By James Phelan
Publication by means of Phelan, James
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Additional info for Narrative as rhetoric: technique, audiences, ethics, ideology
Example text
But voice. especially a narrating voice or a "silent" author's voice, can exist apart from character-as-actor. Voice has a mimetic dimension, but it need not have a mimetic function. That is, voice exists as a trait of a speaker, but it need not be the basis for some fuU portrait of that speaker. In many narratives, especially ones with heterodiegetic narrators, the voice of the narrator wiU be his or her only trait, though modulations within a voice will reveal more traits. In homodiegetic narratives, the narrator's voice is more likely to be one trait among many.
O\lthough it becomes lyric by the end ("I see wild birds, and impulses wilder than the wildest birds strike from my heart"), initially the speech is not important for what it reveals about Louis's perspective; instead, it focuses our attention on a particular stage of the boys' lives as an analogue to the stage in the sun's progress toward the horizon we have read about before section 2: "Now we have received," said Louis, "for this is the last day of the tem1-Neville's and Bernard's and my last day-whatever our masters have had to give us.
Whereas many narratives require consistency of character for their effectiveness, consistency of voict is not necessary for its ~ective use. (2) Voice is typically a part of narrative manner, part of the how of narrative rather than the what. That is. • Like any other element, voice could itself become the focus of a specific narrative (arguably this situation obtains in Tristram Shandy), but more commonly it will be a means for achieving particular effects. Thus, we cannot txpect an analysis of voice to yitld a comprthnuivt reading cif most narratiws, though we should expect that such an analysis will enrich significantly an understanding of the way any narrative achieves its effects.