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STORY ND
DISCOURSE
AO BY SEMOR CAN
Coming to Terms: he hetoric of Narrative in Fiction and Film
Essays on the Language of Literature
(edited with Smuel
evn)
he ater Style ofHenry James
Literay Style: A Symposium
(edited and ranslated)
A heoy of Meter
Narrative Structure
in Fiction and Film
by SEYMOUR
CHATMAN
Conell Universiy Press
HACA D LODON
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Copyright
C 1978
by Conell Univrsity
All righs
v
ed. Except for brif quotaions in a review,
s
bok, or
s
of, must not
e
reproducd in ny form wihout eission in wriing from he·publisher. For informaion,
addrss Conell U�ersity
S
ae
ss,
Sage House, 512 East
Sreet, Ithaca, New York 14850.
II
First pubd 1978 by
Univrsity Prss
First prining, Conell Papebacs, 190
S
as
ma
Printd n he United
of
Acnowldnt is made f:
Exrps rom
Naua
y
rsad
Jen-Paul are,
by loyd Alexander, copyright
ll
ihs
For Elaine
w
C 14 by
ios Pubg Cooraion.
evd. Fist pblshed in
Ld.
nd
f
c-
Great Brin in 1962 by Haish Hamilton
by sion
Nw
ions Pubng Cain and
h ln
Ltd.
.
olia
­
ps rom
by Vadr Naokov, cpyiht C 1955 by Vladir Naokov;
.
prind by sion of G. P. Pum's os nd Weideld
Nicoln.
S
ner,
A elion om
Te Sa d r Ss
by Iaac Bsheis
copyright C 1965,
198 by
ac
shevs Sr; nted wih he sion of Farrar, Saus
.
Giroux,
Inc., and Jnan Cae Ld.
Excrps rom
Ms. aUy
by Va Wolf, copyight
1925
by Harcourt Brace Jo­
vanovich, Inc.; renewed 1953 by rd Wolf. Fist published 1925 by
e
Hogarth
Pr:ss. Reprinted by pesion of te publishs.
ps rom "The Gardn of Forkng Paths" from
Ftos
by Jorge
orgs, rans­
lated by Anhony Kerrign; pyright C 1962 by Grove Pres, c.; C 196 by Emece
Editors,
Ls
S
A.,
s;
., d
Buenos
reprinted by peission of Grove Press,
Welden­
.
fe1d
Nicolson.
Exrps from
o Nes:
]y
n
by
RobGrllet, ranslatd by �chard How­
>
ss,
ard; copyright
1959
by Grove
Inc., reprintd by pemission of Grove Prss, Inc.,
and Jon Calder Ltd.
Excerpt from
Fur
The
ad
Ciy by Doris ssing, copyight
>
1969 by
os
Lessing
d
­
Producions'Ltd;epinted by ssion of Alfred A. Knopf, Inc.,
James Brown
sias.
Except rom
Ed
f
te ame and Or Stis
e
by Julio
Cor, slated by Paul B�n; copyriht C 1967 by Random Houe, Inc.;
-
.
prined by ssion of Pnon ooks, a ivision of Random Houe, Inc .
.
Idol of e Cclades" rom
-
Libary of Conress Caaloing
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Publication
Daa
(For libray aaloging ps nly)
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S
oy
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dicose.
Inluds bbliogaphial us and indx.
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Naraion oic)
L
Itle.
X0.N7C5
7'.1
78-9329
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CONTENTS
PRFAE
9
1
INTRODUCTION
15
Narraive and Peics
Elements of a Narraive heory
Is Narative a Semioic Sucture?
Manifestaion and Physical Object
17
19
2
26
27
31
37
41
Narraive Inference, Selecion, and Coherence
A Sketch of Narraive Sucture
A Comic Srip xample
"Reaing" and "Reading Out"
2
STORY: EVETS
3
Sequence, Contingency, Causality
Verisimilitude and Moivaion
Kenels and Satellites
Stoies and Antistories
Suspense and Surpise
Time and Plot
Order, Duraion, and Frequency
How Time Distinctions Are Manifested
Narraive Marosucture and the Typology of Plot
3
STORY: EXISTENTS
45
8
3
56
5
9
62
3
79
4
6
Story-Space and Discourse-Space
Story-Space in Gnemaic Narraive
Stoy-Space in Verbal Narraive
Story-Existents: haracter
Aistotle's Theory of hracter
Formalist and Structuralist Concepions of Character
Tdorov and Barthes on haracter
Are haracters Open or Closed Consucts?
