Речевой портрет персонажей художественного произведения

СОДЕРЖАНИЕ
СОДЕРЖАНИЕ
Введение
Глава 1. Определение понятия «речевой портрет» персонажа и его функции в художественном тексте
1.1. Персонаж как художественный образ.
1.2. Речевая партия персонажей.
1.3. Диалогическая речь персонажа.
1.4. Внутренняя речь героя.
1.5. Несобственно-прямая речь.
1.6. Понятие «речевой портрет» персонажа.
Глава 2. Герои произведения О. Уайльда «Портрет Дориана Грея».
2.1. Поэтика декадентского произведения.
2.2. Лорд Генри и Дориан Грей.
2.3. Второстепенные персонажи.
ЗАКЛЮЧЕНИЕ
СПИСОК ИСПОЛЬЗОВАННОЙ ЛИТЕРАТУРЫ

“He rubbed his eyes, and came close to the picture, and examined it again. There were no signs of any change when he looked into the actual painting, and yet there was no doubt that the whole expression had altered. It was not a mere fancy of his own. The thing was horribly apparent.
He threw himself into a chair and began to think. Suddenly there flashed across his mind what he had said in Basil Hallward’s studio the day the picture had been finished. Yes, he remembered it perfectly. He had uttered a mad wish that he himself might remain young, and the portrait grow old; that his own beauty might be untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood. Surely his wish had not been fulfilled? Such things were impossible. It seemed monstrous even to think of them. And, yet, there was the picture before him, with the touch of cruelty in the mouth.” (20, c.40)
Герой пытается прояснить ситуацию с портретом начинает искать для себя оправдания. Первоначально передаётся эмоциональное восприятие случившегося Дорианом, но затем рассудок начинает строить логически цепочки, оправдывающие действия персонажа:
“Cruelty! Had he been cruel? It was the girl’s fault, not his. He had dreamed of her as a great artist, had given his love to her because he had thought her great. Then she had disappointed him. She had been shallow and unworthy. And, yet, a feeling of infinite regret came over him, as he thought of her lying at his feet sobbing like a little child. He remembered with what callousness he had watched her. Why had he been made like that? Why had such a soul been given to him? But he had suffered also. During the three terrible hours that the play had lasted, he had lived centuries of pain, aeon upon aeon of torture. His life was well worth hers. She had marred him for a moment, if he had wounded her for an age. Besides, women were better suited to bear sorrow than men. They lived on their emotions. They only thought of their emotions. When they took lovers, it was merely to have some one with whom they could have scenes. Lord Henry had told him that, and Lord Henry knew what women were. Why should he trouble about Sibyl Vane? She was nothing to him now.
But the picture? What was he to say of that? It held the secret of his life, and told his story. It had taught him to love his own beauty. Would it teach him to loathe his own soul? Would he ever look at it again?” (20, c.40-41)
В итоге, из борьбы между душой и рассудком в этом аутодиалоге ещё побеждает сердце, эмоциональность, чувства. Аутодиалог сменяется несобственно-прямой речью:
“No; it was merely an illusion wrought on the troubled senses. The horrible night that he had passed had left phantoms behind it. Suddenly there had fallen upon his brain that tiny scarlet speck that makes men mad. The picture had not changed. It was folly to think so.
Yet it was watching him, with its beautiful marred face and its cruel smile. Its bright hair gleamed in the early sunlight. Its blue eyes met his own. A sense of infinite pity, not for himself, but for the painted image of himself, came over him. It had altered already, and would alter more. Its gold would wither into grey. Its red and white roses would die. For every sin that he committed, a stain would fleck and wreck its fairness. But he would not sin. (…) He would go back to Sibyl Vane, make her amends, marry her, try to love her again. Yes, it was his duty to do so. She must have suffered more than he had. Poor child! He had been selfish and cruel to her. The fascination that she had exercised over him would return. They would be happy together. His life with her would be beautiful and pure.
He got up from his chair and drew a large screen right in front of the portrait, shuddering as he glanced at it. “How horrible!” he murmured to himself, and he walked across to the window and opened it. When he stepped out on to the grass, he drew a deep breath. The fresh morning air seemed to drive away all his somber passions. He thought only of Sibyl. A faint echo of his love came back to him. He repeated her name over and over again. The birds that were singing in the dewdrenched garden seemed to be telling the flowers about her”. (20, c.41)
Таким образом, автор использует различные типы речевого выражения для передачи особенностей мировосприятия героя. Далее мы рассмотрим примеры, связанные с организацией образов второстепенных персонажей.
2.3. Второстепенные персонажи.
Для формирования образов второго плана автор использует различного рода сигнальные фразы-повторы, которые отражают некую существенную черту персонажа. Например, эмоциональность, раздражённость и негативное отношение к происходящему жены лорда Генри передаётся с помощью повтора одних и тех же синтаксических конструкций разделительного вопроса:
“Ah! that is one of Harry’s views, isn’t it, Mr. Gray? I always hear Harry’s views from his friends. It is the only way I get to know of them. But you must not think I don’t like good music. I adore it, but I am afraid of it. It makes me too romantic. I have simply worshipped pianists—two at a time, sometimes, Harry tells me. I don’t know what it is about them. Perhaps it is that they are foreigners. They all are, ain’t they? Even those that are born in England become foreigners after a time, don’t they? It is so clever of them, and such a compliment to art. Makes it quite cosmopolitan, doesn’t it? You have never been to any of my parties, have you, Mr. Gray? You must come. I can’t afford orchids, but I share no expense in foreigners. They make one’s rooms look so picturesque. But here is Harry! Harry, I came in to look for you, to ask you something—I forget what it was—and I found Mr. Gray here. We have had such a pleasant chat about music. We have quite the same ideas. No; I think our ideas are quite different. But he has been most pleasant. I am so glad I’ve seen him.” (20, c.21)
В речи художника присутствует постоянная рефлексия, самоуглублённость, что присуще творческим натурам и передаётся с помощью частого использования личного местоимения первого лица «I»:
“Oh, I can’t explain. When I like people immensely, I never tell their names to any one. It is like surrendering a part of them. I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvelous to us. The commonest thing is delightful if one only hides it. When I leave town now I never tell my people where I am going. If I did, I would lose all my pleasure. It is a silly habit, I dare say, but somehow it seems to bring a great deal of romance into one’s life. I suppose you think me awfully foolish about it?” (20, c.3)
Наконец, дяде лорда Генри в речевую партию включено слово-паразит «well», которое отражает его принадлежность к определённого рода профессии канцелярской направленности, требующей дипломатичности, умения вести переговоры, при которых нельзя долго затягивать паузы в диалоге:

