انحؼبريف انمهم نهفبينم Setting: describes the time, location and circumstances of the events in a story. For example, "To Build a Fire" By Jack London. The setting is very clear from the beginning. It is daytime on a very cold day. We find that in, "exceedingly cold and gray" It is 75 Fah. Below zero. Although it is 9 o'clock in the morning there is no hint of sun". It takes place in Alaska. These realistic details. we are introduced to the idea of death. The atmospheric description of the setting focuses on the idea of death with words such as pall, gloom and dark.the pall described is "intangible". There is death in the air and all of this is created by the details of setting. اإلػذاد: ٣ ق هض خ الر خص حألكيحع ك ٢ ح و ش. ػ ٠ ز ٤ ح ؼخ " ز خء ح خ " ؿخى ي. حإلػيحى ح ق ؿيح ح زيح ٣ ش. ك هال ح خ ك ٢ ٣ رخ ى ؿيح. ي أ ك ٢ "رخ ى ؿيح خى ١ " 57 كخ. طلض ح ل. ػ ٠ ح ؿ أ 0000 ك ٢ ح زخف ال ٣ ؿي "ط ٤ ق ح ". كب ٣ ؤه خ ك ٢ أال خ. ح ظلخ ٤ حهؼ ٤ ش. ل ػ ش ل س ح ص. ٣ حإلػيحى ح ١ ػ ٠ ق ل س ح ص غ خص ؼ رظال خ ق رظال خ. ح آرش ح ظال "ؿ ٤ ح خى ١ ". خى ص ك ٢ ح حء ح ٣ ظ ا خإ ر ح طش طلخ ٤ حإلػيحى. Conflict: It is the opposition of forces which ties one incident to another and makes the plot move. Conflict is not merely limited to open arguments; rather, it is any form of opposition that faces the main character. Within a short story there may be only one central struggle, or there may be one dominant struggle with many minor ones. For example, conflict between the man and nature in To Build a Fire ; between the narrator and the old man in The Tell-Tale Heart. انصراع: ؼخ ش ح و ح ظ ٢ ط ر ٢ كخىػش حكيس ا ٠ أه ٣ ؼ ح وط س ح ئح س. ح حع ٤ كو ٢ طوظ ػ ٠ كظق ح لؾ. ا خ أ ١ أ خ ح ؼخ ش ح ظ ٢ ط حؿ ح و ٤ ش ح ث ٤ ٤ ش. ىحه ه ش ه ٤ س هي ٣ خى حع ١ حكي كو ٢ أ هي ٣ خى ٠ خ حكي ٤ غ ح ؼي ٣ ي ط ي ح ظؼي ٣ الص. ػ ٠ ز ٤ ح ؼخ ح حع ر ٤ حإل خ ح طز ٤ ؼش ك ٢ " ز خء ح خ ". ر ٤ ح ح ١ ؿ ٣ ز ؾ ح ؼ ك ٢ "ه ش ح و ذ ح ح ٢ " Flashback: A device that allows the writer to present events that happened before the time of the current narration or the current events in the fiction. Various methods can be used, including memories, dream sequences, stories or narration by characters. For example, when the narrator recalls what happened at the Cairo airport in A Letter from Gaza ; when the narrator recalls his brother Doodle in The Scarlet Ibis فالش ببك: ؿ خ ٣ ظ ٤ ق خطذ أ ٣ وي حألكيحع ح خ ٣ ش ح ظ ٢ كيػض هز هض ح ى أ حألكيحع ح خ ٣ ش ك ٢ ح و ٤ خ. أ خ ٤ ذ وظ لش ٣ ح ظويح خ ر خ ك ٢ ي ح ٣ خص ط ح ل ح ٣ ش ه أ و ٤ ش. ػ ٠ ز ٤ ح ؼخ ػ ي خ ٣ ظ ح ح ١ خ كيع ك ٢ طخ ح وخ س ك ٢ "هطخد ؿ س". ه ر ػ ي خ ٣ ظ ح ح ١ و ٤ و ك ٢ "أر ح و ١ " Epiphany: it is a moment in the story where the character realizes a truth and becomes aware of something. For example, in the short story Araby the narrator s change of heart concludes the story on a moment of epiphany but not a positive one. Instead of reaffirming his love or realizing that he does not need gifts to express his feelings for Mangan s sister, the narrator simply gives up. What might have been a story of happy, youthful love becomes a tragic story of defeat. The epiphany in the story has when the bazaar closes down and the narrator realizes that Mangan s sister will fail his expectations as well. ػ ٤ ي ح طخ 0 ح خ لظش ك ٢ ح و ش ك ٤ غ ٣ ي ى ح طخرغ كو ٤ وش ػ ٢ ء. ؼال 0 ك ٢ ح و ش ح و ٤ س "ح ؼ حر ٢ " ٣ و ح ح ١ ط ٤٤ ح و ش ح و ذ ػ ٠ لظش ػ ٤ ي ح طخ ٤ حكيس ا ٣ خر ٤ ش. ريال ح ظؤ ٤ ي ػ ٠ كز أ أ ٣ ؼ أ ال ٣ لظخؽ ح يح ٣ خ ظؼز ٤ ػ خػ ألهض خ خ ح ح ١ رز خ ١ ش طظ خ. خ هي ٣ ه ش ؼ ٤ ي ح لذ ح زخد ط زق ح و ش ح ؤ خ ٣ ش ح ٣ ش. ح زخ ح ٣ ن ال ػ ي ػ ٤ ي ح طخ ك ٢ ح و ش ى ٣ أهض خ خ ح ح ١ ٣ ي ى أ ط هؼخط ظل أ ٠٣ خ. Metaphor: It is a literary device or tool, in which one object is directly compared to another without the use of as if or like. For example, in The Scarlet Ibis Doodles deep sympathy for the ibis focuses the reader s attention to the striking similarity between the boy and the bird. In this way the scarlet ibis becomes a Metaphor which helps to clarify the theme of the story, namely, the effect of a hostile environment on humans and animals.
مهم التعريف للفاينل.االسحؼبرة: ٢ ػزخ س ػ ؿ خ أىر ٢ أ حألىحس ح ظ ٢ خث حكي طظ وخ ش زخ س ا ٠ آه ى ح ظويح " خ " أ " ؼ ". ػ ٠ ز ٤ ح ؼخ ك ٢ "أر ح و ١ " ح ظؼخ ١ ق خص ح ؼخ ح زظ س ح ؼ ٤ ن طخث أر ٣ ح ظزخ ح وخ ة ا ٠ ح ظ خر ح ز ٤ ر ٤ ح ز ٢ ح ط ٤. ر ح ط ٣ وش ٣ زق ١ خث أر ح و ١ خ ٣ ش خ ٣ خػي ػ ٠ ط ٤ ق ع ح و ش خ طؤػ ٤ ر ٤ جش ؼخى ٣ ش ػ ٠ ح ز ح ل ٤ ح خص. Symbolism: describes the use of a concrete object to represent a concept or idea. For example, colors: Yellow: Symbolism cowardice. Brown: Symbolism dull. Red: Symbolism to fire Black: Symbolism to sadness and death. ٣ ش ا ٠ ح ل ح ص. رمزية: ٣ ق ح ظويح خث ظ ؼ ٤ ل أ ك س. ػ ٠ ز ٤ ح ؼخ حأل ح 0 أ ل 0 ٣ ش ح ز. ح ز ٢ ٣ ش ش. حألك 0 ٣ ش ال ١ الم ح خ حأل ى 0 Personification: a figure of speech in which nonhuman objects are given human characteristics. We find that for example, in " Arabi" by James Joyce, Gazed is used to describe the house "gazed at one another", " gazed at one another with brown imperturbable faces" and " lifted their feeble lanterns". ججسيذ: و ٤ ش ح ظؼز ٤ ح ظ ٢ ط ق ح خث خص ؿ ٤ ح ز ٣ ش ح و خث "كيم ك ٢ حكي آه " " ٣ ليه ك ٢ رؼ ٠ خ ح زؼ ر ؿ ر ٤ ش خىثش" " كغ ح ل ح ٤ ح ح ٤ ش". ح ز ٣ ش. ي ػ ٠ ز ٤ ح ؼخ ك ٢ "ح ؼ حر ٢ " هز ؿ ٤ ؿ ٣ كيم ٣ ظوي ق Motivation: All characters, whether they are flat or round, static or dynamic, minor or main act out of a certain motivation. A Motivation is the reason behind a character's action. For example, in The Tell Tale Heart mad was kill the old man because he has vulture eyes, so that the motivation for kill. انذافغ: ؿ ٤ غ ح و ٤ خص حء خ ض طلش أ ظي ٣ س خ خ أ ظل خ ح لؼ حأل خ أ ح ث ٢ ٤ ح و ٤ ش. ػ ٠ ز ٤ ح ؼخ ك ٢ ""ه ش ح و ذ ح ح ٢ "" هظ خ ح ؿ ح ؼ ؿ أل ي ٣ ػ ٤ كظ ٠ أ ح يحكغ حء ح وظ. ىحكغ ؼ ٤. ح يحكغ ح زذ حء ح ؼ Irony: A mode of expression, through words (verbal irony) or events (situational irony), conveying a reality different from and usually opposite to appearance or expectation. A writer may say the opposite of what he means, create a reversal between expectation and its fulfillment, or give the audience knowledge that a character lacks, making the character's words have meaning to the audience not perceived by the character. For example, Situational Irony in Araby and After Twenty Year انمفبرقة: ٣ ١ وش ح ظؼز ٤ هال ػزخ س )ح لخ هش ح لظ ٤ ش( أ حألكيحع )ح لخ هش ح ظ ك ٤ ش( و حهغ وظ ق ػ ػخىس ح ؼخ ظ أ ح ظ هغ. هي ٣ و ح خطذ ػ خ ٣ ؼ ٤ ه ن ح ؼ خ ر ٤ ح ظ هغ ح كخء ر أ أ طؼط ٢ ١ خرؼخ ٣ لظو ا ٠ ح ؼ كش أ ح خ ٣ ؼ ح خص ح طخرغ طل ك ٢ ٤١ خط خ ؼ ٠ ال ٣ ظ ا ٤ خ هز ح و ٤ ش. ػ ٠ ز ٤ ح ؼخ ح و ٣ ش ح ظ ك ٤ ش ك ٢ "ح ؼ حر ٢ " "رؼي ػ ٣ ػخ خ". Plot: A plot describes the way the events of a story are arranged. Most plots have a specific structure of: exposition, rising action, climax and falling action, and denouement. All stories have plots even if no action takes place. For example, the plot of the short story To Build a Fire is based on the Protagonist going out traveling in very cold weather to Alaska and attempts to build a fire under a spruce tree covered with snow. The man is unable to eat or build a fire due to the extreme cold. The story ends by the man freezing and dying. انمؤامرة: ط ق ئح س ح ط ٣ وش ح ظ ٢ ٣ ظ ر خ ط ط ٤ ذ أكيحع ح و ش. ؼظ ح ئح حص ي ٣ خ ر ٤ ش ليىس 0 ؼ ط خػي ح ؼ ط خ ط حؿغ ح ؼ هخط ش. ح و خ ح ئح حص كظ ٠ ط ١ حالكيحع. ػ ٠ ز ٤ ح ؼخ ئح س ح و ش ح و ٤ س " ز خء ح خ " ٣ ظ ي ػ ٠ رط ح ح ٣ ش ح و ؽ ح ل ك ٢ ح طو ح زخ ى ؿيح ا ٠ أال خ لخ الص ز خء ح خ طلض س ح ظ د ح س رخ ؼ ؽ. ح ؿ ؿ ٤ هخى ػ ٠ ط خ ح طؼخ أ ر خء ح خ ر زذ ح ز ى ح وخ. ط ظ ٢ ح و ش هز ح ؿ ط ٤ ي خ ح ص. Episodically plots: have one incident or short episode linked to another by a common character or unifying theme maybe through chapters. Used by authors to explore character personalities, the nature of their existence, and the flavor of a certain time period. انمؤامرات بصىرة ػرضية: ي ٣ خ كخىػش حكيس أ ك وش ه ٤ س ح ئ ل ٤ ال ظ خف و ٤ ش ح و ٤ خص ١ ز ٤ ؼش ؿ ى خ ش كظ س ٤ ش طزطش آه ر ح طش ح و ٤ ش ح ظ ى أ ع كي ) ر خ هال ح ل (. ط ظوي هز ؼ ٤ ش. Resistance literature: kind of writing which highlights the life of people living under occupation, it records the struggle of a people. For example, in " A letter from Gaza by Ghassan
