разбор книги Чарли и шоколадная фабрика

THE CONTENTS
1. INTRODUCTION……………………………………………………… 3
2. THE SUBTEXT………………………………………………………... 5
2.1 The Definition of the Term “Subtext” …………………………….. 5
2.2 Theory of the Emergence and Perception of the Subtext Reader….. 11
2.3 The Expression of the Subtext …………………………………….. 15
3. THE ALLUSION……………………………………………………..... 18
4. THE IDENTIFICATION OF THE SUBTEXT AND ALLUSIONS IN
THE BOOK OF ROALD DAHL "CHARLIE AND THE
CHOCOLATE 20
FACTORY"……………………………………………………..
4.1 Charlie Bucket…………………………………………………….... 20
4.2 Augustus Gloop…………………………………………………….. 23
4.3 Violet Beaurearde…………………………………………………... 26
4.4 Veruca Salt…………………………………………………………. 28
4.5 Mike Teavee………………………………………………………... 29
4.6 Willy Wonka……………………………………………………….. 31
4.7 Parents……………………………………………………………… 33
4.8 Result………………………………………………………………. 34
5. CONCLUSION………………………………………………………… 37
1. INTRODUCTION
Roald Dahl's book "Charlie and the chocolate factory" was written mainly
for children. It is presented in the genre of fairy tales, there are a lot of unrealistic
events. Thus, reading this book parents and children do not take it seriously and do
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not see it as having a special deep meaning. When people read this book for the
first time they see only the "shell" works, but actually this book has a deeper
meaning. It reveals many issues that are relevant in the modern world, and this
book is very informative. Furthermore, it is useful to read not only for children but
also for adults. But in order to understand and reveal all of the meaning attached by
the author it requires several readings.
In this regard, the relevance of this study lies in the fact that people often,
especially in today's world, reading a particular book, do not think about the
meaning that was given by the author in the book through implication. Although,
this point is very important in reading a book, because if we understand the
meaning of the book, it may open us a different side than when we read it
mindlessly. Understanding the meaning of the book, we understand all the
problems and thoughts that the author wanted to show us. Also the book "Charlie
and the chocolate factory" is very popular now and there were even shot some
films. Therefore, this book needs to be explored in order to understand its meaning.
The hypothesis of this research is that this story has a deep meaning that can
be proved by usage of subtext and allusions.
To verify the hypothesis the following aim has been set to explore Roald
Dahl's book "Charlie and the chocolate factory" to learn all the characters and their
behavior to identify the hidden meaning that the author wanted to express through
subtext and allusion.
Therefore, the tasks that have been set are:
 to reveal the concept of "allusion" and "subtext";
 find out how subtext is expressed in the text;
 how the reader perceives the subtext;
 to learn all the characters, their nature, their behavior described in the
book;
 to analyze the book and reveal subtext and allusion in the text.
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The object of the study is the book of Roald Dahl "Charlie and the chocolate
factory".
The subject of the study is the characters, their personalities, their behavior
and the punishment they received for their immoderate desires.
The practical importance of the research is in the fact that in the book
"Charlie and the chocolate factory" a lot of subtext is incorporated and the text
contains a lot of allusions that fill this book with a huge meaning. This book can be
studied on the lessons in the school curriculum to teach students to identify and to
perceive the meaning and the subtext, pledged by the author in the work.
All the research consists of introduction, 3 main chapters, which are divided
into sub chapters, and conclusions. The first chapter is entirely devoted to the
subtext, or rather what it is, how it is perceived by the reader and how it is
expressed in the text. The second chapter explores what allusion is and what types
it is divided into. In the third chapter, the characters from the book of Roald Dahl
“Charlie and the chocolate factory” were studied. Each character was in the focus
of a separate part in this Chapter. Every part researches the behavior of the
characters, their desires and their punishment.
The work of I. R Galperin called "Grammatical categories of the text" and
work T. I. Silman "Subtext as a linguistic phenomenon" helped me most in the
research, in them they saw what subtext is and how it is perceived by the reader.
H.-G. Gadamer made great contribution in solving the question of how the reader
perceives the subtext and describes it all in his work "The relevance of the
beautiful".
2. THE SUBTEXT
2.1 The Definition of the Term “Subtext”
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What is the subtext? The general theory of subtext has not been formed
completely yet. There are many unresolved issues:
 the exact role of subtext in a literary text;
 the distinction between subtext and related phenomena;
 the formation of subtext, its perception by the reader, and many
others.
The subtext became known from the VI-V centuries BC and is associated
with the name of the ancient Greek fabulist Aesop. But the subtext has been
applied in the artistic subtext relatively recently, at the end of the ХVII century.
The most active use of subtext began in literature of the ХХ century.
Sometimes the concept of "subtext" is confused with the concept of
"allusion", as they are very similar. But still the concept of "allusion" is different
from the concept of "subtext", because the allusion is a literary image, which the
author borrows from the biblical stories, ancient or medieval mythology or the
works of other writers. The purpose of such borrowing is to draw a parallel
between his own literary creation and already created in widely known work. Thus,
it is possible to say that the allusion is borrowing and the subtext is a hidden
meaning, therefore they are different.
Many linguists began to examine the subtext, define, and give its definition.
For example, the linguist E. N. Solovieva said the subtext is "a meaningful
addition"1 , philologist L. A. Golyakova defines subtext as "the most important
component of the semantic structure of the artwork" 2. Linguist V. Y. Markin
believes that the term "subtext" is a duplicative of the term "meaning", as laid
down in philology tradition understanding of the subtext as a second, parallel
meaning is contrary to its very nature, because the sense is "the nature and purpose
statements in the actual speech"3. And the theory of the philologist V. A.
1
Solov'eva, E. N. To the question of creation of hidden meaning // Russian language in school. 2006. No. 1. page
73.
2
Golyakova L. A. http://www.dissercat.com/content/ontologiya-podteksta-i-ego-obektivatsiya-v-
khudozhestvennom-proizvedenii
3
Mirkin V. Y. The text, subtext and context // Questions of linguistics. 1976. No. 2. page 88.
5
Kukharenko identifies the concept of "subtext" and "implication": "The subtext
(implication) is a way of organizing the text, leading to a sharp increase and
deepen and change of the semantic and/or emotional and psychological content of
the message without increasing the length of the last" 4. And so he writes: "the
subtext (implication) is, broadly implemented in the linguistic matter of the text,
creating semantic depth of the artwork, developing in addition to (and/or changing)
to linearly expanded information, which supports one of the main ways of
formation of the concept"5.
The concept of "subtext" is seen from the perspective of the semantic
approach. So the literary critic V. K. Halisi wrote that "the subtext is the hidden
meaning of the statements arising from the relation of word meanings with context
and especially speech situation"6. Linguist M. N. Kozhin thought: "Subtext is the
true (original, deep) meaning of the utterance (the text), which are not fully
expressed in "tissue" of the text, but which exists, can be uncovered and
understood when addressing a specific analysis to the whole situation of
communication, structure of communication"7, and scholar K. A. Dolinin had the
opinion that "the subtext or implicit content is the utterance content that is not
expressly embodied in the usual lexical and grammatical meanings of linguistic
units that make up the statement, but is extracted or may be extracted in its
perception"8. In all these definitions the subtext is identified with the implication,
as in the theory of V. A. Kukharenko. From all these definitions it is possible to
form an overall semantic understanding of the subtext: the subtext is a part of the
semantic structure of the text, which is created deliberately by the sender and
perceived by the recipient due to the analytical procedure, involving the processing
of explicit information and a conclusion from its additional information.
4
Kukharenko V. A. Interpretation of the text. M.: Education, 1988. page 181.
5
Kukharenko V. A. Interpretation of the text. M.: Education, 1988. page 181.
6
Halisi V.K. The implication of owls owls a brief literary encyclopedia. Moment. 5. M., 1968, page 830.
7
Kozhina M. N. The ratio of stylistics and text linguistics // Philological Sciences. 1979. No. 5, page 63.
8
Dolinin K. A. Implicit content of statement // Questions of linguistics. 1983. No. 4, page 40.
6
The above given definition interprets the subtext as the semantic structure of
the text. From the point of view of this concept, the subtext intends for intellectual
perception, which "acquires a specific the double-ply nature; when to directly
perceived information conveyed in the directly perceived object structure is added
