1) Stream of consciousness:

E.g. 1. "Memory believes before knowing remembers. Believes long­er than recollects, longer than knowing even wonders, knows remembers believes a corridor in a beg long garbled cold echoing building of dark red brick sootbleakened by more chimneys than its own, set in grassless cinderstrewnpacked compound surrounded by smoking factory purlieus and enclosed by a ten foot steel-and-wire fence like a penitentiary of a zoo, where in random erratic surges, with sparrowlike childtrembling, orphans in identical and uniform blue denim in and out of remembering but in knowing constant as the bleak walls the bleak windows where in rain soot from the yearly adjacenting chimneys streaked like black tears" (Faulkner “Light in August”).

E.g. 2. "...if ever he got anything really serious the matter with him its much better for them go into a hospital where everything is clean but I suppose Id have to bring it into him for a month yes and then wed have a hospital nurse next thing on the carpet have him staying there till they throw him out or a nun maybe like the smutty photo he has shes as much a nun as Im not yes because theyre so weak and pulling when theyre sick they want a woman to get well if his nose bleeds youd think it was О tragic and that dying-looking one off the south circular when he sprained his foot at the choir party at the sugarloaf Mountain the day I wore that xlress Miss Stack bringing him flowers the worst old ones she could find at the bottom of the basket anything at all to get into a mans bedroom..." (J. Joyce “Ulysses”).

2) Inner monologue (dated XVIII c., "he thought", "he thought to himself", "he pondered", etc.)

E.g. “For Whom the Bell Tolls” (E.Hemingway): 10 pages long inner monologue in the frame as follows:

You are thinking about something else now?"

"Yes. My work."

***

"What was it you were saying?"

"I was saying that you must not worry about your work."

3) Inner reaction: short insertions serving to express the quick, usually emotional, reaction of the participant of the situation to what is happening. These insertions usually contain colloquialisms and emotionally coloured lexical units.

"...the small straight nose and a cowlick in one eyebrow that sends a little fan of hairs the wrong way and seems to express a doubt. Amazing, genes." (J. Updike “Rabbit is Rich”).

4) autodialogue – one’s talk to oneself. Its semantic content is very stable: the struggle between rational and emotional, expressed by two inner voices. Each side brings into the conflict its arguments: feelings, presentiment, intuition confront with sober reasonableness and logic.

4. 3. Represented speech. Writers often claim that their fictional characters prompted them to use certain linguistic means while representing the fictional reality on their behalf. A contamination of the author’s and the character’s voices takes place. The point of view of the latter dominates, although the scope of his speech availability signals yields to this of the author. In fact, the character’s voice is only heard due to one or two quotation words, a colloquial construction, etc.

4.3.3. Represented speech. Image of a personage. The main function of the above mentioned phenomenon, otherwise called represented speech, is the description of the situation from within, from the position of the person, who is actually experiencing it. Linguistically, the represented speech is a welding of the character’s and author’s speeches.

There several types of represented speech to be distinguished: