The stylistic quality of the text is above average. The author demonstrates good control over the language, using expressive means without excessive reliance on templates.
High level of lexical diversity.
A medium level of structural diversity. Various sentence types are used, but there is potential to enhance dynamics and expressiveness.
Perfectly crafted dialogue: natural, lively, and dynamic.
A good balance of simple and complex constructions, supporting the rhythm and dynamics of the text.
Perfect tonal balance, where emotional intensity is appropriately used without overwhelming the text.
Perfect rhythm, supporting a smooth and natural narrative flow.
Very easy text with clear syntax and smooth rhythm.
The text follows genre norms, incorporating key stylistic and thematic elements.
The stylistic quality of the text is above average. The author demonstrates good control over the language, using expressive means without excessive reliance on templates.
5.23%
Cliche
Very low presence of clichés.
Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off—then, I account it high time to get to sea as soon as I can.
Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off—then, I account it high time to get to sea as soon as I can.
Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land.
But these are all landsmen; of week days pent up in lath and plaster—tied to counters, nailed to benches, clinched to desks.
Take almost any path you please, and ten to one it carries you down in a dale, and leaves you there by a pool in the stream.
Why upon your first voyage as a passenger, did you yourself feel such a mystical vibration, when first told that you and your ship were now out of sight of land?
The transition is a keen one, I assure you, from a schoolmaster to a sailor, and requires a strong decoction of Seneca and the Stoics to enable you to grin and bear it.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.
I stuffed a shirt or two into my old carpet_bag, tucked it under my arm, and started for Cape Horn and the Pacific.
33.72%
Idioms
Only a few idioms are present in the text.
Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.
Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people's hats off—then, I account it high time to get to sea as soon as I can.
This is my substitute for pistol and ball.
But these are all landsmen; of week days pent up in lath and plaster—tied to counters, nailed to benches, clinched to desks.
here come more crowds, pacing straight for the water, and seemingly bound for a dive.
Nothing will content them but the extremest limit of the land; loitering under the shady lee of yonder warehouses will not suffice.
Once more.
Let the most absent_minded of men be plunged in his deepest reveries—stand that man on his legs, set his feet a_going, and he will infallibly lead you to water, if water there be in all that region.
But though the picture lies thus tranced, and though this pine_tree shakes down its sighs like leaves upon this shepherd's head, yet all were vain, unless the shepherd's eye were fixed upon the magic stream before him.
But though the picture lies thus tranced, and though this pine_tree shakes down its sighs like leaves upon this shepherd's head, yet all were vain, unless the shepherd's eye were fixed upon the magic stream before him.
Why is almost every robust healthy boy with a robust healthy soul in him, at some time or other crazy to go to sea?
And still deeper the meaning of that story of Narcissus, who because he could not grasp the tormenting, mild image he saw in the fountain, plunged into it and was drowned.
It is quite as much as I can do to take care of myself, without taking care of ships, barques, brigs, schooners, and what not.
It is quite as much as I can do to take care of myself, without taking care of ships, barques, brigs, schooners, and what not.
It is quite as much as I can do to take care of myself, without taking care of ships, barques, brigs, schooners, and what not.
And as for going as cook,—though I confess there is considerable glory in that, a cook being a sort of officer on ship_board—yet, somehow, I never fancied broiling fowls;—though once broiled, judiciously buttered, and judgmatically salted and peppered, there is no one who will speak more respectfully, not to say reverentially, of a broiled fowl than I will.
It is out of the idolatrous dotings of the old Egyptians upon broiled ibis and roasted river horse, that you see the mummies of those creatures in their huge bake_houses the pyramids. No, when I go to sea, I go as a simple sailor, right before the mast, plumb down into the forecastle, aloft there to the royal mast_head. True, they rather order me about some, and make me jump from spar to spar, like a grasshopper in a May meadow.
And at first, this sort of thing is unpleasant enough.
It touches one's sense of honor, particularly if you come of an old established family in the land, the Van Rensselaers, or Randolphs, or Hardicanutes.
But even this wears off in time.
But even this wears off in time.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
On the contrary, passengers themselves must pay.
And there is all the difference in the world between paying and being paid.
The urbane activity with which a man receives money is really marvellous, considering that we so earnestly believe money to be the root of all earthly ills, and that on no account can a monied man enter heaven.
