 Ricoeur maintains that narrative, too, concerns both sense and reference, but on a different scale. By narrative, he has in mind “the diverse forms and modes of the game of storytelling” (Ricoeur, “On Interpretation,” 2) and in his three-volume treatise Time and Narrative, he focuses on the role of narrative not only in literary fiction but also in the recounting of history. He argues that while there are a diversity of forms and modes of narrative, all narratives nevertheless perform a common function, namely, they mark, organize, and clarify temporal experience (Ricoeur, “On Interpretation,” 2). In this, he claims that in narrative the work of such schematization of temporal experience is achieved by the composition of the plot, or, emplotment. Through narrative emplotment, we make apparent the meaning of persons, relations, and events that comprise human affairs—say, in fiction, those that can happen, and in history, those that have happened. Crucial for Ricoeur is that narrative emplotment is referential; as he makes the point in regard to fiction, “the plots we invent help us to shape our confused, formless, and in the last resort mute temporal experience” (Ricoeur, “On Interpretation,” 6).