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In their article "Free Indirect Discourse in Farsi Translations of Woolf's Mrs. Dalloway" Zohreh Gharaei and Hossein Vahid Dastjerdi discuss the degree to which free indirect discourse is reproducible in Farsi translations of Virginia Woolf's Mrs. Dalloway. Gharaei and Vahid Dastjerdi's analysis reveals that while it is possible to employ free indirect discourse in Farsi, the grammatical features of the technique represent the most problematic areas of translation to Farsi. Although some studies have attributed deviations from the style of the original writer to the structural differences between Farsi and English or domesticating strategies on the part of the translator, Gharaei and Vahid Dastjerdi reject such argumentation and establish the fact that imported narrative features have been in use in Farsi novels and that thus they cannot be considered alien to Farsi. Zohreh Gharaei and Hossein Vahid Dastjerdi, "Free Indirect Discourse in Farsi Translations of Woolf's Mrs. Dalloway" page 2 of 9 CLCWeb: Comparative Literature and Culture 14.1 (2012):  Zohreh GHARAEI and Hossein VAHID DASTJERDI Free Indirect Discourse in Farsi Translations of Woolf's Mrs. Dalloway As a leading modernist writer in English, Virginia Woolf was searching for a narrative strategy capable of portraying human complexities and recognized that neither dialogue nor traditional linear narration would allow her to do so (see Jones 70). To Woolf, a good fiction writer is one who conveys the varying, un-circumscribed, and unknown nature of life, no matter the disconnectedness or incoherence. To her, life is not "a series of gig lamps symmetrically arranged" to be portrayed in a linear structure in which the narrator goes from point A to point B; but it is "a luminous hallo, a semitransparent envelope surrounding us from the beginning of consciousness to the end" (Woolf, The Common 212). Taking the narrative mode employed by Jane Austen and evolving it into free indirect discourse, a technique that sets her apart from her preceding generation of writers in English, Woolf achieved what she was looking for in Mrs. Dalloway (see, e.g., Parsons). Translation is one way of introducing the literature of one culture into another. Each literary text has a "creative form" encompassing the style of it (Bennett 6). Therefore, only a translation can be regarded as successful in introducing a work of literature to the world that is able to transfer not only the content of the work, but also the style of the original writer. That way, translation can fulfill its role and that represents "the evolution of literatures" (Lefevere 237). With regard to Mrs. Dalloway, it can be claimed that reproducing free indirect discourse — the narrative technique implemented by Woolf to avoid the formal "railway line" and give rise to a form patterned like "waves in a pond" (Woolf qtd. in Lee 93) — in the translation is an important step toward making Woolf's style known and her works of literature recognized in foreign languages. As a narrative technique, free indirect discourse (FID) — encompassing both free indirect speech (FIS) and free indirect thought (FIT) — serves a variety of functions. The distance created between the reader's and the character's words leads to an introduction of two points of view. The fusion of points of view, in turn, provides a good ground for irony: the reader is able not only to hear the character, but also to feel the vestige of the narrator and therefore, she/he forms her/his own opinion as to what is happening in the text (Leech and Short 269-72). On the other hand, the variation in the distance between the character and the reader can contribute to the extent of the sympathy felt by the reader toward the character. Further, progressive tenseless aspects in FID portray the present consciousness of the characters, while having some references to a distant past. FID is also sometimes used to heighten the effect of parody (Klitgard 320). When it comes to the translation of text with such properties, two factors seem to play a role. First, the familiarity of the translator with the narrative strategies employed by the fiction writer to portray FID and the functions they serve, and second, the degree to which the target language allows for representing them since the two languages might differ substantially with regard to their potential for representing those strategies. Several studies on FID suggest that a mixed type of discourse like FID poses more problems in translation than non-mixed types such as direct discourse (DD) or indirect discourse (ID) (see, e.g., Bosseaux 60-61). This problem can be attributed to linguistic, literary, and translational norms of the target language. Rejecting the idea proposed by David Lodge as to the universality of narrative, Ellen Valle came to the conclusion that meaning is language dependant and narrative elements in FID, such as point of view, a device for representing meaning, are