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sonal observation. He's not capable of understanding the character's actions and behavior.

There are two forms on the 1st person narration:

Øthe narrator is the character of the events described. He is the character as well as the narrator.

The narrator is not only named but his speech is stylistically marked - all his speech peculiarities are reflected in it. The narrator is an analogue of the author - he chooses, evaluates and narrates the facts (Dr. Watson, R. Cruso).

Øthe narrator is on the periphery of events. His role is that of the observer, a witness, a correspondent. A characterobserver, doesn't participate in the events (E. Bronte Withering Heights, where the events are narrated by a nanny Nelly).

·The 3rd person narration is more objective, the narrator is not so personally interested. The narrator is not named and is not singled out. The author's image and the narrator are united. The author-narrator views his person-

ages from above, commenting and evaluating their character and behaviour. 3rd person narration: O. Wilde "The Picture of Doreen Grey", O'Henry

"The Gift of Magi".

Sometimes it is very difficult to differentiate between the author and the narrator, especially in the 1st person narration. All the explicit evaluations belong to the narrator. The author's viewpoint is manifested in title, composition, irony, hyperbole, etc. The author's position may completely coincide with that of the narrator ("The Great Gatsby") or be different ("A Very Short Story" E. Hemingway).

The identity of the author's and narrator's positions may lead to a false conclusion about the identity of their images. Sometimes due to the likeness in some traits of character and details of biographies the literary character is identified with the writer.

11.3. Character's speech

There distinguished two types of character's speech, direct and inner speech.

·Dialogue/direct speech

In direct speech personages express their minds in the form of uttered

speech. Direct speech is a quotation, repetition of the exact utterance as it was spoken. It is usually introduced by a verb like: say, utter, shout, etc.

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Conversation in a novel or short story resembles authentic conversation, but never copies it. You don't, for a start, reproduce typical non-fluency features, except for the occasional hesitation or incomplete sentence. And from the literary point of view, conversation in a novel has to do much more than sound like real-life talk. It advances the action and adds to the reader's knowledge about the character.

The main function of the dialogue is the reflection of the natural communication between people-characters. It is the analogue of the oral type of speech. The latter is highly emotional; it has a certain intonational structure; it is characterised by the extensive use of low-flown, colloquial layer of vocabulary and lexical units, elliptical, laconic sentence structures.

The personage reflects emotions by using exclamatory words, vulgarisms, slang, repetitions, ellipsis, aposiopesis, etc. A great role is played by graphons, the indicators of the social status of the character.

Thus the dialogue colours the literary text with the tone of spontaneity, informality, immediate reactions. The dialogue introduces a character's point of view; there are as many points of view as there are personages in the text. This creates the polyphony of the literary work.

Dialogue contributes to achieving the effect of reality and authenticity of narration. It is a significant form of the personage's self-characterisation. Dialogue is a specific form of social contact, in which the direct exchange of utterances takes place.

·Inner/interior speech of characters

The writers have always been interested not only in what their character

does and says but also in what he thinks. Only addressing a person's thoughts reveals the source of his actions, speeches, their cause and destination.

When the author allows the characters themselves to express their thoughts and reflection, they become trustworthy and the reader gets involved in the character's emotional psychological inner life. It is reflected in the inner speech, which doesn't take direct part in the development of the events but concentrates on their motives, causes and consequences and real relations, revealing their essence.

There are several forms of this type of speech:

Ø Inner/interior monologue – a lengthy piece of the character's meditations and analysis. It is the main form of the inner speech, where the character's spiritual, moral, ideological image is shown as it is. The character thinks, recollects, analyses, plans. The absence of any witness or interlocutor provides absolute sincerity.

