The second is that Burgess's A Dead Man In Deptford is written in omniscient 1st person. And there's a reason for it. And I understood what the reason was.
Because he could have written it in the first person POV of Kit Marlowe. Or in the third-limited POV of Kit. Or in omniscient third.
But what he's done is written it in the first-person POV of an actor in the Admiral's Men, and had that character extrapolate, retell, expand, fictionalize, gossip, rumormonger, and recount--with editorials--his knowledge of the events of Kit Marlowe's life. Which is just brilliant, because it's Burgess' acknowledgement through the voice of his character that while this is a historical novel, so much of it is fiction (except that sparse handful of primary documents) and second-guessing, and extrapolation--that even the fiction must acknowledge that it's fiction.
So Burgess gives us a fictional actor speaking in the fictionalized voice of a real man, and gives us his comment on the modern day transgressions and irregularities of genius, on same-sex love and religion and the senselessness of repressive social orders.
Much as the Elizabethan playwrights themselves put their words in the mouths of historical figures.
And this is hitting me hard, this realization of how this (bizarre) POV works and why. Which I think means it has some bearing on my current plateau, and getting off it.
And on that note, I'm going to bed.