A KISS GrammarA KISS Grammar

Statistical Research Data BookStatistical Research Data Book(Free from KISSGrammar.org)(Free from KISSGrammar.org)

The Openings of Six Major NovelsThe Openings of Six Major Novels

For an explanation of this book and for more like it, go to KISSGrammar.org.

Click on the “The KISS Grammar Workbooks. Near the bottom of that page, you will

find Level 6.5, “Statistical Stylistics.”

© Ed Vavra, August 2012

Contents

The “Style Machine” and its Codes.........................................................................2

The “Style Machine” Codes................................................................................3

The Texts.................................................................................................................8

Jane Austen’s Pride and Prejudice.......................................................................9

Charles Dickens’ A Tale of Two Cities............................................................11

Nathaniel Hawthorne’s The Scarlet Letter........................................................13

Henry James’ Daisy Miller................................................................................15

Leo Tolstoy’s Anna Karenina............................................................................17

Mark Twain’s Tom Sawyer...............................................................................19

The “Style Machine” and its CodesThe “Style Machine” and its Codes

This section is identical in all the KISS Statistical Data Books.

The Origin and Mechanics of the “Style Machine”

The “Style Machine” is a computer program made in an authoring program called

ToolBook almost twenty years ago. I have been asked if I would give it to others to use,

but I really cannot do that because it is rather complex and making it “user friendly”

would require a great deal of work. In addition, it is somewhat cranky, giving me

problems that I have been able to fix, but I would not have the time to fix such problems

in copies I gave away. In addition to that, it will not work in Windows 7. I would love to

have other people use it, but I simply cannot spend the time. (Perhaps someone could get

a grant to make a user-friendly version of the program?)

The program itself creates separate data files for each study (like this one). In a

data file, each sample has two “pages.” The first page includes fields for an electronic

copy of the writing sample, and for identification information. A button on that page

leads to the “analysis” page. Initially, the uncoded writing sample is simply copied to a

field in the analysis page. The analysis page, however, includes over 250 data fields that

are filled in when the sample is processed through the “coding” part of the program.

(Many of these are explained below in the discussion of the codes you will find in the

analyzed pages below.)

The first page of each datafile includes links to each unanalyzed and analyzed

page, plus a link to the “Averages” page. The “Averages” page is programmed to average

and give the results of all the individual data from each sample. These are the numbers

that show up in the KISS statistics.

As noted, I have been using this program for almost twenty years. Originally, I

made put nine tables of data for each study in KISS’s “Cobweb Corner.” This was

EXTREMELY time-consuming, so I will probably not do it in the future. But I also often

put on the website the coded results of each sample—like those presented below. Making

2

these is not nearly as time-consuming. They are mainly a matter of copying from the style

machine and pasting into a web page or document like this one. This not only enables

anyone who is interested to check what is being counted how, but it also allows for a

much quicker and easier analysis of the stylistic differences in the samples. For example,

you will probably note the samples that some writers tend to favor various constructions.

Some writers use deeply embedded subordinate clauses; others do not. Some writers

favor gerundives over clauses. Others do a lot of compounding.

Although the codes are not the same as the typical KISS analysis codes, most

users who are familiar with KISS will probably be able to translate into those codes, and

thus use these samples not only as editing exercises, but also as analysis exercises, should

they wish to do so. And, if you peruse the coded samples, you might also want to think

about the relationship between syntactic mastery and ideas expressed. Can a student who

cannot control his or her sentence structure, control the structure of a good paper?

The “Style Machine” CodesAfter an uncoded sample gets to the “analysis” page, a click sends it to the

“coding page.” No, the machine can not code the structure of a sample on its own—codes

have to be “clicked” into the text. The uncoded sample arrives in a “locked” text field. To

the right of that field there are buttons for different codes. The coding is a process of

selecting a button and then clicking on the word to which that code should be attached.

(There is also an “Erase Codes” button.) The codes, as described below, are divided into

four groups. Once the sample has been coded, it is sent to the “Analysis” page where the

various numbers are automatically counted. From there, it and the numbers are sent to the

“Analyzed” page for that sample.

The “Main” Group of Codes

At the top of the coding page, four buttons can be clicked, each of which brings

up one group of codes and hides the others. One group is titled “Main.” It brings up

buttons for the following codes.

