JCERJournal of Contemporary Educational Research2208-84662208-8474Bio-Byword Scientific Publishing Pty. Ltd.10.26689/jcer.v6i6.4067ArticleAn Analysis of the Role of the Narrator in Cranford: The Transition from “I” to “We"https://artdesignp.com/journal/JCER/6/6/10.26689/jcer.v6i6.4067LiTianrong2022662022-06-22Mrs. Gaskell carried an excellent reputation in the Victorian era for her quality works in depicting the many strata of society and social changes [1]. Among her classic works, Cranford is said to be the only book that she would reread again in her aged years [2]. The unique standing of the novel may be ascribed to its careful use of the narrative strategy, specifically the role of the narrator. However, most of the studies on the narrator focus on the feminist point of view, and very few are concerned with the changes of the narrative voice between “I” and “we.” This paper attempts to explain the purpose of this transition by analyzing the role of the narrator and her interactions with other characters. It is concluded that the change of narrative voice is an illustration of the transition of the narrator’s role and emotion, which evokes the readers’ emotional response and helps them better understand one of the themes – feminist utopia. This paper is divided into three sections. The first section looks at the social milieu of the novel. The second section discusses two major roles of the narrator, Mary Smith as a reporter and a mediator, respectively. The third section talks about the narrator’s growth from a minor character to a leading participant, and the implied theme is discussed as well.

Xu XF, 2017, On Offside of Mrs. Gaskell’s Cranford. Journal of Yichun University, 39(8): 92–95.

Koustinoudi A, 2001, Narrative Voice and Gender in Elizabeth Gaskell’s Cranford. Gramma: Journal of Theory and Criticism, 9: 113–128.

Li Z, 2007, A Concise History of English Literature, Northeast Normal University Press, Changchun.

Chen LZ, 2011, The “Elegant Economy” in Cranford. Foreign Literature Review, 2011(1): 28.

Xia WJ, 2021, Construction of feminist Utopia in Tension – A Feminist Narratological Reading of Cranford. Journal of Northeast Normal University (Philosophy and Social Sciences), 2021(4): 126–132.

Lu DL, 2015, The Feminist Narrative Strategy in Cranford. Journal of Luohe Vocational Technology College, 14(6): 76–78.

Carse WK, 1990, A Penchant for Narrative: Mary Smith in Elizabeth Gaskell’s Cranford. The Journal of Narrative Technique, 20(3): 318–330.

Wei EW, 2005, An Analysis on the Narrative Voice in Gaskell’s Cranford. Journal of Liming Vocational University, 2005(2): 9–12.

Chen LZ, 2014, Narrative Dynamics of Cranford: Desire, Sexuality and Repetition. Shandong Foreign Language Teaching Journal, 2014(6): 80–85.

Booth A, 2010, The Norton Introduction to Literature, W.W. Norton & Company, New York City.

Ding LM, 2021, Gaskell’s Cranford: Hunger Aesthetics and Elegant Economy. Shandong Foreign Language Teaching, 42(4): 107–114.

Gaskell E, 1972, Cranford, Oxford University Press, Oxford, United Kingdom.

Gillooly E, 1992, Humor as Daughterly Defense in Cranford. SELH, 59(4): 883–910.

Koustinoudi A, 2010, Narrating the Individual and the Community in Elizabeth Gaskell’s Cranford. Gramma: Journal of Theory and Criticism, 18: 67–80.

Lambert C, 2018, Elizabeth Gaskell’s Cranford: Performing Masculinity. Victorian Review, 44(2): 177–182. https://doi.org/10.1353/vcr.2019.0009

Wu D, 2010, Deep River with a Tranquil Surface: The Tranquil World in Cranford. Seeking Truth, 37(4): 112–117.

Xu XF, Xiang SL, 2017, Seeking Harmony: On the Themes of Cranford. Journal of Huaihai Institute of Technology (Humanities & Social Sciences Edition),15(3): 51–55.