Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

represented
 
((half) reported) 
speech
, it may be of two 
types - inner (imitating the character’s thoughts and conveying feelings) and uttered 
(representing insertions of the character’s fragments of speech). In western stylistics 
and literary criticism there exists a number of terms used to describe various types of 
“represented speech”, e.g.: free indirect discourse/speech, free indirect style, 
represented speech and thought, narrated monologue, Uneigentliche erlebte Rede 
(German), style indirect libre (French) or even “coloured” discourse, by which 
scholars understand “a piece of (normally but not necessarily) third person narrative 
with words, phrases, expressions which the reader associates with the verbal habits of 
a particular character” [44: 85]. This method goes back “at least as far as Jane Austen, 
but was employed with ever-increasing scope and virtuosity by modem novelists like 
V. Woolf It renders thought in reported speech (in the third person, past tense) but 
keeps to the kind of vocabulary that is appropriate to the character, and deletes some 
of the tags, like “she thought”, “she wondered”, she asked herself’ etc. /.../ This gives 
the illusionof intimate access to a character’s mind, but without totally surrendering 
authorial participation in the discourse” [53: 43]. The difference between various 
kinds of represented speech is often difficult to specify, it is not less easy to single 
them out in the text. The contamination of the author’s and character’s speech parties 
may result in a passage where the author’s narrative prevails, with the personage’s 
several or only one-two words being inserted in the flow of the author’s speech. 
The
essence of this type of narrative is in this peculiar blend of the viewpoints and 
language spheres of both the author and the character
. 
To sum up, let us quote the passage from V.A.Kukharenko’s manual where the 
scholar thus explains the difference between two rather similar speech planes - the 
personage’s interior speech and represented inner speech: the latter differs from the 
former in form - “… is rendered in the third person singular and may have the author 

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s qualitative words, i.e. it reflects the presence of the author’s viewpoint alongside 
that of the character, while interior speech belongs to the personage completely, 
formally too, which is materialized through the first-person pronouns and the 
language idiosyncrasies of the character” [47: 102-103]. Bearing this in mind, 
consider the example of the use of inner represented speech in the following extract 
from J.Conrad’s novel 
Almayers Folly
: 
– Kaspar! Makan! 
The well-known shrill voice startled Almayer from his dream of splendid future 
into the unpleasant realities of the present hours. An unpleasant voice too. He had 
heard it fo r many years, and with every year he liked it less. No matter, there would 
be an end to all this soon. 
To conclude, we may add a few words about a classic but still useful distinction 
between two fundamental ways of creating (or revealing) the character in a work of 
fiction. These are “
telling
” and “
showing
”, which were first described in P.Lubbock’s
The Craft of Fiction
in 1921 [44: 92]. Since the beginning of the 20th century authors 
have generally preferred “showing” (i.e. indirect, dramatic type of characterization - 
through dialogue and action) to “telling” (based on direct auctorial portrayal, 
evaluation and commentary) in revealing the character, but neither method is 
necessarily better; and thus the majority of modem writers employ a combination of
 
the two.