Masterplots are familiar and well-used organizational methods for narratives, which are used to convey similar plots but can differ greatly based on the story line of the narrative. Keen differentiates plot from storyline, explaining that the plot is a strand of causal events while the story is a strand of sequential events. An example of a Masterplot is that of the ‘Damsel in Distress’, or ‘Knight in Shining Armor’. Though referred to with two different names, the Masterplot is fairly recognizable, in that when the organizational method is named, an assumption can be made about the general course of events that will occur, or, according to Keen, the “Story”. For instance, the story of a ‘Damsel in Distress’, or ‘Knight in Shining Armor’ Masterplot tends to go like this: a character is in need of help/rescuing with perceived limited resources to be able to do so (the Damsel), they are then noticed by the protagonist (the Knight) who decides to rescue them, whilst trying to rescue the Damsel there is usually a number obstacles or an antagonist in the way of the Knight, however the valiant Knight uses their charm and wit to overcome each, eventually the Knight conquers all of these obstacles and rescues the Damsel and thus receives the love and admiration of the Damsel, the general population, and lives on forever in the glory of their triumph. Similarly, in Arthur and George by Julian Barnes, the plot of Arthur championing to pardon George take the form of a ‘Damsel in Distress’, or ‘Knight in Shining Armor’ Masterplot. In this case, George is the damsel in need of help (getting pardoned) and Arthur is the knight on the quest to do so. Despite the numerous obstacles and people in the way, Arthur set out on the quest to pardon George. After using his fame to draw attention to the case, and exhausting his advocating resources, Arthur manages to get George pardoned. Arthur has then achieved what he set out to do and George is free to live happily ever after, forever in the debt of Arthur. When Arthur is left mildly upset because George did not receive any compensation, his wife Jean summarizes how their is nothing left for Arthur to conquer stating, “‘No, Arthur. You said what you were going to do and you did it, and you have obtained a free pardon and George can go back to work, which is what his mother said was all he wanted. It has been a great success, Arthur.'” (Barnes 383). Ultimately, George, as the ‘Damsel’ is never consulted about how he feels regarding the rescuing. This is another key aspect of a ‘Damsel in Distress’ Masterplot, and that the main personage that is at the center of the goal is only known for the position in society they represent, the qualities that they have, but not for what they desire. This indicates a trait about Masterplots that can be quite useful, as Abbott wrote, “They can absorb the complexity of a defendant’s human nature into the simplicity of type.” (185). In this sense, the use of the ‘Damsel in Distress’, or ‘Knight in Shining Armor’ simplifies George to a ‘Damsel’ in need of saving and is thus rendered guiltless- he was simply someone who was wrong. Perhaps Barnes utilized this Masterplot to convey that for Arthur, George was automatically perceived to be innocent because the Masterplot George was viewing him in the context of required him to be. After all, saving a murderous ‘Damsel’ does not receive nearly the same amount of glory as saving a kind and innocent one.
