I am a human who did reasonably well academically and reads a lot (although I didn't study English in formal education past about age 16). If I'm honest, even with the breakdown, I'm not really seeing strong parallels between all pairs of sections X and X'. The first attempt that said "this is mostly just a linear progression from problem to resolution" is probably also what you'd get from my first attempt.
I would however be more than capable of emitting text saying "1 mirrors 1', and 2 parallels 2', and 3 corresponds to 3'" if I had the idea that this was what you wanted because you'd rejected my first answer and provided the sections. So long as you didn't push too hard on asking me to explain exactly how and why those particular parallels.
Try this:
While ChatGPT has more or less captured the parallelism in in the St. George story, I thought I’d say a bit more. Here’s slightly different version of I came up with in my original analysis:
1. Impurity: Dragon poisons the town.
2. Appease the dragon, first with sheep, then with children.
3. The king pleads to the villagers to excuse his daughter from beiing sacrified. The villagers refuse.
4. Daughter sent to the lake, dressed as bride.
5. Saint George arrives. Princess tells him to go.
Ω. Saint George wounds the dragon, under Christian protection.
5’. St. George captures the dragon with the Princess’s girdle.
4’. The princess and St. George lead the dragon back to Silene.
3’. King & people convert to Christianity so that St. George will slay the dragon.
2’. George kills the dragon.
1’. Purity: Church and spring with curative waters.
The impure state at the beginning (1) is mirrored by the pure state at the end (1’). The town was sick now it is a source of curative waters. The townspeople attempt to appease the dragon, to no avail (2). But then, just before the end, St. George slays the dragon (2’), eliminating the need for appeasement.
The king and the villagers are at odds over his daughter in 3. But they are united in 3’ and convert to Christianity. In 4 the daughter is sent to the lake, and thus presented to the dragon, as a bride. In 4 the daughter and St. George lead the dragon back to the village. In 4 the dragon had been driving the action, but in 4’ it is passively led.
In 5 St. George just happens upon the lake where the princess tries to send him away. In 5’ St. George calls on the princess (“give me your girdle”) to help him lead the dragon away. Finally, in the center (Ω) St. George takes command of the dragon by wounding him and thus bringing it under his power.
Cross-posted from New Savanna.
Tentatively, very tentatively, yes. ChatGPT has done it, once. I believe a more powerful engine could do more.
Quickly and briefly, ring-composition or ring-form is a text with a form like this: A, B, C...X...C’, B’, A’. It’s a text with a central section and the other sections are arrayed symmetrically around. ChatGPT will say a bit more about that later.
Why am I interested in ring-composition? In principle I’m interested in any and all literary form. In practice it is easier to look for a specific kind of formal structure. While some interesting and important texts exhibit ring-composition (e.g. “Kubla Khan,” Heart of Darkness, Hamlet) I have no idea how prevalent it is, nor does anyone else. I suspect it’s a minority form, perhaps even a small minority.
I have come to think of literary study as something like biology: it all starts with description. Biologists have spent centuries seeking out and describing life forms. Some have been described in great detail, others only enough to place them in the taxonomy, and we have all degrees of description in between. Well, literature is like biology in that we have a myriad of objects for study, each with unique features. But literary scholars haven’t undertaken the work of describing our texts. Oh, there’s some work, but little as deep and rich as what biologists have done in their domain – I give links below to material that justifies that claim.
I am particularly interested in form. There’s an inerradicably subjective element to meaning, but form, I believe, can be objectively described. I’ve done enough descriptive work over the years to know that it is painstaking, difficult, and tedious, but not rocket science. It would be useful if we could present our texts to an LLM and have it undertake the difficult tedium of descibing texts. Maybe even have two or three different LLMs describe particular texts independently. Then, just as biologists check one another’s descriptive work, so human critics can vet the work of LLMs. Descriptions of important texts would be examined in great detail, while muc of the work that LLMs have done on minor texts, those texts that no literary critic ever works on at all (like all those 19th century novels lurking in basements in library shelves) may never be checked at all. But it’s there if anyone’s interested.
But could LLMs do the work? We don’t know. In the rest of this post, however, I present some small indication that, yes, they might well be able to do it.
