Mansfield’s Short Stories Essay

This article talk overes how emotions atomic number 18 visualizeed in two Katherine Mansfields short stories, gladness and pickings the blur. Emotions ar mapped through lingual markers much(prenominal) as adjectives and adverbs that hint a char pass jump mavenrs emotional response to myth events. The psychoanalyse foc affairs on tellerial deal and distinguishes amid verbalized lyric and thought ( stark verifying conversation) and non-verbalised thought-processes (psycho-narration). The comp ending is carried step forward by field of take aparting the deictic word word word affection or the place in the short stories. The study shews that passages of psycho-narration and assuage verifying dissertate ar rich in emotional language, including much(prenominal)(prenominal)(prenominal) gives as interjections, repeating and orthographic markers.1. IntroductionEmotions a advantageously deal act as a signifi crumbt purpose in depicting a literary deterr ent exercisings sound judgment. This study discusses how casefuls emotions are portrayed in two Katherine Mansfields short stories, seventh heaven and winning the Veil.1 The focus is on those sections in Mansfields stories that depict tempers psyches and feelings. The epitome maps the features that implicate the presence of mind or purview in Katherine Mansfields school school texts. The analysis is carried out by studying linguistic features such as adjectives, adverbs and orthography to find out whose consciousness and emotions are depicted in the text. Consciousness depict is an umbrella term for several techniques that lo scale downion at some cat valium features in depicting characters consciousness. This study foc handlings on the interplay amid psycho-narration, the cashiers rendering of characters psyches or their non-verbalised thought processes, and throw in the towel substantiative communion, the vote counters validatory conjureence book of the words that the characters say or think, their verbalised terminology or thought. Both drop corroborative treat and psycho-narration depict character speech within the framework of terce soulfulness narrative, and in Mansfields stories characters feelings are practically filtered through the narrators intervention .2 There are also feelings that the characters may be un awake(predicate) of but that the narrator reports to the contributor. For this reason, the focus of the study is on the narrators description of characters emotions, as psycho-narration and costless in check converse are narrators discourse by nature. The differences between psycho-narration and assuage confirming discourse are expositd in an separate example from Mansfield, a theme called The Dolls erect (see subsection 2.3). In analysing characters emotions situation plays an of import role. placement tells the contributor whose point of view is adopted in the text. Perspective is attendd throu gh visuo-spatial or temporal indicators that are also called deictic features (see subsection 2.1). The first aim of the analysis is to pinpoint the deictic features that regard the presence of consciousness or emotional involvement in cloud nine and taking the Veil. The bit aim is to study consciousness report that is often marked by reporting devices such as critical adjectives and adverbs, or other(a)wisewise perspective-building elements such as back fractureing of purees and orthographic markers.The analysis is ground on linguistic evidence in sections of psycho-narration or put out people indirect discourse with lengthiness to characters emotions and emotional spays. When a false characters feelings change, the proof readers may also change their views of that character (Miall and Kuiken 2001 291). Thus, changing emotions affect the readers interpreting of the story. The next section takes a closer look at the linguistic features that indicate characters emoti ons depicted in psycho-narration and free indirect discourse. 2. Linguistic Features in the Re manifestation of Character Emotions This section discusses linguistic features that indicate psycho-narration and free indirect discourse. In the first subsection, the connection between the deictic bosom and emotions is explained. The second subsection takes a look at limited reporting devices and features that indicate a deictic centre. In the third break away, psycho-narration and free indirect discourse are discussed with examples from Mansfields Dolls Ho using up.2.1 Deixis and Deictic CentreEmotions are an essential part of depicting a literary characters consciousness. In analysing emotions or characters consciousness deixis is a useful alsol. Deixis means features of language which fasten utterances temporally or spatially here, now (Hawthorn 1994 37). Consciousness symbolizeation becomes apparent through more indicators, most clearly through orthographic markers such as de notation marks or words in italics. Orthographic markers are curiously employ in direct discourse where quotation marks show the beginning and ending of a dialogue. Parentheticals or brackets indicating