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Pyt. 5. Cechy eposu.

The epic is a broadly defined genre of narrative poetry, characterized by great length, multiple setting, large numbers of characters, or long span of time involved. As a result of this change in the use of the word, many prose works of the past may be retroactively called ‘epics’ which were not composed or originally understood as such.

Epic: a long narrative poem in elevated stature presenting characters of high position in adventures forming an organic whole through their relation to a central heroic figure and through their development of episodes important to the history of a nation or race.
Epics have 6 main characteristics:
1.the hero is of imposing stature, of national or international importance, and of great historical or legendary significance
2.the setting is vast, covering many nations, the worlds or the universe
3.the action consists of deeds of great valor or requiring superhuman courage
4.supernatural forces--gods, angels, demons--interest themselves in the action
5.a style of sustained elevation is used
6.the poet retains a measure of objectivity

Conventions of Epics:
1.Opens by stating the theme or subject matter of the epic
2.Writer invokes a Muse, one of the nine daughters of Zeus. The poet prays to the Muses to provide him with divine inspiration to tell the story of a great hero. (This convention is obviously restricted to cultures which were influenced by Classical culture: the Epic of Gilgamesh, for example, or the Bhagavata Purana would obviously not contain this element)
3.Narrative opens in medias res, or in the middle of things, usually with the hero at his lowest point. Usually flashbacks show earlier portions of the story.
4.Catalogues and genealogies are given. These long lists of objects, places, and people place the finite action of the epic within a broader, universal context. Oftentimes, the poet is also paying homage to the ancestors of audience members.
5.Main characters give extended formal speeches.
6.Use of the epic simile
7.Heavy use of repetition or stock phrases.
Literate societies have often copied the epic format; the earliest European examples of which the text survives are the Argonautica of Apollonius of Rhodes and Virgil's Aeneid, which follow both the style and subject matter of Homer. Other obvious examples are Nonnus' Dionysiaca, Tulsidas' Sri Ramacharit Manas, which follows the style and subject matter of Valmiki's Ramayana, and the Persian epic Shahnama by Ferdowsi.
Classical epic conventions include:
Invocation (prayer to the inspiring muse [of the epic]), praepositio (introduction of the epic's theme), enumeratio (counting the fighting heroes and their armies), the principles termed "in medias res" (starting from the middle of an event), Deus ex machina (divine intervention), anticipatio (prediction), and Epithet (permanent attributes of a heroic figure).
Examples of ancient epics (to 500): Atrahasis (Mesopotamian Mythology); Argonautica by Apollonius of Rhodes; Iliad, ascribed to Homer (Greek mythology); Odyssey, ascribed to Homer (Greek mythology)
Medieval epics (500-1500): Beowulf (retelling of Anglo-Saxon legends); Waldere, Old English version of the story told in Waltharius (below), known only as a brief fragment; La Chanson de Roland (The Song of Roland); The Canterbury Tales by Geoffrey Chaucer
Modern epics (from 1500): Paradise Lost by John Milton (1667); King Arthur by Richard Blackmore (1697); Henriade by Voltaire (1723); Don Juan by Lord Byron (1824); Pan Tadeusz by Adam Mickiewicz (1834); The Ballad of the White Horse by G K Chesterton (1911); Mountains and Rivers Without End by Gary Snyder (composed 1965-1996)

Pyt. 6. Cechy powieści.

The novel is only one of many possible prose narrative forms. It shares with other narratives, like the epic and the romance, two basic characteristics: a story and a story-teller. The epic tells a traditional story and is an amalgam of myth, history, and fiction. Its heroes are gods and goddesses and extraordinary men and women. The romance also tells stories of larger-than-life characters. It emphasizes adventure and often involves a quest for an ideal or the pursuit of an enemy. The events seem to project in symbolic form the primal desires, hopes, and terrors of the human mind and are, therefore, analogous to the materials of dream, myth, and ritual. Although this is true of some novels as well, what distinguishes the novel from the romance is its realistic treatment of life and manners. Its heroes are men and women like ourselves, and its chief interest, as Northrop Frye said, is "human character as it manifests itself in society."
Development of the Novel
The term for the novel in most European languages is roman, which suggests its closeness to the medieval romance. The English name is derived from the Italian novella, meaning "a little new thing." Romances and novelle, short tales in prose, were predecessors of the novel, as were picaresque narratives. Picaro is Spanish for "rogue," and the typical picaresque story is of the escapades of a rascal who lives by his wits. The development of the realistic novel owes much to such works, which were written to deflate romantic or idealized fictional forms. Cervantes' Don Quixote (1605-15), the story of an engaging madman who tries to live by the ideals of chivalric romance, explores the role of illusion and reality in life and was the single most important progenitor of the modern novel.
The novel broke from those narrative predecessors that used timeless stories to mirror unchanging moral truths. It was a product of an intellectual milieu shaped by the great seventeenth-century philosophers, Descartes and Locke, who insisted upon the importance of individual experience. They believed that reality could be discovered by the individual through the senses. Thus, the novel emphasized specific, observed details. It individualized its characters by locating them precisely in time and space. And its subjects reflected the popular eighteenth-century concern with the social structures of everyday life.
The novel is often said to have emerged with the appearance of Daniel Defoe's Robinson Crusoe (1719) and Moll Flanders (1722). Both are picaresque stories, in that each is a sequence of episodes held together largely because they happen to one person. But the central character in both novels is so convincing and set in so solid and specific a world that Defoe is often credited with being the first writer of "realistic" fiction. The first "novel of character" or psychological novel is Samuel Richardson's Pamela (1740-41), an epistolary novel (or novel in which the narrative is conveyed entirely by an exchange of letters). It is a work characterized by the careful plotting of emotional states. Even more significant in this vein is Richardson's masterpiece Clarissa (1747-4 Cool

. Defoe and Richardson were the first great writers in our literature who did not take their plots from mythology, history, legend, or previous literature. They established the novel's claim as an authentic account of the actual experience of individuals.
Proliferation of Types
- allegorical novel, which uses character, place, and event to represent abstract ideas and to demonstrate some thesis.
- science fiction novel relies on scientific or pseudo-scientific machinery to create a future society which parallels our own.
- historical novel is set in the past and takes its characters and events from history (Sienkiewicz)
- social novel is concerned with the influence of societal institutions and of economic and social conditions on characters and events.
The three types, the science fiction, social, and historical novel, tend to be didactic, to instruct readers in the necessity for changing their morality, their lives, and the institutions of society.
- horror novel (thriller) (Steven King)
- regional novel presents the influence of a particular locale on character and events.
- detective novel is a combination of the picaresque
- psychological novel in that it reveals both events and their motivation (Dostojewski).
- poetic novel (Słowacki;Lord Byron ‘Giaur’); novel which is put to poetry
- epistolary novel (or novel in which the narrative is conveyed entirely by an exchange of letters)
- memoir novel- you read in a time perspective; you are able to reflect (all holocaust literature)
- travel novel
- radio novel
- utopian novel- about the perfect world, show a perfect place
- dystopian novel- show the place you would never like to live in (antithesis of utopia)
- series novel- written in volumes (Balzac, Prus)