英语论文网

er lives. These were imagined as containing many different kinds of “mind stuff “(as it was called by William James, the psychologist who coined the term “stream-of –consciousness”): verbalized thoughts, subliminal thoughts, perceptions, images, sensations and so on interior monologue, presents characters’ thoughts streams exclusively in the form of silent inner speech, as a stream of verb allied thoughts. (John Mephan, 1890:183 ) Being thus restricted, interior monologue cannot be said to fully present the stream of a character’s consciousness. In fact, every form of stream-of -consciousness writing implicitly makes a selection from, or focuses mainly upon, some aspects of characters’ inner lives and exclude others. Interior monologue represents characters speaking silently to themselves and quotes their inner speech, often without making this with speech marks. The inner speech is presented in the first person and in the present tense and employs deictic words (“here”, “now”, “this”, and so on) as a way of signaling to the reader that the passage should be interpreted as presenting the character’s own present orientation and location, and not that of a narrator. By using device of interior monologue, the author as the narrator of objective facts disappears. In the novel Night and Day, the author, linking an omniscient and omnipotent god, controlled all. She introduced the emotion of the character, organized the plots of the story, and made the character’s spirit world—especially the uncertain actions hidden deeply in her mind showed out accurately and spontaneously. That’s to say, those inner actions have been organized by the author, but they are not the original inner actions in the daily life. However, the whole article of The Mark on the Wall is a process of the protagonist’s thinking. In this article there is no other character and no story plot except the character who is described. At the beginning, the author tells readers the time: “ I first looked up and saw the mark on the wall”(Virginia Woolf, 1993: 1916). After that readers enter her deep consciousness. And in the about 4,000 words novel, readers travel among the character’s boundless and complicated consciousness. Following the character’s thoughts, we criticize “How readily our thoughts swarm upon a new object” (Virginia Woolf, 1993: 1917); we acclaim “oh! Dear me, the mystery of life; the inaccuracy of thought! The ignorance of humanity!”(Virginia Woolf, 1993: 1917); we ask “Why, after all. Should one not be born there as one is born here?” (Virginia Woolf, 1993: 1918) etc.—these are the complete living soul portrayal. Woolf considered that truth is objective. However, people have different feelings on the same reality. The most important a factor that a novelist should grasp is human nature—the innermost consciousness movement. The Mark on the Wall reflects the author’s inner reality conspicuously by applying interior monologue. When “I” saw the mark on the wall, trains of thoughts came out like gushing water: firstly, “I think of the fire” (Virginia Woolf, 1993: 1916), then “the crimson flag flapping from the castle tower came into my mind” (Virginia Woolf, 1993: 1916) and then “I thought of the cavalcade of red knights riding up the side of the black rock”(Virginia Woolf, 1993: 1916). When the hallucination was interrupted, “I” appreciated the thinking nature of human with feeling. After a short while, “I” guessed “that mark was made by a nail” (Virginia Woolf,