Note: The material in the previous paragraphs deserves more discussion than I’ve given it here. But this is not the place for that. I’ve got many posts on these matters under these labels: description, form, text, and ring-form. If you want one post to read, try this one: The problematics of text and form and the transmutation zone between symbol and thought [once more into the methodological breach]. My Academia.edu page has a section for Ring Composition and one for Description.
The first time I had access to ChatGPT I asked it about ring-composition. It’s response was underwhelming.
My prompts are in bold while ChatGPT’s replies are in plain face.
What is ring-composition?
Ring-composition is a type of literary structure in which the end of a text is linked back to the beginning in some meaningful way. It is a closed circle of ideas, images, or words that is created by the repetition of certain elements. Ring-composition is sometimes used to emphasize a theme or to create symmetry in a text.
What are some texts that use ring-composition?
1. The Bible 2. Beowulf 3. Paradise Lost by John Milton 4. The Odyssey by Homer 5. The Iliad by Homer 6. The Canterbury Tales by Geoffrey Chaucer 7. The Divine Comedy by Dante Alighieri 8. Moby-Dick by Herman Melville 9. The Aeneid by Virgil
Do any movies use ring-composition?
Yes, some movies have been known to use ring-composition. The movie Memento (2000) is a notable example of a movie that uses this structure. The film begins and ends with the same scene, and certain elements are repeated throughout the movie to create a circular narrative.
Does Shakespeare's Hamlet use ring-composition?
Yes, some scholars have argued that Shakespeare's Hamlet does make use of ring-composition. The play begins and ends with the same scene, and certain elements such as characters, motifs, and words are repeated throughout the play.
The definition is OK, but not at all specific. It would not be a very useful guide. The list of texts seems OK, though Moby Dick seems iffy to me. Critics working on 19th century novels don’t go looking for ring-composition. The answers to the last two questions are too vague to be at all promising. On the whole I had no reason to believe that ChatGPT had a useful idea about ring-composition.
Then, without any specific expectation – though I wasn’t expecting much, I decided to give ChatGPT another try. Not the new and improved ChatCPT Plus, which is hooked up to GPT-4, but just the plain old Chatster. It surprised me.
It’s running the August 3 version.
Explain what ring-composition is in literary structure.
Ring composition, also known as chiastic structure or circular composition, is a literary and rhetorical technique where a story or text is structured in a circular or cyclical manner, often beginning and ending with similar or related elements. It involves organizing the narrative or content in such a way that there is a central theme, idea, or event around which the narrative revolves, with related elements or themes mirroring each other in a symmetrical or balanced fashion.
Here are some key characteristics and examples of ring composition:
1. Circular Structure: Ring composition typically presents the narrative in a circular or closed form. This means that the story starts and ends with similar or related elements, creating a sense of closure and unity.
2. Central Theme: At the center of the composition, there is a central theme, event, or idea that serves as the focal point of the narrative. This central element is surrounded by other elements that are related to or mirror it in some way.
3. Mirroring and Parallelism: Elements within the narrative often mirror or parallel each other. This can involve characters, events, motifs, or themes that are presented in a way that draws attention to their similarities or contrasts.
4. Symmetry: Ring compositions often strive for balance and symmetry, with corresponding elements placed in a deliberate and structured manner. This symmetry can enhance the overall aesthetic and thematic impact of the work.
5. Emphasis on the Center: The central element of the composition is usually the most significant and emphasized part of the story. It often represents a turning point or a key revelation in the narrative.
6. Multiple Layers: Ring compositions may have multiple layers of mirroring and parallelism. This can create a complex and intricate structure, with each layer contributing to the overall meaning of the text.
7. Common in Oral Traditions: Ring composition has been a common feature in oral traditions and epic poetry. For example, the structure of Homer's "Iliad" and "Odyssey" exhibits elements of ring composition, with events and themes mirroring each other throughout the narrative.
8. Rhetorical Device: Beyond storytelling, ring composition is also used as a rhetorical device in speeches and essays to reinforce key points and create a sense of closure and unity in the text.
Ring composition serves various purposes in literature, such as reinforcing themes, creating narrative symmetry, and engaging the reader's or listener's attention by highlighting patterns and connections within the text. It can be a powerful tool for conveying complex ideas and structuring narratives in a memorable and meaningful way.
That’s far more detailed that it gave me back in December. The question is, can it analyze and actual text and identify a ring-form? I decided to have it work on a specific example, the story of St. George and the Dragon, which I had already analyzed. I’m using a text from Wikipedia.
