Національна Академія Мистецтв України Інститут культурології
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| perspective {experience as: Another motif that shifts the general perspective is the mention of the earthly as opposed to the celestial that refers to Ecclesiastes. Then also a new motif arises that of the alternative of [CREATIVITY vs. VANITY]. The motifs of existential nature as the latent fundamental categories are here circumscribed with concomitant details referring to invisible axis. At the same time there are also the lateral circumstantial locutions to indicate that add still new connotations: <birds drawn by the charming serpent> and <dropping in vacant darkness’s jaws>. Then the inference becomes possible that <* non-existence is vacuity> and <* death lures and entices as the power of glamour paralyzing the will for life>. Especially it is necessary to stress the image of the JAWS devouring the existence. Subsequently it would become possible to represent the verse in indexation. It is to remind here that the opportunity of such representation in the form of enumeration is indebted to the peculiarity of lyrical text that can be converted to passive voice without abusing the semantic invariant due to the contemplative essence of lyrics. <[* eternal existence as an alternative to non-existence] “life for evermore” vs. [* reduction of] “dim life” to “dust &ashes” “earth’s core’s darkness” [* creativity as the existence] [* communicate] to “fantastic beauty” [* stop to exist] “jaws” of [* contemplation & immobility] - “peace & patience”> Axial and lateral aspects are to be detected as far as they contribute to the contrast of a lyrical poem. Predicative structures “distilled” from a text may well be exemplified with W. Shakespeare’s 25-th sonnet: <boasting those in favor - unlooked for joy - spreading fair leaves - pride buried>. Meanwhile the descriptive concatenation will shift when one takes into account actualities. Then an outspoken contrast of the two series of predicates will be revealed: one relating to the lyrical “I” that is associated with honor and happiness, that is loving and irremovable; and another concerning “favorites” <boast – spread leaves – bury pride – die at frown – be razed from the book>. Especially are stressed here actual predicates love and frown that can be regarded as the principal vehicles of semantic contrast. The cited examples exemplify the truth that each description is distortion. The textual entirety must be destroyed to be explored. Therefore the discussed descriptive analytical apparatus is to be conceived as the experimental transformation of textual entity. It is well known that such transformation of a verse is not only a distortion but that it destroys its artistic existence as such910. Such destruction is to be regarded as the premise of abstraction & analysis necessary for the exploration of a poetic work. Subsequently the possibility is opened to discover the latent contents behind those locutions that become separated and scrutinized as the result of a line’s being destroyed911. “The anatomy of artistic text” seems to become necessity in the same manner as the necessity of distorting and killing plants and animals to study them. Destruction becomes the first step towards exploration. Together with experimental distortion necessary for exploration there is still another condition to be taken into account, namely that ensuing from the very existential properties of text and its interpretational nature. It goes about the properties of mutability and interpretability that are immanent textual properties. Each text can be changed by a writer, and it is attested with editorial versions, the last of them being selected and taken for the final version. In this respect this final text can be regarded as the “marked member of binary opposition” and contrasted to the weak members represented with preliminary editorial versions. Besides, each text can be slightly or grossly changed while being recited by the actor or rewritten without abusing grammar and lexical rules. In particular listing structures of textual representation find their correlation in the colloquial practice of asyndeton where the whole speech turns into a kind of enumeration resembling and interlinear for Chinese translation912 or in “telegraph style” in the manner of L. Sterne or Ch. Dickens’ “jingloisms” and “wellerisms”. There is still more fundamental reason that substantiates experimental distortions. Each text must be interpreted already to be understood: the meanings of the reader’s experience do always essentially differ from those of the writer’s. It is the clarification of such differences that initiates interpretative processes within a reader’s brain. Text changes itself (even being reproduced with the utmost exactitude) because already the place and time of its reproduction are changed (not to mention the new generations’ experience). That is why interpretative distortion of a text is not only explorative device but the existential condition of a text. Therefore distortions and destructions are not only explorative means necessary to disclose textual semantic opportunities; they reproduce also the inevitable union of analysis & synthesis (disintegration & reintegration) as the vital necessity of the life of a text as a peculiar organism in the process of interpretation. Besides, it is to be noted that experimental “distortions” and explorative transformations of the original text are to be regarded as the necessary analytical epiphenomena of each artistic work. It is to remind that exercitation and repetitions of rehearsals are the indispensable part and parcel of artistic culture of experimentation as opposed to poetic folklore culture of accumulation. One can say of repetitive exercitation as the distinctive feature of artistic culture. The elaboration (or “distortion”) of a text for data representation makes up the necessary premise of this culture. Analytical implements are then to be regarded as the exercitations’ devices that promote searches for motifs. In this respect analytical exercitations act as the means for the retardation of reading the text, for slow reading and retarded lection. This procedure enables disclosing motivational opportunities within the locutions otherwise remaining unobserved. In it turn this retardation and fixedness of observer’s glance is the way to create the distance towards text and therefore to represent it as epic genus. Seen at a distance the text is to be described with experimental distortions and thus put to examination. Staging a prosaic epic work would mean that the