m katrena (konec poslednego predlozheniya sovpadaet s koncom dvustishiya). Tot fakt, chto odno predlozhenie ohvatyvaet chetverostishie s perekrestnoj shemoj rifmovki (abab), uzhe v kakoj-to stepeni predopredelyaet nekotorye elementy ego sintaksicheskoj struktury. CHetverostishiya s perekrestnoj rifmovkoj imeyut tendenciyu k deleniyu na dve chasti. Ochen' chasto stroki pervaya i tret'ya, vtoraya i chetvertaya imeyut parallel'nuyu sintaksicheskuyu strukturu. Esli eto slozhnopodchinennoe predlozhenie, to granica mezhdu glavnym i pridatochnym predlozheniyami prohodit mezhdu vtoroj i tret'ej strokami. Kak pokazyvaet issledovanie, v dannoj podgruppe sonetov chashche vsego upotreblyaetsya predlozhenie so slozhnoj strukturoj. V bol'shinstve sluchaev eto slozhnosochinennye predlozheniya s podchineniem. Na vtorom meste po chastotnosti upotrebleniya nahodyatsya slozhnopodchinennye predlozheniya. Sravnitel'no redki slozhnosochinennye predlozheniya i sovsem neznachitel'no kolichestvo prostyh predlozhenij. Slozhnosochinennye predlozheniya s podchineniem imeyut v rassmatrivaemyh sonetah samuyu razlichnuyu strukturu. |to mogut byt' dva slozhnopodchinennye predlozheniya s odnim pridatochnym, svyazannym s glavnym predlozheniem pri pomoshchi sochinitel'nogo soyuza. Pridatochnoe predlozhenie mozhet predshestvovat' glavnomu ili sledovat' za nim. V nekotoryh sluchayah pridatochnoe predlozhenie vryvaetsya v strukturu glavnogo. Inogda v etih sluchayah granica dvuh slozhnopodchinennyh predlozhenij, obrazuyushchih dannoe slozhnosochinennoe predlozhenie s podchineniem, prohodit vnutri stihotvornoj stroki. V takoj stroke ob容dinyayutsya dva otnositel'no samostoyatel'nye strukturnye komponenta predlozheniya - takaya stihotvornaya stroka stanovitsya kak by spaivayushchim elementom dannoj sintaksicheskoj struktury. Vozmozhen i drugoj sluchaj. Pridatochnoe opredelitel'noe predlozhenie raschlenyaet yadro glavnogo predlozheniya. Dlya soedineniya elementov sintaksicheskoj struktury sluzhit metricheskaya struktura proizvedeniya, v chastnosti stroka stihotvoreniya. Esli glavnoe predlozhenie v gorizontal'nom raspolozhenii elementov okazyvaetsya raschlenennym pridatochnym predlozheniem, to po vertikali chleny glavnogo predlozheniya okazyvayutsya ryadom, zanimaya nachal'nye pozicii dvuh sosednih strok: So should that beauty which you hold in lease Find no determination, then you were Yourself again after yourself's decease, When your sweet issue your sweet form should bear. (Sonet 13) V etom vzaimodejstvii gorizontal'nyh i vertikal'nyh ryadov zaklyuchaetsya dvumernost' stihotvornoj rechi i blagodarya ej - odna iz osobennostej stihotvornogo sintaksisa {Sm.: V. V. Tomashevskij. O stihe. L., 1929.}. Sleduyushchij vid slozhnosochinennyh predlozhenij s podchineniem sostavlyayut te predlozheniya, v kotoryh odin iz komponentov imeet dva pridatochnyh predlozheniya. Sochetanie v odnom slozhnosochinennom predlozhenii s podchineniem dvuh slozhnopodchinennyh predlozhenij, odno iz kotoryh imeet pridatochnoe predlozhenie v prepozicii, a drugoe v postpozicii, daet interesnye sluchai obratnogo sintaksicheskogo parallelizma. Slozhnosochinennye predlozheniya s podchineniem, v kotoryh sochetayutsya bolee chem dva komponenta, trebuyut, kak pravilo, bol'shego ob容ma, chem odin katren, i poetomu oni chashche vstrechayutsya v sonetah, postroennyh na modelyah 2, 3 i 4. Slozhnopodchinennye predlozheniya, kotorye yavlyayutsya komponentami slozhnosochinennyh predlozhenij s podchineniem, chashche vsego stroyatsya iz glavnogo i odnogo, dvuh (ne bol'she) pridatochnyh predlozhenij. V bol'shinstve sluchaev pridatochnoe predlozhenie sleduet za glavnym. CHasto eto obuslovleno tem, chto mezhdu glavnym i pridatochnym predlozheniem imeetsya bessoyuznaya svyaz'; podchinenie v takih sluchayah vyrazheno prostoj posledovatel'nost'yu elementov. Imeyutsya, odnako, i sluchai, kogda pridatochnoe predlozhenie predshestvuet glavnomu ili zhe kogda dva pridatochnyh predlozheniya obramlyayut glavnoe. Slozhnopodchinennye predlozheniya, ne yavlyayushchiesya komponentom bolee slozhnoj struktury i zanimayushchie ves' katren (ili