Page 92 - The Language of Humour
P. 92

WRITTEN TEXTS—LITERATURE 79
            number twenty unable to define a horse.’ This parodies the curt style
            associated with a  blunt, plain-speaking man.  He uses a  number  of
            absolute terms: ‘nothing, alone, ever, only’. In the words of Ambrose
            Bierce, he is ‘Positive at the top of his voice’. Though plain-speaking in
            terms of sentence structure, he uses a formal level of lexis: ‘veterinary
            surgeon, farrier’. These terms are thrown into contrast with the words of
            Sissy Jupe, who had just referred to her father: ‘he belongs to the horse-
            riding’. She has already been  established  as the likeable foil to
            Gradgrind and to the younger version, Bitzer, by the use of words with
            favourable connotations: ‘a deeper and more lustrous colour from the
            sun’. In contrast, the words used to describe Gradgrind, his schoolroom
            and his favoured pupil have a negative range of connotations: ‘vault’,
            ‘cellar’, ‘cannon’ etc.
              The narrator is also infected with Gradgrind’s style  of speech and
            repeats the word ‘square’  in almost every sentence. The sentence
            structure imitates the monotony  to which he  refers,  by beginning a
            series with The emphasis was helped by…’. This clumsy repetition helps
            to create a sense of irony, as the reader does not feel that anything is
            ‘helped’, rather ‘hindered’. The  absurdity of  Gradgrind’s  views  are
            highlighted in his statement ‘Sissy is  not a name’, saying something
            which is patently not true (Grice’s maxim of quality). He continues to
            refer to her as ‘Girl number twenty’—using numbers not names has a
            range of aggressive or impersonal connotations.
              Gradgrind himself  is the butt of the  humour, particularly  in the
            physical descriptions linking the man to solid, inanimate objects. The
            caricature reaches its most absurd  level when his head is  compared,
            incongruously, to both a plantation of firs and a plum pie. The direction
            of  the  satire is widened out  to  embrace Facts, in the image of his
            ‘neckcloth, trained to take him by the throat with an unaccommodating
            grasp, like a stubborn fact’. The absurdity of his view of knowledge
            is shown in the contrasting attitudes to Sissy’s and Bitzer’s knowledge
            of horses: ‘Girl number twenty possessed of no facts, in reference to one
            of  the commonest of animals.’ (It  is  her  father’s  trade!) The desired
            answer is a wonderful exaggeration of a collection of incidental facts,
            expressed in abbreviated sentences with scientific jargon: ‘Quadruped.
            Graminivorous. Forty teeth, namely twenty four grinders, four eye-teeth,
            and twelve incisive. Sheds coat in the spring; in marshy countries, sheds
            hoofs too. Hoofs hard, but requiring to be shod with iron. Age known
            by marks in mouth.’
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