High stylistic quality. The text appears well-thought-out, expressive, and enriched with unique stylistic choices.
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.
The text contains a harmonious combination of simple and complex sentences.
Perfect tonal balance, where emotional intensity is appropriately used without overwhelming the text.
Perfect rhythm, supporting a smooth and natural narrative flow.
Text demonstrates excellent readability and exemplary rhythm.
Complete adherence to the genre, with all structural and stylistic elements intact.
High stylistic quality. The text appears well-thought-out, expressive, and enriched with unique stylistic choices.
5.1%
Cliche
The text contains only a few clichés.
He now took the stick from my hands and examined it for a few minutes with his naked eyes.
Dr. Mortimer drew a folded newspaper out of his pocket.
Being himself childless, it was his openly expressed desire that the whole countryside should, within his own lifetime, profit by his good fortune, and many will have personal reasons for bewailing his untimely end.
“The circumstances connected with the death of Sir Charles cannot be said to have been entirely cleared up by the investigation, but at least enough has been done to dispose of those rumours to which local superstition has given rise.
There is no reason whatever to suspect foul play, or to imagine that death could be from any but natural causes.
36.73%
Idioms
Only a few idioms are present in the text.
I stood upon the hearth_rug and picked up the stick which our visitor had left behind him the night before.
I stood upon the hearth_rug and picked up the stick which our visitor had left behind him the night before.
Just under the head was a broad silver band nearly an inch across.
It was just such a stick as the old_fashioned family practitioner used to carry— dignified, solid, and reassuring.
I asked with some self_importance. are placed before that hospital the words does stand for what further inferences may we draw?”
I asked with some self_importance. are placed before that hospital the words does stand for what further inferences may we draw?”
said I, From my small medical shelf I took down the Medical Directory and turned up the name.
There was such a ring of conviction in his voice that I glanced up in surprise.
The appearance of our visitor was a surprise to me, since I had expected a typical country practitioner.
said Holmes. said Holmes, shaking his head.
The man drew out paper and tobacco and twirled the one up in the other with surprising dexterity.
The man drew out paper and tobacco and twirled the one up in the other with surprising dexterity.
Holmes was silent, but his little darting glances showed me the interest which he took in our curious companion. said he at last,
I looked over his shoulder at the yellow paper and the faded script.
“Of the origin of the Hound of the Baskervilles there have been many statements, yet as I come in a direct line from Hugo Baskerville, and as I had the story from my father, who also had it from his, I have set it down with all belief that it occurred even as is here set forth.
“Know then that in the time of the Great Rebellion this Manor of Baskerville was held by Hugo of that name, nor can it be gainsaid that he was a most wild, profane, and godless man. This, in truth, his neighbours might have pardoned, seeing that saints have never flourished in those parts, but there was in him a certain wanton and cruel humour.
“Know then that in the time of the Great Rebellion this Manor of Baskerville was held by Hugo of that name, nor can it be gainsaid that he was a most wild, profane, and godless man. This, in truth, his neighbours might have pardoned, seeing that saints have never flourished in those parts, but there was in him a certain wanton and cruel humour.
So it came to pass that one Michaelmas this Hugo, with five or six of his idle and wicked companions, stole down upon the farm and carried off the maiden.
Now, the poor lass upstairs was like to have her wits turned at the singing and shouting and terrible oaths which came up to her from below.
At last in the stress of her fear she did that which might have daunted the bravest or most active man, for by the aid of the growth of ivy which covered (and still covers) the south wall she came down from under the eaves, and ran homeward across the moor .
At last in the stress of her fear she did that which might have daunted the bravest or most active man, for by the aid of the growth of ivy which covered (and still covers) the south wall she came down from under the eaves, and ran homeward across the moor .
At last in the stress of her fear she did that which might have daunted the bravest or most active man, for by the aid of the growth of ivy which covered (and still covers) the south wall she came down from under the eaves, and ran homeward across the moor .
At last in the stress of her fear she did that which might have daunted the bravest or most active man, for by the aid of the growth of ivy which covered (and still covers) the south wall she came down from under the eaves, and ran homeward across the moor .
And while the revellers stood aghast at the fury of the man, one more wicked or, it may be, more drunken than the rest, cried out that they should put the hounds upon her.
But soon their skins turned cold, for there came a galloping across the moor, and the black mare went past with trailing bridle and empty saddle.
Riding slowly they came at last upon the hounds. These, though known for their courage and their breed, were whimpering in a cluster at the head of a deep dip or goyal, as we call it, upon the moor, some slinking away and some, with starting hackles and staring eyes, gazing down the narrow valley before them.
“The company had come to a halt, more sober men, as you may guess, than when they started.
The most of them would by no means advance, but three of them, the boldest, or it may be the most drunken, rode forward down the goyal. Now, it opened into a broad space in which stood two of those great stones, still to be seen there, which were set by certain forgotten peoples in the days of old.
And even as they looked the thing tore the throat out of Hugo Baskerville, on which, as it turned its blazing eyes and dripping jaws upon them, the three shrieked with fear and rode for dear life, still screaming, across the moor. One, it is said, died that very night of what he had seen, and the other twain were but broken men for the rest of their days.
When Dr. Mortimer had finished reading this singular narrative he pushed his spectacles up on his forehead and stared across at Mr. Sherlock Holmes.
