Heroic Function and Interpretation of Narrative
Didier Coste
'It must be very interesting to listen you, Mr. Nebo,' the Duchess said, amazed at his superior mind (Curieuse!, p. 8).1 True, some readers (though there were not many) and critics for sure many more) would join of Riazan compliment artistic moulder or hardener souls who had just revealed her key Kelto-pelasgic enigma, that is superiority Androgynes, heirs primitive Elohim. PMadan may have any grounds flatter himself using voice character-in-charge, but this wishful thinking all more remarkable significant sophisticated difficult position hero in modern literature, literature general, is, by definition, modern. Rather than being strong, true, handsome, rich, touching, first talk; he do so company aristocratic exiles, park a Tuscan castle, under colonnade Greek villa, as well an illfamed tavern even caught solitude public confession, interior monologue, alcoholic delirium dreams. Under circumstances, produce text like serial writer copy. D'Annunzio has Claudio's favorite daimon2 saying those hold future their hands: Voi possedete la suprema scienza e forza del mondo: il Verbo. Un ordine di parole pu6 vincere d'efficacia micidiale una formula chimica. (Ye possess supreme knowledge power world-the Word. Words murderous chemical formula.) Let us blame our writer's known verbalism; however great distrust words which supposed reign other works, same conclusion reached Cervantes Beckett: until book closed afterwards sometimes, last word. This truism, fiction contains hero, principal character, it means character can defined independently transformations explored narrative grammar almost arithmetically anthropomorphic bearer largest number
Modern Language Notes