I think we can all agree that, whether it’s a short story, a novel, or something in between, THE most important thing about any 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 to be true. You can remember any story where there are no changes at the end? I thought not.

Now, you may not realize it, but absolutely each published story the 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, about-

• has a characteristic golden feature,
• a goal,
• a problem,
• a wish, gold
• an opinion or point of view.

That’s what I call the old viewOn the other hand, the change in the end I call the New view. AND

• the new view is always a counter of the old and strong opinion established above.

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 resources to test 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 description of the main character, which often has to do with descriptions of your feelings, thoughts, conversations, and actions, although a physical description can also be used to powerfully support the new view. For example, in the first section of his famous short story 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 of the relationship between the old point of view and the new point of view in the story is the use of sheets.

IN 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 shift from the beginning to a reverse ending.

Plates are important factors in novels, not short stories, because it takes much longer to properly develop a contrast between two or more characters. In stories, there is simply no space or time for that.

Before we examine plate examples, let’s first take a close look at the novelty factor, or the old-seen-new-seen relationship, in the famous popular novel, pride and prejudice by Jane Austen. And then we’ll see how the foils 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 village dance:

… it was discovered that he was proud… and above all pleased… He was the proudest, most unpleasant man in the world, and everyone hoped that he would never return there again.

At the ball, Elizabeth Bennett and her mother were rudely scorned by the proud Mr. Darcy, so her prejudiced views of him coincided with everyone else’s. On his part, Mr. Darcy did not like “country people” either, and he expressed to his friend Bingley that they were below 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’s 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 her prejudiced opinion of him and fall 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 who 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 presents her marriage proposal for the second time, which Elizabeth gladly accepts, based primarily on her growing respect and appreciation for her character.

With Elizabeth’s betrothal to Darcy, her family also reverses their feelings for him (probably the town as well, though they won’t tell us) by the end of the story: a perfect old pattern from sight to new sight, a pure new see reverse pleasure. !

To firmly establish the old view of Darcy as proud and prejudiced in the story, 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 the fact that Darcy is “proud and nasty” to the fact that Bingley is “so nice”. Even Bingley expresses to his friend his disgust for Darcy’s pride at the first ball they attend in Meryton, as well as after the ball.

With Mr. Collins, Austen shows the contrast between himself 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’s subservient demeanor is constantly on display, compared to Darcy’s dignified, if arrogant mannerisms. So Darcy actually comes out ahead in the contrasts with Mr. Collins — Darcy may be proud and not as nice as Bingley, and may even be accused of showing his pride and arrogance towards Mr. Collins, but clearly he’s much more sensible 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 her 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. In addition to being seen as a victim in the service of sympathy, Wickham comes across as quite friendly and charming to the ladies, which is in stark contrast to Darcy’s arrogant and aloof demeanor.

However, Darcy’s unfavorable contrast to Wickham changes sharply, at least with Elizabeth, when she visits her friend Charlotte, then married to Mr. Collins. After Darcy proposes to her and Elizabeth rebuffs him with accusations about his gross behavior towards Wickham (among other things), Darcy writes her a letter explaining how Wickham tried to elope with Darcy’s fifteen-year-old sister, Georgiana, in order to get her. inheritance. , debunking Wickham’s story of Darcy’s abuse of him. When Elizabeth returns home, she shares the incident with Jane, her sister, 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 wealthy estate and meeting her sister, who loves him like the perfect big brother, and the old view of Darcy as proud and arrogant begins to dissipate, at least for Elizabeth.

Finally, when he finds out that Darcy went to a lot of trouble and expense to help Lydia and Wickham (a man he deeply detests) get married, and thereby saved the good reputation of the entire Bennett family, especially Elizabeth’s, he doesn’t it can help to fall in love with Darcy, seeing him as a person of high ideals, like her, who appreciates her, cares for 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 caused the new opinion to be 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 Actually, for millions of people. of readers for about two hundred years, all over the world.

Now for Elizabeth’s main foils: Jane, Charlotte Lucas, and Miss Bingley (Mr. Bingley’s maiden sister).

Elizabeth is closer to her sister Jane than to anyone else, so the contrast is easy and natural. Elizabeth herself often notes the contrast when she talks to Jane, envying her sister’s kindness rather than her own mocking and cynical comments about people, such as:

Until I have your willingness, your kindness, I can never have your happiness.

Elizabeth’s best friend, Charlotte Lucas, provides another stark contrast through her pragmatic attitude toward marriage, the opposite of Elizabeth’s idealism. This is shown when Charlotte admits to Elizabeth that she would marry Mr. Collins for purely pragmatic reasons, not love, which is the complete opposite of Elizabeth’s rejection of his marriage proposal for idealistic reasons, including lack of love. for him. (That fulfills its commitment in the conversation with Jane, in which Elizabeth strongly promised not to marry for money or social advantage, but only for love.) And Miss Bingley is another good addition because she is cynical, like Elizabeth, but, more than nothing. that, she is also vicious and deceitful, which Elizabeth is not. Each of these pictures helps readers focus on a different characteristic of Elizabeth, which is why we know her better because of these contrasting personalities, these helpful pictures.

The perfect contrast, perhaps — in other words, the perfect contrast or inversion — to 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 examination of the Jane Austen novel, pride and prejudice, has shown, the plates are a key factor in presenting the relationship between the old point of view and the new in novels. Now you will be able to see the pictures, the old points of view and the new points of view more easily in the next novel that you read, analyze and write in your literary analysis essays.