himself to discuss ideas he can write some of the worst nonsense that ever clattered a typewriter.”

As in most of his stories, William Saroyan presents, in Piano, a casual episode of the common life. The narrative, descriptive and dialogical sequences form together a perfect technique of rendering the content in a captivating way.

The work of non-fiction is characterized by the presence of a covert narrator, who keeps to a more or less neutral voice and a fixed focalization. Thus, the third-person narrative creates the impression of objectivity in an attempt of seeming more trustworthy for the readers.

saroyan piano documentary life

The main narrative code employed is the documentary one, which reproduces a true-to life situation, involving the reader in a vital issue.

Thus, by reading the story, one is a spectator of Ben and Emma’s walk and conversations, the young man’s short performance in a shop, and their genuine regret of the fact that he cannot buy a piano, despite his natural talent of playing.

The simplicity of the plot centers the reader’s attention to the main themes explored by the author, talent, poverty and hope. These seem to stand for the three stages of the short story, which present the process of discovering the young man’s personality through the eyes of Emma.

Therefore, at the very beginning, she becomes aware of his gift of playing the piano, then she realizes his inability of accomplishing his dream and buy a piano, and finally, she expresses her optimism stating that one day he will be able to purchase the object of his passion.

The story follows a straight-line narrative, in which the elements of the plot uncover the events arranged in a chronological order, and significant elements of flashback. In order to grasp the reader’s attention, the author begins with an unconventional exposition consisting of a dialogue. The two characters involved pass by a store.

Ben is attracted by a piano and he asks for Emma’s accord to get in and try a small piano in the corner. From the very beginning, his passion for music becomes obvious: I get excited every time I see a piano.

This indirect way of expressing the idea denotes the fact that this sort of feeling is inexplicable to the protagonist himself and his further reply confirms it: I don’t know. The small piano in the corner is a symbol of Ben’s modesty, and the hidden, mysterious aspect of his talent is marked by the place-in the corner.

Emma was unaware of this ness, so she becomes puzzled, facing an inner conflict: She’d go along for a while thinking she knew him and then all of a sudden she’d know she didn’t.The repetition of the question Can you play? emphasizes the girl’s interest in understanding the young man.

Ben replies negatively, but his actions contradict his statement, as shown in the simile his hands go quietly to the white and black keys, a real pianist’s. The adjective quietly, in this context, is meant to point out his fear of being seen using the piano, an idea reinforced by the epithet quiet chords.

The girl is amazed by the playing, and she expresses her feelings with the first chance: I think it’s wonderful, while Ben disregards his own participation, referring only to the instrument: It sounds good, followed by an explanation it has a fine tone, especially for a small piano. A new character, a clerk, comes into the picture, making a short speech about the product. The young man’s first question about the price alludes to his desire of buying it. The price of 249, 50 is evaluated as high even by the clerk himself, as he immediately adds You can have terms, of course. The interlocutor’s way of changing the subject hints at the fact that he doesn’t afford such a luxury, setting thus the conflict of the short story, followed by the development of the action.

Ben’s strong desire of playing some more becomes more intensified, as it is visible even to the seller, who allows him to try it some more.

At this stage, he is still skeptical of the fact that his activity is actually called playing, but he is reassured by the clerk: sounded good to me, go ahead, I’d to hear you play some more.

This comment is meant to diminish the self-criticism emphasizing the idea of a great inborn talent.

The sentence he fooled around fifteen or twenty seconds and then found something a melody and stayed with it two minutes is highly significant. First and foremost, by mentioning the seconds, the author underlines the value of every moment in front of the piano.

The expression he fooled around classifies Ben’s activity as entertaining and spontaneous. Further on, something a melody highlights his status as an amateur rather than a professional, one who trusts his instincts.

A repeated mentioning of the immediate time: 2 minutes is just another way of saying that the time spent in front of the piano flies too fast for him.

The young man’s passion increases substantially, and his sadness at his approaching depart is felt in the music, which suggests the fact that he plays from the depth of his heart, rendering his feelings through the music: before he was through the music became quiet and sorrowful and Ben himself became more and more please with the piano.

Ben and Emma then go to a little restaurant and order sandwiches and coffee. These details and the previously mentioned financial situation make the reader think that both persons belong to an average social class of people, the sort of people who have to consider making enough money for a living and postponing the realization of their dreams.

