Dear friends,
I hope that together we had fun trying to predict the end of Harry Potter, a year ago. Everything was set up this blog. After that remained a bit 'budget to do. Without that, I would have to close. I was sorry a bit ', and I postponed the decision. I'm sorry to have thus created the illusion that this diary could be maintained.
Now I write two posts on the point of view and then close really. In the second last post I will talk in general terms, the last point of view from which Harry Potter is told.
1) Not always a story has a point of view. Some writers prefer to tell as if they were omniscient. They have the right: after all, are creating a world. They are the authors who tell you what happens in places far away from the main, they tell you what they think to himself the different characters.
In this way you write, "the werewolf came to the door of the child's bedroom. The boys saw that the handle is lowered, but never would have imagined what was about to enter. "
2.1) The perspective of the omniscient narrator is not the only possible one. Stevenson and Dickens loved to write first-person accounts. The narrative voice was that of one of the characters in the scene, and the view was restricted. The narrator could not know what other people thought what I adopt the perspective: it would seem incongruous to the reader. The narrator spoke from the perspective of his character.
It then writes: "I was with my brother nella nostra stanza. Sentii un rumore fuori dalla porta, e dissi: Papà, sei tu? Nessuna risposta. Invece la maniglia cominciò ad abbassarsi».
Se proprio non ce la faceva più e voleva dire qualcosa che il suo personaggio non poteva sapere, il narratore ricorreva al senno di poi: cioè a quelle conoscenze che il personaggio focale aveva acquistato dopo la fine della storia raccontata. Si trattava allora di una trasgressione del punto di vista.
Potrebbe aggiungere: «Se avessi saputo che cosa stava per accadere, avrei afferrato mio fratello e sarei fuggito dalla finestra».
2.2) Nel xix secolo, Henry James teorizza la superiorità del racconto condotto dal punto di vista interno. Ma, con genius, apart from the internal point of view first-person narrative. You may very well tell from the internal point of view of a character and write in third person.
It then writes: "Richard was awake, but her brother was sleeping. Richard heard a strange noise outside the door and he was afraid. "Dad, are you?" No response. Instead, the handle began to fall. Fear grew in terror. Richard shook, her brother, who woke up suddenly and cried. "
Note that the narrator knows what Richard thinks. He knows his feelings and their gradations: from fear to terror. If that Richard noise outside the door seems strange. The narrator
non conosce invece i sentimenti del fratellino, perché non li conosce neppure Riccardo. Può però congetturarli, a partire dalle azioni del fratellino e dai mutamenti esterni che i sentimenti inducono. Il grido del fratellino è un gesto che è facile interpretare come una paura improvvisa.
3) A partire da Hemingway, viene usato sempre più spesso un terzo punto di vista: quello esterno, diverso sia dal punto di vista interno sia da quello del narratore onnisciente. In questo caso il narratore ha il minimo di conoscenza: non ha accesso ai pensieri di nessun personaggio, a meno che questi non li manifesti con parole o azioni. Non ne conosce i sentimenti, se non quando emergono al di fuori, alterando il comportamento e le fattezze of the characters. The narrator must sharpen our wits to detect the expressions of the characters, and must make them talk. He needs to grasp the details.
were written: "Richard was awake, but the little brother was asleep. A noise coming from outside. Richard stared and asked in a low voice: "Dad, are you?" No response. Instead, the handle began to fall. Richard turned to Louis and shook him. Luigi suddenly awoke and cried. "
I had to remove all references to the thoughts and feelings of Richard. "Stared" is a gesture that reveals the fear of Richard. I do not speak more than "little brother" because he has a affective connotation that was good in the mind of Richard, but not that of the external narrator. I called Louis, adopting the name.
Finally: the narrator can switch between the three points of view, as needed, or it can adopt a point of view and follow it from beginning to end.
The change in perspective is not necessarily a mistake: it is sometimes a necessity. The narrator uses one or the other resource, depending on the effect they want to achieve. Instead you can consider an error commingling of points of view. If the second or third version had said that Richard hears the sound of the werewolf, I made a mistake. If the third story I talked about the "little brother" or "Gigi," which is used by the diminutive Richard, I made a mistake.
Now, the question is: from which point of view is told Harry Potter?
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