Kanafani, writer tell us that Nadia in hospital because she was injured in the Israeli bombing of Gaza, she threw herself on top of her little brothers and sisters as a result lost her leg.the narrator wants Mustafa to leave California and come back to the Gaza. Gaza needs Mustafa, the narrator wants Mustafa to come back and learn from Nadia's amputated leg. أدة انمقبومة: ع ح ظخرش ح ١ ٢ ٣ ح ٠ ء ػ ٠ ك ٤ خس ح خ ح ٣ ٣ ؼ ٤ طلض حالكظال كب ٣ لخف ؼذ. ػ ٠ ز ٤ ح ؼخ ك ٢ " خ ش ؿ س ؿ خ لخ ٢ ح خطذ ٣ وز خ أ خى ٣ ش ك ٢ ح ظ ل ٠ أل خ أ ٤ ذ ك ٢ ح و ق حإل حث ٢ ٤ ػ ٠ هطخع ؿ س هخ ض ح خ أ وض ر ل خ ػ ٠ أ اه ط خ ح خ ه حأله حص خه خ ظ ٤ ش ي. ح ح ١ ٣ ٣ ي أ ٣ ظ ى ال ٣ ش خ ٤ ل ٤ خ أػ ى ا ٠ طل ٠ ؿ س. ؿ س ٣ لظخؽ طل ٠ طل ٠ أ أػ ى ح ظؼ ح ح ١ ٣ ٣ ي رظ ص خه خى ٣ خ. Climax: is the highest point of action in the plot of a story or what has also been called the turning point of the story.it is the point at which the situation for the protagonist turns or changes. For example, in " Jack and the Beanstalk" by Joseph Jacobs, The climax is when the ogre and Jack are brought together or at least the point when both the ogre and jack each know about the existence of the other. ذروة: ٢ أػ ٠ وطش ؼ ك ٢ ئح س ه ش أ خ ٠ ٣ أ ٠٣ خ وطش ح ظل ك ٢ ح و ش ٢ ح وطش ح ظ ٢ غ. ح خ ك ٤ ش ٣ ظل أ ح ظ ٤٤ حص. ػ ٠ ز ٤ ح ؼخ ك ٢ "ؿخى س ح لخ ٤ خء" ؿ ٣ ق ؿخ ر س ٢ ػ ي خ ٣ ظ اك ٠ خ خ ؿ ؿخى ؼخ أ ػ ٠ حأله وطش ػ ي ؿ ؿخى ٣ ؼ ف ػ ؿ ى ح ٥ ه. Naturalism: a kind of writing which depicts reality very closely and emphasis the effects of the environment and heredity on the individual. it is a kind of realism. For example " To build a fire" by Jack London, we see that nature is not necessarily cruel, but we saw a conflict between that true nature to man " not very intelligent" and the nature. الطبيعة: ع ح ظخرش ح ١ ٣ ح حهغ ػ ؼذ ح ٥ ػخ ح ظ طزش ػ ٠ ح ز ٤ جش ح حػش ح ظ ٤ ػ ٠ ح ل ى. ر ح خ " ؿخى ي ل أ ح طز ٤ ؼش ٤ ض رخ ٠ س ح وخ ٤ ش خ ي خ حع ر ٤ أ ح طز ٤ ؼش ح لو ٤ و ٤ ش إل خ "٤ ٢ ؿيح" ح طز ٤ ؼش. ع ح حهؼ ٤ ش. ػ ٠ ز ٤ ح ؼخ " ز خء Allusion: A reference taken from literature, religion, history, or any other field in order to draw attention to a certain idea. The fall of the coin in "Araby" emphasizes that money in the truth and there is no romance. انحهميخ: ؿغ ؤه س حألىد ح ي ٣ ح ظخ ٣ ن أ ك ٢ أ ١ ٤ يح آه أؿ لض حال ظزخ ا ٠ ك س ؼ ٤ ش. و ١ ح ؼ ش ك ٢ "ح ؼ حر ٢ " ٣ ئ ي أ ال ٣ ؿي ح خ ك ٢ ح لو ٤ وش ح خ ٤ ش. Unreliable Narrator: Narrators who speak in either the first person or third person and is mad dishonest or deceived. Could be mad, dishonest and deceived into believing something that is not true, like narrator in for example, "The Tell Tall Heart. ح ح ١ ؿ ٤ ػ م 0 ح حس ح ٣ ٣ ظليػ ؿ ٤ ل ٤ ق ؼ ح ح ١ ك ٢ ز ٤ ح ؼخ "ه ش ح و ذ ح ح ٢ " ك ٢ أ و أ و ػخ غ ؿ ا خ ؿ ٤ ٣ لش أ هيع. ٣ أ ٣ خ ٣ لش هيع رخالػظوخى ٢ ء First person point of view: A narrator who uses the pronoun "I" and is a character in the story. In "Araby" the narrator is the first person point of view. "1" و ٤ ش ك ٢ ح و ش. ك ٢ "ح ؼ حر ٢ " ح ح ١ أ وطش و ٣ ١ وش ح ؼ. انشخص االول من وجهة اننظر 0 ح ح ١ ح ١ ٣ ظوي ٤ Limited omniscient point of view: A narrator who used third person pronouns and concentrates on one character in the story. The narrator in "After Twenty years" is limited omniscient point of view. ح ظ ػخ ر ٢ ء انؼبنم بكم شيء من وجهة اننظر: ح ح ١ ح ١ ٣ ظوي خث ح و ح ؼخ غ ٣ ػ ٠ و ٤ ش حكيس ك ٢ ح و ش. ح ح ١ ك ٢ "رؼي ػ ٣ ػخ خ" ٣ وظ ؿ ش Third person point of view: A narrator who used third person pronouns and is not a character in the story. شخص انثبنث في وجهة نظر: ح ح ١ ح ١ ٣ ظوي ح ٠ خث و ػخ غ ٤ و ٤ ش ك ٢ ح و ش. Objective point of view: A narrator who used third person, it is like a camera he did not know what is inside the characters. جهة نظر انمىضىػية :ح ح ١ ح ١ ٣ ظوي و ػخ غ هخ ح ال ٣ ؼ ف خ ح ٣ ؤ خ ح خ ٤ ح ىحه ح و
Omniscient point of view: A narrator who used third person and knows all the characters in a story. The narrator in "To Build a Fire" when he describe at the end of the story what is the dog thinking. وجهة انؼبنم انكهي من وجهة نظر: ح ح ١ ح ١ ٣ ظوي و ػخ غ ٣ ؼ ف ؿ ٤ غ ح و ٤ خص ك ٢ ح و ش. ح ح ١ ك ٢ " ز خء ح خ " ك ٢ خ ٣ ش ح و ش ػ ي خ ٣ ق خ ح ظل ٤ ح الد. Round character: a character that develops and is realistic. For example, the man in "to build a fire انشخصية انمحغيرة: ح و ٤ ش ح ظ ٢ طظط ؿ ٤ حهؼ ٤ ش. ػ ٠ ز ٤ ح ؼخ ح ؿ ك ٢ " ز خء ح خ " Third Omniscient Narrator: is described as being " all knowing". This narrator comments on all the characters in the story, revealing their actions, experiences and thoughts. Like the narrator in " to build a fire " nes trust. ح و ٤ ش ح ؼخ ؼش ظ ػ. ٢ ح ؼ كش ح ح 0١ ل خ رؤ خ " ؼ كش". طؼ ٤ وخص ح ح ح ١ ػ ٠ ؿ ٤ غ ح و ٤ خص ك ٢ ح و ش ق ػ أػ خ ح وز حص حألك خ. ؼ ح ح ١ ك ٢ " ز خء ح خ " ح ؼوش Science fiction: A kind of writing in which events are in the future, but they are based on our current stage of science and technology. For example, "Sound of Thunder" ح و ٤ خ ح ؼ 0٢ ع ح ظخرش ح ظ ٢ ٢ حألكيحع ك ٢ ح ظوز أل خ ط ظ ي ا ٠ ك ظ خ ح ح ش ؼ ح ظ ؿ ٤ خ. ػ ٠ ز ٤ ح ؼخ " ص ح ػي" Drama: writing in verse or prose that represents life or character through action and dialogue. ح ي ح خ 0 ح ظخرش ك ٢ ح ٣٥ ش أ ح ؼ ح ظ ٢ ط ؼ ك ٤ خس أ و ٤ ش هال ح ؼ ح ل ح. Impressionism: a kind of writing which requires senses and feeling rather than an objective reality. حال طزخػ ٤ ش 0 ع ح ظخرش ح ظ ٢ طظط ذ ح ل ح ح ؼ ريال حهغ ػ ٢. Episodic: a style of a plot which presents events as a series of incidents that are not connected to each other. ح ؼ ٤ ش 0 ٢ ئح س ح ١ ٣ ؼ حألكيحع ػ ٠ ش ح ل حىع ح ظ ٢ ال ػالهش زؼ ٠ خ ح زؼ. Suspension of disbelief: A literary concept which describes the state whereby the reader is prepared to believe in the characters and events in a story, poem, play, regardless of how unbelievable or unrealistic they may be. ل حألىد ح ١ ٣ ق كخ ش ك ٤ غ ح وخ ة ػ ٠ ح ظؼيحى الػظوخى ك ٢ ح و ٤ خص حألكيحع ك ٢ ح و ش ح و ٤ يس ح ؼذ ر ح ظ ػ ي حهؼ ٤ ش ال ٣ يم أ أ خ هي ط. القصص للفاينل الحل النموذجي تالخيص Essay 1. After Twenty Years by O. Henry This story as being "tightly constructed" It means that something is made in such a way as not to allow for any loose ends or slips here or there. Every word every details count towards the overall impact of the story because it relies on the surprise ending everything must be carefully presented so as not to give away the secret. Because it doesn't follow the plot diagram the story builds up in suspense and then ends suddenly as soon as the main event is revealed in the last few words of the story. Thus we don t have any falling action and resolution.
