Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

omniscient, 
i.e. “all-knowing” [56: 41]. With the omniscient point of view 
(sometimes also referred to as panoramic), the narrator retains full and complete 
control over the narrative. He does not take part in the events described, 
being outside 
the world of narration
. The author’s point of view is expressed in this case in various 
comments, digressions, or it may be implicit in the selection and arrangement of 
linguistic items [54:155]. As a rule, the language of auctorial discourse is the most 
refined literary types of Standard English of the period. Omniscient narration was 
frequently used in 18-19
th
century novels - H. Fielding’s 
Tom Jones
and 
W.M.Thackeray’s Vanity Fair are good examples. In such novels the writer directs 
the reader’s attention and controls the sources of information. The novel/short story 
has been developing and moving in the direction away from omniscient telling to the 
dramatic point of view (where the narrator disappears completely, and telling is 
replaced by showing), thus the channels through which information can be transmitted 
to the reader have become restricted by the narrator. As a result, the reader has started 
to be involved more and more directly in the task of interpretation [56:45]. The next 

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122 
type of the narrator’s discourse is often termed 
limited omniscient
. 
It is told in the 
third person, too, but the narrator limits his ability to penetrate the minds of the 
characters by selecting a single character to act as the centre of revelation
. What the 
reader knows or sees of events is always restricted to what that character can know 
and see. The character chosen as a narrative centre, and often referred to through the 
use of a third-person pronoun as he or she, may be the protagonist (= the main 
character) or may be some other major character [ibid: 44]. This form of the author’s 
speech plane is also called