The great bulk of the writings of the world is in prose. It is the medium of hard sense, of practical knowledge, of argument and of dialogue. Yet often it appeals to the imagination, charms with its beauty and inspires to heroic deeds.
It seems to be generally accepted that four methods of expression are to be found in prose: narration, description, exposition and argumentation. Narration deals with things in action, description with the appearance of things, exposition explains the relations ideas bear to one another, and argumentation not only does this, but tries at the same time to convince. Theoretically, this distinction is very easy to make, for action is the life of narration, appearance the theme of description, explanation and exposition are synonymous, and no one argues but with the hope of convincing. What can man do more than to tell what has been done, tell how a thing looks, show how one thing follows from another or is related to it, and endeavor to bring another person to the same state of mind?
The accuracy and completeness of the classification is most evident until one attempts to apply it practically to existing literature, and then he finds that no literary masterpiece belongs entirely to any one of the classes, but that these mingle and unite, one or the other usually predominating. This ruling element, the one which is proportionately greater, will govern the classification of a selection. In any story, narration and description meet at every turn, and not infrequently exposition is found freely intermingled; while novels have been written with the avowed sole purpose of changing the beliefs of a people. Uncle Tom’s Cabin is a story of intense dramatic activity, and abounds in vivid descriptions of places and persons. It is generally dealing with incidents relating to the characters of the story, yet it really makes an exposition of the evils of slavery, and certainly was no small factor in stirring the American people into vigorous action against the slave dealers. Yet no one would classify the book otherwise than among the narratives. Although into Burke’s Conciliation other elements enter, yet everyone will admit it to be argumentative in the highest degree. So while it is well to classify the selections read, yet fine theoretical distinctions should be abandoned. It is not so necessary to classify and name as it is to compare and distinguish.
Narratives have been classified variously, but not more satisfactorily than have other forms of literature. A narrative is true or fictitious, and there appears the first principle of classification. Truthful narratives are personal when they are the simple account of the deeds of some person or thing, biographical when they show a clear and evident purpose to detail the events in the life of the person, historical when they deal with larger and more complicated questions and when the actors are as numerous as the actions are various. Fictitious narratives comprise short stories and novels. One prominent writer notes the following types: (1) The realistic novel that is true to actual life and often enters into the discussion of important questions of record. (2) The novel of life and manners which is largely descriptive and in which the exigencies of the plot give way to the study of customs. (3) The novel of incident in which the plot is everything and description and character study are avoided or subordinated to action. (4) The romance which usually deals with things as they were in days long past and with actions that little concern the present. Marvelous and even supernatural incidents crowd its pages. (5) The idealistic novel which paints the world as it should be and makes its actors more nearly perfect than the world accepts as typical. (6) The novel with a purpose which seeks to convert its readers by the vividness of its portraits rather than by argument, though by means of many detailed conversations its theories are often freely discussed and fully substantiated. Many great reforms have been brought about by novels of this character.
Description deals with the individual and not with the class. A fine description is a work of art in its highest sense and is closely allied to painting, than which it is even more delicate and refined; for while the painter lays his color on the canvas and our eyes see the entire picture in all its minutest detail, the writer can only suggest the idea and stimulate the imagination to create for itself the picture in the mind of the artist. Yet such is the marvelous power of words when handled by a master that one can see by them almost as vividly as by the sense of sight. The reader is transported to far-away lands, strange men and animals surround him, the skies glare above him, silver lakes sparkle in the sun, brooks murmur against their fern-covered sides, and birds move the soul with their sweet music. Evening draws on, and the landscape glimmering fades away; the stars come out one by one and by and by the moon steals slowly up the sky. Peace and quiet reign over the darkened world. Neither sculpture nor painting can depict these changes; it rests with the magic of words. But the reader must do his share. He must give time to his reading, must yield himself gently to its influence, must not force himself into the writer’s mood but must receive and accept. Then descriptive literature will yield its keenest pleasures.
Exposition deals with the class, and is abstract. So the demands made upon the reader are infinitely greater. It assumes that the concrete examples and specific instances necessary to interpret the abstract are already in mind and that the barest allusion to them will be sufficient. So exposition naturally follows narrative and description.
Successful argumentation depends upon proof and persuasion. It is addressed to the reason or to the emotions. Burke and Webster endeavor to establish their respective positions by irrefutable arguments. When Beecher addressed the people on the slavery question he appealed strongly to their emotions and sought to make them act because of their intense feeling. One characteristic of all literary masterpieces is unity, but in none is this of more importance than in the expository and argumentative types.
As we study it, literary material may be grouped as fiction, essays, speeches (orations), and dialogue (drama). No classification can be rigid or exact, for one may blend into the other. At the same time in any one may be found the four forms, description, narration, exposition and argument. For our purposes, however, the following definitions will answer: Fiction is a term covering those narratives which are either wholly or in part events that never happened and acts of individuals that never lived. Fiction is the work of the imagination, based upon the facts of life and observation. It appears as stories, in narrative poems or epics, and in novels.
Essays deal with all subjects and in such a variety of ways that any attempt to classify them meets with difficulty. Originally an essay was an attempt, a mere outline or plan intended to be filled out at greater length or to be used in different form. It is in this sense that Bacon uses the word and his essays are condensed to the highest degree. In later years essays have come to be of the most highly finished type of literature and some of the most beautiful passages, the noblest thoughts, the most inspiring utterances, are to be found in them. Almost every conceivable topic is treated: there are biographical essays which do little more than narrate the facts of a man’s life; there are descriptive essays whose only function is to make their readers see something as the author saw it; there are argumentative and didactic essays and essays on science, art, religion, and literary criticism. Some writers have given their whole time and attention to this form of composition, and the modern magazine has become their distributing agency. Much of the deepest, of the brightest, of the best of recent work has come to its readers through this medium.
The essay shows more of the author’s self than any other form of literature. It is apt to be sincere, to be the deliberate expression of the writer’s own views formulated with the desire to convince another. In the purely literary type this last characteristic is not so strikingly prominent, though it appears rather under the surface. In no form of literature is the artistic element more manifest. The prose writer makes of his essay what the poet does of his lyric—the most finished and beautiful expression of his thought. The thought is the writer’s chief concern, but upon his manner of expressing it depend the force and value of his work. Accordingly he gives to his style his most careful attention and fits and polishes it with all his skill. The result is that in the essay are to be found the best examples of prose style. While the essay frequently appeals to our humorous sense and sometimes arouses our sympathy by its pathetic touches, yet no such opportunity is offered for emotional effect as that given by the novel or the drama.