another, hidden, emanating from the model of the object information" 9. One of the
research works on this topic was conducted by the linguist I. R. Galperin, the
concept in relation to the subtext became one of the most popular concepts of the
text in the native linguistics. I. R. Galperin defines the subtext as additional
information in the text "which arises due to the ability of the reader to see the text
as a combination of linear and supralinear information" 10. He regarded the subtext
as the organization of content-factual information (CFI), "which excites the idea,
not organically connected with the presupposition or implication" 11. Also I. R.
Galperin introduces the concept of "content-subtext information" (CSI),
distinguishing between subtext on the part of the semantic structure of text and
information, which is based on CSI. ("CFI - description of facts, events, places,
actions, time of occurrence of this action, the reasoning of the author, the
movement of the plot. CCI is an expression of the worldview of the author, the
main idea of work". CSI is the background of the message, hidden, optional
information arising from the interaction of CFI and CCI.).
I. R. Galperin concluded that "the subtext is kind of "dialogue" between
content-factual and content - conceptual aspects of information; parallel two
streams of communication - one, expressed by linguistic signs, the other created by
the polyphony of these signs in some cases, closer together, complement each
other, and sometimes collide"12.
9
Zvegintsev V. A. the Proposal and its relationship to language and speech. 1976, page 298.
10
Galperin I. R. Text as an object of linguistic studies / USSR Academy of Sciences, Institute of linguistics. M.:
Nauka, 1981, page 47.
11
12
7
There have been quite a lot research works, which reflected the semantic
approach to the subtext, but in modern linguistics, the work of I. R. Galperin
remains one of the best studies of the problem of subtext. Still, in general, it has
the interpretation as information implicitly contained in the text.
Most of the researchers consider the subtext as the semantic structure of the
text, but there are concepts relating to the formal (syntactic) and pragmatic
structure of the text. These concepts can account for some equally important
aspects of the subtext, which ignores the semantic approach.
Philologist-linguist T. I. Silman was one of the first to attempt to examine
the subtext of linguistic concepts. In her article "Subtext as a linguistic
phenomenon," she defines the subtext as "dispersed, distanced repeat, ... the basis
of all the underlying value is always the former once already in one form or
another played again"13. She interprets the subtext as a formal phenomenon, which
is part of the syntactic structure of the text, which always has a double-peak
structure. The first vertex specifies the topic of the utterance, creating a "situation-
basis", and the second using the material defined the primary segment of the text
creates in the appropriate place in the text, the subtext. Researcher, uses the term
"subtext", applying to receive the dispersed repeat, and the second top", that is, the
segment of the text, repeating something entered in the "basis". T. I. Silman has the
opinion that the subtext of how distant the location of the situation-basis and the
situation repeat "leads to an erosion of the accuracy of repetition and the creation
of an uncertain psychological atmosphere, psychological (associative) "halo". It is
this "halo" surrounded the situation snooze, by the interaction with the situation-
based, embroiled along with his "halo" in a new situation. This is a clash between
primary and secondary values, a situation which gives birth to subtext" 14. T. I.
Silman understands the subtext as a form of "dispersed repeat, which occurs in the
background and the subject constant change and deepening of contextual links. It
is a complex phenomenon, representing the unity of diverse language levels,
13
Silman T. I. Subtext as a linguistic phenomenon. 1969. No. 1, page 85.
14
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lexical and syntactic, signed in terms of overall compositional relations of a
literary work"15.
T. I. Silman considered the subtext as the category of text, which includes
cohesion, or connectivity, which is implemented by repetition and anaphoric
means of language16."The increment of meaning" is distinguished by subtext from
other types of repetition that occur precisely because of the distance, spaced
"basics" and subtext. Linguistic scholars identify the subtext as the tools and are
determined that the connotation is a linguistic phenomenon that represents a
particular means of expression, which is more associated with linguistic tools.
Thanks to the language of intuition, which reflects the idea of the importance of
the word, the term "subtext" is used at the level of the surface structure of the text.
Some researchers have considered the subtext as a pragmatic effect. In
research works of V. A. Kukharenko it is possible to detect part of the pragmatic
structure of the text17.
V. A. Kukharenko, in "Types and ways of expressing implication in the
English artistic speech (on the material of prose of E. Hemingway)" states that "the
subtext is deliberately elected by the author of the manner of artistic
representations of phenomena, which has an objective expression in the language
of products"18. He directed his research not on the texts but only on the artistic text.
As the sphere of functioning of language is determined not only by formal and
semantic resources but more communicative tasks, intentions of participants of
communication are implemented within the boundaries of the corresponding
sphere. Therefore, the texts which level of difficulty is superior to the
communication skills of the audience for which they are intended, drop out of
journalism, even if they are provided with all the formal signs of a nonfiction text.
15
16
Galperin I. R. the Grammatical category of the text. Series of literature and language. 1977. No. 6., page 527.
17
Kukharenko V. A. Types and means of expression implications in English fiction (based on the prose of
Hemingway) // Philological Sciences. 1974. No. 1, page 13.
18
Kukharenko V. A. Types and means of expression implications in English fiction (based on the prose of
Hemingway) // Philological Sciences. 1974. No. 1, page 72.
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Thus, the researcher limited the scope of use of the term "subtext" only to artistic
texts limits the space of realization of the understanding of this phenomenon.
For the perception of the fiction text the question of the correlation of
linguistic means and their varied aesthetic function in the context of fiction is
extremely important. The main role in the aesthetic organization of the text
belongs to the word as the basic unit of language around which we organize all
other units. Getting into the art of context, the word is addressed not only to reality,
but is creatively created in the artistic creation of a special world. The word in a
literary text is enriched and starts to live according to the laws of complex aesthetic
whole. It appears in all the richness of nuances and colors, becomes an instrument
of creative thinking.
The word in a literary text simultaneously operates at least at three different
levels: semantic, metasemiotic and linguopoetics and, accordingly, may be subject
to three types of analysis. The first two levels relate to the field of linguistic style
and involve the delineation of the actual semantic content, the semantics of words
and overlapping its expressive-emotional-evaluative nuances, or connotations. The
third level of perception has to do with more subtle and complex aesthetic features
of words directly related to the ideological and artistic content of the work.
Linguostylistic analysis is the universal, in the sense that it is applicable to any
piece of speech, regardless of the functional style19. Linguostylistic analysis equals
the product of speech belonging to different registers, puts them on the same level.
However, in the case of literary texts, this unique and original type of speech
activity, linguostylistic analysis is only the first preliminary step in its
investigations.
Much more meaningful "pragmatically" step is the introduction to a literary
text (subtext) the term "manner", "knowingly elected". The text is a chain or
hierarchy of verbal means, which reflect some preference, inclination, installation
of the speaker. Therefore, the definition of subtext as the manner of presentation is
identified with the speech activity of the speaker. According to V. A. Kukharenko,
19
Zadornova V. J. On the application of formal analysis to the texts of different functional styles. 1984. page 109-
119.
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activity side of the subtext is one way of organizing the text, leading "to an
exponential growth and deepening and change of the semantic and / or emotional
and psychological content of the message"20.
Various approaches to the subtext have their own characteristics, so the
subtext as a kind of pragmatic structure of literary text based on the identification
and generation of both surface and internal structure of the text. Understanding of
the subtext as part of the semantic structure of the text puts into practice the use of
the word "subtext", as selection favors a certain way of information transmission.
Subtext as a linguistic phenomenon "natural phenomenology" of a literary text
occurs in a collective experience and is reflected in everyday language.
2.2 Theory of the Emergence and Perception of the Subtext by the

