The essay examines the corporeal aspect in George Eliot’s early novella, The Lifted Veil (1858), which is related to the central character (also narrator) – Latimer, who is an exceptional hearer and clairvoyant. Appropriating the theory of narratology (G. Genette, W. Nelles) and hermeneutical analysis, it explicates how corporeality defines the narrative’s structure and focalization. Furthermore, it claims that the protagonist’s ability to hear is crucial to the crafting of the novella’s narrative. Hearing is, consequently, the act through which – to a large extent – the story unfolds. Throughout the novella, the readers access the events through what Latimer hears or previsions. Furthermore, hearing guides the novella’s narration.The narrative of The Lifted Veil is predominantly oriented through aural perception. Focalization by sound relies on the protagonist’s sound ability with sensitising the reality. Latimer’s registering of sounds he hears thus controls his narrative ‘eye’. Furthermore, the novella’s narrative is related to focalization by sight, or to be more precise, by Latimer’s visionary sight inasmuch as he is disposed to many visions, including those which are directly related to his own life. Highly applicable here is William Nelles’s conceptualization of focalization. Inspired by the French theorist, G. Genette, Nelles suggested a typology of focalization by five modes of perception: ocularisation (sight), auricularisation (sound), gustativisation (taste), olfactivisation (smell), and ‘tactivisisation’ (touch). In Eliot’s novella, auricularisation prevails.The essay claims that the narrator’s engagement with sound can also be unconscious, – then it is inscribed on his body: he feels unwell, faints, feels dizzy, etc. Corporeality is thus also rendered in its relation to the protagonist’s specific response to the outer world. It is established that the emotional response articulated by the narrator’s body is not always deciphered by Latimer himself, hence it is the reader’s task to explicate the original emotional response of the narrator’s “feeling body” and its “trigger”.The analysis also contributes to the idea suggested by John Parker and others that corporeal comment is attributive to the epistemology of sound in George Eliot’s fiction including her early works.