Does the following story exhibit ring-composition? Why or why not?
Silene in Libya was plagued by a venom-spewing dragon dwelling in a nearby pond, poisoning the countryside. To prevent it from affecting the city itself, the people offered it two sheep daily, then a man and a sheep, and finally their children and youths, chosen by lottery. One time the lot fell on the king's daughter. The king offered all his gold and silver to have his daughter spared, but the people refused. The daughter was sent out to the lake, dressed as a bride, to be fed to the dragon.
Saint George by chance arrived at the spot. The princess tried to send him away, but he vowed to remain. The dragon emerged from the pond while they were conversing. Saint George made the Sign of the Cross and charged it on horseback, seriously wounding it with his lance. He then called to the princess to throw him her girdle (zona), and he put it around the dragon's neck. Wherever she walked, the dragon followed the girl like a "meek beast" on a leash.
The princess and Saint George led the dragon back to the city of Silene, where it terrified the populace. Saint George offered to kill the dragon if they consented to become Christians and be baptized. Fifteen thousand men including the king of Silene converted to Christianity. George then killed the dragon, beheading it with his sword, and the body was carted out of the city on four ox-carts. The king built a church to the Blessed Virgin Mary and Saint George on the site where the dragon died and a spring flowed from its altar with water that cured all disease.
The story you provided does not exhibit a strict ring composition. Ring composition typically involves a more circular or cyclical structure where the narrative begins and ends with related elements, creating a sense of closure and symmetry. In this story, there is a linear progression of events from the initial problem of the dragon plaguing the city of Silene to the resolution of the problem with the conversion of the city's populace and the killing of the dragon by Saint George. The story does not return to its initial state or mirror its beginning in a way that is characteristic of ring composition.
While the story does contain elements of repetition and parallelism (e.g., the escalating sacrifices to the dragon and the eventual conversion of the people to Christianity), these elements do not form a closed circular structure. Instead, they contribute to the overall narrative arc by showing the progression of events and character development.
Ring composition is a specific structural technique, and while elements of repetition and parallelism can be found in many narratives, it does not necessarily mean that the story as a whole exhibits ring composition. This story appears to follow a more linear narrative structure with a clear beginning, middle, and end.
Since I know that it does exhibit ring-composition I immediately checked the thumbs-down button. As soon as I had done that ChatGPT offered another answer, which bewildered me as I hadn’t seen that behavior before. Here’s that second answer:
The story you provided does exhibit elements of ring composition to some extent. Here's an analysis of how the story demonstrates ring composition:
1. Circular Structure: The story begins with the description of a dragon plaguing the city of Silene in Libya and ends with the construction of a church and a spring flowing from the altar with miraculous water. The narrative comes full circle from the problem posed by the dragon to its resolution through the intervention of Saint George and the subsequent conversion of the city.
2. Central Theme: The central theme of the story revolves around the dragon, its threat to the city, and the salvation brought about by Saint George's actions. The dragon is at the heart of the narrative.
3. Mirroring and Parallelism: The story exhibits mirroring and parallelism in various ways, such as the gradual escalation of sacrifices to the dragon (from sheep to humans) and the corresponding escalation of Saint George's intervention (from his arrival to the dragon's defeat). The story also parallels the princess's role in luring the dragon out and Saint George's role in subduing it.
4. Symmetry: The story is structured with a sense of symmetry. It begins with the problem of the dragon, moves through the sacrifices, and ends with the dragon's defeat and the city's conversion to Christianity. The structure is balanced, with each element playing a part in resolving the central conflict.
5. Emphasis on the Center: The central point of the story is the confrontation between Saint George and the dragon. This is the climax of the narrative and represents a turning point in the events.
6. Multiple Layers: While the story primarily revolves around the dragon and Saint George, it also incorporates elements of religious conversion and the construction of a church. These additional layers contribute to the overall meaning of the text.
Overall, the story exhibits some characteristics of ring composition, particularly in its circular structure, central theme, mirroring of events, and symmetrical organization. However, it's worth noting that ring composition can vary in complexity, and not all elements need to be present for a text to be considered an example of ring composition. In this case, the story's structure does suggest a deliberate organization to convey its message and meaning.
