Лингвистические средства и способы воплощения речевой рефлексии (на материале романа Айрис Мердок "Море, море")

? The vision of that healing humility would henceforth be my guide.

In relation to

? At this point I began to reflect and to wonder if I had not, in relation to Hartley, seriously

misconceived Titus's role.

? In fact I am sure that he had no deep feelings of any sort about Aunt Estelle, except again in

relation to me, and that my mother must have known this.

As I say\said

? All this, as I say, was instinctive, never discussed or decided.

? As I said, the situation worried my father, I think, only on my behalf.

In the event

However, in the event, before I had time to decide to move upon my waiting and upon the fact of

her silence, something else, quite unexpected and extraordinary, took place.

1.4. Отношение к способу выражения мысли.

As it were	In fact the visual images involved were dreadfully clear and, as it were, authoritative ones and they
	are rising up in front of me at this moment, and I will not write about them.
Or rather	? Or rather there were two emotions closely, blackly, coiled together.

? What was I doing, or rather what was happening to me?.

? Only geniuses like Shakespeare conceal the fact, or rather change it into something spiritual.

1.5. Изложение порядка мыслей.

At last	? At last I managed to climb up my cliff, clinging with fingers and toes, then kneeling sideways
	upon a ledge.
	? At last I got up and walked slowly back to the house.
	? My first and clear thought was that I was seeing a ghost, the ghost of the house, at last!
	? At last I got up, touched her shoulder gently and went away.
Eventually	? Eventually I took them to Paris, to Venice, to Athens.
	? Eventually I let the thing fall into a crevasse.
In the end	? In the end we both became half mad.
	? Had I proved to be, in the end, a thankless burden and a dangerous attachment?
Then	? Then, not at once, but after about two minutes, as my eyes became accustomed to the glare, I
	saw a monster rising from the waves.
	? Then, as I slowly let her down in the fuzzy grey-dark of the hall, with the curtain upstairs
	meditatively clicking, we stood perfectly quiet and silent, I with both my arms wrapped around her,
	she with her two hands gripping my shirt.
	? Then, suddenly, and tenderly, she lifted my hand and kissed it.
	? One moment her face seemed a mask of pain, then, but perhaps it had not really changed, it
	looked empty, blank.
So	? So, having done my thinking and made my resolution, I had the relaxed sense of an interval,
	wherein I might rest and gather my strength.

? So, since she was, though tragically, calm she must be a little bit glad to be forced to stay.

Thus	Thus, for a brief time, we lived together, each absorbed in his own illusions, and together we
	regressed into a life of primal simplicity and almost fetishistic private obsession.
Well	? I'm in fact, well, a little overwhelmed, actually.
	? Well, perhaps this was a language of love.
	? Well, why should there not have been a witness?
	? Well, even if it was a trap, I would walk straight in.
	? Well, let it be a diary then.

	? Well, being no philosopher I can only reflect about the world through reflecting	about
	my own adventures in it.
Now	? Now, I realized, it was done; and my desire was like a river which has	forced
	its channel to the sea.
	? And now, fleeing from worldly vanities, I have come to the sea, and to you.
On the contrary	On the contrary, I feel completely sane and free and happy for the first time in my life!
Besides	? Besides, I should merely make a fool of myself
	? Besides, he was scarcely the `dear dull old husband' imagined by Rosina.
Moreover	Moreover, I gave him very little of my time and he may have resented this rather crucial neglect.
On the other hand	? On the other hand, in a purely formal sense the theatre is the nearest to poetry of all the arts.
	? The interior of the house on the other hand was really icy, tomb-like, with an entirely new smell
	of mildew, and the insides of the windows were streaming with water.
However	? However, the logic of the situation now forced this dangerous and distasteful adventure upon
	me.
	? However, I have kept her letters to me, and the keeping of a letter is always significant.
	? However, on one occasion, several years ago, I was idiot enough to take a dose of LSD.

1.6. Выражение различных чувств.

