ALSO BY SEYMOUR CHATMAN {Coming fo Toms: The Rtoric of Native in Fiction and Fle Esys om the Language of Literature (eaited with Samnel Levin) ‘The Later Style of envy Janes Literary Siyes 8 Symposion (edited and tranelated) A Theory of Meter STORY AND DISCOURSE Narrative Structure in Fiction and Film by SEYMOUR CHATMAN Cornell University Press180 srony avn onscounse “Seenbyzged gy ew “hr rn en Scena oes hae ee ya eee erearaarers SCE GN ly Nia eS ‘ety pga grb meme cn ey oh ele ” 39 Bovine mesa rei tomeop on te Shown pas nt ‘yar rca anruane rao GbeGon havasensa nents has Inter nl do ew hn ged ctf SOR ar et ce es St fee Se tee dn pone Heap ined tee we nanng se retin msde ect ee Ear Sap mgt Son aFot a ee ye Seep hg gp i ny fe, ein be Simhat ote, aaa Nii he ene sand ae ter Tr ro a Vy Sas ate eT ‘rome ia eh pen no ep spe pile got tc ry Tnamentlymanas Sco, nt ei nner, ving eSractnl tie 6 Rote Rok Pia Lee Soe area oe SAP ep IEP ee eee aaNet BURN a esp Bug tae e Be ere taps ae at Tobe all SULcar a eee ead SIeessceiegoeiit eng le aa ret SRT Toc oe th se DISCOURSE: NONNARRATED rORNES 181 attbuted to characters in some extranatulate way. Bul the ‘expression is always external, and for that reazon Belongs here Inthe discussion of unmediated speech, Solloguy is perhaps best ised as term to refer to nonnatu- nalatic or “expressionistic” narratives in which the only infers ‘ational source is that of characters formally presenting, e- Planing, ‘and commenting upon things. These are. formal Seclamaiions— not speech or thought in the ordinary sense but | stylized merging ofthe two. As with dramatic monelogue and siogue, the convention is that they have been “heard” by Someone end transformed into a writen tex Recon of Thought Direct FreeStyle nerior Monologue We turn now to characters’ thoughts. The representation of a characters consciousness may also be unmediated (although the very fact that If revealed implies a shade move mediation than that in a strict speech record. But “consciousness” a2 8 perrative concept needs crcumspection and ccumscripion, ‘Some plain-sense observations might help distinguish cases ‘often contasingly lumped together ‘Without plunging into psychology. one can separate two ‘nds of mental actly: tht which entals"verbalieation,” and that which does net~roughly, the distinction between copnl= on and perception. 1am sometimes conscious of saying tomy sit as I pass ¢ market the words "I must get milk and bread.” Dut rarely of saying, as T pass « garden, “That rose ls red” or “Look at that tol rose" or "The rotness ofthat soe,” The at Is something "fl rather thar asi, Since a cognition is alreedy # verbal constitute, of is easily Ing inne’ ease of Earnest Dad tapope™ ie 9 a Sak eee eae ‘Simran mints tee he sees ee ae moet SEiio mary eeay grshnoieenpe bree thor dats canons, std th suet mewn ad Sw Ee oooseen oursreduced to one its transference to verbal narativefs simple and mmedite, But the communiestion of perceptions reuires = tMansformation into language. A visual medium lke the cinema ‘hnimilstea red rove direc, nonvertlly, and noncommitaly, land itcan show that its the object ofa character's perception {by simple convention, like having the character Took offscreen, ha then cating to the nse eel, But the verbal medium nex Cmsanly presupposes a verbalization of that which is not in ‘seence verbal ‘Now an important question s whether this werblization oes ‘or dows not necessnlly seign the word ta narrator. Can non ‘ertal sensations be transformed ito “unassigned” words? The [Shower is yes: by means ofthe "Interior monologue.” "The mos obvious and direct means of handing the (howghts cof a characer Is to teal them as “unspoken speech,” plac- Sng them in quotation marks, accompanied by tags lke “he thought.” From Pride ané Prgjudice, "can this be Me. Darcy thought she.” This i direct tagged thought: the tense of the Feport clause is present, aot pastas i ould be inthe case of Ineect syle, a fag is used, and the thought appears in quote tion marks, To the hnction of stenographer has ben added that Df mind-reader, But no more thar thet, Thove is no inerpreta- tion, Only the wordethe exact words, diction, and syntax. a "gpeken’ in the characters mind have been taken down, The ‘ebrator sa bit more prominent by seraming this fonction, but ‘nigra bit We have moved slong the spectrum only a notch oF "Further, it is very esy—and has long been commonplace i Wester fiction to drop she quotation masks. And more re- “ontly the tog has also been eliminated. The result is diet fee fought. This t's form of enactment that in extended form is Called “interior monologve,"=* ‘The citer festures are "dy The character's self-reference, If any, i frst person. {2)-The current dizcourse-moment isthe same asthe stony ot eta sa alaPS arte wake shy evening aro” MSR ees Sa rer ane ee, Gl Bet an Gente Pe leigh iter menclogee = DISCOURSE: NONNARKATED SORES. 