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Conflict (narrative)

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Conflict in narrative comes in many forms. "Man versus man", such as is depicted here in the battle betweenKing ArthurandMordred,is particularly common in traditional literature,fairy talesandmyths.[1]

Traditionally,conflictis a major element ofnarrativeordramatic structurethat creates challenges in a story by adding uncertainty as to whether the goal will be achieved. In works ofnarrative,conflict is the challengemain charactersneed to solve to achieve theirgoals.However, narrative is not limited to a single conflict. In narrative, the termresolutionrefers to theclosureor conclusion of the conflict, which may or may not occur by the story's end.

Basic nature[edit]

Conflict in literature refers to the different drives of the characters or forces involved. Conflict may beinternalor external—that is, it may occur within a character's mind or between a character and exterior forces, (or point(s) of view). Conflict is most visible between two or more characters, usually aprotagonistand anantagonist/enemy/villain,but can occur in many different forms. A character may as easily find themselves in conflict with a natural force, such as an animal or a weather event, like a hurricane. The literary purpose of conflict is to create tension in the story, making readers more interested by leaving them uncertain which of the characters or forces will prevail.[2]

There may be multiple points of conflict in a single story, as characters may have more than one desire or may struggle against more than one opposing force.[3]When a conflict is resolved and the reader discovers which force or character succeeds, it creates a sense of closure.[4]Conflicts may resolve at any point in a story, particularly where more than one conflict exists, but stories do not always resolve every conflict. If a story ends without resolving the main or major conflict(s), it is said to have an "open" ending.[5]Open endings, which can serve to ask the reader to consider the conflict more personally, may not satisfy them, but obvious conflict resolution may also leave readers disappointed in the story.[5][6]

Classification[edit]

The basic types of conflict in fiction have been commonly codified as "man against man", "man against nature", and "man against self."[7]Although frequently cited, these three types of conflict are not universally accepted.Ayn Rand,for instance, argued that "man against nature" is not a conflict because nature has no free will and thus can make no choices.[8]Sometimes a fourth basic conflict is described, "man against society".[9][10]Some of the other types of conflict referenced include "man against machine" (The Terminator,Brave New World), "man against fate" (Oedipus Rex), "man against the supernatural" (The Shining) and "man against God" (A Canticle for Leibowitz).[11][12]

Man against man[edit]

"Man against man" conflict involves stories where characters are against each other.[7][9]This is an external conflict. The conflict may be direct opposition, as in a gunfight or a robbery, or it may be a more subtle conflict between the desires of two or more characters, as in a romance or a family epic. This type of conflict is very common in traditional literature, fairy tales and myths.[1]One example of the "man against man" conflict is the relationship struggles between the protagonist and the antagonist stepfather inThis Boy's Life.[13]Other examples includeDorothy's struggles with theWicked Witch of the WestinThe Wonderful Wizard of OzandTom Sawyer's confrontation with Injun Joe inThe Adventures of Tom Sawyer.[1]

Man against nature[edit]

"Man against nature" conflict is an external struggle positioning the character against an animal or aforce of nature,such as a storm or tornado or snow.[7][9]The "man against nature" conflict is central toErnest Hemingway'sThe Old Man and the Sea,where the protagonist contends against amarlin.[14]It is also common in adventure stories, includingRobinson Crusoe.[1]The TV showMan vs. Wildtakes its name from this conflict, featuringBear Gryllsand his attempts to survive nature.

Man against self[edit]

With "man against self" conflict, the struggle is internal.[7][9]A character must overcome their own nature or make a choice between two or more paths—good and evil; logic and emotion. A serious example of "man against himself" is offered byHubert Selby Jr.'s 1978 novelRequiem for a Dream,which centers around stories ofaddiction.[15]In the novelFight ClubbyChuck Palahniuk,published in 1994, as well as in its 1999film adaptation,the unnamed protagonist struggles against himself in what is revealed to be a case ofdissociative identity disorder.[16]Bridget Jones's Diaryalso focuses on internal conflict, as the titular character deals with her ownneurosesand self-doubts.[15]

Man against society[edit]

