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Narrative Structure

Narrative Structure. THE STRUCTURE of a narrative.

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Narrative Structure

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  1. Narrative Structure

  2. THE STRUCTURE of a narrative …is like the framework of girders that holds up a modern high-rise building: you can’t see it, but it determines the edifice’s shape and character. The effects of a novel’s structure, however, are experienced not in space but over time –often quite a long time. David Lodge, from The Art of Fiction

  3. THREE greatest plots in literature • According to the Romantic poet Samuel Taylor Coleridge (author of The Rhyme of the Ancient Mariner), these were: • Aeschylus’ tragedy Oedipus Rex • Ben Jonson’s comedy The Alchemist • Henry Fielding’s novel Tom Jones

  4. Henry Fielding’s Tom Jones At 900 pages in the Penguin edition, it has: • 198 Chapters divided into eighteen Books; • the first six of which are set in the country, • the next six on the road, • and the final six in London. • Exactly in the middle of the novel most of the major characters pass through the same inn, but without meeting in combinations which would bring the story to a premature conclusion. • The novel is packed with surprises, enigmas and suspense, and ends with a classic Reversal and Discovery.

  5. Jane Austen’s Pride & Prejudice At 345 pages in the Penguin edition, it has: • 61 Chapters divided into three Volumes; • Complete the schema for yourself…

  6. Ian McEwen’s Atonement At 372 pages in the Vintage edition, it has: • three Parts and an Epilogue comprising; • 14 Chapters in Part One • 6 ‘episodes’ in Part Two • 5 ‘episodes’ in Part Three • A single 19 page episode in the ‘London, 1999’ epilogue • Complete the schema for yourself…

  7. David Lodge’s demonstration of Narrative Structure • As it is impossible to illustrate the operation of such complex plots with a short quotation, the work of American short story writer Leonard Michaels allows us to examine the process in microcosm. Lodge cheats a little in as much as he uses pieces designed not to stand entirely alone, but belonging to a cluster of short narratives, collectively entitled Eating Out, some of which are interrelated by being concerned with the same character or characters. “Ma”, for instance, is one of a series of dialogue-stories about the narrator and his mother. The whole sequence amounts to more than the sum of its parts. Nevertheless, each part is a self-contained narrative, with its own title.

  8. MA I said, “Ma, do you know what happened?” She said, “Oh, my God.”

  9. a beginning that requires nothing to precede it, an end that requires nothing to follow it, a middle that needs something both before and after it. Any story obeying these three rules conforms to the classical notion of ‘narrative unity’ Use them to identify the three structural sections of the following story… Aristotle defined the stages of narrative structure as:

  10. THE HAND I smacked my little boy. My anger was powerful. Like justice. Then I discovered no feeling in the hand. I said, “Listen, I want to explain the complexities to you.” I spoke with seriousness and care, particularly of fathers. He asked, when I finished, if I wanted him to forgive me. I said yes. He said no. Like trumps.

  11. ALL RIGHT “I don’t mind variations,” she said, “but this feels wrong.” I said, “It feels all right to me.” She said, “To you, wrong is right.” I said, “I didn’t say right, I said all right.” “Big difference,” she said. I said, “Yes, I’m critical. My mind never stops. To me almost everything is always wrong. My standard is pleasure. To me, this is all right.” She said, “To me it stinks.” I said, “What do you like?” She said, “Like I don’t like. I’m not interested in being superior to my sensations. I won’t live long enough for all right.”

  12. Citation • The three ‘stories’ are taken from LEONARD MICHAELS’ I Would Have Saved ThemIf I Could (1975), reprinted in The Art of Fiction by David Lodge, Secker & Warburg, London 1992; chapter 48.

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