For as in this world, head winds are far more prevalent than winds from astern (that is, if you never violate the Pythagorean maxim), so for the most part the Commodore on the quarter_deck gets his atmosphere at second hand from the sailors on the forecastle.
For as in this world, head winds are far more prevalent than winds from astern (that is, if you never violate the Pythagorean maxim), so for the most part the Commodore on the quarter_deck gets his atmosphere at second hand from the sailors on the forecastle.
In much the same way do the commonalty lead their leaders in many other things, at the same time that the leaders little suspect it.
In much the same way do the commonalty lead their leaders in many other things, at the same time that the leaders little suspect it.
But wherefore it was that after having repeatedly smelt the sea as a merchant sailor, I should now take it into my head to go on a whaling voyage; this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way—he can better answer than any one else. And, doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago.
But wherefore it was that after having repeatedly smelt the sea as a merchant sailor, I should now take it into my head to go on a whaling voyage; this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way—he can better answer than any one else. And, doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago.
It came in as a sort of brief interlude and solo between more extensive performances.
Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.
Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.
Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.
With other men, perhaps, such things would not have been inducements; but as for me, I am tormented with an everlasting itch for things remote.
Quitting the good city of old Manhatto, I duly arrived in New Bedford.
Much was I disappointed upon learning that the little packet for Nantucket had already sailed, and that no way of reaching that place would offer, till the following Monday.
As most young candidates for the pains and penalties of whaling stop at this same New Bedford, thence to embark on their voyage, it may as well be related that I, for one, had no idea of so doing.
For my mind was made up to sail in no other than a Nantucket craft, because there was a fine, boisterous something about everything connected with that famous old island, which amazingly pleased me.
Besides though New Bedford has of late been gradually monopolising the business of whaling, and though in this matter poor old Nantucket is now much behind her, yet Nantucket was her great original—the Tyre of this Carthage;—the place where the first dead American whale was stranded.
Where else but from Nantucket did those aboriginal whalemen, the Red_Men, first sally out in canoes to give chase to the Leviathan?
And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story—to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?
And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story—to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?
With anxious grapnels I had sounded my pocket, and only brought up a few pieces of silver,—So, wherever you go, Ishmael, said I to myself, as I stood in the middle of a dreary street shouldering my bag, and comparing the gloom towards the north with the darkness towards the south—wherever in your wisdom you may conclude to lodge for the night, my dear Ishmael, be sure to inquire the price, and don't be too particular.
But go on, Ishmael, said I at last; don't you hear?
blocks of blackness, not houses, on either hand, and here and there a candle, like a candle moving about in a tomb.
It had a careless look, as if it were meant for the uses of the public; so, entering, the first thing I did was to stumble over an ash_box in the porch.
It had a careless look, as if it were meant for the uses of the public; so, entering, the first thing I did was to stumble over an ash_box in the porch.
But and —this, then must needs be the sign of However, I picked myself up and hearing a loud voice within, pushed on and opened a second, interior door.
It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth_gnashing there. Ha, Ishmael, muttered I, backing out, Wretched entertainment at the sign of
Moving on, I at last came to a dim sort of light not far from the docks, and heard a forlorn creaking in the air; and looking up, saw a swinging sign over the door with a white painting upon it, faintly representing a tall straight jet of misty spray, and these words underneath—
Moving on, I at last came to a dim sort of light not far from the docks, and heard a forlorn creaking in the air; and looking up, saw a swinging sign over the door with a white painting upon it, faintly representing a tall straight jet of misty spray, and these words underneath—
Moving on, I at last came to a dim sort of light not far from the docks, and heard a forlorn creaking in the air; and looking up, saw a swinging sign over the door with a white painting upon it, faintly representing a tall straight jet of misty spray, and these words underneath—
Moving on, I at last came to a dim sort of light not far from the docks, and heard a forlorn creaking in the air; and looking up, saw a swinging sign over the door with a white painting upon it, faintly representing a tall straight jet of misty spray, and these words underneath—
But it is a common name in Nantucket, they say, and I suppose this Peter here is an emigrant from there.
As the light looked so dim, and the place, for the time, looked quiet enough, and the dilapidated little wooden house itself looked as if it might have been carted here from the ruins of some burnt district, and as the swinging sign had a poverty_stricken sort of creak to it, I thought that here was the very spot for cheap lodgings, and the best of pea coffee.
It was a queer sort of place—a gable_ended old house, one side palsied as it were, and leaning over sadly.
It was a queer sort of place—a gable_ended old house, one side palsied as it were, and leaning over sadly.
says an old writer—of whose works I possess the only copy extant— True enough, thought I, as this passage occurred to my mind—old black_letter, thou reasonest well. Yes, these eyes are windows, and this body of mine is the house.
The universe is finished; the copestone is on, and the chips were carted off a million years ago.
Poor Lazarus there, chattering his teeth against the curbstone for his pillow, and shaking off his tatters with his shiverings, he might plug up both ears with rags, and put a corn_cob into his mouth, and yet that would not keep out the tempestuous Euroclydon.
Would he not far rather lay him down lengthwise along the line of the equator; yea, ye gods!
go down to the fiery pit itself, in order to keep out this frost? Now, that Lazarus should lie stranded there on the curbstone before the door of Dives, this is more wonderful than that an iceberg should be moored to one of the Moluccas.
Let us scrape the ice from our frosted feet, and see what sort of a place this may be.
Such unaccountable masses of shades and shadows, that at first you almost thought some ambitious young artist, in the time of the New England hags, had endeavored to delineate chaos bewitched.
Such unaccountable masses of shades and shadows, that at first you almost thought some ambitious young artist, in the time of the New England hags, had endeavored to delineate chaos bewitched.
But by dint of much and earnest contemplation, and oft repeated ponderings, and especially by throwing open the little window towards the back of the entry, you at last come to the conclusion that such an idea, however wild, might not be altogether unwarranted.
Yet was there a sort of indefinite, half_attained, unimaginable sublimity about it that fairly froze you to it, till you involuntarily took an oath with yourself to find out what that marvellous painting meant.
Ever and anon a bright, but, alas, deceptive idea would dart you through.—It's the Black Sea in a midnight gale.—It's the unnatural combat of the four primal elements.—It's a blasted heath.—It's a Hyperborean winter scene.—It's the breaking_up of the icebound stream of Time.
But at last all these fancies yielded to that one portentous something in the picture's midst.
But at last all these fancies yielded to that one portentous something in the picture's midst.
But stop; does it not bear a faint resemblance to a gigantic fish?
The picture represents a Cape_Horner in a great hurricane; the half_foundered ship weltering there with its three dismantled masts alone visible; and an exasperated whale, purposing to spring clean over the craft, is in the enormous act of impaling himself upon the three mast_heads.
The opposite wall of this entry was hung all over with a heathenish array of monstrous clubs and spears.
The opposite wall of this entry was hung all over with a heathenish array of monstrous clubs and spears.
9.6%
Passive voice
The text is predominantly active, though occasional passive constructions appear.
5.23%
Bureaucratic language
Bureaucratic expressions appear rarely.
It touches one's sense of honor, particularly if you come of an old established family in the land, the Van Rensselaers, or Randolphs, or Hardicanutes.
The transition is a keen one, I assure you, from a schoolmaster to a sailor, and requires a strong decoction of Seneca and the Stoics to enable you to grin and bear it.
Well, then, however the old sea_captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder_blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
But wherefore it was that after having repeatedly smelt the sea as a merchant sailor, I should now take it into my head to go on a whaling voyage; this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way—he can better answer than any one else. And, doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago.
And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story—to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?
go down to the fiery pit itself, in order to keep out this frost? Now, that Lazarus should lie stranded there on the curbstone before the door of Dives, this is more wonderful than that an iceberg should be moored to one of the Moluccas.
On one side hung a very large oilpainting so thoroughly besmoked, and every way defaced, that in the unequal crosslights by which you viewed it, it was only by diligent study and a series of systematic visits to it, and careful inquiry of the neighbors, that you could any way arrive at an understanding of its purpose.
Such unaccountable masses of shades and shadows, that at first you almost thought some ambitious young artist, in the time of the New England hags, had endeavored to delineate chaos bewitched.
Such unaccountable masses of shades and shadows, that at first you almost thought some ambitious young artist, in the time of the New England hags, had endeavored to delineate chaos bewitched.
