What is narration? 

Narration refers to the action of performance as in chronicling story-telling and choric odes or hymnal recital in the form of episodic events, anecdotal antecedents, incidental reportage; that embody, portray or sketch different genres of narrative such as tragedy, comedy, romance, satire, folklore, folktales, myths and legends, lyrical ballads and metrical romances. Narration is prolifically effective method of commentary delivery of emotions and conflicts through dialogue and action associated with film and movie adaptation, television sci-fi documentaries, sitcoms, drama serials and theatrical performance or stagecraft. 

First person narrative is autobiographical in accord with author's temperament, sentiment, personae as in noteworthy Dickensian Victorian classic fiction David Copperfield, therein heroic bildungsroman protagonist, autodiegetic narrator, David recounts the treasure archival of nostalgic reminiscences, memories and memorabilia. While the second -person narrative is interpreted by unspecific characters' (imaginary literary voice) or specific characters' point of view to the audience. In Emily Bronte's classic masterpiece novel, Wuthering Heights, Elis Bell acquaints readers with different point of views as narrative techniques fostered by first person diarist Lockwood and third person narrative tone of Nelly. The epical and alliterative narrative poem, Beowulf, is told from a third person-omniscient narrative point of view; therein the narrator encompasses the interior feelings and thoughts of the cast and crew including the mythical dragon. 

Frame Narrative or narrative within a narrative pioneered by English Polish novelist, Joseph Conrad, is incredibly fascinating narrative technique to expose the power dynamics, immorality, colonial exploitation, imperialism and racism. A fallible or unreliable narrative emanates the perceptions, interpretations and opinions of the narrator which does not correspond or coincide with that of the author, who is or purports to be the controlling force in the narration. In The Adventures of Huckleberry Finn, the American novelist, Mark Twain employs dramatic irony through adopting unreliable narrative technique, wherewith, Huck's misreading of situations juxtaposes with the cynicism and hypocrisy of adults. 



In Wikipedia and the dictionary, illustration of a novel refers to the fictitious prose narrative of book length and typically representing character and action with some degree of realism as in the novels of Jane Austen and Charles Dickens. 
The authorship and publication of the literary canon today emerge with the printed paperback  or hardback ;and as best-sellers novels possess the most adaptable of all literary forms.  Novels cater as the harbinger of ‘a piece of news’ and literally heralds the genre as an extended work of fiction in prose and romance. Origins of novels trace hallmark of 16th and 17th century in the chronicles  of the history of English Literature.  Henry James pointed out, “What is character but the determination of incident?” and “What is incident but the illustration of character?”.  In aphoristic maxims novels encompasses characters, incidents, actions and perhaps a plot distinctively and holistically. 

“The subject-matter of the novel eludes classification, for it is the hold-all and Gladstone bag of Literature”. The quotable quote excerpted from the treasured  archives of Penguin Classics A Dictionary of literary terms and Literary Theory; therein J.A. Cuddon illustrates a survey of novel as a genre through voluminous encyclopedia.  A literary genius like him showcase a mammoth of sub-divisions or categories in this ‘novelty’ realm “….. epistolary novel, the sentimental novel, the novel of sensation, the condition of England novel, the campus novel, the Gothic novel and the historical novel; we have the propaganda, regional, thesis ( or sociological), psychological, proletarian, documentary and time novel; we have the novel of the soil and the saga (or chronicle) novel, the picaresque novel, the key novel (see LIVRE A CLEF) and the anti-novel; no.t to mention the detective novel, the thriller, the crime novel, the police procedural, the spy novel, the novel of adventure and the novelette.” [pg no. 620] 

Short stories were the pioneers and forerunners of modern novel because of their method of narration and development of characters. Epical and romantic novels intended to portray entertainment literature in the form of pastime preoccupations and leisurely indulgences. Eventually verse narratives supplanted prose narratives and amalgamation of diversification soon dawns. If romances work wonders then the feat with novels delight. In highlighting the traces of evolutionary strains of novels, we should engross envisioning of John Bunyan’s Pilgrim’s Progress (1678) and Daniel Defoe’s Robinson Crusoe (1719).  

Pilgrim's Progress is quintessentially an allegorical novel satirizing Christian Salvation through manifolds of microcosmic biblical allusions echoing theological fables and parables. Christian epitomizes Everyman and struggles lionheartedly through the trails and tribulations whilst he undertakes a toured force entourage through the City Destruction towards the Slough of Despond, the Interpreter’s House, The House Beautiful, the Valley of Humiliation, The Valley of the Shadow of Death, Vanity Fair, Doubting Castle, Delectable Mountain and eventually the Celestial City. In the second part of the narrative Christian’s family journeys the Celestial with the accompaniment of noble, virtuous, tenderhearted souls and graceful personified characters such as Mercy and Great Heart; Mercy and Great Heart shields the wrecks of deplorable monsters such as Legion Apollyon.  

On the note of Robinson Crusoe, Daniel Defoe curates the adventuresome stories of Desert Island Fiction.
 
Jane Austen and Sir Walter Scott are prolific fiction novelists of their heyday having annus mirabilis accomplishments and achievements. Jane Austen fictionalized the English society in rapturous vigor and splendorous witticism. A plethora of drama adaptations, movies and films resonate theatrical production as interpreters and critics of novels alike cherish passionately the timeless classic ‘Pride and Prejudice’ and the universality of the dramatic irony in “It is a truth universally acknowledged that single man in possession of a good fortune must be in want of a wife.” Furthermore Elizabeth Bennet’s blind, partial, prejudice and indiscriminatory attitude can be heartwrenching when Mr. Fitwilliam Darcy proclaims, “In vain have I struggle. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” Similarly the lyrical and metrical romance ballads of historical fiction authored by Sir Walter Scott fascinates audience as in the case of Ivanhoe. The Era of Victorian England undoubtedly reigned to glorify anonymity governess feminist novelists as the Bronte Sisters: Charlotte, Emily and Anne and their classic masterpiece “Jane Eyre”, “Wuthering Heights” and “Agnes Grey”. Afterwards regional and picturesque landscape novels springs to life with the Tess of the D’Urbervilles by Thomas Hardy. 

Tolstoy, whose epic novels War and Peace (1865-72) and Anna Karenina (1875- 6) remained unsurpassed in Russian literature. This demarks the migrational drift of European phenomenon concerned with associated novels. Picaresque and bildungsroman genre such as the Adventures of Huckleberry Finn and the Adventures of Tom Sawyer have paramount significance in the revolutionary American antebellum popularized by the father of American narrative novelist Mark Twain. In the twentieth century remarkable crises notably World War and the Great Depression have centered the thematic discussion amongst existentialist admirers of fiction. Journal entries, dairies, travelogues, memoirs, biographies and autobiographies have been printed in voluminous paperback editions including Samuel Beckett’s stalwart masterpiece “Waiting For Godot” and Anne Frank’s “The Diary of a Young Girl”. 

In farewell noteworthy accolade  of alchemy and magical fantasy of the world of Hogwarts wizardry coalesced in communion with the realists family of maggots, J.K. Rowling is the surreal incarnation of spatiotemporal and time travel science fiction; if children and teenagers panel’s  verdict of nomination and votebank for the Nobel literature laureateship assessed, it  will spellbindingly cast in the Harry Potter collection.