The early modern novel had no definite divisions between fantasy and realism. Defoe's Robinson Crusoe, for instance, has universal appeal in that it deals with and develops real moral and psychological issues, but the narrative still depends upon extraordinary settings and events (Konigsberg 18). Also, Defoe used a fictional "editor," and preface, among other things, to make his work seem like an authentic document and therefore a worthwhile read. As the literary form evolved, novelists began to separate from fantasy, interested more in creating plausible characters and situations than asserting their "truth" with fictional documents. The more explicit devices of authenticity faded from use, and a new sense of self-awareness emerged as novelists argued for legitimacy within the narrative.
He is less resourceful that most other typical heroes and is less admirable, which is evident in his attitude and the way he treats the human race. Another reason why Gulliver is an anti-hero is his tendency to act like a fool. More than a heroic figure, he more often tends to play a comic role. Throughout the story, the readers and the other characters see him as bizarre rather than the noble character that a hero possesses. An example of this is when the troops marched under his legs and when the soldiers looked and saw his condition, they found an opportunity to make a fun of him.
George Milton in Of Mice and Men by John Steinbeck is crude, snarky, and downright normal. He’s a character that, while some of his decisions are questionable, is easy to relate to from his actions, thoughts, and personality. The idea of such a character being remindful of the reader by spirit or another is emphasized by Alan Moore’s quote, “I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.” Throughout the book, the reader will see George as an abundant wealth of realism from his own strengths and weakness. It’s not only limited to that, for his own appearance is neither an exaggerated stretch of flesh, nor an over-glorified Adonis, but that of an average person with common struggles in life (though that may be because of Steinbeck’s own habit of writing based off his experiences and views).
These traits are determined by perspective, and the a... ... middle of paper ... ...heir superiority. Achebe embraces the beauty of humanity while simultaneously addressing its flaws. With his ability to contemplate conflicting perspectives, Achebe illustrates the benefits of cultural relativity. Achebe does not target religion or even the colonizers; he addresses people universally, encouraging global consideration and individual reflection. To accentuate the forcefulness of the colonizers, Achebe contrasts it with his own temperateness—he portrays his characters without generalization, he presents his opinions with a carefully restrained perspective, and remains calm in his writing, never resorting to hatred.
His passionate affection--though directed towards Catherine only--and his inexorable dedication to his resentment are such critical elements of the novel that they create a quasi-disguise for Heathcliff, making him a more attractive character. Eventually these positive qualities are degraded by Heathcliff’s less appealing traits as his initial intense love for Catherine turns into an all-consuming obsession that prompts his commitment to manipulative schemes. Brontë giving... ... middle of paper ... ...ions gives Heathcliff a demonic streak, underscoring his villainy in the novel. Heathcliff, whose very name evokes opposite but equally isolated images of low scrubland and high cliffs, is a man of harshly contrasting duality. His moral deficiency that defines him as an antihero--and prevents him from being the hero of the story though he is the protagonist--is stressed throughout the novel but is also mainly tempered by his immense ability to love Catherine and the sympathy that his character receives as a result of that love.
Howells' call for realism encompasses such literary giants as Henry James, but does not necessarily describe them. Both Howells and James, though utterly invested in "the motives and passions" of the human race, still rely and stylistic and social conventions in their novels. James, most especially, combines high art and society with a new conception of realism - one that removes the mask from the self-proclaimed moralism of the upper classes and demonstrates their hopes and failures in the very light of truth-telling fiction. While Howells' realism was "romantic" in that he permitted "respectability to censor his observations and insights" (Trachtenberg, 191) and allowed his characters to fall into the miasma of what he believed to ... ... middle of paper ... ...mes, 39). James, rather than resorting to the later bitter, gritty realist tactics of Drieser, stays enmeshed in the conventions of society while experimenting with realist conceptions of character.
In typical American realism literature, it renders reality closely and in comprehensive detail. Selective presentation of reality with an emphasis on verisimilitude, even at the expense of a well-made plot. The character has been considered more important than action and plot. Characters appear in their real complexity of temperament and motive; they are in explicable relation to nature, their ethnic group, their social class, and to their own past (Rutherford B. Hayes: Presidential Center). The greatest American humorist and one of the greatest novelists, Samuel Langhorne Clemens, or Mark Twain, illustrated his profound thoughts towards to the pathological society.
How Daisy changes throughout the story , or how Nick realizes the evil inside humanity. These images and details about Fitzgerald’s writing style show his skill at storytelling. His characters are interesting, his plots compelling, and there are many contradictions that make people think. The judgement of his characters is not superficial, and it tries to justify or condemn characters by their intentions. Gatsby is a good character, for he was pursuing an “ incorruptible dream,” but Tom is not because he “smashed up things and people,” just because he could.
(Cooper) For centuries light vs. dark has been quite possibly the most common symbol in all literature. In Heart of Darkness, Joseph Conrad uses detail to create a feeling that transcends the literal text - most notably through his use of light and dark and the inversion of their traditional meanings. The end goal of this inversion is the establishment of the theme that not everything is as it seems. More specifically, Conrad uses detailed imagery of light and dark to show often times white men can be more savage than the natives. The use of darkness in the title of Conrad’s work immediately alludes to it’s relevance to the story, but in an unexpected way.
Though this is true, the quote is formed by using metaphorical language that beautifully illustrates Paton’s point. In closing, the artistic aspects of Cry, the Beloved Country thoroughly outweigh those of a political style. Just as the bible portrays flawed heroes, and villains who sometimes repent, Paton tells the stories of these political events in the same honest manner. Paton uses symbolism through characters, character development, contrasting of races, and metaphorical language to convey a beautifully artistic novel.