ال) Plot play in this story, it is driving the story, and what gives it meaning (especially the "surprise ending". We learn about the characters through their actions (for example, keeping a promise to meet a friend after so many years tells us that loyalty in friendship is important) A surprise ending, its surprise ending because the reader not given any clues that patrolman wells could possibly be the friend. He was doing precisely what was expected of him paroling the streets and keeping the peace. The meaning of the story is emphasized by the surprise ending: It's about loyalty in friendship. The two friends made an appointment twenty years ago and both kept their promise to meet, one became thief on the west and the other became a cop in the east. And jimmy simply could not arrest his friend bob. This means that he still respected their friendship. The law is above friendship, and jimmy loyalty to justice was more important and won out over friendship. There are no details which would hint to the reader that the beat policeman is actually the waiting man's friend. He said nothing to him about his identity. So the reader cannot possibly imagine that the policeman is the friend. Cause we don t have certain information about him. The story is realistic, it's realistic because it's about bob who turns out to be a thief and jimmy policeman. Twenty years is a long time and these two friends developed in different ways this itself realistic. ح و ش رؤ خ " ٤ يص ربك خ " خ ٣ ؼ ٢ أ ٤ جخ خ ٣ ظ ك ٢ ؼ ح ط ٣ وش رؼي ح خف أل ١ ح ل ش أ الص خ أ خى. ش ح ظلخ ٤ طلظ ذ ح ظؤػ ٤ ح ٢ ح و ش أل خ طؼظ ي ػ ٠ ح لخؿؤس ا خء ٢ ء ٣ ذ طوي ٣ خ رؼ خ ٣ ش كظ ٠ ال ح ظو ٢ ػ ح. أل ال ٣ ظزغ وط ٢ ح ئح س ك ٢ ح ظ ٣ ن ػ ط ظ ٢ ح و ش ٣ ظ ح كؤس ر ى ق ح ليع ح ث ٢ ٤ ك ٢ ح خص ح و ٤ ش حأله ٤ س ح و ش. رخ ظخ ٢ ٤ ي ٣ خ أ ١ ػ ح و ١ ح و ح ك ٤ ش ح ئح س ك ٢ ح و ش كب ح ١ ٣ و ى ح و ش خ ٣ ؼط ٤ خ ؼ ٠ ٤ خ " لخؿؤس ا خء". ل ؼ ػ ح و ٤ خص هال أػ خ )ػ ٠ ز ٤ ح ؼخ ح للخظ ػ ٠ ػي ر وخء ي ٣ ن رؼي حص ػي ٣ يس ٣ وز خ ح ح الء ك ٢ ح يحهش ح ( ال ط ظ ٢ لخؿؤس لخؿؤس إل خء ح ٥ رخ ح ي ٣ خص أل ح وخ ة طؼ ٢ أ ١ ح و حث ح ظ ٢ ٣ ح ٣ ي ٣ وخ. خ ٣ لؼ رخ ٠ ز ٢ خ خ ظ هؼخ ح ح ع ح للخظ ػ ٠ ح ال. أ ي ؼ ٠ ح و ش ح ظ ٢ ط ظ ٢ لخؿؤس 0 وي كخ ح الء ك ٢ ح يحهش. ح ي ٣ وخ ػ ٠ كي حء أرو ٠ ػ ى هز ػ ٣ ػخ خ ؿؼ ػي وخء ك ٢ ح د ح ٥ ه أ زق أ زق ح ٢١ ك ٢ م ح زالى. ؿ ٢ ٤ رز خ ١ ش ال ٣ ح وز ػ ٠ ي ٣ و ر د. ح ٣ ؼ ٢ أ ال ٣ ح ٣ لظ ح يحهش ر ٤ خ. ح وخ ك م ح يحهش خ ح الء ؼيح ش أ ؼ أ ٤ ش كخ ؿ ٢ ٤ ػ ٠ ي ح يحهش. ال ط ؿي طلخ ٤ ؤ خ أ ط ق وخ ة أ ح ٢١ كخ ك ٢ ح حهغ ي ٣ ن ح ؿ ح ظظخ. هخ ٤ جخ ػ ٣ ظ. رخ ظخ ٢ كب ح وخ ة ال ٣ أ ٣ ظ أ ح ٢١ ي ٣ ن. ح زذ ٤ ي ٣ خ ؼ خص ؼ ٤ ش ػ. ه ش حهؼ ٤ ش ح خ حهؼ ٤ ش ال حال ٣ ظؼ ن ر د ؿ ٢ ٤ ح ٣ طز ٤ أ ح ح ٢١. ػ ٣ ػخ خ ٢ كظ س ٣ ١ ش ح ي ٣ وخ رظط ٣ رط م وظ لش ح ك ٢ كي حط حهؼ ٤ ش. انسؤال يحكرر ببنفبينم ػن ( نمبرا انحهث انقصة مفبجئة مغ ركر انمثم من انقصة وشرح ) 2. "To Build a Fire" To build a fire Major Themes Determinism "To Build a Fire," London repeatedly shows how the man does not have free will and how nature has already mapped out his fate. Indeed, both times the man has an accident, London states "it happened," as if "it" were an inevitability of nature and that the man had played no role in "it." The most important feature of this deterministic philosophy is in the amorality and lack of responsibility attached to an individual's actions (see Amorality and responsibility, below). Amorality and responsibility A curious revision occurs when London writes that the man's second accident with the snow was his "own fault or, rather, his mistake." While both are damning words, "fault" is much more serious; it implies an underlying moral responsibility and role in future consequences, while "mistake" suggests an isolated incident outside of one's control. Likewise, the man believes his first accident is bad "luck," another word that connotes lack of free will. "Accident," too, insinuates an unforeseen or unanticipated event out of one's power. If naturalism maintains that an individual has no free will (see Determinism, above), as London's careful phrasing suggests, then it is logical that the individual should not bear responsibility for his actions: if humans are not even in control of our own actions, why should we take responsibility for them?
