The spatial viewpoint here appears to be that of the congregation in the main body of the church, of which Fanny is a part. We are positioned so that we see Harry, the soloist, with the choir behind him, just as the congregation would (note how we use our general knowledge about church services to help make this inference). There is social viewpoint in the reference to Harry by his first name, suggesting a close relationship - which would be appropriate not just to Fanny, but also to most of the villagers in the congregation, who would have known him since he was a child. Definite reference is abundant because, in conceptual terms, everything which is referred to will be familiar to the congregation. But the shift to indefinite reference in 'a shouting female voice' signals that the event is conceptually new, and very surprising for the congregation. It is almost unheard of for people to shout out in church. And indefinite reference is not so common towards the ends of stories because most of the relevant people and objects will already have been introduced. This surprise effect is also represented in event-coding terms. Someone has shouted, but Lawrence representing this by the having 'a shouting female voice' as subject to the dynamic verb 'rose' makes it look as if the identity of the person shouting is unknown to the congregation and so the voice appears to come out of nowhere from the congregation's (and our) perspective. All we know is that the person shouting is female (we don't even know how old she is or what she looks like). In attitudinal terms, the fact that the voice is modified by the participial adjective 'shouting' suggests the congregation disapprove of what they hear. It is bad enough to interrupt a church service, but to do it by shouting is even more unseemly. Because the 3rd-person narrator is taking on the disapproving viewpoint of the congregation as a whole, we will want, other things being equal, to adopt the same viewpoint. So we will tend to disapprove of the person interrupting, even though we don't even know who she is yet.
Note that spatial, social attitudinal and conceptual viewpoint are all used in the one sentence and a wide range of linguistic viewpoint markers are used too: definite and indefinite reference and event coding to indicate conceptual viewpoint and surprise, prepositions indicating positional (spatial) relations, names indicating social viewpoint and a value-laden adjective indicating attitudinal viewpoint.
The viewpoint position (that of the congregation) is consistent with what we saw in sentence 1. The definite articles apply to people and objects already known to the congregation. There is a combination of attitudinal and conceptual viewpoint (through a value-laden adjective and event coding) in the first clause in that the organ gave the 'startled trump'. Presumably the congregation can't see the organist, who will be behind the organ from where they are sitting. And so although it must be the organist, not the organ, which is startled, what happens is described as if the organ itself is startled and suddenly stops of its own accord. The value-laden participial adjective 'transfixed' can be seen either as a switch to the conceptual and attitudinal viewpoint of the choir or as indicating that the congregation, from whose view we have seen this occasion so far, are interpreting the stative behaviour of the choir, and so taking the choir's viewpoint into account. From this small example it can be seen that sometimes viewpoint relations in texts may be ambiguous.
The switch from narrative description to direct speech in the first part of the sentence marks a clear change in viewpoint to that of the owner of the voice. As it is Harry who has been singing, the 2nd-person pronoun 'you' must be directed at him, and so we know that in attitudinal terms the person speaking disapproves of Harry. The distal deictic adverb 'there' suggests a feeling of both physical and social/attitudinal distance from Harry on the part of the speaker, and this disapproving attitude is also seen in the indication that it is in some way inappropriate for Harry to be singing in church (which suggests that the speaker thinks he must have done something seriously wrong). In the part of the sentence which is not direct speech (the reporting clause), the viewpoint of the congregation is re-established. We still do not know the owner of the voice, and the rest of the sentence mirrors the attitudinal and conceptual viewpoints that we saw when the voice was introduced in sentence 1 (and also the linguistic markers used to instantiate them). The deictic verb 'came', although it is used metaphorically here, also helps to mark the spatial viewpoint as that of the congregation (and it also helps us to see that 'rose' in sentence 1 was also metaphorical and had spatial viewpoint consequences too).