Prepositional Phrases

With this button clicked, any click on the text of the sample will insert a brace { }.

A left mouse button click inserts an opening brace; the right button inserts a closing

brace. (Braces are used instead of parentheses because braces are rarely—if ever—found

3

in real texts.) The braces are colored pink. To insert a code correctly, one has to click on

the word to which the code should be attached.

Main Clause Indicators

In typical KISS analysis keys, a vertical line indicates the end of a main clause.

For statistical analysis, the following codes are put before every main clause (or

fragment):

/-/ means the following is a typical main clause.

/C/ means the following clause is a compound.

/R/ means the following is a run-on.

/,/ means the following is a run-on.

/F/ means the following is a fragment.

Subject/Verb Agreement

Clicking on a word with this button activated attaches “=SV” to the word to

indicate an error in subject/verb agreement.

Three Codes for Other Compounds

=CS is attached to the second (or more) of compound subjects.

=CV is similarly attached to compound verbs.

=CC similarly identifies compound complements.

Passive Verbs

=PV is attached to passive finite verbs.

The “Subordinate Clause” Group of Codes

As in the regular KISS analysis keys, left and right mouse-button clicks insert

opening and closing brackets. (Unlike the regular analysis keys, here subordinate clause

codes are in green.) There are 33 code buttons in this group that identify eleven different

functions of clauses. The codes for these buttons attach four letters to the opening

bracket. The first letter indicates whether the code is “L”eft, “M”id, or “R”ight

branching. If the second letter is “N,” the clause is a noun clause. The machine

distinguishes six types of noun clauses:

DO = direct object

PN = predicate noun

OP = object of a preposition

4

DS = delayed subject

SU = subject

AP = appositive

For example, if [LNDO is attached to the first word of a clause, that clause should be a

subordinate clause the functions as a left-branching direct object:

/-/[LNDO It was too late], he thought.

If the second two letters are “AJ” or “AV,” the clause is adjectival or adverbial. In

these clauses, the fourth letter is either “F” (for a full clause) or “R” (for a reduced clause.

For example:

/-/One must be careful [RAVRwhen hunting].

indicates that the “when hunting” is right-branching, adverbial, and reduced from “when

one is hunting.”

The last three codes in this group have “INJ” as their final three letters to denote

clauses that function as interjections.

/-/It was, [MINJshe thought], a good idea.

Confused? It takes a while to get used to the system, and it does take some time to code a

passage. A 250-word passage usually takes fifteen to twenty minutes.

The “Analysis,” or “counting,” page automatically counts the number of words in

each main clause and each subordinate clause. It also distinguishes and counts embedding

levels. (A subordinate clause in a main clause is considered to be at Level One; a

subordinate clause within the subordinate clause is at Level Two, etc.

Consider, for example, the sentence from E. B. White’s “Incoming Basket”:

/-/It seemed {to me} [RNDS that I should have to have

a desk, [RAVF even though I had no real need for a desk]].

The program recognizes the “that” clause as a Level One right-branching delayed subject,

and it counts the words in it. Similarly, it recognizes the “even though” clause as a Level

Two clause and it counts the words in it. The studies thus far suggest that professional

writers rarely go beyond Level Three.

5

The “Verbals” Group of Codes

The twenty one buttons in this group work differently. The codes show up in the

analyzed text in blue, preceded by an asterisk and followed by numbers. Ten codes

identify functions of infinitives:

*INFDO = direct object

*INFDE = ellipsed direct object, as in “They made him captain.”

*INFPN = predicate noun

*INFOP = object of a preposition

*INFSU = subject

*INFDS = delayed subject

*INFAP = appositive

*INFIJ = interjection

*INFAJ = adjective

*INFAV = adverb

Similarly, eight codes for gerunds show up as:

*GerDO = direct object

*GerPN = predicate noun

*GerOP = object of a preposition

*GerSU = subject

*GerDS = delayed subject

*GerAP = appositive

*GerIJ = interjection

*GerNU = gerund that functions as a Noun Used as an Adverb

Three codes indicate the branching of gerundives:

*GiveL = before its subject

*GiveM = between the subject and verb

*GiveR = after the subject and verb

The two-digit number that follows each of the preceding codes indicates the

number of words that chunk to the verbal. These have to be counted (by hand), and the

6

number put into another field where it is automatically attached to the code. The

following is the first sentence of E. B. White’s “Removal”:

Several months#NuA02 ago, finding*GiveL21 myself {in

possession} {of one hundred and seventeen chairs} divided*GiveR11

about evenly {between a city house and a country house}, and

desiring*GiveL06 to simplify*INFDO03 my life, I sold half my worldly

goods, evacuated=CV the city house, gave up=CV my employment, and

came=CV to live*INFAV05 {in New England}.