153, moment; hence any predict referring to the current mo- {emt wil bein the present tone. This snot an “epic pres: nt” dopiting past time, but rather a real present referring {contemporary time of the action. Memories and othet {eforencet tothe past il ccurin the ample pretest, not the past perfect 1G) Fhe lanpusge—iclom, diction, word: and syntactic. Solceae Mlntifiably tote of the charecter, whether OF fot anarator elsewhere intervenes GD Allusions to anything inthe character's experience are thade with mo more explanation than would be needed i Ris own thinking. that (6) There» no presumptive audience other than the thinker wan eens tothe prance or xpos needs — Condon), Gi, and (are not f course, unique to iret fice thought They spply equally to any form of tnmediated pooch -drmmati monologue, caloguc, and slloguy (but not tDindiect free thought and speech, which are narrator-medi- ‘Sted albeit inimally and sometimes smbiguously 59). Tris important to note tat tha charstriation of interior monologue includes the enaciment ofboth peresplons and cag. ‘iuonsIn tis respec aliers Kom previous opinions (ie wence Bowing’), which use the perepton/cognton di lincion to contiatfntaror monslogte wih ates Of con ror an oample of direc free thought, consider this extract from the “Calypeo” ston of Ulmer We fat meat Leopold Bloom in the Lichen (number the sentences Tor the reader's ‘convenes: {11 Kidneys were inhi ind ag he moved aout the chen softy sifting he beste hinge sm the urmpy ey. (2) eld igen Spey of ah acts pan of eI srt depute am ‘mr ot tan ee LE SRS Raat ae be a ‘SiRowe Rn elle hoy cers ned wad bat on ey IRR eae pe of Sr tongat Unt novel tated ot SCURRY Ey ow than may qartaase PO164 srony ave viscounse slewere in he itchen bt out of doors gente summer moming eery= "7B Made hi fs bit poi {5 Ate Sad al tr: hs, fou: ght 6) She dda Ube fab and tt ddcunye'on he eT Hak hee, Sal and tia cca waked shy ouhda agora abl ot along Tis) sdnact 113) SO Nete you are, Me. Bloom ad, tarning rom the re Such passages, though often cted as standard examples of Interior monelogue ae by no means unormly pure eat fee {fought Tne lat four sentncer commana the stlghfor tard report ofan efaced nartor The charader fe rtered fo by the tind perton and bis scone and thoughts represented ihe pant tees Achy, ths norm’ veto e more ude {han in "The Klos” in te third sentence the deletion of" ‘nat the dre tle but the tense remain pete In sentence ‘iver however, there is a shift to direct free thought not Bonus ofthe rnc syntax (he ti sentence js runsted withost ashi in tansmiesonal mode), bt rather becoure what delted ls deal tg ie “He thought and {he pronoun "The deleted predict weiner, inthe present tener fie thought need add) anater sie of bread ond tutes "(or the lke), Why ae ove so cen tat these are the ‘act words that passthrough Bloom's mind? (0) Because the Swords “ight” cantor be atttbuted tothe narrator: hi one tow the narrator cannot reasonably imagined fo be elghing {8 “Rghtness” of anything. Only Bloor cor dso @) Bema ‘erator conventional” donot speak in runeated ayn. {@) becouse therein no etdiences Bloons fot his own sartoe, {@)Becsusof he semantic: thes ps another sce makes our {tars “igh,” the exact number to st Moly taste: Only Bloom would be interested nthe athnetic Sentence sc, onthe other Bund, i direct fee style, since te preiest is “eid” rather than “deat.” Seven is ve fevs agnin, sone assume dct ue thought. Bight snd ie ‘sume te nariiors vice. “Soon in tent howeees, fra res DISCOURSE: NONNAREATED STORIES 185 ent time adver, and with the absent predicate, which might te present, rings us back to 2 quotuion of words passing {rough Bloom's min: "Raves cup often soon.” Say even is short for "That good" Sentence twelve, howeree ‘ers in an interesting way All the direct fee tought soe ‘ences so far—five, seven eh and slaven have communicated cognitions. The words say what looses mental voice seems nequivoraly to nay. But “outa dry" nay simply mean ot Biootn's mouth fs dey. im which case the words bythe stan, datt/conventan discsied above, ansateon mrad Sensation. Or he may (alse) bo saying tonal in responce {othe dry sensation, "My mouih ty" There sets no rap of Jnoming whether one or the other, or bash exe mean This neatalaon of te anton Bway coetpion and pee ‘eption by tuneation is very common in intesor monalogse een inen esd ravaton sue on len, of course ae dialogue, that idee tagged speech We can see that lt takes relatively lle in the way of ict fees thought to suggen the eet of interior monologue, "And, farther, though fragmentary syntax may accompany Us se, the ony obligatory technique is direct free thoughts ef. tence by fist person pronoun i used), the present orcntaton ‘ter tenses, ond the deletion of quotation mash What absolutely distinguishes interior monelopue rom other representations of consciousness is he prohibition of express Satement by 9 nratr that the career i at thekng perceiving’ The words purport w be exacy and only thee that pass through his or hor minds or thelr sumoganes thoughts are petceptions “The mixed character of the above extract from “Calypso” ie no aciden. Cries have noted the uly of unacliened pure interior monclogue of conveying the oer sctlons nd stuton fa character if the tx foal lcked up in hs mind ne ferences can oly go sa. Joye ad pood reason for sl tick and forth between nar monkiopus und cee nee on, atleast in the rections devoted to