Sometimes a fourth basic conflict is described, "man against society".[9]Where man stands against a man-made institution (such as slavery or bullying), "man against man" conflict may shade into "man against society".[11]In such stories, characters are forced to make moral choices or frustrated by social rules in meeting their own goals.[1]The Handmaid's Tale,The Man in the High CastleandFahrenheit 451are examples of "man against society" conflicts.[11]So isCharlotte's Web,in which the pig Wilbur fights for his survival against a society that raises pigs for food.[1]

History[edit]

As with other literary terms, these have come about gradually as descriptions of common narrative structures. Conflict was first described in ancientGreek literatureas theagon,or central contest in tragedy.[3]According toAristotle,in order to hold the interest, the hero must have asingleconflict. The agon, or act of conflict, involves the protagonist (the "first fighter" ) and the antagonist (a more recent term), corresponding to the hero and villain. The outcome of the contest cannot be known in advance, and according to later critics such asPlutarch,the hero's struggle should beennobling.

Even in modern non-dramatic literature, critics have observed that the agon is the central unit of theplot.The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch them. For example, inWilliam Faulkner'sThe Bear,nature might be the antagonist. Even though it is an abstraction, natural creatures and the scenery oppose and resist the protagonist. In the same story, the young boy's doubts about himself provide aninternal conflict,and they seem to overwhelm him.

Similarly, when godlike characters enter (e.g.Superman), correspondingly great villains have to be created, or natural weaknesses have to be invented, to allow the narrative to have drama. Alternatively, scenarios could be devised in which the character's godlike powers are constrained by some sort of code, or their respective antagonist.

See also[edit]

References[edit]

  1. ^abcdefNikolajeva, Maria (2005).Aesthetic Approaches to Children's Literature: An Introduction.Scarecrow Press. p. 100.ISBN978-0-8108-5426-0.
  2. ^Roberts, Edgar V.; Henry E. Jacobs (1986).Literature: An Introduction to Reading and Writing.Prentice-Hall. p.103.ISBN013537572X.
  3. ^abAbbott, H. Porter (2008).The Cambridge Introduction to Narrative.Cambridge University Press. p. 55.ISBN978-0-521-71515-7.
  4. ^Abbott (2008), 55–56.
  5. ^abToscan, Richard."Open Endings".Playwriting Seminars 2.0.Virginia Commonwealth University.Retrieved26 February2013.
  6. ^Emms, Stephen (February 10, 2010)."Some conclusions about endings".The Guardian.Retrieved26 February2013.
  7. ^abcdElizabeth Irvin Ross (1993).Write Now.Barnes & Noble Publishing. p. 108.ISBN978-0-7607-4178-8.
  8. ^Rand, Ayn (2000).The Art of Fiction: A Guide for Writers and Readers.Penguin. p. 27.ISBN978-0-452-28154-7.
  9. ^abcdeLamb, Nancy (2008).The Art And Craft Of Storytelling: A Comprehensive Guide To Classic Writing Techniques.F+W Media, Inc. pp. 80–81.ISBN978-1-59963-444-9.
  10. ^Stoodt, Barbara (1996).Children's Literature.Macmillan Education AU. pp. 33–.ISBN978-0-7329-4012-6.
  11. ^abcMorrell, Jessica Page (2009).Thanks, But This Isn't for Us: A (Sort Of) Compassionate Guide to Why Your Writing Is Being Rejected.Penguin. pp.99–101.ISBN978-1-58542-721-5.Retrieved18 September2012.
  12. ^Caldwell, Stacy; Catherine Littleton (2011).The Crucible: Study Guide and Student Workbook (Enhanced Ebook).BMI Educational Services. p. 24.ISBN978-1-60933-893-0.Retrieved18 September2012.
  13. ^Ballon, Rachel (2011).Breathing Life Into Your Characters.Writer's Digest Books. p. 131.ISBN978-1-59963-342-8.
  14. ^Ballon (2011), p. 135.
  15. ^abBallon (2011), p. 133.
  16. ^Pallotta, Frank (20 May 2014). "'Fight Club' Has A Bunch Of Hidden Clues That Give Away The Film's Big Twist Ending ". Business Insider.

External links[edit]

  • Literary terms Dictionary Online.[1]
  • The "Basic" Plots In Literature. Information on the most common divisions of the basic plots from the Internet Public Library organization.[2]
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