The narrative voice in Araby, Livvie and The Yellow WallpaperUntil now, I hadn't really thought about the importance of the narrative voice in the way the story is told. In “Araby,” “Livvie,” and “The Yellow Wallpaper,” the distinctive narrative voices and their influences shed light on the narrator’s hidden meanings and credibility. In "Araby", the story is told from the point of view of a man who remembers his childhood. experience. The story is told in the first person. The reader is given access to the narrator's thoughts as he relives his experience of what we assume was his first crush. We don't know how the girl feels about him. The narrator's youth and inexperience influence his point of view. His love for her is deep and innocent. As an adult, the narrator remembers his emotions for the girl fondly, but the reader also detects a hint of regret. The narrator tells us that their first communication took place when he went to the back room where the priest had died. There, in this sacred place, he spoke with the girl and promised her that he would give her a gift if he could go to Arabia. Soon after, "as a creature driven by vanity", he fails to collect a gift for her and is humiliated. I wonder if the narrator is implying that his true devotion to her was somehow blessed in the room where the priest died and that when he allowed his sinful vanity to penetrate that love, he lost it. In "Livvie", the story is relayed by an omniscient. third person narration. In this case, the narrator provides insight into each of the characters, without giving in to anyone in particular. The narrator uses subtle motifs in association with ...... middle of paper ...... ten seen as representing an imaginative or "poetic" view of things that conflicts with (or sometimes compliments) the " common sense” of the American man. “approach to reality”. When society “values ​​the useful and practical and dismisses everything else as nonsense,” (female) imagination and creativity are threatened. Much like our narrator, women of this era were told to suppress their creativity because it was under threat. "Perhaps the story was unpopular (at first) because it was, at least on some level, understood too clearly, because it struck too deeply and effectively at traditional ways of seeing the world and women . place there”. Works known as Shumaker, Conrad. "'Too Terribly Good to Print': Charlotte Gilman's 'The Yellow Wallpaper.'" Journal of American Literature 57.4 (1985): 588-599.