CC BY
8«етуушшим-шишаи» жш. / philological sciences
27
dialogues in postmodernist works appear more mono-logic, they were mainly self-reflexive dialogues given in the form of dialogues, intended for a fictional reader. In such works, the narrator performs self-reflection on well-known texts in addition to commenting on them. For this very reason, unique metaplots emerge in postmodernist texts and open the way to the creative process arising from the unity of the narrator and the author. This process serves the communication of the author, the work, and the reader from the beginning of the work to the end.
Conclusions. As it can be seen, the narrator in the artistic world of the text challenges the fiction within the fiction, narrates "some points of view" from the point of view of the character. The study of narrative models in J. Barnes's short story collection "Pulse" suggests that the work is characterized by the artistic intention and autoreflexivity that define the poetics of postmodernism. At the same time, the discourse describing the events that are the three components of the narrative model defined by G. Genette, the set of narrated events that are the object of this discourse, and the narrative act determine the text of "Pulse" as a narrative tool aimed at the reader. It is known that the literary text
is a form of unequivocally addressed author-reader communication, and in this sense, the narrative model in the textual "transmissions" of the novel should be understood as the author's narrative strategy.
References:
1. Барт Р. Избранные работы: Семиотика. Поэтика. М., 1994. с. 384-391
2. Женетт Ж. Работы по поэтике. М.: Сабашниковых. 1998. 320с.
3. Шмид B. Нарратология. М.: Языки славянской культуры. 2003. 312 с.
4. Barnes J. Pulse. London: Jonathan Cape. 2011. 240p.
5. Cusk R. Pulse by Julian Barnes. 2011, 8 Jan. https://www.theguardian.com/books/2011/jan/08/jul-ian-barnes-pulse-rachel-cusk-review
6. Gordon E. Review of Pulse by Julian Barnes //Times Literary Supplement. 07.01.2011 https://www.the-tls.co.uk/issues/november-8-2019/
7. Guignery V. The Fiction of Julian Barnes: A reader's guide to essential criticism. Basingstoke: Palgrave Macmillan. 2006. 176p.
8. Holmes F.M. Julian Barnes (New British Fiction). Basingstoke: Palgrave Macmillan, 2009. 178p.
УДК 821.111
Sevinj Aziz Nakhchivan State University Azerbaijan, Nakhchivan DOI: 10.24412/2520-6990-2022-26149-27-30 DIALOGUE IN J. AUSTIN'S NOVEL "THE WATSONS" AS THE STRUCTURE OF THE AUTHOR'S
NARRATIVE
Abstract.
The dialogues created by the English writer J. Austen in the novel "The Watsons" determine the structure of the author's narrative, and in these dialogues, the true features of the characters are revealed, the personality and character of the individual, as well as the English society that formed its character is also seen. Any dialogue in J. Austin's novels creates communication, and the writer shows behavioral models of various essays in these communications. In the dialogues created by J. Austin, the reader determines for himself the customs, family, marriage and interpersonal relations prevailing in English society. The article clarifies the dialogues that define the author's personal style in J. Austin's novel "The Watsons", identifies dialogues such as confession, explanation, clarification, questioning, argument and confrontation.
Keywords: J. Austin, "The Watsons", narrative, novel, dialogue
Introduction. Artistic dialogue acts as a complex type of communication between the author, reader and characters in the work and determines the dynamics of the work. From this point of view, the functional feature of the artistic dialogue serves to create communication between the author and the reader, and at the same time, it plays an exceptional role in character development. The uniqueness of dialogue in J. Austin's novels is determined by its aesthetic function. The dialogue form created by the writer stands out as a feature of his artistic system. The use of dialogue in his novels is often informative and clarifies the development of events, the unfolding of the plot, the behavior of the characters, and determines their relationship to each other.
J. Austin reveals the characters of her heroes through dialogue, and for this reason it is important to
study the characteristics of dialogue in the writer's novels. G. Muzny writes in his book "Dialogism in the Novel" that "Austin's technique of elicitation was new for the Romantic period, and he thought not about ideas, but about ways to convey them. His evocation was based on persuasive dialogue" [7, p.32].
On the other hand, in J. Austin's novels, the dialogue serves to open the plot, and for this reason, the author shows different opinions through the dialogue. According to the English researcher John Hough, the dialogue established in the work helps to reveal the character of the characters as well as determines their emotions and psychology. The researcher also notes that "there is tension in every dialogue, and the author, in turn, shows the reader how to achieve it" [6, p.29].
