See, more specifically, her chart on the different possibilities for prolepses
and analepses (84) and her discussion (149-194) of what she calls "internal character-text" and the ways in which it differs from "external poet-text."
The frequent prolepses would then place us in the narrator's present moment, in the time of narration.
The Prelude's prolepses could serve as a counterexample to Teresa Bridgeman's claim that "the chief feature of the proleptic frame is its provisional nature, its inbuilt 'reactivatability'.
In fact, there is a virtual taboo in Austen on any narrator's prolepsis whatsoever, including internal prolepses
. The limit of narrative vision into the future is reached in such minor examples as, "She and Mary were actually setting forward for the great house, where, as she afterwards learnt, they must inevitably have found him ..." (Persuasion 53).
The annonce is generally marked by its brevity, but this would seem to be a matter of practice only ("Repeating prolepses ...
Unable to find an example of complete prolepsis, he suggests that all prolepses are of the partial type, but proposes that in theory a complete prolepsis would take us to the denouement of the primary narrative (77).
The last two annonces are both embedded second-degree analepses in R3 prolepses where other protagonists look back with regret on their own behavior towards her in light of her death.
Instead, like many other prolepses in the book, it provides a sense of historical context and local color.
Those relating to later points in R2 and R1 will be assumed to be internal repeating prolepses, falling within the school careers of the girls, while those relating to events after the girls have left school (R3) may well be assumed to be completing and external prolepses.
(30.) Genette calls analepses and prolepses which "deal with a story line different from the content (or contents) of the first narrative" heterodiegetic.
(31.) Although the use of parentheses might also seem to indicate the subordinate nature of this prolepsis, Proulx demarcates almost all her prolepses in this way, including those which relate to significant events in the lives of major protagonists.