The answer is that one should take responsibility for one's actions if one can anticipate potential consequences. Since the naturalistic world is based on causal links (see Causal links and processes, below), it should be possible, to an extent, to predict the consequences of our actions. Causal links and processes "To Build a Fire" is, among other things, a virtual instruction manual on how to build a fire. It details specifically how one goes about gathering twigs and grasses, assembling them, lighting them, and keeping the fire going. The story, like many naturalist works, is obsessed with processes. These processes can be viewed as causal links each event causes the next one. Indifferent environment and survival Naturalism not only maintains that the environment is deterministic (see Determinism, above), but indifferent. The environment does nothing to help its inhabitants; in fact, it is coldly indifferent to their existence and struggle. In "To Build a Fire," the Yukon would be bitterly cold without the man, as well, and it does not cease when the man struggles to stay alive. This indifference makes survival itself a critical goal for naturalist characters. As the story goes on, the man changes his goal from reaching the camp, to warding off frostbite, to merely staying alive. Naturalism thus elicits profound conflicts, man versus nature being one of them. ز خء كظ ٤ ح خ ح لخ ح ث ٤ ٤ ش ك ٢ " ز خء ح خ " ٣ ز ٤ ي ح ح ط ح ح ٤ ق ال ٣ ح ؿ حإل حىس ح ل س ٤ ل ٤ ش طؼ ٤٤ ١ ز ٤ ؼش رخ لؼ ٤. ك ٢ ح حهغ حء أ ؼخف ح ؿ ي ٣ ه ع كخىع ي ط ػ ٠ "أ كيع " خ "أ " خ ض كظ ٤ ش ح طز ٤ ؼش أ ح ؿ هي ؼزض أ ١ ى ك ٢ " ي". أ ٤ س ح ل لش ح لظ ٤ ش ٢ ك ٢ ح الأهاله ٤ ش ح ؼيح ح ئ ٤ ش ح ظ ٢ طؼ ن ػ ٠ أكؼخ ح ل ى )ح ظ ح الأهاله ٤ ش ح ئ ٤ ش أى خ (. ح الأهاله ٤ ش ي ٣ ظذ ح ئ ٤ ش ٣ ليع ح حؿؼش ح ٣ ذ ػ ي خ خ ح ؼ ؾ ح ح لخىع ح ؿ ح ؼخ ٢ غ ظ ٤ "هطؤ أ رخألك هطؤ ". ك ٢ ك ٤ أ ال ٢ ح خص ح يح ش "هطؤ" أ ؼ هط س ر ؼ ٤. أ ٣ ط ١ ػ ٠ ح ئ ٤ ش حألهاله ٤ ش ح خ ش ى خ ك ٢ ح ظخثؾ ح ظوز ٤ ش ك ٢ ك ٤ أ "هطؤ" ط ٤ كخىػخ ؼ ال هخ ؽ طخم ح ٤ ط س حكي. رخ ؼ ٣ ؼظوي ح ؿ حأل كخىػ ٤ جش "ح لع" ش أه أ خ ػي ؿ ى حإل حىس ح ل س. "كخىع" أ ٠٣ خ ٣ ق كيع ؿ ٤ ظ هغ أ ؿ ٤ ظ هغ حكي ك ٢ ح طش. ا ح طلظلع ح طز ٤ ؼ ٢ أ ح ل ى ٤ ا حىس ك س )ح ظ كظ ٤ أػال ( خ طوظ ف ح ٤ ش ظؤ ٤ ش ي ػ ك ح طو ٢ أ ح ل ى ال ٣ ز ٢ أ طظل ح ئ ٤ ش ػ أكؼخ 0 ا ح خ ح ز ٤ ح كظ ٠ ك ٢ ح ٤ ط س ػ ٠ أكؼخ خ خ ح ٣ ذ ػ ٤ خ طل ح ئ ٤ ش رخ زش ح حد أ ح ء ٣ ذ أ طظل ئ ٤ ش أكؼخ ح ء ا ح خ أكي ٣ أ ظ هغ ح ؼ حهذ ح لظ ش. ٣ ظ ي ح ؼخ ح طز ٤ ؼ ٢ ػ ٠ ح حر ٢ ح زز ٤ ش )ح ظ ح حر ٢ ح ؼ ٤ خص ح زز ٤ ش أى خ ( ٣ ز ٢ أ ٣ ح ا ٠ كي خ ظ هغ ػ حهذ أكؼخ خ. الص ح ؼ ٤ خص ح زز ٤ ش " ز خء ح خ " ر ٤ أ أه ى ٤ ح ظؼ ٤ خص ظخ ١ ػ ٠ ٤ ل ٤ ش ر خء ح خ. خ ٣ ل ػ ٠ ؿ ح ظلي ٣ ي ٤ ق ٣ ذ حكي ك ؿ غ حألؿ خ حألػ خد ط ٤ غ حإل خءس ػ ٤ خ اروخء ح خ ظؼ ش. ح و ش ؼ ح ؼي ٣ ي حألػ خ ح ذ ح طز ٤ ؼ ٢ خؿ ح ؼ ٤ خص. ح ؼ ٤ خص ٣ حػظزخ ح حر ٢ ح زز ٤ ش ٣ زذ كيع حكي ح وخى. طلظلع ر ٤ جش ؿ ٤ زخ أ ح ز ٤ جش ٤ ض كو ٢ كظ ٤ ش ح زوخء ػ ٠ ه ٤ ي ح ل ٤ خس ١ ز ٤ ؼ ٤ ش )ح ظ كظ ٤ أػال ( ؿ ٤ زخ. ح ز ٤ جش ال طلؼ ٤ جخ خػيس خ خ. ك ٢ ح حهغ ك ؿ ٤ زخ رز ى ا ٠ ؿ ى خ ح ٠ خ. ك ٢ " ز خء ح خ " ٤ ٣ ح رخ ىح ى ح ؿ ي أ خ ال طظ هق ػ ي ٣ خ ح ؿ زوخء ػ ٠ ه ٤ ي ح ل ٤ خس. ح ال زخالس طؼ ح زوخء ػ ٠ ه ٤ ي ح ل ٤ خس ك ٢ كي حط يكخ كخ خ و ٤ خص ح ذ ح طز ٤ ؼ ٢. خ طو ح و ش ػ ٠ ح ؿ ٣ ظ ٤ يك ح ا ٠ ح و ٤ ي ء ه ٠ ش ح و ٤ غ ى ح زوخء ػ ٠ ه ٤ ي ح ل ٤ خس. ح ح طز ٤ ؼ ٢ ٣ ظ زذ ح حػخص ح ؼ ٤ وش ؿ وخر ١ ز ٤ ؼش حكيس خ. 3. Short Summary: "letter from Gaza" The narrator writes a letter to his friend Mustafa. He acknowledges receiving Mustafa's letter which states that everything is prepared for the narrator to stay in Sacramento. The narrator also receives a letter of acceptance from the department of Civil Engineering at the University of California. Unfortunately, the narrator has changed his mind. He is upset that their lives will not continue to follow the same course as he remembers Mustafa's reminder of their vow as he flew to Sacramento from Cairo airport. Mustafa and the narrator grow up together in the Shajiya quarter of Gaza. They move to Kuwait and save money to relocate to California. Mustafa receives a contract with the Ministry of Education in Kuwait and gives money to the narrator to support his mother, his brother's widow. A letter from Gaza is consider descriptive and self-narrated story, where the character usage is very effective in. so the character usage was very effective and the thing that makes the reader focus on the events of what had happened and continue with the writer is that he never introduce himself. May be as he told him in the last of the letter "return to us " and to " come back " so if Mustafa understand the core idea or theme of that letter he may get the feeling that Gaza itself is the one who is writing the letter for him. Also, the other mentioned character such as his old and poor mother was just and example for all the states of Gaza mothers. His brother widow and her 4 children it gives a glimpse that his bother may be killed
buy the continuous violence against them even if it is not mentioned at all. And the last Character which might give him the power to say no to travel to the green land, Nadia.. Nadia may be the most character that had effect on all the other character, she embodied the concept of being exist in the place and cannot move, the writer chooses that her legs amputation rather than her hands for example, just as a symbol of that they cannot go away from there. They all should be where she is and for that reason he did not only told him that he will not travel but also, he asks him to come back to Gaza. The character's conflict is about what is around him of people, circumstances and changes whereas he was able to follow possibly follow his friend to the new world away from such bad and hard circumstances which he was hating it as he said "I hated Gaza and its inhabitants. Everything in the amputated town reminded me of failed pictures painted in grey by a sick man. where he will be able to make new beginning and make much to be "rich" as they always dreamt. But at the same time he was thinking in his mother his brother wife and her kids, the issue that creates a conflict in him. The narrator shows here the outer and inner feelings of the characters and the mingled feelings between them shows and assures the final decision which he took. The letter is also full of movement directly and in direct as the setting (plain, motor) and context of coming from Kuwait and traveling to America this gives high imagination. The narrator also used a flashback technique which by he make a link between the old events and the recent one. Write to me till we meet again Flashbacks add something to the plot. It showed the kind of warm relationship between the narrator and his friend Mustafa. Symbols also were very effective such as the "red pants" the unreal present which will never be a fact, as it may show to what extent dreams of Gaza became impossible. At the end the events of the letters and its contents showed the characters of it very clearly. و ه 0 ٤ " خ ش ؿ س" ح ح ١ ٣ ظذ خ ش ا ٠ ي ٣ و طل ٠. ٣ و ط و ٢ ا ظ ٢ طل ٠ ح ظ ٢ ط ػ ٠ أ ٢ ء أػيص ال ح ١ زوخء ك ٢ ح ظ. ح ح ١ أ ٠٣ خ ٣ ظ و ٠ هطخد هز ه ح ي ش ح ي ٤ ش ك ٢ ؿخ ؼش خ ٤ ل ٤ خ. أل ق كب ح ح ١ هي ؿ ٤ أ ٣. هخ ح ػؾ رؤ ك ٤ خط ط ظ ك ٢ حطزخع ل ح خ ٣ ظ ط ٤ طل ٠ ح ح ظ ٢ ٣ ؼظوي أ خ ١ خ ص ح ٠ ح ظ طخ ح وخ س. طل ٠ ح ح ١ ٣ ز ؼخ ك ٢ رغ ؿ س. ٣ ظو ا ٠ ح ٣ ض ط ك ٤ ح خ ال ظوخ ح ٠ ال ٣ ش خ ٤ ل ٤ خ. طل ٠ ٣ ظوز ػويح غ ح س ح ظ ر ٤ ش ح ظؼ ٤ ك ٢ ح ٣ ض ٣ ؼط ٢ ح خ ال ح ١ يػ ح يط أ ش أه ٤. خ ش ؿ س ل ٢ ح ل ٣ ؼظز ح و ش ح ك ٤ غ ح ظويح كؼخ ؿيح ك ٢ ح و ٤ ش. ي خ ح ظويح ح و ٤ ش كؼخ ش ؿيح ح ٢ ء ح ١ ٣ ؼ ح وخ ة ح ظ ٤ ػ ٠ أكيحع خ كيع ط ح غ ح خطذ ح ٣ وي ل. هي ٣ خ هخ ك ٢ آه ح خ ش "ح ؼ ىس ا ٤ خ" "ح ؼ ىس" طل ٠ ك ح ل س حأل خ ٤ ش أ ع كظ ٠ خ هي طل ػ ٠ ح ؼ رؤ ؿ س ل خ ط ي ح خ ش ح ١ ٣ ظذ ح خ ش. أ ٠٣ خ ؼ ح يط ك ٢ ح و ٤ ش آه ص ظ حأل خص ح وي ٣ ش ح لو ٤ س ؼخ ٤ غ ى ؿ س. و ٤ و أ ٣ ؼط ٢ لش أ أ ظ خ 4 أ ١ لخ هي هظ ح ػ خء حء ح ؼ ق ح ظ ي كظ ٠ ٣ ي ػ ٠ حإل ١ الم. ح و ٤ ش حأله ٤ ح ظ ٢ هي ٣ ؼط ٤ ح وي س ػ ٠ ه ال ل ا ٠ أ ه ٠ حء هي ط خى ٣ ش خى ٣ ش أ ؼ.. ح و ٤ ش ح ١ ٣ خ أػ ػ ٠ ح و ٤ خص آه هخ ض ح خ ط ي ل ح ؿ ى ٣ أ ط ؿي ك ٢ خ ال طظل ى ح خطذ ٣ وظخ أ رظ خه ٤ خ ريال ٣ ي ٣ خ ػ ٠ ز ٤ ح ؼخ كو ٢ زؤ ال ٣ أ ط ذ رؼ ٤ يح خى. ٣ ذ أ ٣ أ ٣ ٢ ح ح زذ ٣ خك كل ذ ر هخ أ ٠٣ خ رؤ ٣ لؼ هخ ح ٣ ط ذ أ ٣ ؼ ى ا ٠ ؿ س. ح حع ح و ٤ ش ك خ ك ح خ ح ظ ف ح ظ ٤ حص ك ٢ ك ٤ ح خ هخى ح ػ ٠ حطزخع ر خ حطزغ ي ٣ و ا ٠ ػخ ؿي ٣ ي رؼ ٤ يح ػ ؼ ح ظ ف ح ٤ جش ح ؼزش ح ظ ٢ خ ي خ هخ "1 ٣ ؿ س خ ش. ٢ ء ك ٢ ح ي ٣ ش ٢ ح ك ض ض رخ ح خى ١ رظ ٣ ي ؿ ٣ ". ك ٤ غ ح ٤ ؼ ؼ ٤ ح ريح ٣ ش ؿي ٣ يس ط هخى س ػ ٠ طوي ٣ " ح ٤ ش " خ ك ض ىحث خ. ك ٢ ح هض ل خ ٣ ل ك ٢ ح يط ؿظ و ٤ و أ ١ لخ خ كب ح و ٤٠ ش ح ظ ٢ طو ن ح حع ك ٤. ح ح ١ خ ٣ ظ خػ ح وخ ؿ ٢ ح يحه ٢ ح و ٤ خص ح خػ طوظ ٢ ر ٤ خ ٣ ظ ٣ ئ ي ح و ح ح خث ٢ ح ١ ط ٤. ح خ ش أ ٠٣ خ خ ح ل ش زخ س زخ س بػيحى )ػخى ١ ح ٤ خ حص( ح ٤ خم ح ل ا ٠ أ ٣ خ ح هخى ش ح ٣ ض ٣ ؼط ٢ ح و ٤ خ ػخ ٤ ش. ح ظويح ح ح ١ أ ٠٣ خ حأل د ح ١ ظز خ ؿؼ ؿ ى ش ر ٤ حألكيحع ح لال رخى ح وي ٣ ح لي ٣ غ. ح ظخرش رخ زش... ٢ كظ ٠ ظو ٢ س أه ٣ خص ح خ ٢ ط ٤٠ ق ٤ جخ ا ٠ ح ئح س. أظ حال ظطالع ح ح ح ع ح ؼالهش ح ل ٤ ش ر ٤ ح ح ١ ي ٣ و طل ٠. خ خ ض كؼخ ش ؿيح ؼ "ح ح ٣ ح ل حء" ك ٢ ح هض ح لخ ؿ ٤ حهؼ ٢ ح ظ ٢ ط كو ٤ وش أل خ هي طظ خ ح أ زلض أكال ي ؿ س ظل ٤ ش. ك ٢ خ ٣ ش أكيحع ح و ٤ خص ح و ٤ ش لظ ٣ خط أظ ص ر ح ق ؿيح. 4. Thank you Mam As for " thank you Mam", we can find that the story is told all the time in dialog between the child "roger" and the Old Woman "Mrs. Jones" with third person perspective providing some context. The conversation between both of them contains informal and some little irregular language. I got a great mind to wash your face for you. Ain t you got nobody home to tell you to wash your face? We also can realize that Most sentences are short such as Sweat popped out on the boy s face and he began to struggles. Minimal vocabulary challenges as most language is common and familiar. Half nelson is a context specific term. We can see through the characters of this
story that there is some contradictions to the expected. The old woman tells the boy that if he wanted money for new shoes, he should have asked. With the emerging of the theme of redemption and forgiveness. We can also find that the setting may be in the 1940's or 1950 s where racism was a huge topic in the southern states. Although this is implied by the simplistic lifestyle more than any direct characterization whereas the boy wants blue suede shoes, not a computer. If we come to the two main characters in the short story we would find that Roger is a little boy who tries to steal Mrs. Jones purse, because he is poor and as a child needs something which he cannot got by his own, but he cannot lift it when he tries to snatch it and escape. Roger does not steal for food and shelter to survive, but also for personal desires. But we see that when he gets caught and go to Mrs. Jones home, there was a chance to steal and run away but he did not, because she treats him kindly. She takes him to her house and makes sure he is clean, fed and gives him money to be able to buy the shoes he really wants. The other character is Mrs. Jones she is presented as an active and dominant character with the descriptions for her physical appearance She was a large woman She was walking alone, The large woman simply turned around dragging the frightened boy behind her" Mrs. Jones character fully evocative; she is an individual yet at the same time expects us to call upon our own knowledge and experience of women like her. The story gives many lessons through those two character, one of it is that no one is perfect of full good human being, Even the old woman told Roger that she made mistakes in her day and she still sees something in him or in what he did because she might remember herself in what he had done as she said, I were young once and I wanted things I could not get." I have done things, too, which I would not tell you, son neither tell God if He didn t already know". Finally, I would say that from this story we can conclude that if you give someone freedom to take their decisions, they for sure will decide for the better most of the time. When people are limited off from something, even if it s for their own good, they feel the need to do the forbidden in order to not take their opportunities for granted. أ خ رخ زش " ح خ " ٣ أ ي أ ١ ٣ ح و ش ك ٢ هض ك ٢ ح ل ح ر ٤ ح طل " ؿ " ح ؼ "ح ٤ يس ؿ " غ و ػخ غ ظ ط ك ٤ رؼ ح ٤ خم. ح لخىػش ر ٤ ال خ ٣ لظ ١ ػ ٠ رؼ ح و ٤ ش ٤ ش ؿ ٤ ح ظخ ٤ ش. 1 ك ض ػ ٠ ػو ز ٤ ؿ ي رخ زش ي. ٤ أ ي ك ض ػ ٠ أكي ح خ أ أه ي أ ط ؿ ي ٣ خ أ ٠٣ خ أ ي ى أ ؼظ ؿ ه ٤ س ؼ ر ص ح ؼ م ػ ٠ ؿ ح ز ٢ ريأ ح ٠ خ. ح ل ىحص ح لي حألى ٠ ح ظلي ٣ خص ح ظ ٢ ط حؿ خ ؼظ ش خثؼش ؤ كش. ق ٤ ط ق ٤ خم ليى. ٣ خ أ هال و ح و ش أ خى رؼ ح ظ خه ٠ خص ح ظ هؼش. ح أس طز ؾ ح ؼ ٣ ل ٢ ح ز ٢ أ ا ح خ ٣ ٣ ي ح خ ألك ٣ ش ؿي ٣ يس خ ٣ ذ أ ١ ذ خ ي. غ ح خ جش ك ٢ ع ح وال ح ل ح. ٣ أ ي أ ٠٣ خ أ حإلػيحى هي ٣ ك ٢ 1070 أ 1040 ك ٤ غ خ ض ح ؼ ٣ ش ع و ك ٢ ال ٣ خص ح د. ػ ٠ ح ؿ أ ح ٣ ي ػ ٠ ي ح ظ ٤ ق ح زخ ك ٢ ك ٤ أ ح ز ٢ ٣ ٣ ي أ ؼ أ ١ أ د ك ٤ خس ح ظز ٢٤ حألك ٣ ش ؿ ي ح ح حأل م ٤ ؿ خ ز ٤ ط. ا ح خ ا ٠ حػ ٤ ح و ٤ خص ح ث ٤ ٤ ش ك ٢ ح و ش ح و ٤ س ؿي خ أ ؿ ح طل ح ٤ ح ١ ٣ لخ هش ح ٤ يس ؿ خ أل كو ٤ ال ٣ خ ٣ لظخؽ ح طل خ ك هز ر ي ال ٣ ظط ٤ غ كؼ ػ ي خ ٣ لخ ح ظ حع ي ح د. ؿ ال ٣ م أؿ ح حء ح ؤ زوخء ػ ٠ ه ٤ ي ح ل ٤ خس أ ٠٣ خ ؿزخص و ٤ ش. خ أ ػ ي خ ٣ وز ػ ٤ ح خد ا ٠ ح ٤ يس ح ؿ خ خى ك ش هش ٣ د ٣ لؼ أل خ ٣ ؼخ ر طق. ح خ طؤه ر ح ٠ خ طظؤ ي ح ظ ٤ ق ر ي حالكظ ٤ خ ٢١ ح ل ٤ ي ح ٢ ٣ ؼط ٤ ح خ ظ هخى س ػ ٠ حء حألك ٣ ش ٣ ٣ ي كوخ. ح و ٤ ش ح ٥ ه ح ٤ يس ؿ ح خ هي ض و ٤ ش ح ٢ ح ٤ ش غ ق ظ خ ح وخ ؿ ٢ أ خ خ ض ح أس ز ٤ س... خ ض ط ٤ كي خ... ا ح أس ز ٤ س طل ض رز خ ١ ش ك... لذ ح ي هخثلخ حء ظ خ " و ٤ ش ح ٤ يس ؿ رخ خ ك ٢ ح هض ل أ خ ح ل ى ٣ ظ هغ خ أ يػ ح ؼ كش ح وخ ش ر خ ط رش ح خء ؼ خ. هخ ض ح أس طز ؾ ح ؼ كظ ٠ ؿ ٣ ؼط ٢ ح و ش ح ؼ ٤ ح ي هال ط ي ح طخرغ حػ ٤ حكي خ أ ال ٣ ؿي أكي خ خ ؿ ٤ ي ا خ أ خ ح ط زض أهطخء ك ٢ ٣ خ أ خ ال ط ح ط ٤ جخ ك ٤ أ ك ٢ خ كؼ أل خ هي ظ خ هخ ر خ هخ ض ك ٢ ل خ ٣ ٣ ي حأل ٤ خء 1 1 1 خ ح خ ح س حكيس ال ٣ ح ل ػ ٤ خ. "1 ه ض رخ ؼ ٤ حال أ ٠٣ خ خ 1 أه ي ال أه حر هللا ا ح خ ح ١ أ T طؼ ف زوخ ". أه ٤ ح كب 1 و أ ح و ش ٣ خ أ ظ ظؾ أ ا ح ض طؼط ٢ ك ٣ ش و خ الطوخ ح و ح حص ح وخ ش ر كب خ رخ ظؤ ٤ ي ف طو خ ي أك ٠ ك ٢ ؼظ ح هض. ػ ي خ ٣ ح خ طوظ ح و ؽ ٢ ء خ كظ ٠ خ لظ كب خ ط ؼ رخ لخؿش و ٤ خ ع ٢ ال طؤه ك ظ خ أ ح ل ؿخ. قصص الفاينل المتوقعة 5. "Araby James Joyce" Araby" takes place on a quiet North Dublin street, surrounded by numerous rustic buildings and a Christian Boy's School. Most of the story takes place in the narrator's house, as he recalls catching glimpses of Mangan's sister. The story ends with the character at one of the open stalls, standing solemnly as the bazaar shuts down and the lights turn off one by one. The