In these days of nouveaux riches it is refreshing to find a case where the descendant of an old county family which has fallen upon evil days is able to make his own fortune and to bring it back with him to restore the fallen grandeur of his line.
In these days of nouveaux riches it is refreshing to find a case where the descendant of an old county family which has fallen upon evil days is able to make his own fortune and to bring it back with him to restore the fallen grandeur of his line.
More wise than those who go on until the wheel turns against them, he realized his gains and returned to England with them.
It is only two years since he took up his residence at Baskerville Hall, and it is common talk how large were those schemes of reconstruction and improvement which have been interrupted by his death.
Being himself childless, it was his openly expressed desire that the whole countryside should, within his own lifetime, profit by his good fortune, and many will have personal reasons for bewailing his untimely end.
“The circumstances connected with the death of Sir Charles cannot be said to have been entirely cleared up by the investigation, but at least enough has been done to dispose of those rumours to which local superstition has given rise.
“The circumstances connected with the death of Sir Charles cannot be said to have been entirely cleared up by the investigation, but at least enough has been done to dispose of those rumours to which local superstition has given rise.
Sir Charles was a widower, and a man who may be said to have been in some ways of an eccentric habit of mind.
In spite of his considerable wealth he was simple in his personal tastes, and his indoor servants at Baskerville Hall consisted of a married couple named Barrymore, the husband acting as butler and the wife as housekeeper.
Their evidence, confirmed by that of several friends, tends to show that Sir Charles's health has for some time been impaired, and points especially to some affection of the heart, manifesting itself in changes of colour, breathlessness, and acute attacks of nervous depression.
That night he went out as usual for his nocturnal walk, in the course of which he was in the habit of smoking a cigar.
The day had been wet, and Sir Charles's footmarks were easily traced down the alley.
Halfway down this walk there is a gate which leads out on to the moor.
There were indications that Sir Charles had stood for some little time here.
He then proceeded down the alley, and it was
10.88%
Passive voice
The text is predominantly active, though occasional passive constructions appear.
2.04%
Bureaucratic language
The text is almost completely free of bureaucratic expressions.
I should guess that to be the Something Hunt, the local hunt to whose members he has possibly given some surgical assistance, and which has made him a small presentation in return.” said Holmes, pushing back his chair and lighting a cigarette.
More wise than those who go on until the wheel turns against them, he realized his gains and returned to England with them.
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.
10.23%
Descriptive Elements
The text contains minimal excessive descriptions.
0.08
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.
1.77
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.
0.36%
Long Descriptions
Long descriptions. This criterion evaluates the presence of consecutive descriptive elements (adjectives, adverbs, and participles) in the text.
fine thick
broad silver
successful elderly medical
small medical
tall thin
keen gray
great unknown
serious extraordinary
sudden tragic
large scrawling
idle wicked
great black
ever mortal
recent sudden
probable Liberal
comparatively short
South African
0.36%
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: 13 times
wicked: 2 times
The text is well-balanced, with appropriate use of capitalization and punctuation.
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
62%
High variability in direct speech sentence structures.
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.
The text contains a harmonious combination of simple and complex sentences.
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.
“Know then that in the time of the Great Rebellion this Manor of Baskerville was held by Hugo of that name, nor can it be gainsaid that he was a most wild, profane, and godless man. This, in truth, his neighbours might have pardoned, seeing that saints have never flourished in those parts, but there was in him a certain wanton and cruel humour.
“It chanced that some little time later Hugo left his guests to carry food and drink—with other worse things, perhaps—to his captive, and so found the cage empty and the bird escaped. Then, as it would seem, he became as one that has a devil, for, rushing down the stairs into the dining-hall, he cried aloud before all the company that he would that very night render his body and soul to the Powers of Evil if he might but overtake the wench .
But it was not the sight of her body, nor yet was it that of the body of Hugo Baskerville lying near her, which raised the hair upon the heads of these three dare-devil roysterers , but it was that, standing over Hugo, and plucking at his throat, there stood a foul thing, a great, black beast, shaped like a hound, yet larger than any hound that ever mortal eye has rested upon.
And even as they looked the thing tore the throat out of Hugo Baskerville, on which, as it turned its blazing eyes and dripping jaws upon them, the three shrieked with fear and rode for dear life, still screaming, across the moor. One, it is said, died that very night of what he had seen, and the other twain were but broken men for the rest of their days.
Perfect tonal balance, where emotional intensity is appropriately used without overwhelming the text.
The text predominantly features dark tones, aligning with the genre requirements.
Emotions are present but expressed in a reserved manner.
Emotions are expressed in a balanced way, enhancing atmosphere and character development.
0.03%
Optimal number of exclamation marks.
The text is entirely free of redundant elements, with each sentence carrying meaningful content.
1.3%
night, stick, visitor, family, eyes, said, man, country, dear, little
1.4%
so, well, then, yet, still
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.
!
0.03%
?
0.11%
:
0.02%
;
0%
,
1.37%
-
0.13%
–
0%
—
0.04%
35
Sentence Alternation
Moderate alternation in sentence length.
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).
29
Paragraph Alternation
Good balance of paragraph length alternation.
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.
Text demonstrates excellent readability and exemplary rhythm.
81
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.
Complete adherence to the genre, with all structural and stylistic elements intact.