transition from a novel to a play would coincide with the descriptive procedure where a narrative metasystem arises. The referential core of epic narrative must be represented in cues. In the same manner lyrical poem can be represented as a lyrical scene of a drama representing such references. Meanwhile the data representations of lyrics and drama in its turn become the transformation into epic textual structure as it has already been demonstrated with the samples of producer’s notebooks in the case of K.S. Stanislavski. Be a lyrical digression within epic text a reflection of the narrative, in its turn data representation of a lyrical poem (and such digression too) returns to epic composition. Such situation makes one suspect here a kind of a closed loop of reflection: if dramatic or lyrical text make up a metasystem of epic narration as the result of reflexive act their descriptions in its turn as the next reflection return to the initial stuff of epics. Therefore it is the places of lyrical digression and of conversational passages within epic narrations that deserve special attention with the descriptive aims. In particular the conversion of dialogue to soliloquy will turn out to demonstrate its effectiveness. Thus the described dialogue acquires an outlook approaching an ensemble (with partner’s cues represented in brackets). These statements can be exemplified with the samples of different genera. As an example of conversation in epics let be taken the passage from Dickens’s “Tale of Two Cities” (Book 2, Chapter 20, “A Plea”). It goes here about the meaningful visit paid by Sydney Carton to the newly married couple of Charles Darnay and Lucie Manette. Carton is the person who has already once happened to rescue Charles at the court, and he will in future appear in France instead of Charles to sacrifice himself to rescue Charles again, the more that he fell latently in love to Lucie. The passage consists of two episodes: Carton’s confident confession of his personal weakness and the compassion of Lucie expressed thereafter in her conversation with the husband. Therefore these episodes can be regarded as the pictures of macroscopic situations that can be classified as those of [REQUEST] and [REFLECTION] respectively: first the guest prays for certain permission, and then the lady with husband indulges in meditating upon it. Among the thesaurus the idioms “fashion of speech” and “light answer” (used by Carton to designate the undesirable manner of speech introducing his confession) must indicate the “earnestness” of the narration, and it is what is noticed in the remark of Charles: “Earnestness in you is anything but alarming to me”. Then follow Carton’s self-humiliating notices about “mere professional claptrap” (about his deed that rescued Charles’s life), “dissolute dog” (of his state of inebriation) and finally the request for being “regarded as an useless … piece of furniture, tolerated for his old service and taken no notice of”. Actually the last words are a very singular and indirect form of the declaration of love addressed to Lucie though the conversation has made Charles comprehend “Carton as the problem of carelessness and recklessness”. Meanwhile the emphatic desperate words of the kind only conceal the actual predicate of the utterance expressed with Carton’s desire “that I might be … taken no notice of”. To become UNNOTICEABLE introduces the manifested motif of the deeply masked LATENT PASSION avowed here involuntarily. Besides, there is still another feature betraying Carton’s sympathy: it is his request to be “permitted … as a privileged person” or to partake within Darnay’s home. Such “privilege” is to refer to the future sacrifice as its motivation. With the words “I don’t know that I cared what became of you” Carton betrays still another actual predicate of CARE. In spite of pretending himself to be a disinterested person he introduces the motif that will become the decisive feature of his attitude towards Darnay’s family. Noteworthy in the next episode Lucie adds the other important idioms attesting her feminine intuitive shrewdness. Together with her remark “to be … lenient on his faults” and the appeal to compassion with the reminding of “how strong we are in out happiness, and how weak he is in his misery” the author’s narration adds the notice of “the purity of her faith in this lost man” and “the drops of pity kissed away by her husband from the soft blue eyes so loving of that husband”. The motif of MISERY obviously refers to the known “miseria res sacra est” foretelling thus the future Carton’s sacrifice. These motifs can be regarded also as the prototypes for the categories that correspond to the both situations. These prototypes come back to the categories that could be represented as [OMEN] and [IDYLL]. Therefore the situations look like: 1) [*the omen foreboding the future sacrifice] – “rugged air of fidelity” (pretended familiarity) – “take no notice’ – “placed on the footing … indicated” (as the permission); 2) [*idyll] – “the newly married pair” – “hand putting aside the golden hair from the cheek” – “the drops of pity kissed away”. Here already the conflict [omen vs. idyll] is to be found that is revealed in the succeeding events. Besides, one could regard the mentioned situational prototypes returning to the categories as the already mentioned “pronominal predicates” that provide referential ties with other textual segments. A different situation is to encounter in dramatic text. Let it be taken as an example H.W. Longfellow’s “The Spanish Student”, written seven years earlier (1843). The last dialogue between the chief characters of the work – those of student Victor and gipsy girl Preciosa – represents the so called scene of recognition where the disguised lover examines his sweetheart and becomes persuaded of calumny resulted from the previous events. The preceding dialogue was concluded with the anger of Victor because there appeared a villainous count of Lara who pretended to be the girl’s lover. Then it becomes known to student that Lara has committed revenge on the girl with disseminating false rumors, and, besides, that all the gypsies were compelled to go to exile. Victor has found the gypsy girl. Although the both lovers have recognized one another they pretend to remain unidentified to procure conditions for the decisive examination of their reciprocal suspicions. Now the initial situation consists in Victor’s request of telling his fortune. The girl replies with the apparent attempt of putting her lover’s attitude to probation (she mentions an imagined dame seemingly falling in love with him).
