Form therefore becomes not an imposition or an external embellishment but an indispensable aspect of the novel, crucial to its understanding. Concurrently, the use of flashback's gives the story an almost simultaneous forward and backward movement. For instance the use of irony acts not only as a commentary on Hagar, but on the Manawaka community and mankind in general. paid to Laurence's masterful construction of the novel and particularly how its remarkable portrayal of character is a direct result of skillful applicationįorm gives shape to the story in The Stone Angel, determining its now and commenting 011 it. Hagar's struggle for independence, a process that spans' nearly a century, and her dramatic realisation that her greatest impediment to freedom has been herself, forms a compelling story that often seems to grab critic's attention to the exclusion of The Stone Angel's form. In keeping with the above tendency tile criticism of Margaret Laurence) s The Stone Angel ,has concentrated on its strong story line and l its remarkable character the 90-year-old Hagar Shipley. Yet many critics have tended to take it for granted preferring to study what the novel is about (content) in preference to how the story is told and how this contributes to its overall impact form. It is central to the novel's aesthetic appeal. Form, which briefly defined is the manner in which a novel is structured for effect, is an important ingredient in the construction of any Iiterary work.
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