Eaopold and Stephen Toshow Leopold moving round the cy rquized an objective ‘cw. The immersion int mnd om ely be complete whe te186 evony axe DISCOURSE character's physical situation is absolutely fixed and changes in the ambiance Unimportane, Moly’s inter monologue can Be pure because she in bed, immobile, n the dark, with only Ftp memorien, and speculations on her mind. But in eer 2esBonn the smoothness with which Joyce passes om Inside 10 SSE ftom Bloom's internal suminaion to the marator’s Shapehots of him aman among others walking the etrets of DaBin’s 9 marvelous piece of atsry. It contrasts strongly wit Edouard Does epee nuttin ior mon ‘Siopue fn his Ls Laer sont coupes, when Ht would perhaps Feet becn bettorto get outide it from time to tine. As Mest Ponp notated out the rent san sndesteabe doting of om Souotosn Lines ike. "cee. gene me separdent citer ci opie ne me enter) ae parcial) gauche, nce (Citese Pech ment on the postion of thet bodies ‘chon they fal solfeconslous or the tik; but eelf-consclousness ihe et Geue at ths particular moment inthe nove. Stream of Conscious = Fre Assocation Whar ofthe tere "eseam of consciousness? Tove shalt be achneit Or tosh a more uaeful question, ence wo ae iner= See Cledective poutcs ofthe harrtve: How shall we de- SEC Whia or of fesares fo aasign fo 7 Shall bs tested Se sens Synonym for ntrioe monologue? Or are here we bat Sesehens to warrants dtncsion? My own concsion Segui Ghecan be uray sustained, ough on a bs sghtly Siero om that proposed by previous scholar Ika docusmbna he eee ben the to em ‘wat daugy etymelogical “tnesor fr interna) monologae Sis he Sogn aaopaton ofthe Faneh monte ite {Senet apparent by Dumas pe, ee team of conscious, Se ls pee ews iin fe’ Pons of Bboy, ller making ts way into Anglo-American Hterry ‘2ktute chan My Sinchies negation to Dorthy ReeaSoer Pprinage): Ae terme were fist ete 2 59 Rice fan atlere ty many crib), Laer, valour ditions Se Gin Ce procce common inthe Nstoreal development cringe. Peers Ree aoe eg aeaaroce? aniie Sere ormepe ee rd oe Sich dracon Sea nee ee ese eece Siemec aat yada eh oer ee acres te ean es Duldings sing on ther de, fling tay nt the approach nas harp apana the sy. ofened angles ef balcngs "igh mie angle sf rum wi See ain ep undeshadows aps hing ro tones ‘By the convention, Mislam only senses these things, but docs ‘i arate thin. She does scl pronounce fo hereell te ‘ton “grey buldings” and so on. Sil, these ave her dives renin. nots nator’ count ni worde: The ter Bowing woul! call appropriately, "internal anal.” For Bowling “sien of eonsCousness"thould neem te what of the'arrative method by which the suthor tempts to give ‘nc qusation ofthe mind marly of te langue see ook ‘of the whole consciousness” Thus, in Ns wow, Ssaey of Sonncousness" includes not only the record of verblead thoughts ("interior monologuc” proper) but alo that of "sense lenprtsiona” occement bol not ortlated nto words by the Br ind yt not the prod of an ier ral by * Cert datinton baton “a uation” a ine sal analysis” shouldbe preserved. But how can swe spook of {det quotation of perception, sense npecssions fy do hotinvotve the characer's wesy words “Quotation” mane the ranamaton of someons’s very words: Am snawer might be that Wan “arf kind of quotston. There relly are ho word ‘words are used fue demi Since petcephons ae nonverbal, {he marative structure regis an expression thats nonverbal In other medin there se auch meant™the Gemma could Infact communicate Mires sorse impression perely visually (This ‘Semanstates once again tha native discourse is guleiadee188 sony ano oiscounse ‘pendant ofits medium.) Verbal narratives Rowever cannot go Beyond words, so they are used, but something must be done to suggest that they are not words, that the experiences cor funicsted have nothing to do with words. What sort of some- thing? What makes Bowling sare thet the passage Ica direct (quotation of Minn’ soneations and not a narrator’ internal Shnipss? For him itis the tuncated symtnethe "bref pases, Scparated by three elliptical dots” the uae of nouns without ‘orbs if an abject is not moving and attached to a participle if tis Obviously, however, cognitive thinking can be expressed the same way. Perhaps Bowlng fe not diming that truncated yntex iso unique propery of "sense impressions,” only that [Bien such contents ican serve to mark the form as stream of ‘Sihaciousness rather than intemnal analysts But why should we use “stream of consciousness” to account for "sence impression?” Why it not “sense impression” itself tite adequate ae a ter? We should preserve Bovling’ Valu= ‘ble distinctions by reversing them: let “interior monologue” Bethe clas term art two other terms refer to te tv subclasses "eoncopteal” and “perceptual.” "Conceptual Interiar mono” logue’ ca label the record of actual words passing through Siiscter’s mind, and "perceptanl interior monologue," the ‘Sommunieation, by conventional verbal transformation, that of the characters wnaricaated sense Impressions (without & Aat= ‘tors internal analysi) "Stream of consciousness” then ie freed to mean something loc, namely the random ordering of thoughts and impressions “This e