How Dickens, Hardy and Roy did use endings in their works

I work hard for a sufficient living, and then yes, I do well comes at the close of the Tempter Great Expectations, and reveals a possible redemption of flecks previous condemnation that the prevalent struggle had caused him to be unashamedly disgusted with his call and his life. This feature of Dickens novels remnant allies with the consolidation of the trains of imagery that he seeks to define, alongside the question of the original ratiocination and how it varies the tone of the novel.Roys The divinity of shrimpy Things features an refinement that paradoxically falls into the descent of a non-linear perspective, creating a sicksweet automated teller machine which she seeks to twain(prenominal) personalise and universal jointise- allowing her to use residueing to in any case extend along trains of imagery. Finally unfearings operate endings both take on a literal quality with the diminuendo nature of both The Voice and At An Inn, only when the c at formerlypt of ending as a metaphorical representation of death excessively comes across, Your Last Drive being a prevalent example.Hardys use of ending in his work takes on a multi-dimensional significance in a literal and figurative sense, as he addresses both the close of a poem, and the destruction of life. The Voice closes with the image of wind oozing from norward and the bitter indictment of, And the woman, calling. This is in massive contrast to the opening of the poem, with its lyrical effervescence of Woman very much missed how you call to me, call to me/Saying that now you are not as you were, as the structurally rich lines of enjambment and romanticised passion contrast with the impersonal, antagonised end.This reveals the brain of the poem having a diminuendo quality, as Hardy uses his ending, and its contrast to the opening, to successfully reflect the depreciation in his relationship that he saw, the depreciation of the colourful line of products blue gown to the neologisti cally bleak wan wistlessness. This diminuendo idea also features in At An Inn, as it flows from an opening of promise, of bliss like theirs/That would affluent our day, as enjambment highlights the depth of bliss that is crucially perceived, rather than physical.This is highlighted through with(predicate) Hardys ending, of what he sees as the charade of hunch-light, to the point that he equates this lack of pick out with that of death, appealing to the omnipotent laws of men that so often pervade his work to once let us stand/As we did then, as if honesty is in fact worse than the awful past. This superlative of negativity highlights how Hardy uses ending to illustrate his own reality.However, the concept of ending with Hardy can also take on a much wider significance, and the endings of these wider explorations of the end in death and time seek to define Hardys views on these wider subjects. Your Last Drive sees him attempting to demystify his own role, or lack of it, in Emma s death, and it closes with the monosyllabic You are past love, praise, indifference, blame, with this ambiguous ending leading to varied interpretations on Hardys opinion of death.It could be a simple dismissal of death, that he sees these words that he prints for her praises and her countenance as now worthless, but this is not the only plausible interpretation. It could represent a latent resentment of the dead, as if they are fortunate to be granted a blissful release from the emotion, from the praises and from the countenance that Hardy must still talk and write of, as if to be Past love, praise, indifference, blame is in fact a form of literary and metaphorical redemption, rather than the cursed end that it is traditionally seen to be. so Hardy can also be seen to use ending to explore greater issues, to not merely close the boundaries of his poems and conventions but to extend them, to discuss universal ideas of the end and to thereby present his own interpretations. The ide a of both personal and universal closure is one that is also seen in Roys novel The God of Small Things, also leaving ideas open to interpretation, unlike a traditional end. The close of the novel falls upon Ammu, as she turned to say it again. Naaley. Tomorrow. This reveals how Roy attempts to archetypal personalise the close through the use of Malayalam, by consolidating Ammu and Veluthas love that is shared amongst the mangosteen tree, the jet streaks on a church blue toss and the love laws, and then to universalise the message of the novel to the reader with the English Tomorrow, just as she did at the end of the opening, referencing both when the love laws were move down and also the hopelessly practical world of 1969.This idea of consolidating on a personal and universal scale is also made relevant through Roys use of the trains of imagery that are relevant throughout the book. For example Ammus Road now has a small sunny meadow, unlike its previous emptiness, its unrestra ined sort of walk. She also references the all encompassing nature of The Terror, showing how even at the end of a narrative, pervading images can still hold a powerful s commission, even in this case, against an unconventionally non-linear narrative.This could represent the power of these images over the scurry of small lives that the novel represents, or possibly that these images are in fact the small things that seep into the novel, just as for example the death of Sophie Mol hid in books and food. The fact that the narrative of The God of Small Things is non-linear experiencees great significance to the ending in other aspects as well- it leads to the ideas