the verbalizer and his or her act of speaking or thinking within a curse, for example, she said or he thought are also used in direct discourse to indicate the speaking or thinking soulfulness. As these markers rarely occur in consciousness report, however, there are other markers equal expressive elements that help to identify the consciousness and emotions in an perpetrate. Thus, linguistic analysis helps to find out which features refer to which character. Studying linguistic features is a headstone element in analyzing the deictic centre of the short stories in this paper. In the English language, deixis consists of features that indicate a innate deictic centre (Fludernik 1993 6).The features overwhelm personal pronouns, for example I, you,it spatial and temporal adve rbs such as left, in bm of, ten years ago verbal categories indicating distance want come and go relational designations implying emotional involvement, for instance the enemy or darling and terms of endearment, such as sweet lovingness and mummy, which also point that the speakers feelings are involved. some other way to trace a perspective is to study lexical, pragmatic, syntactic and morphological features indicating consciousness report. Deixis and subjective elements play a life-and-death role in analysing the material of this paper. The two other types of deixis are discourse/text deixis and friendly deixis (cf. Levinson 1983). Discourse deixis or text deixis refers to parts of unfolding discourse in which the utterance is located, for instance that in the following example Puff puff puff That is what it sounded equal. Social deixis encodes the social berth and aspects of social relationships between speakers and addressees My husband and I are both teachers, and so is my father (Levinson 1983 62-63).Deixis is usually organised in an egocentric way. The deictic context is speaker-based and centred upon the speakers here-and-now (Lyons 1981 230). People are more tending(p) to refer to their make viewpoint in discussions and prefer proximal personal expressions, such as the pronoun I, or place indexicals, such as here, to distal expressions the likes of he or there. We can also talk roughly a deictic centre, meaning the perspective of the discourse participant from which utterances are delivered (Levinson 1983 63-64, Yule 1996 9). There are five unmarked anchorage points that constitute the deictic centre (Levinson 1983 64). They consist of the speaker who is the primeval person in literary works usually the protagonist, the narrator or some other character and of the central place which refers to the speakers location at utterance time.The third anchorage point of the deictic centre is the central time, the time when the speaker produces th e utterance. Fourth, the discourse centre is the speakers current point during the achievement of his or her utterance. Thus, the discourse centre changes from one person to some other when the maker of the utterance changes. And last, the social centre is the speakers social status and rank to which the addressee or referents status is relative (Yule 1996 10). Another common deictic phenomenon in language is the transference of human clay orientation (Fludernik 1993 49).This method is used extensively in literature to cause the illusion of naturalness. When an author uses this technique in a literary text, he or she recognises an event, a phenomenon or space from a certain somatogenetic viewpoint that demands the readers body orientation, as in the sentence There was a chair to the left (Fludernik 1993 49). To sum up, literary texts name a cosmos of their own, including their own deictic structure. In groovy narratives, the reader has the popular opinion of experiencing t he fictional world directly, because he or she adopts the deictic centre as his or her own (cf. Banfield 1982, Zubin and Hewitt 1995 131).2.2 Reporting DevicesThis section introduces other linguistic features that are used in creating deictic centres in narratives. The devices consist of back transforming of trys and other perspective-building elements, such as adjectives and adverbs, orthographic markers and textual coherence. The first device, back transplanting of tenses, is connected with the was-now paradox, an peculiarly interesting feature in literature. The was encodes the narrator in the process of narrating, introducing the fictional world mode to the reader. The now encodes the protagonist for whom the story world events are part of the current experience (cf. Adamson 1994). Mansfield sometimes uses the face tense in her stories, which attracts the readers attention and raises the question of why the was-now principle is violated. The change in tenses suggests a chang e in perspectives, including a change in the feeling experience of the storys characters. The implications of these linguistic devices for the characters emotional world are discussed in section 3. In the analysis of the deictic centre and literary figures emotions, adjectives and adverbs sometimes deem a significant meaning.I consecrate Biber, Conrad and