key theme here is frustration, as the boy deals with the limits imposed on him by his situation. The protagonist has a series of romantic ideas, about the girl. we feel the boy's frustration mounting. For a time, the boy fears he may not be able to go at all. The major conflict in this story is the discrepancy between the real and the ideal. The boy s romantic fantasies are in sharp contrast. This story is narrated in the first person point of view. The narrator is very important to this story because he is the main character. The boy in the story is quite young, probably about thirteen years old. The narrator is obviously describing events which happened to him in the past. In given sentence, the narrator describes his blood at the time "foolish" which means that he knows something now that he did not know before he is commenting on his past behavior. In fact the narrator speaks from an" ironic" point of view. Irony describes as a kind of writing which emphasizes the difference between reality and appearance. The knowledge of this difference or gap on the part of the narrator is quite clear now that he was become an adult man. So he is actually looking back at a certain past event which had a great influence on his life. He could not have possibly known as a boy what he knows now as an adult man. this is why his adult narration is ironic. He now knows that Mangan's sister was simply asking for a gift from bazaar, but that did not mean that she felt any love for him. He only realized this when he saw the material world of bazaar, which he thought world be an exotic(strange) and romantic world. The omniscient narrator will probably have reported the thoughts and feelings of all the characters, which would have diffused(reduced) the importance of the boys experience. The story would have taken on a different touch, a different emphasize. The objective narrator, It would simply have presented the external events; we would not be able to know the boy's thought or feeling. How then could we understand the change in his thought and attitudes towards life in general? The boy's discovery of truth is a mental event, not an external one, which is all that the objective narrator could record. The narrator, unnamed boy, lives in a blind street in Dublin with his uncle and aunt. He develops a crush on his Friend s sister (Mangan s sister). If the boy had narrated the story at the time of happening, it would definitely miss the detached touch of the adult narrator. The boy would not be able to absorb the events as they happened. The impact would not have been the same. The boy would not be able to understand that he was being introduced to an uncaring, adult world. He may have been simply disappointed at not being able to buy anything, but he definitely would not have been able to express his feelings. The ability to express his feelings is connected to the epiphany of the story. Epiphany is a sudden realization of a certain reality of which the character was totally unaware. It is an event which some kind of truth is revealed to the character. It is obvious that this is the voice of the adult narrator. A first person child narrator could not have possibly realized this much at the moment the actual event happened. The realization belongs to the first person adult narrator. Not to the young boy> the boy could have been disappointed at not being able to buy a gift for Mangan's sister, but he did not know the truth that the adult narrator now knows. This story could be about the coming of age of an innocent young man, a sort of " welcome to the adult world". The narrator describes his movement from the world of childhood to the world of adulthood, and what he found there was a shocking reality, which made his eyes burn with anguish and anger. He found an uncaring world as best represented by the young woman whose tone of " voice was not encouraging". In his boyish innocence, he believed illusion of romantic love which only fell apart at the bazaar where everything was painfully expensive. So this story about growing up and can only be adequately told ay an adult
narrator recounting a childhood experience. The adult man can look back dispassionately (in a detached manner) at his foolish childish blood. The narrator s change of heart concludes the story on a moment of epiphany, but not a positive one. Instead of reaffirming his love or realizing that he does not need gifts to express his feelings for Mangan s sister, the narrator simply gives up. He seems to interpret his arrival at the bazaar as it fades into darkness as a sign that his relationship with Mangan s sister will also remain just a wishful idea in the story happens when the bazaar closes down, and he realizes that The epiphany Mangan's sister will fail his expectations as well, and that his desire for her has actually been only a vain wish for change. "ح ؼ حر ٢ هز ؿ ٤ ؿ ٣ " ح ؼ حر ٠ " ٣ ليع ك ٢ خ ع خىة خ ىر طل ٢٤ ر خ ح ؼي ٣ ي ح زخ ٢ ٣ ل ٢ ي ش ٤ ل ٤ ش ح ز ٢. ؼظ طي حكيحع ح و ش ك ٢ ح ح ١ ٣ ظ ح ظ خػخص أهض خ خ. ط ظ ٢ ح و ش غ ح و ٤ ش ك ٢ حكي حأل خى لظ كش ح ه ف ٤ خ خ ط ن ح زخ ح رخ ظ ح أ حء ا ٣ وخف حكيح ط ح ٥ ه. ح ع ح ث ٢ ٤ خ حإلكزخ ١ ح لوخص ح ز ٢ غ ح و ٤ ى ح ظ ٢ ك ض ػ ٤ هز ؼ. رط ح ح ٣ ش ي ٣ ش حألك خ ح خ ٤ ش ػ ح لظخس. ؼ رخإلكزخ ١ ح ز ٢ ك ٢ ط خػي ظ. زؼ ح هض ح ز ٢ وخ ف أ هي ال ٣ هخى ح ػ ٠ ح خد ػ ٠ حإل ١ الم. ا ح حع ح ث ٢ ٤ ك ٢ ح و ش ح ظ خه ر ٤ ح حهغ ح ؼ حألػ ٠. حأل خ ح خ ٤ ش ح ز ٢ ٢ ك ٢ ط خه كخى. ح و ش ك ٢ أ وطش و ٣ ١ وش ح ؼ. ح ح ١ و ٤ ش ش ؿيح ح و ش أل ىه ٤ وش. ح ز ٢ ك ٢ ح و ش ح خد ط خ خ ر خ ك ح ٢ ػالػش ػ ػخ خ ح ؼ. ح ح ١ ح ح ق أ ٣ ق حألكيحع ح ظ ٢ كيع ك ٢ ح خ ٢. ك ٢ ح ش ؼ ٤ ش ٣ ق ح ح ١ ى ك ٢ ي ح هض "أك ن" خ ٣ ؼ ٢ أ ٣ ؼ ف ٣ هز ح ٥ أ ٣ ؼ ف ٤ جخ ٣ ؼ ن ػ ٠ ح خ ٢. ك ٢ ح حهغ ٣ ظليع ح ح ١ وطش " ؼ ٤ س و ٣ ش" ؿ ش ظ. ٣ ق ح و ٣ ش ع ح ظخرش ح ظ ٢ طئ ي ػ ٠ ح ل م ر ٤ ح حهغ ح ظ. ؼ كش ح ح ل م أ ح ل س ؿخ ذ ح ح ١ ح لش ط خ خ ح ٥ أ أ زق ؿ رخ ؾ. ي ك ٣ زلغ ح حهغ س أه ك ٢ أكيحع خروش ؼ ٤ ح ظ ٢ خ خ طؤػ ٤ ز ٤ ػ ٠ ك ٤ خط. هخ ح ال ٣ ظط ٤ غ أ ٣ ؼ ف ر خ خ ٣ ؼ أ ح ٥ رخػظزخ ؿ رخ ؾ ز ٢. ح ح زذ ك ٢ ح ٣ ظ ح زخ ح ؼ ٤ و ٣ ش. ٣ ؼ ح ٥ أ ى ١ ذ أهض خ خ خ ي ٣ ش ح زخ ح ح ال ٣ ؼ ٢ أ خ ؼ ص رؤ ١ ح لذ رخ زش. أى ى ح كو ٢ ػ ي خ أ ح ؼخ ح خى ١ ح زخ ح ح ١ خ ٣ ؼظوي ح ؼخ أ ٣ ػخ ؿ ٣ ذ )ؿ ٣ ذ( خ ٢. ر خ هي أكخى ح ح ١ ٢ ح ؼ أك خ خػ ؿ ٤ غ ح و ٤ خص ح ظ ٢ ؤ خ أ ط ظ )هل ( ػ ٠ أ ٤ ش ط رش حأل الى. ح ح و ش هي حطو ص ػ ٠ ش وظ لش وظ لش ح ظؤ ٤ ي. ح ح ١ ح ػ ٢ كب رز خ ١ ش هي ػ حألكيحع ح وخ ؿ ٤ ش ل ط هخى س ػ ٠ ؼ كش ك ح ز ٢ أ حال لؼخالص. ك ٤ ق ٣ أ ل ح ظ ٤٤ ك ٢ أك خ ح حهق طخ ح ل ٤ خس ر ػخ ح ظ خف ح ز ٢ ح لو ٤ وش كيع ح ؼو ٢ ٤ حكي هخ ؿ ٢ خ ح ح ١ ػ ٢ ٣ ح ٣. ح ح ١ ز ٢ ٣ ق ػ ح ٣ ؼ ٤ ك ٢ خ ع أػ ٠ ك ٢ ىر غ ػ ػ ظ. هخ ح ٠٣ غ ػ ٠ لن و ٤ وش ي ٣ و )أهض خ خ ) ا ح خ ح طل هي ح و ش ك ٢ هض ٣ ليع كب ٤ ٤ ذ رخ ظؤ ٤ ي ش ظ ىح ح ح ١ ح زخ. ا ح ز ٢ ال ط هخى س ػ ٠ ح ظ ٤ ؼخد حألكيحع