The Chosen View

In reading a text, our point of view is not purely our own subjective analysis of the images presented, but a guided imagery that serves to fashion our standpoint as to correspond with the authors design (or desired point of view). In any narrative it is the perspective we are given that essentially forms these opinions of and feelings towards the work, and is therefore the writers primary tool in influencing the reader's interpretation. In order to illustrate this idea, I will be making particular reference to Barbara Baynton's 'The Chosen Vessel'. Not purely for the reason that I found it an interesting story but due to the fact that the focus changes within it regularly. Our emotions can be affected by receiving the perspective of a character within any given situation for it is in reading the plight of that particular character that we are encouraged to empathize with what they may be feeling. Often the emotions of a character, particularly the central one, also dictate our response to that character. We are drawn into the narrative construct. We use our own experiences and imaginings as a model by which to come to a true evaluation of the narration. If we can understand and have some idea of what a character is going through on an emotional and mental scale, we find their experience far more tantalizing (if not stimulating) than a purely physical and omnipotent perspective. For in this approach we are robbed of the emotional or analytical nature of the narration and so less likely to be channeled towards a particular standpoint. It is the internal struggle that leaves the greatest impression on the human mind for it is a journey and exploration of our own memories guided by what we are reading. For example: "She feared more from the look of his eyes, ... than from the knife that was sheathed in the belt at his waist". We are getting more than a tangible description of events here, and already we are being manipulated by the narrative's approach. Even if what is being described is truly horrific or fantastic, it is by internalizing of the narrative voice that we then break up the text and relate to and/or interpret it subjectively. It is the images that the text conjures within us that are the key to our experiencing the text. Images whether visual, tactile, auditory or even emotional therefore contribute to our understanding. There is something more tantalizing about the reference to the eyes of the swagman than a purely physical representation of the woman's fear (the knife). And yet, if we were given the experiences both internal and external of a different character, our experience within the narrative construct will be completely different. What if we were seeing the thoughts of the swagman that are implied in the above passage? Wouldn't the point of view drastically affect our interpretation? Yes, without a doubt. In that way, it is the choice of perspective on behalf of the writer that is the greatest tool when trying to communicate a particular message or image in the writing.

Although remaining predominantly omnipotent in it's narrative voice, we are given the thoughts and emotions of different characters as the narrative unfolds. Somewhat of an omniscient approach in relation to this narrative. In particular the shearer's wife and Peter Henessy, as well as the swagman and the boundary rider but with less focus as the first two. What is most striking about the shearer's wife is the fact that we are never told the woman's name. What possible purpose could this serve? It seems that by taking this woman's identity; and constantly referring to her it is 'she', as the narrative does; the shearer's wife suddenly becomes a very valuable narrative tool. Firstly, the reader is then prompted to feel somewhat detached from the character. She becomes a two-dimensional persona as it were, that does not completely demand the readers attention (or rather, emotional regard). And therefore, we are not fully enveloped in the horror of what is to occur, but rather still remain subjective and analytical. Secondly, and in a similar vein, her lack of identity makes the transformation into the "Madonna", and her less apparent relationships to the metaphorical images of both the sacrificial sheep and it's lamb and the cow and it's calf easily incorporated into her unspecified identity. She is the victim, the vessel of the swagman's evil. She is the sacrifice, and her lack of identity is a way for the author to therefore make this concept easier for the reader to accept as it lacks emotional 'baggage' in the form of a specific identity. The character becomes somewhat transmutable, and therefore, as suggested above is an excellent narrative tool.

Conversely, Peter Henessy is given not only a history but a related, and somewhat whole, identity simply by being given a name. Of particular interest to me was the sentence: "All the superstitious awe of his race and religion swayed his brain". This in itself encapsulates the conflict and situation of the character. We note a conflict between his religion/race and "... his brain", the sway superstition has over him and the fact that some internal conflict possesses him. I also believe that an element of fear exists particularly with the reference to "... superstitious awe ..." This provides an excellent example of how the reader is channeled. That is, is given a fixed and persuasive narration of events. In relation to the emotional 'bait' that serves to capture the readers interest, we come to Peter's need for forgiveness resulting from the emotional blackmailing he suffers at the hands of his mother and his strong religious beliefs influenced by upbringing and his sense of social order. He fears the consequences of going against the wishes of the church, however trivial. It is this conflict that affects Peter's thoughts and emotions and ties the character and the point of view he represents to the reader.

Finally, it is important to shed light on the fact that two other narrative focus' exist in the form of the swagman and the boundary rider. We are shown their reactions (especially concerning the rider) and thoughts briefly, but in presenting these perspectives the writer adds an extra dimension, or rather, an extra medium by which the narrative and its goal are explored. It may widen the scope of characters but in doing so only manages to articulately 'underline' the narrative's point of view. It still prompts the reader to react in a particular manner by supplying additional 'evidence' towards the intended conclusion. That is, it reinforces the goal of the writer in the creation of the tale. For example: "... He (the swagman) had grinned, because there was a broken clay pipe near the wood heap were he stood, and if there were a man inside, there ought to have been tobacco." This passage serves only to justify the concerns of the shearer's wife in the mind of the reader, for we are shown that the swagman is indeed a cunning fellow.

So it is that by relating to and internalizing the narrative voice, we are forming a point of view concerning the overall work that was actually dictated by the narrator. The interplay between personal subjective interpretation and presented objective detail within the tale that is woven becomes apparent. It is now easy to see how the reader may be manipulated, either intentionally or not, but the chosen descriptive technique that the writer uses in narrating a story. We are not presented with an all encompassing view of the thoughts and feelings of every character, or a detailing of every event, as only what is viewed as relevant to a particular goal within the narrative is seen as important. It is an impossible task to incorporate everything into a narrative, but it may be worth while examining exactly what was therefore omitted. For whatever was chosen as the point of view is obviously of relevance for a particular, integral reason. The omniscient perspective is an attempt to achieve the ideal, unbiased narrative, but will still screen what information is presented. It is this screening of details and focused presentation of singularities that controls the reader. And therefore demonstrates how point of view is the most important and essentially basic component to any narrative.

"I am under the spell of The Musings of Dan"
or
"It is rumored that Elvis was seen wandering through The Lair of Dan"