appropriate tothe implications of “stream.” The ind is engaged in that ordinary Aw of assodatlons, atthe opposite pole from "thinking to some purpose. ind ett ASS Stig hee crs ER otal uke pcre Cngte oul fd hr cw apes, sistema yan Stl te atahinghl tho» normal Sate on SHIGE “Sehr ef eens ta otro noel ‘ferent Zar can soyhing tat Gather and sane apes tt a RAS Bie’ ang onthe te nd gtr ao me iad ema ae DISCOURSE: NONNARRATED STORIES 189, ‘Th attention of he mind may ether be brought o bees upon ts objet delberatey fend hsb eed “conto stecaon’h ot gy Se ‘Seraced rin ne obec to another by af uncrpected ale, ot ie rein op thing lc Wan rely ad ies haatiesie of stwamlicconesousiess tig not bees a tro tocton eluting ov st but rather besuce the der Se ‘Snag of te asocton Sil Bek in oer mathe Ti mole mated by sy sone roan sea a ee ee eee Soca en Ses he ns sd Sedan actin wal ee roe iv Sto se erations i ee are ae te as Loge eae i er Aare pee en re tem De he ee Bema idle ote atencin eh aioge STaeany Sea mee oon eat Scape tpt ge realest NONY eee og Wine NES, Renta mnaou nd eo 2.1 aly, “Comme nh Mg pn ne angunge Gurl 24 196), 7 Another dedaticn, Rom Enc Acetoch tne Ss Sree eh [SHAG oe ocean serous errr anor by a ‘going ‘ay as feof onnet designaters type a = "roofer cy fa neon creaconsciousness tonto co-oecur i texts. But if we ae to keep ‘Suranalyece dear and sharp, we must not let them become 50 hlangied that ove connor Caine each for isl, Without dee nctons and the capacity #0 distinguish, we eannot dal orth few configurations, new constelstions of features, Robert Humphreys account of the “stream of consciousness,” for ex Emple, wil fll ws nothing about the method of La abuse and ‘many other avant-gacde narratives. And, to sa it once agtn, The capncly to predict new possibilities is precisely what makes Iimary (and seshetc theories interesting end viable “There has been much dlscssion of free association but Mie eal tlistation off. particulrly in comparison with con” ted sssonntion, Peshupe the best way to lfstate fee asso ‘dates passages fa to contast them with dapictions ofthe mind ‘Meany notin that mode. Pride and Prejudice Good fo: con- Sder the moment jst after Lady Catherine has warned Elza Eat not to sncipate a propos! from Me. Dare. Tizabeth ‘mulls over the surprising discussion: ‘The dscomposuse of pc, which hie extmordgay wt shrew Bar ini Sad ebay onerome nal ae rey oe feta tafe goblet jne rom ous "arose Eats rtrd sche (oe ge ‘Hoan what the report of their Crpeperen could cng, Eliabeth sear at lors to aging tl See ee CP at beng the inate blend of Bingley aed her Sig Te str of lane, was enough, ats tne when the expectation SPOR wing mae everbody eager for another, supe een he SNa Ree fogten te hat the meget a thm oer SE Cosuntaton wite C- linses, te scpor she conctded fad reached Eady Catherine) 1 ont teat wR as inet eosin and immedi th she Rad oak [Strano st posal, st some favre time (One is immediately struck by the purposivoness implied In this Representation of the workings ef Elizabeth's thinking. Her Inind is entered for only one reason, to satisfy the following lot zequirement, she must be shown to be agitated, curious, End, in spite of herself, hopefal She has slveady rejected iia, DiscOURSE: NONWARRATED STORIES. 191 Darcy's offer of marriage and hag no particular season to believe ‘hat til be repeated. Yet he has come to roget hor earlier prejudice againet him. Suddenly, Lady Catherine descends {pon her, speaks of a rumor thatthe two are engeged, and de- ‘mande that Elizabeth promiso not to marry him Elzabeth re Fises to make such a promise, by reflex of pride more than ‘aleulation. After Lady Catherine's departure she fools per plowed, angry, yet strangely hopeful in a repressed wayy as [ofits her general ccumspectners and ronso of decorum Ween within the privacy of her own tind) The possage tela us, Frtly, tht she is discomposed; secondly, that she eannot take her mind off a vist extaordinary not only in its substance bat In the urgency attached to it by Lady Catherine, who ceaty feels that Darey may indeed act thirdly, that she wonders how szuch a rumor could have begun; fourthly, that the fact that Dany is Dingley's fend and she Jane's sister must have prompted speculation about her prospects too: and finally that the Lucases have already consummated a match which she has ‘begun to contemplate only in the privacy of her own mind "Fhe selection that is made front Elizabeth's consciousness almost as severely organized as dilecic itself. Fist her general. Jed and sill naiclate discomposure; then her analysis of ‘why the event is upsetting then her attempt to determine rea: tone and sources for the rumor) and finally her spectlation bout what will come of tal. What could be neater and, above ail, more pointed in form? And less lke free association? What {s imporant lor our purposes is not that Eizsbeth has 8 tay mind (hough of course she does), but thet the implied author treats mental depietion, ike other narrative actions, 35 simply “what happens next” along the plot ine. The plot strongly tcleologizal st answers the question "Wil Elizabeth and Darey Finally marry?” No digressions from that question