Leechs (2002) word formification of adjectives and adverbs in this study. descriptive adjectives or descriptors often imply consciousness report when they co-occur with other deictic elements such as place and time deixis. Evaluative/emotive (dreadful) and miscellaneous descriptors masking piece many kinds of characteristics (sudden) suggest consciousness report in narratives and need to be studied to trace the source of emotions in a literary text. Descriptive adjectives give personal flavour to the text, but the reader has to decide whether descriptors refer to the narrators or some characters emotions. sometimes it may be ve ry difficult to distinguish varied sources of emotion from each other, as examples from Mansfields stories show (see section 3). In the analysis of Mansfields texts, degree adverbs and stance adverbs receive special attention. Degree adverbs like amplifiers/intensifiers (generously) and diminishers/downtoners (somewhat) as well as stance adverbs, such as placement (unfortunately), epistemic (probably) and style stance adverbs (simply) are discussed in the analysis of the material, as are place, time and process adverbials. Of place adverbials, those of distance (a long way), complaint (from within) and position (up there) often imply whose perspective is adopted in the story. Additionally, such time adverbials as point in time (tomorrow night), duration (for fifteen years), frequency (sometimes) and time relationship (after this) indicate the source of consciousness.The process of action at law findd in stories provides the reader with valuable information on the events and cha racters. style adverbials (carelessly) are often used especially by modern authors to describe characters behaviour. Degree adverbials (e.g. very much, completely) are often used to amplify characters emotions and to describe their emotional response to story events. Adjectives and adverbs are elements in constructing perspective in a narrative. They help the reader to respond to the feeling experiences of a character that are embodied in the stylistic and linguistic devices of a text (Miall and Kuiken 2001 292). The following subchapter discusses the connection between linguistic features and feeling experiences in psycho-narration and free indirect discourse.2.3 Psycho-narration and detached Indirect DiscourseIn this section the features of psycho-narration and free indirect discourse are discussed with examples from Mansfields story The Dolls House. Special attention is paid to linguistic devices that support the interpretation of psycho-narration or free indirect discourse in a textual passage. Psycho-narration is the narrators accedeation of a characters psyche. Its principal(prenominal) focus is on a characters thoughts and feelings and it is defined in terms of deictic qualities (Fludernik 1993 304).3 Psycho-narration reports those feelings or states of consciousness that the character may be unaware of. Psycho-narration has almost unlimited temporal flexibility (Cohn 1978 32), so it can occur both in the present and the past tense. The analysis of Mansfields works shows the temporal varieties of psycho-narration. Free indirect discourse consists of expressions or utterances that could be produced by the characters as such or with minor alterations, like the use of the preterite instead of the present tense.4 In free indirect discourse the narrator quotes the speech or thought of the protagonist or other characters.Direct discourse and free indirect discourse have common features such as deictics, word nightspot in questions and lexical elements i ncluding vocatives, interjections, or dialectal features (cf. Fludernik 1993 261). In order to retain proximity, proximal deictics likehere, now and instantly occur in free indirect discourse. The question word order remains direct in free indirect discourse. This narrative technique also favours expressive lexical elements from characters idiolects to give the narration personal flavour. McHale (1978 269) ably remarks that formal signs are not the only means to trace free indirect discourse, since semantic signs such as the content of utterances, and a characters thoughts or intended meanings also contribute to the readers interpretation of free indirect discourse. The terms psycho-narration and free indirect discourse overlap to some extent. The former borrows elements from the speech of characters, but a character could hardly use the (narrators) syntax as such. To demonstrate the difference between the various consciousness report techniques, I have chosen an extract from Kath erine Mansfields story The Dolls House. It is a story about middle-class life and the Burnell children, and how they invite classmates of the same social class to see their new dolls kin.Lower-class children are not invited, until one of the daughters, Kezia, defies her parents and asks the Kelvey daughters, the daughters of a washerwoman, to see the house. The following extract depicts Kezias aunties reaction when she sees the unwelcome children in the garden. (1)Wicked, disobedient minor