earticle

영어

James never put his reader in a direct contact with his subjects; he believed it was impossible to do so, because his subjects were really not related to what happened but instead to what someone felt about what happened, and this could be directly known only through an intermediate intelligence. So I studied the structure of the dynamic interrelationships among the intermediate reflectors, including the narrator as an another character. In Wings, the reader sees the events through the eyes of the three principle centers; Kate, Milly and Densher. The voices of the narrator and the characters become a representation of multiple perspectives. Through a less-than-omniscient narrator, Kate's value becomes clear to the reader, so we couldn't see her as a woman with a tinge of the cold-blooded assassin despite being a conspirator. Through the Susan's consciousness a mere romantic view of Milly's situations can be seen. Susan judges and acknowledges Milly as a positively good person naming her as the princess. The narrative voice about Milly's thoughts is either silent or meager. As Milly functions as an absent center, what is written is dependent upon what is unwritten. Due to the functions of the mystified angelic figure, the fortune hunters cannot be regarded as abominable villains. Throughout in the novel, Densher never has an original idea, but develops, for the reader, both a reflector and an unreliable narrator. As his interchanging process is the main point, his meetings and reflections are more closely allied to the tension of the novel. Though the narrator plays a part to construct thoughts and feelings of the characters, his own narration ends up revealing vulnerability. For this fact, the reader can easily recognize the narrator's limitations of omniscience. But he pursues persuasion to convince the reader that a character's effect on him can be the same for the reader. In conclusion, the Jamesian text does not readily tell the facts. What is recorded are the effects the characters have on one another and on the narrator as well. It is the very narrative technique adopted in James' deployment of the epistemology of impressions, which creates the reader's response.