are familiar to some extent with the village (and hence the area) but not the characters. Deixis Because Deixis is speaker-related it can easily be used to indicate particular, and changing, viewpoint. In the following example from The Secret Agent, we see Mrs. Verlocs actions from Mr. Verlocs viewpoint:Mr. Verloc heard the creaky plank in the floor and was content. He waited.Mrs. Verloc was coming. In addition to the perception and cognition verbs heard and waited and the indication of his inner mental state (was content) we can see that Mrs. Verlocs movement towards her husband is viewed from Mr. Verlocs position (coming). The fact that the events are only seen from Mr. Verlocs viewpoint is strategically important at this point in the novel. He does not realize that his wife is about to kill him.Exercise: to understand the differences between points of view, study the Aesops fable. The Ant and the GrasshopperWeary in every limb, the ant tugged over the snow a piece of corn he had stored up last summer. It would taste might good at dinner tonight.A grasshopper, cold and hungry, looked on. Finally he could bear it no longer. “Please, friend ant, may I have a bite of corn?”“What were you doing all last summer?” asked the ant. He looked the grasshopper up and down. He knew its kind.“I sang from dawn till dark,” replied the grasshopper, happily unaware of what was coming next.“Well,” said the ant, hardly bothering to conceal his contempt, “since you sang all summer, you can dance all winter.”He who idles when he is young will have nothing when he is old.QUESTIONSIn what point of view is the fable narrated?Rewrite the fable inthird-person, selective omniscient point of view.First-person point of view (the ant being the narrator).First-person point of view (the grasshopper being the narrator).Objective point of view.Chapter Six StyleWhat is Style? “Proper words in proper places, makes the true definition of a style.” Jonathan Swifts remarks lead us generally to thinking of modes of expression of a piece of fiction as the most characteristic of the authors style. Thus style generally refers to how the author uses language in his/her work: to the authors particular ways of managing words that we come to recognize as habitual or customary. A distinctive style marks the work of a fine writer: we can tell Latin expression: Stilus virus arguit (“The style proclaims the man”), and for this matter we are familiar with the experience of trying to guess the author of a piece of writing on the evidence of his/her language. Actually, style is a combination of two elements, the idea to be expressed and the linguistic traits or characteristics of the author. It is, as J.R. Lowell said, “the establishment of a perfect mutual understanding between the worker and his material”. However, there has never been an agreement on the exact meaning of style in the history of literary criticism, and the further narrowing of its meaning brings us on to more controversial ground, where different definitions of style involve even conflicting views of the use of language in literature. There is a strong tradition of thought which restricts style to choices of manner rather than matter, of expression rather than content. Such separation between form and meaning is implied in the common definition of style as a “way of writing” or “mode of expression.” There is equally a strong literary tradition that emphasizes the inseparability between style and content; in Flauberts words: “It is like body and soul: form and content to me are one.”The distinction between what a writer wants to say and how it is presented to the reader underlies one of the early and persistent concepts of style: style as the “dress of thought,” as Wesley put it:Style is the dress of thought; a modest dress,Neat, but not gaudy, will true critics please.This metaphor resonates with Renaissance and Neo-Classicist pronouncements on style. For example, the idea that style is merely the “adornment” or “covering” of thought or meaning is clearly expressed in the very meaning of John Lylys Eupheus, which can be plausibly taken as the first novel in English: There dwelt in Athens a young gentleman of great patrimony, and of so comely a personage.This young gallant, of more wit than wealth, and yet of more wealth than wisdom, seeing himself inferior to none in pleasant conceits, THOUGHT himself superior to all in honest conditions, in-so-much that he deemed himself so apt in all things, that he gave himself almost to nothing, but practicing of those things commonly which are incident to these sharp wits, fine phrases, smooth quipping, merry taunting, using jesting without mean, and abusing mirth without measure. As therefore the sweetest rose hath his prickle, the finest velvet his brack, the fairest flower his bran, so the sharpest wit HATH his wanton will and the holiest head his wicked way.We