Характеристика стилистики в произведении Хемингуэя

Для того чтобы проследить употребление различных видов стилистических приемов, выявить частотность их употребления в художественном произведении 20 века было проанализировано произведение Э. Хемингуэя "Старик и море".

В художественном стиле нет ограничений пространства, нет потребности кратко излагать информацию; много места отводится размышлениям, отступлениям, что, в свою очередь, позволяет употребление одних и тех же конструкций для достижения наибольшего стилистического эффекта. Повторение самостоятельных предложений довольно частое явление в художественной литературе:.g. (36): I’ll bring the food and the papers, the boy cried. Rest well, old man. I will bring stuff from the drug-store for your hands. I’ll bring everything you wish, the boy said anxiously.

В данном примере мы наблюдаем простой лексический повтор, в частности, здесь имеет место трехкратное повторение одной и той же синтаксической конструкции.

Повторение предложения "I’ll bring" является стилистическим приемом, подчеркивающим возбужденное состояние героя, даются авторские ремарки (cried, said, anxiously). Эмоциональная экспрессивность повторения слов здесь основана на соответствующем интонационном оформлении высказывания и выражает определенное психическое состояние говорящего. Употребление таких конструкций делает содержание текста более эмоциональным, оказывает при этом психологическое воздействие, располагает читателя к восприятию информации в определенном ключе, и в некоторой степени открывает внутренний мир героя в конкретный момент его жизни.

Также довольно часто в произведении Хемингуэя используется синтаксический вид повтора (подхват или анадиплозис):.g. (37): "No," the old man said. "But we have. Haven’t we?"

Подхват служит для эмфатического выделения важнейшей части высказывания, важной с точки зрения говорящего. Для бедного старика так необходимо поймать его большую рыбу, чтобы выжить..g. (38): But perhaps I will pick up a stray and perhaps my big fish is around them. My big fish must be somewhere.

В следующем примере подхват приобретает кроме эмоционального усиления еще и ритмико-интонационную функцию..g. (39): Up the road in his shack the old man was sleeping again. He was sleeping on his face and the boy was sitting by him, watching him.

Здесь подхват, помимо, всего прочего, передает состояние непрерывности, однообразия, смирения и спокойствия. Хотя это спокойствие передается в большей степени благодаря лексическому значению слова "sleep", которое само по себе уже обозначает умиротворение и подчинение человека силе, которая неподвластна ему.

Приведем еще примеры:.g. (40): Can you remember?" "I can remember the tail slapping and banging and the thwart breaking and the noise of the clubbing. I can remember you throwing me into the bow where the wet coiled lines were and feeling the whole boat shiver and the noise of you clubbing him like chopping a tree down and the sweet blood smell all over me.".g. (41): He was too simple to wonder when he had attained humility. But he knew he had attained it and he knew it was not disgraceful and it carried no loss of true pride..g. (42): "He never went turtle-ing. That is what kills the eyes.".g. (43): "But you went turtle-ing for years off the Mosquito Coast and your eyes are good.".g. (44): The old man leaned the mast with its wrapped sail against the wall and the boy put the box and the other gear beside it. The mast was nearly as long as the one room of the shack. The shack was made of the tough budshields of the royal palm which are called guano and in it there was a bed, a table, one chair, and a place on the dirt floor to cook with charcoal..g. (45): The boy took the old army blanket off the bed and spread it over the back of the chair and over the old man’s shoulders. They were strange shoulders, still powerful although very old, and the neck was still strong too and the creases did not show so much when the old man was asleep and his head fallen forward..g. (46): Maybe he was as poor as we are and would understand." "The great Sisler’s father was never poor and he, the father, was playing in the Big Leagues when he was my age." "When I was your age I was before the mast on a square rigged ship that ran to Africa and I have seen lions on the beaches in the evening." "I know. You told me." "Should we talk about Africa or about baseball?" "Baseball I think," the boy said..g. (47): "There are many good fishermen and some great ones. But there is only you." "Thank you. You make me happy. I hope no fish will come along so great that he will prove us wrong." "There is no such fish if you are still strong as you say." "I may not be as strong as I think," the old man said..g. (48): "You’re my alarm clock," the boy said. "Age is my alarm clock," the old man said..g. (49): In the dark the old man could feel the morning coming and as he rowed he heard the trembling sound as flying fish left the water and the hissing that their stiff set wings made as they soared away in the darkness. He was very fond of flying fish as they were his principal friends on the ocean..g. (50): "Dolphin," the old man said aloud. "Big dolphin.".g. (51): The water was a dark blue now, so dark that it was almost purple..g. (52):But men were not and when same of the filaments would catch on a line and rest there slimy and purple while the old man was working a fish, he would have welts and sores on his arms and hands of the sort that poison ivy or poison oak can give. But these poisonings from the agua mala came quickly and struck like a whiplash.

