Строй и функции внутренней речи персонажей в романе Т. Драйзера "Американская трагедия" (лингвистический и дидактический аспекты)

Приложение 7

(обязательное)

Внутренний диалог Клайда Гриффитса, глава 42

But later … he was struck by the thought (what devil's whisper? -- what evil hint of an evil spirit?) -- supposing that he and Roberta -- no, say he and Sondra -- (no, Sondra could swim so well, and so could he) -- he and Roberta were in a small boat somewhere and it should capsize at the very time, say, of this dreadful complication which was so harassing him?

But the mere thinking of such a thing in connection with Roberta at this time -- (why was it that his mind persisted in identifying her with it?) was terrible, and he must not, he must not, allow such a thought to enter his mind. Never, never, never! He must not. It was horrible! Terrible! A thought of murder, no less! Murder?!!! Yet so wrought up had he been, and still was, by the letter which Roberta had written him, as contrasted with the one from Sondra -- so delightful and enticing was the picture of her life and his as she now described it, that he could not for the life of him quite expel that other and seemingly easy and so natural a solution of all his problem -- if only such an accident could occur to him and Roberta. For after all he was not planning any crime, was he? Was he not merely thinking of an accident that, had it occurred or could it but occur in his case. Ah -- but that "COULD IT BUT OCCUR." There was the dark and evil thought about which he must not, HE MUST NOT THINK. He MUST NOT. And yet -- and yet, . . . He was an excellent swimmer and could swim ashore, no doubt -- whatever the distance. Whereas Roberta, as he knew from swimming with her at one beach and another the previous summer, could not swim. And then -- and then -- well and then, unless he chose to help her, of course.

He must never think of it again! He must never think of it again. He must never, never, never think of it -- never (Dreiser Theodor. An american tragedy. V. 1. P. 445).

Приложение 8

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Внутренний диалог Клайда Гриффитса, глава 45

For now the genie of his darkest and weakest side was speaking. And it said: "And would you escape from the demands of Roberta that but now and unto this hour have appeared unescapable to you? Behold! I bring you a way. It is the way of the lake -- Pass Lake. This item that you have read -- do you think it was placed in your hands for nothing? Remember Big Bittern, the deep, blue-black water, the island to the south, the lone road to Three Mile Bay? How suitable to your needs! A row-boat or a canoe upset in such a lake and Roberta would pass forever from your life. She cannot swim! The lake -- the lake -- that you have seen -- that I have shown you -- is it not ideal for the purpose? So removed and so little frequented and yet comparatively near -- but a hundred miles from here. And how easy for you and Roberta to go there -- not directly but indirectly -- on this purely imaginative marriage-trip that you have already agreed to. And all that you need do now is to change your name -- and hers -- or let her keep her own and you use yours. You have never permitted her to speak of you and this relationship, and she never has. You have written her but formal notes. And now if you should meet her somewhere as you have already agreed to, and without any one seeing you, you might travel with her, as in the past to Fonda, to Big Bittern -- or some point near there."

"But there is no hotel at Big Bittern," at once corrected Clyde. "A mere shack that entertains but few people and that not very well."

"All the better. The less people are likely to be there."

"But we might be seen on the train going up together. I would be identified as having been with her."

"Were you seen at Fonda, Gloversville, Little Falls? Have you not ridden in separate cars or seats before and could you not do so now? Is it not presumably to be a secret marriage? Then why not a secret honeymoon?"

"True enough -- true enough."

"And once you have arranged for that and arrive at Big Bittern or some lake like it -- there are so many there -- how easy to row out on such a lake? No questions. No registry under your own name or hers. A boat rented for an hour or half-day or day. You saw the island far to the south on that lone lake. Is it not beautiful? It is well worth seeing. Why should you not go there on such a pleasure trip before marriage? Would she not be happy so to do -- as weary and distressed as she is now -- an outing -- a rest before the ordeal of the new life? Is not that sensible -- plausible? And neither of you will ever return presumably. You will both be drowned, will you not? Who is to see? A guide or two -- the man who rents you the boat -- the innkeeper once, as you go. But how are they to know who you are? Or who she is? And you heard the depth of the water."

"But I do not want to kill her. I do not want to kill her. I do not want to injure her in any way. If she will but let me go and she go her own way, I will be so glad and so happy never to see her more."

