【正文】 she, it or t hey. Thi s second mai n type of nar r at or is arguably t he dom inant nar rator t ype. In the t hird person narrat ive, t he nar r at or does not actual ly appear and al the character s ar e r ef er ed to as “he” or “t hey”. As a hidden obser ver , t he nar at or is pr ivil eged t o know al t he happenings or what he chooses to know, not onl y what act ual l y happens, but al so what goes on in the mi nds of t he char act er s. I n shor t, t he nar rat or i s f ree to be omnisci ent, or selecti vel y omni scient, or t o bot h alt ernati ng. I n War and Peace t he nar at or enj oys om ni sci ence. In The Am bassador the nar rator confi nes his fi el d of vision t o that of a char act er and r elates the st or y i n the character ’s point of view. Thi s char act er is a center and al l ot her s are laid out in due per specti ve. Point of view can be di vi ded by the nar ator’s r el ati on wit h t he events—whet her t he nar rat or part ici pat es or not: t he part ici pant narrat or and t he nonparti cpant narrat or. The parti ci pant narrator i s a per son who has experi enced something and es back t o r epor t. I shmael in Moby Dick i s a good example. As a par tici pant , t he nar rat or may take an act ive or pasive r ole i n t he event. Hi s report and under st andi ng of the event may or may not be r el iable or plet e, because he is denied omni sci ence and he may be pr ej udi ced. The nonpart ici pant narrat or st ands out si de what he i s rel at ing and t her ef ore, he i s gi ven pl ete f reedom as for what he wi shes to do wit h t he st or y. So poi nt of vi ew can be divided by t he ext ent of the nar rator ’s knowledge of the event s: t he omni sci ent narrat or, t he sel ect ive omni scient narrat or, t he obj ect ive narrator and t he so cal led “i nnocent eye”. The om ni sci ent nar ator knows ever yt hing wher eas t he selecti ve omniscient nar rator knows som ething. The obj ect ive nar ator does not tel l but shows. He i s li ke a camera t hat goes fr om scene t o scene and r ecords what can be recorded f or t he reader . This kind of point of view is also cal ed the dramat ic point of view because t he reader i s li ke the audience in a t heat er . The innocent eye nar rat or understands what he i s rel at ing l es t han the r eader does. Ther ef ore, his nar ati on is capabl e of ir ony. A nar ator is governed simul taneously by al l the t hr ee standar ds ment ioned above。 theref ore, the dif f er ent point s of vi ew he m ay adopt over lap each ot her . The table bel ow shows the overl apping bet wen each nar at ive point of view. Schem a or i ent ed l anguage Vi ewpoint is also schem a ori ent ed. I t is wor th not ing t hat dif fer ent part icipants i n t he same sit uation wil l have dif fer ent SCHEMAs, relat ed to t hei r dif ferent viewpoint s. Hence shopkeepers and t hei r customer s wi l have shop schemas whi ch in m any r espects wi l be mi r or im ages of one another, and t he success of shopkeepers wi l l depend in par t on their being able t o take i nt o account the schem as and point s of vi ew of their customers. (I n m y view, the m or e dif fer ent part icipants i n t he same si tuation of a novel, t he more di f er ent vi ewpoi nts wi l appear , and t he more di f erent schemas wil l appear too.) Besides indicati ng viewpoints by choosi ng what to descr ibe, noveli sts can also indi cate it by how i t is descr ibed, par ticul ar t hrough expr esions whi ch ar e eval uat ive i n nat ure: She opened t he door of her gr im y, branchl ine car iage, and began t o get down her bags. The port er was nowher e, of cour se, but there was Har ry… Ther e, on t he sor di d l it tl e st ation under the f urnaces… . I n t hi s pasage fr om D. H. Lawrence’ s Fanny and Anni e, t he val ue laden adj ect ives gri my and sordid in grimy, branchl ine carri age and sordi d li t le stat ion under the furnaces help m ark t he descri ption of Morl ey rail way stati on as bei ng fr om the viewpoint of Fanny, who clearl y disappr oves. Given vs New infor mati on At the beginning of a stor y, we should thus be abl e to predict that nar rat ive r ef erence to everythi ng in the f icti on except item s general y assumed by everyone in our cult ure ( . the sun) m ust be new, and hence should di spl ay indefi nite refer ence. Thi s is what happens, f or exampl e, at the beginning of Thomas Har dy’ s The Mayor of Casterbri dge. One eveni ng of late summer , bef or e t he ni eent h cent ury had r eached one thir d of it s span, a young man and woman, t he lat te r car ryi ng a chi ld, were appr oaching t he large vi l age of WeydonPr ior s, i n Upper Wesex, on f oot. The fi rst menti on of the man ( and by im pl icati on the woman) and the chil d have indef ini te r eference (a young man woman, a chil d) because we have not met them bef or e. As a consequence, we tend to get a dist anced “bi rd’ seye view” of t he char act er s. The ni enth centur y has def ini te r ef erence because Har dy can assume that his r eaders wi l l al ready know what the phrase ref er s to. But not e that even in t his str ai ghtf or ward descri ption, the vi l age of WeydonPi or s gets defi nite r efer ence f or i ts f ir st ment ion, encouraging us t o pret end to ourselves that we ar e al ready f amil ar wit h it . Hardy i s thus “posit ioni ng” hi s reader s as people who are f amil iar to some ext ent wi th the vil lage (and hence t he area) but not the char acters. Deixis Because Dei xi s is speaker r el ated it can easi ly be used to indicate part icular , and changi ng, viewpoi nt . In t he fol lowi ng exampl e fr om The Secret Agent , we se Mr s. Verl oc’ s act ions f rom Mr . Ver loc’s vi ewpoi nt: Mr . Ver loc heard t he creaky plank in the f loor and was content. He wait ed. Mr s. Ver loc was i ng.