The Romance of the Three Kingdoms: Analysis of the Narrative Techniques - Essay Example

The Romance of the Three Kingdoms: Analysis of the Narrative Techniques Name: Course: The first chapter of the “Romance of the Three Kingdoms” introduces the main theme of the story, i.e. of the rise of a dynasty through courage and bravery through various sub-plots and a simple narrative technique. The detailed analysis of the chapter focuses on the various literary techniques used by the author Luo Guanzhong to describe the quest of the main protagonists for power, position and honor. The author acts as an omniscient narrator in this book and provides all the details and insights about the characters. An omniscient narrator is described as a narrator who knows about the entire story and even provides the conflict, thinking and ideologies of each character. Such a technique generally uses a third person narrative, wherein the pronouns are sparingly used, except in conversations between the characters (Eagleton 1996). In this chapter as well, Guanzhong becomes an omniscient narrator who is well aware of all the events happening in the book and even provides his own insights about the characters and the events. The chapter begins with a simple narration of the various dynasties in China. Although, being simple in its narrative technique, the first chapter lacks cohesion. It seems a little confusing to follow the story as the author does not provide any background notes. For a person familiar with the history of China, it might be easy to follow, however for a person who wants to know the history, it would be difficult to understand the context. For instance, the chapter starts with the author mentioning about three famous dynasties - Zhou, Qin and Han, but did not give any explanation about any of them. Instead, the author mentioned the dynasties in a few lines. Cohesion is described as the "relationship of meanings within a text which gives it semantic unity" (Stine, 1980, p. 13). The devise of cohesion helps in deciphering meaning within the text with the help of three elements of synonyms, repetition and pronouns. However, in the very first paragraph of this chapter, the author just talks about three great dynasties without elucidating on any of them or explaining their purpose in the text. However, the chapter takes a turn towards becoming a folklore and fantasy novel from the second paragraph onwards. The story is much more cohesive and provides step-by-step details of the problems faced by Emperor Ling. Later the novel starts with the account of three brothers - Zhang Jue, Zhang Bao and Zhang Liang. The switch between the two stories is abrupt and leaves the reader wondering the connection between them. However, it also gives the apprehension that the corruption and debauchery at Emperor Ling's court may have some part to play in the story of these three brothers. The author through this shift of storyline raises curiosity and intrigue in the minds of readers about how the corruption during Emperor Ling's rule would impact these three brothers. The story then focuses on the achievement of Zhang Jue, who in spite of being a failure at the country level examination masters the content of the book 'The Essential Art of Great Peace' given to him by an old immortal spirit. He practices the book day and night and helped in curing people from the epidemic that spread throughout the country side. Again the simple narrative captures the attention of the reader with the reader expecting greatness from Zhang Jue due to his talent. An element of surprise is inserted by the author as he talks about the political ambition of Jue. Such a technique helps in not making the plot predictable and holds the interest of the reader for a longer period of time. The chapter now focuses on the rebellion and how the governor of Youzhou issued a notice to enlist conscripts into the army to fight the rebels. At this point the author introduces the hero Bei Liu or Xuande. It is for the first time that the entire description of a character is being given, following the tradition of a novel. The author presents a very vivid image of the hero, detailing his physical structure, his facial features, his ancestry and his younger years. The technique of description is known as one of the four modes of rhetorical or modes of discourse. The other modes are narration, exposition and argumentation. These modes of rhetorical are presented in various forms and have different aims and purposes. The method of description helps in fictional writing to provide an image about a particular situation in a story. The main aim of using description method is to create a visual representation of a particular place, event or person, so that the reader is able to picture the character or the situation in a better manner (Kenney 1988). In this novel as well, the author uses the technique of description for providing the image of the protagonist of the novel. However, there is an inconsistency in the use of this method as the author only uses this technique very sparingly in the chapter. The author also uses the technique of exposition