Download - History of fiction
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A BRIEF HISTORY & OVERVIEW OF FICTION
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FICTION DEFINED
FICTION < A LATIN WORD
MEAN-ING TO FORM OR TO
MAKE.
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FICTION DEFINED (cont.)
A FICTION IS A “MADE” STORY, AN
IMAGINED & INVENTED LITERARY
COMPOSITION DESIGNED TO ENTER-
TAIN (AND SOMETIMES INSTRUCT),
TO MAKE READERS FEEL AND THINK.
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FICTION DEFINED (cont.)
TODAY THE TERM “FICTION” IS
USUALLY APPLIED ONLY TO SHORT
STORIES, NOVELS, & NOVELLAS, BUT
OTHER LITERARY FORMS (E.G., PLAYS)
ALSO HAVE FICTIONAL ELEMENTS.
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HISTORY OF FICTION
THE HISTORY OF FICTION IS A
LONG & COMPLEX ONE.
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ANTIQUITY OF STORIES
STORIES ARE A VERY ANCIENT
HUMAN PRODUCT, PRECEDING THE
INVENTION OF WRITING, AND THERE
IS NO IDENTI-FIABLE “FIRST”
STORYTELLER OR WORK OF FICTION.
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EARLY FORMS OF FICTION
THE MODERN NOVEL & SHORT
STORY WERE PRECEDED BY MANY
EARLIER FORMS OF FICTION, SUCH
AS MYTHS, LEGENDS, FABLES, FAIRY
TALES, PAR-ABLES, AND
ALLEGORIES.
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MYTHS
TELL STORIES OF THE ORIGINS &
EXPLOITS OF GODS & GODDESSES
FROM VARIOUS ANCIENT
CULTURES, SUCH AS GREECE,
ROME, & SCANDI-NAVIA.
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MYTHS (cont.)
OTHER MYTHS DEAL W/ THE MYS-
TERIES OF NATURE, INCLUDING
THE CREATION OF THE UNIVERSE
& ITS INHABITANTS.
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MYTHS (cont.)
THE PURPOSE OF MYTHS IS TO HELP
PEOPLE MAKE SENSE OF THE WORLD.
THE GODS ARE DESCRIBED AS EX-
PERIENCING HUMAN EMOTIONS &
FACING HUMAN CONFLICTS.
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LEGENDS
RECOUNT THE AMAZING ACHIEVE-
MENTS OF FICTIONAL CHARACTERS
OR EXAGGERATE THE EXPLOITS OF
ACTUAL PEOPLE (E.G., PAUL BUNYAN).
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LEGENDS (cont.)
LEGENDS OFTEN PRAISE
CHARACTER TRAITS THAT ARE
VALUED BY A PAR-TICULAR
SOCIETY.
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LEGENDS (cont.)
EX.: PAUL BUNYAN WAS A RESOURCE-
FUL LUMBERJACK WHO WORKED
HARD, NEVER BACKED DOWN FROM A
FIGHT, & ENJOYED A GOOD PARTY—
ALL QUALITIES ADMIRED BY EARLY
AMERICAN PIONEERS.
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FABLES
USUALLY FEATURE ANIMALS WITH
HUMAN TRAITS & STATE AN EXPLICIT
LESSON (E.G., SLOW BUT STEADY
WINS THE RACE, APPEARANCES ARE
DECEP-TIVE, ONE GOOD TURN
DESERVES ANOTHER).
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FABLES (cont.)
THE BEST-KNOWN FABLES WERE
WRIT-TEN BY A GREEK SLAVE NAMED
AESOP (600 B.C.E.), AND INCLUDE
STORIES SUCH AS ANDROCLES & THE
LION, THE TORTOISE & THE HARE,
AND THE WOLF IN SHEEP’S CLOTHING.
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FAIRY TALES
THIS FICTIONAL FORM OFTEN
FEATURES SUPERNATURAL
BEINGS LIKE GIANTS, TROLLS, &
FAIRY GOD-MOTHERS.
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FAIRY TALES (cont.)
THEY ALSO FOCUS ON THE
STRUGGLE BETWEEN GOOD & EVIL,
WITH GOOD ALWAYS TRIUMPHING,
THOUGH SOMETIMES IN
GROTESQUE, VIOLENT WAYS.
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FAIRY TALES (cont.)
THE BEST-KNOWN COLLECTION OF
THESE STORIES IS GRIMMS’ FAIRY
TALES, WHICH INCLUDES CINDER-
ELLA, LITTLE RED RIDING HOOD,
HANSEL & GRETEL, RAPUNZEL, AND
OTHER WELL-KNOWN FAVORITES.
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PARABLES
STORIES THAT TEACH A LESSON
OR EXPLAIN A COMPLEX
SPIRITUAL CONCEPT THROUGH
THE USE OF ANALOGY.
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PARABLES (cont.)
THE NEW TESTAMENT CONTAINS
MANY PARABLES ABOUT PROPER
HUMAN CONDUCT (E.G., THE GOOD
SAMARITAN, LUKE 10:25-37) & THE
RELATIONSHIP BETWEEN GOD &
HUMANS (E.G., THE SEED GROWING
SECRETLY, MARK 4:26-29).