Toward an Open Theory of Character
Character: A Paradigm of Traits
Kinds of Character
A. C.
96
97
101
107
108
111
113
116
110
126
131
134
138
Bradley and
the Analysis of Chracter
Setting
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8 CONTENTS
PREFACE
4
DISCOUR
SE: NONNARRA
TED STORIES
146
Real Author, Implied Author, Narrator, Real Reader,
Implied Reader, Narratee
Point of View and Its Relation to Naraive Voice
Point of View n Film
Narrators' and haracters' Speech Acts
"Nonnarrated" Represenaion in General
Nonnarated Types: Written Records
Pure Speech Records
Soloquy
Records of Though
t: Drect Free Style=
lntrior Monologu
e
Sream of Consiousness=Free Assiaion
Interior Monologue
147
151
158
161
166
169
173
178
181
186
14
The French-with ther new-found etymological enthusiasm
-have coined the word
naratologie,
the study of narraive
structure. The Anglo-American intellectual community is sus­
piious of ree-swinging uses of
-ology,
perhaps with justiica­
tion. The questionabiliy of the name, however, should not be
confused
with the legimacy of the topic. There are few books
in English on the subject of narrative in general, though libraries
bulge with studies of speic genres-novels, epics, short sto­
ries, tales, fabliaux, and so on. Beyond the analysis of generic
diferences there lies the determinaion of what narraive
n
the
n
a
in
itself.
Literary critics tend to think too exclusively of the verbal
medium, even though they consume stories daily through ilms,
comic strips, paintings, sculptures, dnce movements, and
music. Common to these. artifacts must e some substratum;
otherwise we could not explain the transformation of "Sleeping
Beauty" into a movie, a ballet, a ime show.
To me the most exiing approach to these questions is dualist
and sructuralist, n· the Aristotelian radiion. Folowing such
French sructuralists as Roland Barthes, Tzvetan Todorov, and
Gerard Genette, I posit a
what
and a
way.
The what of narraive
I call its "stoy"; the way I call its "iscourse." Chapter
1
con­
tains a brief statement of my argument and its presupposiions.
Chapters
2
and
3
focus on he components of "story," events
and existents (character and seting); Chapters
4
and
5
deal with
"discourse," the means throu
g
h which the stoy is ransmitted.
My arrangement is arbirary only to the extent that I could re­
verse the two major roups, starting with discourse and ending
with story. I prefer the present arrangement because it seems
better to reflect the history of theorizing about narraives. (Not
that I wish to engage that topic in any direct way; I sh
a
ll intro­
duce historical considerations only nimally, as background to
the
argument.) But much as I might
like
t
o
,
I cannot ofer the
reader the popular option of choosing his chapters, reading
s
5
DISCOURSE: C
OVERT VERSUS
OVERT NARRAT
ORS
16
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197
198
Covert Narators
Indirect Tagged and Free Style
The Manipulaion of Sentences for Narraive Purposes:
Presupposiion as an xample
Limitaion of Authority in Narraive Transmission
Shifing Limited versus Omisient Mental Access
Overt Naraion: Set Desipions
Overt Naraion: Temporal Summais
Reports of What haracters Did Not
29
211
215
219
22
225
226
228
8
237
241
243
248
253
ik
or Say
Ethos and Commenary
Commenary
Impliit Com
meny: Ironic
Narrator and Unr
eliable
Narrator
Commentary on the Story: Interpreaion
Commentary on he Story: Judment
Commentary on the Story: Generazaion
Commentary on the iscourse
The Narratee
261
CONCLUSION
267
DIAGRA
M OF NARR
ATIVE STRUT
URE
269
INDEX
ES: Author an
d Title, Subjec
t
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