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благополучно доставила Лю Пэйцяна обратно на корабль во время бедствия, что является проявлением глубокой дружбы между китайской и российской странами и народами и на эксплицитном уровне формирует образ России в сознании носителей китайской лингвокультуры, расположенный на левой стороне по оси «Свои» - «Чужие».
Помимо Галактионова, есть еще двое россиян, которые также играют важную роль в развитии сюжета и демонстрации русского национального духа в фильме - это руководитель работы по расшифровке ядерного оружия из временного центра управления вооружениями коалиционного правительства и Макаров из Российской космической эскадрильи. Поскольку все ядерные бомбы поступают из разных стран и имеют разные даты выпуска, расшифровка занимает достаточно много времени и энергии, и персонал не может завершить всю расшифровку до наступления кризиса. Столкнувшись с, казалось бы, неразрешимой проблемой, ответственное лицо от России предложило другой неординарный план, что дополняет образ русского человека как готового к риску и поиску нетрадиционных путей решения задач. Суть неординарного мероприятия заключалась в том, что космонавты искусственно взорвали ядерную бомбу, установленную на Луне, а это значит, что для спасения всего человечества необходимо пожертвовать еще как минимум 300 космонавтами со всего мира. После того, как А. Галактионова назначили командиром космической станции, Чжан Пэн и Макаров взяли на себя инициативу по активному реагированию от имени китайско-российской космической эскадрильи, отражая дух самопожертвования двух народов. Можно обнаружить, что несколько важных поворотных моментов в развитии сюжета фильма демонстрируют взаимное доверие и молчаливое единогласие в сотрудничестве между Китаем и Россией.
Библиографический список
Таким образом, можно прийти к следующим выводам.
Образ - это литературный или кинематографический приём, вызывающий эмоциональный отклик у реципиента. Образы часто обращаются к более чем одному чувству одновременно. Литературные и кинематографические приёмы создания образов разнятся. К первой группе относятся языковые средства, делающие акцент на тех параметрах, которые автор произведения хочет выдвинуть на первый план, вторую группу формируют методы визуализации поведения героев, а также их речевая характеристика.
Образ России в фильме «Блуждающая земля 2» («Liu lang di qiu 2») раскрывается посредством героев - представителей русской лингвокультуры, которым приписываются такие качества, как мужество, героизм, отвага, готовность к самопожертвованию. Перенося эти черты на образ страны, создатели фильма делают акцент на перспективах плодотворного взаимодействия России и Китая.
Кино и литература являются важными носителями культурных обменов между странами. Поэтому многоуровневые и разносторонние исследования и изображения национального образа двух стран будут заставлять российский народ ощущать энергичное развитие китайской литературы и искусства и оценивать богатый и прекрасный духовный мир китайской нации, что способствует углублению национального взаимопонимания и гуманистического сотрудничества между Китаем и Россией.
Перспективы дальнейшего исследования проблемы мы видим в разработке рекомендаций по продвижению культурных обменов и сотрудничества между двумя странами в области индустрии кино и телевидения с учётом достижения имагологии, что позволит укрепить отношения между Россией и Китаем.
1. Ливэй Ч. Восприятие в Китае образа России в контексте «Один пояс - один путь». Неофилология. 2021; Т. 7, № 25: 180-185.
2. its: itsÀ^^ffitt, 2001: 124. Мэн Х. Сравнительная литературная имагология, Пекин: Издательство Пекинского университета, 2001.
3. Leersen J. Imagalogy: On using ethnicity to make sense of the world. Revue d'études ibériques et ibéro-américaines. Iberic@l. 2016; № 10: 13-31.
4. Beller M., Leerssen J. Imagology: The cultural construction and literary representation of national characters. A critical survey. Amsterdam, Rodopi, 2007.
