I think we can all agree that, whether it’s a short story, a novel, or something in between, THE most important thing about none the story is this:
- Something has to change at the end—or there is no story.
Whether or not you’ve seen that statement in a book or article, you intuitively know it’s true. You can remember none story where there are no changes at the end? I thought not.
Now, you may not realize it, but absolutely each published story change at the end always relates to some strongly expressed value Early in history, either by or on the main character.
And that early statement of strong value is always an evaluation or description related to the main character, or one of the main characters, on-
- has a characteristic golden streak,
- a goal,
- a problem,
- one wish, gold
- an opinion or point of view.
That’s what I call the old view.On the other hand, the change at the end I call the New view. Y
- the new view is always a reverse of the old and strong opinion previously established.
With that one principle, you can make sense of literally every story ever written and published. And you don’t have to bring a bunch of literary devices to prove your analysis, either.
However, you should know that there is a big difference between a short story and a long story, or novel. In a short story, the mainstay of the relationship between the old point of view and the new point of view is the main character description, which often involves descriptions of your feelings, thoughts, conversations, and actions, although a physical description can also be used to powerfully support the new vision. For example, in the first section of his famous tale A rose for EmilyWilliam Faulkner uses a very suggestive physical description of Miss Emily as a black widow spider, which obviously supports the repulsive revelation about her at the end of the story.
But in a novel, the main support for the relationship between the old point of view and the new point of view in the story is the use of sheets.
HAS frustrate is a character in a story that serves as a contrast to another character. Usually the strongest and most important contrasts are with the main lead character or one of the other main characters. And the contrasts often serve to highlight specific traits of the main character and thus reinforce the relationship between the old point of view and the new, the change from the beginning to a reverse ending.
Pictures are important factors in novels, not short stories, because it takes much longer to correctly develop a contrast between two or more characters. In fairy tales, there is simply no space or time for that.
Before looking at examples of prints, let’s first take a close look at the novelty factor, or the old view-new view relationship, in the famous popular novel, pride and prejudice by Jane Austen. And then we’ll see how the plates are used in the story as an important tool to support the new reverse view at the end.
On pages four and five of the story, the narrator makes a strong value statement about one of the two main characters, Mr. Darcy. The townspeople of Meryton take a biased or prejudiced opinion against Mr. Darcy, whom they have just met at a town dance:
…he was found to be proud…and above all pleased…He was the proudest, most unpleasant man in the world, and everyone hoped that he would never come back there again.
At the ball, Elizabeth Bennett and her mother were rudely snubbed by the proud Mr. Darcy, so her prejudiced views of him matched everyone else’s. For his part, Mr. Darcy did not like “country people” either, expressing to his friend Bingley that they were beneath him, which is more direct evidence of his pride.
Okay, now that we’ve identified the strong old view assertion, let’s move on to the new view inversion at the end.
Near the end of the story, Elizabeth discovers that Darcy has saved Lydia’s reputation and the fragile reputation of the rest of the Bennett family, as well as her own. This allows her reverse your prejudiced opinion of him and falling in love with him the rest of the way (after finding out the truth about Wickham from Darcy and visiting his vast and rich estate and meeting his kind sister, she was beginning to like him and change her mind, but not quite until discovered that he had rescued his own good reputation and the good reputation of his entire family). She expresses her reverse feelings to Darcy near the end of the story when Darcy proposes to her for the second time, which Elizabeth gladly accepts, based primarily on her growing respect and appreciation for her character.
With Elizabeth’s engagement to Darcy, her family also reverses their feelings towards him (probably the town as well, though they won’t tell us) at the end of the story: a perfect old pattern of sight to new sight, a pure new seeing pleasure reversed. !
To firmly establish the old view of Darcy as proud and prejudiced in history, Jane Austen provides Darcy with important foils in the form of Bingley, Mr. Collins, and Wickham. In conversations with Jane, Elizabeth constantly compares Darcy’s arrogant manner unfavorably to Bingley’s courteous and friendly demeanor, as well as Darcy’s being “proud and obnoxious” to Bingley being “so nice”. Even Bingley expresses to his friend his distaste for Darcy’s pride at the first ball they attend at Meryton, as well as after the ball.