“When Lord Henry entered the room, he found his uncle sitting in a rough shootingcoat, smoking a cheroot and grumbling over The Times . “Well, Harry,” said the old gentleman, “what brings you out so early? I thought you dandies never got up till two, and were not visible till five.” (…)
“Money, I suppose,” said Lord Fermor, making a wry face. “Well, sit down and tell me all about it. Young people, nowadays, imagine that money is everything.” (20, c.15)
Отражение «рабского» самосознания передано особенно сильно в речевом портрете матери Сибиллы:
“Mrs. Vane winced and put her thin, bismuthwhitened hands on her daughter’s head. “Happy!” she echoed, “I am only happy, Sibyl, when I see you act. You must not think of anything but your acting. Mr. Isaacs has been very good to us, and we owe him money.”
“Mr. Isaacs has advanced us fifty pounds to pay off our debts and to get a proper outfit for James. You must not forget that, Sibyl. Fifty pounds is a very large sum. Mr. Isaacs has been most considerate.” (20, c.27)
Также автор использует речевой приём “причитаний”, который показывает, что перед нами старая женщина, очень эмоционально переживающая за судьбы своих детей:
“Foolish child! foolish child!” was the parrotphrase flung in answer. The waving of crooked, falsejewelled fingers gave grotesqueness to the words”. (20, c.27)
Как отмечалось впервой главе, речь персонажа, не принадлежащего светскому обществу, отражает этот социальный статус соответствующим лексическим и синтаксическим материалом. Например, речь брата Сибиллы:
“I hate offices, and I hate clerks,” he replied. “But you are quite right. I have chosen my own life. All I say is, watch over Sibyl. Don’t let her come to any harm. Mother, you must watch over her.”
“Society!” muttered the lad. “I don’t want to know anything about that. I should like to make some money to take you and Sibyl off the stage. I hate it.” (20, c.28)
Как видно, речь не содержит изысканных оборотов лорда Генри, но обладает большей искренностью эмоционального выражения, большей простотой в построении синтаксических конструкций, ограниченным словарным материалом.
Таким образом, автор создаёт «речевые портреты» персонажей своего романа, активно используя все типы организации речевых партий героев.
ЗАКЛЮЧЕНИЕ
Понятие «речевой портрет» персонажа художественного произведения тесно связано с коммуникативной теорией «языковой личности» в целом. Речевой портрет отражает наиболее существенные черты героя с помощью различного типа речевых партий. С помощью «речевого потерта» автор формирует и репрезентирует читателю образы героев.
На примере романа О. Уайльда «Портрет Дориана Грея» мы рассмотрели типичные формы организации языкового материала, моделирующие речевое описание героев.
При создании «речевого портрета» действующего лица автор использует различные стилизации, чтоб подчеркнуть особенности языка героя и тем самым показать его характерные черты, которые важны для формирования общей концепции романа.
Таким образом, «речевой портрет» персонажа в художественном тексте представляет собой структурно-семантический лингвистический способ выражения авторских интенции в произведении в целом.
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