It is in the dialogues that J. Austin's heroes reveal their worldview, ethical and moral qualities. The objective description of reality leads the writer to express
28
PHILOLOGICAL SCIENCES / <«g©yL©(MUM~J©U©MaL» #26(149), 2022
himself through the dialogues of the characters. For this reason, the writer's works are dominated not by the subjective views of the developer, but by the hero's point ofview and attitude to the events. In the dialogues created by J. Austin, human characters are revealed; behavioral models in various life events are shown. As a rule, the dialogues, as the main structure of the work, voice everyday events that stimulate the development of the plot. M. Bakhtin writes about dialogism that "the speaker's words form the artistic text of the work" [1, p.47]. It is for this reason that the dialogue determines the development of events, the character and positions of the characters, and thus expresses the conceptuality of the text.
Experiment. The peculiarity of the artistic dialogue is a figurative thinking process that has an aesthetic function. J. Austen's dialogues reveal the true characteristics of the Victorian man. In his dialogues one can see the human personality as well as the English society that shaped his character. Dialogue is the most common form of communication of J. Austen's characters and almost forms the structure of many of her novels ("Pride and Prejudice", "Emma", "Northenger Abbey", "Mansfield Park").
The peculiarity of J. Austin's dialogues is determined by the uniqueness of the situations. Any dialogue creates direct communication, and in these communications, the writer shows the behavior patterns of different essays in different life situations. Usually, life situations are revealed in such dialogues and give impetus to the development of the plot. The writer manages to describe the social and personal characteristics of the characters through dialogue. It is interesting that Austin doesn't give characters that change during the development of events, but shows ready-made types of people. The confrontations in the dialogues allow me to reveal the secrets of the opposing characters. One of such works is the novel "The Watsons", which belongs to the writer's early creativity, but wasn't published during his lifetime for certain reasons. It is known that the events in J. Austen's novels take place in the English countryside. The main character of the novel, Emma Watson, is brought up in a wealthy family, but after the death of her uncle, she returns to the village where her family lives. Discrimination in the family and her sisters' search for a husband disappoints her, and soon she learns what is happening in her home, which she left with a child, from conversations with her sister, close relatives and neighbors.
The peculiarity of J. Austin's novels is that the changes in the fate of the heroes she portrays reveal their personal qualities and open up hidden and unexpected possibilities for them. During dialogic communication, J. Austin's heroes have to "play" their roles. For this reason, the dialogue reflects their individual characteristics in the work. It is through the dialogue that the development dynamics of the plot is determined. The dialogue between the two sisters along the way serves to reveal and explain the subsequent events. Elizabeth and Emma Watson go to a dinner party and the older sister shares her thoughts on her family and acquaintances. Along with the financial situation of her
family, Elizabeth talks about her brothers and sisters and tells their life story. Emma has been outside the family since she was a child and therefore is unaware of what is happening in the family. Emma, who lives a rich life, is different from her brothers and sisters who are bankrupt and have a miserable financial situation. A rich lifestyle prompts him to behave in a dignified manner and treat people politely and sensitively. From the dialogues created by the author, we gradually become aware of love and friendship, competition and betrayal, marital bonds and material dependence in the work. Through the dialogues between the characters, we get to know the rich Osborn family, we get to know the wealthy aristocrat Tom Musgrave, and we love the noble Mr. Edward and his daughter Mary. In the dialogue on the throne of the sisters who are going to the party, we get to know the Watson family, which has certain interests, and learn about them. The atmosphere of dialogue that starts from the first pages of the work continues until the end, and we come across types of dialogue that have direct services in the opening of the characters and the development of the plot. In other words, the author reveals the Watson family through dialogues and introduces it to the reader.
Through the dialogue between Elizabeth and Emma, the reader witnesses dramatic revelations of character and behavior. During the conversation between the two sisters, the reader learns about the younger sister who returned to the family after many years. The author clarifies other events of the work through dialogue, and the reader determines for himself the customs, family, marriage and interpersonal relations prevailing in English society. Also, she collects all events together only during different conversations. This was a completely new method of presentation at the time of writing J. Austen's novel.
Discussion and result. The following events take place at the party and after the party, and the reader gets to know the other characters of the work through these dialogues. The author uses explanatory dialogue of emotional dialogue types throughout the work. In such dialogues, the characters openly express their feelings to each other. Other characters don't have this type of dialogue communication. Such dialogues help to expand the information about the events that happened in the novel, the told facts reveal the history of the hero, and allow a glimpse into the past of the characters. Let's pay attention to the dialogue between Elizabeth and Emma from the first pages of the work:
"I hope you will be in good looks. I should not be surprised if you were to be thought one of the prettiest girls in the room, there is a great deal in novelty. Perhaps Tom Musgrave may take notice of you, but I would advise you by all means not to give him any encouragement. He generally pays attention to every new girl, but he is a great flirt, and never means anything serious". "I think I have heard you speak of him before," said Emma. "Who is he?" "A young man of very good fortune, quite independent, and remarkably agreeable, an universal favourite wherever he goes. Most of the girls hereabouts are in love with him, or have been. I believe I am the only one among them that have escaped with a whole heart; and yet I
«<g©yL©(MUM~JOy©MaL» #26(149), 2022 / PHILOLOGICAL sciences
29
was the first he paid attention to when he came into this country six years ago; and very great attention did he pay me. Some people say that he has never seemed to like any girl so well since, though he is always behaving in a particular way to one or another"[5].
