Lines 1, 2, 5, 8: grieved, grief, dead, died, death In particular, there are local cohesions at: Gret only participates in the ordering of the meal. The characters Isabella, Nijo, Joan and Marlene all talk cohesively about these subjects but notice that they almost always use the pronouns I/me. Two discourses run parallel, one about the ordering of a meal, and one about death, religion and sin. It is relatively easy, in this extract, to pick out the lexical cohesion – and the author has helped by making it explicit via her notation system. These characters are interacting, but not fully.Ĭompare your answer with the sample answer below: Commentary Their individual texts are cohesive, but their joint discourse in the sequence paragraphs 6-11 is not.
There are some more local lexical cohesions: the repetition of hair in paragraphs 4 and 5 footmen, butler, pantry, silver, Marquise and family, cousin in 4 and 6 the number sequences in paragraphs 9 and 11.īoth Matthew and Walter are preoccupied with their own concerns and only pay half attention to the other. At no point does Matthew enter into Walter’s reverie about having been an aristocratic painter. In paragraph 11, Matthew continues with lexemes unmarried, bachelor, and in paragraph 12 Walter finally returns to Matthew with the word paper, referring anaphorically back to the census of paragraph 9. In paragraph 10 Walter ignores this and continues with his own cohesion with paragraphs 4, 6, and 8 with the lexemes him (referring anaphorically to Monet), easel, Monet, painting, scene. In paragraph 9, Matthew is cohesive with paragraphs 1, 2, 3, 4, 5, 7, with the lexemes unmarried, divorced, widowed, bachelors. In paragraph 8, Walter is cohesive with paragraphs 4 and 6 with the words Monet and studio. In paragraph 7 Matthew continues with pregnancy in be fruitful and multiply. In paragraph 6 Matthew and Walter begin to diverge: Walter continues with the lexeme paint. Matthew provides cohesion with marriage with expecting a baby in paragraph 5. (A lexeme encompasses all the derived forms, so the lexeme marriage contains marry, married, marrying, marriageable, etc.) In paragraph 4, Walter uses the euphemism got a young woman into trouble for ‘got pregnant’, which is in the same semantic field as marriage (in the wider context of the novel, it will transpire that Walter is a fantasist), and goes on to link this to the lexeme paint. In paragraph 3 Matthew continues the cohesion by repeating the lexeme marriage. Walter answers anaphorically in paragraph 2. Matthew begins with an observation about marriage. Muriel Spark, 1960, The Bachelors Analysis of lexical cohesion ‘Put that vulgar little bit of paper away,’ Walter said. Since 1951 the bachelor population has increased by –’ġ2. ‘Unmarried males of thirty and over,’ said Matthew: ‘three hundred and fifty-eight thousand one hundred. Monet was silent for fully ten minutes – the painting was a simple, but rather exquisite roof-top scene –’ġ1. ‘I can see him now,’ said Walter, ‘as he was when he was assisted into a chair before my easel. That’s including divorced and widowed, of course, but the majority are bachelors –’ġ0. Unmarried males of twenty-one and over: six hundred and fifty-nine thousand five hundred. He straightened out the sheet, following the typewritten lines with his finger, as he read out, ‘Greater London, the census of 1951. ‘These are the figures,’ Matthew said, and took from inside his coat a bundle of papers from which he selected one which had been folded in four, and which was split and grubby at the folds. Just before he died he visited my studio with his friends, and –’ĩ. It’s everyone’s duty to be fruitful and multiply according to his calling either spiritual or temporal, as the case may be.’Ĩ. ‘I’ll tell you this much,’ Matthew said, ‘there’s no justification for being a bachelor and that’s the truth, let’s face it. ‘I went abroad to paint, but my cousin the Marquise –’ħ.
She’s got long black hair.’ He saddened into silence and gazed upon the girl in jeans dispassionately, recognizing her as Ronald’s former girl-friend.Ħ. Matthew said, ‘I know a girl who’s expecting a baby by an old spiritualist. My hair turned white at the age of nineteen.’ĥ. The family made a settlement and I went abroad to paint. Of course there was no question of my marrying his daughter.
The butler caught him reading Nietzsche in the pantry. ‘I got a young woman into trouble at the age of eighteen,’ Walter said. Every time I go home to Ireland my mother’s ashamed that I’m not married to a girl.’Ĥ. My sister wants me to get married and so does my uncle. ‘Only my brother-in-law thinks I should get married. ‘I haven’t anyone in mind,’ Matthew said. ‘I’m thinking of getting married,’ Matthew said.ģ.
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