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Style, Plot and Narration
The aim of literature (of any kind) is to have an impact on the audience. The Greeks may have been working towards the idea of catharsis, while the Elizabethan playwrights were tuned in to the idea of pleasure with instruction. The Indian mythologies worked towards moral and spiritual well-being of their readers, while the modern novelists concern themselves with issues of identity in a global context. Such a plurality of aims provides for a wonderful variety of creative effort which functions as a conduit between the author and his target audience. Audience response, in turn, is contingent on the emotional engagement that permits an active involvement between the text and the reader. For example, though the earliest reviews of Eliot’s The Waste Land dismissed the most important poem in the twentieth century as ‘waste paper’, the academic reader/critic, aided by scholarship can discern the genius of the poet, especially in the selection and ironical use of allusions in the poem. When Beckett’s play Waiting for Godot was originally produced, it was described by critics as a play in which ‘nothing happens.’ However, when it was performed before a group of convicts, they could identify and discern their location within the play. They had no sense of expectation in terms of a discernible plot, style and narration. Hence, they could connect with Vladimir and Estragon, the two characters who are engaged in an eternal wait for an entity called Godot. Plot is the first element that draws the reader into the story, by opening avenues to for connection. The prisoners in the example above could obviously sense the similarity between their literal confinement and the characters’ confinement to an idea of deliverance. An engaging plot structure has been at the core of the success of many famous authors. Writing with a sense of plot defines a clear path of progression. John Grisham has often admitted that developing a good story is crucial to the success of his narratives and hence, he devotes time and attention to the outline of his stories. To put it in his words, the outlining process forces the writer to see the entire story. Hence, plot assumes crucial importance for him. Shakespeare paid a lot of attention to the detailing of his plots. This is very obvious in his historical plays which were romanticized versions of historical events. His job was to entertain the Elizabethan audiences who were often enthralled by the grandeur, mystery, and the intrigues that surrounded the lives of the royals. To elicit the sympathies of such an audience, Shakespeare’s Caesar in Julius Caesar had to emerge as an honorable man who had been wronged. So while investing him with the tragic flaw of hubris, he portrays him as an able warrior, whose greatness had been interred with his bones. Mark Antony’s rhetorical skills came in too handy to prove that Caesar was not a willful dictator but a soldier wronged because he had a democratic vision for Rome, an idea that would have surely appealed to the Elizabethan crowd as well. In Pride and Prejudice, Jane Austen’s intelligent design manifests in the manner in which she uses plot to profile the changing perspectives of her main characters - Elizabeth Bennet and Fitzwilliam Darcy. While Elizabeth is ruled by prejudice and passion, Darcy is ruled by pride and reason, thereby setting up an interesting clash of wills. While delivering one of the most incisive social criticisms, Austen depicts a closed society where economic factors dictate matrimonial choices. In the process, Austen’s plot engages the readers on a study of class and gender distinctions. A better way of looking at the relative importance of style, plot and narrative would be to ask as to what would happen in the absence of one of these elements. Many a time, a good story may be confounded by a narrative pattern that places greater demand for the reader to connect, or through an obscure style that confounds meaning, rather than spread ‘sweetness and light.’ However, while the absence of plot may translate into a release of creative muses, the author runs the risk of obscurity and exclusivity. The presence of plot is definitely not a limiting factor. The author may choose to manipulate his plot in terms of time, linear/non linear patterns of action, with the main aim of producing an engaging narrative that helps his audience to connect to his story. It functions as a roadmap, taking readers through unanticipated turns, employing a variety of styles and narrative patterns designed to sustain curiosity and interest, and thereby enabling the readers to connect to the work. Therefore, though style and narration are also essential to the success of a story, it is the plot that holds the key for an engaging story. Editor's note: Most articles submitted to Chillibreeze go through a selection process. Only 30 percent of submitted articles are accepted for publication on the Chillibreeze.com featured article list. All accepted articles are edited and proofread for glaring errors of punctuation and grammar. Sentence structure is changed in certain cases and sometimes, entire sections are rewritten. If you notice any errors that have slipped through the cracks, do let us know! (Email us at info at chillibreeze dot com). Chillibreeze's disclaimer: This is a contributed article and was published on Chillibreeze in October, 2010. The views and opinions expressed in this article are those of the author(s) and do not reflect the views of Chillibreeze as a company. Chillibreeze has a strict anti-plagiarism policy. Please contact us to report any copyright issues related to this article. The relevance of the facts and figures cited (if any) could change after a period of time. More on Chillibreeze.comRelated links: The Reading Habit: A Story of Personal Transformation Other popular articles on Chillibreeze: 5 Key Strategies for Start-Ups
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