LITERARY GENRES AND WORK

What is a Genre?
Ever have a friend suggest a movie to go see, but you responded, I'm not in the mood for that?
What did you mean? Was it a scary movie and you were in the mood to laugh? Was it a sad
movie, but you wanted some action? If so, then you already know about genres.

A genre is a broad term that translates from the French to mean kind or type. In entertainment,
this can translate to horror, romance, science fiction, etc. In general, these types differ for all
sorts of reasons, from the actions in their plots, to the feelings they elicit from the audience.
However, in literature, there are some more defined genres. It is important to know which genre
a piece of work falls into because the reader will already have certain expectations before he
even begins to read.

Types and Characteristics of Genre in Literature

Genre in broad terms refers to any works that share certain characteristics. If enough
characteristics are in common, then the pieces are said to be in the same genre. In literature there
are four main genres to help the reader focus their expectations for the piece, though these genres
can be broken down even further.

Poetry

The first main literary genre is poetry. All poetry shares specific characteristics. For example,
poems are written in lines and stanzas instead of sentences and paragraphs. Some poems follow
strict rules as to the number and length of lines and stanzas, whereas many poems are much more
free flowing.

Most poetry is abundant in figurative language. Using devices like a simile, metaphor,
hyperbole, onomatopoeia, alliteration, rhyme, and much more, poetry can claim an emphasis on
imagination, emotions and heartfelt ideas. Poetry is usually shorter than the other genres, but
some poems are classified as epic poetry, which is a long narrative poem chronicling heroic
deeds and serious subject matter. For example, John Milton's epic poem Paradise Lost focuses
on Satan's fall from grace and his following pursuit of revenge.

Fiction

Poetry, however, is not the only genre that can utilize figurative language. Similarly, fiction,
which is any work written in prose that is not real, can also use elaborate figurative language.
However, fiction is much more structured than poetry. It must be written in sentences and
paragraphs with all the proper punctuation and grammar, which makes it prose. Usually fiction is
broken up into chapters, as well.

Since it is based on the imagination, the subject matter in fiction works can be nearly anything.
Fiction can take place in the present day, future or the past. It can incorporate the most fantastical
ideas or follow an everyday life. Some examples of works of fiction are legends, folk tales, fairy
tales, short stories and any novels. For example, the popular Hunger Games and Divergent
trilogies are fiction which occurs in a post-apocalyptic future.

The fiction work The Hunger Games

Non-Fiction

A third broad literary genre is nonfiction. If fiction is fake, then nonfiction is the opposite -- it
comes from real life. Works of nonfiction are all based in real world experiences. When you read
the newspaper, you are reading nonfiction. Other examples include journals, diaries, biographies,
autobiographies, and essays.

Nonfiction can also use figurative language; however, it is not as abundant as in poetry and even
fiction. Figurative language in this genre generally comes through common phrases which are
well known and used on a daily basis by many.

These pieces are written in prose, like fiction, and sometimes even in chapters. For example, the
popular book Ann Frank: Diary of Young Girl is broken up into her specific diary entries. This
book is simply a published diary written by a teenage Jewish girl who hid from the Germans in
World War II. The diary was found after the girl perished, and her family published it without
changing the written words. What Ann wrote was real. It was her life, and a great example of
nonfiction.

Actual Diary of Ann Frank

What is the difference between a literary and a nonliterary text?

There is a classical sense in which literary and nonliterary may be distinguished. This distinction
is important for those studying Literature. In the context of classical literature studies, literary
and nonliterary refer to stylistic elements. This is also a distinction important to those wishing to
establish careers as literary authors.

Literary works are those that have significantly complex and detailed literary devices particularly
in metaphor and symbolism. Also important are literary elements of chronology and
psychological characterization. Metaphor and symbolism are significant and distinguish literary
from nonliterary because deeper meanings are embedded in the text through these techniques. A
text rich in metaphor and symbolism will impart both literal and figurative meanings and will
accommodate deeper and more layered themes.

The element of chronology is significant because the times present, past and future can be used
to serve greater purposes than cause and effect, before and after sequencing of events.
Chronology can either develop unity or create fragmentation; it can be cohesive or it can disrupt
and disturb. Psychological characterization, which makes the character more important than the
character's actions, develops and exposes the mental, cognitive and emotional processes that
build or curtail relationships, drive or thwart motivation, bring happiness and luck or despair and
anguish.

In contrast, nonliterary refers to texts that are thin on metaphor and symbolism: these texts want
to tell a story and to entertain. The thematic elements and issues are simple and easily
identifiable, if there are themes rather than simple morals. Chronology is true to life with a few
flashbacks for providing backstory if needed. Action and events outweigh character development
and psychological depth.

These distinguishing characteristic are applicable, with variations, to fiction and nonfiction.
Literary nonfiction may be considered represented by biographies and autobiographies that seek
to explore the metaphors and the symbols suggested by real life experience in order to
 understand universal characteristics of human life. Chronology may be used to explore a wider
range of associated events and relationships, while psychological understanding drives the
progress and depth of the narrative revealing inner motives, confusion, restlessness etc in order
to examine the human condition and the driving forces behind success and failure, happiness and
sorrow.

The Lord of the Rings

Some stories can affect people emotionally, but once in a while a story can call a person to escape to it. The

Lord of the Rings is an enchanting story with masterful use of setting and sensational characters that engages

readers and can move them to experience life in a deeper way. As a child, J.R.R. Tolkien lived in Africa until

his father passed away. Then his mother moved them to England. Mrs. Tolkien made certain that her children

learned literature and languages. It was probably due somewhat to his mother’s influence that Tolkien

became who he was: an author and a linguist (Corday).