girl said aunt Beryl bitterly to Kezia, and she slammed the dolls house to. The good afternoon had been awful. A letter had come from Willie brent goose, a terrifying, threateningletter, saying if she did not converge him that evening in Pulmans Bush, hed come to the front door and ask the reason why just now that she had frightened those short rats of Kelveys and given Kezia a good scolding, her heart felt lighter. That low pressure was gone. She went back to the house humming. (The Doll s House, 265 tenseness added) exercise (1) is a description of aunty Beryls consciousness presentation after she has scolded her niece and her friends in the courtyard.After the quotation in direct discourse, auntie Beryls perspective (in bold type) is introduced in the first sentences as a flashback, the past perfect verb form had come implying a movement towards Aunt Beryl, come being a verb suggesting proximal activity. Even though Beryls name is not mentioned in the whole divide, she is the subject of the sentence kickoff the quotation and the most recent character mentioned earlier in the text. Aunt Beryl and the third person reference to her (she) in the quotation can be seen as an example of referential linking which is an important factor in maintaining textual cohesion in the depiction of characters emotions (cf. Ehrlich 1990). Descriptive adjectives likeawful, terrifying and threatening, and noun phrases like those little rats of Kelveys depict Beryls feelings, the d istal demonstrative pronoun those and the descriptive noun phrase little rats of Kelveys underlining the contempt of upper classes towards lower-class people and the social distance between Beryl and the Kelveys.The distal demonstrative determiner that and the proximal temporal adverb now illustrate how proximal and distal linguistic features are abstruse in psycho-narration, suggesting a transition from Aunt Beryls earlier emotional turmoil caused by her sockrs letter to her present state of mind (her heart felt lighter. That ghastly pressure was gone). There is also Willie Brents perspective occurring in the extract (in italics). It has elements of free indirect discourse including past tense verb forms, third person pronouns, orthographic markers and a conversational tone. The past perfect verb form changes into the past tense did not meet, which is followed by hed come. An ecphonesis mark finishes the free indirect discourse passage which is reflected through Beryls conscious ness in the memory of the letter. The utmost sentence is the narrators neutral report of the narrative events.3. emotional Features in Mansfields StoriesPsycho-narration and free indirect discourse are shipway of presenting characters emotions to readers. In this section, Katherine Mansfields stories Bliss and victorious the Veil are analysed in order to find linguistic features that suggest a characters emotional involvement. Mansfield uses psycho-narration and free indirect discourse in Bliss and victorious the Veil. In the analysis of the texts, underlined words point out subjective features and fragments of characters idiom. Some quotations from Mansfields short stories are integrated into the analysis for a more convenient discussion of the context. Bliss is a story of a wealthy young couple, Bertha and Harry, and their social life. In Bliss, psycho-narrative description is taciturn for Berthas feelings of bliss, her relationship with Harry-the-husband, and her feelings to wards their friends. The divides that include psycho-narration often start with impersonal narratorial description. The shift from the narrators perspective to that of the character takes place within paragraph boundaries, as the following examples show.The first paragraph of Bliss introduces societys expectations of 30-year-old womens behaviour. The narrator implies that Berthas thoughts and feelings are quite exceptional for her age (2) Although Bertha Young was thirty she s money box had moments like this when she wanted to snuff it instead of walk, to take dancing steps on and off the pavement, to bowl a hoop, to throw something up in the air and catch it again, or to raise still and laugh at nothing at nothing, simply. (Bliss, 91 emphasis added) The narrator adopts an omniscient perspective she knows exactly how Bertha is feeling and what she feels like doing. The readers attention is directed towards the protagonists perspective through the use of the demonstrative this, symbolising the here-and-now narrative present, Berthas present state of mind. The italicised words imply Berthas wishes. The narrators speech presents societys expectations at the beginning of example (2) (although,still) and Berthas own thoughts at the end of it (nothing at nothing, simply).The phenomenon of Ansteckung is apparent in the fragments of Berthas idiom. Ansteckungmeans the narrators empathetic or ironic borrowing of characters idioms or expressions (cf. Fludernik (1993) for examples of Ansteckung or contamination). Fragments of Berthas consciousness are not complete thoughts or words uttered by her. When it comes to Berthas