You shuddered as you gazed, and wondered what monstrous cannibal and savage could ever have gone a death_harvesting with such a hacking, horrifying implement.
0%
Pleonasms
The text is almost completely free of pleonasms.
Purple prose is an excessively ornate and overly descriptive writing style. Such text is filled with adjectives, adverbs, metaphors, and complex constructions, making it elaborate and difficult to read. Instead of clarity, it focuses on unnecessary embellishments, often at the expense of content and narrative flow.
The ratio of adjectives to nouns in the text.
The proportion of adverbs modifying verbs.
The ratio of nouns to verbs.
The proportion of descriptive elements (adjectives, adverbs, and participles) among all meaningful words in the text.
The proportion of all adverbs in the text relative to verbs, regardless of their grammatical function.
The proportion of all adjectives in the text relative to nouns, regardless of their grammatical function.
12.38%
Descriptive Elements
The text contains minimal excessive descriptions.
0.11
Descriptive Frequency Index
Descriptive Frequency Index - a measure reflecting the ratio of adjectives, adverbs, and participles to all other parts of speech in the text.
2.97
Average Descriptive Element Per Sentence
Average number of descriptive elements per sentence - indicates the average number of adjectives, adverbs, and participles per sentence. A high value suggests a richly descriptive style, while a low value implies conciseness and restraint.
0.16%
Long Descriptions
Long descriptions. This criterion evaluates the presence of consecutive descriptive elements (adjectives, adverbs, and participles) in the text.
strong moral
still better seaward
great American
robust healthy
robust healthy
tormenting mild
honorable respectable
short easy
portentous mysterious
wild distant
undeliverable nameless
grand hooded
famous old
first dead American
dark dismal
bright red
hard remorseless
low wide
second interior
tall straight
gable-ended old
sharp bleak
mighty pleasant
fine frosty
grand northern
ambitious young
portentous black
blue dim perpendicular
rusty old
once long
0.16%
Intensifiers
Intensifiers are words that enhance the meaning of adjectives, adverbs, or verbs (e.g., very, extremely, absolutely). A high number of intensifiers may indicate emotional intensity or excessive expressiveness in the text.
very: 5 times
crazy: 1 times
particularly: 1 times
The text is well-balanced, with appropriate use of capitalization and punctuation.
BLOODY
WHALING
CHAPTER
ONE
VOYAGE
High level of lexical diversity.
Hypergeometric Distribution Diversity - a lexical diversity metric assessing the probability of encountering unique words in the text. A high value indicates a rich vocabulary, while a low value suggests repetition and lexical monotony.
Measure of Textual Lexical Diversity - a metric evaluating the stability of lexical diversity throughout the text. A high value indicates a varied and extensive vocabulary, while a low value suggests frequent repetition and limited word choice.
Simpson’s Index – a lexical diversity metric measuring the probability that two randomly chosen words in the text will be identical. A high value indicates frequent word repetition, while a low value suggests diverse vocabulary.
Moving-Average Type-Token Ratio - a dynamic variant of TTR that measures lexical diversity using a fixed-size sliding window. It provides a more precise assessment of word variation across the text.
A medium level of structural diversity. Various sentence types are used, but there is potential to enhance dynamics and expressiveness.
Structural Diversity Index - a metric assessing the variety of syntactic constructions in the text. A high value indicates a rich and diverse sentence structure, whereas a low value suggests monotony.
Interpolations - measures the number of inserted words, phrases, or clauses that interrupt the main sentence structure. A high value indicates a complex, dense style, while a low value suggests simplicity and directness.
Clause Percentage - the proportion of all types of clauses (main and subordinate) relative to the total number of sentences. A high value indicates frequent use of complex and compound constructions.
Maximum Subordinate Clause Depth - a metric reflecting how deeply subordinate clauses are embedded within the main sentence. A high value indicates a complex syntactic structure, while a low value suggests simplicity and linearity.
Percentage of Object Clauses - the proportion of subordinate clauses functioning as objects in the main sentence.
Percentage of Purpose Clauses - the proportion of subordinate clauses indicating the purpose of an action (e.g., "He worked hard to succeed"). A high percentage is common in explanatory and argumentative texts.
