Chapter IV

What length of time is covered by the narrative? Point out the events in the first and the last part that fix the time. What difference do you find if you take the actual history of the events as the basis for computing the time?

THE ACTION.

The poem presents an artistically finished story, in which the action begins with a statement of a definite issue, and moves on through complication and suspenses to a complete solution. Hence it is well adapted for the study of plot.

Every carefully constructed story begins with the presentation of an issue so contrived as to seize upon and arrest the attention of the reader. Something of momentous consequence to one or more of the characters is pending. The interests of the hero or the heroine are threatened by the interests of other characters. A collision between two opposing characters is unavoidable. The hero steps forward and enters upon a career clashing with the traditions and customs of his surroundings. His ambition sets up an aim and a purpose that cannot be attained without the risk of life or fortune. A struggle, at any rate, is impending and inevitable; and in the first situation of a well-constructed story the special nature of it is placed before the reader.

At this point the action begins. It seizes upon the attention of the reader by causing him to project his thoughts forward in anticipation of the action completed, the solution of the problem. As he follows the story his interest in the struggle is heightened by finding obstacles that challenge the very best powers of the hero and the heroine, and test to the utmost their strength and courage. These obstacles give rise to situations fraught with special points of interest, rousing curiosity or giving glimpses of character or the secret workings of the soul which the composure of ordinary life does not afford. In the course of the story there are subtle touches or character hints which endear the hero to the reader. At this stage it is something more than a struggle waged between comparatively unknown forces--a strong human interest is added, so that the reader conceives strong wishes and consummations of his own with reference to the outcome.

In a story there are several positions that determine the plot and mark the stages of the progress. These form the basis of its structure; and in the study of the plot they are very serviceable as points of departure. Thus we may recognize the point where we have sufficient introductory data to state the problem, or in other words, to formulate the issue. At what point do we feel prompted to wish for any certain kind of result to the struggle? What is the nature of the obstacles that aggravate and complicate the struggle? Do they rise subjectively out of the hero’s character, or are they brought in through the counterplay of other characters? At what point and through what occurrences does the story seem to point to a definite outcome? Through what means is the reader again led to entertain doubts and misgivings? In what way is the main problem solved? Is the struggle ended so that we feel that everything involved in the issue is fully terminated?

In lines 85 and 86, John Alden’s hopes and desires are indicated, and we wonder, How shall he speed, and is the consummation to be such as he desires? Another step is reached in 155, where the action is complicated by an obstacle placed in his way. At this stage we have an opportunity to note a bit of the writer’s art if we observe the effect that this turn of events has. It certainly adds to the interest. But how? In the first place, we are anxious to know whether this obstacle will, against our wishes, cause the hopes of Alden to be frustrated. If we are in doubt as to whether it takes hold of us in this way, we have but to note that we are not content to leave the story at this point. In the second place, we are curious to know how Alden will acquit himself pleading with Priscilla in behalf of a rival suitor. And again, How will Priscilla receive the proffers of the Captain? The situation to which we immediately look forward has many elements adapted to seize strongly upon the reader’s attention. It will primarily be momentous in the fortunes of the principal characters; and it will, further, have features that in various other ways interest people. Up to this point Alden’s character has been developed in such a way that we are sure he cannot summarily set aside or ignore his promise to the Captain. The commission entrusted to him is bound to create a violent conflict in his mind between love on one side and friendship and conscience on the other. This conflict will be visually exhibited in the coming interview with Priscilla. In whatever way the interview as such terminates, we see that a series of interesting consequences must follow from it: as, for instance, Alden’s report to the Captain, the mood induced in the latter, and his subsequent course of action. Again, it cannot pass without resulting in some sort of counteraction on the part of the other two, thereby giving rise to situations that will tax all their loyalty and resourcefulness.

I.

What assurance have we that Alden will not attempt to ignore or evade his promise (245-248)? In what way is the situation made more intense by Priscilla’s welcome (251-253)? How does the preliminary conversation increase the difficulties of Alden’s errand? In the manner of delivering his message, is he influenced mainly by a sense of his obligation to the Captain or by the sentiments he entertains towards Priscilla? What is the dramatic effect of his abrupt departure? In what respect was the interview conclusive? At the close of the situation do we feel that the difficulties in Alden’s way are lessened or increased? How did Alden seem to feel in regard to this?

II.

What part of Alden’s report was the main cause of the Captain’s wrath? Had Alden anticipated the effect that his report would have? How does the arrival of the messenger (426) affect the plot? Is the incident of the council a part of the main action, or merely an episode? Why was it necessary at this stage that the Captain should be removed from the presence of the other two (484)? What personal interests of the various characters are pending or threatened at this point of the story?

In what way is the central action still in a state of suspense after the Captain’s departure? Show how the suspense is to be accounted for by the disposition and character of Alden. In what way are the occurrences that take place during the Captain’s absence invested with interest (824-900)?

IV.

What is the decisive moment in the story? Explain the effect it will be likely to have on Alden and his course of action. In what way is the preceding situation a preparation for this moment? How does the poet make plain to us Alden’s previous sense of restraint as well as his present sense of freedom?