Revisiting Northrop Frye's Four Myths Theory with Large Language Models
Authors: Edirlei Soares de Lima, Marco A. Casanova, Antonio L. Furtado
Organizations: Academy for AI, Games and Media, Breda University of Applied Sciences, Breda, The Netherlands · Department of Informatics, PUC-Rio, Rio de Janeiro, Brazil
Northrop Frye's theory of four fundamental narrative genres (comedy, romance, tragedy, satire) has profoundly influenced literary criticism, yet computational approaches to his framework have focused primarily on narrative patterns rather than character functions. In this paper, we present a new character function framework that complements pattern-based analysis by examining how archetypal roles manifest differently across Frye's genres. Drawing on Jungian archetype theory, we derive four universal character functions (protagonist, mentor, antagonist, companion) by mapping them to Jung's psychic structure components. These functions are then specialized into sixteen genre-specific roles based on prototypical works. To validate this framework, we conducted a multi-model study using six state-of-the-art Large Language Models (LLMs) to evaluate character-role correspondences across 40 narrative works. The validation employed both positive samples (160 valid correspondences) and negative samples (30 invalid correspondences) to evaluate whether models both recognize valid correspondences and reject invalid ones. LLMs achieved substantial performance (mean balanced accuracy of 82.5%) with strong inter-model agreement (Fleiss' κ = 0.600), demonstrating that the proposed correspondences capture systematic structural patterns. Performance varied by genre (ranging from 72.7% to 89.9%) and role (52.5% to 99.2%), with qualitative analysis revealing that variations reflect genuine narrative properties, including functional distribution in romance and deliberate archetypal subversion in satire. This character-based approach demonstrates the potential of LLM-supported methods for computational narratology and provides a foundation for future development of narrative generation methods and interactive storytelling applications.
Figures & tables
Season
Age
Genre
Instance
Spring
adolescence
comedy
Le Bourgeois Gentilhomme
Summer
youth
romance
Ramayana
Autumn
maturity
tragedy
Macbeth
Winter
senescence
satire
1984
Table 1: Frye’s four fundamental genres with their seasonal and life-stage correspondences, and examples of prototypical works.
Figure 1: Diagram of Jung’s psychic structure showing the four components (ego, persona, shadow, anima) and their integration through the individuation process [ 12 ] .
Part of psyche
Character function
Ego
protagonist
Persona ( → Wise Old Man)
mentor
Shadow
antagonist
Anima
companion
Table 2: Character functions derived from Jungian psychic structure.
Genre
Protagonist
Mentor
Antagonist
Companion
Comedy
lad in love
troubleshooter
pompous blocker
witty damsel in love
Romance
hero
donor
villain
faithful victim
Tragedy
ill-fated adventurer
soothsayer
order restorer
ill-fated partner
Satire
nonconformist
inquisitor
dystopian idol
rebellion partner
Table 3: Specialized character roles for each of Frye’s four fundamental genres.
Model
Description
Version
Claude Opus 4.5
Flagship model for complex tasks by Anthropic.
claude-opus-4-5-20251101
DeepSeek R1 (671B)
671-billion-parameter reasoning model by DeepSeek.
deepseek-r1:671b
Gemini 2.5 Pro
Advanced multimodal model by Google.
gemini-2.5-pro
GPT OSS (120B)
120-billion-parameter open model by OpenAI.
gpt-oss:120b
Llama 4 (128B-A17B)
128-billion-parameter mixture model by Meta.
llama4:128x17b
Qwen 3 (235B)
235-billion-parameter model by Alibaba.
qwen3:235b
Table 4: Overview of the LLMs used in the validation study.
Model
Recall (%)
Specificity (%)
Balanced Accuracy (%)
TP
FN
TN
FP
Claude Opus 4.5
80.6
90.0
85.3
129
31
27
3
Qwen 3 (235B)
76.9
93.3
85.1
123
37
28
2
Gemini 2.5 Pro
76.2
90.0
83.1
122
38
27
3
GPT OSS (120B)
71.9
90.0
80.9
115
45
27
3
Llama 4 (128B-A17B)
78.1
83.3
80.7
125
35
25
5
DeepSeek R1 (671B)
73.1
86.7
79.9
117
43
26
4
Table 5: Overall performance metrics for all evaluated models. Each model evaluated 160 positive correspondences and 30 negative correspondences (190 total per model, 1,140 across all models).
Metric
Value
Mean pairwise agreement
82.0% ± 3.4%
Pairwise agreement range
76.3% - 87.4%
Unanimous agreement (6/6)
113/190 (59.5%)
Majority agreement (4+/6)
159/190 (83.7%)
Split decisions (3/3)
11/190 (5.8%)
Fleiss’ Kappa ( κ )
0.600
Table 6: Summary of inter-model agreement metrics.
Genre
Recall (%)
Specificity (%)
Balanced Accuracy (%)
Positive
Negative
Total
Tragedy
82.1
97.6
89.9
240
42
282
Comedy
79.6
90.5
85.0
240
42
282
Romance
67.9
89.6
78.8
240
48
288
Satire
75.0
79.2
77.1
240
48
288
Table 7: Performance metrics by genre, aggregated across all six models. Each genre includes 240 positive judgments (10 works × 4 roles × 6 models) and 42-48 negative judgments depending on error distribution.