Ben explains, by means of flashback, the origins of his passion and its evolution. He touches upon the theme of money. The simile he smiled the way he did when e stood over the piano looking down at the keyboard shows that he s Emma, that she is another of his passions and this makes her happy: Emma felt flattered.

This fact points out the reciprocity of their relationship. This latter idea is reinforced some time later by she smiled back at him the way he was smiling at her.

One may consider that the displaying of these feelings constitutes the climax, the point when they seem to see a sort of connection between themselves, when the emotion near a piano finally equalizes with the emotional next to a dare person.

The text has an open text structure, only suggesting a possible outcome: somehow or other she knew he’d get a piano some day, and everything else, too. But the character cannot be considered trustworthy due to her emotional implication in the entire affair. In such a way, her desire may generate the prediction and not the facts.

Ben may be considered a dynamic character, as he changes his concept about his musical activity, becoming aware of the fact that what he produces really is music.

He is sensitive, polite in addressing the clerk, and acts a real gentleman with Emma (asks her before entering the shop, talks about his great passion, sees her off to The Emporium).

The girl, on the other hand, is also a dynamic character, as she changes her perception of Ben, she has new ideas, and the two become closer due to the sharing of personal information and mutual support.

The title of the text has an orientative, providing a general idea on the content. It is a noun which encodes a hobby: playing the piano. The definite article is avoided in order to make the term more general, as the protagonist doesn’t possess a piano of himself and the specific instrument used in the text is only one among many others that he had tried.

The short story created a sad atmosphere which is intended to resonate with the readers. They are expected to feel compassion and appreciation towards the protagonist, becoming aware of the fact that talented people are, sooner or later appreciated.

The main idea is rendered directly by Ben himself, who states a general truth: Never having money keeps a man away from lots of things he figures he ought to have by rights.

This philosophical approach to his own situation illustrates the character’s mature attitude and his partial resignation, as he accepts his destiny humbly, without complain.

However, Emma’s last words induce a positive expectation, arousing the reader’s hope for a happy end, for the triumph of justice over fatality: Somehow or other she knew he’d get the piano some day, and anything else, too.

If it is to regard the text from the perspective of music being an outer exposition of the inner state, denoting the musician’s feelings, the text bears a remarkable resemblance to an extract of the novel Ragtime by E.L. Doctorow. The passage when Coalhouse Walker Jr.

plays the piano to render his true feelings towards Sarah, the regret of losing her and the hope for reconciliation. wise, Ben’s music also expresses the regret and the hardly perceptible hope: the disappointment of not having a piano and the hope of ever getting one.

The two works have a similar style too, as the dialogical markers are completely missing, simplifying the form to the advantage of the meaning. To sum it up, the two works are indeed works of art, exploring literature in a musical way.

Therefore, a form of art which expresses the beauty of another is bound to rejoice success.

Реферат: Text analysis of the short story Piano by William Saroyan

Text analysis of the short story Piano by William Saroyan

Piano by William Saroyan

Text Analysis

Saroyan, William (1908–1981) was a successful playwright. The eccentric, spirited author was born in Fresno, California, where his Armenian parents were fruit farmers and where he worked at odd jobs before gaining fame as a short‐story writer.

He came to playgoers' attention with My Heart's in the Highlands but became famous with his much lauded The Time of Your Life , which won the Pulitzer Prize, although Saroyan noisily rejected it.

His later works included Love's Old Sweet Song (1940); The Beautiful People ; Across the Board on Tomorrow Morning and Talking to You ; Hello, Out There ; Get Away Old Man ; and The Cave Dwellers .

Wolcott Gibbs called the writer “the most completely undisciplined talent in American letters,” and Brooks Atkinson, in a preface to Saroyan's published plays, noted, “When he writes general relish, usually in isolated scenes, [he] is at his best and made a definite contribution to the mood of these times, [but] when he permits himself to discuss ideas he can write some of the worst nonsense that ever clattered a typewriter.”

As in most of his stories, William Saroyan presents, in Piano, a casual episode of the common life. The narrative, descriptive and dialogical sequences form together a perfect technique of rendering the content in a captivating way.

The work of non-fiction is characterized by the presence of a covert narrator, who keeps to a more or less neutral voice and a fixed focalization. Thus, the third-person narrative creates the impression of objectivity in an attempt of seeming more trustworthy for the readers.

saroyan piano documentary life

The main narrative code employed is the documentary one, which reproduces a true-to life situation, involving the reader in a vital issue.