Tolkien had a special interest in "obscure" languages, even to the point of creating his own. He called it High-

Elven and often in his stories he used the language. Tolkien also invented an entire world called Middle Earth

where The Lord of the Rings takes place. Because he had invented this world it had to bow to his will and

rules. He was an accomplished linguist and this greatly helped his ability to vividly portray and create in the

reader’s mind Middle Earth, a place that no person has ever been (Corday).

Charters defines setting as "the place and time of the story." Also according to Charters, "When the writer

locates the narrative in a physical setting, the reader is moved along step by step toward acceptance of the

fiction" (Charters 1008).

Tolkien’s setting gives the reader a sense of goodness or malevolence. Unlike an environment that is

removed from the work, Tolkien’s setting sometimes is the story. Possibly the setting could even tell the story

if there were no characters. For example, in the house of Elrond of the elves, Frodo's experience is defined by

the setting. "He [Frodo] found his friends sitting in a porch on the side of the house looking east. Shadows

had fallen in the valley below, but there was still a light on the faces of the mountains far above. The air was

warm. The sound of running and falling water was loud, and the evening was filled with a faint scent of trees

and flowers, as if summer still lingered in Elrond’s gardens (220).

This describes a peaceful place that is not quite reality. The rest of the world is moving into winter, but

Elrond’s gardens haven’t realized that yet. Next, is another example of how Tolkien uses setting to create a

picture that could not be obtained by just explaining the scenery. Tolkien is able to bring a place to life with

words. We can see this when the Fellowship winds up going through the Mines of Moria.

The Company spent that night in the great cavernous hall, huddled close together in a corner

to escape the draught: there seemed to be a steady inflow of chill air through the eastern

archway. All about them as they lay hung the darkness, hollow and immense, and they were

oppressed by the loneliness and vastness of the dolven halls and endlessly branching stairs
 and passages. The wildest imaginings that dark rumor had ever suggested to the hobbits fell

altogether short of the actual dread and wonder of Moria (307).

This description is one of dread and fear, but like the experience at Elrond’s house, it is filled with word

pictures. It tells the reader that this place is terrible and that some evil is afoot.

Of course Tolkien received criticism as all writers do. For instance, Burton Raffel takes the opinion that "his

[Tolkien's] descriptions often fail to create ‘sense impressions’ needed to make language ‘more deeply felt and

more deeply worked." Raffel also claimed that "Tolkien’s nature descriptions are frequently somewhat

overwrought..." (20).

Still, I maintain that Tolkien’s extraordinary ability to paint a picture with words takes the reader into a place

they’ve never been and still manages to keep them following the story. The characters that Tolkien artfully

created, accent the setting and bring them further to life. This is an attribute to a great setting. Charters

explains that "setting must also have a dramatic use. It must be shown, or at least felt, to affect character or

plot" (Charters 1008). All through The Lord of the Rings the setting is imposing feelings onto the characters

(e.g. fear, dread, peacefulness).

Charters describes characters in literature as "the people who make something happen or produce an effect,"

and explains that the "characters must come alive" (Charters 1006-1007). Tolkien received criticism on his

characters by Raffel as well. Raffel feels that there is "too little meaningful truth about human reality and our

own existences in Tolkien’s characters." Kathryn Crabbe seems to disagree with this statement. In her efforts

to describe the characters as heroic she also shows us they have some very modern human characteristics.

Crabbe says that Frodo is "neither stronger than most men, nor braver than most...He is selfless in his love for

his companions." If there is not enough "meaningful truth about human reality" in Tolkien’s writing, then

maybe it is because he portrays a picture of ordinary people at their best. The heroes in The Lord of the Rings

do not succumb to evil. They do not inadvertently get caught doing good. They are selfless. Isn’t this exactly

humanity at its best?

Middle Earth is a place where the spirituality of a person is closely connected to the reality of the person.

Tolkien’s characters are not mere people. Each has a position and job in the universe as well, something to

make them heroic and larger than life-right down to Sam whose purpose it would seem is to guard and protect

his "master". This is evident throughout the books but especially at the end of The Fellowship of the Ring

when Sam, now understanding just what might lie ahead, insists on going with Frodo (397). The characters

show that not just anyone is able to complete this quest. It requires a specific person for each job. For

example, there is a reason that Tom Bombadil cannot take the Ring even though he is impervious to its power

(259). Fate has chosen Frodo. In so doing Tolkien creates a story that even the average person can relate to.

It propels people to see the possibilities of greatness amongst the commoners and restores our hope in the
great ones. Almost anyone can find at least one hero among the fellowship.

One of the things that makes The Lord of the Rings so compelling is the way the setting and characters work

together to produce the ultimate affect. The characters make the setting even more potent. As the external

setting influences each character the reader sees how the struggle becomes internal. We are led to believe

that the characters are closely connected to the earth. The diversity of the setting and characters simply

propels us to see the uniqueness of each place. Where a group of caves might give us one thought, hearing

Gimli discuss the majesty of his cave experience helps us to appreciate the diversity of the group and to see it

through a cave dwellers eyes. "These are not holes," said Gimli. "This is the great realm and city of the

Dwarrowdelf. And of old it was not darksome, but full of light and splendour, as is still remembered in our

songs"(307).

The Lord of the Rings is essentially a story about the struggle of good verses evil. The setting helps the story

personify the difficulties the characters face. The characters go through the trials and share their feelings of

fear and triumph with us. The two work together to make an excellent portrayal of external and internal

struggles that yield an otherwise impossible effect.