متن زیر را به فارسی تبدیل کن
but still the most
convenient; and then, or somewhere else? The Louvre? go on with you!
At two o’clock. Need to allow enough time; at least from two till three;
that’s it; I change ‘at’to ‘ from’ and I’m going to add ‘until three’. Next
‘I…I will wait for you…’No, ‘I will wait’; that’s it; let’s see.
Perhaps not surprisingly for an experimental work, Dujardin’s novel lapsed
into neglect and was largely forgotten in 1902 when Joyce stumbled across a
copy in a bookseller’s shop in Tours, France. The impact is undeniable, for
despite a twenty-year gap, Joyce copies Dujardin’s style exactly for many of
Leopold Bloom’s monologues in Ulysses.
Didn’t catch me napping that wheeze. The quick touch. Soft mark. I’d
like my job. Valise I have a particular fancy for. Leather. Capped
corners, riveted edges, double action lever lock. Bob Cowley lent him
his for the Wicklow regatta concert last year and never heard tidings of
it from that good day to this.
Mr Bloom, strolling towards Brunswick street, smiled. My missus has
just got an. Reedy freckled soprano. Cheeseparing nose. Nice enough in
its way: for a little ballad. No guts in it. You and me, don’t you know? In
the same boat. Softsoaping. Give you the needle that would. Can’t he
hear the difference? Think he’s that way inclined a bit. Against my grain
somehow. Thought that Belfast would fetch him. I hope that smallpox up
there doesn’t get worse. Suppose she wouldn’t let herself be vaccinated
again. Your wife and my wife.
Part of being a genius is knowing when you’ve found a winner. What the
interior monologue does for Joyce is allow him—and us—to follow the
meanderings of his characters, especially Leopold Bloom, who is a world-class
meanderer. Of his wife Molly, more anon.
The intellectual sanction for this new fiction is largely derived from the work
of French philosopher Henri Bergson. In works such as Matter and Memory,
Laughter, and Time and Free Will, Bergson lays out a theory of mind, memory,
and the subjective experience of time that gives free reign to the novelistic
explorers of consciousness.
At the center of experience in the “new” fiction is memory. Bergson
distinguishes between mémoire volontaire, which is a product of reason and will,
the portion of memory we can control, and mémoire involontaire, which is the
part writers can make use of. This latter is capricious, flowing uncertainly, never
quite graspable. We see when we look at writing by Joyce or Woolf, for instance,
just how much of memory is involuntary, how little control we have over the
images that float to the surface, often to haunt or mock us.
Another key notion is la durée, or durational time. As opposed to clock time
or metronomic time, humans experience time subjectively, so that moments are
almost infinitely elastic, as in the instant before the car crash when one “sees”
one’s life flash before one’s eyes. The notion of durational time, curiously
enough, is picked up by the imagist poets for their tiny creations and by novelists
with ambitions as large as the author of Ulysses and Finnegans Wake. In the
practice of fiction, durational time allows for almost limitless exploration of a
single moment, as the mind can be functioning on a host of levels and covering a
wide array of subjects all at once as time seems, at least sometimes, to stand still.
The change in the narrative presence is most notable in the stream-of￾consciousness novel. This is not to suggest, however, that narrators disappear
entirely; rather, the narrator ceases to act as mediator or filter for the characters’
thoughts and acts more as presenter or conduit for direct transcription, with little
or no authorial commentary. Where Dickens would tell us what someone was
thinking and what it might mean or portend, Faulkner or Joyce give us not only
the thoughts (the word suggesting an awareness and even a control by the
character), but the whole jumble of thought, instinct, pre-thought, reflex, and
response to stimulus to which the character is subject. In stream-ofconsciousness fiction a character’s thoughts are presented directly, without
mediation by an intrusive narrator; he speaks, as it were, to himself. Hence the
use of contractions and of the second person. The effect of the latter is to give
what is said a more general significance, the speaker assuming that his reactions
and thoughts do not hold for him alone but for any human being.