Thus, by reading the story, one is a spectator of Ben and Emma’s walk and conversations, the young man’s short performance in a shop, and their genuine regret of the fact that he cannot buy a piano, despite his natural talent of playing.

The simplicity of the plot centers the reader’s attention to the main themes explored by the author, talent, poverty and hope. These seem to stand for the three stages of the short story, which present the process of discovering the young man’s personality through the eyes of Emma.

Therefore, at the very beginning, she becomes aware of his gift of playing the piano, then she realizes his inability of accomplishing his dream and buy a piano, and finally, she expresses her optimism stating that one day he will be able to purchase the object of his passion.

The story follows a straight-line narrative, in which the elements of the plot uncover the events arranged in a chronological order, and significant elements of flashback. In order to grasp the reader’s attention, the author begins with an unconventional exposition consisting of a dialogue. The two characters involved pass by a store.

Ben is attracted by a piano and he asks for Emma’s accord to get in and try a small piano in the corner. From the very beginning, his passion for music becomes obvious: I get excited every time I see a piano.

This indirect way of expressing the idea denotes the fact that this sort of feeling is inexplicable to the protagonist himself and his further reply confirms it: I don’t know . The small piano in the corner is a symbol of Ben’s modesty, and the hidden, mysterious aspect of his talent is marked by the place-in the corner .

Emma was unaware of this ness, so she becomes puzzled, facing an inner conflict: She’d go along for a while thinking she knew him and then all of a sudden she’d know she didn’t .The repetition of the question Can you play? emphasizes the girl’s interest in understanding the young man.

Ben replies negatively, but his actions contradict his statement, as shown in the simile his hands go quietly to the white and black keys, a real pianist’s . The adjective quietly , in this context, is meant to point out his fear of being seen using the piano, an idea reinforced by the epithet quiet chords .

The girl is amazed by the playing, and she expresses her feelings with the first chance: I think it’s wonderful , while Ben disregards his own participation, referring only to the instrument: It sounds good, followed by an explanation it has a fine tone, especially for a small piano. A new character, a clerk, comes into the picture, making a short speech about the product. The young man’s first question about the price alludes to his desire of buying it. The price of 249, 50 is evaluated as high even by the clerk himself, as he immediately adds You can have terms, of course . The interlocutor’s way of changing the subject hints at the fact that he doesn’t afford such a luxury, setting thus the conflict of the short story, followed by the development of the action.

Ben’s strong desire of playing some more becomes more intensified, as it is visible even to the seller, who allows him to try it some more .

At this stage, he is still skeptical of the fact that his activity is actually called playing, but he is reassured by the clerk: sounded good to me , go ahead, I’d to hear you play some more .

This comment is meant to diminish the self-criticism emphasizing the idea of a great inborn talent.

The sentence he fooled around fifteen or twenty seconds and then found something a melody and stayed with it two minutes is highly significant. First and foremost, by mentioning the seconds, the author underlines the value of every moment in front of the piano.

The expression he fooled around classifies Ben’s activity as entertaining and spontaneous. Further on, something a melody highlights his status as an amateur rather than a professional, one who trusts his instincts.

A repeated mentioning of the immediate time: 2 minutes is just another way of saying that the time spent in front of the piano flies too fast for him.

The young man’s passion increases substantially, and his sadness at his approaching depart is felt in the music, which suggests the fact that he plays from the depth of his heart, rendering his feelings through the music: before he was through the music became quiet and sorrowful and Ben himself became more and more please with the piano .

Ben and Emma then go to a little restaurant and order sandwiches and coffee. These details and the previously mentioned financial situation make the reader think that both persons belong to an average social class of people, the sort of people who have to consider making enough money for a living and postponing the realization of their dreams.

Ben explains, by means of flashback, the origins of his passion and its evolution. He touches upon the theme of money. The simile he smiled the way he did when e stood over the piano looking down at the keyboard shows that he s Emma, that she is another of his passions and this makes her happy: Emma felt flattered .

This fact points out the reciprocity of their relationship. This latter idea is reinforced some time later by she smiled back at him the way he was smiling at her .

