THE BUTLER 2.

Summary
by Roald Dahl The short story tells about Mr. Cleaver, a nouveau riche man who
moves into high society and attempts to impress guests with
As soon as George Cleaver had made his first million, lavish dinner parties. Despite expensive food and wine, the
he and Mrs. Cleaver moved out of their small suburban villa atmosphere lacks elegance. The butler, Tibbs, suggests it’s
into an elegant London house. They acquired a French chef because of cheap wine. Mr. Cleaver reacts by purchasing the most
called Monsieur Estragon and an English butler called Tibbs, prestigious and costly vintages in the world and studying wine
both wildly expensive. With the help of these two experts, the obsessively. However, the guests remain unimpressed. In the
Cleavers set out to climb the social ladder and began to give climax, Tibbs reveals that Mr. Cleaver had never actually tasted
dinner parties several times a week on a lavish scale. the real wine—he and the chef Estragon have been secretly
Щойно Джордж Клівер заробив свій перший мільйон, serving Spanish red while drinking the fine vintages themselves.
він разом із місіс Клівер переїхав із невеликої приміської The ending implies Tibbs and Estragon are leaving together,
вілли до елегантного будинку в Лондоні. Вони найняли possibly as partners in crime.
французького шеф-кухаря на ім’я месьє Естрагон і
англійського дворецького на ім’я Тіббс, обидва були 3. Functional style and its aim
надзвичайно дорогими. За допомогою цих двох фахівців This story belongs to the belles-lettres functional style,
подружжя Кліверів вирішило піднятися по соціальній specifically emotive prose. The main aim is to entertain, but also
драбині й почало влаштовувати розкішні вечері кілька разів to criticize superficiality and pretentiousness in upper-class
на тиждень. society. Dahl mocks the absurd lengths to which people go in
order to appear cultured, showing how those who pretend
1. Information about the author expertise are often outwitted by their more cunning subordinates.
Roald Dahl (1916–1990) was a British author known for both
children's fiction and short stories for adults. His literary voice is 4. Compositional (plot) structure
marked by dark humor, irony, grotesque situations, and
unexpected endings. He gained worldwide recognition for books  Exposition: The Cleavers move to London and begin
like Charlie and the Chocolate Factory, James and the Giant hosting dinner parties.
Peach, and Matilda, though his short stories for adults, many  Rising action: Tibbs points out the poor wine is ruining the
published in magazines like The New Yorker, also earned atmosphere. Mr. Cleaver buys fine wine and learns to
acclaim. "The Butler" reflects his signature style—clever irony, "appreciate" it.
criticism of the upper class, and plot twists.  Climax: Mr. Cleaver publicly mocks Tibbs, but the butler
reveals the wine is cheap Spanish red.
  Falling action: Mr. Cleaver is embarrassed, and the guests  Description: Includes portraiture of Mr. Cleaver as brash
are shocked. and vulgar, Tibbs as refined and composed.
 Denouement: Tibbs and Estragon are implied to leave  Dialogue: Full of ellipses, exclamations, and idiomatic
together, having outsmarted the master. expressions that replicate real speech.
Plot type: Closed, with a final ironic twist.  Argumentation: Comes through Tibbs’ calm explanations
about wine and taste, contrasted with Mr. Cleaver’s
5. Time and place of action (chronotope) stubbornness.

 Time: Implied to be post-WWII, based on references to 8. Thematic and key words; author’s message
wine vintages (e.g., Lafite 1945).
 Place: London, in an elegant house; spatial markers include  Thematic words: butler, wine, party, cellar, dinner,
the cellar, dining room, sideboard, smoking-room, and the vinegar, vintage, palate, French chef.
boot of a car (closed vs. open spaces).  Key ideas: Social pretension, deception, servant-master
dynamics, revenge of the subaltern.
6. Types of narration  Author’s message: Appearances can be deceiving; true
class is shown through behavior, not wealth. Dahl critiques
 Author’s narrative proper: 3rd person omniscient. the artificiality of status and mocks those who try to buy
 Dialogue: Dominates the story and reveals character traits. sophistication without understanding it.
 Represented speech: Used to imply unspoken reactions or
subtle irony (“The butler inclined his head and looked at
the ceiling”).
 Colloquial language: Mr. Cleaver’s speech includes slang Stylistic Devices and Artistic Means
(“what the heck”, “don’t give a hoot”, “flipping wine”),
marking his lack of refinement.  Epithets: “elegant London house,” “cheap and odious
 Indirect characterization: Mr. Cleaver is exposed as wine,” “superb food” — add vividness and evaluation.
uncultured through his own pompous behavior and Tibbs’  Irony: The entire premise (a wine connoisseur fooled by
subtle restraint. vinegar and cheap wine) is a layered irony.
 Metaphor: “the wine is the enemy of vinegar” — to
7. Narrative compositional forms express sensory incompatibility.
 Parallel constructions: “He talked of New York and of
 Narration proper: Verbs such as “acquired,” “mocked,” San Francisco. He discussed plays, pictures, and politics.”
“served,” and “explained” drive the plot.  Oxymoron: “superb but tasteless dinners” — shows
contrast between wealth and substance.
  Hyperbole: “the best flipping wine in the world,” “all the
liquor in the world” — reflects Cleaver’s exaggeration and
lack of taste.
 Allusions: Reference to elite Bordeaux wines like “Château
Lafite ‘45” signal exclusivity.
 Sarcasm: Found in Cleaver’s tone toward Tibbs —
mocking superiority masking ignorance.
 Ellipsis and colloquialism: “Don’t none of them
appreciate...?”, “Hogwash!” — imitate spoken, informal
tone.

Conclusion
"The Butler" is a biting satirical tale that unravels the illusion of
social sophistication. Roald Dahl uses irony, dialogue, and
character contrast to show how wealth does not equal taste or
intelligence. The twist ending—where the "master" is deceived by
his "servants"—is a classic example of Dahl’s subversion of
social roles, leaving the reader both amused and reflective.

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