4 NARRATIVE FICTION

• 4.1 Epic
  • 4.1.1 GENERAL CHARACTERISTICS
    • 4.1.1.1 Uses of the epic.
    • 4.1.1.2 Verbal formulas.
  • 4.1.2 BASES
  • 4.1.3 EARLY PATTERNS OF DEVELOPMENT
    • 4.1.3.1 In the ancient Middle East.
    • 4.1.3.2 The Greek epic.
      • 4.1.3.2.1 Eastern influences.
      • 4.1.3.2.2 The heroic life.
  • 4.1.4 LATER VARIATIONS
    • 4.1.4.1 The Latin epic.
    • 4.1.4.2 Germanic epics.
    • 4.1.4.3 Chansons de geste.
    • 4.1.4.4 Arthurian Romance.
    • 4.1.4.5 The epic in Japan.
    • 4.1.4.6 The later written epic.
• 4.2 Fable, parable, and allegory
  • 4.2.1 NATURE AND OBJECTIVES
    • 4.2.1.1 Allegory and myth.
    • 4.2.1.2 The allegorical mode.
      • 4.2.1.2.1 Fable.
      • 4.2.1.2.2 Parable.
    • 4.2.1.3 Derivation of the terms.
    • 4.2.1.4 Diverse objectives.
      • 4.2.1.4.1 Fable.
      • 4.2.1.4.2 Parable.
    • 4.2.1.5 Allegory.
    • 4.2.1.6 Diversity of forms.
    • 4.2.1.7 Diversity of media.
    • 4.2.1.8 Allegory and cosmology.
  • 4.2.2 HISTORICAL DEVELOPMENT IN WESTERN CULTURE
    • 4.2.2.1 Fable.
      • 4.2.2.1.1 Beast epic.
      • 4.2.2.1.2 Influence of Jean de La Fontaine.
    • 4.2.2.2 Parable.
    • 4.2.2.3 Allegory.
      • 4.2.2.3.1 Old Testament.
      • 4.2.2.3.2 The Greeks.
      • 4.2.2.3.3 Blending of rival systems: the Middle Ages.
      • 4.2.2.3.4 Renaissance.
      • 4.2.2.3.5 Modern period.
  • 4.2.3 ALLEGORICAL LITERATURE IN THE EAST
    • 4.2.3.1 India.
    • 4.2.3.2 China.
    • 4.2.3.3 Japan.
• 4.3 Ballad
  • 4.3.1 ELEMENTS
    • 4.3.1.1 Narrative basis.
    • 4.3.1.2 Oral transmission.
  • 4.3.2 COMPOSITION
    • 4.3.2.1 Theories.
    • 4.3.2.2 Technique and form.
    • 4.3.2.3 Music.
  • 4.3.3 TYPES OF BALLADRY
    • 4.3.3.1 Minstrel ballad.
    • 4.3.3.2 Broadside ballad.
    • 4.3.3.3 Literary ballads.
  • 4.3.4 SUBJECT MATTER
    • 4.3.4.1 The supernatural.
    • 4.3.4.2 Romantic tragedies.
    • 4.3.4.3 Romantic comedies.
    • 4.3.4.4 Crime.
    • 4.3.4.5 Medieval romance.
    • 4.3.4.6 Historical ballads.
    • 4.3.4.7 Disaster.
    • 4.3.4.8 Outlaws and badmen.
    • 4.3.4.9 Occupational ballads.
  • 4.3.5 CHRONOLOGY
• 4.4 Romance
  • 4.4.1 THE COMPONENT ELEMENTS
    • 4.4.1.1 Style and subject matter.
    • 4.4.1.2 Developing psychological awareness.
    • 4.4.1.3 Sources and parallels.
    • 4.4.1.4 The marvellous.
    • 4.4.1.5 The setting.
  • 4.4.2 MEDIEVAL VERSE ROMANCES
    • 4.4.2.1 Arthurian romance.
      • 4.4.2.1.1 The matter of Britain.
      • 4.4.2.1.2 Chrétien de Troyes.
    • 4.4.2.2 Love as a major theme.
      • 4.4.2.2.1 The Tristan story.
      • 4.4.2.2.2 The theme of separation and reunion.
  • 4.4.3 MEDIEVAL PROSE ROMANCES
    • 4.4.3.1 Arthurian themes.
    • 4.4.3.2 Structure.
  • 4.4.4 LATER DEVELOPMENTS
    • 4.4.4.1 The spread and popularity of romance literature.
    • 4.4.4.2 The decline of romance.
    • 4.4.4.3 The 18th-century romantic revival.
