Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

the dominant point of view
. Depending on 
who tells the story, the dominant point of view may be either that of the character (if 
he tells the story), or that of the author (if the story is told by the author). The 
dominant point of view does not rule out the possibility of introducing other 

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viewpoints into the story. If the viewpoints are presented as independent, the story is 
said to be “polyphonic”. However, the dominant point of view generally subordinates 
the other viewpoints.
The narrative method conditions the language of the story. Thus if the story is 
told by an omniscient author, the language is always literary. When the story is told 
by a character, the language becomes a means of characterization (as direct speech 
always characterizes the speaker). It reflects the narrator's education, occupation, 
emotional state and his attitude. The social standing of the character is marked by the 
use of either standard or non-standard lexical units and syntactic structures. In 
The 
Ladie’s Maid
markers of Ellen’s social standing are as follows: “we was living”, “all 
of I a tremble”, a ducky little brooch” and others. The use of rare and specialized 
vocabulary serves as a marker of the character’s occupation (or educational level, or 
both). In the case of 
The Ladie’s Maid 
these are “no, madam”, “...is it, madam”. The 
emotive and evaluative lexical units (such as “she's too good”, “the sweetest lady”, 
“poor grandfather”, etc.) reflect the feelings of the narrator, her attitude to the people 
she describes. In this particular story some of the evaluative units appear to be 
reappraised, as the narrator's point of view is unreliable (she misinterprets events and 
misjudges people). From the way Ellen’s lady and grandfather are presented it 
becomes clear that the lady is by no means “too good” – on the contrary, she is 
hypocritical, cunning and egoistic; the grandfather appears to be mean, calculating 
and deserves no justification for his cruelty. 
One has to keep in mind that the language of a first-person narrative requires 
careful attention not only because it characterizes the narrator, but also because it is a 
means of representing the world through the eyes of that character. It therefore 
reflects his outlook (which may be naive, or primitive, or limited), his pattern of 
cognition, his psychology. That is why most stories related by the main character are 
deeply psychological. 

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Moreover, the narrative method may affect presentational sequencing of 
events. Thus the omniscient author will arrange the events of the story as they occur 
in chronological order. A first-person narrative more often than not is disrupted by 
digressions, or may have haphazard transitions from one topic to another, or may 
contain flashbacks to past events (as in the case of the 
The Lady’s Maid). 
The events 
are then presented in psychological order.
Apart from that, the narrative method may also affect the sequencing of literary 
representational forms. If we turn to 
The Ladie’s Maid
we can see that it is a complex 
pattern of narration, description, direct speech and reasoning, but it does not include 
the author's digressions because the author has shifted the responsibility of telling the 
story to the major character. Whereas in a story told by the omniscient author (e.g. 
The Cop and the Anthem) 
one may find all the literary representational forms. 
Whether a story is convincing and exciting, whether it produces a vivid and 
enduring impression, whether it arouses interest and emotional response – all that 
relies heavily on the narrative method employed by the author. 
TONAL SYSTEM THEORETICAL PRELIMINARIES 
There is no art without emotion. Fiction (as all other art-forms) appeals to the 
reader through the senses and evokes responsive emotions. In fiction the 
representation of reality, as has already been noted, is always a subjective 
reflection. Fiction is therefore affected by the author's view of the world, his 
outlook, his personal attitude to it. That is why in fiction the representation of 
reality can never be entirely neutral. In every literary work the writer's feelings and 
emotions are reflected in the tone, attitude and atmosphere.