неясным, туманным, расплывчатым и вызывает лишь приблизительные ассоциации, а не конкретное представление о сделанном обобщении. Так, встихотворенииШелли"The Cloud"образ, выраженныйсловами
Wherever he dream, under mountain or stream, The Spirit he loves remains,
остается неясным.
Образное всегда требует пояснений. Вот почему говорят о толковании поэтических произведений. Стиль речи, в котором нет образности, не нуждается в толковании.
Надо иметь в виду, что мы заняты разбором лишь таких образов, которые созданы средствами особых (по отношению к предметно-логическим) значений слов. Образность в литературоведении понимается шире. Так, герой какого-либо произведения, представляющий собой обобщенный тип, называется образом. Конечно, и такой образ требует толкований, анализа. Но это не является задачей лингвистической стилистики.
Как было указано в разделе о контекстуальных значениях слов, наиболее прямые пути создания образности это использование метафоры и метонимии. Зрительный образ, несмотря на то, что он создается опосредствованно, т. е. через слова, оказывается наиболее конкретным. Умственный взор выявляет способность длительно удерживать и легко воспроизводить образ, предметы, представление об этом предмете. Слуховой образ, несмотря на то, что он создается непосредственно, т. е. воздействует на орган слуха самим звучанием слов, оказывается менее конкретным, менее устойчивым, более смутным.
Так, стихотворение "HowtheWaterComesDownatLodore, "лишь отдаленно напоминает (воспроизводит) шум водопада, хотя все слова и их организация направлены на создание этого эффекта.
С другой стороны, образы, созданные метафорой и метонимией, если они не надуманы и не абстрактны по своему содержанию, всегда точно воспроизводят действительность и поэтому конкретны. Так, в строках из поэмы Шелли "TheMaskofAnarchy" метафоры и сравнения полнее раскрывают мысль поэта и его отношение к трудовому народу Англии:
XXXVII
Men of England, Heirs of Glory. Heroes of unwritten story. Nurslings of one mighty mother. Hopes of her, and one another!
XXXVIII
Rise, like lions after slumber, In unvanquishable number, Shake your chains to earth like dew, Which in sleep had fall'n on you — Ye are many — they are few.
Но не только средствами самих значений слов или их звучанием создается образ в стиле художественной речи. Для этого существуют и другие средства, перечисленные нами в разделах лексических, синтаксических и фонетических стилистических средств. Среди них надо упомянуть повторы, которые в сочетании с другими средствами синтаксической организации предложения способствуют созданию нужного образа. Так, в нижеприведенном отрывке из романа Голсуорси "TheManofProperty" стилистическими средствами (главным образом повторами и синтаксическими конструкциями) создается картина напряженной «предгрозовой» атмосферы во время званого обеда. Автор заставляет почувствовать, как медленно и тягостно ползет время, как невыносимо томителен этот обед для его участников.
Приведем отрывок целиком, чтобы показать взаимодействие указанных стилистических средств:
Dinner began in silence; the women facing one another, and the men.
In silence the soup was finished — excellent, if a little thick; and fish was brought. In silence it was handed.
Bosinney ventured: "It's the first Spring day".
Irene echoed softly: "Yes — the first spring day."
"Spring!" said June: "there isn't a breath of air!" No one replied.
The fish was taken away, a fine fresh sole from Dover. And Bilson brought champagne, a bottle swathed around the neck with white.
Soames said: "You'll find it dry."
Cutlets were handed, each pink-frilled about the legs. They were refused by June, and silence fell.
Soames said: "You'd better take a cutlet, June; there's nothing coming."
But June again refused, so they were borne away. And then Irene asked: "Phil, have you heard my blackbird?"
Bosinney answered: "Rather — he's got a hunting-song. As I came round I heard him in the Square." "He's such a darling!" "Salad, sir!" Spring chicken was removed.
But Soames was speaking: "The asparagus is very poor. Bosinney, glass of sherry with your sweet? June, you're drinking nothing!"
June said: "You know I never do. Wine's such horrid stuff!"
An apple charlotte came upon a silver dish. And smilingly Irene said: "The azaleas are so wonderful this year!"
To this Bosinney murmured: "Wonderful! The scent's extraordinary!"
June said: "How can you like the scent! Sugar, please, Bilson."
Sugar was handed her, and Soames remarked: "This charlotte's good!"
The charlotte was removed. Long silence followed. Irene, beckoning, said: "Take out the azaleas, Bilson. Miss June can't bear the scent." "No; let it stay", said June.
Olives from France, with Russian caviare, were placed on little plates. And Soames remarked: "Why can't we have the Spanish?" But no one answered.
The olives were removed. Lifting her tumbler June demanded: "Give me some water, please." Water was given her. A silver tray was brought, with German plums. There was a lengthy pause. In perfect harmony all were eating them.
Bosinney counted up the stones: "This year — next year — some time —
Irene finished softly: "Never. There was such a glorious sunset. The sky's all ruby still — so beautiful."
He answered: "Underneath the dark!"
Their eyes had met, and June cried scornfully: "A London sunset!"
Egyptian cigarettes were handed in a silver box. Soames, taking one remarked: "What time's your play begin?"
No one replied, and Turkish coffee followed in enamelled cups.
Irene, smiling quietly said: "If only —
"Only what?" said June.
"If only it could always be the spring!"
Brandy was handed: it was pale and old.
Soames said: "Bosinney, better take some brandy."
Bosinney took a glass; they all arose.
"You want a cab?" asked Soames.