Percentage of Relative Clauses - the proportion of clauses that specify or describe a noun in the main sentence. A high value indicates a detailed, explanatory writing style.
Percentage of Temporal Clauses - the proportion of clauses indicating the timing of an action (e.g., "When he arrived, the rain had already stopped").
Percentage of Adverbial Clauses - the proportion of subordinate clauses functioning as adverbials (expressing cause, condition, time, etc.).
Percentage of Complement Clauses - the share of clauses that complete the meaning of the main verb (e.g., "He knew that she would come").
Percentage of Concessive Clauses - the proportion of clauses expressing contrast to expectations (e.g., "Although he was tired, he kept working").
Percentage of Paratactic Clauses - the proportion of compound sentences connected without subordination (e.g., "He opened the window, and the wind rushed in").
Percentage of Conditional Clauses - the proportion of clauses expressing conditions (e.g., "If you arrive early, we will catch the train").
Percentage of Simple Sentences - the proportion of sentences containing only one independent clause (subject + predicate).
Percentage of Complex Sentences - the proportion of sentences containing a main clause and one or more subordinate clauses.
Percentage of Compound Sentences - the proportion of sentences containing two or more independent clauses connected by conjunctions ("and," "but," "however").
Percentage of Complex-Compound Sentences - the proportion of sentences combining both subordinate and coordinate structures.
Percentage of Asyndetic Compound Sentences - the proportion of compound sentences joined without conjunctions (e.g., "He left – I stayed").
Percentage of Modal Sentences - the proportion of sentences containing modal verbs (e.g., "can," "must," "should").
Percentage of Passive Voice Sentences - the proportion of sentences where the action is performed on the subject (e.g., "The book was read by the student").
Percentage of Sentences with Adverbial Phrases - the proportion of sentences containing adverbial constructions expressing cause, time, place, or purpose.
Percentage of Imperative Sentences - the proportion of sentences expressing commands, requests, or instructions (e.g., "Close the window!").
Percentage of Exclamatory Sentences - the proportion of sentences conveying emotion (e.g., "How beautiful it is!").
Percentage of Sentences with Participial Phrases - the proportion of sentences containing participial constructions (e.g., "Holding an umbrella, he walked down the street").
Percentage of Interrogative Sentences - the proportion of sentences expressing a question (e.g., "How do I get to the library?").
Percentage of Sentences with Adverbial Clauses - the proportion of sentences containing subordinate clauses that express circumstances such as time, place, reason, and purpose.
Perfectly crafted dialogue: natural, lively, and dynamic.
Overall
7%
Sentence variety in character speech is slightly below average.
The average length of dialogue sentences, measured in words.
The average structural variability of dialogue sentences.
Diversity coefficient measuring the variety in sentence length and structure within dialogues.
Percentage of complex sentences in dialogue lines.
Smooth rhythm changes create a natural flow.
Rate of dialogue length alternation, indicating how much the length of dialogue lines varies from one to another.
Average difference in length between consecutive dialogue lines. A large difference indicates contrast in dialogue, while a small difference suggests uniformity.
Standard deviation of dialogue line lengths, showing how much individual lines deviate from the average. A high value indicates significant variations, while a low value suggests monotony.
0%
Excessive Adverbs in Authorial Insertions
Authorial insertions are almost entirely free of adverbs.
A good balance of simple and complex constructions, supporting the rhythm and dynamics of the text.
The average length of sentences in the text, measured in words.
The average percentage of complex sentences in the text. A high value indicates a prevalence of complex and compound structures.
results.explanations.subclauses_precentage
Maximum Subordinate Clause Depth - a metric reflecting how deeply subordinate clauses are embedded within the main sentence. A high value indicates a complex syntactic structure, while a low value suggests simplicity and linearity.
results.explanations.average_sublclauses_in_sentence
Total number of simple sentences in the text.
Total number of complex sentences, including compound and complex constructions.
Number of overloaded sentences where excessive subordinate constructions make comprehension difficult.
Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.
It is the image of the ungraspable phantom of life; and this is the key to it all. Now, when I say that I am in the habit of going to sea whenever I begin to grow hazy about the eyes, and begin to be over conscious of my lungs, I do not mean to have it inferred that I ever go to sea as a passenger.
