Narrative Voice and Perspective

1. Narrative Voice and Perspective The novel is the novelist’s view of reality.

2. 2 levels/dimensions in narrative • 1st – consists of basic events or actions and the order which they are supposed to have happened in chronological order – known as the story. Arrangement of events in story is the PLOT. • 2nd – comprises of the techniques and devices used to tell the ‘story’. This level is known as narration. • The 3 levels => distinction between the tale and the manner in which it is told. The same tale can be told in many ways.

3. Point-of-View • Literally => visual aspect; the spatial position and angle of vision from which the scene is presented => useful for passages describing settings or landscapes. • Metaphorically => the ideological framework and pre-suppositions of the text. Eg Charlotte’s point-of –view is based on her narrow middle-class values, rules and norms of behaviour.

4. 3rdly, => analyse between types of narration that determine the relationship of the narrator to his reader. Simplest distinction is that of 1st person and 3rd person. • 1st person, usually told from the perspective of a main character (can be minor too) – allows the reader direct access into the mind or consciousness of the teller/narrator. – established close – rather intimate relationship btw the 2. But is limited and very subject (generally).

5. 3rd person – usually told from the perspective of an outsider observer – remains outside the events of the story and tends to be impersonal, all-seeing. • However, there are possibilities within the 3rd person narrative

6. 3rd person => not always impartial • can be partial too => deliberately taking the side of 1 or 2 characters • as can be seen in diction, or imagery or symbols. Eg ‘the rows of bottled water and wine’ in Chpt 1 • narrator’s attempt to use symbolic description or imagery to depict the British tourists in a negative light. The descriptions are not neutral but betray a bias that the reader is led to accept through repetition and reinforcement with other images.

7. The 3rd person narrator may not always speak from a position of omniscience (all-knowing) too. • can adopt the position of the limited viewpoint of one character who does not know the motives of the others or does not know everything.

8. Pg 14‘…traveler who has gone to Italy ….may return remembering nothing but the blue sky’ – tone is light, humorous and suggestive. • ‘May’ – he makes observations that are comic generalizations – he’s not certain they are true. Lack of certainty – lessens the sense of judgement and allows for a lighter touch. • ‘So it was as well that Ms Bartlett should tap and come in’ vs ‘Thankfully, Ms Bartlett’ • more certain

9. 3rd person narrator does not always narrate from an external perspective – he/she may provide access to the (internal) consciousness of the characters by telling us how they feel and think. • Eg pg 18 ‘…she remembered that a young girl ought not to loiter in public places’ – indirect thought. • Lucy’s thoughts tend to focus on ‘right’ or ‘wrong’ behaviour => social conditioning.

10. In short: The novelist can describe his characters/plot : • As an impartial or partial observer • As a presumably omniscient (all knowing) force • Viewpoint of one character who does not know the motives of the others

11. LONGER EXAMPLES

12. 1. Partial Observer Miss Alan did not follow, but gathered that she was being mocked in an agreeable way. Her sister was a little disappointed in Mr Beebe, having expected better things from a clergyman whose head was bald and who wore a pair of russet whiskers. Indeed, who would have supposed that tolerance, sympathy and a sense of humour would inhabit that militant form? ~ Pg 32, Chapt III

13. Profoundly ironic lines. In response to Miss Alan’s complaint of the Italians’ national trait of intrusiveness, Mr Beebe defends the Italians in a “tolerant”, “sympathetic” and “humourous” manner. His mimicry of Signora Bertolini – Cockney accent and all – shows the ignorant side of the British – mocking Miss Alan’s condemnation.

14. Mr Beebe’s behaviour: • Betrays his intolerance and unsympathetic joke at Miss Alan’s expense. • The narrative voice’s final wry comment suggests that Mr Beebe’s “militant” appearances does reflect his political and selfish side, despite how he appears to the pensioners.

15. [Taking the point further—the text] • Mr Beebe, though one of the few “who remained friendly” to the Emersons, • Feels threatened that “their cause be championed by a young girl; (and) would rather it should fail.” (Pg 35, Chapt III) • In allowing us Mr Beebe’s thoughts, the shifts in narrative perception provides the reader with both the observable and the hidden, urging us to reconsider our impression of Mr Beebe and form a slightly more weighted judgment.