The viewpoint here is a bit ambiguous. As the narrator refers to 'everybody' it could be that he has adopted a position outside the whole congregation, looking in. But the viewpoint could equally well be construed as that of the congregation itself. The fact that everyone turns towards the source of the voice (they have no other reason for turning en masse) positions the shouting person at the back of the church, and the participial adjective 'electrified' indicates the congregation's conceptual and attitudinal viewpoint at the same time.
This sentence coheres in viewpoint terms with the previous one, in that the congregation, including Fanny, can now see the owner of the voice. The use of indefinite reference for the shouting woman suggests that she is unknown to the congregation, however. The fact that Harry is referred to not by name but with a noun phrase indicating his role ('the soloist') suggests that the viewpoint can't be that of Fanny alone, as we would expect Harry's first name if just her viewpoint was being represented. The adjectives 'stoutish' and 'redfaced' are descriptive of the woman, but they also suggest an antipathetic attitude on the part of the congregation: she is not physically attractive, and there is a tendency in stories for nice people to look nice and unpleasant people to look unpleasant. (Indeed, we have already examined a poem on this course which 'critiques' that common assumption). The use of continuous aspect for the verb phrases 'was standing . . . denouncing' suggests that either the shouting went on for some time in the world of the fiction, or, more likely, it felt like a long time (conceptual and temporal viewpoint) from the perspective of the congregation. This suggests understandable embarrassment on their part (including Fanny, who is likely to be one of the most embarrassed, along with Frank himself and his close family).
The fact that 'the congregation' is subject to the cognitive verb 'realised' anchors the viewpoint as theirs in conceptual terms, and we see more conceptual and attitudinal aspects of their viewpoint in the lexis of the phrase 'fainting with shock'. There is also an example of event coding in this sentence. The 'it' clearly refers back to the information we have already seen in sentence 5, and so we would normally assume that the congregation would have realised what was going on in sentence 5. But sentence 6 cancels that assumption, and hence we have to construe a series of events whereby they do not properly realise what they are seeing as they see it (sentence 5. The state of shock they are in appears to delay their understanding of what they see for a moment.
The switch to direct speech involves a viewpoint switch to the speaker addressing Harry. The attitude is clearly the same in general terms as that we saw in the direct speech in sentence 3. We also get again the use of the 2nd-person pronoun (repeated for effect) and the distal spatial and social/attitudinal adverb 'there'. The woman's representation of attitudinal distance from Harry can also be seen in her use of his last name ('Goodall') as an address term for him. This contrasts with the narrator's use of his first name to refer to him at the beginning of the passage. The narrator (and hence us the readers) is clearly much closer and more sympathetic to him.
Not a lot extra to say here. Same viewpoint as S7: the woman's direct speech. She appears to be carrying out a threat she must have made earlier to Harry, but which no one else knew about. But we still don't know why, of course, which helps to explain the drama and tension in the scene.
Again the woman's viewpoint continues. But in the phrase 'your young woman' she also takes Harry's viewpoint into account. She uses the proximal adverb 'here' for the church as it is 'close' to her as speaker, and suggests attitudinally that she may also feel at home in the church, just as much as the rest of the congregation. As before, her apparently approving attitudinal descriptor of Harry 'you look well' is clearly heavily ironic. Irony is one of the general ways in which attitudinal viewpoint is marked in texts.
Apart from the pronouns there is not much in the way of explicit viewpoint marking in this sentence. However, note how the sentence has different speech act values depending on the viewpoint of the other characters present. For Fanny it would appear to be an indication of a warning of something unpleasant that is about to be made clear. For Harry it is a threat. For the rest of the congregation it looks like the promise of interesting gossip to come. Hence utterances can have different speech act values, depending on the viewpoint of the person involved.
This is the last sentence of the woman's direct speech. It is an elliptical sentence (a noun phrase containing a relative clause) which can only be properly understood in relation to the previous sentence: it is her characterisation of Frank. The word 'scamp' indicates her disapproving attitude towards Frank (for Lawrence it appears that the term was more connotatively unpleasant than it is today). And 'scamp' is modified by the indefinite article because she is taking the viewpoint of her listeners into account as well as expressing her own attitude: although Frank is well-known to everyone, this characterisation of him is clearly new and unexpected for the congregation. However, it is still difficult to understand what Frank is being accused of because of the abstract lexis used to phrase the accusation.
