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Epic and The Novel Form

The document summarizes Mikhail Bakhtin's essay "Epic and Novel" which compares the structures of the epic and novel forms. Bakhtin argues that while the novel form emerged later, certain works like Greek novels and Roman/Menippean satires were precursors. He notes key differences between the genres, such as the novel's proximity to reality versus the epic's distance, and the novel's inclusion of multiple voices and languages. Ultimately, Bakhtin traces the roots of the novel form and how it evolved from its predecessors while maintaining distinctions from the epic form.

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Ritesh Pandey
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199 views4 pages

Epic and The Novel Form

The document summarizes Mikhail Bakhtin's essay "Epic and Novel" which compares the structures of the epic and novel forms. Bakhtin argues that while the novel form emerged later, certain works like Greek novels and Roman/Menippean satires were precursors. He notes key differences between the genres, such as the novel's proximity to reality versus the epic's distance, and the novel's inclusion of multiple voices and languages. Ultimately, Bakhtin traces the roots of the novel form and how it evolved from its predecessors while maintaining distinctions from the epic form.

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Ritesh Pandey
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Aradhana Mathews

Prof. Binoy Aggarwal

Victorian Literature

22.03.2015

Epic and the Novel form

The novel form of writing rose in the twentieth century. It was very different from its

predecessors for multiple reasons. One of the main reasons is that it was written in prose, not poetry. The

structure of the novel was also different from that of its predecessors. Mikhail Bakhtin compares the

structure of the epic and the novel forms and also tries to study whether there is a connection between the

two in his essay “Epic and Novel”. I will highlight some of the main topics that Bakhtin discusses and

analyse his final verdict regarding the evolution of the novel.

Firstly, Bakhtin says that the novel form possesses a unique nature. It is a young genre, which

seems to imply that theorizing about it is difficult. In the age of the poem, the novel had a place outside

‘high’ existence. In earlier times, poetry was considered as the only tasteful form of literature. The novel

form was relegated to a ‘lower status’ by virtue of its ‘lack of refinement’ when compared to the language

and structure of poetry. In other words, the novel form had no harmony with other literary genres.

However, Bakhtin then goes on the talk about how the tables eventually turned and the novel

form reigned supreme in the second half of the eighteenth century. Other genres were in fact novelized

through parodies. Language renewed itself and became more free and flexible. The novel form became

linked to the modern world. It possessed the form and language of development. More than the novel

form itself, prose language was associate with development, since all scientific advancements were

written about in prose form.


Bakhtin points out that the novel form is differentiated from other forms through its skillful use of

imagery, its multi-langauged consciousness and the way in which it keeps in touch with reality. In fact, a

lot of people began to prefer the novel form to poetry because of its proximity with reality. Bakhtin uses

the Greek word “polyglossia” to describe the novel form. Polyglossia means both the existence, use and

knowledge of many languages and the expression of multiple views simultaneously. Moreover, people no

longer wanted to read escapist literature which was written to cater to the needs of the aristocrats. The

working class especially showed appreciation for works that they could relate to. One example of such a

work is Charles Dickens’ Hard Times. It presents a very real picture of Victorian England and the way in

which the working class had to live.

Now Bakhtin moves on to talk about the epic. He says that the epic past is called the ‘absolute

past’. He says that this is justified, since the epic form is completely cut off from future genres. It lacks

any gradual change that might link it to present genres. It is also hierarchical. The language of the epic is

the language of tradition.

However, he goes on to say that even though “the epic relies entirely on tradition”, Roman and

Menippean satires were the embryonic stages of the novel form. A clearer predecessor was Greek novels.

They had a powerful influence on European novels. Bakhtin reminds us that what distinguished novels

was their subject, which was close to reality. The epic, on the other hand, maintained a hierarchical

distance from reality. Also, the conversational style first came up in the novel form. The author

participates in the novel with “almost no direct language of his own”.

We see that the genre of the novel emerged and gained popularity mainly through its appeal to the

public masses. Bakhtin has pointed out that the novel form is quite separate from its predecessors, but has

a connection with them nevertheless. This connection is slight, but it helps trace the roots of the novel

form and explains its evolution.


Works Cited

Bakhtin, Mikhail M. “Epic and Novel”. The Dialogic Imagination: Four Essays. Web. As seen on 24th

March, 2015. <http://emc.english.ucsb.edu/emc-courses/Novel-Mediation-S2011/novel-

mediation/Articles/Bakhtin.Dialogic.Imagination.McKeon.pdf>

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