here as he describes the past events of the protagonist’s life. The aim of exposition is to give the reader some background information about the character, action, theme or plot of the story (Culler 1997). In this chapter, the author uses this technique to provide the readers with the background information about the protagonists as well as other important characters of the novel. The author also juxtaposes Chinese beliefs into the story while introducing Bei Liu by stating the significance of mulberry tree covered with leaves. The prediction by a fortune teller that the family would produce a "man of importance" gives a preview about the greatness of Bei Liu. (Besio & Tung 2007) The tree is therefore symbolic to the greatness of Xuande. Using an object, place or person to symbolize a meaning is a major element being used by authors to make the readers understand a situation or concept in an easier manner. The author may explain a belief, value, attitude or even quality of a person through the use of symbols (Culler 2002). In this case the author uses the mulberry tree with leaves as the symbol for the greatness of Xuande. The author also uses the technique of flashback to provide background information about the protagonist to the readers. The childhood accounts and the ancestry of Xuande is provided by the author by employing the technique of flashback. The method of flashback is used to take the narrative back in the past from the present storyline to recount the past events that had occurred prior to the starting of the main plot of the story. Such a method is also used to fulfill the need to provide a back story about a character. Often flashbacks are used to recount an event that might have impact on the present storyline (Bertens & Bertens 2008). In this novel, the author uses both the event-based as well as character-based flashbacks. The childhood story of Xuande is a character-based flashback, while the Zhang Jue’s ascend to power is an event-based flashback. The author again introduces the element of surprise when Xuande instead of being predictable and overjoyed seeing the notice for recruitment became sad. However, his justification about his reaction to another hero, Fei not only clarified his stance but also revealed an important characteristic of Xuande. It established that Xuande is a hero in his own right, he does not believe in taking orders or commands. He wanted to lead his own battle against the rebels and not as a part of an army. His desire for heroic valor is evident from his justifications. The author introduces many twists and turns in the first chapter itself. The story has now many subplots to follow. It started with corruption in Emperor Ling's rule, focused towards the story of Zhang Jue, the potential of Xuande and now the formation of a band of heroes to fight the rebels. A subplot is defined as one or more secondary acts that are being intertwined with the main plot or story. The presence of many subplots is a common phenomenon in a novel. In most cases subplots are used to provide comic relief in case the main story gets too serious or to give a twist to the main plot by introducing an element of intrigue and suspense through a subplot. A subplot is also used to support the main plot of the story. Often subplots might be connected with the main characters of the story for providing thematic coherence. However, at other instances, subplots might have supporting characters who provide a parallel story to the main plot (Baldick 2008). In this novel, the author uses various subplots right at the first chapter and leaves every subplot at an interesting juncture. Therefore, the interest of the reader about the novel remains intact and they are intrigued enough to read the entire novel. The author also introduces the theme of goodness and benevolence of God, which are some of the major themes in Chinese culture (Ge 2001). As the heroes prepare to fight the rebels, they were faced with the trouble of finding horses and money to finance the onslaught. However, as their deed is a good one, they are soon provided with horses and money by rich business men. The chapter reaches epic proportion when the author describes the onslaught and the battle between the rebels and the heroes. Some of the common epic techniques include the use of long narrations that focuses on the societal values, beginning the narration with an oral tradition, writing in an elevated manner, providing a clear distinction between good and evil, creating a larger than life image of the protagonist, focusing on a quest that the hero needs to undertake and intervention of the divine power (Newman 2003). In this novel, the author uses these epic techniques to elevate the stature of the protagonists and presents a larger than life image of the hero, Xuande. The hero is at a long quest for protecting his country from the rebels and like a hero in an epic meets with various characters who help him in his quest. Further, the element of divine intervention is also introduced when the protagonists were helped unexpectedly with money and resources by some rich businessmen. Further, the