are allowed to cecur Free atsocation would abviously mar the straightforward Grit of this classical narrative style. Everything in such novels, Including the cogiations of characters, i, ax Mikhail Bakhtin would ty, plotopeegmaties"™ Baycholdgically. the sone ie 2 Tah, Doras Pas, 5.192 stoRY ano orscounse hlther more nor les “sealeie” than Inter style. I simply {Cmploys a diferent notion of realism, presupposing that the [Process of menial asrociation is subordinate fo the thoughts Eremeeives, whch in torn are at the set service of the pot. "Now consider the beginning of "The Lotus‘Eatrs” section of Ulysses Egor mms ALE a JB ROGUES CLAY By Blo ORES ALO Jou OCHEONE, UNE A, Sipe adn paces cat Gite nese ee Beara Stores beret cette oh (thu, Seuking's thewodfgbute(4)-A ae gil with eas ot ick iar ns Rie sai bear ct cot Surtees cantly core meron ome tee” if Cone heme oma a arpa sb » pal pee A eh) svathan nove pair santana Ut aa re rate Sopa Umccteny cone ahah cree Rees Site eco ae Surely he. bogged it. (27) Bury tim, cheap ina whatyoumayeall Beare Pez Neate Barca Tse he epee of san Cnn, bat he 02 antares oe an nk, gy a Pe ey Sc ea a se Cape wk Ce ee ee ep ae ae Sete eter Mean i eT, Ee ee Ne Soe a ee en et cE ee es eS tere ee See fe a Ce ae ee ae Se eae mnie DISCOURSE: NONNARHATED srontES 199 tost the rambling stream of consciousness makes its nat ome * * “Yet this passage Is nota mere chaos of impeessions. Free 2e- sexition has town organizn tonal prscple, which reud and thors have made des! prncples of peneralation, anaes, Srempiotn, andro on ‘Along wih thee ost “a Spetale™ mental phenomens-—pan and oes flags Arena, Edens lok at few of these pencpos, for Instance thet of iste eonipaty i sentnce two. Blots proamity to the pal igraph sic fcommuniaind doc bythe art IWtonce we leap to ie mental renton in nti monologue “could have given tht adress oo." We infer by the conga pincple that he dete "hat efor the ate object named Eythe narator (Only later shall we understand te hl mean ing the postal telegreph of would be te ood se the pont Sic as serot aes for his Horsepons comeopondence ‘eth Martha) blooms perception ofthe post occ shot regis: ‘ered but oniyImpied In the bank space Between the to ene incon Phys contguty operate agin in sentence ve sd Sever: Bloom aces » boy smoking ® Sgarette snd i prompted to eier paternal advice So ones becomes te organ tonal principle in eight Bloom has second ought CO let, Ihim."Ths tn trae sen prompted by pelt Ce ie lant Such a bed of roves,” ina, Including the mental econ af escone in the Boy se ("Waiting outside pubs ten, tld Sogn dae (Come home ames. The bs of Connection with the next sentence celonponity- the bo {aking a break fom hie job prompts the dbacrvaion "Sick our Between the narrated trteunth sentence snd te mono Ie outa tow + Kong more id within the fourth the Klang combines with metongmy “Bethel—E1-Aleph, Both" the tame of tne synogoga FOE loved by the fet ro letters of the Hebrew siphaoet We have sveady larned inthe previous episode ofthe death ‘of Padly Digna The words "At sloven ii (inten) coe ‘Bloom's mind ase pases Nichol’ the undertakes ant ‘mean Dignan Ranta. Contiguty and memory cooperate. Fu29k stony avo piscounse ther we guess that “O'Neil's”(elghteen) i also fone fom the principle of another example of a case therefore, that Job" must be Dignaa’s funeral, sna Corsy Kelleher must be a fanerl-ditector's agent. This sa network of surmise, ofcourse, Dut later events-the whole of the Fades eplcode—prove it bo comect The shymes and nonaense words ike touralom ty {oventy-five, twenty-eight are associated with Cory by met ump—he isa jokester and singer of light songs—but they also tniaila principle of photic obsession othe Uke. "The convention of stream of consciousness has it that there 1s no externally, molvated organization of the character's thoughts, nor, ofcourse, 2 narator to make a selection among theme The effects quite diferent fom the constantly purposive sccount of Ellzabstl's thought. The reader knows that extended Deseages of her thought wil tend to rehearce and comment Spon past events, even when she is wondeving whats to come Hier thinking is iavetortaly goal-oriented, easily reducible 10 (Gueston-and-answver loge, lesding up toa final answer. All he ‘inking, tke all the other action in Pride end Prejudice, follows ‘what Batthes calls the “hermeneutic” sot of the traditional nine= {eonth-contuny nove. References are always dear, and they fol ow each other in nest order. But Bloons thoughts are_con- Santly m media res Atany Instant an unfamiliar topie en aise, Inmany cises, explc rerolutienthe Mlntifiation ofa deicic pronoun, for cxample—will only come late, sometimes much Inter, sometimes never. Interior Monologue the Cinema “The cinema uses interior monologue and stream of conscious- ness initequently, and i interesting to consider why. Some reonsts suggest the Influence of the behaviorist school of tmedem feion fr sxample, Herings. in which language fs enerally deprecated, in particu the language of thinking, Siore Ukely, since films show everything, ofsreen voices in ibeneral have come to be thought obtrusive and Inertsic, and rose speaking