High stylistic quality and use of literary devices. The text stands out for its expressiveness, originality, and artistic complexity. Clichés and stylistic errors, if present, are minimal.
High level of lexical diversity.
Satisfactory structural diversity. The text shows a balance between different types of sentences, but further improvement could enhance its expressiveness and dynamism.
A very high level of coherence. The text demonstrates clear logic and consistency of ideas.
Perfect dialogues. Every line sounds natural, emotional, and smooth, with an excellent balance of structural variety and conversational elements.
The text has a harmonious combination of simple and complex sentences.
Perfect tonality. The text demonstrates an ideal balance between emotional richness and neutral parts.
Perfect rhythm. The text demonstrates an ideal balance between short and long sentences, maintaining smooth and natural narrative flow.
The text is extremely simple, with minimal complexity. Suitable for young children or people with limited reading skills.
Very high level of genre conformity. The text almost completely meets genre expectations, with its structure and style fitting perfectly within genre boundaries.
High stylistic quality and use of literary devices. The text stands out for its expressiveness, originality, and artistic complexity. Clichés and stylistic errors, if present, are minimal.
The author skillfully uses figures of speech, with high-quality applications. The text is filled with diverse devices, each of which is relevant and adds artistic expressiveness. The frequency of figures of speech is above average, and their contextual relevance is generally high.
2.6%
Metaphors
A level of metaphors slightly above average.
whenever it is a damp, drizzly November in my soul
commerce surrounds it with her surf
Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries
though this pine-tree shakes down its sighs like leaves upon this shepherd’s head
It is the image of the ungraspable phantom of life; and this is the key to it all.
1.8%
Personification
A level of personification slightly above average.
the wind whispered through the trees
the sun smiled down on us
Time marches on.
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.
the great flood-gates of the wonder-world swung open
0.45%
Similes
An average level of similes.
they rather order me about some, and make me jump from spar to spar, like a grasshopper in a May meadow.
one grand hooded phantom, like a snow hill in the air
a candle, like a candle moving about in a tomb
the segment made in the new-mown grass by a long-armed mower
5.2%
Epithets
A level of epithets at the upper limit of the norm.
4.07%
Cliche
A very low level of clichés. The text mostly uses original expressions, adding expressiveness and originality to the narrative.
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.
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?
9.6%
Passive voice
Minimal use of passive voice.
5.23%
Bureaucratic language
The text is almost completely free from bureaucratic language.
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?
0%
Pleonasms
The text is almost completely free from pleonasms.
The text is well-balanced. Capital letters and punctuation are used appropriately and do not distract the reader.
WHALING
VOYAGE
ISHMAEL
BATTLE
BLOODY
High level of lexical diversity.
Satisfactory structural diversity. The text shows a balance between different types of sentences, but further improvement could enhance its expressiveness and dynamism.
A very high level of coherence. The text demonstrates clear logic and consistency of ideas.
30%
Percentage of polysemous sentences
The text has low ambiguity, implying a high degree of clarity and transparency in its expressions.
88
Idea consistency
The text demonstrates a high level of consistency, where each idea naturally follows the previous one.
85.6
Semantic distance
The text exhibits excellent coherence between ideas. Transitions between concepts are logical and smooth.
90
Sentence coherence
All sentences are excellently connected. The logic of transitions between them is clear and consistent.
85
Thematic coherence
A high level of thematic coherence. Ideas smoothly transition into one another, supporting the main theme without significant deviations.
90
Lexical homogeneity
High lexical homogeneity. The text strictly adheres to a single style, using consistent and repetitive vocabulary. This may lend the text structure but potentially reduce its diversity.
80
Paragraph coherence
This level indicates good text structure. Paragraphs are logically connected, and ideas develop smoothly and sequentially.
95
Structural integrity
The text is impeccably organized. Each part of the text is precisely connected to the others, creating a logical and sequential narrative.
90
Temporal consistency
Temporal transitions in the text are natural and sequential. Events and ideas develop in a logical temporal order without significant disruptions.
95
Grammatical consistency
The text has perfect grammatical consistency, reflecting the complete absence of grammatical errors. The text is entirely correct and well-structured, making it easy to read and understand.
85
Speech style consistency
The speech style in the text remains almost unchanged. The text is consistently held in one tone, making it cohesive and easy to follow.
85
Transitions between parts
Transitions in the text are natural and support the logical structure of the narrative. The text appears cohesive, and ideas flow seamlessly into one another.
Syntactic cohesion in literary prose refers to the measure of interconnection between sentences at the level of grammatical and syntactic dependencies, reflecting the degree of textual unity. In the context of literary fiction, it indicates the fluidity of the narrative, showing how one sentence logically or intuitively flows from another. This effect is achieved through the repetition of syntactic structures, the use of linking words, pronouns, parallel constructions, and other elements that ensure textual coherence at a formal level.
Perfect dialogues. Every line sounds natural, emotional, and smooth, with an excellent balance of structural variety and conversational elements.
Overall
7%
The level of sentence diversity in direct speech is slightly below average. Dialogues include both simple and complex sentences, but the structure remains predictable, reducing the liveliness and naturalness of the speech.
A good rhythm: smooth changes in line length create a sense of natural dynamics.
Optimal level of emotional intensity. Moderate emotional coloring helps convey the characters’ feelings without excessive dramatization.
90
The lines are smoothly and naturally connected, with characters interacting logically and naturally.
0%
Almost no conversational phrases are present. The dialogues are formal and strict, making the characters’ speech less natural.
10%
Almost no excessive content.
The text has a harmonious combination of simple and complex sentences.
Perfect tonality. The text demonstrates an ideal balance between emotional richness and neutral parts.
The text predominantly contains dark tones, aligning perfectly with the genre’s requirements.
The text contains emotional elements but remains balanced and not overloaded.
A good balance of emotional intensity. Emotions are present in the right amount, effectively conveying the characters’ inner states and atmosphere without overloading.
0%
Almost no use of intensifiers.
0.05%
An optimal amount of exclamation marks.
The text is entirely free of redundant content. Each sentence is meaningful, delivering exclusively useful and targeted information.
0.69%
little, way, time, sea, like, old, sort, whaling
4.4%
never mind how long precisely, in my purse, almost all men in their degree, and what not, in that particular instance
0.93%
so, yet, then, still, well
Perfect rhythm. The text demonstrates an ideal balance between short and long sentences, maintaining smooth and natural narrative flow.
!
0.05%
?
0.13%
:
0.01%
;
0.18%
,
1.46%
-
0.2%
–
0%
—
0.22%
45
Sentence Alternation
The text is balanced and rhythmic due to the harmonious alternation of short and long sentences. This supports the text’s dynamism and expressiveness.
33
Paragraph Alternation
Moderate alternation of paragraph lengths. The text maintains dynamism through the proper alternation of long and short paragraphs.
75
Flesch index
The text is very easy to read and accessible to people with basic reading skills.
Very high level of genre conformity. The text almost completely meets genre expectations, with its structure and style fitting perfectly within genre boundaries.