And as for going as cook,—though I confess there is considerable glory in that, a cook being a sort of officer on ship-board—yet, somehow, I never fancied broiling fowls;—though once broiled, judiciously buttered, and judgmatically salted and peppered, there is no one who will speak more respectfully, not to say reverentially, of a broiled fowl than I will.
Well, then, however the old sea-captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other’s shoulder-blades, and be content. Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of.
But wherefore it was that after having repeatedly smelt the sea as a merchant sailor, I should now take it into my head to go on a whaling voyage; this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way—he can better answer than any one else. And, doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago.
Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.
With anxious grapnels I had sounded my pocket, and only brought up a few pieces of silver,—So, wherever you go, Ishmael, said I to myself, as I stood in the middle of a dreary street shouldering my bag, and comparing the gloom towards the north with the darkness towards the south—wherever in your wisdom you may conclude to lodge for the night, my dear Ishmael, be sure to inquire the price, and don’t be too particular.
Further on, from the bright red windows of the “Sword-Fish Inn,” there came such fervent rays, that it seemed to have melted the packed snow and ice from before the house, for everywhere else the congealed frost lay ten inches thick in a hard, asphaltic pavement,—rather weary for me, when I struck my foot against the flinty projections, because from hard, remorseless service the soles of my boots were in a most miserable plight.
As the light looked so dim, and the place, for the time, looked quiet enough, and the dilapidated little wooden house itself looked as if it might have been carted here from the ruins of some burnt district, and as the swinging sign had a poverty-stricken sort of creak to it, I thought that here was the very spot for cheap lodgings, and the best of pea coffee.
“In judging of that tempestuous wind called Euroclydon,” says an old writer—of whose works I possess the only copy extant—“it maketh a marvellous difference, whether thou lookest out at it from a glass window where the frost is all on the outside, or whether thou observest it from that sashless window, where the frost is on both sides, and of which the wight Death is the only glazier.”
Perfect tonal balance, where emotional intensity is appropriately used without overwhelming the text.
The text predominantly features dark tones, aligning with the genre requirements.
The text includes emotional elements while maintaining natural narration.
Emotions are expressed in a balanced way, enhancing atmosphere and character development.
0.05%
Optimal number of exclamation marks.
The text is entirely free of redundant elements, with each sentence carrying meaningful content.
0.69%
little, way, time, sea, like, old, sort, whaling
0.94%
so, yet, then, still, well
0%
Perfect rhythm, supporting a smooth and natural narrative flow.
Integral rhythm score of the text, based on sentence length and alternation. A high value indicates a smooth and balanced rhythm, while a low value suggests abrupt transitions.
Rhythm diversity index, showing how much sentence lengths vary. A high value indicates dynamism, while a low value suggests monotony.
Sentence length alternation coefficient, measuring how rhythmically short and long sentences alternate.
Density of punctuation marks in the text.
!
0.05%
?
0.13%
:
0.01%
;
0.18%
,
1.46%
-
0.2%
–
0%
—
0.22%
45
Sentence Alternation
Alternation between long and short sentences is well-balanced.
Median sentence length, representing the central value among all sentence lengths in the text.
Mean sentence length in the text.
Standard deviation of sentence lengths, indicating how much sentence lengths deviate from the average. A high value suggests a varied rhythm, while a low value indicates monotony.
Average difference in length between consecutive sentences. A high value indicates sharp variations, creating a dynamic rhythm.
Proportion of short sentences (up to 10 words).
Proportion of medium-length sentences (10–20 words).
Proportion of long sentences (more than 20 words).
33
Paragraph Alternation
Moderate alternation in paragraph length.
results.explanations.rhythm_paragraph_avgerage_length
Standard deviation of paragraph length, showing how much paragraph size varies.
Proportion of short paragraphs (up to 3 sentences).
Proportion of long paragraphs (10 sentences or more).
Average difference in length between consecutive paragraphs, reflecting the smoothness or abruptness of rhythm transitions.
Very easy text with clear syntax and smooth rhythm.
75
Flesch index
Flesch Index - a readability metric based on sentence length and the number of syllables per word.
A very easy text, accessible to people with basic reading skills.
The text follows genre norms, incorporating key stylistic and thematic elements.