The “finding” phrase consists of twenty-one words because it includes the “divided”

phrase and continues to the last “house.” The following “desiring” phrase is compounded

to the “finding” phrase by the preceding “and.” Similarly, the “desiring” phrase includes

the following infinitive phrase.

These number counts are somewhat laborious, and I’m not reporting them in the

statistics, but my guess is that they will reflect interesting aspects both of general style

and of natural syntactic development. Many people, for example, consider E. B. White to

be an excellent stylist. Thus far, I have analyzed thirteen selections from his One Man’s

Meat. Those selections only average 17.8 words per main clause. They have no clauses

embedded at Level Three, but they have a comparatively high rate of gerundives and

appositives.

The “Other” Group of Codes

The last group of codes works in the same way as do the codes for verbals, except

that they are preceded by a #.

#NuA = Noun Used as an Adverb

#APP = Appositive

#INJ = Interjection

#DirA = Direct Address

#DSu = Delayed Subject (single word)

#RCM = Retained Complement

#PPP = Post-positioned Adjective

#AAV = Noun Absolute – Adverbial

#ASu = Noun Absolute – Subject

7

#ADO = Noun Absolute – Direct Object

#AOP = Noun Absolute – Object of Preposition

#APN = Noun Absolute – Predicate Noun

There are some constructions that are missed in this coding system, but the preceding

explanation will enable you to decipher the codes in the following selections.

The TextsThe Texts

8

Jane Austen’s Pride and Prejudice307 words (Project Gutenberg - pandp10.zip)

It is a truth universally acknowledged, that a single man in

possession of a large fortune must be in want of a wife.

However little known the feelings or views of such a man may be on

his first entering a neighbourhood, this truth is so well fixed in

the minds of the surrounding families, that he is considered the

rightful property of someone or other of their daughters.

"My dear Mr. Bennet," said his lady to him one day, "have you heard

that Netherfield Park is let at last?"

Mr. Bennet replied that he had not.

"But it is, returned she; "for Mrs. Long has just been here, and

she told me all about it.

Mr. Bennet made no answer.

"Do you not want to know who has taken it?" cried his wife

impatiently.

"YOU want to tell me, and I have no objection to hearing it."

This was invitation enough.

"Why, my dear, you must know, Mrs. Long says that Netherfield is

taken by a young man of large fortune from the north of England; that

he came down on Monday in a chaise and four to see the place, and was

so much delighted with it, that he agreed with Mr. Morris

immediately; that he is to take possession before Michaelmas, and

some of his servants are to be in the house by the end of next week."

"What is his name?"

"Bingley."

"Is he married or single?"

"Oh! Single, my dear, to be sure! A single man of large fortune;

four or five thousand a year. What a fine thing for our girls!"

"How so? How can it affect them?"

"My dear Mr. Bennet," replied his wife, "how can you be so

tiresome! You must know that I am thinking of his marrying one of

them."

"Is that his design in settling here?"

9

Analysis\-\It is a truth universally acknowledged,*GiveR02 [RNDSthat a single man {in

possession} {of a large fortune} must be {in want} {of a wife.}]\-\[LAVFHowever little known the feelings or views=CS {of such a man} may be

{on his first entering*GerOP05 a neighbourhood,}] this truth is so well fixed=PV {in the minds} {of the surrounding families,} [RAVFthat he is considered=PV the rightful property#RCM10 {of someone or other} {of their daughters.}]

\-\"My dear Mr. Bennet,"#DrA04 [MINJsaid his lady {to him} one day,]#NuA02 "have you heard [RNDOthat Netherfield Park is let=PV {at last?"}]

