“Narrative genre” refers to the kind of story or plot that a work of literature tells or enacts. The source for such literary criticism is Northrop Frye, Anatomy of Criticism (1957), according to which there are four basic story lines:

• Tragedy
• Comedy
• Romance
• Satire

Though distinct, these narratives often work in combination—for instance, romantic comedy. Or an episode of one narrative genre may appear in another, like the comic gravedigger’s scene in the tragedy of Hamlet.

Tragedy. The story begins with a problem that is significant to society, its leaders, or its representatives. The problem may originate in the “tragic flaw” of the hero or heroine, or it may represent a temptation or error that human beings recognize, such as greed, vanity, or self-righteousness. Either way, the error or fault or problem is intimate and integral to our human identities; it is not "objectified" to a villain or outside force, as in romance. The action consists of an attempt to discover the truth about the problem, to follow or trace or absorb its consequences, to restore justice (even at cost to oneself), or to regain moral control of the situation. The tragedy ends with the resolution of the problem and the restoration of justice, often accompanied by the death, banishment, or quieting of the tragic hero.

Comedy. This story-line also often begins with a problem or a mistake (as in mistaken identity), but the problem is less significant than tragedy. The problem may involve a recognizable social situation, but unlike tragedy, the problem does not intimately threaten or shake the audience, the state, or the larger world. The problem often takes the form of mistaken or false identity: one person being taken for another, disguises, cross-dressing, dressing up or down. The action consists of characters trying to resolve the problem or live up to the demands of the false identity, or of other characters trying to reconcile the “new identity” with the “old identity.” Comedy ends with the problem overcome or the disguise abandoned. Usually the problem was simply “a misunderstanding” rather than a tragic error. The concluding action of a comedy is easy to identify. Characters join in marriage, song, dance, or a party, demonstrating a restoration of unity. (TV "situation comedies" like Friends or The Cosby Show end with the characters re-uniting in a living room or some other common space.) Occasionally, as in slapstick or farce, comic endings are “circular” with the beginning: the comic characters simply “run away,” supposedly to continue the comic action elsewhere, as in the conclusion of some sketches by the Three Stooges or Laurel and Hardy.  In “dark comedy,” the conclusion is sometimes one of exhaustion, as in The War of the Roses or Rosencrantz and Guildenstern are Dead.

Romance. This story may open as though all is well, but the action usually begins with a problem of separation. That is, characters are separated from each other, as in a true-love romance, or a need arises to rescue someone, as with a lost-child story; or characters are separated from some object of desire (as with the pursuit of the Holy Grail or Romancing the Stone or a lottery ticket).

Action frequently takes the form of a physical journey or adventure, frequently involving characters being captured or threatened and rescued. The action may take the form of a personal transformation or a journey across class lines, as in Cinderella, Pretty Woman, or An Officer and a Gentleman.

The concluding action of a romance narrative often takes the form of “transcendence”—“getting away from it all” or “rising above it all.” The characters “live happily ever after” or “ride off into the sunset” or “fly away” from the scenes of their difficulties, in contrast with the social engagement of tragedy or the restored unity of comedy.

Characters in a romance tend to be starkly good or bad, in contrast with the “mixed” characters of tragedy. The problem that starts the romance is usually attributed less to a flaw in the hero than to a villain or some villainous outside force.

(Most Hollywood movies are romances, but some independent movies involve tragedy.)

The Last of the Mohicans could be characterized as a “tragic romance.”

“The Legend of Sleepy Hollow” could be characterized as a “satirical romance.”

Satire.  The word “satire” appropriately comes from the Greek for “mixed-dish,” as its story-line tends to be extremely episodic and opportunistic. In fact, the satiric narrative depends for its narrative integrity on the audience’s knowledge of the original story being satirized. For instance, Hot Shots appears to be simply an unconnected series of goofy scenes unless you’ve seen Top Gun, in which case you know that episodes from the satire spoof or parody episodes from the original film. Young Frankenstein similarly depends on a familiarity with the original Frankenstein or at least with the cliches of old-time horror movies. (As a single-voiced example, an impersonator depends on his audience’s knowledge of a celebrity’s mannerisms and foibles.)  Structurally, the satirical narrative will end somewhat like the original narrative, but, in terms of tone, the seriousness or pretensions of the original narrative will be deflated.