We've tended to use narrative structure, rather than the term “plot” in our discussions of story shape. But I was interested in the possible connection with plot of land, particuary in relation to the fact that there is much thought recently about the relation between story and sense of place.
It turns out that the etymology of plot or indeed the parallel term plat (which I had never heard used) is unclear in that the OED is unable to say where the oldest use – plot of land, comes from. Many usages, certainly those relating to schemes to make things happen, are inked to the Middle French complot, which also functions as a verb (comploter – to plot (plan, scheme)) – and this is probably the closest to the narrative meaning.
Plot of land seems to exist in Old English, and be in common usage from mid 15th century onwards, whereas plot of a novel does not emerge until the 17th century, and is more likely to be linked to the usage of scheme or plan, common from the 16th century. There is a potential link in the usage of plot to mean a map or outline (mid 16th) between the physical plan and the narrative structure – but it doesn't tie clearly back to the idea of a plot of land.
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Plot has direct relevance to the term discourse as we shall see. In a sense, with "plot" we have a general terrain, with "discourse" we have the line of traverse across that terrain.
ReplyDeleteI agree with David, so let me confuse the issue for the sake of discussion. For me, the original post calls to mind the relationship between two value systems: one based on land boundaries (and ownership) and the other based on blood bonds (and belonging). One could drag up the essential conflicts of interests in Antigone and in Cain and Esau. Does plot depend more on spatial values or on social interests? Could one say that Braveheart and Rob Roy tend to pit the Scottish sense of plot based on blood against the more Anglo-Saxon one based on land? I mean if you ask of either story, “What is it all about?” it would seem the two answers might be valid depending on point of view: say a more Scottish plot to roam free, avoid taxation, and stay out of the labor camps versus a more Romanesque one favoring manifest destiny, military presence and corporate profit—the plot of the landlords to subdue labor. Maybe I am confusing plot of a narrative and discourse between the players.
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