	? However, it must be admitted that as I reflect about it all at this moment, the strongest evidence
	for this explanation is the total implausibility of all the others.
Incidentally	? Food is a profound subject and one, incidentally, about which no writer lies.
	? Upon this heath, incidentally, and about a mile and a half from Shruff End, is the nearest
	dwelling, a place called Amorne Farm. From my upstairs front windows I can see their lights at night.
	РАДОСТЬ\ОДОБРЕНИЕ
Fortunately	? Fortunately I like a wide variety of those crackly Scandinavian biscuits which are supposed to
	make you thin.
	? Fortunately she did not want to discuss my problems.
	СОЖАЛЕНИЕ\НЕОДОБРЕНИЕ
Unfortunately	? Unfortunately the lower part of the banister is broken away, and the rock face being smooth,
	the slippery steps are useless, except at high tide, if there is any strong swell.
	? The cider is unfortunately too sweet; and I shall before long have exhausted the modest supply
	of wine which I brought with me.
I regret to say	The tower, I regret to say, does attract the occasional tourist; but I am loath to put up a notice
	saying Private.
Alas	? I wonder how he heard about my `seaside house'? That too must be in the newspapers, alas.

? Alas, my love, you do me wrong to cast me off discourteously, for I have loved you so long, delighting in your company, I had invested so much, as the years went by, in my belief in Hartley's goodness.

	ОПАСЕНИЕ
God knows	? God knows who witnessed this encounter.
	? God knows what it was supposed to be about.
	ОБЩИЙ ЭКСПРЕССИВНЫЙ ХАРАКТЕР
Honestly	Honestly the theatre was always a torment for me.
To tell the truth	? To tell the truth, I was almost superstitiously afraid of Rosina's hatred.

? I did not want any trouble of that sort; and, to tell the truth, I was already feeling rather possessive about Titus.

Обилие вводных конструкций указывает в первую очередь на желание рассказчика упорядочить повествование, подчеркнуть эмоционально важное событие и/или привлечь к нему внимание читателя, на желание рассказчика «ввести» читателя в рамки изображаемого.

2. Использование вставных конструкций - высказываний, которые,

резко выпадая из более объёмной синтаксической структуры (сложных предложений с разными видами связи и т. д.) и тем самым нарушая интонационное единство, поясняют, уточняют, сообщают дополнительные сведения к основному смыслу синтаксических единиц. Среди вставных конструкций, употребляемых в выбранном нами прозаическом тексте можно выделить:

a) Вставные конструкции, дополняющие или поясняющие содержание основного предложения

? Aunt Estelle had a pretty little singing voice and used to chant the songs of the first war and the latest romantic song-hits. (Roses of Picardy, Tiptoe through the Tulips, Oh So Blue, Me and Jane in a Plane, and other classics of that sort.)

? I remember once when she came one night at Ramsdens to `settle me down', her singing a song to the effect that there ain't no sense sitting on the fence

all by yourself in the moonlight. I found this very droll and made the mistake of trying to amuse my parents by repeating it. (It ain't no fun sitting `neath the trees, giving yourself a hug and giving yourself a squeeze.)

? It is so bright now over the rocks that I could read by it. Only, oddly enough, I note that I have had no impulse to read since I have been here. A good sign. Writing seems to have replaced reading. Yet also, I seem to be constantly putting off the moment when I begin to give a formal account of myself. (`I was born at the turn of the century in the town of ------' or whatever.)

b) Вставные вопросительные и восклицательные конструкции, а также слова, передающие отношения автора к высказанному, его эмоции

? I have been cleaning and tidying up the house. What an extraordinary satisfaction there is in cleaning things! (Does the satisfaction depend on ownership?

I suspect so.)

? Of course there is no need to separate `memoir' from `diary' or `philosophical journal'. I can tell you, reader, about my past life and about my `world-view' also, as I ramble along. Why not? It can all come out naturally as I

reflect. Thus unanxiously (for am I not now leaving anxiety behind?) I shall discover my `literary form'. In any case, why decide now?

? I waited in the church for more than an hour. I walked up and down. I read all the memorial tablets carefully. I smelt the roses. I read pieces of the horrible new prayer book (no wonder the churches are empty).

? He returned at last bearing the errant table ostentatiously raised with one arm above his head. He put the table on the grass, then suggested that we should eat outside, but I vetoed this. (I agree with Mr. Knightley about al fresco meals.)

? Felt a little depressed but was cheered up by supper: spaghetti with a little butter and dried basil. (Basil is of course the king of herbs.

c) Вставные конструкции, представляющие собой попутные авторские замечания

? When I was a young director I was idiotic and conventional enough to think that I had to entertain people at well-known restaurants. It gradually became clear to me that guzzling large quantities of expensive, pretentious, often mediocre food in public places was not only immoral, unhealthy and unaesthetic, but also unpleasurable. Later my guests were offered simple joys chez moi. What is more delicious than fresh hot buttered toast, with or without the addition of bloater paste? Or plain boiled onions with a little cold corned beef if desired? And well-made porridge with brown sugar and cream is a dish fit for a king. Even then some people, so sadly corrupt was their taste, took my intelligent hedonism for an affected

eccentricity, a mere gimmick. (Wind in the Willows food a journalist called it.) And some were actually offended.