One may consider that the displaying of these feelings constitutes the climax, the point when they seem to see a sort of connection between themselves, when the emotion near a piano finally equalizes with the emotional next to a dare person.

The text has an open text structure, only suggesting a possible outcome: somehow or other she knew he’d get a piano some day, and everything else, too . But the character cannot be considered trustworthy due to her emotional implication in the entire affair. In such a way, her desire may generate the prediction and not the facts.

Ben may be considered a dynamic character, as he changes his concept about his musical activity, becoming aware of the fact that what he produces really is music.

He is sensitive, polite in addressing the clerk, and acts a real gentleman with Emma (asks her before entering the shop, talks about his great passion, sees her off to The Emporium).

The girl, on the other hand, is also a dynamic character, as she changes her perception of Ben, she has new ideas, and the two become closer due to the sharing of personal information and mutual support.

The title of the text has an orientative, providing a general idea on the content. It is a noun which encodes a hobby: playing the piano. The definite article is avoided in order to make the term more general, as the protagonist doesn’t possess a piano of himself and the specific instrument used in the text is only one among many others that he had tried.

The short story created a sad atmosphere which is intended to resonate with the readers. They are expected to feel compassion and appreciation towards the protagonist, becoming aware of the fact that talented people are, sooner or later appreciated.

The main idea is rendered directly by Ben himself, who states a general truth: Never having money keeps a man away from lots of things he figures he ought to have by rights.

This philosophical approach to his own situation illustrates the character’s mature attitude and his partial resignation, as he accepts his destiny humbly, without complain.

However, Emma’s last words induce a positive expectation, arousing the reader’s hope for a happy end, for the triumph of justice over fatality: Somehow or other she knew he’d get the piano some day, and anything else, too.

If it is to regard the text from the perspective of music being an outer exposition of the inner state, denoting the musician’s feelings, the text bears a remarkable resemblance to an extract of the novel Ragtime by E.L. Doctorow. The passage when Coalhouse Walker Jr.

plays the piano to render his true feelings towards Sarah, the regret of losing her and the hope for reconciliation. wise, Ben’s music also expresses the regret and the hardly perceptible hope: the disappointment of not having a piano and the hope of ever getting one.

The two works have a similar style too, as the dialogical markers are completely missing, simplifying the form to the advantage of the meaning. To sum it up, the two works are indeed works of art, exploring literature in a musical way.

Therefore, a form of art which expresses the beauty of another is bound to rejoice success.

Источник: https://www.bestreferat.ru/referat-215319.html

Реферат Text analysis of the short story Piano by William Saroyan

Text analysis of the short story Piano by William Saroyan

>Piano>byWilliamSaroyan

>TextAnalysis

>Saroyan,William (1908–1981)was asuccessfulplaywright. Theeccentric,spiritedauthorwasborn inFresno, California,where hisArmenianparentswerefruitfarmers andwhereheworkedatoddjobsbeforegainingfameas ashortstorywriter.

Hecame toplaygoers'attentionwith >MyHeart's in theHighlands>butbecamefamouswith hismuchlauded The Time ofYour Life ,whichwon thePulitzerPrize,althoughSaroyannoisilyrejected it.

Hislaterworksincluded >Love'sOld SweetSong (1940); TheBeautiful People; >Across theBoard onTomorrowMorning and >Talking to You ; >Hello,OutThere; >GetAwayOld Man; and TheCaveDwellers.

WolcottGibbscalled thewriter “themostcompletelyundisciplinedtalent in Americanletters,” andBrooksAtkinson, in apreface toSaroyan'spublishedplays,noted, “>Whenhewrites generalrelish,usually inisolatedscenes, [>he]isat his best andmade adefinitecontribution to themood ofthesetimes, [>but]whenhepermitshimself todiscussideashecanwritesome of theworstnonsense thateverclattered atypewriter.”

>As inmost of hisstories,WilliamSaroyanpresents, in >Piano, acasualepisode of the common life. Thenarrative,descriptive anddialogicalsequencesformtogether aperfecttechnique ofrendering thecontent in acaptivatingway.

Thework ofnon-fictionischaracterizedby thepresence of acovertnarrator, whokeeps to amore orlessneutralvoice and afixedfocalization.Thus, thethird-personnarrativecreates theimpression ofobjectivity inanattempt ofseemingmoretrustworthyfor thereaders.

saroyan pianodocumentary life

Themainnarrativecodeemployedis thedocumentaryone,whichreproduces atrue-to lifesituation,involving thereader in avitalissue.