خ كيع. كب حألػ ٣ ل. ا ح ز ٢ ال ٣ هخى ح ػ ٠ ك أ ٣ ١ اىهخ خ ا ٠ ػخ ؿ ٤ ظ ػش ح زخ. ر خ خ رز خ ١ ش رو ٤ زش أ ؼي ط حء أ ١ ٢ ء رخ ظؤ ٤ ي ٣ هخى ح ػ ٠ ح ظؼز ٤ ػ خػ. ٣ ظ ط ٤ ح وي س ػ ٠ ح ظؼز ٤ ػ خػ ؼ ٤ ي ح طخ ح و ش. ػ ٤ ي ح طخ اى حى لخؿت حهغ ؼ ٤ ح ١ خ و ٤ ش ؿ ٤ ي ٤ ط خ خ. ح ليع ح ١ لض رؼ ع ح لو ٤ وش ا ٠ ح و ٤ ش. ح ح ق أ ح ص ح ح ١ ح زخ. أ و ح ح ١ ح طل ال ٣ أ ٣ ر خ أى ى ح ر ؼ ٤ ك ٢ لظش ه ع ح ليع ح لؼ ٢. طلو ٤ ن ٣ ظ ٢ ا ٠ أ ح ح ١ و رخ ؾ. ٤ ز ٢ < هي أ ٤ ذ رو ٤ زش أ ح ز ٢ ك ٢ ػي ح ظ حء ي ٣ ش ألهض خ خ ح ٥ ح ال ٣ ؼ ف ح لو ٤ وش أ ح ح ١ ح زخ ٣ ؼ ف. ح و ش هي ط ػ ر ؽ ح ي خد ر ١ ء ػخ " كزخ ر ك ٢ ػخ ح زخ ". ٣ ق ح ح ١ ك ظ ػخ ح طل ش ا ٠ ػخ ح ز ؽ خ ؿي أ خى حهؼخ ػخ حأل ح ١ ؿؼ ػ ٤ ٤ طلظ م غ ح د ح ٠ ذ. ؿي ػخ ؿ ٤ ظ ػش ؤك ٠ ؼ ش خرش ح ٣ ز س "ح ص ٣ ؼخ". ك ٢ ر حءط ز ٤ خ ٤ ش هخ ح ٣ ؼظوي ح لذ ح خ ٢ ح ١ ز ٢ كو ٢ رؼ ٤ يح ك ٢ ح زخ ح ك ٤ غ خ ٢ ء لش ر ئ. ي ح و ش ك ٣ ز ٣ كو ٢ أ ٣ وخ ػ ٠ ل خف ح ؼ ٣ ق ػ ٠ ح ح ١ ح زخ ى ط رش ح طل ش. ح ؿ ح زخ ٤ ٣ أ ظ ا ٠ ح حء ؿ ٤ ػخ ١ ل ٢ )رط ٣ وش ل ش( ك ٢ ظز ح ل خهش ح ي ز ٤ خ ٤ ش. ٣ و ح ح ١ ط ٤٤ ح و ش ح و ذ ػ ٠ لظش ػ ٤ ي ح طخ ٤ حكيس ا ٣ خر ٤ ش. ريال ح ظؤ ٤ ي ػ ٠ كز أ أ ٣ ؼ أ ال ٣ لظخؽ ح يح ٣ خ ظؼز ٤ ػ خػ ألهض خ خ ح ح ١ رز خ ١ ش طظ خ. ٣ زي أ طل ٤ ح ٠ ح م خ ٣ ظال ٠ ك ٢ ح ظال رخػظزخ ئ ح ػ ٠ أ ػالهظ غ و ٤ وش خ خ ظزو ٠ أ ٠٣ خ ى ك س رخ ظ ٢ ك ٢ كي ع ح و ش ػ ي اؿالم ح م ا ٠ أ ل ٣ ي ى أ و ٤ وش ػ ٤ ي ح طخ خ خ ف طل ط هؼخط ي أ ؿزظ رخ زش خ خ ك ٢ ح حهغ ؿزش ٣ خث ش أؿ ح ظ ٤٤. 6. "The Tell Tale heart, Edgar Allan Poe" The title "the tell-tale heart" could be seen as essentially linked to the point of view. The teller of the story is the unreliable first person narrator who promised to tell the tale at the beginning of the story. Thus, the tell-tale heart could actually belong to the unreliable narrator, who by the end of the story has done two things: revealed his crime and his madness. He is trying to explain his behavior and defend himself, arguing that he is not mad or crazy. So he may be talking to police who have arrested him, or he may be talking to a doctor or psychiatrist who is examining him. The story's title refers to the beating heart that eventually drives the narrator to r is led to believe it is the beating of the old man's heart confess his crime. Significance of the first person point of view since the story is told by the main character, the happening is believable and does not up story. Presenting the reader with this point of view is vital to ad appear to be a m understanding the narrator's madness and the killing of the old man. The narrator who is the protagonist, says he will tell us the rove that he is not mad. He said that story of how he killed the old man in order to he killed the old man because he had a vulture eye which made his blood run cold. He thought he committed the perfect crime but he did not, because he gave the asked. He came back to the police all the information they needed without being precise scene of the crime and put his chair on the
very spot under which he hid the old man s body as he talked to the police. The whole story revolves around exploring tion of a deranged mind the ill psyche of the narrator. It is nothing but explore. An objective narrator, for example, would not enter the character's mind; thus it would indeed be impossible to discover his madness. The omniscient narrator would have to be equally interested in the old man's thoughts and feelings, which would detract or take away attention from the narrator's madness. The importance of this story being narrated in this point of view the details that reveal the importance of the unreliable first person narrator to this story revolves around his madness. Such details include how he performed his crime, which he calls "work". The extreme behavior, repetition of words, description of very acute or strong senses (hearing) and haunting thought all detail the narrator's madness. He gives an irrational reason to justify the killing of the old man. Another characteristic of madness is obsessive behavior, which is obvious in his repeated action of sticking his head into the old man's chamber, night after night at the same time (midnight) for seven nights. The point of view used in this story the unreliable first person narrator. This perspective is very important to this story because the whole story revolves around exploring the ill psyche (mind) of the narrator. We are invited to witness/experience 'slowly, slowly' and gradually, gradually" the narrator's madness. The whole story depends upon the perspective of the unreliable first person narrator. The narrator is unreliable because he is deranged or crazy. The story could have been as effectively told from a different point of view. The whole story Is an exploration of a deranged (sick, mad) psyche. We explore the mind of the narrator through his words; we see and hear his madness intensify (grow stronger) this is best presented through the unreliable first person narrator. The narrator plans, executes and conceals the crime; however, the things he tries to red forever. The narrator speaks of an cover up inside of himself will not remain cove illness that has heightened the senses: "Above all was the sense of hearing acute. I heard all things in the heavens and in the earth. I heard many things in hell." The mad; however, the reader soon realizes narrator repeatedly insists that he (she) is note narrator, who has now become a that the fear of the vulture eye has consumed Victim to the madness which he had hoped to elude. All this becomes more plausible and realistic only through the first person point of view, where the reader identifies s, thoughts, fears, and hopes with the story teller and experiences his/her feeling. The happening is believable and does not since the story is told by the main Character story. Presenting the reader with this point of view is vital to appear to be a Made understanding the narrator's madness and the killing of the old man. Human nature is r good and evil. Most of the time this balance is a delicate balance of light and dark maintained; however, when there is a shift, for whatever reason, the dark or perverse side surfaces. In this case, it is the "vulture eye" of the old man that makes the narrator's blood run cold. It is this irrational fear which evokes the dark side, and eventually leads to murder. An unnamed narrator opens the story by addressing the reader and claiming that he is says that he is going to tell a story in which he will defend nervous but not mad. He his sanity yet confesses to having killed an old man. yet he plans to prove his sanity by showing how "wisely" and with what extreme precaution, foresight, and dissimulation he executed his deeds. Tale Heart seems to be set within a house shared. Although not specific, The Tell by the old man and his killer. There is a mood of paranoia throughout the story as sees his the narrator is obsessed with the idea of the old man s eye, evil eye that cau blood to run cold. The mood actually wavers between that of sheer insanity as the narrator expresses maniacal glee at the prospect of doing away with his tormentor and paranoia.