\-\Mr. Bennet replied [RNDOthat he had not.]\-\[LNDO"But it is,] returned she; \C\"for Mrs. Long has just been here, \C\and

she told me all {about it.}\-\Mr. Bennet made no answer.\-\[LNDO"Do you not want to know*INFDO06 [RNDOwho has taken it?"]] cried

his wife impatiently.\-\"YOU want to tell*INFDO03 me, \C\and I have no objection {to

hearing*GerOP02 it."}\-\This was invitation enough.\-\"Why,#Inj01 my dear,#DrA02 you must know, [RNDOMrs. Long says

[RNDOthat Netherfield is taken=PV {by a young man} {of large fortune} {from the north} {of England;}] [RNDOthat he came down {on Monday} {in a chaise and four} to see*INFAV04 the place, and was so much delighted=PV {with it,} [RAVFthat he agreed {with Mr. Morris} immediately;]] [RNDOthat he is to take*INFDO05#RCM05 possession {before Michaelmas,}] and [RNDOsome {of his servants} are to be*INFDO11#RCM11 {in the house} {by the end} {of next week."}]]

\-\"What is his name?"\F\"Bingley."\-\"Is he married or single?"=CC\F\"Oh!#Inj01 Single, my dear,#DrA02 to be sure!*INFIJ03 \F\A single man {of

large fortune;} \C\four or five thousand a year. \F\What a fine thing {for our girls!"}\F\"How so? \-\How can it affect them?"\-\"My dear Mr. Bennet,"#DrA04 [MINJreplied his wife,] "how can you be so

tiresome! \-\You must know [RNDOthat I am thinking {of his marrying*GerOP04 one} {of them."}]

\-\"Is that his design {in settling*GerOP02 here?"}

10

Charles Dickens’ A Tale of Two Cities332 words - (Project Gutenberg 2city11.zip)

It was the best of times, it was the worst of times, it was the age of wisdom, it was

the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was

the season of Light, it was the season of Darkness, it was the spring of hope, it was the

winter of despair, we had everything before us, we had nothing before us, we were all

going direct to Heaven, we were all going direct the other way--in short, the period was

so far like the present period, that some of its noisiest authorities insisted on its being

received, for good or for evil, in the superlative degree of comparison only.

There were a king with a large jaw and a queen with a plain face, on the throne of

England; there were a king with a large jaw and a queen with a fair face, on the throne of

France. In both countries it was clearer than crystal to the lords of the State preserves of

loaves and fishes, that things in general were settled for ever.

It was the year of Our Lord one thousand seven hundred and seventy-five.

Spiritual revelations were conceded to England at that favoured period, as at this. Mrs.

Southcott had recently attained her five-and-twentieth blessed birthday, of whom a

prophetic private in the Life Guards had heralded the sublime appearance by announcing

that arrangements were made for the swallowing up of London and Westminster. Even

the Cock-lane ghost had been laid only a round dozen of years, after rapping out its

messages, as the spirits of this very year last past (supernaturally deficient in originality)

rapped out theirs. Mere messages in the earthly order of events had lately come to the

English Crown and People, from a congress of British subjects in America: which,

strange to relate, have proved more important to the human race than any

communications yet received through any of the chickens of the Cock-lane brood.

11

Analysis

\-\It was the best {of times,} \,\it was the worst {of times,} \,\it was the age {of

wisdom,} \,\it was the age {of foolishness,} \,\it was the epoch {of belief,} \,\it was the

epoch {of incredulity,} \,\it was the season {of Light,} \,\it was the season {of Darkness,}

\,\it was the spring {of hope,} \,\it was the winter {of despair,} \,\we had everything

{before us,} \,\we had nothing {before us,} \,\we were all going direct {to Heaven,} \,\we

were all going direct the other way--#NuA03 \C\{in short,} the period was so far {like

the present period,} [RAVFthat some {of its noisiest authorities} insisted {on its

being*GerOP03 received,} {for good} or {for evil,} {in the superlative degree} {of

comparison} only.]