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The interior monologue breaks up the development of the plot and slows it down. It influences the plot, explains it, but doesn't participate in its development. It is characterised by the 1st person narration. The speech peculiarities of the personage are preserved; there are many interrogative and exclamatory sentences. It contributes to the creation of a psychologically complex character.

e.g. He looked at his watch and thought, I wonder if Andres got through to Golz? If we are going to blow it I would like to breathe very slowly and slow up the time again and feel it. Do you think he made it? Andres? And if he did would they call it off? If they had time to call it off? Do not worry. They will or they won't. There are no more decisions and in a little while you will know. (E. Hemingway. For Whom the Bell tolls)

ØShort insets of interior speech – immediate mental and emotional reactions of the personage to the remarks or actions of other characters. As a rule it is marked by dashes, brackets, dots. It includes individual repetition, bywords, favourite words and expressions, thus reflecting the spontaneous, emotional perception of the events by the personage.

e.g. ... the small straight nose and a cowlick in one eyebrow that sends a little fan of hairs the wring way and seems to express a doubt. Amazing, genes. (J. Updike) – the character looks at his grown-up son.

ØAutodialogue – a talk to oneself.

It represents the fight between the emotional and rational, expressed by two inner voices. Either part provides its arguments: feelings, premonitions, intuition versus logic and reason. In most cases it is represented by questions and answers, when questions are dictated by the character's emotional state, and the answers explain, comfort and direct the character to the solution of the problem.

Ø Stream of consciousness – the disjoined, purely associative manner of thinking.

It is the largest form but the least divisible. It's rather difficult to understand as it is elaborate and sophisticated. Both the peculiarity of each character's thinking and the writer's individuality result in abandon of devices used to create the associative

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stream. Both the syntax and vocabulary are extremely difficult. There are a lot of repetitions, peculiar rhythm and graphic means, polysyndeton or asyndeton, etc.

e.g. Mr. Bloom put his head out of the window.

Gaswork. Whooping cough they say it cures. Good job Milly never got it. Poor children' Doubles them up black and blue in convulsions. Shame really. Got off lightly with illnesses compared. Only measles. Flaxseed tea. Scarlatina, influenza epidemics. Canvassing for death. Don't miss this chance. Dog's home over there. Poor old Athos! Be good to Athos, Leopold, is my last wish. Thy will be done. We obey them in the grave. A dying scrawl. He took it to heart, pined away. Quiet brute. Old men's dogs usually are. (J.Joyce Ulysses)

11.4. Represented speech/ Non-personal speech

Represented speech is the blend of viewpoints of the author and the character. It is a combination of author's speech and that of the character. The author interprets the manner in which the direct speech was uttered thus changing the emotional colouring of the whole text.

The narration is transferred into the plane of the character. However the author is always present and organises his/her utterances himself. There is a contamination of two voices, the author's and that of the character.

·Uttered represented speech (косвенно-прямая речь) – the writer's reproduction (sometimes mental) of once uttered speech by the character thus creating the impression that it really sounds. The writer represents the direct speech: she replied that no, she wasn't, you know.

e.g. "Barbara ", said Kit, "you're not cross with me?"

Oh, dear! Why should Barbara be cross? And what right had she to be cross? And what did it matter whether she was cross or no? Who minded her?

"Why. I do," said Kit. "Of course I do." (Ch. Dickens. The Old Curiosity Shop) The uttered represented speech preserves the main lexical and syntactical features of a dialogue. It's characterized by interjections, violated gram-

mar norms, interrogative and exclamatory sentences. But it is presented not from the 1st person, but from the 3rd person.

·Unuttered/ inner represented speech (изображённая) – the reproduction of the character's thinking by the author. It expresses feelings and thoughts of the personage, which were not materialised in spoken or written language by the character.

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e.g. Denis groaned in his spirit, condemned himself utterly with all his works. What right had he to sit in the sunshine, to occupy corner seats in thirdclass carriages, to be alive? None, none, none. (A. Huxley Crome Yellow)

It's very hard to draw a sharp borderline between the author's voice and that of the character in represented speech. According to its functions and lexico-syntactical organisation uttered represented speech is close to the dialogue and unuttered represented speech is close to interior speech of the character. The represented speech does not break the development of the plot but alters the angle of the depiction of actions and events. It gives the writer an opportunity to show the inner springs, which guide his character's actions and utterances. Thus it is a device to depict a character's image.

· Non-personal author's narration (несобственное авторское по-

вествование) – it happens when the character relates the author's ideas. We see the events through the character's apprehension. It doesn't hinder the flow and the dynamics of the plot. It also serves as an indirect characterization of the personage, his/her outlook, emotional state at the moment of the event, his subjective attitude.

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USEFUL VOCABULARY TO THE LECTURES

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