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textual modality
.
This is particularly conspicuous in literary portraits (cf. the portrait of Babbit,
created by S. Lewis, the portrait of Scrooge, created by Ch. Dickens, the portrait of 
Pyle by Gr. Greene). Textual modality in the novels of these and other writers becomes 
obvious only when the reader can get a notion about some thematic field, i.e. about
a group of epithets, similes, descriptive phrases and indirect characteristics scattered 
over the text and united by one dominant of emotional meaning. For instance, the
adjectives "innocent", "quiet", "good" used by Gr. Green in "The Quiet American"
acquire an ironic meaning in the context of the novel, form a distinct thematic field 
expressing textual modality of condemnation and censure. 
The image of the author
is an organizing and uniting factor of separate parts into 
the whole penetrating it by the sole idea, the sole world outlook, the sole attitude. 
It's necessary to bear in mind that the author as a concrete, real personality with his 
biography, with his own character, his merits and demerits on the one hand and the author 
represented in the image of the author of the creative work on the other hand by no means 
are not identical. The image of the author as any other image is a definite abstraction from 
his biographical reality. The image of the author is always idealized a little. It's not the 
personality of a concrete artist in reality but that what it strives to be, because the creative 
work is a process of cognition and the growth of artist, the road of self-perfection. 
If the reader while reading the text compares himself with the image of the 
personage, the writer does the same with the image of the author. Such a constant 
interaction of the creator with his creative work provides the artist's evolution at a definite 
degree. 

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53 
 
The author's point of view is obviously represented in the author's image. Really, 
sometimes we identify the personage's thoughts, deeds with the author's ones. It's not 
difficult to elicit it from the text, as it realized in the composition, plot, and the language 
of the text. It's more difficult to define the author's position in those cases when the artist 
refuses to be the participant in the creative work and entrusts this role to be protagonist or 
the factotums This form of narration acquires authenticity, because it represents the 
narration from the eyewitness's point of view. 
In fiction the author does not address the reader directly. He creates a narrator whose voice 
we hear as we read the story. It is from the narrator's point of view that we see events 
unfold. The narrator may be a strong presence in the text commenting on and interpreting 
the material he presents or, at the other end of the spectrum, he may be almost invisible, 
simply allowing the story to present itself. Narrators are divided into two broad categories: