Point of View Device
Since the narrator is within the story, he or she may not have knowledge of all the events. For this reason, first-person narrative is often used for detective fiction, so that the reader and narrator uncover the case together. One traditional approach in this form of fiction is for the main detective's principal assistant, the "Watson", to be the narrator: this derives from the character of Dr Watson in Sir Arthur Conan Doyle's Sherlock Holmes stories.
In the first-person-plural point of view, narrators tell the story using "we". That is, no individual speaker is identified; the narrator is a member of a group that acts as a unit. The first-person-plural point of view occurs rarely but can be used effectively, sometimes as a means to increase the concentration on the character or characters the story is about. Examples: William Faulkner in A Rose for Emily (Faulkner was an avid experimenter in using unusual points of view - see his Spotted Horses, told in third person plural); Frank B. Gilbreth and Ernestine Gilbreth Carey in Cheaper By the Dozen; Frederik Pohl in Man Plus; and more recently, Jeffrey Eugenides in his novel The Virgin Suicides and Joshua Ferris in Then We Came to the End. (Also used to good effect by Theodore Sturgeon in his short story Crate.)
First-person narrators can also be multiple, as in Ryūnosuke Akutagawa's In a Grove (the source for the movie Rashomon) and Faulkner's novel The Sound and the Fury. Each of these sources provides different accounts of the same event, from the point of view of various first-person narrators.
The first-person narrator may be the principal character or one who closely observes the principal character (see Emily Brontë's Wuthering Heights or F. Scott Fitzgerald's The Great Gatsby, each narrated by a minor character). These can be distinguished as "first person major" or "first person minor" points of view.
Read more about this topic: First-person Narrative
Famous quotes containing the words point of view, point of, point, view and/or device:
“From the point of view of the pharmaceutical industry, the AIDS problem has already been solved. After all, we already have a drug which can be sold at the incredible price of $8,000 an annual dose, and which has the added virtue of not diminishing the market by actually curing anyone.”
—Barbara Ehrenreich (b. 1941)
“When we are in love, the sentiment is too great to be contained whole within us; it radiates out to our beloved, finds in her a surface which stops it, forces it to return to its point of departure, and it is this rebound of our own tenderness which we call the other’s affection and which charms us more than when it first went out because we do not see that it comes from us.”
—Marcel Proust (1871–1922)
“A route differs from a road not only because it is solely intended for vehicles, but also because it is merely a line that connects one point with another. A route has no meaning in itself; its meaning derives entirely from the two points that it connects. A road is a tribute to space. Every stretch of road has meaning in itself and invites us to stop. A route is the triumphant devaluation of space, which thanks to it has been reduced to a mere obstacle to human movement and a waste of time.”
—Milan Kundera (b. 1929)
“My characters never die screaming in rage. They attempt to pull themselves back together and go on. And that’s basically a conservative view of life.”
—Jane Smiley (b. 1949)
“One good reason for the popularity of “reductionism” among the philosophical outposts of the Western Establishment is that it can be, and is, used as a device for trying to take the wind, so to speak, out of the sails of Marxism.... In essence reductionism is a kind of anti-Marxist caricature of Marxist determinism. It is what anti-Marxists pretend that Marxist determinism is.”
—Claud Cockburn (1904–1981)