? Lizzie was wearing a light brown mackintosh and a very long yellow Indian scarf, which she now unwound and carefully folded up and placed on the table beside the bag. She was blushing extremely. (So was I.)

d) Вставные конструкции, поясняющие отдельные слова

? Then (and I am speaking of yesterday) I saw the solution, the rather horrible but necessary solution to the problem.

? She was (and is) a good actress and a very intelligent woman.

? I mentioned just now, and should have named him (his name is Toby Ellesmere), a man who told me about James's `secret missions' in Tibet.

Активное употребление подобных конструкций свидетельствует о стремлении рассказчика максимально полно погрузить читателя в контекст изображаемой ситуации, познакомить с её мельчайшими деталями, предъявляя тем самым адресату все возможные её планы: и внешний, находящийся на поверхности, и все те, которые присутствуют имплицитно, между строк. Вероятно, в этом случае можно говорить, с одной стороны, о своего рода совместном рефлексировании - как самого субъекта речи, так и его предполагаемого адресата; с другой - о явно повышенном внимании не только к собственному внутреннему миру, но и к внутреннему миру собеседника (пусть и предполагаемого), то есть о рефлексировании персонажа как над собственными сознанием и речью, так и над речью и сознанием партнёра по коммуникации.

3. Использование конструкций с уточняющими членами предложения, которые конкретизируют, детализируют, дополняют (иногда - весьма существенно) и т. п. заложенный в синтаксических единицах смысл. Рассмотрим некоторые из уточняющих членов предложения:

1. Уточняющие обстоятельства места:

? Near to the shore, where my view is framed by rising heaps of humpy yellow rock, there is a band of lighter green, icy and pure, less radiant, opaque however, not transparent.

? Below the causeway, on either side, there is a wilderness of small rocks, piled higgledypiggledy by nature, and not accessible to the sea.

? The coast road, if followed to the right, curves round into the next bay, which is invisible from Shruff End territory, except at the tower which stands on the promontory.

Here, at a distance of three or four miles, is an establishment called the Raven Hotel about which I have mixed feelings since it is a place of some pretension which attracts tourists.

? I slithered into a long cleft, a secret place I had discovered earlier, where the tall rocks made a deep V-shape.

? The evening star was huge and brilliant over the sea, near to a pale lusterless moon, and faint dots of other stars were appearing.

2. Уточняющие обстоятельства времени:

? Hartley decided, when the time came, that she did not want to marry me.

? Of course Rosina saw my relief at talking, my gratitude for her lively clever responses; and indeed I was, just for this moment, pleased with her.

? I almost felt I did not care, I almost felt it would be better if he were, at this very moment, reading my words and shaking with jealous rage.

? She spent a great deal of time sleeping, both in the night and in the afternoon.

? Perhaps this is a foolish moment, so late at night, to choose to approach the subject, but it has come suddenly and vividly into my head.

? The above observations have been written on a sequence of different days, wonderful empty solitary days, such as I remember yearning for, and never quite believing that I wanted so much that I would finally obtain them.

3. Уточняющие обстоятельства образа действия:

? She was, in a vague way, demonstratively affectionate to me when I was a child.

? But it is sad to think that, although she was so kind to me in her absent-minded way, she probably never thought of me except as James's awkward boorish undistinguished little cousin.

? The sea had fallen dark, in submission to the stars.

? Rosina took this news, as I knew she would, coolly and with an air of wise generosity, which would have enraged me had I been telling her the whole truth.

? I was sitting, with this notebook beside me, upon the rocks just above my `cliff', and looking out over the water.

? At last I managed to climb up my cliff, clinging with fingers and toes, then kneeling sideways upon a ledge.

? I keep seeing Clement in the street when I am on a bus, on an escalator going up when I am going down, jumping into a taxi and disappearing.

? However that may be, I notice that without any effort, without anything being said, without personal discussion of any kind, without there being any question of sexual relations.

4. Уточняющие определения:

? I knew that my father, who was slightly the elder of the two, was some sort of luckless failure before I knew what `failure' meant, before I knew anything about money, status, power, fame or any of those coveted prizes whose myriad forms have led me throughout my life that dervish dance which is now, I trust, over.

