In literature, as in life, how we carry is not solely the preserve of a verbal commuting but also comprises the nonverbal as a message of understanding one another. Research indicates that total feeling is communicated in a variety of ways: 7% verbally, 38% through tone of voice and 55% through facial flavor (qtd. Jenkins & Johnson, 34). But how is communication constructed inside literature? Looking at both The Princess of Cleves and Oroonoko we can assert that much of the action occurs within the realms of the unspoken, and deconstructing the nonverbal and physical manifestations of the characters is key to the reader’s understanding. Having give tongue to this, spoken dialogue is also a fundamental view in our perception of the text, as well as our cogency to differentiate between what is communicated to us, solely through the narrator, and is therefore unheard by the characters, and what the author has chosen to articulate through the characters and is later heard by all. As Mieke Bal contends, ‘[u]nspoken words-thoughts, internal monologues- no way out how extensive, are not perceptible to other characters’ (Bal, 124).
Being assured of this allows us to look at what the characters choose to communicate and what is left hand unsaid and how this relates to their internal state, as well as their international relationships to others. When the narrator writes of bodily manifestations, they are linking to, firstly, what a character wants to nourishment hidden and secondly, the less conscious manifestations that others might well ‘ catch’. We will see that the authors use to good effect the interplay of these dissimilar modes of communication to flesh out the characters’ changing internal worlds and outside(a) realities.
The love between the Duke de Nemours and Madame de Cleves in The Princess of...If you want to get a full essay, order it on our website: Ordercustompaper.com
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