The Third Man · 1949 — 第 12 / 17 章 · 2'39" · B2

Popescu Warns Martins at the Lecture, Explained:stream of consciousness

Crabbin's literary evening turns into an ambush: the audience asks Martins about the stream of consciousness and James Joyce, and Popescu slips in a warning under the small talk — "I'd say stick to fiction. Straight fiction." Martins, halfway through a book based on fact, refuses to stop.

あらすじ

At Crabbin's cultural evening, Holly Martins is the guest speaker and the audience questions him about modern literature — the stream of consciousness, James Joyce. Martins answers with Zane Grey and admits his new book, The Third Man, is based on fact. Afterward Popescu appears and quietly warns him against mixing fact and fiction.

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注目の表現

what a reliefall setall's well that ends wellstream of consciousness

00:00 / 02:39
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このシーンの表現

stream of consciousness

writing that follows thought flow

An audience member solemnly asks Martins about stream of consciousness, aiming high art at a western writer.

Her novel reads like a stream of consciousness.

このシーンの他の表現

  • what a relief

    what a load off my mind

  • all set

    fully ready

  • all's well that ends well

    a good ending fixes everything

  • engaged on

    busy working on

  • stick to

    keep to

このシーンのメモ一覧

48 行のセリフに 20 件のメモ

表現 · B1what a relief

what a load off my mind

Crabbin greets the late Martins at the door with this line, warm but professionally effusive.

Mr Martins! What a relief to see you.
発音What a

Link what and a so it sounds like one word.

Mr Martins! What a relief to see you.
表現 · B1begin to think

start to suspect

I was beginning to think something had happened to you.
文法 · B1had happened

past perfect: The past perfect puts the feared event earlier than the worrying.

I was beginning to think something had happened to you.
表現 · B1in case something happens

in the event that

I was frantic in case you hadn't got my message at the hotel.
文法 · B2in case you hadn't got my message

in case clause: The in case clause names the feared possibility behind his panic.

I was frantic in case you hadn't got my message at the hotel.
発音hadn't got

The second t in hadn't often drops into got.

I was frantic in case you hadn't got my message at the hotel.
表現 · A2be all set for something

fully ready

Leading Martins in, Crabbin says everything is ready, eager and a little self-important.

We're all set for a wonderful meeting.
表現 · B2all's well that ends well

a good ending fixes everything

Crabbin ushers the audience in and warms the room with a Shakespeare proverb, grand and slightly smug.

Well, here we are, ladies and gentlemen. All's well that ends well.
表現 · B1mean to say

intended to say

Yeah, well, I... I suppose that is what I meant to say.
表現 · C1stream of consciousness

writing that follows thought flow

An audience member solemnly asks Martins about stream of consciousness, aiming high art at a western writer.

Do you believe, Mr Martins, in the stream of consciousness?
発音in the stream

Link in and the so it sounds like in-na.

Do you believe, Mr Martins, in the stream of consciousness?
表現 · B2be chiefly influenced by something

mainly shaped by

What author has chiefly influenced you?
文法 · B2wrote what we call

noun clause: The what-clause serves as the object of wrote, naming the genre.

We all know perfectly well Zane Grey wrote what we call "westerns."
表現 · B2be engaged on something

busy working on

Someone politely asks whether Martins is busy on a new book; engaged on keeps it formal.

Can I ask, is Mr Martins engaged on a new book?
表現 · A2pretty + adjective

quite risky

I'd say you were doing something pretty dangerous this time.
スラング · A2pretty

quite — A casual intensifier; rare in formal prose.

I'd say you were doing something pretty dangerous this time.
表現 · B1stick to something

keep to

Popescu smiles as he tells Martins to stick to fiction, advice that draws a line he must not cross.

I'd say stick to fiction. Straight fiction.
表現 · B2scrap something

discard a whole book

Haven't you ever scrapped a book, Mr Martins?
スラング · B1scrapped

thrown out — Casual and blunt, harsher than give up.

Haven't you ever scrapped a book, Mr Martins?

「Popescu Warns Martins at the Lecture」を読み解く

What's really going on

The scene works as comedy and as threat at the same time. Crabbin's earnest audience wants a serious novelist and gets a man who writes westerns, and the gap between their questions and his answers — the stream of consciousness meeting Zane Grey — is the film's joke at the expense of cultural pretension. But under the laughter runs the plot. Popescu, the man who helped carry Lime's body, turns up at the lecture and uses the cover of literary advice to deliver a warning: "I'd say you were doing something pretty dangerous this time." He urges Martins to keep his book pure fiction, which is really an instruction to stop digging. Martins refuses with a line of his own — he is too far along with the book — and the refusal is what makes him dangerous to them.

Theme

DeceptionPopescu's literary small talk is a cover for a threat, warning Martins to stop mixing fact with fiction before it is too late.
CourageMartins refuses the polite advice to write only fiction, and his stubborn refusal to abandon the book is what makes him a danger.

このチャプターで学べること

  • A grand question about art can be aimed as a joke.
  • Warning dressed as advice keeps the room polite.
  • All set is warmer and faster than plain ready.
  • Repeating a word turns a suggestion into an order.

発音のポイント

  • What a — Link what and a so it sounds like one word.
  • hadn't got — The second t in hadn't often drops into got.
  • in the stream — Link in and the so it sounds like in-na.
Well, here we are, ladies and gentlemen. All's well that ends well.

Crabbin's cheery opener: he treats the evening as finished business, which is the same self-satisfied tone the film quietly mocks.

Yeah, well, I... I suppose that is what I meant to say.

Martins' floundering reply to a literary question, offered with a shrug, which shows how out of place he is among the cultured guests.

Do you believe, Mr Martins, in the stream of consciousness?

The question that exposes the gap: the audience expects high modernism, while Martins has come to write and talk about cheap westerns.

We all know perfectly well Zane Grey wrote what we call "westerns."

The polite put-down: the speaker names the genre Martins writes and by so doing files it away as something a little beneath them.

I'd say you were doing something pretty dangerous this time.

The warning beneath the flattery: Popescu praises Martins' book only to tell him that the research has made him dangerous.

I'd say stick to fiction. Straight fiction.

The instruction spelled out: drop the true story and write pure invention, which means stop asking what really happened to Harry.

このシーンについての質問

Why does Martins mention Zane Grey?

Because he is asked which author influenced him most. As a writer of westerns, he names Zane Grey, with the result that the cultured audience laughs at him.

What does Popescu warn Martins about?

He warns him that mixing fact and fiction is dangerous. He wants Martins to stop writing a book based on real events and to stick to pure fiction.

What does "stream of consciousness" mean?

It is a literary style that follows the flow of a character's thoughts. The question is meant to sound learned, and Martins has no idea how to answer it.

Why does Martins refuse Popescu's advice?

Because he is too far along with the book to stop. He says he is too deep into it, which shows he will keep investigating rather than be frightened off.

How does the audience react to Martins?

They find him amusing rather than impressive. His joke about Zane Grey and his awkward answers amuse them, and Crabbin treats it all as a successful evening.

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