Which of the following narrative strategies best exemplifies the “evidentiary narrative technique” mentioned in last line?

Telling a story in such a way that the author’s real intentions are discernible only through interpretations of allusions to a world outside that of the story.

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Telling a story in such a way that the reader is aware as events unfold of the author’s underlying purposes and the ways these purposes conflict with the drama of the plot.

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Telling a story in a way that both directs attention to the incongruities among the points of view of several characters and hints that the plot has a significance other than that suggested by its mere events.

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Telling a story as a mystery in which the reader must deduce, from the conflicting evidence presented by several narrators, the moral and philosophical significance of character and event.

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Solution

The correct option is C Telling a story in a way that both directs attention to the incongruities among the points of view of several characters and hints that the plot has a significance other than that suggested by its mere events.
Option C. Look at the last line of the passage. The author basically talks about two things regarding the narrating style.

1.) Emphasis on dissimilarities (incongruities) between different perspectives (points of view) on the same events held by different characters.

2.)Relationship between what is explicitly stated ( surface drama) and the author’s concealed intention.

Out of the given options, these points are best captured in C.

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Two Gentlemen of Verona is written in the first person. A story written in the first person is a first-hand account of events told or narrated through the eyes of a single character, typically the main character. Stories written in the first person are easily identified by the use of the pronoun 'I' rather than 'he or she'.

The reader will see phrases such as "I said, I thought," rather than "he said, she thought." Everything is experienced through the eyes of a single character, and all thoughts and observations are limited to that one person. There can be no outside observer. If the narrator does not see or experience an event first-hand, it cannot be a part of the story. All scenes in the story are filtered through this person's unique perception.

The third-person is a narrative mode in which both the reader and author observe the situation either through the senses and thoughts of more than one character, or through an overarching godlike perspective that sees and knows everything that happens and everything the characters are thinking. In this mode of narration, the narrator can tell the reader things that the main character does not know, or things that none of the characters know.

Notable as important nineteenth-century novels by women, Mary Shelley’s Frankenstein and Emily Bronte’s Wuthering Heights treat women very differently. Shelley produced a “masculine” text in which the fates of subordinate female characters seem entirely dependent on the actions of male heroes or anti-heroes. Bronte produced a more realistic narrative, portraying a world where men battle for the favors of apparently high-spirited, independent women. Nevertheless, these two novels are alike in several crucial ways. Many readers are convinced that the compelling mysteries of each plot conceal elaborate structures of allusion and fierce, though shadowy, moral ambitions that seem to indicate metaphysical intentions, though efforts by critics to articulate these intentions have generated much controversy. Both novelists use a storytelling method that emphasizes ironic disjunctions between different perspectives on the same events as well as ironic tensions that are inherent in the relationship between surface drama and concealed authorial intention, a method I call an evidentiary narrative technique.

Both the novels are similar in that they have metaphysical notions.
Both the novels are similar in that they have a surface drama and a concealed intention.
The two novels are different in their treatment of women but also similar in many ways.
The two novels have conflicting views on women.

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