"But she will not let you go or go her way unless you accompany her. And if you go yours, it will be without Sondra and all that she represents, as well as all this pleasant life here -- your standing with your uncle, his friends, their cars, the dances, visits to the lodges on the lakes. And what then? A small job! Small pay! Another such period of wandering as followed that accident at Kansas City. Never another chance like this anywhere. Do you prefer that?"

"But might there not be some accident here, destroying all my dreams -- my future -- as there was in Kansas City?"

"An accident, to be sure -- but not the same. In this instance the plan is in your hands. You can arrange it all as you will. And how easy! So many boats upsetting every summer -- the occupants of them drowning, because in most cases they cannot swim. And will it ever be known whether the man who was with Roberta Alden on Big Bittern could swim? And of all deaths, drowning is the easiest -- no noise -- no outcry -- perhaps the accidental blow of an oar -- the side of a boat. And then silence! Freedom -- a body that no one may ever find. Or if found and identified, will it not be easy, if you but trouble to plan, to make it appear that you were elsewhere, visiting at one of the other lakes before you decided to go to Twelfth Lake. What is wrong with it? Where is the flaw?"

"But assuming that I should upset the boat and that she should not drown, then what? Should cling to it, cry out, be saved and relate afterward that. . . But no, I cannot do that -- will not do it. I will not hit her. That would be too terrible . . . too vile."

"But a little blow -- any little blow under such circumstances would be sufficient to confuse and complete her undoing. Sad, yes, but she has an opportunity to go her own way, has she not? And she will not, nor let you go yours. Well, then, is this so terribly unfair? And do not forget that afterwards there is Sondra -- the beautiful -- a home with her in Lycurgus -- wealth, a high position such as elsewhere you may never obtain again -- never -- never. Love and happiness -- the equal of any one here -- superior even to your cousin Gilbert."

The voice ceased temporarily, trailing off into shadow, -- silence, dreams (Dreiser Th. An american tragedy. V. 1. P. 470-472).

Приложение 9

(обязательное)

Раздаточный материал с теоретической информацией для урока домашнего чтения

Прямая речь - это слова какого-либо человека, передаваемые буквально так, как они и были произнесены. На письме прямая речь выделяется кавычками, а после слов, вводящих прямую речь, ставится запятая.

Clyde said, "I will send this letter to her tomorrow".

Клайд сказал: "Я отправлю ей это письмо завтра".

Косвенная речь - это речь, передаваемая не слово в слово, а только по содержанию, в виде дополнительных придаточных предложений.

Clyde said he would send that letter to her the next day.

Клайд сказал, что он отправит ей это письмо на следующий день. Несобственно-прямая речь не оформляется как придаточная часть предложения (в отличие от косвенной) и не вводится специальными вводящими словами (в отличие от прямой речи). В ней почти полностью сохраняются лексические и синтаксические особенности чужого высказывания, манера речи говорящего лица, эмоциональная окраска, характерная для прямой речи, но передается она не от имени персонажа, а от имени автора, рассказчика. Автор в этом случае соединяет мысли и чувства своего героя со своими, сливает его речь со своей речью.

Clyde sat back in his chair. He would send that letter to her the next day.

Клайд сел в кресло. Он отправит ей это письмо на следующий день.

Различие между прямой, косвенной и несобственно-прямой речью показывает следующий пример:

1) прямая речь:

Все вспоминали ту вечеринку и говорили: «Как весело нам было!»

2) косвенная речь:

Все вспоминали ту вечеринку, говоря, что им было весело.

3) несобственно-прямая речь:

Все вспоминали ту вечеринку. Как весело им было!

Наиболее характерный типом несобственно-прямой речи являются вопросительные и восклицательные предложения, которые выделяются на фоне авторского повествования.

