"Genre" is a type, kind, or class of literature or art—for instance a comedy, documentary, hip-hop tune, an epic poem. Such a list is endless . . . . “Narrative genre” refers to the kind of narrative, story, or plot that various works of literature tell or enact. The source for such literary criticism is . . . Northrop Frye, Anatomy of Criticism (1957), acc. to which there are four basic story lines or patterns (which can overlap, alternate, or combine):
These distinct narratives often work in combination—for instance, romantic comedy, or a tragic romance. Or an episode of one narrative genre may appear in another narrative genre, e.g. the comic gravedigger’s scene in the tragedy of Hamlet, or the guards or watchmen in Antigone or Agamemnon.
Tragedy. The story begins with a problem that is significant to society, its leaders, or its representatives. The problem may rise from a temptation or error that human beings recognize within themselves, such as greed, pride, or self-righteousness. The problem is intimate and integral to human identity; it is not "objectified" or displaced to a villain or outside force, as in romance. Good and evil are not split among "good guys and bad guys"; characters are mixed, in imitation of real life. 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. 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 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. (Compared to tragedy, comedy doesn't have consequences. When someone falls down, they get back up. The problem or conflict often takes the form of mistaken or false identity: one person being taken for another, disguises, cross-dressing, dressing up or down, mixed signals. The action consists of characters trying to resolve the conflict 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 How I Met Your Mother 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.
Characters are motivated by desire for fulfillment or a vision of transcendent grace; cf. desire and loss. (Sometimes the hero, as in Hunger Games or a cowboy who has hung up his guns, will initially appear modest and reluctant, but the demands of family or tribe for a savior will spur her or him to action.)
Satire. The word “satire” appropriately comes from Greek for “mixed-dish,” as its story-line tends to be extremely episodic and opportunistic, and the genre typically involves elements of other genres including comedy, humor, wit, and fantasy.
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. As a single-voiced example, an impersonator depends on his audience’s pre-knowledge of a celebrity’s mannerisms and foibles. (E.g., when an actor on Saturday Night Live imitates a U.S. President or candidate, the audience recognizes the candidate's pre-existing quirks and finds pleasure in the quality of their mimesis.)
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