The A0 Can Be Described as an Epic Poem and a Framed Narrative.

Story in a nested narration that brackets one or more than embedded stories

A frame story (also known every bit a frame tale, frame narrative, sandwich narrative, or intercalation) is a literary technique that serves as a companion slice to a story within a story, where an introductory or principal narrative sets the phase either for a more emphasized 2nd narrative or for a set of shorter stories. The frame story leads readers from a outset story into 1 or more other stories inside it. The frame story may also be used to inform readers about aspects of the secondary narrative(s) that may otherwise be hard to understand. This should non be confused with narrative construction.^{[one] [2] [3]}

Origins [edit]

Some of the earliest frame stories are from ancient Egypt, including one in the Papyrus Westcar, the Tale of the Shipwrecked Sailor, and The Eloquent Peasant.^{[4] [5]} Other early on examples are from Indian literature, including the Sanskrit epics Mahabharata, Ramayana, Panchatantra, Syntipas's The Vii Wise Masters, and the fable collections Hitopadesha and Vikram and The Vampire.^{[half dozen]} This form gradually spread w through the centuries and became popular, giving ascent to such archetype frame tale collections as the I Chiliad and One Nights (Arabian Nights),^[7] The Decameron,^[3] and the Canterbury Tales, in which each pilgrim tells his own kind of tale, and whose frame story "was one time the near admired part of Chaucer's work".^{[3] [8]}

The utilise of a frame story in which a single narrative is set in the context of the telling of a story is also a technique with a long history, dating back at least to the beginning section of Homer'south Odyssey, in which the narrator Odysseus tells of his wandering in the court of King Alcinous.^{[ii] [ix]}

A prepare of stories [edit]

A frame story is a literary device that acts as a user-friendly conceit to organize a fix of smaller narratives, either devised by the author or taken from a previous stock of popular tales, slightly altered by the author for the purpose of the longer narrative. Sometimes a story within the main narrative encapsulates some aspect of the framing story, in which case information technology is called a mise en abyme.^[10]

A typical frame story is One Thousand and One Nights, in which the graphic symbol Shahrazad narrates a set up of fairy tales to the Sultan Shahriyar over many nights. Many of Shahrazad's tales are likewise frame stories, such as Tale of Sindbad the Seaman and Sindbad the Landsman, a collection of adventures related past Sindbad the Seaman to Sindbad the Landsman.^[7]

Ovid'due south Metamorphoses makes extensive use of framing, with the stories nested several deep, allowing the inclusion of many unlike tales in one piece of work.^[11] Emily Brontë'south Wuthering Heights uses this literary device to tell the story of Heathcliff and Catherine, along with the subplots.^[2] Her sis Anne uses this device in her epistolary novel The Tenant of Wildfell Hall. The main heroine's diary is framed by the narrator'south story and letters.^[12]

Mary Shelley's novel Frankenstein has multiple framed narratives. In the book, Robert Walton writes messages to his sister, describing the story told to him by the scientist Victor Frankenstein. Frankenstein'south story contains the monster's story, and its story even briefly contains the tale of a family whom he had been observing.^{[two] [13]}

Frame stories have appeared in comic books. Neil Gaiman's comic book serial The Sandman featured a story arc called Worlds End which consisted of frame stories, and sometimes even featured stories within stories within stories.^[14]

Sometimes, as in Washington Irving's Sketch Book, which contains "The Legend of Sleepy Hollow" and "Rip Van Winkle" among others, the conceit is that the author of the book is non the existent writer only a fictional character, in this case a man named Crayon. Here the frame includes the world of the imagined Crayon, his stories, and the reader who is assumed to play along and "know" who Crayon is.^[15]

Single story [edit]

When at that place is a unmarried story, the frame story is used for other purposes – chiefly to position the reader'southward attitude toward the tale. This can exist done in a variety of ways.

Casting incertitude on the narrator [edit]

A mutual reason to frame a single story is to draw attending to the narrator's unreliability. By explicitly making the narrator a grapheme within the frame story, the writer distances him or herself from the narrator. The writer may characterize the narrator to cast doubt on the narrator'southward truthfulness, as when in P. 1000. Wodehouse's stories of Mr Mulliner, Mulliner is made a fly fisherman, a person who is expected to tell tales of unbelievably large fish.^{[ commendation needed ]} The movie Amadeus is framed equally a story an old Antonio Salieri tells to a young priest, because the picture show is based more on stories Salieri told about Mozart than on historical fact.^[16]

Procatalepsis [edit]