5. Stanzel F.K. A Theory of Narrative. New York: Cambridge University Press, 1984.
6. Dyserinck H. Ausgewählte Schriften zur Vergleichenden Literaturwissenschaft. Berlin: Frank & Timme, 2015.
7. Гегель Г.В.Ф. Эстетика, Москва, 1968; Т. 1, 4.
8. Белинский В.Г. Взгляд на русскую литературу 1847 года. Москва: Книга по требованию, 2011.
9. Ян Ц., Ильченко Е.А. Различия между культурным образом Китая и России. В мире русского языка и русской культуры. 2023; № 18 (1): 337-339.
10. Бердяев Н.А. Судьба России. Москва: АСТ, 2023.
References
1. Liv'ej Ch. Vospriyatie v Kitae obraza Rossii v kontekste «Odin poyas - odin put'». Neofilologiya. 2021; T. 7, № 25: 180-185.
2. its: itsÀfftffitt, 2001: 124. M'en H. Sravnitel'naya literaturnaya imagologiya, Pekin: Izdatel'stvo Pekinskogo universiteta, 2001.
3. Leersen J. Imagalogy: On using ethnicity to make sense of the world. Revue d'études ibériques et ibéro-américaines. Iberic@l. 2016; № 10: 13-31.
4. Beller M., Leerssen J. Imagology: The cultural construction and literary representation of national characters. A critical survey. Amsterdam, Rodopi, 2007.
5. Stanzel F.K. A Theory of Narrative. New York: Cambridge University Press, 1984.
6. Dyserinck H. Ausgewählte Schriften zur Vergleichenden Literaturwissenschaft. Berlin: Frank & Timme, 2015.
7. Gegel' G.V.F. 'Estetika, Moskva, 1968; T. 1, 4.
8. Belinskij V.G. Vzglyad na russkuyu literaturu 1847goda. Moskva: Kniga po trebovaniyu, 2011.
9. Yan C., Il'chenko E.A. Razlichiya mezhdu kul'turnym obrazom Kitaya i Rossii. V mire russkogo yazyka irusskojkul'tury. 2023; № 18 (1): 337-339.
10. Berdyaev N.A. Sud'ba Rossii. Moskva: AST, 2023.
Статья поступила в редакцию 20.07.23
УДК 811.111
Zagryadskaya N.A., Cand. of Sciences (Philology), senior lecturer, State University of Education (Moscow, Russia), E-mail: ntalie@mail.ru
FREE INDIRECT DISCOURSE IN E. WHARTON'S NOVELS. Free Indirect Discourse is one of the most complicated stylistic devices used in a literary text. This article focuses on Free Indirect Discourse functioning in novels by E. Wharton, one of the most popular American writers of the late 19th-early 20th century. Her characters are complex and her narrative is involved and polyphonic. History of Free Indirect Discourse studies is touched upon. Three periods in the research history are distinguished and described. Substantial attention is paid to different approaches to the notion of Free Indirect Discourse in European linguistics. The author considers specific lexical and syntactic features of Free Indirect Discourse. Major emphasis is placed on the polyphonic effect of a literary text. Various types of Free Indirect Discourse as well as its functions are explored on the text of E. Wharton's novels "The Age of Innocence" and "The Custom of the Country". Two male characters are shown through the specific features of their discourse. A brief outline of E. Wharton's literary work is given, samples of Free Indirect Discourse are analyzed. The evolution of the main characters' views is shown through the analysis of Free Indirect Discourse.
