Cambridge Student's Essay on The narrative voice in English Literature

The narrative voice

A key factor of the presentation of the narrative voice is 'how writers and readers imagine each other-the difficult balance of identification and differentiation involved in the process of communication or understanding." Thus, the narrative voice is crucial to the art of communication with the reader. Another role that the narrative plays is to strengthen the structural boundaries of a piece of writing. In the hope of illustrating these points, I have chosen to look at Part II of Coleridge's The Rime of the Ancient Mariner in order to illustrate the role of narrative in relation to the audience, and Chapter 41 of Jane Austen's Emma, in terms of narrative as it relates to structure.

The 'growth of scientific attitudes in the seventeenth and eighteenth centuries' meant that poets were no longer 'society's bardic representative, giving back to his fellows a heightened version of their own beliefs and aspirations,' as had been the case for centuries. Whilst previously the tradition of the Ballad form-short, relatively simple poetic structures dealing with everyday or commonplace occurrences - had to a large extent sufficed, now poets were increasingly 'interested in certain aspects of human behaviour which eluded control by the rational powers." Romanticism grew into a new genre and focused on the theme of Nature, 'particularly those aspects...which transcended or escaped the ordered patternings of mathematical form.' The Ancient Mariner is a perfect example of this, as Coleridge himself described it as 'a poem of pure imagination.' (John Beer, Introduction 'Coleridge: Poems' U.K. Everyman, 1991, From J. Beer, 'Coleridge: Poems' U.K. Everyman, 1991)

The study of Boehme's work led Coleridge to the idea that 'there existed in the universe a threefold correspondence between nature, the human heart, and the divine." In The Ancient Mariner, nature plays a key role in the unfolding of the events, as can be seen in Part II with Coleridge's frequent references: 'Sun,' 'sea,' 'mist,' 'wind,' 'breeze,' 'fog,' and 'sky." Similarly, the 'Human Heart' significant, as can be seen in the Ancient Mariner's own crippling guilt and the reaction of the shipmates, who 'would fain throw the whole guilt' on him. The 'Divine' is perhaps the most significant of all, leading some, including J. Beer, to argue that the sun in The Ancient Mariner can be seen to represent God; it is certainly true that the Sun is linked to the Divine in Coleridge's own words: (pg 1 All quotes from S. T. Coleridge, Part II, The Rime of the Ancient Mariner. S. T. Coleridge, Marginalia, line 137, Part II, The Rime of the Ancient Mariner. “Nor dim nor red, like God's own head, The glorious Sun purist”: S. T. Coleridge, lines 95-96, Part II, The Rime of the Ancient Mariner.)

Similarly, it is this 'Sun' which appears with every change in the ship's fortunes throughout Part II: both good weather and bad are issued in by the rising of the sun, and as things grow hard on the ship, the sun goes from 'glorious' in line 96 to 'bloody' in line 110, showing the punishing nature of this 'divine' sun.

The pace of the narrative changes dramatically with the changing fortunes of those on the ship. With the opening of stanzas one and two, the narrative is fast-paced, created by the use of predominantly monosyllabic words. As the ship enters the Pacific Ocean, repeated alliteration and uplifting words such as 'flew' and 'burst' generate the image of the ship racing through the waves. However, with the sudden 'becalming' of the ship comes a different sound to the narrative altogether; slow assonance in 'The bloody Sun, at noon,' the repetition of 'dropt,' and the infertile rhyme of 'speak' and 'break' create a sense of lethargy that echoes that of the shipmates.

This use of repetition continues through stanzas eight and nine, reinforcing this feeling of lassitude and weariness until the first mention of the supernatural in the poem, with the 'slimy things...upon the slimy sea." J. Beer refers to The Ancient Mariner as 'a poem on delirium, confounding its own dream scenery with external things,' and this delirium can be seen in the Mariner's increasingly delirious visions of 'death fires' and green burning water. (S. T. Coleridge, lines 101 and 103, Part II, The Rime of the Ancient Mariner. Ibid, line 110. Ibid, lines 105 and 107; Ibid pg 2, lines 123 and 124. J. Beer, pg 169, Coleridge: Poems, U.K. Everyman, 1991. S.T Coleridge, lines 126 and 128, The Rime of the Ancient Mariner).