That's better. I decided to push it a bit further:
Here’s the same story, but I’ve broken it into shorter pieces and numbered them to indicate the symmetry. Thus the first piece is numbered 1 and corresponds to the last piece, which is numbered 1’ (one prime). And so with 2 (second section) and 2’ (next to last section). I’ve used omega (Ω) to indicate the middle section.
1. Silene in Libya was plagued by a venom-spewing dragon dwelling in a nearby pond, poisoning the countryside.
2. To prevent it from affecting the city itself, the people offered it two sheep daily, then a man and a sheep, and finally their children and youths, chosen by lottery.
3. One time the lot fell on the king's daughter. The king offered all his gold and silver to have his daughter spared, but the people refused.
4. The daughter was sent out to the lake, dressed as a bride, to be fed to the dragon.
5. Saint George by chance arrived at the spot. The princess tried to send him away, but he vowed to remain.
Ω. The dragon emerged from the pond while they were conversing. Saint George made the Sign of the Cross and charged it on horseback, seriously wounding it with his lance.
5’. He then called to the princess to throw him her girdle (zona), and he put it around the dragon's neck. Wherever she walked, the dragon followed the girl like a "meek beast" on a leash.
4’. The princess and Saint George led the dragon back to the city of Silene, where it terrified the populace.
3’. Saint George offered to kill the dragon if they consented to become Christians and be baptized. Fifteen thousand men including the king of Silene converted to Christianity.
2’. George then killed the dragon, beheading it with his sword, and the body was carted out of the city on four ox-carts.
1’. The king built a church to the Blessed Virgin Mary and Saint George on the site where the dragon died and a spring flowed from its altar with water that cured all disease.
The structure you've presented indeed demonstrates a clear example of ring composition. The story is organized in a symmetrical fashion, with the central section (Ω) serving as the pivotal point around which the narrative revolves. Here's how the symmetry works:
1. The story begins with the problem of the dragon plaguing Silene in Libya (1) and ends with the resolution of this problem through the construction of a church and a miraculous spring (1’).
2. The escalating sacrifices to the dragon, starting with two sheep and culminating in the sacrifice of a man and a sheep (2), are mirrored by the escalating actions of Saint George, starting with his arrival at the spot and culminating in the dragon's defeat (2’).
3. The lot falling on the king's daughter (3) corresponds to Saint George's offer to kill the dragon in exchange for the city's conversion to Christianity (3’).
4. The princess being sent to be fed to the dragon (4) parallels the princess and Saint George leading the dragon back to the city (4’).
5. Saint George's arrival and his vow to remain (5) are mirrored by his act of calling the princess to give him her girdle and using it to control the dragon (5’).
The central section (Ω) contains the climax of the story, where Saint George confronts the dragon, seriously wounds it, and ultimately tames it. This is the turning point of the narrative.
Overall, this structure reinforces the central theme of the story while creating a sense of balance and closure. It allows the reader to appreciate the parallels and contrasts within the narrative, making it an effective example of ring composition.
Chatster’s explanation of the symmetry is correct. Given that I had presented it with the breakdown – I have no idea whether or not it could have done that itself – producing that explanation would not have been difficult, certainly not for a human. But I find it hard to deny that what it did required reasoning, not deep reasoning, but reasoning nonetheless.
Surely a more powerful engine, one fine-tuned in the analysis of literary form, could do better. What about film? Films exhibit ring-composition as well. Some I’ve analyzed: Pulp-Fiction, the 1954 Gojira, the 1933 King Kong, Miyazaki’s The Wind Rises, and episodes of Disney’s Fantasia.
I would like, however, to end on a cautionary note. The descriptive and analytic task I gave ChatGPT was a relatively easy one. I gave it a particular text, a short and uncomplicated one, and asked it simply to identify whether or not it exhibited a particular formal property. Given that it had already given a reasonable account of that property, it had some of idea of what to look for.
Still, it got things wrong. Until I told it that it was wrong. Then it gave me a more or less correct answer. Whey didn’t it give me that answer first?
But there is a deeper problem. When I am working on texts, I do not know whether or not a given text is a ring composition. There are no identifying traits that I have been able to see. You begin the analysis and see where it goes. Maybe ring-composition will emerge and maybe it won’t. What I want from an LLM that’s working on formal analysis is that it be able to work on any text and find the formal features that are there. That’s an open-ended task. While ChatGPT’s performance with St. George and the Dragon is significant, there is a long way from that to the kind of assistance I am looking for in a LLM.