Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

entrusted
. 
The limited omniscient point of view of the 
entrusted narrative is often carried out in the first person
. The writer, as it were, 
entrusts his central character with the task of telling the story: here the narrator’s 
image is intertwined with the image of the author, “the true and actual creator of it 
all” [47: 100]. The limited omniscient point of view is often used by writers to create 
and sustain irony, because it can well show the disparity between what the central 
character thinks or knows and the true state of affairs. Furthermore, 
the 1
st
person 
entrusted narrative might be either stylized or not 
[54:154]. In the former case the 
narrator tells the story from his own name using his own manner of thinking, feeling 
and speaking (the popular example is J.D.Salinger’s 
The Catcher in the Rye
). Let us 
dwell upon the types of the first-person narrative in detail. 
Unlike the auctorial omniscient narrator, the 
I-narrator
is within the world of 
narration, but he may have different degrees of personification. 
First
, 
he can be 
impersonal,
or anonymous, having no definite social or psychological characteristics 
and taking the role of a correspondent, an observer or just a witness of the events 
described. Still the nameless first-person narrator brings a personal touch into the 
narration and serves as a vehicle of expressing the author’s point of view and as an 
intermediate link between the reader and the story. 
So first-person narratives are 
necessarily subjective:
the narrator is free to speculate but he is limited in his access 
to information. The language of such a discourse is close to that of the auctorial 
narrative [54: 162]. This type of I-narrator is found, for example, in very many stories 

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by W.S.Maugham. 
Second,
the I-narrator can be personified, he thus combines two 
functions: that of a character of the story and that of the narrator
. This leads to a 
greater degree of individualization and a greater illusion of reality, as well as a sense 
of immediacy and credibility. The personified narrator may take various roles. 
He 
may be the protagonist
of the story which in this case often assumes the form of an 
autobiography or memoirs. It means that he may narrate events as they take place, as 
in D.Defoe’s 
Robinson Crusoe
, or in retrospect, with the narrator looking backward 
over a period of time on adventures that have already been concluded, as in 
Ch.Bronte’s 
Jane Eyre
. Sometimes the I-narrator 
can function as a participant of the 
adventures he is describing 
(as in R.L.Stevenson’s 
Treasure Island
) 
or as a friend of 
the hero of the story conscientiously recording the events in which the protagonist 
takes part
. Such is the case with Dr. Watson, the narrator of most of Sherlock Holmes 
stories by A.C.Doyle. Watson performs the role of Holmes’ confidant and assistant. 
The slow-witted Watson serves a foil for Holmes’ unusual genius, i.e.Watson is a 
person that contrasts with, and so emphasizes, the amazing mental qualities and 
eccentricities of his friend. Some authors may resort to several personified narrators in 
the same work. 
In W.Collins’s 
The Moonstone
, for example, the characters relate in turn the 
events in which they were participants or witnesses. As a result, not only their points 
of view, but also their speech parties differ, thus contributing to the intricate, 
absorbing plot composition of the novel [54;183]. One of the noticeable 
characteristics of modern prose is a great degree of 
speech individualization
of the 
personified I-narrator, its approximation to non-artistic casual discourse [54:165]. 
Western scholars employ the Russian term 
“Сказ”
(Uzbek: ertak) for this type of 
entrusted narrative, using it especially for designating “a type of first-person narration 
that has the characteristics of 
the spoken rather than the written
word
” [53: 18]. In 
such works the writer seems to try to dissolve completely in his character’s 
personality and present everything from the viewpoint of that narrator, mainly through 

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imitating the character’s speech (as it could sound). Such a narrator is sometimes 
called a stylized teller, and the type of discourse - a stylized tale, 
good examples of 
which are some of O.Henry’s short stories. 
One more popular technique in contemporary prose writing is the use of the so-
called 
dramatic point of view
. The author creates the illusion that the reader is a direct 
and immediate witness to an unfolding drama. In the dramatic, or 
objective,
point of 
view, 
the story is told, as it were, by no one
. We find here only dialogues and the 
showing of actions - the visible, tangible narrator seems to have disappeared 
completely. The reader is left on his own: there is no way of entering the minds of the 
characters; no evaluative comments are offered; the reader is not told directly how to 
respond, either intellectually or emotionally, to the events or the characters [56:49]. 
The leading position among the writers who prefer that technique is taken by Ernest 
Hemingway.