heroic quality of Xuande is evident when he fearlessly challenges the opponents to surrender. The author provides a clear description of the war that ensures, giving details about the heroic actions of the three heroes, especially focusing on Fei. The author provides an interesting anecdote about the poem written by people to praise the actions of Fei in the battle field. The technique of anecdote is used by the author to provide a short and interesting story or background information about a person or event (Kenney 1998). The author again describes the battle that followed in the next few days, focusing on the heroics of Xuande and his ability to strategize for winning a war. Again the element of epic could be found here as the greatness of Xuande is described. The author also inserts the poem written in praise of Xuande by the people. This is also an important element of epics (Newman 2003). Such poems help in elevating the stature of the character through the use of expressive language that celebrates the achievements of the hero in a traditional manner. Such poems are the celebrations of the heroic feats accomplished by the hero, especially in the battlefield. In the first chapter itself, the author introduces two such poems that focuses on the heroic deeds of the central characters of the novel. While Xuande was gaining popularity in the battle and the winning spree continued, the author introduced another subplot of Cao, a cunning official from the Qiao Commandery in the Kingdom of Pei. The purpose of this subplot is not explained in this chapter and it somewhat diffuses the story as well. However, the author quickly comes back to the main plot and focuses on the storyline of Xuande who is surprised to see Lu Zhi being captured. The corruption in the court of Emperor Ling is being exposed and although being disillusioned Xuande stops his comrades from fighting the Emperor's army to save Zhi. They in fact fight with the army against the rebels. However, their disillusionment reached a frustrating level when despite saving an official from defeat at the hands of the rebels they were not treated with respect. Fei became furious and went to kill the official. The concept of conflict is introduced in a very subtle but effective manner here by the author. This concept describes the internal conflict in the main characters which might result into changing the course of the novel (Kenney 1998). In this case, Xuande is not shown as too perturbed by the change of events, however Fei is shown in conflict between his loyalty towards the country and the corrupt governance of the state. Finally, his conflict is won over when he decides to kill the official. In case of Xuande, his internal conflict is very subtle. Although, he is disillusioned by the arrest of Zhi, he still has not stopped trusting the empire’s governance. However, the seeds of disillusionment have already been planted by the author in a very subtle manner. The chapter however ends abruptly without giving the account of whether Fei was successful in his attempt or not. The ending of the chapter at an interesting turn leaves the readers intrigued and to know more. This method of using suspense creates an atmosphere of uncertainty and tension among the readers who wait for finding out the outcome of the conflicts or events in the following chapters. The effect of suspense is greatest if it is used to describe an event concerning a sympathetic character in the novel. Thus, some of the familiar suspense plot involves the protagonists being in the verge of being killed or finding out about some secret plot hatched by their adversaries. The anticipation about the outcome of such events is what makes the plot interesting (Eagleton 1996). In this case, the author uses the element of suspense in an efficient manner as he ends the chapter with Fei deciding to kill the adversary. The readers would be intrigued to know more whether Fei was successful in his attempt or not and would definitely read the following chapters. Such a twist ending at the end of the chapter provides an unexpected end to the chapter and makes the reader anxious and interested in reading more. References Baldick, C. The Oxford dictionary of literary terms. Oxford University Press, 2008. Bertens, H. and Bertens, J. W. Literary theory: the basics. Routledge, 2008. Besio, K. A. and Tung, C. Three kingdoms and Chinese culture. SUNY series in Chinese philosophy and culture, SUNY Press, 2007. Culler, J. D. Literary theory: a very short introduction / Jonathan Culler. Oxford University Press, 1997. Culler, J. D. The pursuit of signs: semiotics, literature, deconstruction. Cornell University Press, 2002. Eagleton, T. Literary theory: an introduction, Volume 1996, Part 2. University of Minnesota Press, 1996. Ge, Liangyan. Out of the margins: the rise of Chinese vernacular fiction. University of Hawaii Press, 2001. Kenney, W. P. How to read and write about fiction. Arco, 1988. Newman, J. K. The Classical Epic Tradition. Univ of Wisconsin Press, 2003. Stine, P. C. Citation Information. Journal of Literary Semantics, 9 (1), pp. 13–19, 1980. Read More