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(7)This dream I had last night. I broke two plates, and woke up unconfident and nervous and tired. I don’t know what the dream means...I dreamed that they were my mother’s plates, I broke two things of hers when I was little...I can raise my arm. I turned without thinking. I can’t figure out that dream. My step-mother was there, washing dishes at the sink, and she turned into Helena Fisher, and I woke up thinking, Ah, that’s it, they’re both my step-mothers.(William Maxwell, The French Scarecrow)(评价)

(8)I looked at her. I’m nearly sixty-five and she was telling me about real life.(M.Morris, The Valentine generation and other stories) (补述)

(9)Cora was at the table, bending over a dish of cutlets. In one hand she held a can of lethal pesticide. I couldn’t be sure because I’m so near-sighted, but I think she was sprinkling pesticide on the meat.(John Cheever, The Ocean) (解释)

(10) Last night I sat down to dinner with Cora, my wife, at half past six. Our only daughter has left home, and we eat, these days in the kitchen, off a table ornamented with a goldfish bowl. The meal was cold ham, salad, and potatoes. (John Cheever, The Ocean) (背景介绍)

当代小说注重人物语言内容与表达形式之间的关系,变换人物语言的不同表达方式成为控制叙事角度和距离、变换感情色彩和语气等的有效工具。例如:

(11) As doctors often do I took a trial shot at it as a point of departure. Had she had a sore throat? But parents answered me together, No...No, she says her throat don’t hurt her. Does your throat hurt you? Added the mother to the child. ( W.C.Williams, The Use of Force)

医生的话用“时体后移”的自由间接引语使之与上下文在时体上相呼应,从而令读者感到作者的介入,听到他的叙述干预的声音;而病孩父母的话用自由直接引语保留了原有时体、人称及疑问号等结构形式,使作者可以摆脱叙述语境的压力和句法转换规则的羁绊而复制小说人物语言内涵、风格和语气。同一逻辑时空的话以不同引语形式表征,文章的叙事视点在叙述者的时间框架与人物时间框架之间游移转换,产生了在读者、读物和作者/叙述者之间的人际意义和作用。^[4]

用现在时描绘在过去时间发生的动作或状态,这种现联性发生在时间轴的现在时点的左边,称之为“左向联系”;如发生在时间轴的现在时点的右边表将来,就称之为“右向联系”^[5]。例如:

(12) If you behave like that tomorrow, you lose your pocket money.

(13) Here’s what you have to do tomorrow morning. You walk to the station, and get on the first train.

Huddleston认为,例(12)里的情态助动词的缺失使得话语具有强烈的警告色彩,事件的发生被置于此时此刻的视点框架之内。^[1](P68)同理,例(13)也是将发生在将来的动作置于现在时刻的视点框架之内。我们认为,这两个例句都有两个时间视点———将来时间状语和动词现在时形式,这两个将来和现在的时间视点的并存产生了“双重声音”(double voice),强调了事件的必然性和现实性。

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