\-\There were a king {with a large jaw} and a queen=CC {with a plain face,} {on

the throne} {of England;} \C\there were a king {with a large jaw} and a queen=CC {with

a fair face,} {on the throne} {of France.} \-\{In both countries} it was clearer {than

crystal} {to the lords} {of the State preserves} {of loaves and fishes,} [RNDSthat things

{in general} were settled=PV {for ever.}]

\-\It was the year {of Our Lord} one thousand seven hundred and seventy-

five.#App06 \-\Spiritual revelations were conceded=PV {to England} {at that favoured

period,} [RAVRas {at this.}] \-\Mrs. Southcott had recently attained her five-and-

twentieth blessed birthday, [RAJF{of whom} a prophetic private {in the Life Guards}

had heralded the sublime appearance {by announcing}*GerOP13 [RNDOthat

arrangements were made=PV {for the swallowing*GerOP07 up} {of London and

Westminster.}]] \-\Even the Cock-lane ghost had been laid=PV only a round

dozen#NuA06 {of years,} {after rapping*GerOP20 out its messages,} [RAVFas the

spirits {of this very year} last#PPA02 past (supernaturally deficient#Inj04 {in

originality)} rapped out theirs.] \-\Mere messages {in the earthly order} {of events} had

lately come {to the English Crown and People,} {from a congress} {of British subjects}

{in America:} \C\which, strange to relate,*INFIJ03 have proved=PV more important {to

the human race} {than any communications} yet received*GiveR11 {through any} {of

the chickens} {of the Cock-lane brood.}

12

Nathaniel Hawthorne’s The Scarlet Letter.345 words - Project Gutenberg scarlt12.zip

A throng of bearded men, in sad-coloured garments and grey steeple-crowned

hats, inter-mixed with women, some wearing hoods, and others bareheaded, was

assembled in front of a wooden edifice, the door of which was heavily timbered with oak,

and studded with iron spikes.

The founders of a new colony, whatever Utopia of human virtue and happiness

they might originally project, have invariably recognised it among their earliest practical

necessities to allot a portion of the virgin soil as a cemetery, and another portion as the

site of a prison. In accordance with this rule it may safely be assumed that the forefathers

of Boston had built the first prison-house somewhere in the Vicinity of Cornhill, almost

as seasonably as they marked out the first burial-ground, on Isaac Johnson's lot, and

round about his grave, which subsequently became the nucleus of all the congregated

sepulchres in the old churchyard of King's Chapel. Certain it is that, some fifteen or

twenty years after the settlement of the town, the wooden jail was already marked with

weather-stains and other indications of age, which gave a yet darker aspect to its beetle-

browed and gloomy front. The rust on the ponderous iron-work of its oaken door looked

more antique than anything else in the New World. Like all that pertains to crime, it

seemed never to have known a youthful era. Before this ugly edifice, and between it and

the wheel-track of the street, was a grass-plot, much overgrown with burdock, pig-weed,

apple-pern, and such unsightly vegetation, which evidently found something congenial in

the soil that had so early borne the black flower of civilised society, a prison. But on one

side of the portal, and rooted almost at the threshold, was a wild rose-hush, covered, in

this month of June, with its delicate gems, which might be imagined to offer their

fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal

as he came forth to his doom, in token that the deep heart of Nature could pity and be

kind to him.

13

Analysis\-\A throng {of bearded men,} {in sad-coloured garments and grey steeple-

crowned hats,} inter-mixed*GiveM09 {with women,} some wearing#AAv03 hoods, and

others#AAv03 bareheaded, was assembled=PV {in front of a wooden edifice,} [RAJFthe

door {of which} was heavily timbered=PV {with oak,} and studded=PV=CV {with iron

spikes.}]

\-\The founders {of a new colony,} [MAVFwhatever Utopia {of human virtue and

happiness} they might originally project,] have invariably recognised it*INFDE26

{among their earliest practical necessities} to allot*INFDS20 a portion {of the virgin

soil} {as a cemetery,} and another portion=CC {as the site} {of a prison.} \-\{In

accordance} {with this rule} it may safely be assumed=PV [RNDSthat the forefathers {of