Подхват усиливает впечатление от прочитанной информации, создает больше шансов для фиксирования полезной информации, в сознании читателя..g. (53):"I only needed time to wash." Where did you wash? the boy thought. The village water supply was two streets down the road. I must have water here for him, the boy thought, and soap and a good towel..g. (54): He was asleep in short time and he dreamed of Africs when he was a boy and the long, golden beaches and the white beaches, so white they hurt your eyes, and the high capes, and the great brown mountains.

Неоднократное повторение союза "and" подчеркивает равноправие описываемых явлений, выполняя функцию объединения. В результате такого повтора может создаться впечатление, что персонажи готовы говорить обо всем, только бы не думать о проблемах, выматывающих их день ото дня..g. (55): But they didn’t show it and they spoke politely about the current and the deapths that had drifted their lines at and the steady good weather and of what they had seen.

В другом случае повторение того же союза создает впечатление одновременности действий и, в то же время, всплеск эмоций в определенный момент, который усиливается использованием синонимов..g. (56): But he was rough and harshspoken and difficult when he was drinking.

В следующем предложении многократное повторение частицы "nor" опять-таки выполняет усилительную функцию..g. (57): He no longer dreamed of storms, nor of women, nor fights, nor contests of strength, nor of his wife.

Тот факт, что старый рыбак больше не мечтает, не думает о прошлой жизни, конкретизируется использованием этой частицы, что, в конечном итоге, рисует в воображении читателя образ человека, много пережившего и повидавшего на своем веку.

Параллелизм частей предложения часто встречается и в художественной литературе:.g. (58):"I would like to go. If I cannot fish with you. I would like to serve in some way.".g. (59): The old man carried the mast on his shoulder and the boy carried the wooden boat with the coiled, hard-braided brown lines, the gaff and the harpoon with its shaft..g. (60): There was no cast net and the boy remembered when they had sold it. But they went through this fiction every day. There was no pot of yellow rice and fish and the boy knew this too..g. (61): Some of the younger fishermen, those who used buoys as floats for their lines and had motorboats, bought when the shark livers had brought much money, spoke of her as el mar which is masculine. They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them..g. (62): He ate the white eggs to give himself strength..g. (63): He ate them all through May to be strong in September and October for truly big fish.

Параллелизм целых предложений в художественной литературе встречается намного чаще, чем параллелизм компонентов сложного предложения. Чаще всего параллелизм сопровождается лексической тождественностью одного или нескольких членов каждого предложения. В этих случаях параллелизм может служить дополнительным синтаксическим средством подчеркивания той или иной содержащейся в речи семантико-стилистической фигуры..g. (64): The old man nodded and the boy took his trousers from the chair..g. (65): The old man went out door and the boy came after him.

Нередко наряду с анафорой можно наблюдать параллелизм синтаксического строения каждой строки. В следующем примере наряду с анафорическим "herolled" наблюдается явление параллелизма. Цель употребления анафоры в данном примере - удержать, закрепить в памяти читателя настойчиво подчеркиваемый повторением элемент. Анафора также придает повествованию своеобразный ритм..g. (66): He rolled his trousers up to make a pillow, and put the newspaper inside them.rolled himself in the blanket and slept on the other old newspapers.and you nearly were killed when I brought the fish in too green and he nearly tore the boat to pieces. Can you remember?"rolled his trousers up to make a pillow, putting the newspaper inside them. He rolled himself in the blanket and slept on the other old newspapers that covered the springs of the bed..g. (67): But they were the falsest thing in the sea and the old man loved to see the big sea turtles eating them.