16. 1b. Impartial Observer She was no dazzling executante; her runs were not at all like strings of pearls, and she struck no more right notes than was suitable for one of her age and situation. ~ Pg 28, Chapt III • Factual descriptions conveyed through the direct, uncomplicated use of syntax. • Providing an accurate, unbiased assessment of Lucy’s playing. • Use of negatives ‘no’, ‘not at all’ – emphasize the objectivity

17. 2. Omniscient Observer …she was tragical only in the sense that she was great, for she loved to play on the side of Victory. Victory of what and over what—that is more than the words of daily life can tell us. But that some sonatas of Beethoveen no one can gainsay…and Lucy had decided that they should triumph. ~Pg 28, Chapt III

18. Omniscient Observer • “she was tragical only in the sense that she was great, for she loved to play on the side of Victory. Victory of what and over what—that is more than the words of daily life can tell us…” • =>Transcends time and space informs the history of the characters

19. Omniscient Observer • “…But that some sonatas of Beethoveen no one can gainsay…and Lucy had decided that they should triumph” • Knowledgeable narrator addressing the educated reader – assumes we know and understand Beethoven’ music.

20. Tone: Playfully teasing • Not caustic/sardonic • Narrator cracks ironic jokes at the expense of Lucy’s artlessness and ignorance • Her limited range of expression for her recitals

21. But does not blame Lucy for she is a product of her class and period • Keeping in mind that even at this stage, Lucy is a worthy heroine for her ‘spark of rebellion’ • In “deciding” to triumph over what is expected of her

22. 3. Viewpoint of a character Now, this was abominably impertinent, and she ought tohave been furious. But it is sometimes as difficult to lose one’s temper as it is difficult at other times to keep it. Lucy could not get cross. Mr Emerson was an old man, and surely a girl might humour him. On the other hand, his son was a young man, and she felt that a girl ought to be offended with him, or at all events be offended before him. It was at him that she gazed before replying. ~ Pg 21 Chpt 2

23. 3. Viewpoint of a character • Only Lucy’s inner thought and feelings are described in between lines of dialogue. – limited. • Repetitive use of what Lucy “surely” “ought to” “feel” draws our attention to Lucy’s struggle with conventions and etiquette. • As she vacillates between what she has been told is “abominable impertinence” • “On the other hand” her natural innate kindness reminds her to “humour” old Mr Emerson.

24. 3. Provides insights to characters • What is clear is not just Lucy’s tendency “to get muddled” but that Mr Emerson’s faith that if Lucy lets herself go, she is sure to be sensible has not been not misplaced. (Pg 25) • The narrative voice allows us insight into Lucy’s dilemma, showing us Lucy’s consciousness of her inner life as she embarks on her journey to “know thyself”.

25. Viewpoint of a character: Miss Lavish: Miss Lavish…How delightfully warm! But a wind down the side-streets that cut like a knife, didn’t it? Ponte alle Grazie—particularly interesting, mentioned by Dante. San Miniato—beautiful as well as interesting; the crucifix that kissed a murderer—Miss Honeychurch would remember the story. The men on the river were fishing. (Untrue; but then so is most information.) ~ Pg 16, Chapt II

26. Ponte alle Grazie: Bridge over the Arno

27. The River Arno

28. Narrative voice mimics the English’s obligatory references to the weather Cursory comments on how “interesting” key monuments are reveal the absence of “patient observation” (Pg 15) and Miss Lavish’s inability to look beyond the “surface of things”

29. Like the other pedestrian tourists, Miss Lavish fails to find “true Italy” • The apparently impartial observer thus provides insight to Miss Lavish’s superficiality • & foolishness through the parenthetical cryptic aphorism. i.e. subtly humorous comment “….(Untrue; but then so is most information.)…”

30. 3. Viewpoint of the Character Passage is: • Wry, ironic commentary on the English tourist abroad • Sparkling wit and satiric observation of the social mores of Englishmen • Mocks/critiques the characters

31. 3. Shifts in perspective …Miss Honeychurch, disjoined from her music-stool, was only a young lady with a quantity of dark hair and a very pretty, pale, undeveloped face. She loved going to concerts, she loved shopping with her cousin, she loved iced coffee and meringues. He did not doubt that she loved his sermon also. ~Pg 29, Chapt III

32. 3. Provides insight • The brief transition to Lucy’s voice as she gushed about the mundane pedantic trivialities “she loved” • The use of anaphora (repeated use of a sentence structure) is an • interpretation of Mr Beebe’s perspective of Lucy’s lack of guile and sophistication.

33. 3. Show, not Tell—Reader’s conclusion • But the certainty of her “love” for Mr Beebe’s sermons is the narrator’s jibe at Mr Beebe’s own bland and uninspiring sermon and utter lack of self awareness. • The juxtaposition of the two perspectives, allows the narrator to tease Lucy’s naivety and chides Mr Beebe unvoiced condescension.