Boston} had built the first prison-house somewhere {in the Vicinity} {of Cornhill,}

almost as seasonably [RAVFas they marked out the first burial-ground, {on Isaac

Johnson's lot,} and {round about his grave,} [RAJFwhich subsequently became the

nucleus {of all the congregated sepulchres} {in the old churchyard} {of King's

Chapel.}]]] \-\Certain it is [RNDSthat, some fifteen or twenty years#NuA05 {after the

settlement} {of the town,} the wooden jail was already marked=PV {with weather-stains

and other indications} {of age,} [RAJFwhich gave a yet darker aspect {to its beetle-

browed and gloomy front.}]] \-\The rust {on the ponderous iron-work} {of its oaken

door} looked more antique {than anything else} {in the New World.} \-\{Like all}

[LAJFthat pertains {to crime,}] it seemed never to have known a youthful era. \-\{Before

this ugly edifice,} and {between it and the wheel-track} {of the street,} was a grass-plot,

much overgrown*GiveR30 {with burdock, pig-weed, apple-pern, and such unsightly

vegetation,} [RAJFwhich evidently found something*INFDE03 congenial {in the soil}

[RAJFthat had so early borne the black flower {of civilised society,} a prison.#App02]]

\-\But {on one side} {of the portal,} and rooted almost {at the threshold,} was a wild

rose-hush, covered,*GiveR55 {in this month} {of June,} {with its delicate gems,}

[RAJFwhich might be imagined=PV to offer*INFDO41#RCM41 their fragrance and

fragile beauty=CC {to the prisoner} [RAVFas he went {in,}] and {to the condemned

criminal} [RAVFas he came forth {to his doom,}] {in token} [RAJFthat the deep heart

{of Nature} could pity and be=CV kind {to him.}]]

14

Henry James’ Daisy Miller331 Words – Project Gutenberg dasym10.zip

At the little town of Vevey, in Switzerland, there is a particularly comfortable

hotel. There are, indeed, many hotels, for the entertainment of tourists is the business of

the place, which, as many travelers will remember, is seated upon the edge of a

remarkably blue lake--a lake that it behooves every tourist to visit. The shore of the lake

presents an unbroken array of establishments of this order, of every category, from the

"grand hotel" of the newest fashion, with a chalk-white front, a hundred balconies, and a

dozen flags flying from its roof, to the little Swiss pension of an elder day, with its name

inscribed in German-looking lettering upon a pink or yellow wall and an awkward

summerhouse in the angle of the garden. One of the hotels at Vevey, however, is famous,

even classical, being distinguished from many of its upstart neighbors by an air both of

luxury and of maturity. In this region, in the month of June, American travelers are

extremely numerous; it may be said, indeed, that Vevey assumes at this period some of

the characteristics of an American watering place. There are sights and sounds which

evoke a vision, an echo, of Newport and Saratoga. There is a flitting hither and thither of

"stylish" young girls, a rustling of muslin flounces, a rattle of dance music in the morning

hours, a sound of high-pitched voices at all times. You receive an impression of these

things at the excellent inn of the "Trois Couronnes" and are transported in fancy to the

Ocean House or to Congress Hall. But at the "Trois Couronnes," it must be added, there

are other features that are much at variance with these suggestions: neat German waiters,

who look like secretaries of legation; Russian princesses sitting in the garden; little Polish

boys walking about held by the hand, with their governors; a view of the sunny crest of

the Dent du Midi and the picturesque towers of the Castle of Chillon.

15

Analysis

\-\{At the little town} {of Vevey,} {in Switzerland,} there is a particularly

comfortable hotel. \-\There are, indeed,#Inj01 many hotels, [RAVFfor the entertainment

{of tourists} is the business {of the place,} [RAJFwhich, [MINJas many travelers will

remember,] is seated=PV {upon the edge} {of a remarkably blue lake--} a lake#App09

[RAJFthat it behooves every tourist to*INFDO04 visit.]]] \-\The shore {of the lake}

presents an unbroken array {of establishments} {of this order,} {of every category,}

{from the "grand hotel"} {of the newest fashion,} {with a chalk-white front, a hundred

balconies, and a dozen flags} flying*GiveR04 {from its roof,} {to the little Swiss

pension} {of an elder day,} {with its name inscribed#AOP12 {in German-looking

lettering} {upon a pink or yellow wall} and an awkward summerhouse} {in the angle}

{of the garden.} \-\One {of the hotels} {at Vevey,} however, is famous, even

classical,#PPA02 being distinguished*GiveR17 {from many} {of its upstart neighbors}

{by an air} both {of luxury} and {of maturity.} \-\{In this region,} {in the month} {of

June,} American travelers are extremely numerous; \C\it may be said,=PV indeed,#Inj01

