Narrative StructureNarrative Structure

THE STRUCTURE of a THE STRUCTURE of a narrativenarrative

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

David Lodge, from David Lodge, from The Art of FictionThe Art of Fiction

THREE greatest plots in THREE greatest plots in literature literature

According to the Romantic poet According to the Romantic poet Samuel Taylor Coleridge (author of Samuel Taylor Coleridge (author of The Rhyme of the Ancient MarinerThe Rhyme of the Ancient Mariner), ), these were:these were:

1.1. Aeschylus’ tragedy Aeschylus’ tragedy Oedipus Rex Oedipus Rex

2.2. Ben Jonson’s comedy Ben Jonson’s comedy The AlchemistThe Alchemist

3.3. Henry Henry Fielding’s novel Fielding’s novel Tom JonesTom Jones

Henry Fielding’s Henry Fielding’s Tom JonesTom Jones At 900 pages in the Penguin edition, it has:At 900 pages in the Penguin edition, it has: 198 Chapters divided into eighteen Books; 198 Chapters divided into eighteen Books;

the first six of which are set in the country, the first six of which are set in the country, the next six on the road, the next six on the road, and the final six in London. and the final six in London.

Exactly in the middle of the novel most of the Exactly in the middle of the novel most of the major characters pass through the same inn, but major characters pass through the same inn, but without meeting in combinations which would without meeting in combinations which would bring the story to a premature conclusion. bring the story to a premature conclusion.

The novel is packed with surprises, enigmas and The novel is packed with surprises, enigmas and suspense, and ends with a classic Reversal and suspense, and ends with a classic Reversal and Discovery.Discovery.

Jane Austen’s Jane Austen’s Pride & Pride & PrejudicePrejudice

At 345 pages in the Penguin edition, it At 345 pages in the Penguin edition, it has:has:

61 Chapters divided into three 61 Chapters divided into three Volumes; Volumes; Complete the schema for yourself… Complete the schema for yourself…

Ian McEwen’s Ian McEwen’s AtonementAtonement

At 372 pages in the Vintage edition, it At 372 pages in the Vintage edition, it has:has:

three Parts and an Epilogue comprising; three Parts and an Epilogue comprising; 14 Chapters in Part One14 Chapters in Part One 6 ‘episodes’ in Part Two6 ‘episodes’ in Part Two 5 ‘episodes’ in Part Three5 ‘episodes’ in Part Three A single 19 page episode in the ‘London, A single 19 page episode in the ‘London,

1999’ epilogue1999’ epilogue Complete the schema for yourself… Complete the schema for yourself…

David Lodge’s demonstration David Lodge’s demonstration of Narrative Structureof Narrative Structure

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

MAMA

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

Aristotle defined the stages of Aristotle defined the stages of narrative structure as:narrative structure as:

1.1. a beginning that a beginning that requires nothing to requires nothing to precede it, precede it,

2.2. an end that an end that requires nothing to requires nothing to follow it, follow it,

3.3. a middle that needs a middle that needs something both something both before and after it. before and after it.

Any story obeying Any story obeying these three rules these three rules conforms to the conforms to the classical notion of classical notion of ‘narrative unity’‘narrative unity’

Use them to identify Use them to identify the three structural the three structural sections of the sections of the following story…following story…

THE HANDTHE HAND

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

ALL RIGHTALL RIGHT

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

CitationCitation

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