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Lit Analysis – Newness Through Foils in Pride and Prejudice
I think we can all agree that, whether it’s a short story or a novel or something in between, the most important thing is any The story is this:
- something there is Finally change—or no story at all.
Whether or not you’ve ever seen this statement in a book or an article, you intuitively know it’s true. can you remember any Story where there is no change at the end? Don’t worry.
Now, you may not realize it, but absolutely per Change at the end of a published story is always associated with some strongly stated value morning morning In the story, either by or about The main character.
And that initial strong value statement is always An assessment or description relating to the main character, or one of the main characters, Related to-
- a feature or characteristic,
- a goal,
- a problem,
- A wish, or
- An opinion or view.
That’s what I call old scene.On the other hand, I call at the end of the shift New view. And
- The new view is Always a opposite Strong old views are said to be early.
With that one principle, you can literally grasp every story written and published. And you don’t have to come up with a bunch of literary devices to prove your analysis.
However, you should know that there is a major difference between a short story and a long story, or the novel. Great support for the old perspective-new perspective relationship in a short story Description of the main character, often associated with descriptions of their feelings, thoughts, speech, and actions, although a physical description can also be used to powerfully support new perspectives. For example, in the first volume of his famous short story A rose for EmilyWilliam Faulkner uses a strongly suggestive physical description of Miss Emily as a black widow spider, which apparently supports the malevolent revelation about her at the end of the story.
But in a novel the major support for the old point of view-new point of view relationship in the story is the usage foil.
A foil A character in a story who works Unlike other characters. Usually, the strongest, most important contrasts are with the primary main character or one of the other main characters. And contrasts usually serve to highlight certain characteristics of the main character and thereby reinforce the old scene-new scene relationship, a change from beginning to a contrasting ending.
Foils are the main reason for novels, not short stories, because it takes too long to properly develop contrast between two or more characters. In a short story, there is neither space nor time for this.
Before we examine Foyle’s examples, let us first take a closer look at the novelty factor, or the old perspective-new perspective relationship, in famous popular novels. Pride and Prejudice by Jane Austen. And then we’ll see how story foils are used as a key tool to support the new view contrast at the end.
On pages four and five of the story, the narrator presents a strong value statement about one of the two main characters, Mr. Darcy. The townspeople of Meryton acquire a prejudiced or prejudiced opinion against Mr. Darcy, whom they have just met at a town dance:
… He was discovered to be proud … and above all happy … He was the proudest, most disagreeable man in the world, and all hoped he would never be there again.
At the dance, Elizabeth Bennet and her mother are rudely rejected by the proud Mr. Darcy, and so their prejudiced opinion of him agrees with everyone else’s. For his part, Mr. Darcy had little use for “country folk,” either revealing to his friend Bingley that they were beneath him, a more direct testament to his pride.
OK, now that we’ve identified the strong old view statement, on to the new view reversal at the end.
Towards the end of the story, Elizabeth discovers that Darcy has salvaged Lydia’s reputation and the fragile reputation of the rest of the Bennet family, as well as her own. This allows it His prejudice against her is reversed and falls in love with her the rest of the way (after she learns the truth about Wickham from Darcy and visits his large, rich estate and meets his friendly sister, she begins to be pleased with him and change her opinion, but until he knew that he had saved his own reputation and that of his whole family). At the very end of the story she reveals her opposite feelings to Darcy when Darcy proposes marriage a second time, which Elizabeth gladly accepts, largely based on her growing respect and appreciation for his character.
With Elizabeth’s engagement to Darcy, her family also reverses their feelings about her (the town, too, perhaps, though we’re not told) at the end of the story—see the pattern of a perfect old scene to a new scene, a pure new reversal of joy!
To firmly establish Darcy’s older views in the story as proud and prejudiced, Jane Austen provides Darcy with major foils in the form of Bingley, Mr. Collins, and Wickham. In conversations with Jane, Elizabeth constantly contrasts Darcy’s haughty demeanor with Bingley’s modest, friendly demeanor, as well as Darcy’s being “proud and disapproving” of Bingley being “so friendly”. Even Bingley expresses his distaste for Darcy’s pride to his friend after the first dance at Meryton.
