Analyzing Narrative Discourse and Medieval Literature

Narrative Discourse Elements

Structure of Narrative

The Narrative Sequence

The narrative discourse consists of a series of events, real or imagined.

• Themes: Narrated real-life events, but these changes are irrelevant (they look real even though they are not).
• Structure:
  • Closed: Approach and denouement respecting the chronological development of the facts. Can have alterations:
    • a) In medias res: Begin the story by events that should be counted on.
    • b) Begin with the outcome (contemporary novel).
  • Open: The story unfolds without a plan outlined previously, called juxtaposition of episodes.

Personality and Characterization

Without personality, action is possible.

• Creation: They represent an idea; others are the taming of the being and thinking of the author.
• Function: Main, secondary, or fleeting (they appear only in some episodes).
• Characterization: To define personality, the technique of the portrait is used.

Space and Time

• Space: Scene where the action unfolds.
• Time: When the action is produced.

Dialogue Types

• Direct Dialogue: Begins directly with the dialogue and ends with a paragraph.
• Indirect Dialogue: The narrator does not reproduce the speech of the characters but reconstructs it in their own words in the third person.
• Free Indirect Thought: The narrator integrates the character's thoughts into their own speech, respecting the character's mode of expression (no introductory verb, only a point and followed).

Dramatic Dialogue

Dialogue is the discussion in dramatic or theatrical form as dialogue itself, the monologue, and separately, the stage directions (the playwright's instructions).

Medieval Prose and Poetry

Medieval Poetic Forms

Popular-Traditional Poetry

It is popular because it is anonymous and collective; traditional because it is the result of a continuous process of reworking (generation to generation).

Learned Poetry

This is individual and not anonymous; the author is known. It is not written, but oral poetry. These are two manifestations:

• The lyrical (sentiments of the author).
• The narrative (events outside the author).

Mester de Juglaría (Minstrelsy)

The epic, medieval character is popular; the Renaissance and Baroque is cultured. The chanson de geste is the first epic manifestation of the Middle Ages. This creates the romance (sung and broadcast by minstrels with an informational and news character).

• Exploits: Are the exploits of the heroes.
• Features: Two hemistichs of 6 to 8 syllables, grouped into long runs with monorhyme.

Mester de Clerecía (Clergy's Craft)

Used in the thirteenth and fourteenth centuries. Features:

• Didactic moral subject.
• Writers of the clergy reported scholarly topics.
• Strophic organization, regular verse, and rhyme.

The Novel in the Fourteenth Century

The two types are:

• Adventure
• Love and sentiment, influenced by chivalry, the heroic, and the fantastic element (King Arthur).

Old Ballads

Themes:

• Historical-National: Come from the songs of epic poetry.
• Romantic and Lyrical: Created by popular imagination.
• Moorish: History of warfare on the border between Moorish and Christian kingdoms.
• Carolingian: Focus on Brittany, inspired by Charlemagne.
• Arthurian: King Arthur and the Round Table.

Metre

Close relationship with epic poetry: 16 syllables divided into 2 hemistichs of 8 syllables each.