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But it will not be the cheap ralph lauren order of the beginning. Something in the initial order has to have changed; otherwise there would be no point to the narrative. Generally speaking, order is reestablished in one of four principal ways: the first is by the protagonist overcoming, containing or eliminating the disturbing element (the struggle to overcome will itself leave the initial order altered); second, by the protagonist cheap ralph lauren accommodating and coming to terms with the disturbing element; third, by the protagonist’s reconciliation with the disturbing element; and fourth, by cheap ralph lauren the protagonist’s being overcome, the final order then being that of the disturbing element. The fourth is the inversion of the first, for if someone overcomes, then someone has to be overcome;cheap ralph lauren life, according to that scheme, is a zero-sum game. It is a matter of whom the reader or spectator or listener is expected to identify with, the winner ralph lauren sunglasses or the loser. In beginning with one order and ending with another, the narrative progresses from a clear beginning to a clear ending; the final order is closed, complete, and nothing more need be said about the characters or their relationships. The ending is expected to be a development of polo ralph possibilities that were inherent in the beginning. The characters are expected to interact in ways that are consistent with their personalities as they are exposed to the reader or spectator at the beginning and to develop according to the logic of their lauren ralph lauren own being as it has been invented by the author. The more strictly all the incidents in the story are shown to be related to the main narrative the better the story is thought to be constructed, and certainly an economical and logical use of character and incident ralph lauren shop does make a narrative more satisfying to many readers or spectators. It is true that the twentieth century has seen forms of storytelling that do not conform to these canons, for example certain modernist novels and plays (those of Samuel Beckett, for example) in which nothing changes, as well as soap operas, in which each new order sets off a new set of instabilities so that the plot is kept in motion ad infinitum, with no final and conclusive ending (until perhaps the ratings fall to an unacceptable level)—a state of ralph lauren hoodie affairs that may resemble the narratives of “real life” more than does that of the novel. But for the ordinary reader of novels the canons of development, climax and closure remain firmly in place, as they do for the ordinary listener to symphonic music, for the scenario polo ralph lauren shoes fits the symphony as well as it fits the novel. In their early days novels, like symphonies, were intended, and received, purely as entertainment. Reading novels was even regarded in intellectual circles with some suspicion; as late as 1818, Jane Austen, in her novel Northanger Abbey, felt obliged to make her famous and spirited defense of novel-reading. But there is of course no such thing as pure, contentless entertainment. Every narration, from the most serious to ralph lauren shirts the most frivolous, carries within it an implied set of values; after polos ralph lauren all, even a conventional happy ending implies an idea, however conventional, of what constitutes human happiness, whereas identifying a character as hero, heroine or villain implies concepts of goodness and badness that are not necessarily universally shared. Even the narrative conventions—the ways in which the narrative is shaped, how it begins, climaxes and ends (indeed, whether it climaxes and ends at all)—imply ideas of what constitutes order, what kind of order is desirable, and what kinds of order deserve, or need, perhaps for their own good, to be disturbed, as well as what kinds of events are important and what oppositions and resolutions are crucial in human life. Values, in fact, are built into the narrative style itself, no less than into the explicit content of the story that is being told.The parallels with the symphonic narrative are striking. The symphony’s drama may be cast in terms of comedy, tragedy, epic, even farce, or any other theatrical genre; it may be grand and public or small-scale and intimate, fast-moving or leisurely, expansive or terse. The formal ralph lauren boots canons and taxonomy of symphonic form that students of music learn today were not arrived at until much later by study of those works that had proved most effective as dramatic narratives. One does not read a novel in order to admire its formal perfection, nor, one hopes, do novelists write in order to be thus admired. Similarly, no sensible musician will strive to make his work conform to those after-the-event models ralph lauren black label of “formal perfection”. but will look instead for ways in which to make his drama more effective and evoke maximum response from his listeners. What ralph lauren blue is called formal perfection is the product of that dramatic effectiveness, not the source of it



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