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ALLEGORIES
SYMBOLIC STORIES THAT TEACH A
MORAL LESSON AND IN WHICH
EACH CHARACTER, ACTION, &
SETTING STANDS FOR A SPECIFIC
MEANING.
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ALLEGORIES (cont.)
EX.: JOHN BUNYAN’S PILGRIM’S
PROGRESS (1678), IN WHICH A
CHARACTER NAMED CHRISTIAN, WHO
EMBODIES THE VIRTUES OF
CHRISTIANITY, JOURNEYS THROUGH A
WORLD OF TEMPTATIONS & DANGERS
(CITY OF DESTRUCTION, VALLEY OF
HUMILIA-TION, ETC.) EN ROUTE TO THE
CELESTIAL CITY (HEAVEN).
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EVOLUTION OF FICTION
OVER THE COURSE OF CENTURIES,
WRITERS IN MANY LANGUAGES BE-
GAN TO FOCUS MORE ON THE
ARTIST-IC & ENTERTAINMENT
POSSIBILITIES OF PROSE, . . .
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EVOLUTION OF FICTION (cont.)
. . .TO EXPLORE HUMAN
CHARACTER W/OUT THE NEED
TO PREACH & MORALIZE.
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MODERN FORMS OF FICTION
MANY 19TH-CENTURY WORKS NOW RE-
FERRED TO AS NOVELS WERE CALLED
“ROMANCES” BY THEIR AUTHORS (E.G.,
THE SCARLET LETTER, MOBY-DICK).
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SHORT STORY
THIS TERM WAS FIRST USED IN THE
U.S. IN THE 1880s, BUT DID NOT
APPEAR IN THE OXFORD ENGLISH
DICTIONARY UNTIL 1933.
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SHORT STORY (cont.)
THE FIRST ANALYSIS OF SHORT
STORY STRUCTURE & TECHNIQUE
WAS A REVIEW BY EDGAR ALLAN
POE OF NATHANIEL HAWTHORNE’S
TWICE-TOLD TALES (1842).
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POE ON THE SHORT STORY (cont.)
POE STRESSED WHAT HE CALLED
“UNITY OF EFFECT OR IMPRESSION”
ACHIEVED THROUGH SUSTAINED
TONE, REPETITION, CONTINUITY, &
MOMENTUM.
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POE ON THE SHORT STORY (cont.)
ACCORDING TO POE, EVERY WORD OF
A STORY (AS IN A POEM) SHOULD CON-
TRIBUTE TO THE OVERALL EFFECT.
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POE ON THE SHORT STORY (cont.)
SHOULD BE READABLE IN ONE SIT-
TING (ABOUT 30 MINS. TO 2 HRS.),
BEYOND WHICH EXCITEMENT CAN
NOT BE SUSTAINED.
CALLED HIS STORIES “TALES”
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19TH-CENTURY TALES (cont.)
CHARACTERS BECAME MORE FULLY
DEVELOPED, BEGAN TO HAVE SPIRI-
TUAL & PSYCHOLOGICAL DEPTH.
PLOTS BECAME MORE COMPLEX,
SETTINGS MORE FULLY DESCRIBED.
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19TH-CENTURY TALES (cont.)
OFTEN LED READERS TO
WONDER & QUESTION RATHER
THAN TO ACCEPT A DIRECTLY
STATED MORAL OR LESS-ON.
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NONREALISTIC FICTION
READING THIS KIND OF LITERATURE
REQUIRES THE “WILLING SUSPENSION
OF DISBELIEF” (S. T. COLERIDGE)—I.E.,
WILLINGNESS TO TAKE SERIOUSLY &
TO ENJOY CHARACTERS, PLOTS, &
SETTINGS THAT ARE STRANGE &
IMPLAUSIBLE.
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REALISTIC FICTION
FOCUSES ON SCENES & EVENTS OF
EVERYDAY LIFE.
CHARACTERS ARE FULLY
DEVELOPED, ORDINARY PEOPLE FULL
OF COMPLEX-TIES &
CONTRADICTIONS.
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REALISTIC FICTION (cont.)
SETTINGS ARE USUALLY MORE THAN
BRIEFLY SKETCHED BACKDROPS.
READERS ARE EXPECTED TO FIND
MEANING FOR THEMSELVES.
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SHORT STORY CHARACTERISTICS
GENERALLY COMPRESSED &
TIGHTLY CONSTRUCTED.
CAREFULLY, CONSCIOUSLY MADE
(HOWEVER SIMPLE, NATURAL, &
FORMLESS THEY MAY SEEM).
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SHORT STORY CHARACTERISTICS (cont.)
ESSENTIALLY DRAMATIC, “SHOWING”
RATHER THAN “TELLING.” TEND TO
REVEAL CHARACTER IN ACTION OR
UNDER STRESS.
(NOVELS, BY CONTRAST, TEND TO SHOW
CHARACTERS DEVELOPING OVER TIME.)
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SHORT STORY CHARACTERISTICS
(cont.)
FOCUS IS OFTEN ON A SIGNIFICANT
MOMENT OF PERCEPTION.
OPERATE BY SUGGESTIVENESS &
IN-DIRECTION.