Coleridge was known to hold 'contempt for the reading public." Indeed, the 'consistency with which Coleridge denounced the reading public has led Paul Hamilton to conclude that he was incapable of a generous engagement with his audience." This contempt can be seen in the repeated and stressed morality of the poem. 'The implied philosophy of The Ancient Mariner [is that] men act evilly because they don't know what they're doing." It is this ignorance that Coleridge criticized in the novel-reading public: L. Newlyn, 'case study ( I ): (Coleridge,' Reading, writing and romanticism, U.S. Oxford university Press, 2000 ; J. Beer, Coleridge: Poems, U.K. Everyman, 1991), "The habit of receiving pleasure without any exertion of thought, by mere excitement of curiosity and sensibility, may be justly ranked among the worst effects of habitual novel reading."

Therefore, it can be argued that Coleridge found it difficult to connect with his audience, and thus used his narrative form to instruct and condemn. In Emma, on the other hand, Austen is not known to have any such contempt for her audience, which can be said to be the ambitious middle classes. Instead, the purpose of Austen's novels is to delight her reader with subtle use of humour, irony and satire, all of which can be seen in chapter 41.

That is not to say that she does not have a strict moral code, as R. Williams argues: 'what happens in Emma... Is the development of and everyday, uncompromising morality which is in the end separable from its social basis." This 'domestic and moralizing fiction which is highly patterned' is particularly visible in chapter 41 in which the word game played by the characters is a direct instruction from Austen to the reader on how to read her novel and in particular this scene.

The first word to be discovered in the Charades' scene is the word 'blunder' which obviously and superficially relates to Frank Churchill's blunder by almost revealing his and Jane Fairfax's correspondence. However, it is a theme central to the plot: Emma blunders with Harriet's feelings, and when she insults Miss Bates. Mr Elton blunders in his proposal to Emma, and Harriet blunders in her feelings for Mr. Knightly.

Therefore, we can see that this scene is highly structured, with Austen using the game to heighten the irony. It is also interesting to note the positions of the characters as they engage in the game: Emma and Frank, the liveliest characters in the novel, are the protagonists in producing the game: 'no one seemed so much disposed to employ as their two selves." Miss Fairfax is drawn in almost against her wishes, and Mr Knightly is 'so placed as to see them all." This can be said to be representative of their characters and behaviour throughout the plot - Emma and Frank being enthusiastic, Jane quiet, and Mr Knightly overseeing the whole affair. 'The responses of the characters to each other are orchestrated in conversations which combine incongruity and complexity of feeling with the greatest possible clarity."

This careful structuring of the narrative-using the character's voices to further the plot - is one of Austen's strengths in Emma. She 'promotes intimacy between her readers and characters by creating characters who are intimate with each other and whose speech reflects this intimacy." The novel is 'outstandingly face-to-face;' rather than the bold supernatural of Coleridge's work, 'its crises, physically and spiritually, are in just these terms: a look, a gesture, a stare, a confrontation.' (The Jane Austen Handbook ed. J. David Grey, U.K. Macmillan, 1986 . Raymond Williams, pg 116, The country and the city, London, Chatto & Windus Ltd, 1973. J. Fergus. Pg 121, Jane Austen and the Didactic novel, U.K. Macmillan, 1985. Pg 306, Emma J. Fergus. Pg 122, Jane Austen and the Didactic novel, U.K. Macmillan, 1985. R. Williams, pg 166, The country and the city, London, Chatto & Windus Ltd, 1973). This scene in Emma is deeply significant to the narrative of the novel, as many truths are revealed within it, and it is representative in style of the novel as a whole.

In this excerpt, we are given the first real hint of Frank and Jane's attachment with his blunder over the carriage. We are also shown Austen's irony at its best as Mr. Knightly and Emma discuss Frank and Jane's relationship, with Emma insisting that Mr. Knightly, the more sensible of the two, has made the idea of an attachment up. 'There is no admiration between them, I do assure you." Two of the silliest characters in the novel, Miss Bates and Mr. Woodhouse are also present in this scene, and are vital for Austen's development of the narrative. These foolish characters 'flatter the reader' by including one in the joke of poking fun at them, and are used critically to highlight the intelligence of other key characters, specifically Emma and Mr. Knightly. (Pg 309, Emma J. David Grey, pg 66, The Jane Austen Handbook, U.K. Macmillan, 1986).

