Диссертация (1101562), страница 48
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||MD+1T(3)It made her angry still. ||TTM(3)«Миссис Дэллоуэй». Текст 1 (Кларисса). Вариант 2So she would still find herself arguing in St. James's Park, |MMDD+2TM(6)still making out that she had been right – |D+3TM(3)and she had too – |MM(2)not to marry him. ||TD(2)For in marriage a little licence, |M DTT(4)a little independence there must be between people living together day in day out in the same house; |D+1D+1DD+2TTDMM(9)which Richard gave her, |TT(2)and she him. ||M M(2)(Where was he this morning for instance? ||DDT(3)257Some committee, |TT(2)she never asked what.) ||DM(2)But with Peter everything had to be shared; |MTDDM(5)everything gone into.
||D+1T(2)And it was intolerable, |D+1(1)and when it came to that scene in the little garden by the fountain, |TTM DTD+1T(7)she had to break with him or they would have been destroyed, |D+1D+2M(3)both of them ruined, |DM(2)she was convinced;M(1)though she had borne about with her for years like an arrow sticking in her heartMTD+1DTD+1the grief, |MM(8)the anguish; |T(1)and then the horror of the moment when some one told her at a concert that he had married a woman met on the boat goingto India! ||TD+1+2DNever should she forget all that! ||D+2TM(3)Cold,M(1)heartless,T(1)a prude,M(1)he called her.
||T(1)Never could she understand how he cared. ||D+3DM(3)But those Indian women did presumably – |MDTTD(5)silly, |T(1)pretty, |T(1)flimsy nincompoops. ||TTM(3)And she wasted her pity. ||DT(2)258For he was quite happy, |MT(2)he assured her – |T(1)perfectly happy, |DT(2)though he had never done a thing that they talked of; |TTDT(4)his whole life had been a failure.
||MD+1T(3)It made her angry still. |||TTM(3)«Миссис Дэллоуэй». Текст 1 (Кларисса). Вариант 3So she would still find herself arguing in St. James's Park. ||MDD+2TM(5)Still making out that she had been right, |DTDM(4)and she had too not to marry him. ||TFor in marriageD(2)a little licence, |M TTT(4)a little independence there must be between people living together, |D+1DD+1D+2T(5)day in day out in the same house which Richard gave her.
||M M M DMTTT(8)And she, |M(1)him, |(1)Mwhere was he this morning? ||MDT(3)For instance,T(1)some committee, |T(1)she never asked what. ||DM(2)But with Peter everything had to be shared, |TTDDM(5)everything gone into and it was intolerable. ||D+1TD+1(3)and when it came to that scene, |D+1M M(3)in the little garden by the fountain,D+1T(2)she had to break with him or they would have been destroyed. ||TD+2D+1M(4)259Both of them ruined.
||DM(2)She was convinced,Mthough(1)she had borne about with her for years, |TD+1M(3)like an arrow sticking in her heart, |TD+1M(3)the grief, |M(1)the anguishand then the horror of the moment when some one told her at a concert that he had married a woman. ||TD+1DTD+1DTDT(9)Met on the boat going to India, |DD+1D(3)never should she forget all that cold heartless.DTM TMT(6)“A prude”,M(1)he called her. ||T(1)Never could she understand how he cared.
||D+1TDM(4)But those Indian women did presumably silly, |D+1TD+2T(4)pretty flimsy nincompoops, |TTTM(4)and she wasted her pity for he was quite happy. ||D+3T(2)He assured her perfectly happy, |TDT(3)though he had never done a thing that they talked of. ||TTDT(4)His whole life had been a failure. ||MD+1T(3)It made her angry still. |||TTM(3)«Миссис Дэллоуэй». Текст 2 (Питер).
Вариант 1The fountain was in the middle of a little shrubbery, |D+2D+1TD(4)far from the house, |DM(2)with shrubs and trees all round it. ||TMM T(4)There she came, |TM(2)even before the time, |TM(2)260and they stood with the fountain between them, |DDT(3)the spout |M(1)(it was broken) |T(1)dribbling water incessantly. ||TDD(3)How sights fix themselves upon the mind! ||MD+3M(3)For example, |T(1)the vivid green moss. |||TMM(3)She did not move.