[RNDSthat Vevey assumes {at this period} some {of the characteristics} {of an

American watering place.}] \-\There are sights and sounds=CC [RAJFwhich evoke a

vision, an echo,#App02 {of Newport and Saratoga.}] \-\There is a flitting hither and

thither {of "stylish" young girls,} a rustling=CC {of muslin flounces,} a rattle=CC {of

dance music} {in the morning hours,} a sound=CC {of high-pitched voices} {at all

times.} \-\You receive an impression {of these things} {at the excellent inn} {of the

"Trois Couronnes"} and are transported=CV=PV {in fancy} {to the Ocean House} or {to

Congress Hall.} \-\But {at the "Trois Couronnes,"} [MINJit must be=PV added,] there

are other features [RAJFthat are much {at variance} {with these suggestions:}] neat

German waiters,#App09 [RAJFwho look like secretaries {of legation;}] Russian

princesses#App06 sitting*GiveR04 {in the garden;} little Polish boys#App12

walking*GiveR09 about held*GiveR03 {by the hand,} {with their governors;} a

view#App20 {of the sunny crest {of the Dent du Midi} and the picturesque towers {of

the Castle} {of Chillon.}}

16

Leo Tolstoy’s Anna KareninaTranslated by Constance Garnett

306 words - Project Gutenberg nkrnn10.zip

Happy families are all alike; every unhappy family is unhappy in its own way.

Everything was in confusion in the Oblonskys' house. The wife had discovered

that the husband was carrying on an intrigue with a French girl, who had been a

governess in their family, and she had announced to her husband that she could not go on

living in the same house with him. This position of affairs had now lasted three days, and

not only the husband and wife themselves, but all the members of their family and

household, were painfully conscious of it. Every person in the house felt that there was

no sense in their living together, and that the stray people brought together by chance in

any inn had more in common with one another than they, the members of the family and

household of the Oblonskys. The wife did not leave her own room, the husband had not

been at home for three days. The children ran wild all over the house; the English

governess quarreled with the housekeeper, and wrote to a friend asking her to look out for

a new situation for her; the man-cook had walked of the day before just at dinner-time;

the kitchen-maid, and the coachman had given warning.

Three days after the quarrel, Prince Stepan Arkadyevitch Oblonsky--Stiva, as he

was called in the fashionable world--woke up at his usual hour, that is, at eight o'clock in

the morning, not in his wife's bedroom, but on the leather-covered sofa in his study. He

turned over his stout, well-cared-for person on the springy sofa, as though he would sink

into a long sleep again; he vigorously embraced the pillow on the other side and buried

his face in it; but all at once he jumped up, sat up on the sofa, and opened his eyes.

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Analysis

\-\Happy families are all alike; \C\every unhappy family is unhappy {in its own

way.}

\-\Everything was {in confusion} {in the Oblonskys' house.} \-\The wife had

discovered [RNDOthat the husband was carrying on an intrigue {with a French girl,}

[RAJFwho had been a governess {in their family,}]] \C\and she had announced {to her

husband} [RNDOthat she could not go on living*GerDO07 {in the same house} {with

him.}] \-\This position {of affairs} had now lasted three days,#NuA02 \C\and not only

the husband and wife=CS themselves,#App01 but all the members=CS {of their family

and household,} were painfully conscious {of it.} \-\Every person {in the house} felt

[RNDOthat there was no sense {in their living*GerOP03 together,}] and [RNDOthat=CC

the stray people brought*GiveM07 together {by chance} {in any inn} had more {in

common} {with one another} [RAVRthan they, the members#App10 {of the family and

household} {of the Oblonskys.}]] \-\The wife did not leave her own room, \,\the husband

had not been {at home} {for three days.} \-\The children ran wild all {over the house;} \

C\the English governess quarreled {with the housekeeper,} and wrote=CV {to a friend}

asking*GiveR11 her to look*INFDO10 out for a new situation {for her;} \C\the man-

cook had walked off the day#NuA06 {before} just {at dinner-time;} \C\the kitchen-maid,

and the coachman=CS had given warning.