The turtles saw them, approached them from the front, then shut their eyes so they were completely carapaced and ate them filaments and all.

The old man loved to see the turtles eat them and he loved to walk on them on the beach after a storm and hear them pop when he stepped on them with the horny soles of his feet.

He loved green turtles and hawk-bills with their elegance and speed and their great value and he had a friendly contempt for the huge, stupid loggerheads, yellow in their armour-plating, strange in their love-making, and happily eating the Portuguese men-of-war with their eyes shut.

В художественной литературе анафора является весьма распространенным стилистическим приемом. В следующих примерах повтор несет функцию усиления..g. (68): I can remember the tail slapping and banging.I can remember you throwing me into the bow..g. (69): The brown blotches of the benevolent skin cancer the sun brings from its reflection on the tropic sea were on his cheeks. The blotches ran well down the sides of his face and his hands had the deep-creased scars from handling heavy fish on the cords. But none of these scars were fresh..g. (70): Those who had caught sharks had taken them to the shark factory on the other side of the cove where they were hoisted on a block and tackle, their livers removed, their fins cut off and their hides skinned out and their flesh cut into strips for salting.

Эпифора встречается также у Хемингуэя, ее стилистическая функция заключается в том, чтобы подчеркнуть логическую связь или эмоциональное тождество смежных синтагм. В следующем примере она приобретает функцию нарастания, выражая постепенность увеличения силы эмоций..g. (71): "I think perhaps I can too. But I try not to borrow. First you borrow. Then you beg.".g. (72): "I wanted to take him fishing but I was too timid to ask him. Then I asked you to ask him and you were too timid.".g. (73): They are widespread and the flying fish have little chance. The bird has no chance..g. (74): I want to see him, and to touch and to feel him, - he thought. He is my fortune, he thought.

Синонимический повтор, используемый в художественной литературе, так или иначе, расширяет, детализирует основное содержание высказывания. В приведенном примере он носит функцию нарастания, подчеркивая эмоциональное состояние главного героя..g. (75): Then he dove suddenly and the old man saw flying fish spurt out of the water and sail desperately, solemnly over the surface.

Аллитерация является вспомогательным стилистическим средством в художественной литературе, она, как и все другие звуковые средства, не несет в себе какой-либо смысловой функции. Ее основная функция подчеркнуть настроение героя, создавая дополнительное эмоциональное воздействие, используя повторяющиеся звуки..g. (76): He smelled the tar and oakum of the deck as he slept and he smelled the smell of Africa.smelled the tar and oakum of the deck as he slept and he smelled the smell of Africa that the land breeze brought at morning.when he smelled the land breeze he woke up and dressed to go and wake the boy. But tonight the smell of the land breeze came very early and he knew it was too early in his dream and went on dreaming to see the white peaks of the Islands rising from the sea and then he dreamed of the different harbours and roadsteads of the Canary Islands.

 

 

Таблица 2.

Лексические приемы и их функции

Прием	Функции	Количество примеров
Анадиплозис	Служит для эмфатического выделения важнейшей части высказывания, важной с точки зрения говорящего	50
Полисиндетон	Создает приподнято-торжественную тональность повествования	15
Параллелизм	Может служить дополнительным синтаксическим средством подчеркивания той или иной содержащейся в речи семантико-стилистической фигуры	31
Анафора	Удержать, закрепить в памяти читателя настойчиво подчеркиваемый повторением элемент, придать повествованию своеобразный ритм	24
Эпифора	Нарастания, выражая постепенность увеличения силы эмоций	25
Аллитерация	Подчеркнуть настроение героя, создавая дополнительное эмоциональное воздействие, используя звуки	5
Итого:		150