||TM(2)“Tell me the truth, |DM(2)tell me the truth,” |DM(2)he kept on saying. ||TT(2)He felt as if his forehead would burst. ||D+1DM(3)She seemed contracted, |TT(2)petrified. ||D(1)She did not move. ||M(1)“Tell me the truth,” |DM(2)he repeated, |T(1)when suddenly that old man Breitkopf popped his head in carrying the Times; |D+1M M TDM D+1M(8)stared at them; |TM(2)gaped; |M(1)and went away. ||TM(2)They neither of them moved. ||D+1M(2)“Tell me the truth,” |MTM(3)he repeated. ||T(1)261He felt that he was grinding against something physically hard; ||D+1D+3D+1M(4)she was unyielding. ||M T(2)She was like iron, |T(1)like flint, |M(1)rigid up the backbone.
||D+1T(2)And when she said, |TM(2)“It's no use. |MM(2)It's no use. |M M(2)This is the end” – |DM(2)after he had spoken for hours, |D+1DM(3)it seemed, |M(1)with the tears running down his cheeks – |DTM(3)it was as if she had hit him in the face. ||DD+1M(3)She turned, |M(1)she left him, |T(1)went away. |||M(1)“Clarissa!” |T(1)he cried. ||M(1)“Clarissa!” ||T(1)But she never came back.
||DM(2)It was over. ||T(1)He went away that night. ||MMM(3)He never saw her again. |||TDM(3)262«Миссис Дэллоуэй». Текст 2 (Питер). Вариант 2The fountain was in the middle of a little shrubbery, |D+2D+3D(3)far from the house, |DM(2)with shrubs and trees all round it. ||TMM T(4)There she came, |TM(2)even before the time, |DTM(3)and they stood with the fountain between them, |DDT(3)the spout |M(1)(it was broken) |T(1)dribbling water incessantly. ||TDD(3)How sights fix themselves upon the mind! ||MD+3M(3)For example, |TT(2)the vivid green moss. |||TMM(3)She did not move. ||MM(2)“Tell me the truth,DM(2)tell me the truth,” |DM(2)he kept on saying.
||TT(2)He felt as if his forehead would burst. ||D+1DM(3)She seemed contracted, |DT(2)petrified. ||D(1)She did not move. ||TM(2)“Tell me the truth,” |DM(2)he repeated, |T(1)when suddenly that old man Breitkopf popped his head in carrying the Times; |DM MTDM D+1stared at them;D(1)M(8)263gaped; |M(1)and went away.
||TM(2)They neither of them moved. ||MD+1M(3)“Tell me the truth,” |DM(2)he repeated. ||T(1)He felt that he was grinding against something physically hard; ||D+1D+3D+1M(4)she was unyielding. ||DT(2)She was like iron, |T(1)like flint, |M(1)rigid up the backbone. ||D+1T(2)And when she said, |TM(2)“It's no use. |MM(2)It's no use.M M(2)This is the end” – |DM(2)after he had spoken for hours,D+1DM(3)it seemed, |M(1)with the tears running down his cheeks – |DTM(3)it was as if she had hit him in the face. ||DD+1M(3)She turned, |M(1)she left him, |T(1)went away. |||M(1)“Clarissa!” |T(1)he cried. ||M(1)“Clarissa!” ||T(1)264But she never came back. ||DM(2)It was over.
||T(1)He went away that night. ||TTM(3)He never saw her again. |||TDM(3)«Миссис Дэллоуэй». Текст 2 (Питер). Вариант 3The fountain was in the middle of a little shrubbery far from the house, |D+2D+1TDDM(6)with shrubs and trees all round it. ||TMM T(4)There she came, |TM(2)even before the time, |D+2M(2)and they stood with the fountain between them. ||DDT(3)The spout, |M(1)it was broken |TT(2)dribbling water incessantly. ||TDD(3)How sights fix themselves upon the mind, |MD+3M(3)for example, |T(1)the vivid green moss. |||TMM(3)She did not move, |TM(2)“Tell me the truth,DM(2)tell me the truth,” |DM(2)he kept on saying. ||TT(2)He felt as if his forehead would burst. ||DM(2)She seemed contracted, |DT(2)petrified, |(1)Dshe did not move.
||TM(2)265“Tell me the truth,” |DM(2)he repeated. ||T(1)When suddenly that old man Breitkopf popped his head in carrying the Times, |DTTDM D+1M(7)stared at them gaped, |DM(2)and went away. ||TM(2)They neither of them moved, |MD+1M(3)“Tell me the truth,”DM(2)he repeated. ||T(1)He felt that he was grinding against something physically hard; ||D+1D+3D+1M(4)she was unyielding. ||DT(2)She was like iron, |T(1)like flint, |M(1)rigid up the backbone.
