Narration

“ Let an author combine these others with a series of events, let him put them in as aids to the understanding or as ornaments on the thread of his recital, and they are accepted without question as elements of narration, be it prose or verse in form, true or fictitious in content. That is to say, though a story often contains to some extent all the other forms of writing too, we think of it as narrative because it carries us along a course of events. ”

“ Material of Narration. Narration has been defined as the form of discourse which recounts events in a sequence. It includes not only letters, journals, memoirs, biographies, and many histories, but, in addition, that great body of literature which people generally include in the comprehensive term of “stories.”
If this body of literature be examined, it will be found that it deals with things as opposed to ideas; incidents as opposed to propositions. Sometimes, it is true, the author of a story is in reality dealing with ideas. ”

“ Only a small segment of the great field of narration offers its resources to the public speaker, and that includes the anecdote, biographical facts, and the narration of events in general.
Narration—more easily defined than mastered—is the recital of an incident, or a group of facts and occurrences, in such a manner as to produce a desired effect. ”

“ Narration as it exists in practice, however, is hardly to be considered alone. Of all varieties of composition, this is the one which most comprehensively embraces all other forms. It demands all the resources of the literary artist. Exposition, Argument, and Description are all enlisted in the services of the story-teller; and are so blended in the woof of his web that they can scarcely be disassociated from the narrative itself. ”

“ Narrative Literature. Of all forms of sustained discourse, we may reasonably suppose that of narration to have been the earliest. The incidents of the hunt were related at the return; the experiences of the past were told as a guide to the present; and the first efforts of the imagination are the depicting of fictitious occurrences, tradition and myth, story and history; these make up most of the entertainment of conversation to simple minds. ”

“ The effort to get at the central truth and the related ideas is a sifting-out process, a mode of assimilating and mastering the story more thorough-going than the mere memorizing of the facts and words for the purpose of narration. ”

“ Again, a narration is agreeable which contains subjects calculated to excite admiration, expectation, unlooked-for results, sudden feelings of the mind, conversations between people, grief, anger, fear, joy, desires. ”

“ The material through which we are to exercise the imagination and develop imaginative vigor is the narrative form of discourse. Narration is successful when it records or has the effect of recording actual experience. ”

“ A caution which directly concerns the art of story-telling itself, must be added here. There is a definite distinction between the arts of narration and dramatisation which must never be overlooked. Do not, yourself, half tell and half act the story ”

“ Thus the writer may escape the inherent limitation of first person narration, that the story is told by a character of definite powers and knowledge, and retain the chief advantage of that mode of narration, the more or less single viewpoint, corresponding with a reader's own outlook on life and its happenings. ”

“ After studying the tale as folk-lore, know it as literature. Master it as a classic, test it as literature, to see wherein lies its appeal to the emotions, its power of imagination, its basis of truth, and its quality of form; study it as a short-story and view it as a piece of narration. It is rather interesting to note that you can get all there is in a tale from any one point of view. If you follow the sequence as setting, through association you get the whole, as may be seen by referring to Chanticleer and Partlet under the heading, "Setting," in the chapter on the "Short-Story." ”

“ But in narration more care must be taken: if the tale be fictitious, the conception and sustainment of the characters, the disposition of the facts, the relief of the soberer parts by description, reflection, or dialogue, form so many useful studies for a growing artist. ”

“ We shall use for suggestive analysis in this study not a complete specimen of narration, but several examples illustrating two of the three elements necessary to the personnel of a good story. These three recognized elements are the setting or situation which the pictures compose, the atmosphere which the characters create, and the plot or the action in which the characters engage. We shall leave the question of the plot to class work upon the selections from epic poetry to be considered later in this study. ”

“ Fourthly, In narration as well as in description, facts and objects ought to be painted so accurately as to form in the mind of the reader distinct and lively images. Every useless circumstance ought indeed to be suppressed, because every such circumstance loads the narration ”

“ Straight narration, including the whole physical progress of the story, whether detailed or general, requires no color; characterization, including the process of individualizing a person as to his nature, as to his appearance, and as to his speech, requires one; the process of touching in setting requires another; the process of preparing a reader emotionally for succeeding events requires a third; the process of intensifying atmosphere—if the story is of atmosphere—requires a fourth. ”

“ The essential point of fictional narration is plot, which may be defined as a sequence of incidents designed to awaken the reader's interest and curiosity as to the result. Plots may be simple or complex; but suspense, and climactic progress from one incident to another, are essential. ”

“ The tales selected will be those tales which, as we have pointed out, contain the interests of children; for only through his interests does the child rise to higher interests and finally develop to the ideal man. They will be those tales which stand also the test of a classic, the test of literature, the test of the short-story, and the test of narration and of description. ”

“ Our narration is now about to make a large stride, and omit a space of nearly seventeen years; during which nothing occurred of any particular consequence with respect to the story we have undertaken to tell. ”

“ In narration he affects a disproportionate pomp of diction and a wearisome train of circumlocution, and tells the incident imperfectly in many words, which might have been more plainly delivered in few. ”

“ In addition to being the most popular form of discourse, it is the most natural. It is the first form of connected discourse of the child; it is the form employed by the uncultured in giving his impressions; it is the form most used in conversation. Moreover, narration is the first form found in great literatures: the Iliad and the Odyssey, the songs of the troubadours in France, and the minnesingers in Germany, the chronicles and ballads of England,—all are narrative. ”