? This is my working table, at the window of the drawing room, though I also use the little folding table, which I have brought in from the `inner room', to lay out books and papers. I have had to shut the window against the moths, huge ones with beige and orange wings, who have been coming in like little helicopters.

? Her great ambition, never realized, was to play Peter Pan.

? But her sadness was resolute, almost wary, and she was entirely attentive, the vivid eyes no longer vague.

? The letters, sent on by Miss Kaufman, were all personal but of little interest.

? The night was very warm, very still, and as I put my glasses in a place of safety and composed myself for sleep I wondered sadly why it had never occurred to me to sleep out here in the days when I was happy.

Представляется, что рассказчик прибегает к частым уточнениям, предвидя возможность коммуникативной неудачи коммуниканта - возможности адресатом-читателем не совсем адекватно понять сообщаемое (вследствие наличия в высказывании незнакомой информации и т. д.); вводимые в речь персонажа элементы словно бы настраивают собеседника на определённый тип восприятия передаваемого ему содержания.

4. Введение в повествование риторических обращений (акцентирование читательского внимания на чём-либо) и риторических вопросов (вопроса, как правило, не требующего ответа, но значительно углубляющего психологическую составляющую излагаемого содержания), а также риторических восклицаний.

рефлексия художественный произведение синтаксический

Риторическое	? What an extraordinary satisfaction there is in cleaning things!
восклицание	? Oh why do women take everything so intensely and make such a fuss! Why do they always
	demand definitions, explanations!
	? Oh blessed northern sea, a real sea with clean merciful tides, not like the stinking soupy
	Mediterranean!
	? I cannot think what to do about James's poems. Yes, James's POEMS!
Риторический вопрос	? Does the satisfaction depend on ownership?
	? What an egoist I must seem in the preceding pages. But am I so exceptional? We must live by
	the light of our own self-satisfaction, through that secret vital busy inwardness which is even more
	remarkable than our reason. Thus we must live unless we are saints, and are there any? There are
	spiritual beings, perhaps James was one, but there are no saints.
	? I can tell you, reader, about my past life and about my `world-view' also, as I ramble along.
	Why not?
	? Who knows indeed how interesting I shall find my past life when I begin to tell it?
	? To repent of egoism: is autobiography the best method?
	? How long does mortal fame endure?
	? Can one not recognize the smell of fear?
Риторическое	Christ, the Irish are stupid!
обращение

Присутствие значительного числа риторических конструкций свидетельствует о высокой степени рефлективности языковой личности, о её стремление глубже постичь и осознать, как явления во внешней действительности, так и происходящее в ней самой.

Использование перечисленных средств неизбежно подводит к усложнению авторского синтаксиса: увеличению длины и разветвлённости структуры синтаксических конструкций, разнообразию пунктуационного оформления предложений, передающего интонационный рисунок, - что в результате более точно и психологически верно передаёт характер мышления личности, в том числе и её способности к рефлексированию.

Сложность синтаксиса с учетом способов воплощения рефлексии конвертируется в частое и вместе с тем уместное употребление деепричастных, причастных оборотов, что характеризует рассказчика как языковую личность с высоким уровнем организации речи.

Рассмотренные нами некоторые способы воплощения рефлексии на синтаксическом уровне, безусловно, не исчерпывают всего разнообразия авторских средств и способов воплощения речевой рефлексии в романе А. Мёрдок Море, море. Синтаксический уровень - всего лишь одна, хотя и очень существенная, грань, анализ которой приближает нас к более полному и адекватному постижению явления рефлексии, имеющего множество проявлений практически на всех уровнях художественного прозаического текста.

ЗАКЛЮЧЕНИЕ

В настоящем исследовании нами были рассмотрены способы воплощения речевой рефлексии на основе произведения Айриис Мёрдок Море, море, произведен анализ аспектов организации речевой рефлексии, а также была осуществлена психолингвистическая интерпретация текста.

Целью данной работы было проанализировать лингвистические средства, способы организации языкового материала, воплощающих в прозаическом дискурсе речевую рефлексию персональной и авторской речи.

Первый этап работы включал изучение литературы по данной тематике, а также литературы, в рамках которой понятия языковой и речевой рефлексии объединяются и понимаются как единое. Нами не было выявлено попыток разграничения данных понятий, а также не было обнаружено тенденции к определению понятия авторской рефлексии. Поэтому, нами были предложены следующие определения:

1. Речевая рефлексия - лингвистические средства и способы, но извлеченные непосредственно из коммуникативно-речевого образования (текста), во всем их многообразии, связности друг с другом и с элементами индивидуального стиля общения носителя языка (языковой личности), если такие обнаруживаются (как правило, присутствие индивидуально-стилистических элементов предопределяется статусом языковой личности, уровнем ее компетентности - языковой, речевой и коммуникативной).