\-\Three days#NuA05 {after the quarrel,} Prince Stepan Arkadyevitch Oblonsky--

Stiva,#App09 [MINJas he was called=PV {in the fashionable world--}] woke up {at his

usual hour,} [RNAPthat is, {at eight o'clock} {in the morning,}] not {in his wife's

bedroom,} but {on the leather-covered sofa} {in his study.} \-\He turned over his stout,

well-cared-for person {on the springy sofa,} [RAVFas though he would sink {into a long

sleep} again;] \C\he vigorously embraced the pillow {on the other side} and buried=CV

his face {in it;} \C\but all {at once} he jumped up, sat=CV up {on the sofa,} and

opened=CV his eyes.

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Mark Twain’s Tom Sawyer306 words - Project Gutenberg sawyr10.zip

"TOM!"No answer."TOM!"No answer."What's gone with that boy, I wonder? You TOM!"No answer.The old lady pulled her spectacles down and looked over them about the room;

then she put them up and looked out under them. She seldom or never looked THROUGH them for so small a thing as a boy; they were her state pair, the pride of her heart, and were built for "style," not service-- she could have seen through a pair of stove-lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough for the furniture to hear:

"Well, I lay if I get hold of you I'll--"She did not finish, for by this time she was bending down and punching under the

bed with the broom, and so she needed breath to punctuate the punches with. She resurrected nothing but the cat.

"I never did see the beat of that boy!"She went to the open door and stood in it and looked out among the tomato vines

and "jimpson" weeds that constituted the garden. No Tom. So she lifted up her voice at an angle calculated for distance and shouted:

"Y-o-u-u TOM!"There was a slight noise behind her and she turned just in time to seize a small

boy by the slack of his roundabout and arrest his flight."There! I might 'a' thought of that closet. What you been doing in there?""Nothing.""Nothing! Look at your hands. And look at your mouth. What IS that truck?""I don't know, aunt.""Well, I know. It's jam-- that's what it is. Forty times I've said if you didn't let that

jam alone I'd skin you. Hand me that switch."The switch hovered in the air-- the peril was desperate --"My! Look behind you, aunt!"

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Analysis

\F\"TOM!"#DrA01\F\No answer.\F\"TOM!"#DrA01\F\No answer.\-\[LNDO"What's gone {with that boy,}] I wonder? \F\You TOM!"#DrA02\F\No answer.\-\The old lady pulled her spectacles down and looked=CV {over them} {about

the room;} \C\then she put them up and looked=CV out {under them.} \-\She seldom or never looked {THROUGH them} {for so small a thing} {as a boy;} \C\they were her state pair, the pride#App05 {of her heart,} and were built=CV=PV {for "style," not service--} \C\she could have seen {through a pair} {of stove-lids} just as well. \-\She looked perplexed {for a moment,} and then said,=CV not fiercely, but still loud enough {for the furniture to hear:*INFOP04}

\-\"Well, I lay [RNDO[LAVFif I get hold {of you}] I'll--"]\-\She did not finish, [RAVFfor {by this time} she was bending down and

punching=CV {under the bed} {with the broom,}] and [RAVFso she needed breath to punctuate*INFAJ05 the punches {with.}] \-\She resurrected nothing {but the cat.}

\-\"I never did see the beat {of that boy!"}\-\She went {to the open door} and stood=CV {in it} and looked=CV out {among

the tomato vines and "jimpson" weeds} [RAJFthat constituted the garden.] \F\No Tom. \-\So she lifted up her voice {at an angle} calculated*GiveR03 {for distance} and shouted:=CV

"Y-o-u-u TOM!"#DrA02\-\There was a slight noise {behind her} \C\and she turned just {in time} to

seize*INFAJ11 a small boy {by the slack} {of his roundabout} and arrest*INFAJ04 his flight.

\-\"There!#Inj01 \-\I might 'a' thought {of that closet.} \-\What you been doing {in there?"}

\F\"Nothing."\F\"Nothing! \-\Look {at your hands.} \-\And look {at your mouth.} \-\What IS

that truck?"\-\"I don't know, aunt."#DrA01\-\"Well,#Inj01 I know. \-\It's jam-- \C\that's [RNPNwhat it is.] \-\Forty

times#NuA02 I've said [RNDO[LAVFif you didn't let that jam alone] I'd skin you.] \-\Hand me that switch."

\-\The switch hovered {in the air--} \C\the peril was desperate--\-\"My!#Inj01 \-\Look {behind you,} aunt!"#DrA01

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