The idiomatic use of antonymous couples (false / true & dark / fire) refers apparently to the intentions of examination aroused in the girl in reply to her former lover’s behavior. This situation can be defined as [RECONNAISSANCE] as the first attempt of examination fails and the initiative now comes to the girl. It is she who leads further the dialogue that looks like her own soliloquy with her lover’s apparition. The next situation can be identified as the [REVELATION]. The girl gives to Victor an account on his genuine conduct and provokes him to expose his suspicions overtly. Then Victor’s avowing the calumnious rumors brought on the girl arouses the girl’s indignation so that the situation can refer to the category of [CALUMNY]. The decisive is here the accusation of the deceit as the prototype that gives grounds for such category. The next situation is the decisive probation: Victor attempts to take back the ring that he had once given to the girl and meets with the refusal as she declares it the grant of a man who is [ESTRANGED] with the hint to their former relations. The key idiom [TOKEN] serves here as the prototype for the situation’s category. It can come back to [FIDELITY] because the refusal of giving up the token proves the fidelity of the girl. The final situation of the scene is of an overtly melodramatic nature as it betrays the features of exaggeration and unmotivated explosive deeds at one side and of weak credulity at another side. The answer would satisfy Victor as, meanwhile he threats of blaming the girl as a thief to appear after her embarrassment without disguise. Victor again returns to calumny to gain the girl so that the situation can be qualified as [VIOLENCE]. It remains unexplainable how the pride girl who blamed her lover of calumny that “marred the fortune” now yielded to the outburst of violent passions. It is essential that the idiomatic motif of PASSION (expressed in idiomatic form as “daring to lie”) becomes the decisive moment of recognition as well as that of ESTRANGEMENT (as the antonym to FRIEND that initiated the dialogue) becomes the last argument in persuading the hero as to the girl’s fidelity. Such keywords could be regarded also as passwords that provoke respective actions in drama. One of the interpretative corollaries representing the motifs of the dialogue may be delineated as follows: <*Passion having marred the fortune results in credulity to the calumny, and obstinacy about the ring as the estranged friend’s token persuades of fidelity>. It would be also possible to examine the possibilities arising from the alternative conduct and loquacious manners of the heroes with the ensuing questions that would be put to their utterances. For further examples of the descriptive procedures applied to dramatic works as an example for the Shakespearean drama may serve the dialogue between Stanley and Richard III (4.4, lines 455 ff.) where one obtains the following scheme of situations:
Here the conclusive decision The example of Macbeth’s “monologue of hesitation” with the succeeding discussion with the Lady (1.7.) may show that it doesn’t concern the murder’s case of the drama only. It demonstrates general problems on motivation promoting or impeding the action of murder generally. According to Lamb here Macbeth’s “resolution had begun to stagger”, the objection against the planned murder of Duncan consisting in that “such kings are the peculiar care of Heaven” [Lamb, 1995, 147]. Meantime the idiomatic analysis gives grounds neither for the mentioning of staggering nor of Heaven: the hero says of “heaven’s cherubim” that would designate messenger diffusing the news of the foreseen murder. The passage could be entitled JUMPING THE LIFE TO COME (in the meaning of putting the life to risk). It goes there about the confrontation of the reasons of PITY vs. QUICKNESS. Among the most important idioms the following series can be built up: <well done quickly – trammel up the consequence – returning bloody instructions – commending [back] poisoned chalice – no spur pricking intent – virtues pleading against the damnation of taking-off – pity blowing in every eye>. W. Wagner has commented that here the word trammel is used that belongs to fishermen’s terminology (literally denoting the net with three mashes, from Fr. tramail of Lat. tremaculum) [Wagner, 1872, 26]. It gives already grounds to refer to the imagination of a hunter without scruples. It goes only about the deliberated effectiveness of action, of its promptness identified with quickness that is also implied in the locution of spurs pricking the sides of intent. The idioms do merely enumerate the elements of jeopardy accompanying action as partitive synonyms. There’s why there are no reasons to blame the Lady of persuading her husband to commit the crime. According to the generally accepted opinion, “It is only the Lady who