in truncated syntax ae free-ascodatve patterns particule #0. “Achieving interlor monologue In fms i easy enough technt- | ie DISCOURSE: NONNARRATED srORIES 195 ‘ally, All that reguize i thatthe voice-over be Hentifable as the characters, tse lie do nat move. But that corsbnaton {ay evoke other meanings aswel Only the content ean tel so ‘hater ii indeed his interior monologue, or saloguy, or pen epee commen the an = oa player might comment on his performance at 8 postgame Tove) Other features may be uled to carly the stention. A ‘hiopering voice-over may sugges the pracy of interior mon ‘loge. Ad ofcourse the tnt sy be frgavented tr syntax Sd foe in paychologial associations, aa in casi intror ‘monologue passages tn vecbl nara. But Us seem very ‘rewt ean only Femember ane or ro movies, fr instance, Fitehcos’s Muto 0930), in which W ocsre. Because ofthe rmediu’s conventions, i is possible to be fled. The fist ‘Scverl timer tha law Jeon-Lse Godatd’s Une Femme Marie, aesumed thatthe voice-over whirpering in fely ssacatve fregmented syntax represented the wife's interior monclogse ‘The lot time I sw fe | change my mind scemed, rather, Snaberacted and deentboded commentary onthe scion, not {he wile's vlc tol ut oe of cliche, ny eval ws the ortces Inthe lady's magaaine Ee that she and her maid fend, or the ‘hater their apartment tht paces or conversion when ‘She emrsinas visor The kagrentation inthis cane dot not Feflcct the immediey and fee: flowing character ofthe thing Process, bul the sgaringless soroljpes of advericing and heap ftion. Uni the thoughts of topo or Stephen auch ‘hte orphraseology ss we hea rom the unseen tpa ee the voice. Svar PWhot did he moan?” °t wonder if ean ove you Snd so. onbear no immediately expe relation to the intone’ ongoing thinking. They form ther a commentary on the ually of het Me UKE the matches of anal popular song {nis itp stcompany Ber ctons a indie Sen a he ade ee eaten ete Sarge fey tn dey nd ase5 DIscouRSE: Covert versus he Overt Narrators oer il Wordsworth, ‘ihe Exc 1s nthe Spit on the Lon dy, tnd heord bend ses get woke Seta ramp. The Reson Iti leas important to categorize types of narrators than to ‘dently the fentures that mark thelr degres of audibly. & quantitative efet apple: the more senting features, the Stronger our sense of a nartstore presence’ Phe "non of ‘minimally narrated story fahmply nein which oor very ow Such features occurs = ‘Still fundemental distinction can be made between covert and overt narrators, and that is tho task Of thie chapter: Not ‘very feature car be diacussed in deta, 20 the Focus is 0g the Salient and porcularly the problematic features ‘Three maters ere of preininary concer the nature of in direct discourse, the manipulation of the susface ofthe txt for overt nanative purposes, an the limitation of point of vit 9 {particular character or cheracters. The iste sre very much ‘pen topics, as recent reacarch has shown, The complenies lindirec discourse have spawned a ange iterative et fnat Yel conclusive. Contemporsry linguists has challenged then. ional formulations and raised some fatcnating questions Shout indirect syle: Ie has also boyn to analyz the mech aa ener oe Re Ses DISCOURSE: COVERT VEnSUS ovExT KaRRATORS 197 isms for placing special emphasis on certain elements in von- fences-by which the covert narrator: may “‘sureplitowsly” ‘manipulate his sentence structures, thus bockigrounding o fore grounding narrative elements of varying degrees of importance ‘The mechorism of "presupposiin’ fs dacussed hese by way, of example. Closely related to covertness, indeed often confused with tis the limitation placed by the implied author on the ‘arator's knowledge. ‘Shifting to the overt narrator, we conser @ spectrum of fe tures, ranging from lest to most obirusive markers: from set “lesriptions and reports of what character dena say of thik, to the various kinds of commentary intrprotstion, udgment ‘generalization. ‘This chapter (and the ood, concludes with Some observations sbout the narrators interlcutor, the nar (Covert Narre ‘Covert oF elfaced narration occupies the middle ground be- tnecen “nonnartation” and conspicuously audible narration, overt narration we hear a voice speaking of event, charactors tnd setting, but lis owner remains hidden in the discoursive Shadows. Unlike the"nonnarrated” story, the coverlly sartated fone ean expross a characr’s speech or thought im indirect form. Such expression implies an interpretive device or medi- ator qualitatively sifferent frm the siaple mindrending senog. Tapher of nonfarrated smust be converting the charscten’ thoughts in indirect ox pression, and we cannot tell whether his own slant does aot {rk behind the words: "John said that he would come” may transmit more than "Joha sald sil come,” since there ca be no guarantee that John used those exact words. Hence sur Intuition ofa shadowy’ narrator lurking i the “The terrain of covert narration is bewildering, sd it 8 ensy to lose one’s bearings, I wes disconeerted to ear in a lechure recently that Joyce's “narrators” included ost of his major ‘characters~Eveline, Lenehan, Cabrel, Stephen Dedals, 2 ppold and Molly Bloom. The impropriety