Her older sister tells her about what's going to happen at the ball, and gives Emma her advice on that information. The reader feels as if the events of the evening are foreshadowed in the dialogue. The author asks soft or gentle questions through the clarification-dialogue that she establishes, and for this reason the questions are answered voluntarily and extensively. The emotional situation seems quite calm because of the mutual desire between the sisters. Clarification-dialogues usually involve questioning, trying to find out the interlocutor's opinion or get any information. The questioner usually does not comment on the answers and accepts them calmly. It's a quiet and fairly peaceful conversation. As a rule, the answer raises the next question. Chatting along the way, the sisters talk about the wealthy Tom Musgrave, the favorite of their peers, and share his characteristics:
"And how came your heart to be the only cold one?" asked Emma, smiling.
"There was a reason for that," replied Miss Watson, changing colour. "I have not been very well used among them, Emma. I hope you will have better luck". "Dear sister, I beg your pardon, if I have unthinkingly given you pain"[5].
M. Bakhtin writes that "the main feature of literature is that here language is not only a means of communication and expression, but also an object of description". Then he writes "literature is the interaction between what is spoken and what is described"[2, p.187]. In other words, the hero's language is the main tool for character development. Through the dialogue, the reader understands the meaning of the image and the idea of the work as a whole.
J. Austin uses the dialogue most often in the form of explanation in this work. This dialogue is different from the clarification-dialogue. If the previous dialogue is based more on questions and answers, it is more understandable in this dialogue, and therefore the author replaces it with narrative sentences. In such a case, it reminds of ordinary, everyday conversation, where ideas and information are exchanged. Intonation between interlocutors requires more attention from the author. It is for this reason that the author's notes, in other words, remarks, are more evident.
"When we first knew Tom Musgrave," continued Miss Watson, without seeming to hear her, "I was very much attached to a young man of the name of Purvis, a particular friend of Robert's, who used to be with us a great deal. Everybody thought it would have been a match".
A sigh accompanied these words, which Emma respected in silence. But her sister, after a short pause, went on.
"You will naturally ask why it did not take place, and why he is married to another woman, while I am still single. But you must ask him—not me—you must ask Penelope. Yes, Emma, Penelope was at"[5].
V. Vinogradov, a linguist, is right when he says that "the language of artistic works consists of different types of dialogues". He writes that "the principles of combining various forms of speech within a monologue and including dialogue in them" serve to create an artistic work [3, p.37].
Among the dialogues used by J. Austin in the work is the confession-dialogue. As the name suggests, in such dialogues, the author chooses the principle of confession, and in the conversations between the characters, one of them makes his confessions to the other.
"She thinks everything fair for a husband. I trusted her: she set him against me, with a view of gaining him herself, and it ended in his discontinuing his visits, and, soon after, marrying somebody else. Penelope makes light of her conduct, but I think such treachery very bad. It has been the ruin of my happiness. I shall never love any man as I loved Purvis. I do not think Tom Musgrave should be named with him in the same day"[5].
Confession dialogues can also be called monologues. In this case, the author uses short replicas, insightful expressions and can add a story. We can see this in Elizabeth's monologue to her sister about the young man she loves. Confessions are made to make an impression, and usually in such confessions there is a moral need to influence the interlocutor or just to talk without any purpose. The evidence of the confessor's influence on the interlocutor is also measured by the questions asked of the other party, as we see in Elizabeth's appeals to Emma: "I have lost Purvis, it is true; but very few people marry their first loves. I should not refuse a man because he was not Purvis. Not that I can ever quite forgive Penelope" [5].
Elizabeth tries to be as sincere as possible and expects mutual understanding from Emma. In such dialogues, one of the parties strengthens the confession with the help of questions, while the other party approaches it with understanding and sympathy. The sincerity of the confession is related to the fact that the conversation takes place in conditions of trust, and the writer creates the atmosphere of dialogue in the style of quiet conversations to create these conditions. It is for this reason that he does not use sentences that raise emotions, and the author does not leave room for remarks. L.V. Sherba writes that "language reveals its true existence only in dialogue" [4, p.38]. The confessional dialogue between Elizabeth and Emma is similar. It is clear that the elder sister is worried about the fact that Emma has been away from the problems in the family due to the fact that she has left home since childhood, and because of this, she is not able to get to know Penelope closely. Bronwen Thomas, a Canadian researcher who considers dialogue to be an important plot creation, writes: "the hero's speech is the main tool in revealing the character, and at this time, through the dialogue, we understand the meaning of the character and the ideological pathos of the work as a whole. Dialogue as an evocative tool is a key feature of the development of the novel as a genre, but at the same time, this concept is little recognized and explored in the critical literature" [8, p.36]. The researcher rightly
30
PHILOLOGICAL SCIENCES / «еЮШШУШМ-ШУШаИ» #26(149), 2022
mentions dialogue as an important means of investigation.