has managed to make him keep on the plan further with her reckless derision” [Franz, 1904, 274]. Meanwhile one of her chief arguments consists in referring innocently to the proverb “the cat would eat fish and would not wet her feet” (cited in W. Wagner’s comments [Wagner, 1872, 29]). The Lady’s speech (with Macbeth’s insertions) could be entitled BRAIN & DRUNKENNESS. The idioms used in this speech encircle the theme of mastering the will with potion: <drunken hope – afeard desire – coward in esteem – dashing the babe’s brains out – brain [becoming] a limbeck – memory being fume> + <convincing wine & wassail – drenched chamberlains’ natures / spongy officers>. It is remarkable that here the exclusively specific term (limbeck from Arab. [Wagner, 1872, 30]) of alchemists is used for designating brain as the receptacle of reason. Besides, the Lady actually refers to the hints of Medes having killed her own children. Thus the convincing arguments of her speech concern somatic images so that the Lady can be said to appeal to her husband’s body’s scheme and to exert impact upon his subconscious images. Together with the axial line of idioms attached to the argument COWARDICE there is the lateral line in Lady’s speech attached to somatic images, and it is this laterality that exerts fatal impact upon her husband. One can easily discern in Shakespeare’s dramas a special type of the so called final salvation scenes where the mystery is disclosed and the recognition takes place that rescues the dramatis personae. Such are the final acts of “Measure for Measure” or “All’s Well that Ends Well” where the motif of the substituted concubine arises. Similar type is to be found in “The Winter’s Tale”, “Cymbeline” and “Much Ado about Nothing” with the motifs of the resurrection or the return of the pretended dead person. The act of recognition becomes here tied with the removal of the ambiguity of periphrastic designations and with the dissociation of homonyms’ “heaps”. In particular such is the case with the ambiguity of RING in “All’s Well that Ends Well”. Diana pretended to sleep with Bertram, and in reality she was replaced with his genuine wife Helena (pretended also to be dead) with the aim of helping her to return the husband: they have changed their rings, and now Helena’s ring has been disclosed on Bertram’s finger. The passage before the return of Helena comes to the riddle announced by Diana and addressed to Bertram: “He knows himself my bed he has defiled; / And at that time he got his wife with child: / Dead though she be, she feels her young one kick: / So there’s my riddle, - One that’s dead is quick” (5.3.298-301). This is preceded with Diana’s soliloquy (interrupted with King’s questions, 5.3.267 ff.) where the ambiguities if the drama are condensed. The passage could be entitled BAIL and the attributes are enumerated here that concern the origin of the ring <not given – not bought – not found – not lent> and experience of Bertram <guilty vs. not guilty – him knowing & swearing no maid vs. me swearing a maid & him knowing not>. But besides these objects Diana mentions trice specific idioms <(fetching / putting in) bail – [being] surety> with the decisive final words about <the jeweler owing the ring> where Helena is meant. They refer to scene 4.4 where Helena calls the King “SURETY”. Here her own definition returns to herself and her appearance from the pretended death becomes the salvation for Diana’s dangerous hazardous play. Words’ ambiguities turn out to be removed with the action so that A RING becomes THE RING with the elucidated fate witnessing the deeds. Meanwhile this decisive passage of perilous lexical game is fully omitted in Lamb’s digest: the only detail is there mentioned that “her accounts of the ring differing from Bertram’s, the king’s suspicions were confirmed” [Lamb, 1995, 168]. In “Measure for Measure” the motif of the substituted concubine is still subordinated to the motif of broken promise of provisional ruler (together with the disguised ruler’s motif), the pretended death concerning the unjust provisional ruler’s victim. It is worth discussing here the accounts of Mariana (5.1.169 ff.) before the Duke’s court that have evident correspondence with the quoted Diana’s passage. She played here the same role as Helena in the previous case in replacing the pretended concubine Isabella for Angelo and demonstrates almost the same set of idioms that Diana does as the ambiguity <never married vs. not maid – not knowing the husband vs. the husband knowing to know his wife> (5.1.185-188). Such are the properties of dramatic idioms attached to the necessity of action. Quite different peculiarities are to be seen in lyrical idioms that serve chiefly the circumscription of the latent problem. These purely жүктеу/скачать 6.92 Mb. Достарыңызбен бөлісу:
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