In terms of point of view, this narrator is similar to the narrator in " Araby" he is now an adult who is narrating a past event. Thus he brings to his narration a complete understanding of the situation. This knowledge helps the reader to formulate ( to state, to express) a theme for this story. The narrator, for example, tells the reader about his pride, something that the child narrator would not have been able to understand of express. In this way the point of view helps to elucidate the theme of this story. All of the element of a short story work together to give the story its rich meaning " أهز ك خ ٣ ش ه ذ اىؿخ أال ر " ػ ح "ه ذ ح س" ٣ أ ٣ ظ طزطش ك ٢ ؿ خ ا ٠ ؿ ش ظ. ح حف ح و ش أ و ؿ ٤ ػ م ر ح ح ١ ح ١ ػيص و ل خ ٣ ش ك ٢ ريح ٣ ش ح و ش. رخ ظخ ٢ ٣ و ذ ح س ٣ ظ كؼال ا ٠ ح ح ١ ال ٣ حالػظ خى ػ ٤ خ ح ١ ك ٢ خ ٣ ش ح و ش طلؼ ٤ ج 0 ٤ لض ؿ ٣ ظ ؿ. ح ٣ لخ طل ٤ ح يكخع ػ ل رلش أ ٤ خ أ. كظ ٠ ح ٣ ح ظليع ا ٠ ح ١ ش ح ٣ أ و ح ح وز ػ ٤ أ أ هي ٣ ح لي ٣ غ ا ٠ ح طز ٤ ذ أ ح طز ٤ ذ ح ل ٢ ح ١ طي ر. ػ ح ح و ش ٤ ٣ ا ٠ ح و ذ ح خر ح ١ ٣ يكغ ك ٢ ح خ ٣ ش ٣ و ى ح ح ١ ا ٠ r ؼظوي أ ح ح ٠ د ه ذ ح ؿ ح ؼ حػظ ف ر ٣ ظ. هخ حأل ٤ ش أ وطش و ػ ح و ش ح و ٤ ش ح ث ٤ ٤ ش ٣ ليع ال ٣ لؼ ٣ ح و ش ط ي ٣ ن. ػ ح وخ ة غ ؿ ش ح ظ أ ك ١ ٤ ل ح ح ح ١ أ خ ظزي ؤ خ هظ ؿ ٣ ز ؾ ح ؼ. ح ح ١ ح ١ رط ح ح ٣ ش ٣ و ك ٤ و خ ح ٤ خ. هخ ا هظ ؿ ٣ ز ؾ ح ؼ أؿ ه ش ٤ ق ح هظ ؿ ٣ ز ؾ ح ؼ أل خ "ػ ٤ ح " ح ١ ؿؼ ح ي ى ح زخ ى. ح ٣ ؼظوي ح ح ط ذ " ؼخ ٤ ش" ح ٣ ش ٣ لؼ أل أػط ٠ ١ ذ. ػخى ا ٠ ح ١ ش ح ؼ خص ح ظ ٢ ٣ لظخؿ خ ى أ ح ي ح يه ٤ ن ٣ ش غ ٤ ػ ٠ ح ل ؿيح طلض ح ظ ٢ حهظزؤ ٤ جش ؿ ٣ ز ؾ ح ؼ ر ٤ خ خ ٣ ظليع ا ٠ ح ١ ش. ح و ش خ طي ك ح ظ خف ل ٤ ش ث خ ٠٣ خ ػو وظ ح ح ١. ح خ ٤ ض ح ظ خف. ح ح ١ ػ ٢ ػ ٠ ز ٤ ح ؼخ ٣ يه ح ؼو رخ و ٤ ش. رخ ظخ ٢ كب ٤ ك ٢ ح حهغ ح ظل ٤ ح ظ خف ؿ. ح ح ح ١ ٢ ح ؼ ٣ ذ أ ط ظ ش ػ ٠ هي ح خ حس ك ٢ حألك خ ح خػ ح ؿ ح ؼ ح ١ ؤ أ ٣ ظو أ ٣ ذ حأل ظخ ػ ح ح ح ١. أ ٤ ش ح و ش ح ظ ٢ ك ٢ ؿ ش ح ظ ح ظلخ ٤ ح ظ ٢ ط ق ػ أ ٤ ش ح و ش طي ك ال ٣ حالػظ خى ػ ٤ خ أ و ح ح ١ ا ٠ ؿ. ط ح ظلخ ٤ ٤ ق خ ٣ و ر ؿ ٣ ظ ح ظ ٢ ل خ رؤ خ "ػ ". ح ى ح ظط ف ط ح ح خص ق ك ح كخىس ؿيح أ ه ٣ ش )ح غ( ح ئ هش ٣ ؼظوي ؿ ٤ غ ح ظلخ ٤ ح ح ح ١. هخ ح ٣ ؼط ٢ زذ ؿ ٤ طو ٢ ظز ٣ هظ ؿ ٣ ز ؾ ح ؼ. ش أه خص ح ح ى ح و ١ ٢ ح لش ك ٢ ػ ح ظ ال ظ خم أ ا ٠ ك س ح ؿ ح ؼ ٤ ش رؼي ٤ ش ك ٢ ل ح هض ) ظ ق ح ٤ ( زغ ٤ خ. ؿ ش ظ ح ظوي ش ك ٢ ح و ش ال ٣ حالػظ خى ػ ٤ خ أ و ح ح ١. ح ح ظ ؿيح ح و ش أل ح و ش خ طي ك ح ظ خف ح ل ٤ ش ح ٤ جش )ح ؼو ( ح ح ١. ل يػ ٤ ي ح / ح وز س رز ٢ ء رز ٢ ء " " طي ٣ ٤ خ طي ٣ ٤ خ "ح ح ح ١. ح و ش خ طؼظ ي ػ ٠ ؿ ش ظ ال ٣ حالػظ خى ػ ٤ خ أ و ح ح ١. ح ح ١ ال ٣ حالػظ خى ػ ٤ خ أل وظ أ. خ ح هخ ح و ش ػ ٠ ل كؼخ ؿ ش ظ وظ لش. ح و ش خ ح ظ خف وظ )ح ٠٣ ش ؿ ( ح ل. ظ ق ح ح ١ هال خط. ل غ ؿ ط ؼق )ط ىحى ه س( أك ٠ ػ ي هال أ و ؿ ٤ ػ م ر خ ح ح ١. هط ٢ ح ح ١ ٣ ل ٣ ول ٢ ح ٣ ش غ ي كب حأل ٤ خء ح ظ ٢ خ ٣ لخ حألك ا ٠ حألري. ح ح ١ ٣ ظليع ػ ح ح ١ ح ظ ظ ىحه ل طزو ٠ ح ٠ ط خػي ف ح ل ح 0 " خ ك م ي ؼ كخى ح غ 1 ؼض ٢ ء ك ٢ ح خ حص خ ك ٢ حأل 1 ؼض أ ٤ خء ؼ ٤ س ك ٢ ح ل ٤.. " ؿ غ ي كب ح وخ ة ػخ خ ٣ ي ى ح ح ١ ح ح ٣ ح )ح خ( ٢ س ح ح ١ ح ١ أ زق ح ٥ رؤ ح و ف "ػ ٤ ح " هي ح ظ ي ل ٤ ش ح ح ح ١ خ ٣ ؤ أ ٣ ظ. ح ٣ زق أ ؼ هز ال حهؼ ٤ خ اال هال أ وطش و ؼ ك ٤ غ ٣ ليى وخ ة ح س حألك خ ح وخ ف ٣ ؤ غ ح ١ ح و ش طخ ر / ؼ خ. ٣ ليع ط ي ٣ ن ٤ ر خ أ هخ ح و ش ه ش ح و ٤ ش ح ث ٤ ٤ ش. ػ ح وخ ة غ ؿ ش ح ظ أ ك ١ ٤ ل ح ح ح ١ ٣ زي أ غ هظ ؿ ٣ ز ؾ ح ؼ. ح طز ٤ ؼش ح ز ٣ ش ٢ ح و ٤ ح. ؼظ ح هض ح ح ظ ح ح يه ٤ ن ر ٤ ح ٠ ء ح ظال ح ظ ح حإلروخء ػ ٤ خ غ ي ػ ي خ ٣ خى طل أل ١ زذ حأل زخد حأل طق ح خ ز ٤ ش ح ظ ش أ ح ٠ خ س. ك ٢ ح لخ ش "ػ ٤ ح " ح ١ ٣ ؼ ح ح ١ ح ؿ ح ؼ ح ي ري رخ ى. ح ح و ف ؿ ٤ ح ؼوال ٢ ح ١ ٣ ؼ ٤ ح خ ذ ح ظ ك ٢ ح خ ٣ ش ٣ ئى ١ ا ٠ ح وظ. ح ح ١ ٣ ق ػ ح ٣ لظق ح و ش هال ح ػ رؤ ٣ ؿ هطخر ا ٠ ح وخ ة ٣ و ح ح ذ ظل ٢ ه ش ح ١ ٤ يحكغ ػ ح ؼ ز ٢ ٤ ؿ. ح ح ؼو ر رؼي ٤ ل ي رؼي أ هظ ؿ ػ. ٣ وط ٢ إلػزخص ال ش ػو هال اظ خ ٤ ق أ "رل ش" غ خ حالكظ ٤ خ ١ خص ح يهغ ح ز ٤ س ح ظو ٤ ش أػي أكؼخ. ك خ ٣ ش ه ذ " ٣ زي أ ػش ىحه ظ ى ا ٣ ليىح " ا ط هز ؿ ٣ ز ؾ ح ؼ هخط. خى حؽ ؿ ح ؼظ ش ك ٢ ؿ ٤ غ أ لخء ٣ ه ظ خ ح ح ١ خؿ ك س ػ ٤ ح ؿ ح ؼ "ح ؼ ٤ ح ٣ س" ح ظ ٢ طظ زذ ك ٢ ح ي ظ ٤ ح زخ ىس. حؽ ح ح ل خ ح ح ١ ٣ ؼز ػ ح حهغ ٣ ظ ىى ر ٤ أ ح زطش ك ٢ حكظ خ ح ظو ؼ د ؿ ح ؼظ ش. ك ٤ غ ؿ ش ح ظ ح ح ح ١ ٣ ز ح ح ١ ك ٢ "ح ؼ ر ٢ " ح ٥ ح زخ ح ٣ ٣ ظ ى أكيحع خروش. ح ٣ طلغ ح ٠ ح ٣ ظ ك خ لخ ش. ط خػي ح ؼ كش وخ ة ٤ خؿش ) ي ش ظؼز ٤ ( ػخ ح و ش. ح ح ١ ػ ٠ ز ٤ ح ؼخ ٣ و ح وخ ة ػ كو حػظ ح حأل ح ١ ٣ هخى ح ػ ٠ ك ح ح ١ ح طل ٣ لش. ر ح ط ٣ وش ؿ ش ظ ٣ خػي ػ ٠ ا وخء ح ٠ ء ػ ٠ ع ح و ش. ػ ح ؼ ؼخ إلػطخء ح و ش ه ش ه ٤ س ؼ خ خ ح ٢ قصص الفاينل المتوقعة 7. Scarlet Ibis, James Hurst The title of this story related to the theme, It could be the difficulty of surviving in a hostile environment. Scarlet ibis are dyeing, we are told by the farther in the story that this bird is a native of south America and Florida. It is probably means that this bird cannot live outside its environment. Similarly, doodle was born a physically weak child; thus, when he was forced to do things by his brother that was beyond his capabilities he failed. The narrator was quite hostile towards doodle whom he probably felt limited his own freedom. The Setting important element to the meaning of this story. It used to reinforce the overall meaning of the story a hostile environment kills the individual as it does in scarlet ibis". The particulars of plot are, in fact, what make any theme possible, we analyze the events of a story in order to try come up with the general idea of the story. Here all the details of plot work together to help clarify the theme in this story. The two characters, the narrator and doodle, are essential in bringing out the themes. Without them, no action would have been possible. it is in fact the relationship between these two characters which makes all of the