Key words: Free Indirect Discourse, E. Wharton, stylistic device, direct speech, indirect speech, character's speech, represented speech, inner speech, characterization, literary image, narration, polyphony, literary text, American novel
Н.А. Загрядская, канд. филол. наук, доц., ФГБОУ ВО «Государственный университет просвещения», г. Москва, E-mail: ntalie@mail.ru
ОСОБЕННОСТИ НЕСОБСТВЕННО-ПРЯМОЙ РЕЧИ В ПРОИЗВЕДЕНИЯХ Э. УОРТОН
Статья посвящена роли внутренней несобственно-прямой речи в произведениях американской писательницы Э. Уортон. Ее дискурс отличается поли-фоничностью, а персонажи сложны и многогранны. В статье дается определение несобственно-прямой речи, рассматривается история ее изучения, приводятся разные взгляды на природу данного явления. Особое внимание уделяется подходам к данному понятию в европейской лингвистике, описываются различные типы несобственно-прямой речи. В статье анализируются лексические и грамматические отличия несобственно-прямой речи от других видов речи персонажа художественного произведения. Автором затрагивается проблема создания образа литературных персонажей, описываются особенности
психологической портретизации в творчестве Э. Уортон. Далее исследуется роль несобственно-прямой речи в романах «The Age of Innocence» и «The Custom of the Country». Эволюция характеров двух главных мужских персонажей раскрывается через использование несобственно-прямой речи.
Ключевые слова: несобственно-прямая речь, чужая речь, внешняя речь, внутренняя речь, внутренний монолог, полифония, авторское повествование, художественное произведение, дискурс, американский роман
Introduction
Free Indirect Discourse is a literary device much studied and much discussed through the twentieth and the beginning of the twenty-first centuries. It is still of great interest and in recent years quite a number of scholars have dealt with it in their work. Different aspects of Free Indirect Discourse functioning have been touched upon. Yet, given the complex nature of this phenomenon and its role in literary discourse, much ground is to be covered. This study deals with the discourse of the two most famous novels by the well-known American writer E. Wharton. The relevance of this research is explained by the fact that her texts are highly polyphonic and rich in various types of representations of Free Indirect Discourse. At the same time more has been paid to the philosophical and social aspects of the writer's work, while its linguistic and stylistic features have not been fully considered.
The purpose of this study is to analyze the use of Free Indirect Discourse in the novels by E. Wharton, as well as to compare its role in creating the images of the characters.
The tasks of this study are the following: to find and identify the cases of Free Indirect Discourse in the novels The Age of Innocence and The Custom of the Country; to analyze their function in the text and their role in the formation of the characters' images; to identify the common and the different between the two novels from the point of view Free Indirect Discourse application.
The novelty of this research lies in the choice of the material and the approaches applied to the analysis of E. Wharton's novels. The results of the research can be applied when teaching such disciplines as English Stylistics, Analytical Reading, English and American Literature to students majoring in foreign languages and philology, which explains the practical significance of this study.
The research of this phenomenon goes back to the late nineteenth- early twentieth century. A. Tobler and Ch. Bally were the first to consider it [1-2] Later, linguists from various countries turned to it within the frame work of stylistics. Following O. Blinova [3], it is possible to speak about three stages of studying Free Indirect Discourse. At the first stage (the middle of the twentieth century) basic theories were developed and the static character of the phenomenon was pointed out. Then (the second half of the twentieth century) the grammatical approach was applied. Finally (the 1990s), Free Indirect Discourse was considered from the view-point of pragmatics. Today Free Indirect Discourse is explored within various branches of linguistics, such as stylistics, generative grammar, discourse analysis, pragmatics, cognitive linguistics and others.
During the years of research the notions of "dual voice" [4] and "utterance without a speaker" [5] were introduced to describe Free Indirect Discourse. There are a great number of terms used to denote the phenomenon under study. Among them are "narrated monologue", "represented speech", "substitutionary narration" and others. Yet, the term "Free Indirect Discourse" is widespread.
"Free Indirect Discourse is a stylistically marked mode of speech and thought presentation usually employed as a tool for blending the narrator's voice with that of the character's. This typically results in an ambiguity when determining the point of view" [6, p. 458]. It "relies on syntactic, lexical and pragmatic features. It is a writing technique which allows the author to convey a character's thought in a way that they are "contaminated" with the narrator's speech" [7, p.365]. I. Galperin points at the specific function of this device, which consists in penetrating "the inner life of the personages of an imaginary world" [8, p.243]. Jane Austen is considered to be the first English Language author who used Free Indirect Discourse to express the emotional state of her characters. Later such writers as the Bronte Sisters, Th. Hardy, G. Eliot, D.H. Lawrence also applied this device in their fiction. Modern English Language Fiction is polyphonic and multidimensional. [9].