June answered: "No. My cloak, please, Bilson." Her cloak was brought.
Irene, from the window, murmured: "Such a lovely night! The stars are coming out!"
Soames added: "Well, I hope you'll both enjoy yourselves."
From the door June answered: "Thanks. Come, Phil."
Bosinney cried: "I'm coming."
Soames smiled a sneering smile, and said: "I wish you luck!"
And at the door Irene watched them go.
Bosinney called: "Good night!"
"Good night!" she answered softly. . .
Прежде всего обращает на себя внимание настойчивое употребление пассивных конструкций, которые в сочетании с параллелизмом и бессоюзием создают однообразные формы повествования. Это однообразие формы невольно переносится на общую эмоционально-оценочную характеристику обстановки. Для примера достаточно указать на следующие конструкции, в которых даже обособление косвенно служит цели усиления желаемого эффекта: Thefishwastakenaway, afinefreshsolefromDover. Cutlets were handed, each pink-frilled about the legs. The charlotte was removed. Olives... were placed... . The olives were removed. Water was given her. AsilvertraywasbroughtwithGermanplums.
Второй наиболее общей ведущей чертой стиля художественной речи, тесно увязанной и даже взаимообусловленной с образностью, является эмоциональная окраска высказываний. Подбор синонимов с целью эмоционального воздействия на читателя, разнообразие и обилие эпитетов, разные формы эмоционального синтаксиса становятся достоянием этого стиля. Здесь эти средства получают свое наиболее законченное и мотивированное выражение в идейно-художественном отношении.
Конечно, степень эмоциональной окраски высказывания зависит от ряда причин: от характера и жанра художественного произведения, от содержания высказывания, от индивидуально-творческой манеры автора, от цели высказывания и т. д.
Так, описание героя рассказа Диккенса "AChristmasCarol" Скруджа и героя повести Сомерсета Моэма "NarrowCorner" глубоко различны по использованию языковых средств:
I
Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, grasping, wrenching, scraping, clutching covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue and spoke out shrewdly in his grating voice. A frosty time was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days, and didn't thaw it one degree at Christmas.
External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often "came down" handsomely, and Scrooge never did.
Nobody ever stopped him in the street to say, with gladsome looks, "My dear Scrooge, how are you? When will you come to see me?" No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blind men's dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, "No eye at all is better than an evil eye, dark master!"
But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call "nuts'" to Scrooge.
II
He was very easy to get on with. He was much liked. But he had no friends. He was an agreeable companion, but neither sought intimacy nor gave it. There was no one in the world to whom he was not at heart indifferent. He was self-sufficient. His happiness depended not on persons but on himself. He was selfish, but since he was at the same time shrewd and disinterested, few knew it and none was inconvenienced by it. Because he wanted nothing, he was never in anybody's way. Money meant little to him, and he never much minded whether patients paid him or not. They thought him philanthropic. Since time was as unimportant to him as cash, he was just as willing to doctor them as not. It amused him to see their ailments yield to treatment, and he continued to find entertainment in human nature. He confounded persons and patients. Each was like another page in an interminable book, and that there were so many repetitions oddly added to the interest. It was curious to see how all these people, white, yellow and brown, responded to the critical situations of humanity, but the sight neither touched his heart nor troubled his nerves. Death was, after all, the greatest event in every man's life, and he never ceased to find interest in the way he faced it. It was with a little thrill that he sought to pierce into a man's consciousness, looking through the eyes, frightened, defiant, sullen or resigned, into the soul confronted for the first time with the knowledge that its race was run, but the thrill was merely one of curiosity. His sensibility was unaffected. He felt neither sorrow nor pity. He only faintly wondered how it was that what was so important " to one could matter so little to another. And yet his manner was full of sympathy. He knew exactly what to say to alleviate the terror or pain of the moment, and he left no one but fortified, consoled and encouraged. It was a game that he played, and it gave him satisfaction to play it well. He had great natural kindliness, but it was a kindliness
of instinct, which betokened no interest in the recipient; he would come to the rescue if you were in a fix, but if there was no getting you out of it would not bother about you further. He did not like to kill living things, and he would neither shoot nor fish. He went so far, for no reason other than that he felt that every creature had a right to life, that he preferred to brush away a mosquito or a fly than to shat it. Perhaps he was an intensely logical man. It could not be denied that he led a good life (if at least you did not confine goodness to conformity with your own sensual inclinations), for he was charitable and kindly, and he devoted his energies to the alleviation of pain, but if motive counts for righteousness, then he deserved no praise; for he was influenced in his actions neither by love, pity, nor charity.
В первом отрывке Скрудж изображен такой отталкивающей личностью, что кажется сам создатель этого образа не в силах сдержать своего возмущения бездушием, черствостью, эгоизмом и жестокостью плода своей фантазии. Чувства автора раскрываются перед читателем языковыми средствами: междометие Oh! которым начинается описание, наличие большого количества эллиптических оборотов, порядок слов демонстрируют высокую степень эмоциональной возбужденности, которая не дает возможности строить речь логически последовательно и закончено. Метафоры и сравнения, осложненные аллитерацией, например, secret, andself-containedandsolitaryasanoyster; плеонастическое подлежащее: Oh! buthewasatight-fistedhandatthegrindstone, Scrooge!; параллельные конструкции и другие средства передачи лично-оценочного отношения автора к предмету мысли тоже служат этой цели. Определенное напряжение достигается и ритмической организацией высказывания. Ворвавшийся в прозаическое повествование стихотворный ритм повышает эмоциональную тональность высказывания.