f assigning the term narrator” to the characters own mental voice ih intesiorsnelogue wat demonstrated In Chapter 42 The pits ven Soe ahaa cae cere hee a Stas" is aamas make freed eee my Tin teen? ye ae nln pn Seite ret, Relating oe te eae Tonia hitleh's'an ote speaker wh © senate (Siatnhy Seng He ough ints pray hati hit ve manga on rk foe te Pant Cato’ ace ap cue ples rd ae Sn Mees siecle oe at La maeemnmatan Remedi Blom cin Padetl beatae ies Ciel Lenn’ oculary dosnt Ince "deep enero faites Non pve pean pit ela ingles” andunce cette ers hcan fethe rant hunny meta ces Ig ling of oven apne td ptt Cae ok Tesco hl ancoar sporty peor tances Whe wer sna nae be Soa Bee ea ers ce aie Merny ake eons of neaaioso baed een Indirect Tagged and Free Sty ‘Any analysis of the complex relations between the speech acts of characters and narrators requires an understanding of the ‘ways of communieating speech (external voice) or TROwght (ine sept ene 2s encontrar re SSSR Seah Na a ted yn nua ae co ‘typeby someone exe Toang over ses, DISCOURSE: COVERT VERSUS OVENT NARKATORS 199 ternal voice). A basic distinction is that between quotation and port, or in more badillonal terms, “alzeet” and "indivect™ forms, a distinction thst has been commonplace for centuries, Usually formutated in terms of speesh~—the diference between "*Thave to go, she sald” and "She said thal she had to go" 18 obviously applies fo thinking as well “I have to go," she thought” and "She thought that she ad to go." “The surface diferences between the (wo forms are quite lear ‘cut. In both cates there are tw clascts, one optional and the ‘ther obligatory. For clasty’s sake Teal call he introductory of optional dause the “tag” ("she ssid”) nd the second the "veh fence.” The tag. clause signals that iis the reference catse ‘Which containa what ie eported or quoted ("Thave to go" oF ""She had to go"). In English, the diferences between direct aid indirect style involve () the tense of the predicate of the ef fronce clause, 2) the person of the subject af the clause, and {G) the (optional presence of What.” In indirect syle the tense of the reference clause is generally one tense einer than that of Its dlucct counterpart. And the pronoun is changed from fist to (ied person. “The deeper semantic relations ofthe two forms, however, ane ‘more obscure. Until ecenlly, it was though that they ere ‘Sraightforward variant of eachother, that "She said she had to {g0" meant the same a5 "She sald ‘Thave to go”. But lingults fave shown that important diferences discredit Uh easy a= sumption. For example, some sentences can only appear in slrect form. “Egbert blurted out, ‘How Ihave loved t= cannet be transformed to "Egbert blurted out how he had lowed It” and stil preserve ss original meaning. In the first sontence “how” means, "how much,” while in the second it means "in ‘what manner” Similarly, "Caries whispered, ‘There! cannot ‘ecu in indirect form=““Clanssa-whispesed that thece.” Pete “2S. Sn ne ete fen in ERS eee ae ele es Eile hap aaa200. stony we prscounse hhaps the most interesting restriction, from the narrative point of ‘Siew, ts that only zect form con cite the speskers exact words: Inlect forms give no such guarantee. Thus It Is possible to {question only the language of indzec export causes we ean "Getipus ened out that he had done something horble Wt bis mother, but T won't repeat what he actually said,” But nat "Oedipus cried out, ‘Thave done something horrfle with iy mother” but T wort repeat what he actually eld” “The indirect form in narratives implies a shade more interven~ tion by a narrator since we cannot be sure that the words in the i laure are precisely thove spoken by the quoted speaker. Gfeourse, they mray be, as when they der radealy in diction ander syatax from the established "well-spoken” style of the Rarratr: for example in “Eveline” the santence ".-Jtteriy he [Eveline's father) had begun to thresten her and say what he ‘would do only for her deed mother’s sake.” The context clearly Inaliatas thatthe alized portion is the lower-class ish ‘counterpart of "fi wore not for her dead mother’s sake” the well spoken narrator fs not speaking in loveer-las dialect. “There are soveral other kinds of expressive effects which suggest that the characters specch or thoughts. are. being divelly ‘quoted. For instance, pats ofthe sentence can be shifted round td elements deleted to give them more prominence, aa some= tne might do in the heat of actual expression: “John shouted ‘out that how Mary could behave so baaly was beyond his com- prehension.” Iniasjections ean be introduced. “Tchad pro ‘ted that Lord he didn't Tike ("Or hesitaons “le pro- tested that he, God help him, he ould not be held responsible.” OF special emphasis: "He protested that he could net be held Seaponaibles"* ‘On the other hand there may be good evidence thatthe words are not exactly quoted, in the Oedipus example cited above. ‘We sense that the "has paraphrased Oedipus’ orginal words. {io att epee ca ean hn tein DISCOURSE: COVERY YuRSUS OVENT NARRATORS 201 ‘The “1” may equally summarize, epitomise, interpret, or other. wise alter thevexact words of the quoted speaker. And, of course, the I," the reporter, who mus be the narrating subject af uch secre, may not eer ohms 0 that the pro ‘eed not setally appear Inthe ninetecnth century there arose in most European lan= guages another distineion which crouseuts that Between decd fd indirect speech and thought, asmely that between “tagged” Bnd "foo" eile (aye indict le, elle Rede).