Reader
There remain questions about how the reader perceives the text as subtext
emerges. To address these issues, it needs to go back to the research of T. I.
Silman. The researcher studying these issues, indicates that "...distant collision of
segments of the text brings a whole new shades of perception that was once the
case, immersing the reader into the atmosphere of vague associations, in an
atmosphere more or less approximate and semantic echoes roll call, from which
the phenomenon of overtones is born"21. With all this T. I. Silman implies that the
text is the projection of the verbal manifestation of thought, which occurs due to
the hidden mechanism of associative thinking.
The theory of T. I. Silman complements the study of K. A. Dolinina. The
researcher draws attention to the fact that "implicit contents associated with the
presence in the text some "lacunae" - gaps, misunderstandings, ambiguities,
contradictions, violations of any rules"22. Therefore, we can assume that the use of
20
Kukharenko V. A. interpretation of the text. Moscow, 1988, page 181.
21
22
Dolinin K. A. Implicit content of statement // Questions of linguistics. 1983. No. 6. page 37-47.
11
imagery and not quite correct lexical compatibility indicates implicit information,
and it helps to capture and understand the subtext. But it needs to be aware that not
every reader is able to understand the violation of language norms, as the
understanding of hidden “markers” depends on the thesaurus of the reader. It turns
out that the more developed the thesaurus is in humans, the more the reader can
analytically understand the text and more specifically perceive implicit “markers”
that are created by the author.
To understand this question, it is necessary to go back to the research of I. R.
Galperin. Considering how subtext is perceived by the reader, he was in agreement
with the opinion of the researcher T. I. Silman, saying that "a Text can cause
images... These images are not indifferent to the content of literary and artistic
works"23. But studying the question of the mechanism of implication of the
researcher has his own point of view. I. R. Galperin said that the subtext - "the
phenomenon is purely linguistic, but is inferred from the ability of proposals to
generate additional meaning through different structural characteristics, diversity
combination of sentences, symbols linguistic facts"24. He believed that the subtext
cannot be caught by reading the text once, this is possible only with repeated
reading when the subtext starts to be perceived through the content-factual
information (CFI).
The implication, according to I. R. Galperin is also related to content-subtext
information (CSI), as it implies a person's ability to simultaneously perceive reality
in multiple dimensions or to perceive different relations, which at the same time
related to each other.
Therefore, I. R. Galperin distinguishes two kinds of CSI: situational and
associative.
Situational CSI is evident from facts, events that were previously described
in the stories and novels. Contextual subtext directs the reader to the precedent,
23
Galperin I. R. Text as an object of linguistic research. The Institute of linguistics. 1981, page 20.
24
Galperin I. R. Text as an object of linguistic research. The Institute of linguistics. 1981, page 42.
12
historical or literary facts, events, because the implication due to CSI can be
historical or literary.
Associative CSI on the contrary is not connected with the facts described
previously. It is due to the habits we tend to associate verbally presented with all of
our personal or social experience. Unlike situational it is more uncertain and fuzzy.
Associative subtext is associated with all of our senses (sight, smell, touch,
hearing), life experience and many more.
From the study of I. R. Galperin, we can conclude that in fiction except as
explicit narrative lines, there is the implicit (semantic) line, which arises by
subtext. Implicit line more fully reveals the meaning and theme of a literary text in
contrast to the explicit. It also confirms the literary critic D. M. Urnov, saying that
"...every truly artistic work reflected "a century of accumulation," the burden of
traditional ideas, is developed to the simplicity of the adopted and natural.
Standing somewhere between the lines, behind the text, the subtext shows these
views, like the counterweight, a drive mechanism of simple actions of the
characters"25.
One of the concepts of those issues, which found many followers, was the
concept of the philosopher, F. D. E. Schleiermacher. He suggested that "the
perfection of art as integrity is, first of all, that artwork is something closed in
itself"26. According to this, F. D. E. Schleiermacher developed the theory of
hermeneutics – the theory of the hermeneutic circle. The circle implies that it
closes in a dialectical unity of part and whole, and involves the interpretation of the
whole through its parts, and the interpretation of the parts, through their relation to
the whole. The circle is limited to the text, and the reader is outside the circle, but
nevertheless the reader may to a greater or lesser extent (depends on what the
reader’s thesaurus is) fully recreate the author's intention. This theory implies that
the reader draws from the text the art of subtext, thanks to the penetration into the
spiritual world of the author.
25
Urnov D. M. the Thought expressed and latent (subtext in modern prose) // Questions of literature. 1971. No. 7.
page 56.
26
Schleiermacher F. D. E. Lectures on aesthetics History of aesthetics: Monuments of world aesthetic thought.
1967. Vol. 3. page 292-293.
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The philosopher H. G. Gadamer does not quite agree with this theory, since
F. D. E. Schleiermacher did not consider one important detail in his theory.
Namely, that after writing the text becomes independent from the author, the text
goes into the hands of the reader. The reader not only penetrates into the author's
meaning of literary text but creates his own. In this situation, the text is the link
between the author and the reader. Thus, the literary text contains in itself the
intention of the author, the text, and a new meaning created by the reader. It turns
out that the author and the reader find each other in a dialogue within the
hermeneutic circle, their communication is performed through background
knowledge. And so H. G. Gadamer in his theory include the reader in the
hermeneutic circle, unlike F. D. E. Schleiermacher.
In his theory H. G. Gadamer developed the idea that "the range of
understanding cannot be limited to nor even that the author originally had in mind
nor the interests of the person who was originally addressed" 27. Because the
meaning of any text is the sum of all relationships – both conscious and
unconscious of a person, so if a reader misses something, it limits the
communication, and, thus, restricts the meaning. Almost always the person is not
given the whole meaning of the text before the end, but only part of the total
meaning. People can also form new connections with the object, that is, to invent a
new meaning of the text.
The theory of H. G. Gadamer supports the philologist I. A. Solodilova, she
writes that: "If the old hermeneutics, in the explanation of the process and results
of interpretation faced with the need to get out of this circle or break it down, now
the impossibility and uselessness of this approach is emphasized. The challenge is
not to go out of this circle and to have a right to enter into it"28.
There is another approach to the study of subtext, but it is the opposite of the
above theories, it is based on the absolute primacy of the subject of perception.
This approach is described in the research of R. V. Ingardena29.
27
Gadamer, H.-G. the relevance of the beautiful. 1991. page 85.
28
Solodilova I. A. Sense in the light of hermeneutic exercises. 2003. No. 4. page 67.
29
Ingarden R. V. Studies on the aesthetics. 1962.
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R. V. Ingarden states that "the work of fiction is not, strictly speaking, a
particular object of aesthetic perception. It, taken by itself, represents only the
skeleton, which in some respects is supplemented or completed by the reader, and
in some cases subject also to changes or distortions"30. Due to the receptive-
constructive activity of the reader, it is the main source of additions and
transformations in the text. This implies that the decisive role in the interpretation
of the text has only the individual reader, and his thesaurus which is due to a
number of reasons: historical, social, national, cultural, spiritual, psychological,
age and many others.
2.3 The Expression of the Subtext
In various works devoted to the description of the subtext different means of