||D+1T(2)And when she said, |TM(2)“It's no use, |MM(2)it’s no use, |M M(2)this is the end”, |M(1)after he had spoken for hoursD+1DMit seemed with the tears running down his cheeks; |DDTM(7)it was as if she had hit him in the face. ||DD+1M(3)She turned, |M(1)she left him, |T(1)went away. |||M(1)“Clarissa”T(1)he cried, |M(1)266“Clarissa!”; ||T(1)but she never came back, |DM(2)it was over. ||T(1)He went away that night.
||TM(2)He never saw her again. |||TDM(3)267ПРИЛОЖЕНИЕ 2. НЕКОТОРЫЕ РЕЗУЛЬТАТЫ СОПОСТАВЛЕНИЯРОМАНОВ ИЭНА МАКЬЮЭНА С ПРОИЗВЕДЕНИЯМИ ДРУГИХ АВТОРОВПосле того, как были обсуждены основные результаты исследования иописаны ритмико-просодические особенности изображения главных героев через ихнесобственно-прямую речь в романах Иэна Макьюэна, представляется интереснымсопоставить их с тем, как несобственно-прямая речь используется другими авторамидля создания контрастных образов, и как это влияет на формирование звучащегообраза того или иного героя.Ниже приведены некоторые результаты сопоставления романа Иэна Макьюэна«Амстердам» с романом Джулиана Барнса «Артур и Джордж» [141], а такжесопоставления романа Иэна Макьюэна «Искупление» с романом Вирджинии Вульф«Миссис Дэллоуэй» [145].
Анализ сопоставительного материала проводился в томже порядке, что и рассмотрение основного материала исследования (см. главы 2-4),однако количество рассматриваемых экспериментальных вариантов несколькоограничено. Так, было рассмотрено по 3 варианта каждого из отобранных текстов изроманов «Артур и Джордж» и «Миссис Дэллоуэй»:1. вариант 1 – текст оригинала с авторской пунктуацией, озвученныйактером (отрывок из аудиокниги [146; 150]);2. вариант 2 – текст оригинала с авторской пунктуацией, озвученныйносителем британского варианта английского языка;3. вариант 3 – текст оригинала с экспериментально измененной пунктуацией,озвученный носителем британского варианта английского языка.В связи с тем, что процесс анализа романов «Амстердам» и «Искупление», атакже его результаты были подробно описаны в основной части исследования, нижеприведем лишь наиболее показательные примеры.196268«АМСТЕРДАМ» ИЭНА МАКЬЮЭНА И «АРТУР И ДЖОРДЖ» ДЖУЛИАНАБАРНСАОснованием для сопоставления данных романов может служить тот факт, чтооба произведения довольно близки в композиционном плане: и в том, и в другомслучае одним из основных композиционных приемов является постоянное сравнениеи противопоставление непохожих героев, основанное в т.ч.
на противопоставленииих несобственно-прямой речи. В «Амстердаме» читатель следит за трагическойисторией дружбы известного музыканта (Клайва Линли) и успешного журналиста(Вернона Халлидей), в то время как в «Артуре и Джордже» нам предоставляетсявозможность увидеть, как пересекаются судьбы, казалось бы, далеких друг от другалюдей – скромного провинциального юриста Джорджа Идалджи и известного на всюстрану писателя Артура Конан Дойля. Кроме того, Иэн Макьюэн и Джулиан Барнс –это представители современной британской литературы, произведения которыхявляются общепризнанными образцами художественного стиля и вкуса.Безусловно, интересно выяснить, как отличаются изображения героев в этихроманах и в чем заключается их сходство, а также попытаться выявить те ритмикопросодические особенности контрастных образов, которые их характеризуют.Тексты, отобранные для анализа из романа «Амстердам», были процитированывыше (см.
главу 2), поэтому здесь приведем лишь тексты из романа «Артур иДжордж», которые были подвергнуты прагмафоностилистическому рассмотрению.And yet. It was different now, if he was honest with himself. When they had met, hehad been young, awkward and unknown; she had loved him, and never complained. Nowhe was still young, but successful and famous; he could keep a table of Savile Club witsinterested by the hour.
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