When reading a novel, we accept that it
was written by the author named on the cover and title page. While willingly
suspending disbelief, we imagine simply that the fictitious events are
occurring, not that the author or anyone else is narrating them to us unless
one character narrates in the first person or a narrator directly
addresses the reader with comments like "You must understand that..." etc.
When a story is told from a single point
of view, whether first or third person, then the narrative is limited to what
the view point character could have known whereas the impersonal narrator who is
not a character yet addresses the reader shares the author's omniscience about
the characters and their environment. However, this narrator is not the author.
The author when writing the novel creates the characters whereas, when
suspending disbelief, we accept that the narrator is informing us about
characters who would have existed even if we had not been informed about them.
The omniscient narrator is part of the fictional process although not one of the
fictitious characters. He is intermediate between author and characters. By
writing in a different style, the author would create a different narrator. A
prose style in which the reader is not directly addressed has an invisible and
virtually non-existent narrator.
If attention were focused on the
omniscient narrator, then he would be seen to have a god-like relationship to
the world inhabited by the fictitious characters. However, attention is usually
focused on the content of the narrative, not on the process of narration. When a
novelist cameos as the first person narrator of one section of a novel, then by
implication this character narrates the entire text and cannot consistently
share the author's omniscience even though s/he is a character based on the
author. The analogy with the idea of divine incarnation is striking.
Some texts, e.g., Doyle's/Watson's
Holmesian memoirs, are published both in our world and in the fictitious world
that they describe. That explains why there is a first person narrator. He is
informing not us of fictitious events but his contemporaries of, to them, real
events. Allan Quartermain read She, ending in She's death, then sent
Rider Haggard the prequel, She and Allan.
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