When Aldous Huxley wrote Brave New World, he created an intriguing and effective novel, designed to captivate the audience and provide them with a story that is easy to digest, even though it is complex. He accomplishes this through a combination of careful plot structure and the use of subplots. His subplot provides a foil, useful for contrasting the protagonist of the story, and also gives the reader a wider view of the setting of the story. Huxley takes an unconventional but powerful approach to his plot structure; organizing an episodic plot structure into a plot that can also be considered progressive. This increases his ability to develop his characters while maintaining a series of events that draws the reader in and keeps the story transitioning nicely, and creates a story that is sure to please all audiences.
In conclusion, life can be seen in characters, which are in action. Also in corresponding of incidents that can be thought to be logical. If any work of fiction has logical events, and can be taken to be true, then it is a successful one. Any novel does not have to be only a copy of real life.
In order to fully understand the difference between belief and fiction, Hume’s definition of thought must first be studied. Hume splits perceptions of the mind into two sections – impressions and ideas – and the distinctions between the two are significant (Hume, 18). For Hume, the most important aspect of perceptions is the force in which one experiences the thought. Impressions are defined as, “all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will” (p. 18). On the other hand, “the most lively thought is still inferior to the dullest sensation” (p. 17).
A tense mood is demonstrated by Nick’s observations that Tom, Daisy and Jordan were ... ... middle of paper ... ... Scott Fitzgerald’s usage of sensory-based techniques enhanced “The Great Gatsby” by appealing to what the reader knows and visualizing complicated concepts to create better understanding of the deeper meanings, subtle nuances as well as the overall intent behind the elaborate novel. Therefore, Fitzgerald’s abstraction of uniform motif, setting and character description created a variety of suitable moods and tones for each event throughout “The Great Gatsby”. Work Cited Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner, 2013.
He is the protagon... ... middle of paper ... ..., but truly two’ could be considered with a number of meanings: civilisation versus savagery, good versus evil, or religion versus science. All of these were significant to Stevenson and are asked rhetorically throughout the novel. I think that the structure of the novel contributes to the development of the themes effectively, as they do not emerge fully until the last chapters. By giving us several narratives in the book, Stevenson provides stronger evidence that this is a realistic novel instead of being a one sided fantasy. Stevenson also does this to develop the characters independence and shows layers within the book where each character is missing parts of the information, leaving us to piece together the true story and answer the unsolved questions.
Kafka goes beyond the two-dimensional realms/boundaries many characters of other novels are kept in. They are typically complex personality wise. By developing the characters mentally, emotionally, and psychologically, Kafka makes his characters believable and interesting. The Trial is centered on the life of the easily recognizable protagonist, Joseph K. While K. is clearly rendered as the protagonist in the novel, the delineation of the protagonist is obscure. Consequently, the antagonist simply changes as one progresses through the text.
Ironies and Paradoxes ABSTRACT: In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory.
In the classic novel, To Kill a Mockingbird, Harper Lee undoubtedly uses pairs of characters to emphasize and demonstrate the themes of prejudice, racism and inequality of characters. )(This writing technique is especially evident with the characters: Atticus and Mr. Gilmer; Miss Maudie Atkinson and Miss Stephanie Crawford; and, finally, Walter Cunningham Sr. and Bob Ewell.) (Foils are a very useful technique in writing which are used to show how characters can be compared and contrasted to each another. The following characters have some similarities within their background, however they each have a different perception and behaviour towards the same people. Atticus Finch and Mr. Gilmer are clear examples of this because when compared side by side, one character always comes out on top in the end, this makes one character look superior to the other) (Atticus and Mr. Gilmer are both highly educated men; they went to law school and are also both white, however many of the major differences are displayed within the trial of Tom Robinson.
Because his pragmatic character naturally contests the aspect of Quixote’s character that Cervantes so frequently mocks, the novel is also giving merit to the spirit of reason that Sancho embodies. So if Cervantes’ novel attributes value to reason and faith, two very contradictory ideologies, which school of thought is he ultimately supporting? Cervantes adds one more shade of complexity to his novel that asserts his favor of both reason and faith in conjunction. Initially, Quixote is the man of faith and Sancho of reason. However, as the plot progresses we see Sancho and Quixote develop a mutual respect for each other as the trademark characteristics of each become interchangeable.
In the popular literary works of F. Scott Fitzgerald’s The Great Gatsby and Franz Kafka’s novella “The Metamorphosis,” we are given examples of the importance of a profound narrative point of view in creating an integral depth to the author’s story and enchanting its characters. Through key placement of well-rounded characters, both works of art succeed in creating a perfect narrative point of view which illuminates their stories in emotionally moving ways. The Great Gatsby’s Nick Carraway, plays the role of a secondary character in most of the novel. Enabled by his laidback, trustworthy nature, he manages to provide an extremely interesting first person point of view on all the events surrounding him throughout the story. He also functions as the author’s voice as he reflects on the human condition of man, the American dream, and the “modern” world’s moral values.