This paper focuses on investigating specific features of Free Indirect Discourse functioning in E. Wharton's novels The Age of Innocence (1920) and The Custom of the Country (1913). E. Wharton (1862-1937) was an American writer, famous for her stories about the life of "Old New York Aristocracy". Most of her personages represent the old American elite sharing the typical features of this social group. Yet, life and progress bring changes making them face challenges they would have never expected. E. Wharton is called a profound critic of society life [10]. Her books are about people in a social setting, yet they are also described as social satires. [11] The novels under study are considered to be Wharton's masterpieces. The Age of Innocence [12] won a Pulitzer Prize. The Custom of the Country [13] in its time came as a shock to the reading public. Some words should be said about the plot of the novels. The Age of Innocence is a book about love and duty as well as about social norms and personal desires. It is also a novel about "a New Woman" [14-15], though perhaps it is also about a weak and unhappy man. Newland Archer, the hero, represents that "Old New York" with its views, manners and ideals. However, he is well-educated, reads much and seems to be rather advanced in his ideas of contemporary society. When he falls in love with a "new" married woman, his ideal and beliefs come to be shattered. He finds out that he is not advanced enough to break with "Old New York" tradition. At the same time his contempt for it does not let him exist within its boundaries. The Custom of the Country is about a woman, making a social career. Undine Spragg is also a kind of "new woman", but her ambition is money, social status and admiration of those around
her. Although the novels are different in plot, their narrative structure and modes of representation have much in common. Free Indirect Discourse is widely used in both novels to show the characters' emotional state at various moments of their life. The Age of Innocence is focused on the protagonist's feelings. The events are mostly shown through his perception. The Custom of the Country is more dialogic. Some of the minor characters' point of view is also found throughout the whole text. In this paper we aim at analyzing the cases of Free Indirect Discourse in the two novels. We focus on two male characters, Newland Archer, the protagonist for The Age of Innocence and Ralph Marvell, Undine's second husband, for The Custom of the Country.
Methods and materials
Free Indirect Discourse shares features both with Direct and Indirect Discourse. Free Indirect Discourse is characterized by some formal features that help to identify it in the text. There are certain changes or shifts in forms of the verbs, personal and demonstrative pronouns, adverbs. These shifts are in fact optional and are not always observed. M. Fludernik [16] speaks about defining and non-defining features of Free Indirect Discourse. The defining features are the shift in personal pronouns and absence of subordination. They distinguish Free Indirect Discourse from Indirect Discourse. All other shifts are non-defining features. Thus, the following shifts can take place. The tense forms can be shifted to the past; personal pronouns can be shifted from the first and second person to the third person. The interrogative word-order is preserved as in Direct Discourse. Free Indirect Discourse may contain expressive elements. Taking this into consideration we identify cases of Free Indirect Discourse used by Newland Archer and Ralph Marvell and analyze their functioning in the context of the two novels. We suppose that they both belong to the reflexive type of personality and try to compare how Free Indirect Discourse is used in each case. The research is based on works by M. Bakhtin [17], R. Galperin, O. Blinova. Comparative and descriptive methods are applied.
