thought can also be observed (Foulke and Smyth 7-10)).
In romance narratives, as in the myths they often draw on, animals give warnings, dragons threaten, and princes inevitably rescue the beleaguered at the darkest moment (Frye 45).
The romance narrative most often dominates the earliest period in the literary history of a culture. It reflects more than the human need to give respectability to dreams. Romantic ideals are originally manifested in the hero’s quest with is rewards of the beautiful heroine, great wealth, a position of power, and the attainment of a kind of wisdom, often derived from some arcane source. Like the narrative structure, the characters of romance are obedient to a higher order. In spite of the ambiguity of the Green Knight and other shape-shifters in the complex versions of romance, most characters are ranked with good or evil, the divine or the demoniac, and openly wear the moral insignia of white or black. There’s a kind of conflict between divine and demoniac forces. It’s better to remain neutral (Frye 48-49).
“Verbal irony says one thing and means another, so narrative irony often alludes to one structure and creates another. It is this allusive design that leads critics to speak of irony in terms of the other three major narrative patterns: a work may seen ironic because it is structurally close to “but no quite comedy, or because it ” isolates” one and only one element from tragedy, or because it “adopts feature from romance and then transmutes it into its opposite”. All these insights strike us as valid, if only because to define irony by what it is not is to affirm the negative principle that is the hallmark of the