Thus,byreading the story,oneis aspectator oen andEmma’swalk andconversations, theyoungman’sshortperformance in ashop, andtheirgenuineregret of thefact thathecannotbuy a piano,despite hisnaturaltalent ofplaying.

Thesimplicity of theplotcenters thereader’sattention to themainthemesexploredby theauthor,talent,poverty andhope.Theseseem to standfor thethreestages of theshort story,whichpresent theprocess ofdiscovering theyoungman’spersonalitythrough theeyes ofEmma.

Therefore,at theverybeginning,shebecomesaware of hisgift ofplaying the piano,thensherealizes hisinability ofaccomplishing hisdream andbuy a piano, andfinally,sheexpressesheroptimismstating thatonedayhewillbeable topurchase theobject of his passion.

The storyfollows astraight-linenarrative, inwhich theelements of theplotuncover theeventsarranged in achronologicalorder, andsignificantelements of flashback.Inorder tograsp thereader’sattention, theauthorbeginswithanunconventionalexpositionconsisting of adialogue. The twocharactersinvolvedpassby astore.

Benisattractedby a piano andheasksforEmma’saccord toget in andtry asmall piano in thecorner.From theverybeginning, his passionfor musicbecomesobvious: Igetexcitedeverytime Isee a piano.

>Thisindirectway ofexpressing theideadenotes thefact thatthissort offeelingisinexplicable to theprotagonisthimself and hisfurtherreplyconfirms it: Idon’t know. Thesmall piano in thecorneris asymbol oen’smodesty, and thehidden,mysteriousaspect of histalentismarkedby theplace-in thecorner.

Emmawasunaware ofthisness,soshebecomespuzzled,facinganinnerconflict: >She’dgoalongfor awhilethinkingsheknewhim andthen all of asuddenshe’d knowshedidn’t.Therepetition of thequestion >Canyouplay? >emphasizes thegirl’sinterest inunderstanding theyoung man.

Benrepliesnegatively,but hisactionscontradict hisstatement,asshown in thesimile hishandsgoquietly to thewhite and blackkeys, a realpianist’s. Theadjective >quietly, inthiscontext,ismeant topoint out hisfear oeingseenusing the piano,anideareinforcedby theepithet >quietchords.

The girlisamazedby theplaying, andsheexpressesherfeelingswith thefirstchance: Ithinkit’swonderful,whileBendisregards hisownparticipation,referringonly to theinstrument: >Itsoundsgood, >followedbyanexplanation ithas afinetone,especiallyfor asmall piano. A newcharacter, aclerk,comesinto thepicture,making ashortspeechabout theproduct.

Theyoungman’sfirstquestionabout thepricealludes to hisdesire ouying it. Theprice of 249, 50isevaluatedas highevenby theclerkhimself,asheimmediatelyadds Youcanhaveterms, ofcourse. Theinterlocutor’sway ofchanging thesubjecthintsat thefact thathedoesn’taffordsuch aluxury,settingthus theconflict of theshort story,followedby thedevelopment of theaction.

>Ben’sstrongdesire ofplayingsomemorebecomesmoreintensified,as itisvisibleeven to theseller, whoallowshim to >try itsomemore.

Atthisstage,heisstillskeptical of thefact that hisactivityisactuallycalledplaying,butheisreassuredby theclerk: >soundedgood tome,goahead,I’d tohearyouplaysomemore.

Thiscommentismeant todiminish theself-criticismemphasizing theidea of agreatinborntalent.

Thesentence >hefooledaroundfifteen ortwentyseconds andthenfoundsomething amelody andstayedwith it twominutesishighlysignificant. First andforemost,bymentioning theseconds, theauthorunderlines thevalue ofeverymoment infront of the piano.

Theexpression >hefooledaround >classifiesBen’sactivityasentertaining andspontaneous.Further on, >something amelody >highlights his statusasanamateurratherthan aprofessional,one whotrusts hisinstincts.

Arepeatedmentioning of theimmediatetime: 2minutesisjustanotherway ofsaying that thetimespent infront of the pianofliestoofastforhim.