This narrative sentence looks as if it must be from a spatial viewpoint outside both Fanny and the woman who has been speaking because they are both given 3rd-person reference. The modifiers 'hard-faced' and 'frenzied' clearly suggest an unsympathetic attitude on the part of the narrator.
The direct speech returns us to the viewpoint of the speaking woman, who now addresses Fanny directly (cf the use of the 2nd-person pronoun 'you'). Clearly the attitude towards Harry is the same as before in general terms. The one significant viewpoint indicator is the reference to Harry with first name + last name. She would not use first name only because that choice would express a closeness inappropriate to her antipathetic attitude to him. She has already used last name only when addressing Harry directly. Here her choice of the full form when addressing Fanny would appear to be to make sure that there is no doubt whatsoever about whom she is accusing.
The switch from direct speech to narrative involves a switch in viewpoint, of course. Again, the description of the woman sitting down again seems to be external to her. This time there are no overt attitudinal markers or other markers of viewpoint in this sentence to help us locate the viewpoint more precisely.
The viewpoint here also seems to be mainly external, but we are also told of the conceptual viewpoint of Fanny in particular (as a representative of the rest of the congregation) through the attitudinal verbal adjective 'startled'.
The description of Fanny seems to be almost entirely external here. Her face going white and then red would be perceivable by those in the congregation who could see her. The adjective 'burning' however is rather ambiguous in this respect. It could indicate the intensity of her colour (and so could be used by others to infer what it would have felt like for her physically), in which case its use is metaphorical. But it could also be interpreted literally as an adjective indicating a physical sensation directly perceivable only by Fanny. Whether a particular reader interprets this adjective one way or the other (or indeed in a combination of these ways) in viewpoint terms, this is a clear case where the reader will understand Fanny's viewpoint and sympathise with it. She is being publicly singled out in spite of not having done anything wrong, and the man everyone assumes she will marry is being attacked in a very overt and public fashion indeed. We can see from this that the expression of a viewpoint tends, other things being equal, to lead to reader sympathy, and that, although linguistic viewpoint markers are a very important aspect of the total viewpoint picture, other, non-linguistic\factors also need to be taken into account in analysis.
The viewpoint taken up in this sentence is definitely that of Fanny. She is subject to the cognitive verb 'knew', indicating that we are getting a representation of her cognitive state and hence her conceptual viewpoint. The object of 'knew', the noun phrase 'the woman' has definite reference because conceptually Mrs Nixon is given information for Fanny - Fanny knows who she is. The rest of the sentence consists of two noun phrases in apposition to 'a woman', with fairly long and complex postmodification of the head nouns. The fact that 'Mrs Nixon' is preceded by the indefinite article indicates that Fanny knows who she is, but does not really know her. The 'title + last name' formulation reinforces a distant social relationship, although she appears to know Mrs Nixon's husband rather better, as the reference to him is by first name. There is an abundant use of evaluative attitudinal lexis (mainly adjectives, but also the noun 'devil' and the verb 'beat' which indicate her already-formed, detailed and highly critical opinion of Mrs Nixon, her husband and her daughters).
The next sentence, which continues to express Fanny's attitudinal viewpoint, is elliptical. It consists of another noun phrase in an appositional relationship to the noun phrases in the previous sentence referring to Mrs Nixon. The adjective is clearly heavily evaluative, and so, to some degree is the noun 'character', suggesting along with the adjective, that Mrs Nixon's past exploits are common knowledge in the village. This, along with what we have seen in the previous sentences, will lead us to assume that the rest of the congregation will feel critical of Mrs Nixon, as Fanny does, and that they probably sympathise with Fanny, as we do.
The last sentence of the extract moves us back to an external view of Fanny. We see in spatial viewpoint terms what others in the congregation would see.