Another use is a course of procatalepsis, where the author puts the readers' possible reactions to the story in the characters listening to it. In The Princess Bride the frame of a grandfather reading the story to his reluctant grandson puts the cynical reaction a viewer might have to the romantic fairytale into the story in the grandson'southward persona, and helps defuse information technology. This is the employ when the frame tells a story that lacks a potent narrative hook in its opening; the narrator can appoint the reader's interest by telling the story to respond the marvel of his listeners, or by warning them that the story began in an ordinary seeming way, simply they must follow it to understand later on actions, thereby identifying the reader's wondering whether the story is worth reading to the listeners'.^[17] Such an arroyo was used, too, past Edith Wharton in her novella Ethan Frome, in which a nameless narrator hears from many characters in the town of Starkfield about the main character Ethan'south story.^[18]

Dream vision [edit]

A specialized form of the frame is a dream vision, where the narrator claims to have gone to sleep, dreamed the events of the story, and and so awoken to tell the tale. In medieval Europe, this was a mutual device, used to indicate that the events included are fictional; Geoffrey Chaucer used it in The Book of the Duchess, The House of Fame, Parlement of Foules, and The Legend of Proficient Women (the last also containing a multi-story frame story within the dream).^{[ citation needed ]} In mod usage, it is sometimes used in works of fantasy equally a means toward suspension of disbelief nearly the marvels depicted in the story. J.R.R. Tolkien, in his essay "On Fairy-Stories" complained of such devices as unwillingness to care for the genre seriously; he used frame stories of unlike kinds in his Middle-world writings.^[19] Lewis Carroll's Alice stories (Alice's Adventures in Wonderland and Through the Looking-Glass) includes such a frame, the stories themselves using dream-like logic and sequences.^[twenty] The author John Bunyan used a dream device in the Christian allegory Pilgrim's Progress and its sequel, explaining that they were dreams he had while he was in prison house and felt God wanted him to write down. This worked because information technology made what might have been seen every bit a fantasy more similar a divine revelation to others who believed as he did.^[21]

Still, even when the story proceeds realistically, the dream frame casts dubiety on the events. In the book The Wonderful Sorcerer of Oz, the events really occur; the dream frame added for the movie detracts from the validity of the fantasy.^[22]

Utilize [edit]

To exist a frame narrative, the story must human action primarily as an occasion for the telling of other stories. For example, Odysseus narrates much of the Odyssey to the Phaeacians, only, even though this recollection forms a dandy part of the poem, the events after and before the interpolated recollection are of greater interest than the memory.^[ii]

A motion-picture show that plays with frame narrative is the 1994 Forrest Gump. Most of it is narrated by Forrest to various companions on the park demote. However, in the concluding fifth or then of the film, Forrest gets up and leaves the bench, and we follow him as he meets with Jenny and her son. This final segment suddenly has no narrator different the remainder of the film that came before it, but is instead told through Forrest and Jenny's dialogues.^[23]

This approach is also demonstrated in the 2008 moving picture Slumdog Millionaire (adapted from the 2005 novel Q & A), about a poor street kid named Jamal who comes shut to winning Kaun Banega Crorepati (the Indian equivalent of Who Wants to Be a Millionaire?) but finds himself accused of cheating. Nearly of the story is narrated at a police station by Jamal, who explains how he knew the answers to each of the questions as the show is played dorsum on video. The show itself then serves every bit another framing device, as Jamal sees flashbacks of his by every bit each question is asked. The concluding portion of the moving-picture show then unfolds without any narrator.^[24]

Compared to reprise [edit]

In musical sonata form or rondo, a reprised theme occurs at the commencement and finish of the work, or returns periodically.^[25] A framing device may take the form of a recurrent element at the offset and cease of the narrative. For instance, a story may begin with a character visiting a park under 1 set of circumstances, then returning at the end to the same park under a different set of circumstances, having undergone a modify that allows him or her to run across the park in a new light.^[26]

A framing device might only exist a defining image of the narrative or fine art that is used at the beginning and end of the piece of work, as in the picture Chariots of Fire which begins and ends with the characters running along a beach, accompanied at both times by the moving picture's famous theme music. This scene, although chronologically in the centre of the film and unimportant to the straightforward plot, serves to convey a defining emotion and tone that sets the context for the main story.^[27]

Run across also [edit]

• Fan fiction – Type of fiction created past fans of the original subject
• Fictional universe – Self-consequent fictional setting with elements that may differ from the real earth
• Parallel novel – Pastiche novel with in universe continuity
• Spin-off (media) – Narrative piece of work derived from existing works

Notes [edit]