psyche, the narrator seems to be aware of it, depicting elements of Berthas thoughts at the end of example (2) (see the words in bold). It is obvious in the last sentence of example (2) pelt alonges evoke Berthas consciousness. She is incapable of finding suitable words for the peculiar feeling the impression is increased by the repeated words at nothing. The effect of immediate apprehension is bring outd by hints of Berthas psyche within narratorial discourse, suggesting that after the first part of the sentence the writer resorts to free indirect discourse at the end of the passage.There are two longer paragraphs of psycho-narration in Bliss. They discuss Berthas situation in life and her relationship with Harry. The first paragraph reads as follows (3) Really really she had everything. She was young. Harry and she were as much in love as ever, and they got on together splendidly and were really good pals. She had anadorable baby. They didnt have to worry about money. They had this absolutely satisfactory house and garden. And friends modern, thrilling friends, writers andpainters and poets or people keen on social questions retributory the kind of friends they wanted. And thus there were books, and there was music, and she had found a rattling(prenominal) little dressmaker, and they were going abroad in the summe r, and their new cook do the most superb omelettes (Bliss, 96 emphasis added) Example (3) starts in free indirect discourse and shows many syntactic markers that imply consciousness report, such as the epistemic stance adverb really, the proximal deictic thisindicating Berthas spatial perspective, and the frequent use of and acting as a clause-initial co-ordinating coalition and creating the illusion of Berthas happy thoughts. Other features include pragmatic indicators, such as dashes, and lexical features, for example idioms (really good pals), phrases or descriptive adjectives (absolutely satisfactory, adorable, modern, thrilling, wonderful little etc.) borrowed from Bertha.As Fludernik (1993 117) suggests, referential positions are often shifted into the third person in heterodiegetic narratives, excluding second person narratives. This extract is a good example of such a referential shift in personal pronouns, as it contains only the third person she instead of the first pe rson I. Example (3) describes a happy woman counting her blessings. Another paragraph reflects the problems Bertha encounters in her wedding (4) Oh, she had loved him shed been in love with him, of course, in every other way, butjust not in that way. And equally, of course, shed understood that he was different. Theyd discussed it so often. It had worried her dreadfully at first to find that she was so cold, but after a time it had not seemed to matter. They were so click with each other such good pals. That was the best of being modern. (Bliss, 104 emphasis added) The extract leads readers into Berthas consciousness with the clause-initial interjection ohsuggesting free indirect discourse. Repetitive elements, such as of course and the intensifierso, emphasise the impression of Bertha rationalising her labor union to Harry.The sentence-initial and helps her to articulate her understanding of Harry and his different feelings on the topic, as she is negotiating the good and bad things about her man and wife in her mind. There are also some lexical indications of consciousness report, such as just, the intensifier such, anddreadfully, a colloquialism only to be attached to Berthas consciousness. These emotive features force an impression of Berthas intragroup conflict and the suppression of her feelings, which is evident end-to-end the story.5 taking the Veil is a story about Edna and her lover Jimmy, and Ednas dreams of becoming a nun. In taking the Veil, psycho-narration is reserved for Ednas internecine moot and her memories of the crisis of her life. A typical example is a theatre of operations scene, where Edna goes through the happenings of the previous night (5) The play had begun fairly cheerfully. That was at the cocoa almond correspond. therefore the hero had gone blind. Terrible moment Then there had been that ghastly scene with the hero alone on stage in a deserted roomHe had tried ah, how painfully, how pitifully to grope his way t o the windowand the band faded away into the distance. (Taking the Veil, 284 emphasis added) Example (5) shows how Mansfield uses distal deictics like that (in that ghastly scene) to imply Ednas perspective by creating a personal tone.Additionally, she uses the evaluative adjectives marvelous and ghastly to refer to Ednas emotional response. The repetitive pattern in the exclamations above (in bold type) is separated from the rest of the psycho-narration by dashes and emphasised by other orthographic signals, such as exclamation marks. An introductory exclamation ah adds to the colloquial tone, as does the repetition of the wh-element how. Mansfield often uses clause-initial wh-elements in exclamations to introduce free indirect discourse in the telling (Kuivalainen 2005). These features