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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-6523 HEMBREE, Charles William, 1939- NARRATIVE TECHNIQUE in the FICTION of EUDORA WELIY

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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-6523 HEMBREE, Charles William, 1939- NARRATIVE TECHNIQUE in the FICTION of EUDORA WELIY INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-6523 HEMBREE, Charles William, 1939- NARRATIVE TECHNIQUE IN THE FICTION OF EUDORA WELIY. The University of Oklahoma, Ph.D., 1974 Language and Literature, m o d e m Xerox University Microfilms, Ann Arbor, Michigan48ioe THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE NARRATIVE TECHNIQUE IN THE FICTION OF EUDORA WELTY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY CHARLES WILLIAM HEMBREE Norman, Oklahoma 1974 NARRATIVE TECHNIQUE IN THE FICTION OF EUDORA WELTY APPROVED B: Ta ( S ' - DISSERTATION COMMITTEE ACKNOWLEDGMENT I wish to express thanks and appreciation to Dr. Victor Elconin, of The University of Oklahoma, for his kind and helpful direction, to the other members of the reading committee for their time and considera­ tion, and also to Dr. Frank Finney, of Central State University, for his encouragement. I further wish to express my gratitude toward my parents and my mother- and father-in-law for their continued support in many ways. Finally, I wish to express thanks to my wife, Billie, for her love and support, her confidence, and her many sacrifices made in the interest of completing this work. Ill TABLE OF CONTENTS Chapter Page I. CONCEPTS AND CATEGORIES.......................... 1 II. INTERNAL NARRATION WITHOUT AN A U D I T O R ............ 15 III. INTERNAL NARRATION WITH AN AUDITOR............... 55 IV. EXTERNAL NARRATION AS RESTRICTED PRIMARY PERSPECTIVE................................. 93 V. THE CONJECTURAL INTELLIGENCE PERSPECTIVE .......... 166 VI. EXTERNAL NARRATION AS PRIVILEGED PRIMARY PERSPECTIVE................................... 210 VII. THE CENTRAL INTELLIGENCE PERSPECTIVE: OBJECTIVE M O D E ..................................251 VIII. THE CENTRAL INTELLIGENCE PERSPECTIVE: SUBJECTIVE M O D E ................................331 IX. CONCLUSION........................................ 367 BIBLIOGRAPHY............................................. 376 IV NARRATIVE TECHNIQUE IN THE FICTION OF EUDORA WELTY CHAPTER I CONCEPTS AND CATEGORIES The fiction of Eudora Welty, one of America's most distinguished living authors, provides an unusual opportunity for study of narrative technique. Her work contains a variety of narrative modes, and her methods of narration are precise instruments for developing structure, theme and characterization. Because of her constant care in utilizing narrative technique, one should understand her stories and novels in terms of their points of view, or the various perspectives toward the action that repre­ sent sources of consciousness. These sources of consciousness are some­ times characters and sometimes narrators detached from the setting, but they are always carefully wrought centers of interest over which the author has control in developing vision as part of her fiction. This study is to analyze Miss Welty's methods of narration and demonstrate her achievement in the art of rendering consciousness in fiction, or developing point of view. It proceeds to examine narrative technique in all of her novels and most of her short stories, classifying these works in terms of the various types of perspectives developed in 1 2 them. A general thesis to be developed is that, while Miss Welty often secures the dramatic immediacy of "scenic" narration in her fiction, she also recognizes the valuable uses of a detached narrator. She thus frequently combines in her fiction the relatively modern method of scenic dramatization with traditional modes of observation and commentary that are afforded by maintaining a narrator outside the story. The external narrator, detached from the world of the story, is more often used in Miss Welty's fiction than is the internal narrator, the narrator that is a character within the story. He is important to study in connection with Miss Welty's narrative approaches, however, and to understand him first will help to clarify later the rather complex resources available to the external narrator. Because, as a character, the internal narrator is dramatized as part of the setting, he differs considerably from the external narrator, who is never a character, and these two kinds of narrators represent the most basic distinction to be made in understanding Miss Welty's alternatives in narrative technique. Since the internal narrator is a character, his point of view can represent only his impression of the action, which might be mistaken or confused. Moreover, if he has an auditor, someone listening to his nar­ rative, then his narration is especially subject to question on the basis of motives— motives that might have led him to distort facts or misrepre­ sent his impressions. Miss Welty has used internal narrators both with and without auditors, and this distinction is basic in classifying her approaches to internal narration. While the internal narrator is always a character, his act of narration is not dramatized within the story's setting unless he has an auditor. One might attribute motives to whatever 3 he says on the basis of his character as the story develops it, but one can hardly relate his act of narration to the story's setting unless he has an auditor, or else simply explains where he is and why he is report­ ing his story. Otherwise, the act of narration, while a rhetorical supplement to his characterization, is not a part of the story's setting, and this is the case with all of Miss Welty's internal narrators without auditors. Thus separate chapters are set up in the following study for internal narrators that do not have auditors and those that do. This distinction is important in analyzing Miss Welty's methods of narration, though not as important as the distinction between internal and external narration. Because the external narrator is detached from the story's setting, only his impressions of it are dramatized; he has no "character" like that of the internal narrator, for he is nonexistent in terms of the space-time field of the story's world, called in this study the "fictional illusion."^ Yet he senses and observes the fictional world of his narra­ tive, and he sometimes does so through both his own perspective and those of selected characters in the story. When such a narrator, said to be "privileged," or cognizant of characters' thoughts, develops a character's perspective into a center of interest as a source of vision, that char­ acter is recognized in this study as a "central intelligence character." Sometimes the privileged external narrator observes this character's mind objectively, maintaining considerable distance between his own perspective and that of the character, yet at other times this narrator might repre­ sent action subjectively through the character's thoughts and impressions, lending his "voice" to the character's vision. Thus central intelligence 4 narration, which is one of Miss Welty's principal methods, is to be considered "objective" in mode if the narrator maintains enough distance between his own perspective and that of the central intelligence character that his own remains the immediate source of vision toward the fictional world. The method is to be considered "subjective," however, if the distance between the two perspectives diminishes to the point that the character himself, through his perspective, becomes the immediate source 2 of vision toward the fictional world. In that event, the "center of consciousness" in the story is said to have "shifted" from the external narrator to the central intelligence character,
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