The typical components of Austen's comedy are the comic heroine; the animating powers of mind and triviality, stupidity, and actual or potential immorality; a clear set of values; the use of speech and conversation for satirical and witty effects; a distinctive and habitual irony; and the movement toward rational love and fitting unison. (R.M Polhemus, pg 60, The Jane Austen Handbook, U.K. Macmillan, 1986).

All these elements can be seen in this chapter of Emma, and it is this set of guidelines which 'give tension to her art.' Therefore, it is clear that the differences in the way poems and novels organize their stories lies mainly in the narrative structures. Whilst both Coleridge and Austen use dialogue to further their plots, the wider scope of the novel allows Austen greater use of the tools of irony and satire, whilst Coleridge's work relies much more on the supernatural. Both works are deeply psychological, with Coleridge's emphasis on the damaged psyche with the Ancient mariner, and Austen's on the psychology of everyday life. 'She provided the emphasis which only had to be taken...into a different social experience to become not a moral but a social criticism.' (R. Williams, pg 117. The country and the city, London, Chatto & Windus Ltd, 1973)

Translation of selected phrases:

A key factor of the presentation of the narrative voice is 'how writers and readers imagine each other-the difficult balance of identification and differentiation involved in the process of communication or understanding."

Ключевым фактором представления повествовательного голоса является то, «как писатели и читатели представляют друг друга - сложный баланс идентификации и дифференциации, вовлеченный в процесс общения или понимания».

Thus, the narrative voice is crucial to the art of communication with the reader.

Таким образом, повествовательный голос имеет решающее значение для искусства общения с читателем.

Another role that the narrative plays is to strengthen the structural boundaries of a piece of writing.

Другая роль, которую играет повествование, - укрепить структурные границы произведения.

In the hope of illustrating these points, I have chosen to look at Part II of Coleridge's The Rime of the Ancient Mariner in order to illustrate the role of narrative in relation to the audience, and Chapter 41 of Jane Austen's Emma, in terms of narrative as it relates to structure.

В надежде проиллюстрировать эти моменты я решил взглянуть на часть II романа Кольриджа «Иней древнего мореплавателя», чтобы проиллюстрировать роль повествования по отношению к аудитории и Глава 41 «Эммы» Джейн Остин, с точки зрения повествования, поскольку она связана со структурой.

The 'growth of scientific attitudes in the seventeenth and eighteenth centuries' meant that poets were no longer 'society's bardic representative, giving back to his fellows a heightened version of their own beliefs and aspirations,' as had been the case for centuries.

«Рост научных взглядов в семнадцатом и восемнадцатом веках» означал, что поэты больше не были «бардовскими представителями общества, возвращая своим собратьям усиленную версию их собственных убеждений и стремлений», как это было на протяжении столетий.

Whilst previously the tradition of the Ballad form-short, relatively simple poetic structures dealing with everyday or commonplace occurrences - had to a large extent sufficed, now poets were increasingly 'interested in certain aspects of human behaviour which eluded control by the rational powers."

Если раньше традиции Баллады - кратких, относительно простых поэтических структур, посвященных повседневным или банальным событиям - в значительной степени было достаточно, то теперь поэтов все больше «интересовали определенные аспекты человеческого поведения, которые ускользали от контроля со стороны рациональных сил».

Romanticism grew into a new genre and focused on the theme of Nature, 'particularly those aspects...which transcended or escaped the ordered patternings of mathematical form.'

Романтизм перерос в новый жанр и сосредоточился на теме Природы, «особенно на тех аспектах ... которые выходят за рамки упорядоченных схем математической формы или ускользают от них».

The Ancient Mariner is a perfect example of this, as Coleridge himself described it as 'a poem of pure imagination.'

«Древний мореплаватель» является прекрасным примером этого, поскольку сам Кольридж описал его как «стихотворение чистого воображения».

The study of Boehme's work led Coleridge to the idea that "there existed in the universe a threefold correspondence between nature, the human heart, and the divine."

Изучение работ Беме привело Кольриджа к идее, что «во вселенной существует тройное соответствие между природой, человеческим сердцем и божественным».

In The Ancient Mariner, nature plays a key role in the unfolding of the events, as can be seen in Part II with Coleridge's frequent references: 'Sun,' 'sea,' 'mist,' 'wind,' 'breeze,' 'fog,' and 'sky."

