In a classical realistic setting, the article "Subject and Text" deals with the person or subject matter

and the theory and interrelationship of these two individuals. Belsey has established a convincing
relationship between the subject and the text. Her reasoning is notable with respect to modern
interpretations of classical subjects. Catherine Belsey being a contemporary critical and competitive
voice over literature sets modified interpretations that can be viewed as new layers of classical words
meanings. According to its philosophy, a capitalist system places great emphasis on individual rights
and "assumes a world of non-contradictory people whose unrestrained consciousness is the source
of meaning knowledge and action". But the important aspect is that, in a structure, the role of
philosophy is to inhibit the role of language in the subject's creation– as that would be a direct threat
to the existing order. EOLBREAK Classical Realism promoted by text printing and electronic media,
according to Catherine Belsey, portrays a world of subjects that are the source of meaning or
information. But because the available text is relatively easily intelligible, they can appreciate a
classical realistic literature.
 Belsey points out that the Romantics'' I' is distinct from classical realistic fiction in the sense that
reacting to that text or a piece of poetry directly involves the person. EOLBREAK However, there is a
lack of direct authorial presence in fiction as a classical realistic fiction, whether drama or novel. The
statement given is somewhat paradoxical as it is portrayed by the author as a shadow that can not be
separated from the text's body. Belsey here states, "The form of the classical realist text interacts with
the expressive theory And by reading the reader as a topic of ideologies. In this way, a classical realist
constitutes an ideological practice in addressing readers as subjects, interpreting them so that they
freely accept their subjectivity and subjection" .Belsey further elaborates that apart from illusionism,
which is already evident from above, there is a paradoxical development of a subject within ideology
that is normally present in the subject. These are closures and discourse literacy that combine to
establish the story's" truth.
 In Barthes ' view, conclusion is something that in classical practical literature appears to shape a very
regular order or sequence. The destructive factor in the text is created by strategies such as murder,
love triangles, etc. But it eventually leads to a closure that is morally embraced, where a subject
experiences a certain satisfaction and the order of things is restored. EOLBREAK According to Belsey,
"The moment of closure is the point at which the story's events become fully understandable to the
reader," it means that the closure is such a point in a story when the fog begins to clear away and the
reader becomes clear about the actual picture or situation.
 The second aspect of illusionism to the "structure of discourses" in classical realism is in a text, i.e.
the presence of a privileged discourse outside the inverted comas that establishes a strong
relationship between author readers. It also makes "obvious" by using rhetoric within inverted
commas to engage a reader as a source of context. EOLBREAK Indirect authorial interference is the
language that occurs outside the commas. According to Benveniste, this discourse hierarchy is
responsible for distinguishing between' Discourse' and' History': as history relates without a speaker's
involvement as there is no' you' or' I' involved in it. The depiction of events or thoughts through a tale
of the first person is not simply a way to circumvent power or authority. But, in reality, they provide an
opportunity for the reader to participate in the narrative of the first person and seem to create their
own definitions. EOLBREAK However, the presence of the narrative of a third person acts as the
indirect authorial presence, ensuring the continuation and reaffirmation of the existing ideology.