1. ^ "What is a Frame Story? Oregon State Guide to Literary Terms". College of Liberal Arts. 2020-09-06. Retrieved 2021-06-xxx .
2. ^ ^{a b c d eastward f} "Frame Story - Examples and Definition of Frame Story". Literary Devices. 2016-04-11. Retrieved 2021-06-thirty .
3. ^ ^{a b c} "The Frame Narrative". Harvard University. Retrieved 2021-06-30 .
4. ^ John Clute and John Grant, ed. (1999). The Encyclopedia of Fantasy. Macmillan. p. 312. ISBN9780312198695.
5. ^ Jay, Jacqueline E. (2016). Orality and Literacy in the Demotic Tales. Brill. pp. 27–32, 211–212. ISBN9789004323070.
6. ^ Witzel, Michael E. J. (1987). "On the origin of the literary device of the 'Frame Story' in Old Indian literature". In Falk, H. (ed.). Hinduismus und Buddhismus, Festschrift für U. Schneider. Freiburg. pp. 380–414. ISBNiii-925270-01-9.
7. ^ ^{a b} Hoh, Anchi (26 Oct 2017). "A M and One Nights: Arabian Story-telling in Earth Literature". Library of Congress. Retrieved 7 May 2021.
8. ^ Coulton, George Gordon (1908). Chaucer and His England. Putnam. p. 126.
9. ^ Ginsburg, Michal Peled (1997). Prince, Gerald; Reid, Ian; Duyfhuizen, Bernard (eds.). "Framing Narrative". Poetics Today. 18 (4): 571–588. doi:x.2307/1773187. ISSN 0333-5372. JSTOR 1773187.
10. ^ {{cite book |concluding=Hayward |first=Susan |affiliate=Mise-en-abime |title=Cinema Studies: The Fundamental Concepts |edition=Third |publisher=Routledge |year=2006 |pages=252-253}]
11. ^ Ovid (1990). "Ovid'south Framing Technique: The Aeacus and Cephalus Epyllion (Met. 7.490-8.5)". The Classical Periodical. 86 (1): 35–44. JSTOR 3297921.
12. ^ Allott, Miriam (2013). The Brontës: The Critical Heritage. Abingdon, Oxfordshire: Routledge. pp. 254–256. ISBN978-1136173813.
13. ^ Shelley, Mary Godwin. "Frankenstein". Gutenberg . Retrieved 24 December 2020.
14. ^ Manning, Matthew K.; Dolan, Hannah, ed. (2010). "1980s". DC Comics Year By Year A Visual Chronicle. London, United kingdom: Dorling Kindersley. p. 247. ISBN978-0-7566-6742-9.
15. ^ Rip Van Winkle and The Fable of Sleepy Hollow. Wolf's Mountain. 2013. p. eleven, notes past editor. GGKEY:GH4HD41JQT1.
16. ^ Viljoen, Martina; Viljoen, Nicol (June 2018). "Amadeus: A Vision of Musical Genius". International Review of the Aesthetics and Folklore of Music. 49 (1): 29–523. JSTOR 26844631.
17. ^ Martinelli, Marissa (21 November 2018). "The Princess Helpmate You Don't Know". Slate . Retrieved 30 June 2021.
18. ^ Wagner, Johanna Thousand.; Demoor, Marysa (2012). "The Slippery Gradient of Interpellation: Framing Hero and Victim in Edith Wharton's Ethan Frome". Neophilologus. 97 (ii): 417–435. doi:10.1007/s11061-012-9319-z. ISSN 0028-2677. S2CID 170215022.
19. ^ Tolkien, J. R. R. (2001). Tree and Leaf, Mythopoeia, The Homecoming of Beorhtnoth Beorhthelm'south Son. London: HarperCollins. p. fourteen. ISBN978-0-007-10504-5.
20. ^ Madden, William A. (May 1986). "Framing the Alices". PMLA. 101 (3): 362–373. doi:10.2307/462421. JSTOR 462421.
21. ^ Bertsch, Janet (Baronial 2000). The Whole Story Language, Narrative and Salvation in Bunyan, Defoe, Grimmelshausen and Schnabel (PDF). Academy College London, PhD Thesis. pp. 217–218.
22. ^ Jones, Steven Swann (1995). The Fairy Tale: The Magic Mirror of Imagination. New York: Twayne Publishers. p. 94. ISBN0-8057-0950-9.
23. ^ "A Frame Story". Wholesale Frame Company. 5 March 2019. Retrieved thirty June 2021.
24. ^ Miguel, Andres (fourteen January 2009). ""Slumdog Millionaire" is well-done but a bit hollow". The Pitt News . Retrieved 30 June 2021.
25. ^ Stein, Deborah (2005). Engaging music : essays in music analysis. New York: Oxford University Press. p. 331. ISBN978-0-19-517010-eight. OCLC 54752753.
26. ^ Moraru, Christian (2005). Memorious Discourse: Reprise and Representation in Postmodernism. Fairleigh Dickinson University Press. p. sixteen. ISBN978-0-8386-4086-9.
27. ^ "Chariots of Fire: The flame of confidence". David Puttnam . Retrieved 30 June 2021.

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Source: https://en.wikipedia.org/wiki/Frame_story

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