expression are called. Among them - polysemantic words (more precisely, their
contextual beyond usage values); deictic words; particles; diminutive morphemes;
shouting; different types of repeats; parceling; violation of logical sequence; the
pauses, etc. Common to this set of tools is that they can be considered as
additional, optional elements of the text, only lying over the "minimum
communication" text, that is, means for the transmission main, explicit
information. This is natural, because the presence in the text implicit information
requires additional marking and cannot be denoted by means included in
"communicative minimum." But we should remember that there are no signs
expressing the basic, explicit information, and tools which primary function is the
expression of implicit information.
The means of expression of the subtext listed below can be divided into two
parts. To the first part such things as diminutive morphemes, deictic words,
particles, repetition as a means of creating coherence of the text can refer. This list
is not complete - in fact, any language feature can be included in this list. Much
more significant is to identify the second part - means of additional marking of
30
Ingarden R. V. Studies on the aesthetics. 1962. Page 72.
15
language. The first group of such means - a violation of the standard of functioning
of language means. This group includes parceling, ellipse, default, breach of
syntax or logical order of the components of the utterance. This violation leads to
the destruction of certain text structures; accordingly, they are characteristic of
marked syntax (in the broad sense of the word) means of expression. The second
group of disorders - the use of the individual text units in non - standard positions-
more lexical (violations of collocations) and morphological (unjustified use of
certain articles, etc.). However, the text may act as a unit, inadequate speech
situation, and hence in some sense as a unit, used in non-standard positions.
Another group of methods additional marking text - use them, though no apparent
violations of the usual norms, but with communication redundancy. In other words,
if the tool is used correctly, in terms of a "communicative minimum," it must be
used a certain number of times. Increasing this number creates a marking. This
group of methods include various kinds of repeats; inappropriately long pauses can
also be considered as a manifestation of communicative redundancy (in this case,
they are treated as the repetition of a pause). But despite all these information,
philologists to the end not investigated as expressed by the subtext in the books,
therefore, this question remains still open.
Thus, the concept of "subtext" has not until the end of the study, there are
many unresolved issues, but, nevertheless, we can draw several conclusions:
1. In every kind of literary text there is implicit content. And one of the
components of the content is the subtext as a category, necessarily presented in a
literary text and the "target" of its creator.
2. Identifying the subtext - process creative, individual, but regulated by
the text of the whole work. The boundaries of the subtext of the piece are limited
to language benchmarks and the search inherent in the text subtext information
must be conducted in permanent connection with the system of the whole work.
3. Language benchmarks of the subtext are individual and therefore the
common rules of reading of the subtext are difficult to formulate. In addition,
understanding the implicit meanings are related to the individual experience of the
16
reader, therefore, there is a multiplicity of interpretations of the text. The process
of understanding the "hidden" meanings is also complicated by the fact that the
process of formulating aesthetic meanings is extremely complicated, as it involves
a constant interaction of individual experience with the whole semantic space of a
literary text.
3. THE ALLUSION
17
It is known that the term "allusion" appears in many European languages,
already in the XVI century. But despite a long tradition of using this word in
foreign literary studies and linguistics, the phenomenon is actively studied only in
the late twentieth century.
Allusion, according to N. N. Romanova, is a "stylistic figure containing the
clear indication or a clear hint of some literary, historical, mythological, or
political fact, enshrined in textual culture, or in everyday speech". Such elements
are called tokens or representatives of allusion, and the texts and the facts of
reality, which are a reference, called denotations allusions.
N. M.Razinkina defines allusion as "an indirect indication of using the word
or phrase on any historical, geographical, literary, mythological or biblical fact.
Indirect instruction can be also linked to the events of everyday life".
Allusion, along with quotations and aphorisms can serve as a primary
marker that is a language way of realization of the category of intertextuality in
any text.
It can also function as a means of "enhanced transfer properties and qualities
of the mythological, biblical, literary, historical characters and events to those
referred to in this statement".
Moreover, allusion acts as the sign of the situational model, which by
association is related to the text containing the allusion, thus the interaction
between literary works is called allusion process.
Allusion is a verbal means by which the author can express his ideas in a
more concise and summary form, for this he kind of puts them in a kind of shell.
The task of the reader is to see this shell in the text and reveal the idea, which it is,
the hidden information that it harbors. The reader can have several associations,
but in order to properly determine what the author meant, we need precedent
knowledge.
Many researchers’ attempts were made to systematize the types and
functions of allusions and allusive inclusions. M. D. Tukhareli proposes the
following classification of allusions according to their semantics:
18
 Proper names or anthroponyms. This group includes: frequent in
fiction names of animals, birds, place names and geographical names; names of
stars, planets; the names of historical events, artistic works and names of gods,
demons, mythological characters, etc;
 Biblical, mythological, literary, historical and other realities;
 Echoes quotes, running sayings, contamination, reminiscences.
In the composition of artwork, the allusion has a huge potential of creating a
subtext. This method gives the author an opportunity to concisely convey large
amounts of information, to express his attitude to the characters or events to bring
the reader to a certain idea.
4. THE IDENTIFICATION OF THE SUBTEXT AND ALLUSIONS IN

