Each character is presented to the reader from their childhood on and in free indirect speech.

Austen's works are noted for their realism, biting social commentary, and clever use of free indirect speech.

In free indirect speech, the thoughts and speech of the characters mix with the voice of the narrator.

A novelist is free to invent whatever he or she likes, and free indirect speech is just one form in which fictional information can be presented.

The category of free indirect speech is a more ambiguous mode, falling as it does between the categories of direct and indirect speech.

What distinguishes free indirect speech from normal indirect speech is the lack of an introductory expression such as "He said" or "he thought".

Pride and Prejudice, like most of Jane Austen's works, employs the narrative technique of free indirect speech.

Jane Austen's (1775-1817) distinctive literary style relies on a combination of parody, burlesque, irony, free indirect speech, and a degree of realism.

Free indirect speech is a form of indirect speech where the reported utterance is expressed independently, not in a grammatically subordinate form.

Austen is most renowned for her development of free indirect speech, a technique pioneered by 18th-century novelists Henry Fielding and Frances Burney.

Citation (and to some extent free indirect speech), though in a sense mediated through embedding, selection and recontextualisation, creates the illusion of unmediated access to other arguments.

Free indirect speech is a style of third-person narration which uses some of the characteristics of third-person along with the essence of first-person direct speech.

A novel written in Joyce's characteristic free indirect speech style, A Portrait is a major example of the Künstlerroman (an artist's Bildungsroman) in English literature.

De Man makes the texts of Nietzsche, Rousseau, Rilke and Proust speak sometimes in citation, but more often in a mode akin to free indirect speech.

If a character's words or thoughts are represented, is this done by direct quotation (direct speech), or b some other method (eg indirect speech, free indirect speech)?

The novel even uses obsolete spellings-chuse for choose and shewed for showed, for example-to convey this voice as well as the free indirect speech made famous by Austen.

Compared to other early 19th-century novels, Austen's have little narrative or scenic description-they contain much more dialogue, whether spoken between characters, written as free indirect speech, or represented through letters.

Examples of this are the brief discussion of Free Indirect Speech, and the extensive investigation of turn-taking in popfiction in a vein similar to that of Conversation Analysis.

Largely reflecting his primordial study of dramaturgy, Caragiale's literature is indebted to dialog, as well as, in rarer cases, to internal monologue and free indirect speech (the favorite technique of Naturalists).

The Irish author James Joyce also used free indirect speech in works such as "The Dead" (see Dubliners), A Portrait of the Artist as a Young Man and Ulysses.

Austen extends her critique by highlighting social hypocrisy through irony; she often creates an ironic tone through free indirect speech in which the thoughts and words of the characters mix with the voice of the narrator.

On the other hand, a critic who represents object texts in a mode akin to free indirect speech operates under an obligation to represent with some degree of fidelity the texts that he or she purports to ventriloquise.

Using free indirect speech may convey the character's words more directly than in normal indirect, as devices such as interjections and exclamation marks can be used that cannot be normally used within a subordinate clause.

Unspeakable Sentences: Narration and Representation in the Language of Fiction is a study of sentences in free indirect speech and its limitations, published in 1982 by American linguist Ann Banfield.

This type of discourse - free indirect speech or free indirect style - is peculiar to the novel; it makes its appearance in the late eighteenth century and Jane Austen was probably the first novelist to realise its full potential.