Results
We found 33 samples of Free Indirect Discourse for The Age of Innocence and 25 samples for The Custom of the Country. Analyzing their functions in the context of the novels, we see that they have common as well as different features. We start with the character of Newland Archer, as he is the protagonist of the novel and his inner development continues throughout the whole story. From the very beginning his image starts evolving from a rather old-fashioned, self-assured young man to a person, disappointed in almost all his ideals and beliefs. Newland changes and this change is not to the worst. The novel is sometimes considered as a social and moral Odyssey [18, p. 25]. As the story goes, Newland suffers deep conflict between his duty and his real feelings. He is torn by the traditions of his upbringing and the situation he finds himself in. He wants a new love and different life, but his "Old New York" habits and his conformity prevent him from making a decisive step. He turns more reflexive and more absorbed in his thoughts. He also tends to analyze his behavior more profoundly. The cause of these transformations is Ellen Olenska, a young married woman, who seeks divorce from her Polish aristocratic husband. She was born American, but she has spent her married life in Europe. She is different from any anyone else Newland has ever known. Her views and manners are European in many respects, she wants to be free and independent. Free Indirect Discourse is used from the first pages. Chapter I gives an "intellectual" picture of Newland. Here the author's narrative seems to dominate, but in fact, it is Newland who rather superciliously gives himself such a characteristic and at the same time betrays to the readers his belonging to "New York" society. Here the third person pronoun, and an element of Direct Speech and (also rather bad form) are used.
In matters intellectual and artistic Newland Archer felt himself distinctly the superior of these chosen specimens of old New York gentility; he had probably read more, thought more, and even seen a good deal more of the world, than any other man of the number. Singly they betrayed their inferiority; but grouped together they represented "New York"', and the habit of masculine solidarity made him accept their doctrine on all the issues called moral. He instinctively felt that in this respect it would be troublesome - and also rather bad form - to strike out for himself [12, Chapter I, p. 6]
Newland's real emotions are disclosed with Ellen coming into his life. At the beginning of Chapter II he observes the opera-box, in which his fiancée May and her relatives appear in company of a woman he hardly recognizes. Later he learns her name and remembers their childhood acquaintance. He also remembers the gossip about Ellen as a potential divorcee and his "moral" principles prevail. He repeats to himself the words said by one of the "New York gentility". The episode starts with It was annoying and resembles Indirect Discourse, but further passes into Free Indirect Discourse.
It was annoying that the box which was thus attracting the undivided attention of masculine New York should be that in which his betrothed was seated between her mother and aunt; and for a moment he could not identify the lady in the Empire dress... . Then light dawned on him, and, with it came a momentary rush of indignation. No, indeed; no one would have thought the Mingotts would have tried it on! [12, Chapter II, p. 9].
Chapter VI shows the character's change of attitude towards his life and principles. He has been introduced to the Countess and she has impressed him as beautiful,
intelligent and extraordinary. The rumors circulating about her life in Europe and her unhappy marriage make him take a different view of his own values and stereotypes. He begins to analyze his relationship with May and the first signs of dissatisfaction appear. At the beginning of the passage the author gives introductory remarks, which further pass to a number of questions as Free Indirect Discourse.
But here he was pledged to defend, on the part of his betrothed's cousin, conduct that on his own wife's part, would justify him in calling down on her all the thunders of Church and State.... But Newland Archer was too imaginative not to feel that, in his case and May's, the tie might gall for reasons far less gross and palpable. What could he and she really know of each other, since it was his duty, as a decent fello, to conceal his past from her, and hers, as a marriageable girl, to have no past to conceal? What if, for some one of the subtler reasons that would tell with both of them, they should tire of each other, misunderstand or irritate each other? [12, Chapter VI, p. 41].
In Chapter XIII Newland tries to reflect on his feelings to both women, May and Ellen. The former should be loved. This love is allowed, even blessed by his family, his friends and society. The latter is an outcast and love for her is wrong and forbidden. Yet, it is here, though he is not quite ready to admit this fact. He is frustrated, and in his mind, comes to it again and again. The fragment is fully represented by Free Indirect Discourse. The grammatical structure and use of words are those of Direct Discourse, while the shift of tense forms and personal pronouns is observed.