THE BOOK OF ROALD DAHL "CHARLIE AND THE
CHOCOLATE FACTORY".
4.1 Charlie Bucket
19
Charlie Bucket is not like other children. His singular perspective on life,
which we see even in the opening chapters of Charlie and the Chocolate Factory,
becomes particularly evident when he visits the chocolate factory with the other
children holding Golden Tickets. As each of the other children falls prey to his or
her immoderate desires and spoiled impulses, Charlie is able to calmly relish the
wonders that he is experiencing in the amazing and fanciful factory.
The plight of Charlie and his family, however, reveals a harsher reality—
sometimes, through no fault of their own, people just do not have enough of what
they need to keep themselves pain-free and satisfied. The first chapter explains the
Buckets’ situation:
«In the summertime, [sleeping on the floor] wasn’t too bad, but in the
winter, freezing drafts blew across the floor all night long, and it was awful. There
wasn’t any question of them being able to buy a better house—or even one more
bed to sleep in. They were far too poor for that…
There wasn’t even enough money to buy proper food for them all. The only
meals they could afford were bread and margarine for breakfast, boiled potatoes
and cabbage for lunch, and cabbage soup for supper. . . . The Buckets, of course,
didn’t starve, but every one of them . . . went about from morning till night with a
horrible empty feeling in their tummies».31
Later, the situation becomes even worse. The weather grows colder; the
factory where Mr. Bucket makes his minimal salary, screwing caps onto toothpaste
tubes, closes down; and an already lean life turns desperate:
«Every day, Charlie Bucket grew thinner and thinner. His face became
frighteningly white and pinched. His skin was drawn so tightly over the cheeks that
you could see the shapes of the bones underneath. It seemed doubtful whether he
could go on much longer like this without becoming dangerously ill».32
His life is dreary. He lives in destitute poverty. Yet, despite all of this, he
lives honorably, and he is a moral boy. He respects his parents and grandparents.
31
Roald Dahl. Charlie and the chocolate factory. 2015. Page 8.
32
Roald Dahl. Charlie and the chocolate factory. 2015. Page 63
20
He does not get into trouble. He could steal. He could sell the gobstopper to
Slugworth (if one is considering the 1971 film version of the story). But instead he
perseveres, morally speaking. We see here a boy who values morality above
everything else. The other characters do not. They live for bodily pleasures—they
live for stuff, for food, for a permanent stay, always wanting more and wanting it
“NOW!” They use and abuse other people. But Charlie is a steward of human
dignity, exhibiting it in how he behaves, how he treats himself, and how he treats
others.
Depending on the reader's experience, someone here will be able to see the
allusion to the texts of Epicurus, who said:“Poverty, if measured by the goal of
nature, is great wealth; and wealth, if limits are not set for it, is great poverty”. 33
”Money, as Epicurus would acknowledge, has uses—the Buckets certainly could
use more of it. But money is not the most important thing, since it is possible to be
wealthy and miserable, or, conversely, to have much happiness in life without a lot
in the way of material possessions. The most important thing is the attitude you
take and the joy you are able to find in what life gives you.
Moreover, as Epicurus explains, a person who gets used too little can better
appreciate those times when life provides the opportunity for special enjoyments.
Epicurus writes: “We believe that self-sufficiency is a great good, not in order that
we might make do with few things under all circumstances, but so that if we do not
have a lot we can make do with few, being genuinely convinced that those who
least need extravagance enjoy it most”.34
The circumstances of his life have forced Charlie to do without most
luxuries, but he does have one indulgence: chocolate. Once a year, on his birthday,
Charlie receives a Wonka chocolate bar. Hence, we can conclude that no one is
perfect, everyone has their desires, but they must be within reasonable. Other
children, blessed with the resources for casual extravagance, take their chocolate
bars for granted, munching bar after bar without much thought or gratitude for
33
http://aphorismos.ru/poverty/3.php
34
http://citaty.info/search/site/самодостаточность
21
what they have. Charlie does not. As a result, he treasures every moment of
enjoyment from his chocolate:
«Each time he received [his birthday chocolate], he would place it carefully
in a small wooden box that he owned, and treasure 35 it as though it were a bar of
solid gold; and for the next few days, he would allow himself only to look at it, but
never to touch it. Then, at last, when he could stand it no longer, he would peel
back a tiny bit of the paper wrapping at one corner to expose a tiny bit of
chocolate, and then he would take a tiny nibble36—just enough to allow the lovely
sweet taste to spread out slowly over his tongue. . . . In this way, he would make
his ten-cent bar of birthday chocolate last for more than a month».37
From this passage it follows that he has an incredible amount of self-control!
And also in this passage the author uses a word "treasure", which means a very
valuable thing. Hence, we can conclude that Charlie refers to chocolate very
carefully and it's important to him, he appreciates every tiny piece of chocolate.
But, more important, he has learned how to extract more pleasure from one small
piece of chocolate than most children would have from mounds of candy. Because
he does not get to enjoy this experience very often, he knows to be grateful for it
when it comes. This sensitive boy does everything right and appreciates the
meager offerings this world affords him. He remains hopeful and good in a world
that seems a horrible place on seeing him and his family fail.
Any person in extreme poverty knows they must satisfy natural and
necessary desires—it is their daily reality—but they also realize that circumstances
do not always cooperate.
Despite having every reason for despair, however, Charlie and his family
cope as well as one might expect by following the advice Epicurus might have
offered. Epicurus wrote, “Of the things which wisdom provides for the blessedness
35
very valuable things, usually in the form of a store of precious metals, precious stones, or money. Cambridge
English dictionary http://dictionary.cambridge.org/dictionary/english/treasure
36
to eat something by taking a lot of small bites. Cambridge English dictionary
http://dictionary.cambridge.org/dictionary/english/nibble
37
22
of one’s whole life, by far the greatest is the possession of friendship”. 38 He had in
mind a group of like-minded friends, creating a bulwark against life’s vagaries
through their love, support, and advice to each other.
For Charlie his best friends are his family. He loves them, listens to their
advice. Also one of Charlie's actions just proves to us that he is a moral boy and he
loves his family:
«Charlie looked up. Four kind old faces were watching him intently from the
bed. He smiled at them, a small sad smile, and then he shrugged his shoulders and
picked up the chocolate bar and held it out to his mother, and said, 'Here, Mother,
have a bit. We'll share it. I want everybody to taste it. ''Certainly not!' his mother
said. And the others all cried, 'No, no! We wouldn't dream of it! It's all yours!'
'Please,' begged39 Charlie, turning round and offering it to Grandpa Joe. But
neither he nor anyone else would take even a tiny bit».40
Charlie loved his family so much so that he even "begged" them to try the
pleasure that brought him chocolate. And his family also loved Charlie, no one
agreed to take his chocolate, because they knew that he really likes it.
4.2 Augustus Gloop
Roald Dahl in his story gave the character Augustus Gloop a sin of gluttony
(gluttony is a situation in which people eat and drink more than they need to) 41.
Describing this character, the author makes allusion to the Bible, thus, creating a
subtext. In the description of Augustus, the author uses a variety of exaggeration.
For example, Roald Dahl uses the words "enormously fat" (enormously is
extremely or very much)42, “face like a monstrous ball of dough” and "he looked as
though he had been blown up with a powerful pump". The author tells us that food
is his hobby - “Eating is his hobby. . . . That’s all he’s interested in,” -these words
38
http://citaty.info/search/site/мудрость?f[0]=im_taxonomy_vocabulary_3%3A11183
39
to make a very strong and urgent request. Cambridge English dictionary
http://dictionary.cambridge.org/dictionary/english/beg?q=begged
40
41
Cambridge English dictionary http://dictionary.cambridge.org/dictionary/english/gluttony
42
Cambridge English dictionary http://dictionary.cambridge.org/dictionary/english/enormously
23
mean that he completely lacks self-control. Augustus has, thus, developed into a
one-dimensional human being, a walking appetite unable to control himself. In
fact, it is this failure to curb his own desire for sweets, his succumbing to his
irrational cravings.
When Augustus Gloop sees the river of melted chocolate in Willy Wonka’s
factory, he cannot resist. While the others are marveling at the amazing room, he
sneaks down to the edge of the river and begins “scooping hot melted chocolate
into his mouth as fast as he could”. Willy Wonka and his parents yell for him to
stop, “but Augustus was deaf to everything except the call of his enormous
stomach,” and soon he plunges into the river, to be sucked up the pipe to the Fudge
Room. Some readers after reading this situation could judging by their experience
see here an allusion to Epicurus, who said: “nothing is enough to someone for
whom enough is little”43.
Also we can notice that the author compares him with the beast. In the story,
Roald Dahl says: “he lapping up the chocolate like a dog”. He compares it to a
hungry greedy dog. Even when the author makes fun of him through the song of
the Oompa Loompas:
«Augustus Gloop! Augustus Gloop!
The great big greedy nincompoop!
How long could we allow this beast
To gorge and guzzle, feed and feast
On everything he wanted to?
Great Scott! It simply wouldn't do!
However long this pig might live,
We're positive he'd never give
Even the smallest bit of fun
Or happiness to anyone.
…
This greedy brute, this louse's ear,
43
https://ru.wikiquote.org/wiki/Эпикур
24
Is loved by people everywhere!
For who could hate or bear a grudge
Against a luscious bit of fudge?»44
He uses words such as “beast” (beast is an unpleasant, annoying, or cruel
person)45, “pig”, “greedy brute” and “louse's ear”.
These qualities of Augustus prove to us that Roald Dahl gave this character a
hidden meaning. The author describing this boy meant one of the deadly sins in the
Bible – gluttony. After all, gluttony literally means the excesses and greed in
eating, driving the man to a bestial state. It is not only in food, but in the
unrestrained desire to consume more than needed. The author conducted the
allusion to the Bible, pointing at gluttony. Gluttony or intemperance in eating is
condemned in the Bible and is compared to drunkenness. For example, in the book
of Parables 23:20, 21 says: «Do not be among those who revel in wine or eats
meat, for the drunkard and glutton become poor, and drowsiness clothes them in
rags»46. And in the New Testament in the book of Philippians 3:19 a surfeit of food
is compared to idolatry: «Their end is destruction, whose God is their belly, their
glory is in their shame, and they think about earthly things». 47 Also in the book of
Luke 21:34,35 are the words of Jesus Christ, where he warns against overeating,
comparing it with alcoholism: «Watch behind you, so that your heart is never
impeded in reality by overeating, drunkenness and worldly cares and that day has
not overtaken you suddenly like a trap».48
Augustus has turned the enjoyment of an occasional sweet into a perverse
hobby; more animal than human, he is driven by his stomach, not his mind, not
reason. His whims, his desires determine his actions, not his free will. In behaving
like an animal, Augustus fails to respect himself; he fails to respect his own
dignity. He is an affront to human dignity itself, not because he is overweight but
because he lacks self-control. The punishment for gorging on treats is to be turned
44
45
Cambridge English dictionary http://dictionary.cambridge.org/dictionary/english/beast
46
http://otveti.org/tolkovanie-biblii/pritchi/23/
47
http://allbible.info/bible/sinodal/php/3
48
http://allbible.info/bible/sinodal/lu/21
25
into one, and by one’s own hand. Augustus fell into the river of his own accord; his
unwieldy appetite was his own undoing.
4.3 Violet Beauregarde
Then there is Violet Beauregarde. Violet lacks manners. She is disgusting, as

