Points of view in Fiction: Limited Omniscient and Dramatic

1. Points of view in Fiction: Limited Omniscient and Dramatic

2. “Interpreter of Maladies” Limited Omniscient: the short story is told in the third person from the viewpoint of one character (usually the central figure). Authors tell us what this character sees and hears and what he or she thinks and feels, They know everything about their point of view character--often more than the character knows about him or herself. They limit themselves to this character’s perceptions and thus show no direct knowledge about what other characters are thinking or feeling or doing, except for what the p.o.v. character knows or can infer about them.

3. Jhumpa Lahiri Born 1967 Biographical Information

4. “Interpreter of Maladies” From even the expository section of the story, a reader can depict an international theme: the disparity between the Americanized Das family and the older, more traditional (Indian) Mr. Kapasi. One of the major events/symbols driving this theme is their arrival at the Sun Temple of Konarak.

5. Temple at Konarak

6. Temple at Konarak

7. One of the Twenty four wheels

9. Surya

10. Hanuman

11. Discussion question After completing the story, what are your feelings about Mrs. Das and Mr. Kapasi? Empathy? Sympathy? Pity? Resentment? Other?

12. Discussion question Why is the limited omniscient (central intelligence) pov most effective for this story?

13. Discussion question What symbolism do you see in the last paragraph’s description of the piece of film magazine floating up to where the monkeys are sitting in the trees?

14. Cultural Values Protagonist Antagonist Mr. Kapasi Mrs. das / Das family Traditional Indian morality superficial American culture idealistic romance raw sexuality/ animality attracted to artful, meaningful constructs of language (interpretation) Culturally unevolved state of sensibilities, crass, obtuse living in dishonest marriage for eight years honest in feelings Portrayed as a man of substance and imagination Adults: Portrayed as overgrown children The story’s limited omniscient point of view is crucial to the ending

15. Theme for “Interpreter of Maladies” Some men that experience midlife tribulations--whose domestic life is physically comfortable but spiritually unfulfilling and lacking in romance--may construct a fantasy life around another woman to bolster their attachment to idealistic romance and youthful dreams, not expecting a sudden truth to shatter their world and effect the continuation of their melancholy solitude.

16. John Steinbeck 1902-1968 Biography

17. “The Chrysanthemums” Objective (Dramatic):the narrator disappears into a kind of roving sound camera; this camera can go anywhere but can only record what is seen and heard. Readers are placed in the position of spectators at a movie or play. They see what the characters do and hear what they say but must infer what they think or feel and what they are like. The purest example of this p.o.v. would be a story written entirely in dialogue.

18. “The Chrysanthemums”

19. Discussion questions What are your feelings about Steinbeck’ choice of the dramatic (cinematic) point of view? Would another point of view, say first person or limited omniscient, have helped you to better understand Elisa’s frustrations, or are we better off not having more detailed explanations of what is going on in her mind?

20. Discussion question Early on, Steinbeck incorporates description of the setting--particularly the Salinas Valley and the house behind Elisa. How does this help the reader in understanding the protagonist’s plight?

21. Discussion question How does Elisa’s encounter with the tinker illustrate 1930s society’s attempts to keep women in their place?

22. Protagonist Antagonist A society based on masculine ideals Elisa strong and intense barriers suppressed by economic necessities has feminine talents has compassion, a sense of the romantic, trust, concern for others men are self-serving and superficial, lack romance Dispassionate guilt-ridden The dramatic point of view serves to enhance our sense of what it is that Elisa longs for, but will never achieve.

23. Theme for “The Chrysanthemums” For some strong, energetic women who want to break free of traditional barriers, to realize their spiritual and erotic cravings, to release their nurturing qualities and feminine talents in a wider world, the forces of a male dominated society may too powerfully stunt their capacities for growth and expression, thus perpetuating the frustration of their present condition.