Лингвистические маркеры стилистического приема метафоры в романе Дж. Голсуорси «Человек-собственник»

(J. G alsworthy. T he Forsyte Saga, p.79)Presently, over James came a change, like the mellowing that steals upon a fruit in the, sun; a sense of being caressed, and praised, and petted, and all without the bestowal of a single caress or word of praise.(J. Galsworthy. T he Forsyte Saga, p.95)He amused himself by thinking how with two strokes of his pen he was going to restore the look of caste so conspicuously absent from everything in that little house; how he could fill these rooms, or others in some larger mansion, with triumphs of art from Baple and Pullbred’s.(J. Galsworthy. T he Forsyte Saga, p.265)There are various kinds of shocks: to the vertebrae; to the nerves; to moral sensibility; and, more potent and permanent, to personal dignity.

T his last was the shock Jon received, coming thus on his mother. H e became suddenly conscious that he was doing an indelicate thing. T o have brought Fleur down openly—yes!

B ut to sneak her in like this! C onsumed with shame, he put on a front as brazen as his nature would permit.(J. Galsworthy. T he Forsyte Saga, p.137)Their residences, placed at stated intervals round the park, watched like sentinels, lest the fair heartof this London, where their desires were fixed, should slip from their clutches, and leave them lower in their own estimations.(J. Galsworthy.

T he Forsyte Saga, p.43)But in the criticism of Galsworthy never passes certain borders; he aspires to prove that class struggle harms only. B ut the writer is strong at the expositing of hypocrisy and egoism of English bourgeoisie, as the artist who has truthfully shown process of its political and moral degradation during an epoch of imperialism. And he was living at Brighton, and journeying up and down—a fitting fate, the man of property! F or when he once took a dislike to anyone—as he had to his nephew—old Jolyon never got over it.(J. Galsworthy. T he Forsyte Saga, p.377)The advantages of the stable home are visible, tangible, so many pieces of property; there is no risk in the statu quo.

T o break up a home is at the best a dangerous experiment, and selfish into the bargain.(J. Galsworthy. T he Forsyte Saga, p.214)To take from the 'man of property' that on which he had set his heart, would be a crowning triumph over James, practical proof that he was going to make a man of property of Jo, to put him back in his proper position, and there to keep him secure. J ustice once for all on those who had chosen to regard his son as a poor, penniless outcast.(J. Galsworthy. T

he Forsyte Saga, p.302)Forsyte'spracticalness is incompatible with heroism. T he frank irony sounds in the novel name «TheForsyteSaga «. «S aga» is a legend aboutthe heroes, the athletes making feats. B ut on pages of its novel heroic it is not enough:'Pride comes before a fall!' In accordance with this, the greatest of Nature’s ironies, the Forsyte family had gathered for a last proud pageant before they fell.

T heir faces to right and left, in single lines, were turned for the most part impassively toward the ground, guardians of their thoughts; but here and there, one looking upward, with a line between his brows, searched to see some sight on the chapel walls too much for, him, to be listening to something that appalled. A nd the, responses, low-muttered, in voices through which rose the same tone, the same unseizable family ring, sounded weird, as though murmured in hurried duplication by a single person.(J. Galsworthy. T he Forsyte Saga, pр.120−121)Whence should a man like his cousin, saturated with all the prejudices and beliefs of his class, draw the insight or inspiration necessary to break up this life?

I t was a question of imagination, of projecting himself into the future beyond the unpleasant gossip, sneers, and tattle that followed on such separations, beyond the passing pangs that the lack of the sight of her would cause, beyond the grave disapproval of the worthy. B ut few men, and especially few men of Soames' class, had imagination enough for that.

A deal of mortals in this world, and not enough imagination to go round! A nd sweet Heaven, what a difference between theory and practice; many a man, perhaps even Soames, held chivalrous views on such matters, who when the shoe pinched found a distinguishing factor that made of himself an exception.(J. Galsworthy. T he Forsyte Saga, p.213)Demonstration of Forsytesfamily well-being becomes at the same time the prelude to a forthcoming drama. P rospering «the nation kernel» instinctively feels danger approach. It's dangerous to let anything carry you away—a house, a picture, a—woman!(J. Galsworthy.

T he Forsyte Saga, p.211)And he was living at Brighton, and journeying up and down—a fitting fate, the man of property! F or when he once took a dislike to anyone—as he had to his nephew—old Jolyon never got over it.(J. Galsworthy. T he Forsyte Saga, p.330)He felt—like the captain of a ship, going to the side of his vessel, and, with his own hands throwing over the most precious of his bales.

T his jettisoning of his property with his own hand seemed uncanny to Soames.(J. Galsworthy. T he Forsyte Saga, p.288)…in a house high up on Campden Hill, shaped like a giraffe, and so tall that it gave the observer a crick in the neck; the Nicholases in Ladbroke Grove, a spacious abode and a great bargain…(J. Galsworthy.