His wise May - how he had loved her for that letter! But he had not meant to act on it; he was too busy, to begin with, and he did not care, as an engaged man, to play too conspicuously the part of Madame Olenska's champion....She had Beaufort at her feet, Mr. van der Luyden hovering above her like a protecting deity, and any number of candidates (Lawrence Leffetts among them) waiting their opportunity in the middle distance. Yet he never saw her, or exchanged a word with her, without feeling that, after all, May's ingenuousness almost amounted to a gift of divination. Ellen Olenska was lonely and she was unhappy [12, Chapter XIII, p.118—119].
The novel is saturated with Free Indirect Discourse. In some cases it belongs to other characters, but Newland Archer appears there as an object of reflection. In Chapter V Mrs. Archer, Newland's mother, first speaks and then thinks to herself about her son's coming marriage. She is a real Old New Yorker with certain views. The fragment is a combination of various types of discourse. First the author's narrative informs the readers about the character's opinion. Then, Direct Discourse is represented. Finally, Free Indirect Discourse shows Mrs. Archer's happiness, retaining the words and syntax of Direct Speech shifted tenses of Indirect One.
Even Mrs. Archer, who was seldom unduly pleased with human events, had been altogether glad of her son's engagement. ('Especially after that silly business with Mrs. Rushworth", as she had remarked to Janey, alluding to what had once seemed to Newland a tragedy of which his soul would always bear the scar.) There was no better match in New York than May Welland, look at the question from whatever point you chose. Of course, such a marriage was only what Newland was entitled to; but young men are so foolish and incalculable - and some women so ensnaring and inscrupulous - that it was nothing short of a miracle to see one's only son safe past the Siren Isle and in the haven of a blameless domesticity [12, Chapter V, p. 34-35].
In contrast to Newland Archer, Ralph Marvell is not the main character of the novel. He is one of many characters, though not a minor one. He is one of the heroine's husbands. The heroine, Undine Spragg comes from a rich non-aristocratic provincial family. She does not belong to New York society, but she aims at entering it, no matter what obstacles she has to overcome. Soon she gets tired of it, having found a new goal. She is ambitious, cruel and heartless. She lacks education and knows nothing about empathy. She never thinks about other people's feelings and follows her ambition, destroying lives on her way. Ralph is her first victim, the person whose life was ruined in the proper sense of this word. Throughout the thirty-two chapters the readers observe Ralph moving to his moral and physical destruction. As well as Newland Archer he is a representative of Old New York. His family is not rich, though wealthy enough to "dabble in work" without thinking much about money. Ralph is well-educated, refined and dreams of a professional literary career. He wants to write and be famous as a writer. Meeting Undine, he falls desperately in love and marries her. He is well aware of some of her faults but he is ready to forgive them. What his wife needs is money and social lift. After three months of imaginary happiness Ralph's humiliation begins. He starts working hard, trying to satisfy his wife's financial demands but finds only disgrace and disenchantment. Love leaves his heart but he continues to do his duty. Daily routine and disillusionment break his literary ambitions. When Undine gets a divorce, he suffers a lot. When she demands that their son should live with her, he has a nervous breakdown. Later, learning about her first marriage and the lies she told him, he commits suicide. Ralph is also a reflexive type of personality, but his reflection leads him to self-destruction. Ralph Marvell is the only of Undine's husbands, whose inner world is really shown to the reader and whose emotions are exposed. We see him mostly from inside. His image is disclosed by means of various types of discourse, however, Free Indirect Discourse plays the leading role. From his first appearance in the novel up to the moment of his suicide Ralph's thoughts are shown to the reader in detail. We can see how his despair grows and how his deep love turns into bitter disappointment. In Chapter V we see Ralph expressing disapproval of his friend, the painter Popple. At that period Undine is only coming into his life. He is still quite confident of himself and ready to criticize those who do not behave as real New Yorkers. The passage starts with a question, where the personal pronoun and the tense are shifted. Further the choice of words shows that the character's thoughts are represented.
