This study does not claim to encompass all forms of fiction, either evolutionarily or synchronically. It explores a highly specific and specific topic to which narrative poetics—whether comprehensive or precise, such as Gérard Genette's "narrative discourse"—usually only grant a limited place. However, it is a topic of great importance, not only because the modern novel prioritizes the facts of consciousness, but also because interior life is generally the domain favored by fictional narrative. Thus, the methods used to illustrate interior life are closely linked to forms of fiction in general, such as their relationship to the "narrative situation" or the "point of view," to the point that difficult distinctions are made clear. This leads me to a final observation: the issue of narrative perspective has tended, over the last decades, more than any other aspect of narratology, to be strongly divided between theorists who have approached it from each side: the precision brimming with the creativity of critics on the one hand, and the reductionist engineering of linguists on the other.