• 4.5 Saga
  • 4.5.1 NONFICTIONAL SAGA LITERATURE
    • 4.5.1.1 Translations.
    • 4.5.1.2 Native historical accounts.
  • 4.5.2 LEGENDARY AND HISTORICAL FICTION
    • 4.5.2.1 Kings' sagas.
    • 4.5.2.2 Legendary sagas.
    • 4.5.2.3 Sagas of Icelanders.
• 4.6 Novel
  • 4.6.1 ELEMENTS
    • 4.6.1.1 Plot.
    • 4.6.1.2 Character.
    • 4.6.1.3 Scene, or setting.
    • 4.6.1.4 Narrative method and point of view.
    • 4.6.1.5 Scope, or dimension.
    • 4.6.1.6 Myth, symbolism, significance.
  • 4.6.2 USES
    • 4.6.2.1 Interpretation of life.
    • 4.6.2.2 Entertainment or escape.
    • 4.6.2.3 Propaganda.
    • 4.6.2.4 Reportage.
    • 4.6.2.5 Agent of change in language and thought.
    • 4.6.2.6 Expression of the spirit of its age.
    • 4.6.2.7 Creator of life-style and arbiter of taste.
  • 4.6.3 STYLE
    • 4.6.3.1 Romanticism.
    • 4.6.3.2 Realism.
    • 4.6.3.3 Naturalism.
    • 4.6.3.4 Impressionism.
    • 4.6.3.5 Expressionism.
    • 4.6.3.6 Avant-gardism.
  • 4.6.4 TYPES OF NOVEL
    • 4.6.4.1 Historical.
    • 4.6.4.2 Picaresque.
    • 4.6.4.3 Sentimental.
    • 4.6.4.4 Gothic.
    • 4.6.4.5 Psychological.
    • 4.6.4.6 The novel of manners.
    • 4.6.4.7 Epistolary.
    • 4.6.4.8 Pastoral.
    • 4.6.4.9 Apprenticeship.
    • 4.6.4.10 Roman à clef.
    • 4.6.4.11 Anti-novel.
    • 4.6.4.12 Cult, or coterie, novels.
    • 4.6.4.13 Detective, mystery, thriller.
    • 4.6.4.14 Western.
    • 4.6.4.15 The best-seller.
    • 4.6.4.16 Fantasy and prophecy.
    • 4.6.4.17 Proletarian.
    • 4.6.4.18 Other types.
  • 4.6.5 THE NOVEL IN ENGLISH
    • 4.6.5.1 The United Kingdom.
      • 4.6.5.1.1 Romantic and Victorian novels.
      • 4.6.5.1.2 The modern novel.
      • 4.6.5.1.3 Irish and Scottish novels.
    • 4.6.5.2 The United States.
    • 4.6.5.3 The British Commonwealth.
  • 4.6.6 EUROPE
    • 4.6.6.1 Russian.
    • 4.6.6.2 German.
    • 4.6.6.3 French.
    • 4.6.6.4 Spanish.
    • 4.6.6.5 Italian.
    • 4.6.6.6 Scandinavian languages.
    • 4.6.6.7 Slavic and East European languages.
    • 4.6.6.8 The Jewish novel.
  • 4.6.7 ASIA, AFRICA, LATIN AMERICA
    • 4.6.7.1 China.
    • 4.6.7.2 Japan.
    • 4.6.7.3 India and East Asia.
    • 4.6.7.4 Africa.
    • 4.6.7.5 Latin America.
  • 4.6.8 SOCIAL AND ECONOMIC ASPECTS
  • 4.6.9 EVALUATION AND STUDY
  • 4.6.10 THE FUTURE OF THE NOVEL
• 4.7 Short story
  • 4.7.1 ANALYSIS OF THE GENRE
  • 4.7.2 HISTORY
    • 4.7.2.1 Origins.
      • 4.7.2.1.1 From Egypt to India.
      • 4.7.2.1.2 The Greeks.
    • 4.7.2.2 Middle Ages, Renaissance, and after.
      • 4.7.2.2.1 Proliferation of forms.
      • 4.7.2.2.2 Refinement.
      • 4.7.2.2.3 Spreading popularity.
    • 4.7.2.3 Decline of short fiction.
    • 4.7.2.4 Emergence of the modern short story.
      • 4.7.2.4.1 The 19th century.
      • 4.7.2.4.2 The "impressionist" story.
      • 4.7.2.4.3 Respect for the story.
      • 4.7.2.4.4 French writers.
      • 4.7.2.4.5 Russian writers.
  • 4.7.3 THE 20TH CENTURY