Role
Genre
Recall (%)
Specificity (%)
Balanced Accuracy (%)
Positive
Negative
Protagonist function
Nonconformist
Satire
98.3
100.0
99.2
60
12
Ill-fated adventurer
Tragedy
93.3
100.0
96.7
60
6
Lad in love
Comedy
85.0
100.0
92.5
60
12
Hero
Romance
78.3
100.0
89.2
60
6
Mentor function
Table 8: Performance metrics by role, aggregated across all six models. Each role includes 60 positive judgments (10 genre-specific works × 6 models). Negative judgments vary by role (6-18) based on error distribution in the negative sample construction.
Appendix figures & tables3 assets
Supplementary material from the paper’s appendix.
Appendix
Genre
Title
Role 1
Role 2
Role 3
Role 4
Comedy
lad in love
troubleshooter
pompous blocker
witty damsel in love
Le Bourgeois Gentilhomme
Cleonte
Covielle
Jourdain
Lucile
Much Ado About Nothing
Claudio
Don Pedro
Leonato
Beatrice
The Importance of Being Earnest
Jack Worthing
Algernon Moncrieff
Lady Bracknell
Gwendolen Fairfax
She Stoops to Conquer
Young Marlow
Tony Lumpkin
Mr. Hardcastle
Kate Hardcastle
The Rivals
Captain Jack Absolute
Fag
Sir Anthony Absolute
Lydia Languish
Appendix
Table 9: Complete character-role assignments for the positive sample dataset.
Genre
Title
Role 1
Role 2
Role 3
Role 4
Comedy
lad in love
troubleshooter
pompous blocker
witty damsel in love
The Importance of Being Earnest
Jack Worthing
Algernon Moncrieff
Lady Bracknell
Miss Prism
Le Bourgeois Gentilhomme
Covielle
Cleonte
Jourdain
Lucile
The School for Scandal
Charles Surface
Sir Oliver Surface
Sir Benjamin Backbite
Maria
The Taming of the Shrew
Tranio
Lucentio
Baptista Minola
Bianca
The Rivals
Captain Jack Absolute
Fag
Sir Anthony Absolute
Lucy
Appendix
Table 10: Complete character-role assignments for the negative sample dataset. Incorrect character-role assignments are highlighted in red and bold.
Model 1
Model 2
Agreements
Agreement (%)
Claude Opus 4.5
Llama 4 (128B-A17B)
166
87.4
Claude Opus 4.5
Gemini 2.5 Pro
165
86.8
Claude Opus 4.5
Qwen 3 (235B)
165
86.8
Llama 4 (128B-A17B)
Qwen 3 (235B)
161
84.7
Gemini 2.5 Pro
Qwen 3 (235B)
158
83.2
Gemini 2.5 Pro
Llama 4 (128B-A17B)
157
82.6
Appendix
Table 11: Detailed pairwise agreement rates between all model pairs.
Large Language Models (LLMs) have demonstrated remarkable capabilities in narrative generation. However, they often produce structurally homogenized stories, frequently following repetitive arrangements and combinations of plot events along with stereotypical resolutions. In this paper, we propose a novel theoretical framework for analysis by incorporating Proppian narratology and narrative functions. This framework is used to analyze the composition of narrative texts generated by LLMs to uncover their underlying narrative logic. Taking Chinese web literature as our research focus, we extend Propp's narrative theory, defining 34 narrative functions suited to modern web narrative structures. We further construct a human-annotated corpus to support the analysis of narrative structures within LLM-generated text. Experiments reveal that the primary reasons for the singular narrative logic and severe homogenization in generated texts are that current LLMs are unable to correctly comprehend the meanings of narrative functions and instead adhere to rigid narrative generation paradigms.
As LLM-generated text is increasingly used, especially in fictional domains, we explore how much LLM-generated stories differ from human-written stories. In this work, we focus on characters. We borrow definitions from narratology to analyze eight intricate dimensions of character, such as stylization and wholeness. These dimensions consider more than just basic characteristics. They assess how characters are portrayed within their stories. After automatically inferring categories of characters within both LLM and human-written stories, we compare and contrast these two sets of stories. We consider the following overarching questions: (1) Do LLMs and human-written stories have similar characters? and (2) Do LLMs generate stories with a variety of characters? Our analysis includes research questions that focus on stories generated by popular LLMs and recently published human-written stories. We describe a number of interesting similarities, differences and key takeaways.
Anneliese Brei, Abhisheik Sharma, Nicholas Sanaie +2
UNC Chapel Hill · Georgia Institute of Technology · University of Michigan
Assessing the literary quality of narratives requires evaluating interpretive dimensions (cultural representation, emotional depth, and philosophical engagement) that existing NLG metrics cannot measure. We introduce SAGE, a six-layer evaluation framework that separates rule-based assessment of observable textual properties from LLM-based evaluation of interpretive qualities drawn from cultural theory, affect theory, and existentialist philosophy. Each interpretive layer is assessed through multi-round iterative LLM evaluation with independent cross-validation, achieving measurement-grade reliability (98.8% convergence, >94% inter-rater agreement) stable across evaluator models. Validated on 600 evaluations across 100 short stories, our central finding is a systematic capability boundary: emotional-psychological representation approaches human levels, while cultural critique and philosophical depth exhibit approximately double the gap. LLM-generated narratives score below even commercial genre fiction on all three layers. We interpret this as a boundary between pattern-reproducible literary capacities learnable from training corpora and stance-requiring ones demanding cultural positioning and philosophical engagement that pattern matching alone cannot provide.
Tianyu Wang, Nianjun Zhou
Mercy University Math & Computer Science Department Dobbs Ferry, NY, USA · IBM T.J. Watson Research Center Yorktown Heights, NY, USA