T he Forsyte Saga, p.45)There is the religion themein the novel, but the author by the words of main characters mentioned this theme as a label, as if it is a part of someone’s property, as if itis dependent part of a society: Quite so, when it emerged from cloisters, religion used to be redhot politics; then it became caste feeling, and now it’s a crossword puzzle—You don’t solve THEM with your emotions." (J. Galsworthy. T he Forsyte Saga, p.97)Art, literature, religion, survive by virtue of the few cranks who really believe in such things, and the many Forsytes who make a commercial use of them.(J. Galsworthy.

The Forsyte Saga, p.211)

2.

3. Linguistic markers of the metaphor «love» In the novel «The Man of Property» a motleypasses before the reader, changing background of public mutual relations, customs, morals, arts, the conventions comprehended in realistic and critical tradition. It is necessary to make a justice: even if it would be simply love novel, they would force to speak about their author as about the shrewd psychologist, in perfection seized art of the most gentle and secret person feelings. H ere the remarkable ability of the writer gets into the bends of the soul. T he bitterness of a not satisfied passionformer, burning despair of the rejected first feeling, Galsworthy transfers with a wise omniscience of heart, touching participation: It had been one of those real devoted wooings which books and people praise, when the lover is at length rewarded for hammering the iron till it is malleable, and all must be happy ever after as the wedding bells.(J. Galsworthy. T he Forsyte Saga, pр.75−76)This weather was like the music of 'Orfeo,' which he had recently heard at Covent Garden.

A beautiful opera, not like Meyerbeer, nor even quite Mozart, but, in its way, perhaps even more lovely; something classical and of the Golden Age about it, chaste and mellow, and the Ravogli 'almost worthy of the old days'—highest praise he could bestow.(J. Galsworthy. T he Forsyte Saga, p.321)Speaking about linguistic markers of metaphors about love, it is necessary to notice that they are rather veiled. I n the subject lines of the novel it is uneasy to find the metaphors devoted to the love theme. T hey always border with images of beauty, life or the property.

A nd first, in the security bred of many harmless marriages, it had been forgotten that Love is no hot-house flower, but a wild plant, born of a wet night, born of an hour of sunshine; sprung from wild seed, blown along the road by a wild wind. A wild plant that, when it blooms by chance within the hedge of our gardens, we call a flower; and when it blooms outside we call a weed; but, flower or weed, whose scent and colour are always, wild!

A nd further—the facts and figures of their own lives being against the perception of this truth—it was not generally recognised by Forsytes that, where, this wild plant springs, men and women are but moths around the pale, flame-like blossom.(J. Galsworthy. T he Forsyte Saga, p.149)A man’s fate lies in his own heart.(J. Galsworthy. T he Forsyte Saga, p.)A woman who could make herself a pretty frock had not lost her interest in life.(J. Galsworthy.

T he Forsyte Saga, p.213)And again she ran like a ghost among the trees. J on followed, with love in his heart, Spring in his heart, and over all the moonlit white unearthly blossom.(J. Galsworthy. T he Forsyte Saga, p.56)The agony of his jealousy (for all the world like the crisis of an aching tooth) came on again; and he almost cried out. B

ut he must decide, fix on some course of action before he got home.(J. Galsworthy. T he Forsyte Saga, p.288)Concerning to the image of love we have to say about its invariably adjoins to the image of the woman. T he choice of metaphors, which are used by the author, is very various: The sudden flush that rose on the girl’s intent young face—she must have seen spring up before her a great hope—the sudden sweetness of her smile, often came back to Lady Baynes in after years (Baynes was knighted when he built that public Museum of Art which has given so much employment to officials, and so little pleasure to those working classes for whom it was designed (J. Galsworthy. T he Forsyte Saga, p.261)The memory of that change, vivid and touching, like the breaking open of a flower, or the first sun after long winter, the memory, too, of all that came after, often intruded itself, unaccountably, inopportunely on Lady Baynes, when her mind was set upon the most important things.(J. Galsworthy.

T he Forsyte Saga, pр.261−262)And the scent of festivity, the odour of flowers, and hair, of essences that women love, rose suffocatingly in the heat of the summer night.(J. Galsworthy. T he Forsyte Saga, p.191)The sight of the ballroom, with its gleaming floor, gave her a feeling of joy, of triumph, for she loved dancing, and when dancing she floated, so light was she, like a strenuous, eager little spirit. H

e would surely ask her to dance, and if he danced with her it would all be as it was before.(J. Galsworthy. T he Forsyte Saga, p.195)Irene was clothed in her long grey fur; the travelling cap on her head left a wave of gold hair visible above her forehead. T

he soft fullness of the coat made her face as small as a child’s.(J. Galsworthy. T he Forsyte Saga, p.297)Along the garden rails a half-starved cat came rubbing her way towards him, and Soames thought: 'Suffering! when will it cease, my suffering.(J. Galsworthy.

