“…What a lark! What a plunge! For so it had always seemed to her, when, with a little squeak of the hinges, which she could hear now, she had burst open the French windows and plunged at Bourton into the open air. How fresh, how calm, stiller than this of course, the air was in the early morning; like the flap of a wave; the kiss of a wave…” (Woolf 3). 1925.
“Before us the thick dark current runs. It talk up to us in a murmur become ceaseless and myriad, the yellow surface dimpled and monstrously into fading swirls travelling along the surface for an instant, silent, impermanent and profoundly significant, as though just beneath the surface something huge and alive waked for a moment of lazy alertness out of and into light slumber again” (Faulkner 141). 1930.
“He felt dejected, utterly miserable. Was the pleasure of Charat Singh’s generosity only to be enjoyed half an hour? What had he done to deserve such treatment? He loved the child…Of course, I polluted the child. I couldn’t help in doing so…It started on account of the goal I scored. Cursed me!” (Anand 116). 1935.
“But oh God, don’t let Tea Cake be off somewhere hurt and Ah not know nothing about it. And God, please suh, don’t let him love nobody else but me. Maybe Ah’m is uh fool, Lawd, lak dey say, but Lawd, Ah been so lonesome, and Ah been waitin’, Jesus. Ah done waited uh long time” (Hurston 120). 1937.
Free indirect discourse can be found throughout many of the works we’ve read, especially these four. This device works on many levels and for many different reasons. In Mrs. Dalloway Woolf utilizes it to explore the inner workings of the mind that cannot necessarily be accessed on a tangible level. For Faulker, FID works to break up the short sentences, offering us a glimpse into the deeper minds of his characters, especially when the timing lapses, and we see how some of the inner, indirect discourse works to express these overarching themes. Anand uses it to explore the theme of class and caste, which is the most prominent theme in the text (and also prevalent in many others we’ve focused on). And Hurston uses FID as a device to interact with and question the way language works in her novel, in terms of the dialogue, dialect, and indirect discourse, and how they all work together.