As I know, Méliès' films were not at all narrative. As Tom Gunning writes in "The Cinema of Attraction" (1986), Méliès' films were part of the Cinema of Attraction (as Lumière's films). The Cinema of Attraction is dated before 1906.

Shortly, the main difference to the narrative film was that the spectator was involved. He was part of the world in which the film played. He was supposed to be attracted by what the actor/actress showed. This changed with the narrative film, where the spectator was a voyeur who looked into a world that was parted from his world.

To get an idea of the Cinema of Attraction you should have a look at some early films, like the "documentaries" of the brothers Lumière. You can see people walking on the streets of Paris or a train arriving at the station or films of Israel, Mexico and a lot of other parts of the world. Instead, Méliès' films are not documentaries. He was more into "special effects".

If you want to know more about the narrative film, you should read Gérard Genette. He introduced the expressions histoire, récit and narration, trying to explain what levels a narration can assume.