With Mr. Collins, Austen shows the difference between her and Darcy’s behavior at Bingley’s party and at Darcy’s aunt Catherine de Burgh’s manor. In both cases, and many more, Mr. Collins’s numb demeanor is constantly on display, as compared to Darcy’s dignified, though haughty, demeanor. So Darcy actually comes in contrast to Mr. Collins—Darcy may be proud and not as agreeable as Bingley, and may even be accused of projecting his pride and arrogance on Mr. Collins, but he is clearly much more intelligent and much more than Mr. Collins. more honorable than You have to give it.
The important contrast is with Wickham, whom Elizabeth quickly likes because he confirms her negative view of Darcy. Wickham cements the developing old 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 treatment of her. In addition to being seen as a victim worthy of sympathy, Wickham finds himself quite friendly and charming with women, a marked contrast to Darcy’s haughty, stoic demeanor.
However, Darcy’s hostile contrast with Wickham takes a sharp turn, at least with Elizabeth, when she meets her friend Charlotte, then married to Mr. Collins. After Darcy proposes to and rejects him (among other things) accusing him of his extreme mistreatment of Elizabeth Wickham, Darcy writes her a letter explaining how Wickham tried to elope with Darcy’s fifteen-year-old sister Georgiana to get his hands on his inheritance. , lying in Wickham’s story of Darcy’s abuse. When Elizabeth returns home, she shares the incident with Jane, her sister, concluding that she now sees Darcy as a good man and Wickham as a scoundrel. Elizabeth visits Darcy’s wealthy estate and meets her sister, who loves him as the perfect older brother, and the old view of Darcy as proud and arrogant begins to fade, at least for Elizabeth.
Finally, when she discovers that Darcy has gone to great pains and expense to help Lydia and Wickham — a man she absolutely hates — marry and thereby save the reputation of the entire Bennet family, especially Elizabeth — – She can’t help falling in love with Darcy, seeing him as a person of high ideals like herself and who admires, cares and loves her. So Wickham as Darcy’s foil actually helps to enlighten Elizabeth about Darcy, ultimately, highlighting Darcy’s high moral character and his goodness as a person. That is what ultimately made the new view so counterintuitive—the stark contrast to the universal negative opinion of him, including Elizabeth, so well-established at the outset—so powerful and so satisfying, indeed, to millions of readers around the world for nearly two hundred years.
Now, for Elizabeth’s main foils: Jane, Charlotte Lucas and Miss Bingley (Mr. Bingley’s unmarried sister).
Elizabeth is closer to her sister Jane than anyone else, so a contrast is easy and natural. Elizabeth herself often notices the contrast when talking to Jane, envying her sister’s well-being in contrast to her own teasing, sarcastic comments about people, e.g.
As long as I have Your nature, Your goodness, I cannot have Your happiness.
Elizabeth’s best friend, Charlotte Lucas, provides another great contrast with her pragmatic attitude towards marriage, contrasting with Elizabeth’s idealism. This is shown when Charlotte confesses to Elizabeth that she is mr. Will marry Collins for purely pragmatic reasons, not for love, which is in stark contrast to Elizabeth rejecting his marriage proposal for idealistic reasons, including not loving him. (This fulfills her promise in the conversation with Jane, where Elizabeth enthusiastically vows not to marry for money or social advantage, but only for love.) And Miss Bingley is another good foil because she is as cruel as Elizabeth, but, more than that, He is also evil and deceitful, which Elizabeth is not. Each of these foils helps readers focus on a different aspect of Elizabeth, and so we get to know her better because of these contrasting personalities, these supporting foils.
The perfect foil, perhaps—in other words, the perfect contrast or opposite—to Darcy’s old view of pride and arrogance so well established at the beginning of the story, Elizabeth’s new view contradicts her father when she speaks soliloquy about her love for Darcy: “I Love him. In fact he has no undue arrogance. He is perfectly friendly.”
As an examination of Jane Austen’s novel, Pride and Prejudice, has shown, the foil is a key factor in presenting the old perspective-new perspective relationship in the novel. Now you’ll be able to more easily see foils, old perspectives, and new perspectives in the next novel you’ll read, analyze, and write about in your literary analysis essays.
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