More narrative perspective theory! Yay, I hear you cry! But this stuff’s important, chaps, so buckle up. We’re going back to that whole homodiegetic stuff from the end of last year, and taking it apart in a bit more detail, courtesy of Mieke Bal and Gerard Genette.
As discussed last week, even 1st POV stories can have multiple types of narrator involved – implied authors, reflectors, disguised narrators, etc. What you as a writer always need to be aware of is the bias used by any of these narrators. The reader’s opinion of the story is naturally affected by the lens through which the story is narrated. What the narrator sees, the reader sees, and passes judgement in the same way. Genette calls this the focalizer:
‘…the focalizer influences how the reader perceives the character seen. But our game does not stop there: we cannot determine “who sees” without taking into account the medium through which we perceive that sight: the narrating. So we must know “who speaks.”‘ – Mieke Bal, Essays in Narratology
The narrator is obviously the person who speaks – what Bal calls the “author’s delegate” – and they are the focal lens by which the reader therefore sees other characters and places. Bal doesn’t seem to draw a distinction between the bias of the actual author and the bias of the narrator, as Booth does, but it’s an important one so don’t forget it.
Bal splits it down further – the actors (characters) produce the story through their actions; the focalizer places the bias or lens on that story by which it is portrayed; the narrator recounts it in words and thus creates the narrative for the implied audience. See the diagram below for clarity:
This is where we come back to homodiegetic and heterodiegetic narrators. As far as I can work out, they’re all pretty much different terms for the exact same thing:
- INDIRECT: observer narration, frame narration, absent narration, heterodiegtic narration
- DIRECT: narrator agent, present narration, homodiegetic narration
If I’m wrong about this, and there’s important differences, do please enlighten me. Because this is a subject that critical theorists seem to love throwing multiple technical terms at, which makes it occasionally tricky to decipher.
One important point to note is that the homodiegetic narrator can exist in a heterodiegetic (frame) story. The frame narrator, as he’s not present and active in the events themselves, is always heterodiegetic, but as soon as the character who is or was present takes over as a disguised narrator, relating the events, that focalizer becomes homodiegetic.
EXAMPLE (because I’m confusing myself): In the story of One Thousand & One Nights, aka Arabian Nights, the primary level narrator in 3rd POV is the ruler Shahryār. His unfortunate and brilliant wife, Scheherazade, is the focalizer and heterodiegetic narrator (she was neither present at the events of the stories she relays, nor is she the primary level narrator). Within one of her stories, for example that of Aladdin, Aladdin is the homodiegetic narrator because he is present and active in the events of his own story.
On top of all that, you also have extradiegetic narrators. This is a particular type of frame narrative, where the narrator is outside the fictional universe of a particular text. ‘The Making of “Lord of the Rings”‘ documentaries, for example, are a type of extradiegetic narrative. In the example above, Shahryār counts as an extradiegetic narrator – the primary level of the overall story – as does the grandfather in The Princess Bride.
The reason for understanding the different levels of narrators is to determine how much authority they have for recounting these events, how much reliance we as readers can place on them, and also how close their relationship to the reader is.
A heterodiegetic self-conscious narrator addressing an explicit ‘reader’
Genette turns the words of the story into an object, which he calls ‘the narrated’. These are the words that the narrator speaks, and are therefore ‘subordinate’ to the narrator or ‘dependent on the subject’ to exist in the form they take. Bal calls this a hyponarrative or hypodiegetic. That is to say, the dependent relationship between the story and its narrator. (I think – honestly, I started getting properly confused around this point.)
So when, in a frame story, the heterodiegetic narrator hands over to the homodiegetic narrator (i.e. the one who was actually there), the level of the hyponarrative changes. It moves from being a story seen through the frame narrator’s eyes into reported speech, or direct discourse – a story being told to that top-level narrator – and therefore the story becomes dependent on the new storyteller, or focalizer. And remember, in that scenario the story itself – the narrated – isn’t happening to the storyteller at that moment in time, so the events themselves remain a level below the homodiegetic narrator. Any characters within the reported story, however, are basically experiencing it in real time and are therefore also a level below, subordinate to the way the focalizer is telling the story and unable to respond to the bias being placed on their actions.
“Scheherazade tells that Jaafer tells that the tailor tells that the barber tells that his brother (and he has six brothers) tells that …. ” When such a change in level occurs, the reader becomes aware, if not of the presence, at least of the activity (and thus of the existence) of the narrator within the narrative… The narrated is everything located at the level immediately below the level at which the act of enunciating is located. ~ Bal
Yeah, see what I mean about lit crit essays? Headache-central.
Like The Shining, but different. This relates to point of view, and has two definitions:
- External/perceptible focalization: what you can see or are looking at. Physical, usually tangible, things.
- Internal/imperceptible focalization: what can’t be ‘seen’ – dreams, feelings, personal perspective, opinion, etc.
A narrator character with limited privilege (restricted information) therefore has limited focalization – this is also called ‘restriction of field’.
The thing is, the reader doesn’t necessarily get all of a character’s focalization. A minutely detailed description of their surroundings, or the person they’re talking to, would disrupt the pace of the story (not to mention boring the reader). So what you as the reader actually get from the character’s focalization is their ‘centre of interest‘ (the things they have selected to mention, out of all the details available), plus their ‘gaze‘ (the things they actually noticed, rather than the things which are technically visible but the character just didn’t spot), plus their ‘presentation‘ (the way they put what they can see across, including bias). Combine the three and you get the narrated.
Focalization changes as narrator changes, and can also change from external to internal as the narrator shifts from telling us what they see to telling us what they think. When it comes to self-reflection, the focalizer themself becomes the object of focalization.
Narrator vs. Focalizer
A lot of the time they’re the same. Like, nearly all the time. But as you can have different levels of narration, and therefore different levels of focalization, so you can have levels of what is focalized.
Okay, so in a close 3POV story, you have the character-narrator – the homodiegetic narrator – and also the person doing the actual talking to the audience, who is presumably the implied author. With me so far? The homodiegetic narrator does a ton of focalizing, obviously. But they are simultaneously the object of focalization by the implied author. You as the reader are getting the story (and other characters) through the lens of the narrator-character, and the narrator-character through the lens of the narrator-author.
In simple terms, what is the narrative structure of a particular story? How many times does it change level of narrator? How often does it change focalizer? Who provides internal/imperceptible focalization, and does that change? Does it switch between hetero- and homodiegetic narrator? Who has the most privilege, in terms of information and insight?
Once we work those out – and usually it’s pretty instinctive – we can also spot if and when the story breaks its own rules. Then we can ask why it was done and what impact it created on the reader.
What the hell is the point of all this complexity, I hear you cry? Believe me, guys, I’m crying too. I had to wade through this lot, unabridged. But I think it boils down to this: by identifying who is saying what to the reader, at what level, and with what information available, we can identify the bias of those words and therefore how much reliance we can place on the report. All these technical terms let us be really, really specific about that identification.