First person vs. Second person vs. Third person - Rebekah Bergman

Prevodilac: Milenka Okuka Lektor: Ivana Korom

“I am an invisible man.”

„Ja sam nevidljivi čovek.”

“Mrs. Dalloway said she would buy the flowers herself.”

„Gospođa Dalovej je rekla da će sama kupiti cveće.”

“You are about to begin reading Italo Calvino's new novel.”

„Upravo počinješ da čitaš najnoviji roman Itala Kalvina.”

These three opening lines, from Ralph Ellison’s "Invisible Man,"

Ove tri uvodne rečenice iz „Nevidljivog čoveka” Ralfa Elisona,

Virginia Woolf’s "Mrs. Dalloway,"

„Gospođe Dalovej” Virdžinije Vulf

and Italo Calvino’s "If on a winter’s night a traveler,"

i „Ako jedne zimske noći neki putnik” Itala Kalvina

each establish a different point of view.

uspostavljaju različite tačke gledišta.

Who is telling a story, and from what perspective,

Ko pripoveda priču i iz koje perspektive

are some of the most important choices an author makes.

su neki od najvažnijih izbora koje pisac pravi.

Told from a different point of view, a story can transform completely.

Ispričana sa drugačije tačke gledišta,

priča može u potpunosti da se transformiše.

Take this fairytale:

Uzmite sledeću bajku:

"Rapunzel, Rapunzel," the Prince called, "let down your hair."

„Zlatokosa! Zlatokosa!” Princ je pozivao: „Spusti svoju kosu.”

Rapunzel unbraided her hair and slung it out the window.

Zlatokosa je rasplela pletenice i izbacila kosu kroz prozor.

The prince climbed her tresses into the tower.

Princ se popeo u toranj uz pomoć njenih uvojaka.

Rapunzel is typically told like this, with the narrator outside the story.

Zlatokosa je obično ispričana ovako, sa pripovedačem izvan priče.

This point of view is called third person.

Ova tačka gledišta se naziva trećim licem.

But Rapunzel can also be told by a character in the story—

Međutim, Zlatokosu može da ispriča i lik unutar priče -

a first person narrator.

pripovedač u prvom licu.

The tail end of Rapunzel’s locks plopped down at my feet.

Vrhovi Zlatokosinih pramenova su mi zapahnuli stopala.

I grabbed on and began to climb… ugh!

Zgrabio sam ih i počeo da se penjem... Uh!

I couldn’t untangle myself.

Nisam mogao da se odmrsim.

Strands came off all over me, sticking to my sweat.

Niti su pale svuda po meni, lepeći se za moj znoj.

In a first person narrative, the story can change dramatically

Ispripovedana u prvom licu, priča može drastično da se promeni

depending on which character is the narrator.

u zavisnosti od toga koji lik je pripoveda.

Say Rapunzel was narrating instead of the prince:

Recimo da je pripovedač Zlatokosa, a ne princ:

I hope he appreciates how long it takes to unbraid 25 feet of hair, I thought.

Nadam se da ceni koliko je potrebno da se rasplete osam metara kose, pomislila sam.

OUCH! I'll be honest; I thought my scalp would stretch off of my skull.

Aj! Biću iskrena; pomislila sam da će mi vlasište skliznuti sa lobanje.

"Can you climb any faster?" I yelled.

„Možeš li brže da se penješ?” povikala sam.

In second person, the narrator addresses the story to the reader:

U drugom licu, pripovedač deklamuje priču čitaocu:

He calls your name. He wants you to let your hair down.

Poziva te po imenu. Želi da spustiš svoju kosu.

You just finished braiding it, but hey– you don't get a lot of visitors.

Upravo si je splela, ali, hej, nemaš mnogo posetilaca.

Third person, first person, and second person perspectives

Perspektive u trećem licu, prvom licu i drugom licu

each have unique possibilities and constraints.

imaju jedinstvene mogućnosti, kao i ograničenja.

So how do you choose a point of view for your story?

Dakle, kako da odaberete tačku gledišta za vašu priču?

Constraints aren’t necessarily a bad thing—

Ograničenja nisu nužno nešto loše -

they can help focus a story or highlight certain elements.

mogu da pomognu u usmeravanju priče i naglašavanju određenih elemenata.