T he Forsyte Saga, p.314)The fullness of the various metaphorimages about love and passion are often adjoined to displays of completely not positive emotions. T hese are emotions of anger, fear, disappointment. I t is a wrong side of this pure feeling and it always accompanies the light part of these emotions as night accompanies day:"Yes!" he said, «aversion's deeper than love or hate because it’s a natural product of the nerves, and we don’t change them."(J. Galsworthy. T he Forsyte Saga, p.86)What he felt was in his chest—a sort of tearing asunder of the tissue there, by the two loves.(J. Galsworthy.

T he Forsyte Saga, p.228)Well, tragedy’s extreme; and we don’t like extremes. T ragedy’s dry and England’s damp.(J. Galsworthy. T he Forsyte Saga, p.92)A memory, poignant still, that brought the scent of hay, the gleam of moonlight, a summer magic, into the reek and blackness of this London fog—the memory of a night when in the darkest shadow of a lawn he had overheard from a woman’s lips that he was not her sole possessor.(J. Galsworthy. T

he Forsyte Saga, p.276)…but simply lovers—trembling, blushing, silent, sought each other by flying glances, sought to meet and touch in the mazes of the dance, and now and again dancing together, struck some beholder by the light in their eyes.(J. Galsworthy. T he Forsyte Saga, p.190)She looked back across her shoulder, and her face was distorted with anger.(J. Galsworthy. T he Forsyte Saga, p.298)His heart felt sore, as the great heart of a mother-bird feels sorewhen its youngling flies and bruises its wing. H

is words halted, as though he were apologizing for having at last deviated from the path of virtue, and succumbed, in defiance of sounder principles, to his more natural instincts.(J. Galsworthy. T he Forsyte Saga, p.299)…those words but reincarnated that tender love for little children, for the young and weak, which in the past had made him desert his son for her tiny self, and now, as the cycle rolled, was taking him from her.(J. Galsworthy. T he Forsyte Saga, p.298)She had risen and looked down at him; so slight, and light, and young, but so fixed, and so determined; and disturbed, vexed, as he was, he could not frown away that fixed look. T he feeling of being beaten, of the reins having slipped, of being old and tired, mastered him.(J. Galsworthy.

T he Forsyte Saga, p.301)…that strange death, to think of which was like putting a hot iron to his heart, like lifting a great weight from it—he did not know how to pass his day; and he wandered here and there through the streets, looking at every face he met, devoured by a hundred anxieties.(J. Galsworthy. T he Forsyte Saga, p.311)"The poor fellow," he was thinking, «was so cracked with jealousy, so cracked for his vengeance, that he heard nothing of the omnibus in that infernal fog…"(J. Galsworthy. T

he Forsyte Saga, p.312)Then he caught sight of her face, so white and motionless that it seemed as though the blood must have stopped flowing in her veins; and her eyes, that looked enormous, like the great, wide, startled brown eyes of an owl.(J. Galsworthy. T he Forsyte Saga, p.313)The supple erectness of her figure was gone, as though she had been broken by cruel exercise; as though there were no longer any reason for being beautiful, and supple, and erect.(J. Galsworthy. T he Forsyte Saga, p.313)She had come back then of her own accord, to the cage she had pined to be free of—and taking in all the tremendous significance of this, he longed to cry: «Take your hated body, that I love, out of my house!

T ake away that pitiful white face, so cruel and soft—before I crush it. G et out of my sight; never let me see you again!"(J. Galsworthy.

T he Forsyte Saga, p.314)Nevertheless, the text is penetrated by metaphors about love and beauty. T he images are various, they live, create the tremendous oil pictures in imagination of the reader. In his own heart!

T he proof of the pudding was in the eating— Bosinney had still to eat his pudding.(J. Galsworthy. T he Forsyte Saga, p.213)Of all things in the world, don’t you think caution’s the most awful?

S mell the moonlight.(J. Galsworthy. T he Forsyte Saga, p.79)Then all was still again in the dark, where the houses seemed to stare at him, each with a master and mistress of its own, and a secret story of happiness or sorrow.(J. Galsworthy. T he Forsyte Saga, p.315)ConclusionSumming up the thesis, it is necessary to notice that we had been reached the main objectives and tasks in view are executed. Namely, we have found out the language nature of the metaphor.

T hat is, the metaphor as the language phenomenon represents the basic mental operation which unites two conceptual spheres and creates possibility to use a potentiality of structurization of sphere-source by means of new sphere. I n our work we have revealed most general provisions of definition and have defined its basic functions. T he metaphor, as means of formation of new values has the types, such asterm metaphor, cognitive metaphor, conceptual metaphor, root metaphor, therapeutic metaphor and visual metaphor.

W e have considered in detail the features of linguistic markers of stylistic reception of the metaphor. F or a basis of the practical part of work was taken the novel of J. G alsworthy"The Man of Property". O

n the basis of a theoretical material we have revealed a large quantity of metaphorical devices in the novel. L eaning against a material, we have defined that in the text the spectrum of linguistic markers is widely presented. W e have resulted about two hundred examples of linguistic markers of the metaphor which have divided into three basic subjects of the novel, and definded their basic characteristics. Thus, we have found out that the metaphor represents a huge interest for studying because till now there is no unequivocal definition of the given phenomenon. T

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