Plot
Bridget not only obsesses about her love life, but also details her various daily struggles with her weight, her over-indulgence in alcohol and cigarettes, and her career. Bridget's friends and family are the supporting characters in her diary. These friends are there for her unconditionally throughout the novel; they give her advice about her relationships, and support when problems arise. Her friends are essentially her surrogate family in London. Bridget's parents live outside of the city, and while they play a lesser role than her friends, they are important figures in Bridget's life. Her mother is an overconfident, doting woman who is constantly trying to marry Bridget off to a rich, handsome man; and her father is considerably more down-to-earth, though he is sometimes driven into uncharacteristically unstable states of mind by his wife. Bridget often visits her parents, as well as her parents' friends, primarily Geoffrey and Una Alconbury; Geoffrey creates a mildly uncomfortable situation for Bridget by insisting she call him "Uncle Geoffrey" despite his propensity to grope her rear end whenever they meet. In these situations, Bridget is often plagued with that perennial question "How's your love life?" and exposed to the eccentricities of middle class British society, manifested in turkey curry buffets and tarts and vicars parties in which the women wear sexually provocative ("tart") costumes, while the men dress as Anglican priests ("vicars"). The novel is based on Pride and Prejudice.
Read more about this topic: Bridget Jones's Diary
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
““The plot thickens,” he said, as I entered.”
—Sir Arthur Conan Doyle (1859–1930)