the book says, “There’s almost nothing worse to see / Than some repulsive little
bum / Who’s always chewing chewing gum”49. They even suggest it is as bad as
somebody picking their nose. Violet gnaws and pops, chews and slops her gum
nonstop, making a mockery of eating itself. This constant chewing gum is the
boundary of extreme indecency; it is a perverse distortion of a natural life function.
It is also obnoxious, as anyone who has been subjected to an incessant gum chewer
can attest. The constant visual and aural assault of a gum chewer is poor etiquette;
it fails to account for the comfort of those who are subjected to it. And, like all the
children, her behavior is punished through her own misdeed. She stuffs an
experimental piece of gum in her craw before Wonka can stop her, although he
does not seem terribly interested in doing so. He yells for her to stop, but his
attitude seems dismissive. Wonka has no intention of stopping these children from
being their own undoing. His factory merely provides the perfect environment for
them to get their own comeuppance, to get what they deserve.
Violet also swelled up with pride because of the fact that broke the world
record in chewing gum. She bragged about it: “it may interest you to know that this
piece of gum I'm chewing right at this moment is one I've been working on for over
three months solid. That's a record, that is. It's beaten the record held by my best
friend, Miss Cornelia Prinzmetel. And was she furious! It's my most treasured
possession now, this piece of gum is”50. This was the reason that she grabbed
Wonka's experimental gum and ate it. And eventually because of side effects she
swelled into a huge ball and this is her punishment.
49
50
26
Violet’s lack of self-control, like Augustus, leads to her predicament. But
unlike that of Augustus, her behavior is also disrespectful of others. Her disgusting
habit smacks of a total lack of respect for others in public situations. She does not
simply lack self-control; she is also self-centered to the point that she disregards
others. Violet is not respectful to her mother: “My mother says it's not ladylike and
it looks ugly to see a girl's jaws going up and down like mine do all the time, but I
don't agree. And who's she to criticize, anyway, because if you ask me, I'd say that
her jaws are going up and down almost as much as mine are just from yelling at
me every minute of the day”51. Violet is also not respectful to ordinary people, she
behaves disgusting “I used to do it in our lift on the way home from school. Why
the lift? Because I liked sticking the gooey piece that I'd just finished with on to
one of the control buttons. Then the next person who came along and pressed the
button got my old gum on the end of his or her finger. Ha-ha! And what a racket
they kicked up, some of them. You get the best results with women who have
expensive gloves on”.52
The author in these words wanted to show us that she commits heinous acts
and how terrible it is chewing gum all the time.
The author is also reflected in her one of the deadly sins is pride, that is, it
holds here again the allusion to the Bible. This follows from the fact that Violet's
present qualities are such as excessive pride, arrogance, selfishness, conceit. The
Bible condemns the proud people: “A man's Pride brings him low, but a humble
spirit gains honor”. (Prov. 29:23)53. Also it says: “In the mouth of the foolish is a
rod of pride; but the lips of the wise preserve them”. (Prov. 14:3)54.
4.4 Veruca Salt
51
52
53
54
27
Another child who visited the Wonka factory's is Veruca Salt. She is a very
greedy and spoiled girl whose rich parents dare deny her nothing:
“You see, fellers,” [Mr. Salt] had said, “as soon as my little girl told me
that she simply had to have one of those Golden Tickets, I went out into the town
and started buying up all the Wonka candy bars I could lay my hands on.
Thousands of them, I must have bought. Hundreds of thousands! . . . Oh, it was
terrible! My little Veruca got more and more upset each day, and every time I went
home she would scream at me, ‘Where’s my Golden Ticket! I want my Golden
Ticket!’ And she would lie for hours on the floor, kicking and yelling in the most
disturbing way”55.
Even when Veruca was in a Nut Room, she cried and demanded the squirrel
despite the fact that she had plenty of other animals:
“Hey, Mummy!' shouted Veruca Salt suddenly, 'I've decided I want a
squirrel! Get me one of those squirrels!' 'Don't be silly, sweetheart,' said Mrs Salt.
'These all belong to Mr Wonka.' 'I don't care about that!' shouted Veruca. 'I want
one. All I've got at home is two dogs and four cats and six bunny rabbits and two
parakeets and three canaries and a green parrot and a turtle and a bowl of
goldfish and a cage of white mice and a silly old hamster! I want a squirrel!”56
The author called her an animal in the words of her mother. It also proves
that because of their unreasonable desires, these kids were more like animals rather
than people:
“All right, my pet,' Mrs Salt said soothingly”57.
Even when Willy Wonka politely tells her that the squirrels are not for sale,
she still does not calm down and continues to scream and insist on:
“They're not for sale,' Mr Wonka answered. 'She can't have one.'
'Who says I can't!' shouted Veruca. 'I'm going in to get myself one this very
55
56
57
28
minute!'
'Don't!' said Mr Wonka quickly...”58
For such behavior Veruca got her punishment. She was thrown in the
garbage like a bad nut.
Roald Dahl spent an allusion to the biblical deadly sin – greed. It is said
about greed in the Bible: “Hell and destruction are never full; so are never full,
and the eyes of man”(Prov.27:20)59. And Ecclesiastes says: “All the labor of man is
for his mouth, and his soul is not filled” (ECC.6:7)60. Her greed, the fact that she is
spoiled rotten, a bad nut, leads to her and her parents’ potential incineration.
Veruca’s moral failing seems to be that she uses others as a means to her own
pleasure. Veruca does not respect others, but sees in them only a means to get
more of what she wants. Her lack of respect for others is obvious.
4.5 Mike Teavee
The fifth child in the story is Mike Teavee. In Mike, the author conducted
the allusion to a mortal sin in the Bible as idleness. Such a conclusion can be
drawn due to the description of Mike’s behavior. All the time he is watching TV
without interrupting him. Mike is given no chores, he does not help parents and he
is also disrespectful to all:
“...young Mike Teavee, the lucky winner, seemed extremely annoyed by the
whole business. "Can't you fools see I'm watching television?" he said angrily. "I
wish you wouldn't interrupt!"…The nine-year-old boy was seated before an
enormous television set, with his eyes glued61 to the screen... '"Quiet!" he shouted,
when someone tried to ask him a question. "Didn't I tell you not to interrupt!...”62
58
59
60
http://otveti.org/tolkovanie-biblii/ekklesiast/06/
61
to be unable to stop watching something. http://dictionary.cambridge.org/dictionary/english/be-glued-to-sth
62
29
We can see in Mike's behavior that he does not respect his parents and other
people. He yells at reporters and parents, calls them all fools. But parents are also
to blame, they did not have to buy such a large TV.
On the Willy Wonka factory, he receives his punishment. Mike is shrunk
down small enough to fit into the palm of his mother’s hand, after he runs
recklessly into Wonka’s television-chocolate machine.
Mike Teavee meets his end also due to a lack of self-control, specifically
with regard to a questionable pastime. Mike watches television too much and does
not read. The Oompa-Loompas iterate:
“[TV] Rots the senses in the head!
It kills imagination dead!
It clogs and clutters up the mind!
It makes a child so dull and blind
He can no longer understand.
A fantasy, a fairyland!
His powers of thinking rust and freeze!
He cannot think – he only sees!”63
Roald Dal particularly focuses on the fact that Mike, as if hypnotized, is
staring the TV. The author also notes that continuous TV viewing is very bad for
children. TV kills the mind, it separates you from more useful and informative
things.
Mike’s behavior betrays disrespect for himself. He is not interested in
developing his own potential; he treats himself as an object, a pleasure machine, a
being that only “sees,” passively receiving his entertainment, not actively
“thinking” and crafting his existence. Like Augustus, Mike is a one-dimensional
person, driven by watching TV alone.
The author also hides here again an allusion to the Bible. Here is idleness, in
the Bible it is said: “Behold, this was the iniquity of thy sister Sodom, and her
daughters: pride, fulness and idleness, and she hand of the poor and needy”.
63
30
(Ezek. 16:49)64. The Bible says that idleness is very harmful to humans: “Use it for