of where the ending truly is, how the use of placement of ending affects the tone of the novel.The chosen ending could be tell to give the novel a tone that it reinforces itself- it is sicksweet. This is backed up by the superficial perceived positivity of tomorrow, as although the ending would seem to possess hope for the future, the non-linear narrative shatters this hope, as the reader knows that Ammu and Veluthas tomorrow will be one of smashed smiles and a lucky leaf that wasnt lucky enough.This relates to Roy victimisation her ending to create a desired tone, as well as using the concept of foreshadowing to a greater extent than it is conventionally employed- it creates an atmosphere of the sicksweet closing chapter is not the true end, that in reality the end is Rahel and Esthas prior consummation of hideous grief, and that Roys physical ending is not the physical ending to the story.This however is challenged by the chapters title, The Cost of Living, as the smashed smiles that lay ahead of them are virtually taken out of their narrative context, that the ending is more a personal ending for Ammu and Velutha as their own closure and that the final universalisation is actually seeking to challenge the shattered hope, just as Ammu and Velutha challenge the love laws.Therefore Roy also uses e nding to tie up her thematic influences, and to embellish the structure and tone of the novel in a way that is multi-faceted, addressing personal and universal issues. Dickens Great Expectations also has an ending that addresses characters personal issues and also thematic questions. He uses his ending to seemingly resolve Pips issues with Estella, I saw no shadow of another(prenominal) parting from her, but this also resolves a thematic issue of Pips continued naivety over the subject of Estella.This naivety extends back through his knowledge that his wizardry is in fact born to the lowest of the low, a murderess and a convict, and that despite his vow never to cry for her again after an early encounter at Satis House, the interior ending of the narrative, his perspective aided by hindsight that closes childlike aspersions as they come, states that never was a bigger lie ever told.This leads to the close of the novel almost forcing the reader to take on the role of this secondary perspective for Pip, and realising for them self but not for him, as there is no longer the boundary amidst the two perspectives- Dickens consolidates these ideas through a consistent narrative trend, as Roy does with imagery in The God Of Small Things.However, the ending also challenges consistency- Estella is seen to progress from the prestigious desire of Miss Havisham to break their hearts to understand what (Pips) heart used to be, and that Pip has progressed from knowing I was ashamed of (Joe) and being disgusted with (his) calling and (his) life to knowing that it is not a crime to say I work hard for a sufficient living and therefore yes, I do well.This opposition in partial knowledge leads to the ending being used as a sort of catharsis for Pip, as the mists rise once again they do so for him, in his own mind, positively, despite the ironic knowledge of the reader that this is in fact a naive trend- similar once again to Roys use of ending in The God of Small Things.There fore Dickens uses ending to consolidate theme, but also to include uncertainty that both remains consistent with and challenges previous narrative events, deepening the final meaning of the narrative. However, Dickens ending and its use are questionable in a similar way to Roys due to the presence of alternate perspective. However, unlike in Roys ending it is not who the ending involves but its construction, as Great Expectations has its own, alternative ending.The original ending speaks of Estella and Pip merely looking upon each other sadly, as opposed to the imagery laden ending that was eventually published. In the original there is no casting off of the wretched years that Pip achieves in the published ending. This choice leads to a similar perspective to the one placed upon Roys use of ending in choice- although Dickens ending was a publishers decision, why he chose to write the ending as he did is still questionable.The original ending is more in line with the tone of disappo intment that pervades the novels universal struggle, but the language of the published ending, the glorified broad expanse of tranquil light that can be seen to both illuminate Estella but also to shroud true realisation from Pip can also be seen to be appropriate, as it reflects the aforementioned ideas of consistent naivety, and also runs in line with the idea of all other redemption being latent and inherently unfulfilled- Miss Havisham and Magwitch as examples.Therefore, Dickens also uses ending to exemplify character, and tone individual to certain aspects of the narrative, in both a consistent and opposing manner. In conclusion, the three writers use endings in multi-faceted ways, across individual and contexts. Hardy uses ending as not just a method of defining validity of feeling and exclusivity of emotional experience, but also to discuss the concept of the end, and how a change of tone or style in his literary endings can reflect heavily on these wider interpretations.Roy also achieves this, but alongside Dickens also uses ending to both consolidate and challenge thematic and tonal issues, allowing them to both utilise ending to embellish their narratives further than would normally be possible, elicit intrigue over not just their own texts, but as with all three of the writers, intrigue over what the concept of the ending is really about.