Was it possible that he had ever thought leniently of the egregious Popple? The tone of social omniscience which he had once found so comic was now as offensive to him as coarse physical touch. And the worst of it was that Popple, with the slight exaggeration of a caricature, really expressed the ideals of the world he frequented. As he spoke of Miss Spragg, so others at any rate would think of her... [13, Chapter V, p. 54].
Chapter VI gives a fragment, that helps the readers better understand Ralph's personality. His tendency for self-criticism also becomes evident. But he still believes in himself and hopes for the best. The exclamation mark, the pronoun he, the structure of the sentence show that we deal with Free Indirect Discourse. The part of the last sentence after the exclamation mark belongs to the author and the character at the same time.
The realities lay about him now: the books jamming his old college bookcases and overflowing on chairs and tables; sketches too - he could do charming things, if only he had known how to finish them! - and, on the writing-table at his elbow, scattered sheets of prose and verse; charming things also, but like the sketches, unfinished [13, Chapter VI, p. 56].
The same chapter (VI) gives two more fragments with Free Indirect Discourse, interesting from the view-point of the development of Ralph's character. In the first (p.58) he reflects on marriage and his own marriage prospects. He looks from aside at his "race" and the tendencies of their life, but some disapprobation is also given here. The first sentence sounds colloquial, but also shows the thinker's love of bookish phrases. Rich businessmen and obviously other non-New-Yorkers are called "Invaders".
Marry - but whom, in the name of light and freedom? The daughters of his own race sold themselves to the Invaders; the daughters of the Invaders bought their husbands as they bought an opera-box. It ought all to have been transacted on the Stock Exchange [13, Chapter VI, p.58].
The second fragment is dedicated to Ralph's ideas of Undine and her fate in that changing society. He considers her as a potential victim of the corrupted rich and frivolous and believes it to be his duty to save her from their negative influence. In fact, that is the moment which decides his own fate. Without knowing it he sacrifices his own life for the girl who is not able to appreciate it. The fragment is rather long, it occupies thirteen lines, all of which are very expressive. We give here only the most interesting ones. All the features of Free Indirect Discourse are represented here. The tenses and pronouns are shifted. The structure of the sentences belongs to Direct Speech.
But how long would their virgin innocence last? Popple's vulgar hands were on it already - Popple and the unspeakable Van Degen's! Once they and theirs had begun the process of initiating Undine, there was no knowing - or rather there was to easy knowing - how it would end!... To save her from Van Degen and van Degenism: was that really to be his mission - the "call" for which his life had obscurely waited? [13, Chapter VI, 61].
When after three years of marriage Ralph realizes that his marriage is not a happy one and Undine lies to him, after many terrible moments of hesitation he starts looking at her more impartially. But he still tries to justify her, somehow to explain her behavior.
At last the bandage was off and he could see. And what did he see? Only the uselessness of driving his wife to subterfuges that were no longer necessary. Was Van Degen her lover? Probably not - the suspicion died as it rose. She would not take more risks that she could help, and it was admiration, not love that she wanted. A stranger- that was what she had always been to him [13, Chapter XVI, p. 163].
Discussion
Comparing the functions of Free Indirect Discourse in the two novels and its role in depicting Newland Archer and Ralph Marvell we see that both characters are in many respects similar to each other. They both represent "Old New York" and demonstrate its typical views on the problems of marriage, women's role in society, value of money. Each of them starts his "Odyssey" when he meets the woman he loves, and turns into a different person when this "Odyssey" is over. In case of Newland Archer, it results in loneliness and self-disappointment. For Ralph Marvell destination is death. Still Newland is calmer and more responsible in his conduct. He manages to accept the situation and live on. Ralph is not able to do it and loses his life. Fragments with Free Indirect Discourse disclose their attitude to the events that happen to them. Happiness, love, bitterness, frustration, despair and many other feelings are expressed with the help of this device. Throughout both books there are fragments of different length consisting either purely of Free Indirect Discourse or combining various types of discourse. For each of the characters there are typical features of speech. On the whole, Ralph Marvell is more emotional in his thoughts than Newland Archer. Passages with Free Indirect Discourse belonging to him contain chains of questions, exclamatory sentences, colloquial and emotionally colored words and phrases. The author uses the device to influence the readers' attitude towards the character. We sympathize with Ralph, suffer with him, feel his disappointment. Newland's thoughts are expressed shorter, there are more statements than questions, his vocabulary is mostly neutral, direct word order prevails. Both defining and non-defining shifts are observed. In both novels Free Indirect Discourse is mingled with Indirect Discourse, but in The Age of Innocence it happens more frequently.