For example,

Na primer,

a third person narrator is necessarily a bit removed from the characters.

pripovedač u trećem licu je nužno malčice udaljen od likova.

But that can be good for stories where a feeling of distance is important.

Međutim, to može da bude dobro za priče u kojima je važno osećanje udaljenosti.

A third person narrator can be either limited,

Pripovedač u trećem licu može da bude ograničen,

meaning they stick close to one character’s thoughts and feelings,

u smislu da ostaje vezan za misli i osećanja jednog lika

or they can be omniscient, able to flit between characters’ minds

ili može da bude sveznajući, u stanju da preleće između umova likova

and give the reader more information.

i time čitaocu pruži više informacija.

A first person story creates closeness between the reader and the narrator.

Priča u prvom licu stvara bliskost između čitaoca i pripovedača.

It’s also restricted by the narrator’s knowledge.

Ali je i ograničena znanjem pripovedača.

This can create suspense

Ovo može da stvori neizvesnost

as the reader finds out information along with the character.

dok čitalac zajedno sa likom saznaje informacije.

A first person narrator doesn’t necessarily

Pripovedač u prvom licu ne mora nužno

have to represent the character’s experience faithfully—

da verno prikazuje iskustvo lika -

they can be delusional or dishonest.

može da obmanjuje ili bude neiskren.

In Kazuo Ishiguro’s novel "The Remains of the Day,"

U romanu „Ostaci dana” Kazua Išigura,

Stevens, an aging British butler in 1956, recounts his many years of service,

Stivens, ostareli britanski batler

iz 1956. godine seća se svojih dugih godina službe,

but fails to acknowledge the flaws of the man he serves.

ali ne uviđa mane čoveka kome služi.

The cracks in his narrative eventually draw the reader’s attention

Pukotine u njegovom pripovedanju vremenom privlače čitaočevu pažnju

to the under-acknowledged failings of the culture and class system

na neprepoznate nedostatke kulture i klasnog sistema

he inhabits.

u kome pirpovedač živi.

Justin Torres’s novel, "We the Animals,"

Roman „Mi životinje” Džastina Toresa

begins with a plural first person narrator:

počinje pripovedanjem u prvom licu množine:

“We were six snatching hands, six stomping feet;

„Bili smo šest grabljivih ruku, šest tutnjavih stopala;

we were brothers, boys, three little kings locked in a feud for more.”

bili smo braća, dečaci, tri mala kralja u klinču borbe za više.”

Partway through the story, the point of view shifts

Tokom priče, tačka gledišta se menja

to first person singular, from we to I, as the boys come of age

u prvo lice jednine, iz mi u ja, kako dečaci odrastaju

and one brother feels alienated from the others.

i jedan brat postaje otuđen od ostalih.

Second person is a less common choice.

Drugo lice nije čest izbor.

It requires the writer to make the reader suspend disbelief to become another “you.”

Zahteva od pisca da navede čitaoca da ukine nevericu i postane drugo „ti”.

Placing the reader in a character’s perspective

Smeštanjem čitaoca u perspektivu lika

can build urgency and suspense.

može da se izgradi osećanje hitnost i neizvesnost.

Sometimes, though,

Ponekad, pak,

second person is intended to distance the narrator from their own story,

drugo lice ima funkciju udaljavanja pripovedača iz sopstvene priče,

rather than bring the reader closer to the story.

a ne zbližavanja čitaoca s pričom.

In these cases,

U ovim slučajevima,

second person narrators refer to themselves as “you” rather than “I.”

pripovedač u drugom licu se obraća sebi upotrebom „ti” umesto „ja”.

Writers are constantly experimenting with fresh variations on point of view.

Pisci stalno eksperimentišu sa novim varijacijama na tačke gledišta.

New virtual and augmented reality technologies

Nove tehnologije virtuelne i proširene stvarnosti

may expand the possibilities for this experimentation.

će možda proširiti mogućnosti za slične eksperimente.

By placing people at a particular vantage point in virtual space,

Smeštanjem ljudi u određenu pogodnu tačku gledišta u virtuelnom prostoru,

how might we change the way we tell and experience stories?

kako ćemo da izmenimo način na koji pričamo i doživljavamo priče?