With Mr. Collins, Austen shows the contrast between him and Darcy in their behavior at Bingley’s party and at the mansion of Catherine de Bourgh, Darcy’s aunt. In both cases, and many more, Mr. Collins’ subservient demeanor is constantly on display, set against Darcy’s dignified, if arrogant, mannerisms. So Darcy actually comes out ahead in contrasts to Mr. Collins — Darcy may be proud and not as nice as Bingley, and he may even be accused of displaying his pride and arrogance towards Mr. Collins, but he’s clearly very more sensitive and respectable than Mr. Collins. You have to give him that.
The crucial contrast is with Wickham, who quickly takes a liking to Elizabeth because it confirms his negative view of Darcy. Wickham cements the old, developing view of Darcy as proud and arrogant, even more so than previously thought, by telling everyone a story that portrays Darcy as deeply unfair in his dealings with him. As well as being seen as a victim in the service of sympathy, Wickham comes off as quite friendly and charming with the ladies, which is in marked contrast to Darcy’s arrogant and aloof demeanor.
However, Darcy’s unfavorable contrast with Wickham changes abruptly, at least with Elizabeth, when she visits her friend Charlotte, then married to Mr. Collins. After Darcy proposes to her and Elizabeth turns him down with accusations about his serious misbehavior towards Wickham (among other things), Darcy writes her a letter explaining how Wickham tried to elope with Darcy’s fifteen-year-old sister Georgiana for his own. his heritage. , disproving Wickham’s story of Darcy’s abuse of him. When Elizabeth returns home, she shares the incident with her sister, Jane, and concludes that she now sees Darcy as a good man and Wickham as a scoundrel. Add to that Elizabeth’s visit to Darcy’s rich estate and meeting her sister, who loves him as the perfect older brother, and the old view of Darcy as proud and arrogant begins to dissipate, at least for Elizabeth. .
Finally, when she discovers that Darcy went to great trouble and expense to help Lydia and Wickham (a man she detests deeply) marry, and thereby saved the good reputation of the entire Bennett family, especially Elizabeth’s, she does not it can help to fall in love with Darcy, seeing him as a person of high ideals, like her, who appreciates her, cares about her and loves her. So Wickham, as a foil to Darcy, actually helps enlighten Elizabeth about Darcy, ultimately by highlighting Darcy’s high moral character and his goodness as a person. That is what has made the new opinion reversed at the end — the complete reversal of the universal negative opinion of him, including Elizabeth’s, so well established at the beginning — so strong and so satisfying, endearing, in reality, for millions of people. of readers for some two hundred years, all over the world.
Now for Elizabeth’s main contrasts: Jane, Charlotte Lucas, and Miss Bingley (Mr. Bingley’s single sister).
Elizabeth is closer to her sister Jane than anyone else, so the contrast is easy and natural. Elizabeth herself often notices the contrast when she talks to Jane, envying her sister’s kindness rather than her own derisive and cynical comments about people, such as:
Until I have your willingness, your goodness, I can never have your happiness.
Elizabeth’s best friend, Charlotte Lucas, provides another great contrast through her attitude of pragmatism towards marriage, the opposite of Elizabeth’s idealism. That is shown when Charlotte admits to Elizabeth that she would marry Mr. Collins for purely pragmatic reasons, not for love, which is the complete opposite of Elizabeth’s rejection of her marriage proposal for idealistic reasons, including lack of love. for him. (That fulfills her commitment in the conversation with Jane, in which Elizabeth sternly promised not to marry for money or social advantage, but only for love.) And Miss Bingley is another good fit because she’s cynical, like Elizabeth, but, more than any. that, she is also vicious and deceitful, which is not Elizabeth. Each of these plates helps readers focus on a different characteristic of Elizabeth, so we know her better because of these contrasting personalities, these useful plates.
The perfect contrast, perhaps — in other words, the perfect contrast or reversal — of the old view of Darcy’s pride and arrogance so well established at the beginning of the story, is the new statement of change of Elizabeth’s vision when speaking alone with her father about her love for Darcy: “I love him. In fact, he has no improper pride. He is perfectly kind.”
Like our review of Jane Austen’s novel, pride and prejudice, he has shown, the plates are a key factor in presenting the relationship between the old and the new point of view in the novels. Now you will be able to see the plates, old points of view and new points of view more easily in the next novel you read, analyze and write in your literary analysis essays.