Introduction:Narratological Lens on Seven Little Australians
This extract, analyzed through Meike Bal’s narratological lens on Seven Little Australians, has been excerpted from the novel’s tenth chapter, titled “Bunty in the Light of a Hero.” When applying the theoretical terms articulated by Bal in her book to this two-page extract, it becomes evident that stories are a “structured whole composed of signs.” These signs convey various shades, perspectives, interpretations, and aspects to different audiences and readers.
Upon analyzing this extract in the light of Bal’s views using narratological strategies, it reveals the complexity of the fabula elements, encompassing events, actors, time, location, as well as descriptions, dialogues, and perspectives, all orchestrated through the narrator and focalizer.
Fabula and Narratological Lens on Seven Little Australians
If this extract is regarded as a complete fabula with given events, it demonstrates a logical and chronological order (Bal 6). The third-person omniscient narrator portrays the characters Bunty and Judy in the loft. Bunty is already concealed there when Meg arrives, playing truant from school. Both agents (06) carry out this action in the location of the “loft,” as indicated by the third-person or external narrator.
While the duration and exact timing of the act are not specified, the third-person narrator suggests that, being in the loft, it is likely daytime with some darkness. The second actor, Judy, informs Bunty that they are meeting in the “loft” and that she will remain there “for a time,” though the duration is not explicitly mentioned. Therefore, the location is clearly identified as the loft at home, situated beyond other rooms where both characters are hiding. This setting implies that both are children using the loft as a refuge from the authority of the elders, and it is positioned somewhere within the house. Though locations such as Lawson, Springwood, and Katoomba are referenced, they merely serve as points of reference, indicating that the characters are far away from these locations while situated in the loft.
Event and Narratological Lens on Seven Little Australians
Judy queries the other character, Bunty, about her escape from a school located at a considerable distance. This inquiry further underscores the specific location as the “loft,” situated within the house building. The unfolding events in this place begin with Bunty hiding in the loft and contemplating other animate objects. The second event involves Judy’s arrival, followed by their conversation as the third event, and finally, the fourth event entails Bunty departing to fetch something for Judy to eat.
Apart from these two characters actively participating in the events, there are others who are absent physically but exert influence through their impact on both children. The first impact is subtle, evidenced by the sound Bunty makes after being frightened by something like a rat. The second involves clear names he exclaims, such as “Meg – oh! Father—Esther.” Another character, Miss Burtons, referred to by Judy, appears to be a teacher, suggesting that she might discover Judy’s truancy upon her return to school.
While Bunty exhibits a somewhat mischievous and playful nature, engaging in a game of hide and seek despite being frightened, Judy, too, demonstrates a degree of audacity. She confesses to playing truant from school and requests Bunty to bring her something to eat, indicating distinct and individualized characteristics for both characters.
Description and Narratological Lens on Seven Little Australians
As far as the description of the text is concerned, it has been applied by the external third person narrator as pointed out with “He.” It is his perspective about the characters that the readers would have. He makes the character to show the naughty, clever, terrifying or fearful side of their character and it is he who describes their traits with specific images. He states about Bunty when opening the text “He fancied…” which is an exact wording for a naughty boy and also states the location of the place as “second loft” and where it is located. This external narrator also makes the boy to say “Shoo” by which the narrator means the readers to understand that the boy is fearful of something and then makes the boy think that it is “rat” where the objective is clear that it is intended to show the reader. The argument here is to show how two naughty and clever children can plan to move away from the adult and authoritative world to hide their activities.
Narrator and Focalizer and Narratological Lens on Seven Little Australians
Whereas the narrator and the focalizer are concerned, they, too, have played an important role. The text uses the narrator and focalizer both at the same time as the third person narrator is also the focalizer. The main task of the narrator here in this passage is to describe and show how actors act and move the act forward. However, the focalizer, though, he is the same makes the readers think about the specific vision that he wants to show which is that children often play truant and that the readers should understand the specific perspective of the children. As both the perspectives are interspersed with dialogues, it becomes clear that focalizer and narrator shift the text to dialogue when it becomes necessary to show action of the agents/characters and are involved again when they want to show the specific perspective and aspect to the readers. This constant shift moves the text from one event of another building logic and chronology in the text to make it credible. In this way, the narrator /focalizer builds characters by first giving a vision to the readers what character is going to appear and then announcing through the dialogue of the character how he is going to act and how it is going to impact the act or the event. For example, third person narrator / focalizer here announces constantly within the text how Judy arrives and how she surprises Bunty when he is hiding in the loft as when she puts her hand “over his mouth.” The narrator could have stated that she has put her hand on her shoulders, but the focalizer wants to build readers’ vision that it is a moment of surprise and that Bunty could shriek out loud.
Conclusion: Narratological Lens on Seven Little Australians
By employing description followed by dialogue, the third-person narrator constructs the characters and then narrates events, progressing them chronologically to formulate a visual representation through focalization. This allows readers to perceive clever and mischievous children within a household, concealed in a loft, where they believe they can outsmart the adult world. This foreshadows potential challenges for these playful children. In the final description, the narrator captures Bunty’s emotions, hinting that he would go to fetch something to eat. This foreshadowing engages readers in anticipation, a result of the gradual progression of events.
Works Cited: Narratological Lens on Seven Little Australians
- Bal, Mieke. A Mieke Bal Reader. University of Chicago Press, 2006.
- Turner, Ethel. Seven Little Australians. National Library Australia, 2005.
Relevant Questions about Narratological Lens on Seven Little Australians
- How does the narratological lens, as applied to “Seven Little Australians,” enhance our understanding of the narrative structure, focalization, and the relationship between the narrator and characters?
- In the context of Meike Bal’s narratological framework, how does the narrative strategy in “Seven Little Australians” contribute to the construction of characters and events, and what impact does it have on the reader’s engagement with the story?
- Can the narratological analysis of “Seven Little Australians” shed light on the significance of the chosen narrative perspective, the representation of time and space, and the use of focalization in conveying the complexities of the plot and character development?