2. Языковая рефлексия - зафиксированный в лингвистических категориях процесс рефлексирования в отвлечении от конкретной речевой ситуации, а следовательно - в отличении от конкретного носителя (носителей) языка, это те лингвистические формулы - слова, выражения, типы конструкций, которые в принципе выражают отношение коммуниканта к своей речи, т.е. его рефлексирование

3. Авторская рефлексия - такая разновидность рефлексии, которая находит выражение в разных формах (эксплицированных и имплицитных, «охватывающих» разные по объёму и эстетической значимости фрагменты художественного произведения и т. д.) писательской оценки изображаемого в произведении.

Следовательно, в рамках филологических наук, мы разделяем рефлексию на речевую и рефлексию.

В ходе анализа произведения Море, море нами были выявлены некоторые особенности, влияющие на подбор лингвистических средств выражения речевой рефлексии. Такими особенностями являются: субъективация авторского текста,

В рамках нашего исследования понимаемая нами как смещение точки видения из авторской сферы с сферу одного из персонажей, далее - композиционное устройство - построение художественного произведения, определенная система средств раскрытия организации образов, их связей и отношений, характеризующих жизненный процесс, показанный в произведении.

Таким образом, основными лингвистическими средствами воплощения речевой рефлексии автора-рассказчика в произведении Айрис Мёрдок Море, море являются: вставные конструкции, вводные слова и предложения, конструкции с уточняющими членами предложения, а также риторические обращения, риторические вопросы и восклицания.

Проведенный анализ позволяет предположить, что автор-рассказчик - персонаж глубоко рефлексирующий, а также в своем повествовании призывающий (преднамеренно и того не желая) к рефлексированию потенциального читателя; сообщающий о своей образованности в сфере гуманитарных наук, а также сообщающий о своей профессиональной отнесенности в соответствие с использованием вставных конструкций, через посредство которых автор отсылает читателя к образам Шекспира. Высокий уровень языковой компетенции следует из разнообразия лингвистических средств, употребляемых автором-рассказчиком.

Подводя итог исследованию, важно отметить, что нами были проанализированы лингвистические средства воплощения речевой рефлексии, актуализирующиеся на синтаксическом уровне, что оставляет большие перспективы для более детального исследования феномена речевой (и языковой) рефлексии в дальнейшем.

СПИСОК ЛИТЕРАТУРЫ

1. Bran J. Nikol. Iris Murdoch. Retrospective Fiction. Second Edition. N.Y.: Palgrave Macmillan, 2004. - 220 p.

2. Cheryl Browing. Understanding Iris Murdoch. P.: University of South Carolina Press. 1993. - 259 p.

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ПРИЛОЖЕНИЕ А

Prehistory

The sea which lies before me as I write glows rather than sparkles in the bland May sunshine. With the tide turning, it leans quietly against the land, almost unflecked by ripples or by foam. Near to the horizon, it is a luxurious purple, spotted with regular lines of emerald green. At the horizon, it is indigo. Near to the shore, where my view is framed by rising heaps of humpy yellow rock, there is a band of lighter green, icy and pure, less radiant, opaque however, not transparent. We are in the north, and the bright sunshine cannot penetrate the sea. Where the gentle water taps the rocks there is still a surface skin of colour. The cloudless sky is very pale at the indigo horizon, which it lightly pencils in with silver. Its blue gains towards the zenith and vibrates there. But the sky looks cold, even the sun looks cold.

I had written the above, destined to be the opening paragraph of my memoirs, when something happened which was so extraordinary and so horrible that I cannot bring myself to describe it even now after an interval of time and although a possible, though not totally reassuring, explanation has occurred to me. Perhaps I shall feel calmer and more clear-headed after yet another interval.

I spoke of a memoir. Is that what this chronicle will prove to be? Time will show. At this moment, a page old, it feels more like a diary than a memoir. Well, let it be a diary then. How I regret that I did not keep one earlier, what a record that would have been! But now the main events of my life are over and there is to be nothing but `recollection in tranquility'. To repent of a life of egoism? Not exactly, yet something of the sort. Of course, I never said this to the ladies and gentlemen of the theatre. They would never have stopped laughing.

The theatre is certainly a place for learning about the brevity of human glory: oh all those wonderful glittering absolutely vanished pantomimes! Now I shall abjure magic and become a hermit: put myself in a situation where I can honestly say that I have nothing else to do but to learn to be good. The end of life is rightly thought of as a period of meditation. Will I be sorry that I did not begin it sooner?

It is necessary to write, that much is clear, and to write in a way quite unlike any way which I have employed before. What I wrote before was written in water and deliberately so. This is for permanence, something which cannot help hoping to endure. Yes, already I personify the object, the little book, the libellus, this creature to which I am giving life and which seems at once to have a will of its own. It wants to live, it wants to survive.

I have considered writing a journal, not of happenings for there will be none, but as a record of mingled thoughts and daily observations: `my philosophy', my pensйes against a background of simple descriptions of the weather and other natural phenomena. This now seems to me again to be a good idea. The sea. I could fill a volume simply with my word-pictures of it. I would certainly like to write some sustained account of my surroundings, its flora and fauna. This could be of some interest, if I persevered, even though I am no White of Selborne. From my sea-facing window at this moment I can see three different kinds of gulls, swallows, a cormorant, innumerable butterflies drifting about over the flowers which grow miraculously upon .my yellow rocks...

I must make no attempt at `fine writing' however, that would be to spoil my enterprise. Besides, I should merely make a fool of myself.

Oh blessed northern sea, a real sea with clean merciful tides, not like the stinking soupy Mediterranean!

They say there are seals here, but I have seen none yet.

Of course there is no need to separate `memoir' from `diary' or `philosophical journal'. I can tell you, reader, about my past life and about my `world-view' also, as I ramble along. Why not? It can all come out naturally as I reflect. Thus unanxiously (for am I not now leaving anxiety behind?) I shall discover my `literary form'. In any case, why decide now? Later, if I please, I can regard these ramblings as rough notes for a more coherent account. Who knows indeed how interesting I shall find my past life when I begin to tell it? Perhaps I shall bring the story gradually up to date and as it were float my present upon my past?

To repent of egoism: is autobiography the best method? Well, being no philosopher I can only reflect about the world through reflecting about my own adventures in it. And I feel that it is time to think about myself at last. It may seem odd that one who has been described in the popular press as a `tyrant', a `tartar', and (if I recall) a `power-crazed monster' should feel that he has not hitherto done so! But this is the case. I have in fact very little sense of identity.

It is indeed only lately that I have felt this need to write something that is both personal and reflective. In the days when I wrote in water I imagined that the only book I would ever publish would be a cookery book!

I might now introduce myself- to myself, first and foremost, it occurs to me. What an odd discipline autobiography turns out to be. To others, if these words are printed in the not too distant future, there will be in a superficial sense `no need of an introduction', as they say at meetings. How long does mortal fame endure? My kind of fame not very long, but long enough. Yes, yes, I am Charles Arrowby and, as I write this, I am, shall we say, over sixty years of age. I am wifeless, childless, brotherless, sisterless, I am my well-known self, made glittering and brittle by fame. I determined long ago that I would retire from the theatre when I had passed sixty. (`You will never retire', Wilfred told me. `You will be unable to.' He was wrong.) In fact I am tired of the theatre, I have had enough. This is what no one who knew me well, not Sidney nor Peregrine nor Fritzic, not Wilfred nor Clement when they were alive, could either foresee or imagine. And it is not just a matter of sagely departing `on the crest of the wave'. (How many actors and directors pathetically overstay their welcome.) I am tired of it all. There has been a moral change.

`All right, go', they said, `but don't imagine that you can come back.' I don't want to come back, thank you! `If you stop working and live alone you will go quietly mad.' (This was Sidney's contribution.)On the contrary, I feel completely sane and free and happy for the first time in my life!

It is not that I ever came to Disapprove' of the theatre, as my mother, for instance, never ceased to do. I just knew that if I stayed in it any longer I would begin to wilt spiritually, would lose something which had travelled with me patiently so far, but might go away if I did not attend to it at last: some thing not belonging to the preoccupations of my work, but preciously separate from it. I remember James saying something about people who end their lives in caves. Well, this, here, is my cave. And I have reached it bearing the precious thing that has come with me, as if it were a talisman which I can now unwrap. How grand and pompous this sounds! And yet I confess I scarcely know what I mean. Let us break off these rather ponderous reflections for a while.

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