Приложение 10

(обязательное)

Chapter 9

Apart from the momentary thrill and zest of this, the effect was to throw Clyde, as before, speculatively back upon the problem of his proper course here. For here was this girl, and she was approaching him in this direct and suggestive way. And so soon after telling himself and his mother that his course was to be so different here -- no such approaches or relationships as had brought on his downfall in Kansas City. And yet -- and yet --

He was sorely tempted now, for in his contact with Rita he had the feeling that she was expecting him to suggest a further step -- and soon. But just how and where? Not in connection with this large, strange house. There were other rooms apart from the kitchen to which Dillard and Zella had ostensibly departed. But even so, such a relationship once established! What then? Would he not be expected to continue it, or let himself in for possible complications in case he did not? He danced with and fondled her in a daring and aggressive fashion, yet thinking as he did so, "But this is not what I should be doing either, is it? This is Lycurgus. I am a Griffiths, here. I know how these people feel toward me -- their parents even. Do I really care for her? Is there not something about her quick and easy availability which, if not exactly dangerous in so far as my future here is concerned, is not quite satisfactory -- too quickly intimate?"

Her attitude was decidedly encouraging, even here. They parted, but with Clyde still saying to himself that this new relationship was developing much too swiftly. He was not sure that he should undertake a relationship such as this here -- so soon, anyhow. Where now were all his fine decisions made before coming here? What was he going to decide?

A week later Clyde was invited to appear and participate in a Griffiths family meal on the following Sunday.

On this occasion Mrs. Griffiths and Myra and Bella decided in conference that they would all be present with the exception of Gilbert, who, because of his opposition as well as another appointment, explained that he would stop in for only a moment before leaving.

The elder Griffiths inquired one day:

"Well, what about your cousin? How's he doing by now?" And Gilbert, only a little worried as to what this might bode, replied, "Oh, he's all right. I started him off in the shrinking room. Is that all right?"

"Yes, I think so. That's as good a place as any for him to begin. But what do you think of him by now?"

"Oh, he's all right, I guess. He may work out. But he does not strike me as a fellow who would ever make much of a stir in this game. He hasn't had much of an education of any kind, you know. Any one can see that. Besides, he's not so very aggressive or energetic-looking. Too soft, I think. He may be all right. You like him and I may be wrong. But I can't help but think that his real idea in coming here is that you'll do more for him than you would for someone else, just because he is related to you."

"He may not be as impractical as you think. He hasn't been here long enough for us to really tell, has he? He didn't strike me that way in Chicago. If he's content to take a small job in life, that's his business. I can't prevent that. But I don't want him sent away yet, anyhow, and I don't want him put on piece work. It wouldn't look right. He is related to us. Just let him drift along for a little while and see what he does for himself."

"All right, governor," replied Gilbert

"We'll have to have him out to the house for dinner pretty soon, won't we? I have thought of that but I haven't been able to attend to it before. I should have spoken to Mother about it before this. He hasn't been out yet, has he?"

"No, sir, we've been waiting for you to say something about it, I suppose." replied Gilbert.

"Very well," went on Samuel, "you'd better find out where he's stopping and have him out. Next Sunday wouldn't be a bad time, if we haven't anything else on. After all, Gil, he's my nephew and your cousin, and we can't afford to ignore him entirely." He got up and took down his hat and coat and left the office.

The proposition he was now offering -- as thrilling and intriguing as it might be from one point of view -- was likely to cause him endless trouble -- was it not? In the first place he had no money -- only fifteen dollars a week here so far -- and if he was going to be expected to indulge in such expensive outings as these, why, of course, he could not manage. Carfare, meals, a hotel bill, maybe an automobile ride or two. And after that he would be in close contact with this Rita whom he scarcely knew. And might she not take it on herself to become intimate here in Lycurgus, maybe -- expect him to call on her regularly -- and go places -- and then -- well, gee -- supposing the Griffiths -- his cousin Gilbert, heard of or saw this. Hadn't Zella said that she saw him often on the street here and there in Lycurgus? And wouldn't they be likely to encounter him somewhere -- sometime -- when they were all together? And wouldn't that fix him as being intimate with just another store clerk like Dillard? It might even mean the end of his career here! Who could tell what it might lead to?

He coughed and made various excuses. Just now he had a lot of work to do. Besides -- a venture like that -- he would have to see first. His relatives, you know. Besides next Sunday and the Sunday after, some extra work in connection with the factory was going to hold him in Lycurgus. After that time he would see. He had been saving something toward a new dress suit and collapsible silk hat. Might he not use some of that -- even though he knew the plan to be all wrong? (Dreiser Th. An american tragedy. V. 1. P. 370-372).

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