Pride and Prejudice can stand for novels in general, in that respect, just as Macbeth, in many ways, can stand for plays. But even the greatest and most complex works of literature have to reject certain possibilities. Austen's third-person narrator, even though linked intimately with the heroine through focalisation and free indirect discourses, cannot give us quite the intimacy of a first-person narrative. We have already seen an example of the first person use throughout a narrative, in Wallace's philosophy and the Mirror of Nature', where elaborate ironic effects and psychological insight are achieved by having the central figure or protagonist tell his own story - so that we can compare what he says about himself with our own assesstment of the actions that he describes. Towards the other end of spectrum, a short story or novel can be narrated from a third-person perspective that seems completey detached, without free indirect discourse or any other clear sign that we are being 'managed' by a voice that is telling us to think one thing or another. The event ofbthe story, and the words of the characters, are allowed to speak for themselves. This is the case with Things Fall Apart (1958) by Chinua Achebe
M. Fahri Wirawan (13020117130041)
Afriyan Gita Ramadhan (13020117130045)
Lukas Galuh S.P (13020117130054)
Fandy Setiawan H. (13020117130064)
Muh. Navi Fahlevy (13020117130065)
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