ABSTRACT:This essay examines how Samuel Richardson turned the technologies of print towards the acoustic to produce loud characters—both aurally and emotionally—in Clarissa. Specifically, it traces his techniques for representing the embodied features of argumentative conversation back to the performative genres of drama and music. Richardson's dual professional status as a printer and a novelist meant that he was familiar with the typographical conventions particular to various genres in print and, likewise, that he was invested in the graphic scaffolding of his own novels. As such, he used print as a creative resource, mining comedies and musical dynamics for models to notate interruptive pause, simultaneous speech, and changing vocal tone and cadence in the novel's heated arguments. He uses these techniques to craft an acoustic page with visual cues to help readers hear characters' words through their eyes, and thus to perceive the emotion motivating them. I argue that Richardson figures the twin specters of bodily violation and rape through the novel's threatening conversations and that his richest resources in doing so are notational techniques adapted from specifically embodied art forms. In delineating the architecture of dramatic and musical intonation that supports novelistic dialogue in Clarissa, this essay helps to revise critical narratives about the rise of the novel, emphasizing the residue of orality in this densely literary form and asserting the continuing presence of the spoken word and performative voice in the midst of a genre we tend to think of as having made characters private, quietly read, and interior.

中文翻译：

---

塞缪尔·理查森 (Samuel Richardson) 的《克拉丽莎》(Clarissa) 中的排版和对话威胁

摘要：这篇文章探讨了塞缪尔·理查森如何将印刷技术转向声学，以在《克拉丽莎》中产生响亮的声音和情感角色。具体而言，它将他用于表现辩论对话的具体特征的技巧追溯到戏剧和音乐的表演类型。理查森作为印刷商和小说家的双重职业身份意味着他熟悉各种印刷体裁特有的排版惯例，同样，他还投入了自己小说的图形脚手架。因此，他使用印刷品作为一种创造性资源，挖掘喜剧和音乐动态，让模特在小说的激烈争论中记录中断的停顿、同时讲话以及不断变化的声调和节奏。他使用这些技术制作带有视觉线索的声学页面，帮助读者通过眼睛听到人物的话，从而感知激发他们的情感。我认为理查森通过小说的威胁性对话描绘了身体侵犯和强奸这两个幽灵，他这样做的最丰富的资源是改编自具体体现艺术形式的符号技术。在描绘支持克拉丽莎小说对话的戏剧和音乐语调结构时，本文有助于修正关于小说兴起的批判性叙事，强调这种密集文学形式中口头语言的残余，并断言口语和语言的持续存在。在我们倾向于认为的一种类型中的表演性声音使角色变得私密，安静地阅读，