“ We are never told enough during the course of the narration to give us a clear understanding of the whole position of affairs, but always enough to keep up our interest and make us anxious to know the answer of the riddle, to get at the explanation of the story-teller's mysterious hints. ”

“ The gravest historians, as well as the lightest story tellers, frame their narrations for effect, and the tendency in all ages to shape and fashion the narrative with a view to the particular effect designed by the individual narrator to be produced has been found entirely irresistible. ”

“ One need but open almost any of his novels and read the first paragraph to find that one is projected into an imaginative world of action, although the story may begin with a sentence of pure narration or description. ”

“ In each sentence, to be sure, narrative or description or dialogue will predominate; but still the narrative is always present in the description, and the description in the dialogue, as Mr. James says; and if you take a paragraph this fact will appear more clearly, and if you take three or four paragraphs, or a whole story, the fusion of all three styles in the same words is clearly apparent.
It is impossible to give fixed rules for the varying proportion of description, narration, or dialogue in any given passage. The writer must guide himself entirely by the impression in his own mind. ”

“ The abundance and the vividness of character-presentation; the liveliness and the abundance of the staging of that character; the variety of scene and incident—all most properly connected with the plot, but capable of existing and of being felt without it; the human dialogue; the admirable phrase in that dialogue and out of it, in the digressions, in the narrative, above, and through, and about, and below it all—these things and others (for it is practically impossible to exhaust the catalogue) fill up the cup to the brim, and keep it full, for the born lover of the special novel-pleasure. ”

“ What national and racial customs intensify the setting?
“To me, a narrative that has for its aim to interest the reader in its plot is an anecdote, be its plot ever so thick. A narrative that aims to interest the reader in a slice of palpitating life—the joys or sorrows of people—be its plot ever so thin, I call it a short story.”—Benjamin Rosenblatt. ”

“ This grouping of drama, action, and passion as the qualities of great poetry is significant. Bald narrative can never realize character or situation as can the dramatic form, either in narrative or for the stage, when the whole action takes place before the mind's eye instead of being told. ”

“ Under the division of narratives of fictitious events we notice six groups, when we are thinking of source and purpose: (1) the primitive-religious; (2) the symbolic-didactic; (3) the ingenious-astonishing; (4) the merely entertaining; (5) the instructive; (6) the artistic. Within these groups come the following individual types: (1) myth, legend, fairy tale, nursery saga; (2) fable, parable, allegory; (3) the tale of mere wonder, the imaginary voyage with a satiric or expository purpose, the tale of scientific discovery and mechanical invention, the detective story ”

“ Further, as the lives of all men and women are more or less conditioned by their surroundings and circumstance, any story will require more or less description. Incidents are of but little moment, character showing may have but slight interest, description is purposeless, unless the happenings of the story develop in the characters feelings toward which we assume some attitude of sympathy or opposition. Including this fourth element of the story, we shall then have [2] incident, description, character, mood, as the first elements of the narrative form. ”

“ Sometimes the events come out in conversation or dialogue, the dramatic method, and the author appears but little. When he appears not at all we have true drama instead of narrative. The larger number of stories, doubtless, are a mixture of author and character talk. ”

“ In the first place, we must find something to write about; some condition, experience or deed that is worthy of a plot, a story or a play. As we consider this or that item of plot material, in our search for a plot germ, we pause and ask of it: To what end? To what good? The moment we discern the culmination of a big moment, or the performance of a decisive action, or the accomplishment of a great deed, we have found our plot germ. This is not the beginning of our play, but its culmination, or climax. ”

“ The delights of conversation—so nearly, alas, a lost art!—consist chiefly in the exchange of varied views on single topics. So, when we note how the few primal story-themes and plot developments of all time were handled by those who first told the tales in literate form, the satisfaction is proportionate. ”

“ The order in which the drama simply says things gives it all its form, while the story told and the picture painted, as the novel at the pass we have brought it to embraces them, reports of an infinite diversity of matters, gathers together and gives out again a hundred sorts, and finds its order and its structure, its unity and its beauty, in the alternation of parts and the adjustment of differences. ”

“ It seems to me that this is to give our drama a more illustrious lineage, and a more natural origin, than by ascribing it to the miracle-plays of the Middle Ages. What may have been contributed by the miracle-play—but we cannot be sure—is the form of dialogue, the conduct of a story by speaking characters. ”

“ The verity of this figure lies in the fact that the dramatic quality of story-telling depends closely upon the clearness and power with which the story-teller visualises the events and characters he describes. You must hold the image before the mind's eye, using your imagination to embody to yourself every act, incident and appearance. You must, indeed, stand at the window of your consciousness and watch what happens. ”

“ The narrative, then, the chronicle, the summary, which must represent the story-teller's ordered and arranged experience, and which must accordingly be of the nature of a picture, is to be strengthened, is to be raised to a power approaching that of drama, where the intervention of the story-teller is no longer felt. The freedom which the pictorial method gives to the novelist is unknown to the playwright ”

“ Well, but life is full, also, of endings, of the results in concrete action of character, of completed dramas. And we expect and give, in the stories we hear and tell in ordinary intercourse, some point, some outcome, an end of some sort. If you interest me in the preparations of two persons who are starting on a journey, and expend all your ingenuity in describing their outfit and their characters, and do not tell me where they went or what befell them afterwards, I do not call that a story. ”