contain elements representative of speech rather than thought. The impression in this extract is that of narratorial discourse flavoured by free indirect discourse (in bold type). Psycho-narration continues when the narrator describes Ednas internal debate (6) If she did not marry Jimmy, of course she would marry nobody. The man she was in love with, the famous actor Edna had far too much common-sense not to realise thatwould never be. It was very odd. She didnt even want it to be. Her love was too intense for that. It had to be endured, silently it had to torment her.It was, she supposed, simply that kind of love. (Taking the Veil, 285 italics original, emphasis added) The extract above shows how Edna debates her love for Jimmy, her fianc, and for the actor she has fall in love with. The words in bold include an office stance adverb of course, a comment on a possible marriage with the famous actor, and a distal pronoun that. tout ensemble these elements imply a reference to Ednas perspective which, however, intermingles with that of the narrator after the dash on the second line. Ednas emotional perspective, the vacillating feelings she suddenly views in the story, re-oc curs with the comment on the nature of her love (It was very odd) and remains unchanged till the end of the extract, with another comment at the end of the paragraph introduced by the style stance adverb simply. The extract above shows the subtlety of the change from one perspective to another at the beginning we only have a personal pronoun reference to the speaker, but later the protagonists proper(ip) name is used to help the reader realise the change, to introduce the perspective of the narrator penetrating that of Edna. The effect is that of immediate access to the characters thoughts and feelings.In the paragraph preceding example (6) the closest proper noun is child Agnes. However, the reader does not connect the personal pronoun she in example (6) with baby Agnes but with Edna, who is mentioned earlier in the text, because semantic connectors such as marriage and Jimmy imply her. The narrators statement-like comment after the dash supports this interpretation. However, thi s sentence is affected by Ednas idiom, the use of that(in italics) emphasising the impossibility of the proposition of love for an actress. Ednas eighteen-year-old girls voice is also perceive at the end of the paragraph with the simply that kind of love quotation of Ednas thoughts. As example (6) suggests, psycho-narration at the beginning of the paragraph depicts Ednas feelings from her perspective, but later the narrators perspective becomes predominant in the example, providing the reader with an external perspective to Ednas love life. A drastic change in psycho-narration happens when the tenses change from the past to the present. This change implies a shift from the past or present events to the coming(prenominal).(7) She takes the name of Sister Angela. Snip, squeeze All her lovely hair is cut offAnd in a mordant gown with a white head-band Sister Angela goes from the convent to the chapel, from the chapel to the convent she greets the little children who run to her. A saint She hears it whispered as she paces the chill, wax-smelling corridors. A saint (Taking the Veil, 286 emphasis added) The extract above shows how Edna dreams about the life of a nun and imagines her future as Sister Angela. The short onomatopoeic snip and the repetition of a saint, both ending with an exclamation mark, refer to Ednas imagination. Her emotional involvement shows in the sacrifices she makes (All her lovely hair is cut off) and in the description of the new environment she enters (chill, wax-smelling corridors). The present tense adds to the effect. It is used throughout the passage to relate Ednas convent dreams, as another quotation below shows (8) straightaway it is evening.Two old people magnetic dip on each other come slowly to the graveNow there comes another. He is all in black he comes slowly. But when he is there and lifts his black hat, Edna sees to her horror his hair is snow-white. Jimmy as well late, too late The tears are running down his face he i s crying now. Too late, too late(ibid. 287 italics original, emphasis added) In example (8), the same elements of exclamatory repetition too late and the present tense are used to depict Ednas reveries about the future. Additionally, immediacy is emphasised with the temporal proximal deictic now, a favourite of Mansfields in this story, and the present continuous are running and is crying. The use of present continuous verb forms and the proximal deictic now mark Ednas psychical crisis, which culminates at the end of example (8) and ends the sections in the present tense. The non-use of the was-now pattern reflects a change in perspective from the narrator to Edna in example (8), as the sections that do not imply Ednas consciousness in Taking the Veil are written in the past tense (see example (5)). When the paragraph after example (8) begins, Edna has changed her mind about becoming a nun and realised she actually