Theyoungman’s passionincreasessubstantially, and hissadnessat hisapproachingdepartisfelt in the music,whichsuggests thefact thatheplaysfrom thedepth of hisheart,rendering hisfeelingsthrough the music: >beforehewasthrough the musicbecamequiet andsorrowful andBenhimselecamemore andmorepleasewith the piano.

>Ben andEmmathengo to alittlerestaurant andordersandwiches andcoffee.Thesedetails and thepreviouslymentionedfinancialsituationmake thereaderthink thatbothpersonsbelong toanaveragesocialclass ofpeople, thesort ofpeople whohave toconsidermakingenough moneyfor aliving andpostponing therealization oftheirdreams.

Benexplains,bymeans of flashback, theorigins of his passion anditsevolution. Hetouchesupon thetheme of money. Thesimile >hesmiled thewayhedidwhen estoodover the pianolookingdownat thekeyboardshows thathesEmma, thatsheisanother of hispassions andthismakesher happy: >Emmafeltflattered.

Thisfactpoints out thereciprocity oftheirrelationship.Thislatterideaisreinforcedsometimelaterby >shesmiledbackathim thewayhewassmilingather.

Onemayconsider that thedisplaying ofthesefeelingsconstitutes theclimax, thepointwhentheyseem tosee asort ofconnectionbetweenthemselves,when theemotionnear a pianofinallyequalizeswith theemotional next to adareperson.

Thetexthasan opentextstructure,onlysuggesting apossibleoutcome: >somehow orothersheknewhe’dget a pianosomeday, andeverythingelse,too.But thecharactercannotbeconsideredtrustworthydue toheremotionalimplication in theentireaffair.Insuch away,herdesiremaygenerate theprediction andnot thefacts.

>Benmaybeconsidered adynamiccharacter,ashechanges hisconceptabout hismusicalactivity,becomingaware of thefact thatwhatheproducesreallyis music.

Heissensitive,polite inaddressing theclerk, andacts a realgentlemanwithEmma (>asksherbeforeentering theshop,talksabout hisgreat passion,seesher off to TheEmporium).

The girl, on theotherhand,isalso adynamiccharacter,asshechangesherperception oen,shehas newideas, and the twobecomecloserdue to thesharing ofpersonal information andmutualsupport.

Thetitle of thetexthasanorientative,providing ageneralidea on thecontent.Itis anounwhichencodes ahobby:playing the piano. Thedefinitearticleisavoided inorder tomake thetermmoregeneral,as theprotagonistdoesn’tpossess a piano ofhimself and thespecificinstrumentused in thetextisonlyoneamongmanyothers thathehadtried.

Theshort storycreated asadatmospherewhichisintended toresonatewith thereaders.Theyareexpected tofeelcompassion andappreciationtowards theprotagonist,becomingaware of thefact thattalentedpeopleare,sooner orlaterappreciated.

ThemainideaisrendereddirectlybyBenhimself, whostates ageneraltruth: >Neverhaving moneykeeps a manawayfromlots ofthingshefiguresheought tohavebyrights. >Thisphilosophicalapproach to hisownsituationillustrates thecharacter’smatureattitude and hispartialresignation,asheaccepts hisdestinyhumbly,withoutcomplain.

However,Emma’s lastwordsinduce apositiveexpectation,arousing thereader’shopefor a happy end,for thetriumph ofjusticeoverfatality: >Somehow orothersheknewhe’dget the pianosomeday, andanythingelse,too.

>If itis toregard thetextfrom theperspective of musicbeinganouterexposition of theinner state,denoting themusician’sfeelings, thetextbears aremarkableresemblance toanextract of thenovel >Ragtime >byE.L.Doctorow. ThepassagewhenCoalhouseWalkerJr.plays the piano torender histruefeelingstowardsSarah, theregret oflosingher and thehopeforreconciliation.

wise,Ben’s musicalsoexpresses theregret and thehardlyperceptiblehope: thedisappointment ofnothaving a piano and thehope ofevergettingone. The twoworkshave asimilarstyletoo,as thedialogicalmarkersarecompletelymissing,simplifying theform to theadvantage of themeaning.Tosum it up, the twoworksareindeedworks of art,exploringliterature in amusicalway.

Therefore, aform of artwhichexpresses thebeauty ofanotherisbound torejoice success.

Источник: http://bukvar.su/zarubezhnaja-literatura/144333-Text-analysis-of-the-short-story-Piano-by-William-Saroyan.html

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