Conclusion
Having studied the use of Free Indirect Discourse in the two above mentioned novels by E. Wharton, we can come to the following conclusion. We managed to achieve the aims set at the beginning of our work. This research proves that Free Indi-
rect Discourse is widely used in E. Wharton's prose. The two male characters shown in The Age of Innocence and The Custom of the Country are vividly depicted with the help of this device. Their inner world is disclosed, the evolution of their images is obvious. They are portrayed as vulnerable, touchy persons tending to analyze their own actions and thoughts. The character of the novel The Custom of the Country, Ralph Marvell, is shown as more reflexive and emotional, which meets the author's intention. The hero of The Age of Innocence is more reserved and analytical. While studying the texts of
Библиографический список
the novels it was noticed that some female characters of the books, first of all, Undine Spragg, also express their feelings with the help of Free Indirect Discourse. It refers us to the polyphonic effect of the text and shows perspectives for further research that can be dedicated to gender peculiarities of various types of discourse in E. Wharton's prose. So, Undine's speech can be studied along Ralph's and her father's. Texts of Wharton's other works can give a more objective panorama of Free Indirect Discourse functioning in American Literature of that period.
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Статья поступила в редакцию 12.07.23
УДК 811
Korovina K.A., postgraduate (Philology), Moscow State University (Moscow, Russia), E-mail: prinsekiro@gmail.com
MARGINALIAS SPECIFIC IN THE TRANSLATION "DESIDERII, ILI STEZYA K LUBVI BOZIJEJ" BY FEOFAN CHUDOVSKY. The article highlights features of marginalias in the translation "Desiderii, ili Stezya k Lubvi Bozijej" by Feofan Chudovsky. The author provides a detailed description of the marginalia types, which used by Feofan in the Church Slavonic translation of "Spill de la vida religiosa". Particular attention is given to original Feofan's marginalias, which relate to the lexical corrections and to glossing Polish and Latin lexica in particular. In this research among the original marginalias author also provides the grammatical corrections: corrections of errors in the wordendings, the choice of pronoun; and the passes in main text. In the article attention also given to marginalia translated from Polish: headings, references to quotes from Holy Bible and lexical marginalia. The main result of the study shows that the Church Slavonic translation of "Spill de la vida religiosa" have stylistics opposition within language.
Key words: Feofan Chudovsky, book circle of Chudov monastery, marginalia, Church Slavonic translation from Polish, Spill de la vida religiosa
К.А. Коровина, аспирант, Московский государственный университет имени М.В. Ломоносова, г. Москва, E-mail: prinsekiro@gmail.com
СПЕЦИФИКА МАРГИНАЛИЙ В ПЕРЕВОДЕ ФЕОФАНА ЧУДОВСКОГО КНИГИ «ДЕСИДЕРИЙ, ИЛИ СТЕЗЯ К ЛЮБВИ БОЖИЕЙ»
Статья посвящена особенностям маргиналий в переводе с польского книги «Десидерий, или Стезя к Любви Божией» Феофана Чудовского. Основной задачей исследования является подробный разбор типов маргиналий, используемых Феофаном в церковнославянском переводе «Spill de la vida religiosa». Особое внимание в работе уделяется оригинальным маргиналиям Феофана, которые относятся к правкам лексики, в частности - глоссирование полониз-
