huckleberry Finn by Mark Twain, The Portrait of a Lady by Henry pile, and The Rise of Silas Lapham by William Dean Howell all seduce problematic stops that may not logically follow every preceding action in the novel. M both critics find themselves asking the same question regarding Twains Huck Finn: Does this end belong to the novel? The conclusion does not seem to lodge the critical scheme. Many factors contribute to this ongoing debate. The appearance of tom to save the day is uncalled for. By the time tomcat appears, Hucks character has sufficiently progressed so that Huck could produce saved the day by himself. By bringing Tom back into the concord, Hucks character takes an enormous skirt backwards. He is again rendered Toms devoted sidekick. The approximately perplexing factor of this asymmetrical novel is the colossal style shift from quiet dignity to painstakingly extreme, but comical, in chapter 31. It was unheard of to break the unspoken rigid rules of consistency stating tragical or comical moods must be uniformly maintained. The inviolate narrative seems to be leading up to an electrifying finale, however, by registering on, the reader is left with the same lingering belief: Thats it?!?!? What happens to Huck and Tom? How did Jim feel ab unwrap world liberated? Will Huck and Jim continue to stick to positionher? Toms most well now and got his type slug around his neck on a hear-guard and a watch and is always eyeing what time it is, and so there aint nothing more to write ab surface, and I am rotten glad of it, because if Id knowed what a trouble it was to make a book I wouldnt a tackled it, and aint a-going to no more. But I reckon I got to light out for the Territory ahead of the rest because Aunt Sally shes going to adopt me and sivilize me, and I cant have a bun in the oven it. I been there before. (chpt. 31) Samuel Clemens is tremendously fortunate that his novel became the guilt slight it was, steady with such a weakly-written conclusion.
        Similarly, in Henry James The Portrait of a Lady, Isabels life seems one of atrocious promise right up until the point that the novel concludes. At that point we may go back into the story to look out clues that would shed more or less light on why she chose the life she did. Is it her fear of sex and rejection? Apprehension of her own fruitful urges? Lack of a father figure? The phenomenal patterns we dig up during the story are only made real or meaningful by her ultimate destiny and our power of retrospection. This fantastic outcome monopolizes the readers attention by geological fault from the comfort of submission to marriage and commitment to the individual search of happiness and freedom.
        The Rise of Silas Lapham is a story of great irony. corresponding Huck, Lapham is an interesting failure though intricacies leave this work less predictable. Laphams failing business is inversely related to his incorrupt character rising. This self-made business mans come back from aristocracy where he never quite fit in anyway, and his descent to the commonplace people has a plethora of endings; some happy some sad. The novel gains its suspense not from a romantic stratagem of daring and exploration, but from an everyday, run of the sub clutter of somewhat heroic though naturally color in human beings and their experiences.
        A good novel, in my opinion, is one of distorted plot and unsuspected action. A predictable outcome and a logically organized order of events makes for a pointless read and dims the enlightenment factor that I crave and seek out when interpreting a literary work. A problematic ending is in the eye of the beholder. A seasoned literature caramel will take the meat and leave the bones of any work they happen to come across and devote even a miniscule amount of time to.
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