work, so he was left in idleness, for idleness has taught much thin”. (Sirach
33:28)65.
4.6 Willy Wonka
Willy Wonka is one of the main characters of the book "Charlie and the
chocolate factory". And throughout the book the author commented on it to us
through the words of other characters. So parents who tour his factory proclaim
that he is “balmy,”66 “nutty,”67 “screwy,”68 “batty,”69 “wacky,”70 “loony,”71 and
“crazy”72. One father tells him he’s “off his rocker” 73. Even Charlie’s dear old
Grandma Josephine declares that Wonka is “dotty”74 near the beginning of the story
and refers to him as “crazy” near the end. While the novel was initially published
nearly half a century ago, these eight words and one idiomatic expression are still
commonly used to describe a person’s behavior. And they locate that behavior
somewhere beyond the realm of normalcy, on a continuum that ranges from
eccentric to insane. Throughout the story many characters use a wide variety of
derogatory labels to question the sanity of—and ascribe madness to— Willy
Wonka. The man they are critiquing is a creative, energetic, and tremendously
successful inventor, but he is also unconventional. The actions of Willy Wonka so
often fall outside what his guests view as normal behavior. Yet, although the
inventor is under the constant gaze of society, he never allows himself to be
constrained by his guests’ views of normalcy.
64
http://otveti.org/tolkovanie-biblii/iezekiil/16/
65
http://otveti.org/tolkovanie-biblii/vtorozakonie/33/
66
pleasantly warm. http://dictionary.cambridge.org/dictionary/english/balmy.
67
containing, tasting of, or similar to nuts. http://dictionary.cambridge.org/dictionary/english/nutty.
68
very strange, silly, or unusual. http://dictionary.cambridge.org/dictionary/english/screwy
69
silly and slightly crazy and behaving in a confused way.
http://dictionary.cambridge.org/dictionary/english/batty
70
unusual in a pleasing and exciting or silly way. http://dictionary.cambridge.org/dictionary/english/wacky
71
silly or stupid. http://dictionary.cambridge.org/dictionary/english/loony
72
stupid or not reasonable. http://dictionary.cambridge.org/dictionary/english/crazy
73
If you say that someone is off their rocker, you mean that that person is behaving in a very strange or silly way.
http://dictionary.cambridge.org/dictionary/english/off-your-rocker?q=off++your++rocker
74
slightly strange or mentally ill. http://dictionary.cambridge.org/dictionary/english/dotty
31
He is reclusive and mysterious. He locked himself away inside his factory
for ten years after firing all his workers and replacing them with Oompa-Loompas
when rival spies stole his recipes. He bursts with manic energy when he greets the
children:
“And his eyes—his eyes were the most marvelously bright. They seemed to
be sparkling and twinkling at you all the time. The whole face, in fact, was alight
with fun and laughter. And oh, how clever he looked! How quick and sharp and
full of life! He kept making quick jerky little movements with his head, cocking it
this way and that, and taking everything in with those bright twinkling eyes. He
was like a squirrel in the quickness of his movements, like a quick clever old
squirrel from the park”.
In each version, he is a strange, almost inhuman figure, more force of nature
than person. One might be tempted to read Wonka as a sort of whimsical god, who
—through the world he created—metes out justice to the humans in his realm,
punishing the wicked (the four bad children) and rewarding the good (Charlie).
Some people would argue, however, that Willy Wonka is closer to
Epicurus’s way of thinking about the gods than to either the ancient Greek or
Judeo-Christian conceptions. On the contrary to the prevailing beliefs of his time,
Epicurus argued that the gods do not actually care about humans, nor are they
responsible for anything good or bad that happens to us. They exist apart from our
world, in state of perfect happiness and tranquility, and, as Epicurus argues, neither
anger nor gratitude would be appropriate for such beings. Among other things, that
means that they do not mete out punishments or rewards, either in this life or in an
afterlife. On the contrary, as the Epicurean poet Lucretius so vividly explains, the
“punishments” we imagine the gods inflicting on us actually represent the misery
we bring on ourselves through our own foolishness.
In the description of the character of Willy Wonka Roald Dahl leads the
allusion to the Bible. He compares Willy Wonka with God. This unusual man has
created his own world which was ruled by. Willy Wonka has created a world of
pure imagination, a world where we are given a glimpse into the summum bonum,
32
where people are given happiness in proportion to goodness and are punished in
proportion to their wickedness. When Violet hastily pops the experimental gum
into her mouth, or when Veruca races into the Nut Room to snatch a pet squirrel,
he’s as surprised as anyone. Like Epicurus’s gods, he inhabits a special region of
space, separate for the most part from the normal human realm, where he remains
absorbed in the pure joy of his own activities. (He’s odd largely because he seems
so oblivious to anything outside of his factory and his experiments.) The misery
the children suffer is brought on themselves because of their own unnatural
desires.
4.7 Parents
Parents are also to blame for what their children have become because they
cannot tell them “no” and children were never compelled to learn their limits or
develop self-control, their “hobbies” became obsessions, indulgences became
entitlements, and before long, their empty and unnatural desires took over their
lives. Someone is hooked on chocolate, gums, or TV. They do not give up their
obsession even if some adult tells them to stop. Parents wouldn't have to spoil their
children, because in the end they got bad results.
So the parents of Veruca Salt did spoil her. All of the parents bear some
responsibility. Augustus would not be a glutton with an insatiable appetite for junk
food if his parents hadn’t fed him poorly and not looked after him properly. Mike’s
parents obviously do not encourage reading or monitor his television watching.
And Violet’s parents do nothing to curb her bad habit. Roald Dahl himself
condemned the parents in his story. This is particularly noticeable in the song the
Oompa Loompas sing about Mr. and Mrs. Salt:
“Who spoiled her, then? Ah, who indeed?
Who pandered to her every need?
Who turned her into such a brat?
Who are the culprits? Who did that?
33
Alas! You needn't look so far
To find out who these sinners are.
They are (and this is very sad)
Her loving parents, MUM and DAD.
And that is why we're glad they fell
Into the rubbish chute as well.”75
From all this we can say that not only the children have fault that they have
become such but also their parents.
4.8 The Results
In the end, all of these children get punished for having run afoul of a moral
code that demands self-control, respect, proper habits, and manners. A moral law
that demands that people be decent and respectful, of themselves and others. We
can see why we enjoy reading about these children’s punishments if we take
seriously the idea that a moral order, a civil order, needs to be maintained because
it demonstrates respect for dignity, the value of all human life.
Also all of these children received their punishment because of their own
desires and incontinence. The unnatural, unnecessary desires, however, are one of
the greatest scourges of human life. Epicurus calls these desires “empty” or
“occurring as a result of a groundless opinion.” In his view, these desires are a
chief source of human misery—we become convinced that we need things that, in
fact, are not necessary. We yearn for them, valuing them all out of proportion with
their actual benefit. And the more we get, the more we want, until these insatiable
appetites consume our lives and relationships and tear our minds apart with anxiety
and craving.
The cycle of psychological degradation Epicurus describes is not
uncommon. It starts with an occasional luxury, a novel variation to break the
boredom. It could be a candy bar after school, a salty snack in the afternoon, a few
75
34
hours playing a video game. At this level, these pleasures are innocent. They
satisfy natural—though unnecessary—desires, adding variety and spice to life. The
danger, however, is that what begins as harmless fun does not remain that way.
The occasional treat soon becomes a habit, then a craving, and finally—at least in
one’s own mind—a necessity. In the end, what once served you and your
happiness now becomes your master.
Since our wills are free, we can choose to act rationally—that is, according
to reason, and not simply according to desires, which are given to us from our