* Pree opie de Totes the tag. The Tagged Free "Speech “Thave ogo," sho said have 6 Thought “Ihave too" she ought Ihave to So In Speech Shesaid tha she hadto go Shehadio go wought She thought that shethed too ‘She had o go roe speech and ought are expressed identically, and thus mbighously unless the conten dan Direct free forms, Ihave argued, chacteree intevor mono- logue. Inaivect ree forme do no, precy becouse hurley In presupposed by the thid person pronouna andthe anterior tence, They may” of course covocear with dict fre forms ‘samples abound in Uibsse, But ofen. as n Virginia Wools ‘najor novela they eo-occur ony with inde -togsed forms ‘tly the meaning of the indirect foe form i the ample emit of indret lagged form snus te top thas greet degree of autonomy, and though aniglty may pers thea Sece ofthe tog aes sound more ke the arate speak Ing or thinking then s namator’s reports A soatence ike "She {2 hat John, bess his soul would provide forthe family" could 5, Sethe segnhy nto Dorit Coheed at ‘ein, naan signet Spc aad ra Meat Haar i fr od Cag, a a ee eS ES eee falectotes Her, Te Frowh dongs Flay (touime 188) p30.{m2 stony as oiscouRsE ‘mean that either the character or the narrator, or both, were ‘lesing Johns soul, Wheres in context the indict free coun. terpart John, bless his soul, would provide forthe family” ‘eve more oiclasvely the blessing of the character. This ete awh ont expressive fnture, xapationg querons atten imperatives, repetitions and sinier emphases, nt ‘Sepliong, the words "yes" and “no,” cologualims, and other ferme of “wanna acon (or cnmpl pl mae, ah ‘ea! argon, foreign langage elements, etc). A narrator could anu rennin cover fhe imclf were to woe soch fore. “Take exclamations, or example. A covert narrator ls hard pt to une ein Docrse they express song felings—deprecaion, {nihuslasm, or whatever, Such expression would cll undvo at fenton to tose fealings we would begin to wonder about them te particulary whether "thereby Bangs a tale” about him. Ex Samii donot suit the vole of elaced or transparent tedl- Sor, The foie of covert narration permits only the character 1 ‘ecaim, In Joyae's “the Dead! (Gabi worm rambling Singers taped he cold pane ofthe window ‘eer ehar't" must be wutsdel How planned be te walk ont Weng ihe sr a then trough the perk Fe soe Meu BC bane St ranches of the tees at ornlng 9 rg op {SPREE a The Welingten Monument low mach ove pstant Studd fat thant We suppers ‘We assume that the exclamations are exclusively Gabries, 2 Ulvect quotation of hs mind's speech, We have no reason #0 belive that the narrators exclaiming.® ‘Spistcally, the reference lause can be either idence with cor clea distanced fvom the surmissble words ofthe character, {hdeed. co estanced as to esem only the narrator's paraphrase. Team present indectiy the statement of « fred streetcleaner In language vshich fa or le not evidently his: "He said he was Canned and it was the goddamned foreman’ fault” Or “He fap Sit are of ony Ande We Et ivy Pek Pon Discount CovERT VERtUs ovEET NaRRATORS 203, said that hs resignation was enforced, implying that questions ‘fa distinctly juradetonal noture had been rized." And either fof these can occur in free indirect syle. Thus fre indirect style Slvides into subelases,atitbutable fo charecer or to narrator In between, there are satements of varying deprees of ambi gully. For language thot is cleasly the characters, a suitable Intel recenty proposed, is narrited monologue” "Narrated c= coun forthe indirect features third person and peor tenso— hile mar conveys the sense of hearing the very ‘words of the charactor Narrated monologue is easy distin: Jgashed fom narrative report (internal snsiysis), where the fharacte’s thinking or speech is communicated in words that fre recognizably the narrator's. Finaliy, there isthe Flat common ambiguous situation, discussed below, where itis dil Feat te know whose voice speaks “The kind of indirect mode considered so far is purely vexba, that an account of words spoken or thought by the character Dut there is clearly another kind of report, whose basis, rather, perceptions. From the end of Chapter IV and the beginning of {Chapter V of Madame Bory ‘The old servnt appeared. presente er respects for not faving ner seldy and soggeted that Madaane 12k ver her sore Fousein the mean ‘e ‘The buck fron ofthe ose was Mush with he sect, o¢ rather the SERRE oor’ Sh ha pe Ee ‘And soon through a description of the parlor, the hall, Chaviess| ‘tice, » lage room used at woodshed and stoveroom, and the garden, Then ‘Emma went up tothe bedrooms. The fst one was not fumished, but {ne second ont, the conjugal chamber, had a mahogany bed sanding ina cove hang wiih despa 17 Cohn "arated Monstogue” p98, Among the many ther ema ht ads, aan fom nde coach ee Rope ind pec nae may Ra a Ek mange