В «Древнем мореплавателе» природа играет ключевую роль в развитии событий, поскольку можно увидеть во второй части с частыми ссылками Кольриджа: «Солнце», «море», «туман», «ветер», «ветер», «туман» и «небо».

Similarly, the 'Human Heart' significant, as can be seen in the Ancient Mariner's own crippling guilt and the reaction of the shipmates, who 'would fain throw the whole guilt' on him.

Точно так же «Человеческое сердце» имеет большое значение, что можно увидеть в собственной калечащей вине Древнего мореплавателя и реакции товарищей по кораблю, которые «с радостью возложили бы всю вину на него».

The 'Divine' is perhaps the most significant of all, leading some, including J. Beer, to argue that the sun in The Ancient Mariner can be seen to represent God; it is certainly true that the Sun is linked to the Divine in Coleridge's own words.

«Божественное», пожалуй, наиболее значимое из всех, что заставляет некоторых, в том числе Дж. Бира, утверждать, что солнце в «Древнем мореплавателе» можно рассматривать как символ Бога; Безусловно, по словам Колриджа, Солнце связано с Божественным.

Similarly, it is this 'Sun' which appears with every change in the ship's fortunes throughout Part II: both good weather and bad are issued in by the rising of the sun, and as things grow hard on the ship, the sun goes from 'glorious' in line 96 to 'bloody' in line 110, showing the punishing nature of this 'divine' sun.

Точно так же именно это «Солнце» появляется с каждым изменением судьбы корабля на протяжении всей Части II: как хорошая, так и плохая погода проявляется в восходе солнца, и, когда на корабле становится все труднее, солнце идет от «славного »в строке 96 до« кровавого »в строке 110, показывая суровую природу этого« божественного» солнца.

The pace of the narrative changes dramatically with the changing fortunes of those on the ship.

Темп повествования резко меняется с изменением судьбы тех, кто находится на корабле.

With the opening of stanzas one and two, the narrative is fast-paced, created by the use of predominantly monosyllabic words.

С началом первой и второй строф повествование становится динамичным и создается за счет использования преимущественно односложных слов.

As the ship enters the Pacific Ocean, repeated alliteration and uplifting words such as 'flew' and 'burst' generate the image of the ship racing through the waves.

Когда корабль входит в Тихий океан, повторяющиеся аллитерации и возвышающие слова, такие как «полетел» и «взрыв», создают образ корабля, мчащегося по волнам.

However, with the sudden 'becalming' of the ship comes a different sound to the narrative altogether; slow assonance in 'The bloody Sun, at noon,' the repetition of 'dropt,' and the infertile rhyme of 'speak' and 'break' create a sense of lethargy that echoes that of the shipmates.

Однако с внезапным «затиханием» корабля повествование звучит совсем по-другому; медленное звучание в «Кровавом солнце в полдень», повторение «упал» и бесплодная рифма «говорить» и «ломать» создают ощущение летаргии, которое перекликается с ощущением летаргии у товарищей по плаванию.

This use of repetition continues through stanzas eight and nine, reinforcing this feeling of lassitude and weariness until the first mention of the supernatural in the poem, with the "slimy things...upon the slimy sea."

Такое повторение продолжается в восьмой и девятой строфах, усиливая это чувство усталости и усталости до первого упоминания сверхъестественного в стихотворении со «склизкими вещами ... на склизком море».

J. Beer refers to The Ancient Mariner as 'a poem on delirium, confounding its own dream scenery with external things,' and this delirium can be seen in the Mariner's increasingly delirious visions of 'death fires' and green burning water.

Дж. Бир обращается к «Древнему». «Моряк» как «стихотворение о бреде, смешивающем пейзажи своего сна с внешними вещами», и этот бред можно увидеть во все более и более бредовых видениях «Моряка» о «смертельных огнях» и зеленой горящей воде.

Coleridge was known to hold 'contempt for the reading public." Indeed, the 'consistency with which Coleridge denounced the reading public has led Paul Hamilton to conclude that he was incapable of a generous engagement with his audience."

Кольридж был известен своим «презрением к читающей публике». Действительно,«последовательность, с которой Кольридж осуждал читающую публику, привела Пола Гамильтона к выводу, что он неспособен к великодушному взаимодействию со своей аудиторией».

This contempt can be seen in the repeated and stressed morality of the poem.

