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From The Three Dirges Marshall Bennett Connelly used the stylistic literary techniques to provide the readers with realistic image of war. The Three Dirges contain dialogues where the characters speak with sharp abrupt phrases. The themes of conversations alternate each other. Separate remarks amplify with phrases that strike with peculiarities of literary style and ideological constructions. The story is rich in stylistic methods peculiar to Marshall Bennett Connelly such as certain logic, syntactic, semantic, rhetorical and figurative styles. Even the title of a short story, The Three Dirges, sounds differently.
First it sounds strange, when you start to read the story, and when you finish reading it, you understand the title in a completely different way. When you start to read it, this word combination seems to be didactic and even pathetic. However, at the end of the story you realize that the title is not too far-fetched. It helps us to understand the nature of events, intonation that cannot be imitated; it can be achieved only through suffering. Among other functional tasks peculiar to The Three Dirges, the main task of stylistic techniques was to intensify the text and to make it more emotional and realistic. All literary techniques are subordinated to this aim.
They create a realistic image of the war. Depending on the logic of construction the text had to be easy to understand. In order to comply with the aim, the text is emotionally condensed. The values and understandings of the text are not individualized.
They are authoritative for the reading audience. The stories about the war can be different. One of them completely focused on self-digging, whereas others lay a claim to a picturesque vivid description of events. This text, is actually, a chronicle of tragic events. The author manages to record events that are difficult to catch by a human eye. The descriptions of landscapes and nature sounds like music: [pump! ] -- an Indian skyrocket streaked into the sky.
It seems, you see the grey tail of an Indian skyrocket racing above the center of the town, followed by a pale orange and yellow burst. The descriptive technique is perfect. What concerns the events, the author manages to find room for such enormous quantity of people, situations, events, actions, suddenness, instant observation and conclusions that could be located only in the most active and full life, the life at its at the breaking point. In short, - the war. The war is everywhere; the story is a non-stop action. We need to write the word action in capital letters because the story has no time for breathing-space.
Even when nobody shouts, fights, kills, screams, speaks, even when the rockets streak and the ultimatum is pronounced, even then the current of narration doesnt slacken its pace. It simply changes the coloring. The author shows bitterness and suffering of people. The feeling of despair and bitterness runs through the entire story. The world here is described as an abyss, a hellhole, a quagmire.
In this hellhole the cost of human life is miserable. It is as worthless and insignificant as a tiny shell of a boat that strives through the surge. Tragedy, suspense, intensified phrases, reiterations, prosaism's, - all these techniques are used in the story. The author tries to express sounds: [BONK! ]... [BONK! ]... [BONK! ]... The bell in the mission of the town began to clap in a flat, thick bass, and when you read it seems you hear the sounds. The picture is real.
The use of comparisons is brilliant: the little village of San Martin Comitan lay draped, like a wrinkled quilt, people who cried as a congregation with one insistent voice make us to feel the reality of events. The assonance's fit the emotional content as well. Subdued voices, tragic words, sharp short phrases immerse the reader into the universe full of suspense. The events here are colored with a black color of death, the color of danger and internecine battle. Such arrangement of key points leaves a lasting impression on a reader. The writer allows no slogans in a manner life defeats the death.
He is not disposed to slogans. Only when he describes a dialogue between the women and the weathered old campesino, he underlines that people are prepared for anything to reach the aim: (Tata Paco) I will go to the very gates of hell tonight, Maria Xquic, to tell the devil himself of a mother's son who has slain his brother, that Filipinos might be freed from his memory and liberated from the curse of his name forever!" These phrases remind us weeping and wail. When you read the story, you can compare it with folklore. We can hear pity and compassion that play the important role in the story.
The semantic match and use of word combinations such as crying uncontrollably and on the verge of collapse, a chorus of hatred, oaths of defiance also add to emotionally heightened phrases. The text is very expressive. For example, Tata Paco Albany, who says that the militaries will not stop until they have killed each one of [us] people who ask emotional questions whether they will see Father Jack borne to his grave at the hands of the murderous militaries Sylvia Perez, who says that she is going to raise [our] voices against the evil and, finally, the extremely high ending comes: And then it stopped. Just as quickly as it had begun, the shooting ended. Just as the earth had opened to receive the fresh sacrifices of furious, hot blood, it was over. The song at the end of the story sounds like a monotonous doomed spell: Leave us, Maria, as a sacrifice, that we may live in peace.
Leave us, Maria, for a sacrifice, that our curse may find release
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