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THE PRESENTATION OF
THOUGHT
THE PRESENTATION OF THOUGHT
• Many leading novelists of the nineteenth and twentieth centuries have
been deeply concerned with the portrayal of ‘internal speech’.
• One of the major concerns of the novelist for the last hundred years or
more has been how to present vividly the flow of thought through a
character’s mind.
• The modes of speech and thought presentation are very similar
formally, but it should always be remembered that the representation
of the thoughts of characters, even in an extremely indirect form is
ultimately an artifice.
The categorisation of thought presentation
The relationship between inner speech and
point of view
• In this extract there is continual reference to Matilda’s inner self. But it is her state of
mind, not the direct experience of her thoughts that is represented. Besides expressions
like ‘she had the calm self-control’, which describes her inner state, Matilda is also
continually the subject of intentional verbs like tried, looked, met.
• A character’s point of view can also be represented without the state of his mind being
described. Instead, the author portrays scenes and events as they would have looked to
the character concerned.
• In the above mention extract from Tess of the D’Urbervilles we see Tess’s departure from the
viewpoint of her family.
• The most obvious indication that the omniscient narrator is restricting himself to the perception of
Tess’s family is the fact that the first sentence is dominated by ‘they saw’. But in any case, Hardy
restricts the perceptions themselves by using linguistic forms which are only appropriate to the
characters. Hence, instead of saying ‘they saw Tess’ we find ‘they saw her white shape’. We see what
they see with their eyes and no more. Similarly, at the end of the last sentence, Tess looks up ‘as if in
great surprise’. The omniscient narrator would know whether Tess was surprised or not, and so the
as if locution would be unnecessary for him. Again, therefore, we must assume that we are being
invited to look at the scene before us from the limited point of view of Tess’s family.

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THE PRESENTATION OF THOUGHT IN LINGUISTICS

  • 2. THE PRESENTATION OF THOUGHT • Many leading novelists of the nineteenth and twentieth centuries have been deeply concerned with the portrayal of ‘internal speech’. • One of the major concerns of the novelist for the last hundred years or more has been how to present vividly the flow of thought through a character’s mind. • The modes of speech and thought presentation are very similar formally, but it should always be remembered that the representation of the thoughts of characters, even in an extremely indirect form is ultimately an artifice.
  • 3. The categorisation of thought presentation
  • 4. The relationship between inner speech and point of view • In this extract there is continual reference to Matilda’s inner self. But it is her state of mind, not the direct experience of her thoughts that is represented. Besides expressions like ‘she had the calm self-control’, which describes her inner state, Matilda is also continually the subject of intentional verbs like tried, looked, met. • A character’s point of view can also be represented without the state of his mind being described. Instead, the author portrays scenes and events as they would have looked to the character concerned.
  • 5. • In the above mention extract from Tess of the D’Urbervilles we see Tess’s departure from the viewpoint of her family. • The most obvious indication that the omniscient narrator is restricting himself to the perception of Tess’s family is the fact that the first sentence is dominated by ‘they saw’. But in any case, Hardy restricts the perceptions themselves by using linguistic forms which are only appropriate to the characters. Hence, instead of saying ‘they saw Tess’ we find ‘they saw her white shape’. We see what they see with their eyes and no more. Similarly, at the end of the last sentence, Tess looks up ‘as if in great surprise’. The omniscient narrator would know whether Tess was surprised or not, and so the as if locution would be unnecessary for him. Again, therefore, we must assume that we are being invited to look at the scene before us from the limited point of view of Tess’s family.