Это презрение можно увидеть в повторяющейся и подчеркнутой морали стихотворения.

'The implied philosophy of The Ancient Mariner [is that] men act evilly because they don't know what they're doing." It is this ignorance that Coleridge criticized in the nove

«Подразумеваемая философия« Древнего мореплавателя »[состоит в том, что] люди действуют злобно, потому что не знают, что делают». Именно это невежество Колридж критиковал в новелле.

In Emma, on the other hand, Austen is not known to have any such contempt for her audience, which can be said to be the ambitious middle classes.

В Эмме, с другой стороны, Остин не проявляет такого презрения к своей аудитории, которую можно назвать амбициозным средним классом.

Instead, the purpose of Austen's novels is to delight her reader with subtle use of humour, irony and satire, all of which can be seen in chapter 41.

Вместо этого цель романов Остин - порадовать читателя тонким использованием юмора, иронии и сатиры, которые можно увидеть в главе 41.

That is not to say that she does not have a strict moral code, as R. Williams argues: 'what happens in Emma... Is the development of and everyday, uncompromising morality which is in the end separable from its social basis."

Это не означает, что у нее нет строгого морального кодекса, как утверждает Р. Уильямс: «То, что происходит в Эмме ... является развитием повседневной бескомпромиссной морали, которая, в конце концов, отделима от ее социальной основы».

This 'domestic and moralizing fiction which is highly patterned' is particularly visible in chapter 41 in which the word game played by the characters is a direct instruction from Austen to the reader on how to read her novel and in particular this scene.

Эта «домашняя и морализирующая беллетристика, имеющая весьма узкий характер» особенно видна в главе 41, в которой игра в слова, в которую играют персонажи, является прямым указанием Остин читателю о том, как читать ее роман и, в частности, эту сцену.

The first word to be discovered in the Charades' scene is the word 'blunder' which obviously and superficially relates to Frank Churchill's blunder by almost revealing his and Jane Fairfax's correspondence.

Первое слово, которое можно обнаружить в сцене «Шарад», - это слово «грубая ошибка», которое явно и поверхностно относится к промаху Фрэнка Черчилля, почти раскрывающего его переписку с Джейн Фэрфакс.

However, it is a theme central to the plot: Emma blunders with Harriet's feelings, and when she insults Miss Bates. Mr Elton blunders in his proposal to Emma, and Harriet blunders in her feelings for Mr. Knightly.

Тем не менее, это центральная тема сюжета: Эмма ошибается с чувствами Харриет, когда она оскорбляет мисс Бейтс. Мистер Элтон ошибается в своем предложении Эмме, а Харриет ошибается в своих чувствах к мистеру Найтли.

Therefore, we can see that this scene is highly structured, with Austen using the game to heighten the irony.

Таким образом, мы видим, что эта сцена хорошо структурирована, и Остин использует игру, чтобы усилить иронию.

It is also interesting to note the positions of the characters as they engage in the game: Emma and Frank, the liveliest characters in the novel, are the protagonists in producing the game: "no one seemed so much disposed to employ as their two selves."

Также интересно отметить позиции персонажей, когда они участвуют в игре: Эмма и Фрэнк, самые живые персонажи романа, являются главными героями в создании игры: «Никто не был так расположен к использованию, как их два я».

Miss Fairfax is drawn in almost against her wishes, and Mr Knightly is "so placed as to see them all."

«Мисс Фэйрфакс втягивается почти против ее желания, а мистер Найтли так расположен, что видит их всех».

This can be said to be representative of their characters and behaviour throughout the plot - Emma and Frank being enthusiastic, Jane quiet, and Mr Knightly overseeing the whole affair.

Можно сказать, что это характерно для их характеров и поведения на протяжении всего сюжета - Эмма и Фрэнк полны энтузиазма, Джейн Тихая, а мистер Найтли наблюдает за всем делом.

"The responses of the characters to each other are orchestrated in conversations which combine incongruity and complexity of feeling with the greatest possible clarity."

«Ответы персонажей друг на друга оркестрованы в разговорах, в которых несовместимость и сложность чувств сочетаются с максимально возможной ясностью».

This careful structuring of the narrative-using the character's voices to further the plot - is one of Austen's strengths in Emma.

Это тщательное построение повествования с использованием голосов персонажей для развития сюжета - одна из сильных сторон Остин в «Эмме».

