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.