also a function of language and will change in the course of translation. Tarja Rouhiainen also supports the language dependency of some of these narrative strategies, for example the third person pronoun in Finnish which is unmarked for gender and consequently may change the viewpoint from the character's discourse to the narrator's. Abolfazl Horri, investigating the translation of personal deixis as point of view indexes in three Farsi translations of Woolf's To the Lighthouse, concluded that apparently the mismatches in the translation — resulting in a change from ID to DD — are in agreement with Farsi norms. And Somayeh Delzendehrooy studied the Farsi translations of Woolf's To the Lighthouse to see how the translators have treated Woolf's style and attributed the cases of deviation from Woolf's style to domesticating strategies on the part of the translator. Zohreh Gharaei and Hossein Vahid Dastjerdi, "Free Indirect Discourse in Farsi Translations of Woolf's Mrs. Dalloway" page 3 of 9 CLCWeb: Comparative Literature and Culture 14.1 (2012):  In the present study we investigate the degree to which the strategies of free indirect discourse employed by Virginia Woolf in Mrs. Dalloway are translatable to Farsi. To this end, the two existing translations of the novel are used to see how FID markers are handled by the translators. In cases where the strategies have not been transferred successfully, potentialities of language in and of Farsi are taken into account to see if the mismatch can be resolved. According to the Concise Oxford Companion to the English Language there are four types of discourse, namely direct discourse (DD), indirect discourse (ID), free direct discourse (FDD), and free indirect discourse (FID) (McArthur). In FID which shares some features with ID, the pronouns are adapted, tenses are shifted backward, and quotation marks are absent. However, the lack of a tag word like "if" or "that" sets it apart from ID. Besides, FID has some features in common with DD. The use of near locatives, temporals, and subjective and emotive expressions are among them. As a result, FID is a blend of DD and ID. This distinguishing feature enables FID to fulfill a variety of functions as a narrative mode. The most striking one is allowing the reader to hear at least two voices: the voice of the narrator mingled with that of the character. FID blurs the distinction between direct and indirect discourse so that it can be defined as a type of narration in which a character's vocalization and a narrator voice are blended without any reporting clause (Wales 164) and it is the displacement of the objective author's plane and subjective character's plane which are balanced (Leskiv 52). This blending of characters, author, narrator, subjectivity, and objectivity gives rise to what Roy Pascal calls a "dual voice" and that makes it difficult to identify who the real speaker or thinker would be. The following example from Mrs. Dalloway might help elucidate the point: "he was a man, oh yes, a man who had loved her" (61). Here, there is no sign of quotation marks indicating DD; instead, the third person pronoun her, and not me, and the back shifted tenses of the verbs was and had loved are indicators of ID and the narrator's voice. But, a closer look at the stream of thought quoted above impedes one from jumping to a conclusion. Here, in contrast with ID, there is no linking conjunction like "that" or "whether" and there is no introductory verb either. Besides, the expressive interjection "oh yes" cannot be expressed or thought by anyone other than the character herself resulting in the fusion of the character's voice with that of the narrator. However, identification in FID is not always straightforward. Although it is believed that FID contains introductory verbs, many cases deviate from this norm. To investigate how the Farsi translators of Mrs. Dalloway have tackled the features attributed to FID and to find the cases of deviation, related features were extracted and categorized into three general categories of lexical features, grammatical features, and punctuation each consisting of some subcategories. Then, the two Farsi translations of the novel were examined to see the treatment of the translators. In cases where deviations from the stylistic strategies of the original novel were noticed, the norms of Farsi were discussed to see if it were possible to reflect the features in Farsi. Mention should be made that throughout the study wherever the back translation of Farsi translations into English is quoted, the first is Farzaneh Taheri's translation of Mrs. Dalloway as Kh!nome Dalov" (Woolf) and the second is Khojasteh Kayhan's translation of Mrs. Dalloway as Kh!nome D!lov" (Woolf). In back translating the Farsi translations into English, literal translation was used. That way we tried to show the lexical, as well as grammatical choices of the translators. With regard to the first category, i.e., lexical features, three recurrent verbal