In another part of the work, through the dialogue between the father and daughter, who asks him to talk about the events at the ball, the author creates an atmosphere of questioning, but at the same time, he creates conditions for the character of Mr. Edward's daughter, Mary, to be revealed and conveyed to the reader. In such dialogues, there are only questions and answers, and although the question is structured in a simple way, the answer sounds like an unfinished, incomplete answer given under psychological pressure. Sometimes the questions outnumber the answers. The dialogue environment is quite intense, so there is no place for rhetorical hints. In interrogative dialogues, the intonations are extremely clear and therefore do not need the author's explanation.
One of the dialogues that play an important role in the development of the characters and the development of the plot in the novel is the conflict dialogue. It is through this dialogue that the author can reveal psychological problems. At the beginning of the dialogue, the weak-willed person tries to say something to the stronger personality, but his statements are usually half-hearted and sometimes broken. However, the statements of the other party are fluent and clear and therefore appear more complete. One of the interlocutors presents more arguments against the other party's position, which is why the other party is often unable to oppose him and sometimes remains silent. At the end of the dialogue, one of the interlocutors is unable to find a word, and expresses remarks indicating that he has no counterargument. The last statement belongs to the side that won the psychological victory.
In J. Austen's novel "The Watsons", the dialogue occupies most of the text. Remarks occupy a special place in the structure of dialogue parts. It is through these remarks that the author makes his interpretation. Remarks in "The Watsons" intervene in the dialogue in the form of a brief explanation and, in turn, resemble an interpretation of a dramatic work. Remarks as a part of artistic dialogue either precede, accompany or conclude dialogue parts.
One of the dialogues established by J. Austin in the work is a mixed dialogue. In such dialogues, you can usually see a combination of confession, argument and monologue elements. Elizabeth's confession is challenged by her sister Emma, whose monologue is understood by her sister Emma, in which case her objection resembles an interrogative dialogue. The appeal-protest dialogue between the two sisters prompts Elizabeth to be more persuasive. Elizabeth's confessions are intended to convince her sister that she is wrong, but Emma's answers also satisfy her.
One of the dialogues used in J.Austin's work is the dialogue built on the basis of a dispute, and it is through this dialogue that the writer succeeds in describing events close to reality. In such a dialogue, he tells each other all the claims that the two characters have accumulated over a long period of time. The author constructs the dialogue in such a way that he touches on unpleasant episodes and reveals the mutual accusations of the characters. The author expresses the emotional tension of the dialogue with many questions and exclamatory sentences.
Conclusions. The event described in the dialogue is a topic close enough to the reader, so J. Austin doesn't need to comment on what is happening every time. As it can be seen, the dialogues in J. Austen's novel "The Watsons" have several features. The first of them makes the speech of the characters colorful by replacing the author's monologue with a dialogue. On the other hand, it implements a lively spoken language that characterizes the characters. Finally, it replaces the main idea in the author's presentation, which is unnecessary and sometimes seems like a moral lesson. Dialogue, as a means of creating an image, embodies a detailed description of the character's spiritual and external appearance. The artistic and aesthetic functions of the dialogue are different, but first of all it is related to the individual style of the author. In J. Austen's novel "The Watsons" we can see a clear proof of it.
References:
1. Бахтин М.М. Проблемы поэтики Достоевского // Собрание сочинений. В 7-т. М., Т. 6. 2002.
2. Бахтин М. М. Язык в художественной литературе // Собр. соч. В 7 т. Т. 5. М., 1996. 287-289c.
3. Виноградов В.В. Избранные труды. О языке художественной прозы. /Ред. Е.Павловская. Москва: Издательство Наука. 1980. 316с. 37-39с.
4. Щерба Л.В. Избранные работы по русскому языку. M., Аспект Пресс. 2007.260c.
5. Austen Jane. The Watsons https://americanliterature.com/author/jane-austen/book/the-watsons/summary
6. Hough J. The Fiction Writer's Guide to Dialogue. Allworth. 2015. 165p.
7. Muzny G., Algee-Hewitt M., Jurafsky D. Di-alogism in the novel: A computational model of the dialogic nature of narration and quotations // Digital Scholarship in the Humanities. Volume 32, Issue supp l2, December 2017. p.31-52.
8. Thomas B. Fictional Dialogue: Speech and Conversation in the Modern and Postmodern Novel. University of Nebraska Press. 2012. 232p.