bodies. We do not decide to enjoy chocolate or sweets; we simply do. And our
tastes, although they can be cultivated to an extent, are very much out of our
control. So if we simply listened to our body and, when it demanded chocolate,
proceeded to shovel it down our gullet as quickly as possible, we would not be
free, but rather a slave to our compulsions and whims, much like the gluttonous
Augustus Gloop, a one-dimensional walking appetite. But we are rational and
therefore have free, autonomous wills. In this regard, we are unlike anything else
on the planet. But with the ability to choose comes the responsibility to choose
well.
Also, these kids were punished for disrespect to other people. Kant’s ethics
revolves around the categorical imperative, one formulation of which is “So act
that you use humanity, whether in your own person or in the person of any other,
always at the same time as an end, never merely as a means.” 76 This imperative, or
command, demands from us and compels us via reason to act in a way that respects
others by treating them as dignified in themselves. It also commands that we
respect our own freedom and so our own dignity. And this is the main point, the
big idea. As autonomous beings, humans possess dignity—that is, a value beyond
price. We are valuable simply by existence because of the kind of thing we are:
free, rational agents. Likewise, when we find other beings that appear free and
rational we are compelled to respect them. This is our duty. This is the crux of
Kantian ethics, respect for free, rational beings, for dignified beings. This respect
76
http://krotov.info/library/11_k/an/t_6_349.htm
35
vindicates the inherent worth that all people have and is the only protection for this
value. Whereas everything else in the world is only instrumentally valuable, people
are valuable in themselves. But this value only truly exists, it only means
something, so long as we behave as if we should. When we respect the dignity of
others, that dignity becomes real. When we behave morally, according to the
categorical imperative, we treat ourselves as dignified and this dignity then has
meaning. We are stewards of value, the source of the only inherent, priceless value
in the universe. It is a big deal, a big responsibility.
36
5. CONCLUSION
In this study, we examined the book of Roald Dahl "Charlie and the
chocolate factory" and we verified our hypothesis. Thus, the tasks and the main
aim - to identify the subtext that the author had put in the text and understand the
meaning of the book were completed.
As for the subtext, the study revealed that every philologist who has studied
the subtext gave it his definition, but there is no universal definition A lot of
scientists have considered the concept of "subtext" from different sides of the
structure of the text.
It was also found that the majority of scholars held the opinion that the
perception of the subtext is completely dependent on the reader and his thesaurus.
Also the reader may find in the work a different meaning, not the same one that
was invested in the text by the author, the reader can understand and perceive
things in his own way. Thus, all scientists came to the conclusion that the decisive
role in the interpretation of a text and understanding plays only the identity of the
reader.
It was also found that in various researches devoted to the description of the
subtext, different means of expression are called. But they are basically divided
into two groups. The first group includes multivalued words, morphemes,
exclamations, exaggerations, repetitions and more. The second group consists of
willful misconduct made by the author, leading to the destruction of certain text
structures. All this is created by the author for the reader to see these "markers"
and be able to catch the subtext, and understand the meaning of what the author
wanted to convey.
As for the allusions it was found that allusion is an artistic way that the
author borrows the biblical stories, ancient or medieval mythology or the works of
37
other writers. The purpose of such borrowing, to draw a parallel between his own
literary creation and already created in widely known work.
On the basis of theoretical knowledge in scientific work each character has
been reviewed in detail in the book, namely his character, behavior, desires, and
later received punishment. The text has been carefully studied to identify
"markers" that were created by the author to highlight the subtext. It was also noted
that Roald Dahl to every child from his books signed a cardinal sin and gave the
allusion to the Bible. For this reason, each character was given quotes from the
Bible describing a mortal sin, which is enclosed in this character.
Thus, we can draw a conclusion about the characters:
1. Charlie Bucket, the author represented as a good and moral boy. He
respected himself, his family and other people, despite the fact that he lived in
poverty. And for his good behavior and good character traits at the end of the story
he receives remuneration. The author wanted to show us an approximate example
of what people should be and that these people in the end get a reward.
2. Augustus Gloop is a boy with immense appetite. The author even
created a subtext in which it was said that Augustus is behaving like an animal, and
also the author gave him such a mortal sin as gluttony. So for his wrong desire,
Augustus got a decent punishment for him.
3. Violet Beauregarde the author showed us as an overly proud and
showing off girl. She respected only herself and no one else, even her parents.
Based on the subtext that the author put into this character, we can conclude that
the author has given her a mortal sin, namely pride.
4. Veruca Salt is shown by the author as a greedy spoiled girl. She has
the same insatiable appetite as Augustus, her immoderate appetite is not associated
with food, as that of Augustus, but with endless desires. She thinks that she always
has little, she always wants more. But the parents are to blame for this too, they did
this to her. They spoiled her, always giving her what she wants. The author showed
us here such a deadly sin as greed.
38
5. Mike Teavee also had no respect for his parents or other people; he
respects only himself and fictional characters from TV. Because of TV it is like he
lived only in the virtual world, his brain slowly stopped working. But in the end he
got his punishment.
6. Willy Wonka is also an important character in this book. The author
portrays him as an unusual and quirky man. But if you also delve into the subtext,
we can understand that the author made him like a God in his world. After all,
Willy Wonka created his factory where he deservedly punished bad children and
rewarded good of the child, thereby restoring justice.
To conclude, it needs to say that this book is very deep, and it should not just
be read on the surface, but to be read very carefully to understand the meaning. In
this book many problems are incorporated which are actual in the modern world.
Thus this book can even be studied at school at lessons of foreign literature.
39
REFERENCES
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No.4.
2. Dolinin K. A. Implicit content of statement // Questions of linguistics. 1983. No.
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3. Gadamer, H.-G. The relevance of the beautiful.
http://akarelova.narod.ru/gadamer.htm
4. Galperin I. R. Grammatical categories of the text. http://feb-
web.ru/feb/izvest/1977/06/776-522.htm
5. Galperin I. R. Text as an object of linguistic research.
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6. Golyakova L. A. Ontology implication and its objectification in the artwork.
http://www.dissercat.com/content/ontologiya-podteksta-i-ego-obektivatsiya-v-
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7. Helisev V. K. The subtext. http://feb-web.ru/feb/kle/Kle-abc/ke5/ke5-8291.htm
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12. Mirkin V. Y. The text, subtext and context // Questions of linguistics. 1976.
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41

разбор книги Чарли и шоколадная фабрика

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разбор книги Чарли и шоколадная фабрика

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THE CONTENTS

2.2 Theory of the Emergence and Perception of the Subtext by the

2.3 The Expression of the Subtext

In various works devoted to the description of the subtext different means of

4. THE IDENTIFICATION OF THE SUBTEXT AND ALLUSIONS IN

4.2 Augustus Gloop

4.3 Violet Beauregarde

Then there is Violet Beauregarde. Violet lacks manners. She is disgusting, as

4.4 Veruca Salt

4.5 Mike Teavee

4.6 Willy Wonka

4.8 The Results

1. Dolinin K. A. Implicit content of statement // Questions of linguistics. 1983.

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