loves Jimmy.4. DiscussionBliss and Taking the Veil consist of a mi xture of speech and thought report. It is noticeable in these works that, as a narrative technique, free indirect discourse is clearly separated from psycho-narration. The shift from psycho-narration into free indirect discourse and then back to psycho-narration can be found in Bliss and Taking the Veil, as the linguistic analysis of characters emotions showed in section three. The reverie-like standard atmosphere of Taking the Veil is strikingly different from the passionate, hectic mood in Bliss, where the narrator first describes the setting for the psychological phenomena, Berthas mixed feelings about her marriage, and then resorts to consciousness presentation. In Taking the Veil the narrators function is to offer the reader an insight into Ednas mind more often than not through psycho-narration, thus, psycho-narrative passages begin with narratorial description which introduces Ednas mental world to the reader. Psycho-narration serves to depict the protagonists internal deba te example (5) depicts the crucial moment of the past in the past tense and example (7) future dreams in the present tense.On the other hand, free indirect discourse in example (5) helps in creating sensual perceptions that present a rail line to Ednas inner thoughts. Passages in free indirect discourse often start with a clause-initial coordinator (and), interjection (oh) or a wh-element (how) and can be spotted from the rest of the narration through orthography, like dashes surrounding the free indirect discourse passage, exclamation or question marks. Mansfield frequently uses italics and ellipses in reporting characters consciousness and feelings, which gives the impression of free indirect discourse. Extensive use of stance adverbs is striking in the two stories. A common feature in Mansfields psycho-narration is the adoption of epistemic stance adverbs such as really in example (3).6In Bliss and Taking the Veil, the interplay between the two dominant voices, that of the narra tor and the protagonist, becomes evident through the rich use of stance adverbs. The narrators perspective is mostly introduced through epistemic adverbs indicating certainty or doubt (e.g. perhaps), whereas the protagonists perspective mostly consists of those of actuality and reality (e.g. in fact, really). The effect is a narrator with no mark to intrude upon the story events, and a protagonist with a distinctly marked emotional world including feelings of bliss, future dreams, and moments of despair and love.Mansfields narrator steers the reader towards the protagonists climax with subtle remarks and hardly visible hints. Psycho-narration demonstrates different functions in the texts of this study. Mansfield uses evaluative and emotive descriptors in psycho-narrative sections she borrows characters idiomatic expressions and marks internal discourse with orthography (dashes, exclamation marks), intensifiers and repetition to imply a shift from one perspective or feeling experien ce to another, for example, from the narrator to the protagonist. Mansfield describes the inner conflict or the dream world of the characters through psycho-narration, which is usually triggered by an emotional climax, in Berthas case the revelation of her husbands adultery and in Ednas case understanding who she really loves. In Mansfields fiction, the climax almost has a hallucinatory effect, as Ednas convent dreams and the graveyard scene in example (8) show.The use of the present tense seems to have a role in Mansfields text. Mansfield uses it mostly in psycho-narrative sections. All in all, there are certain features that are used frequently in Mansfields stories, such as dashes, repetition of adverbs or other clausal elements like intensifiers, interjections or co-ordinators. Temporal and spatial deictics have a significant role in the two stories, as the reader has very few other means to orient him- or herself plot of ground reading a literary text. Deictics help the reader to pinpoint the perspective in the passage and understand whose experiences are depicted in the story. The study of the deictic features in Mansfields fictional prose shows that the author uses various markers to create a deictic centre. These markers create a picture of characters emotional world.Free indirect discourse and psycho-narration are motivated, for example, by an internal debate or a crisis, as Ednas ponderings showed in example (8). As was suggested in the analysis, linguistic features such as reporting devices and deictic features can be used to pinpoint the source of emotions in a literary text. Verbs, adjectives, adverbs and other consciousness markers work for the same effect, to describe the emotional world of characters. Psycho-narration and free indirect discourse provide Mansfield with a tool to point out the significant moments in the protagonists lives and separate them from the rest of the narration. Mansfield is the master of her characters and their emotio ns, making them fall out and feel as if they really existed.