She "promotes intimacy between her readers and characters by creating characters who are intimate with each other and whose speech reflects this intimacy."

Она «способствует близости между своими читателями и персонажами, создавая персонажей, которые близки друг другу, и чья речь отражает эту близость».

The novel is 'outstandingly face-to-face;' rather than the bold supernatural of Coleridge's work, 'its crises, physically and spiritually, are in just these terms: a look, a gesture, a stare, a confrontation.'

Роман «исключительно лицом к лицу»; а не смелое сверхъестественное творчество Кольриджа, «его кризисы, физические и духовные, выражаются только в этих терминах: взгляд, жест, взгляд, конфронтация».

This scene in Emma is deeply significant to the narrative of the novel, as many truths are revealed within it, and it is representative in style of the novel as a whole.

Эта сцена в «Эмме» имеет большое значение для повествования романа, поскольку в ней раскрывается множество истин, и она репрезентативна по стилю романа в целом.

In this excerpt, we are given the first real hint of Frank and Jane's attachment with his blunder over the carriage.

В этом отрывке мы получаем первый реальный намек на привязанность Фрэнка и Джейн c его ошибкой с экипажем.

We are also shown Austen's irony at its best as Mr. Knightly and Emma discuss Frank and Jane's relationship, with Emma insisting that Mr. Knightly, the more sensible of the two, has made the idea of an attachment up.

Нам также показана ирония Остин в лучшем виде, когда мистер Найтли и Эмма обсуждают отношения Фрэнка и Джейн, при этом Эмма настаивает на том, что мистер Найтли, более разумный из двух, придумал идею привязанности.

"There is no admiration between them, I do assure you." Two of the silliest characters in the novel, Miss Bates and Mr. Woodhouse are also present in this scene, and are vital for Austen's development of the narrative.

«Между ними нет восхищения, уверяю вас.» Два самых глупых персонажа романа, мисс Бейтс и мистер Вудхаус, также присутствуют в этой сцене и имеют жизненно важное значение для развития повествования Остин.

These foolish characters 'flatter the reader' by including one in the joke of poking fun at them, and are used critically to highlight the intelligence of other key characters, specifically Emma and Mr. Knightly.

Эти глупые персонажи "льстят читателю", включив оного в шутку о том, чтобы подшучивать над ними, и критически используются, чтобы подчеркнуть интеллект других ключевых персонажей, в частности Эммы и мистера Найтли.

The typical components of Austen's comedy are the comic heroine; the animating powers of mind and triviality, stupidity, and actual or potential immorality; a clear set of values; the use of speech and conversation for satirical and witty effects; a distinctive and habitual irony; and the movement toward rational love and fitting unison.

Типичные компоненты комедии Остин - комическая героиня; одушевляющие силы ума и банальность, глупость и действительная или потенциальная аморальность; четкий набор ценностей; использование речи и разговора для сатирических и остроумных эффектов; характерная и привычная ирония; и движение к рациональной любви и подходящему унисону.

All these elements can be seen in this chapter of Emma, and it is this set of guidelines which "give tension to her art.'

Все эти элементы можно увидеть в этой главе «Эммы», и именно этот набор руководящих принципов «придает напряженность ее искусству».

Therefore, it is clear that the differences in the way poems and novels organize their stories lies mainly in the narrative structures.

Таким образом, очевидно, что различия в том, как стихи и романы организуют свои истории, заключаются в основном в повествовательных структурах.

Whilst both Coleridge and Austen use dialogue to further their plots, the wider scope of the novel allows Austen greater use of the tools of irony and satire, whilst Coleridge's work relies much more on the supernatural.

В то время как и Кольридж, и Остин используют диалог для развития своих сюжетов, более широкий охват романа позволяет Остин шире использовать инструменты иронии и сатиры, в то время как работа Кольриджа гораздо больше полагается на сверхъестественное.

Both works are deeply psychological, with Coleridge's emphasis on the damaged psyche with the Ancient mariner, and Austen's on the psychology of everyday life.

Обе работы глубоко психологичны: Кольридж делает упор на поврежденную психику у Древнего моряка, а Остин - на психологии повседневной жизни.

"She provided the emphasis which only had to be taken...into a different social experience to become not a moral but a social criticism."

«Она сделала акцент, который нужно было только перенести ... на другой социальный опыт, чтобы стать не моральной, а социальной критикой».