dvustishie), imeyut, kak pravilo, bol'she pridatochnyh predlozhenij. Poslednie dovol'no slozhny po strukture i imeyut, v svoyu ochered', pridatochnye predlozheniya. Razgranichenie mezhdu glavnym i pridatochnymi predlozheniyami provoditsya v rassmatrivaemyh sluchayah bolee chetko, chem eto imeet mesto v slozhnopodchinennyh predlozheniyah, yavlyayushchihsya komponentami bolee slozhnyh struktur. Slozhnosochinennye predlozheniya osobenno redki v pervoj gruppe sonetov. Kak v etoj tak i v ostal'nyh gruppah chashche vsego oni vstrechayutsya v poslednem dvustishii soneta. Poslednee, zavershayushchee dvustishie chasto yavlyaetsya sintezom vsego proizvedeniya i neredko imeet epigrammaticheskij harakter, chto v opredelennoj mere dostigaetsya chetkoj sintaksicheskoj strukturoj etih strok. Ne slishkom uslozhnennaya sintaksicheskaya struktura bolee kommunikativna, i poetomu poslednee dvustishie, summiruya vse proizvedenie, dolzhno legko vosprinimat'sya. V ryade sluchaev prostaya v strukturnom otnoshenii koncovka kak by kompensiruet vsyu slozhnost' predydushchih strok. Prostye predlozheniya v sonetah SHekspira vstrechayutsya krajne redko. Sintaksicheskij stroj sonetov SHekspira, takim obrazom, ves'ma raznoobrazen. Analiz tipov sintaksicheskih struktur, ispol'zuemyh v sonetah SHekspira, ne yavlyaetsya samocel'yu. On dolzhen pomoch' otvetit' na vopros, kakim obrazom sochetayutsya opisannye vyshe tipy predlozhenij v predelah odnogo soneta. Nachnem s sonetov pervoj gruppy. 1. O, that you were yourself, but, love, you are 2. No longer yours than you yourself here live; 3. Against this coming end you should prepare, 4. And your sweet semblance to some other give. 5. So should that beauty which you hold in lease 6. Fond no determination; then you were 7. Yourself again, after yourself's decease, 8. When your sweet issue your sweet form should bear. 9. Who lets so fair a house fall to decay, 10. Which husbandry in honour might uphold 11. Against the stormy guts of winter's day 12. And barren rage of death's eternal cold? 13. O, none but unthrifts: dear my love, you know 14. You had a father, let your son say so. V dannom sonete sochetayutsya tol'ko dva tipa predlozhenij: prostye i slozhnopodchinennye s odnim pridatochnym v postpozicii. V poryadke sledovaniya etih predlozhenij tozhe imeetsya opredelennyj risunok. Tak, pervyj katren - eto trehchlennoe slozhnoe predlozhenie s sochineniem i podchineniem, v kotorom sochetayutsya dva prostyh i odno slozhnopodchinennoe predlozheniya, raspolozhennoe mezhdu prostymi predlozheniyami. Vtoroj katren yavlyaetsya sochetaniem dvuh slozhnopodchinennyh predlozhenij. Tretij katren - eto slozhnopodchinennoe predlozhenie s odnim pridatochnym, kotoroe ohvatyvaet tri stroki katrena. Poslednee dvustishie povtoryaet kompoziciyu pervogo katrena, obrazuya, takim obrazom, strukturno-kompozicionnoe obramlenie, kotoroe motivirovano shodnym soderzhaniem etih dvuh strof. O, that you were yourself iz pervoj strofy pereklikaetsya s O, none but unthrifts iz poslednego dvustishiya. But, love, you are No longer yours than you yourself here live sootnositsya s dear my love you know You had a father. I, nakonec: Against this coming end you should prepare And your sweet semblance to some other give - nahodit svoe vyrazhenie v: Let your son say so. V sonete 73 sochetayutsya bolee slozhnye po strukture predlozheniya: 1. That time of year thou mayst in me behold 2. When yellow leaves, or none or few, do hang 3. Upon those boughs which shake against the cold, 4. Bare ruined choirs, where late the sweet birds sang. 5. In me thou see'st the twilight of such day 6. As after sunset fadeth in the west, 7. Which by and by black night doth take away, 8. Death's second self, that seals up all in rest. 9. In me thou see'st the glowing of such fire, 10. That on the ashes of his youth doth lie, 11. As the death-bed whereon it must expire, 12. Consumed with that which it was nourish'd by. 13. This thou perceiv'st, which makes thy love more strong, 14. To love that well which thou must leave ere long. Pervyj katren - eto slozhnopodchinennoe predlozhenie s sochineniem (sochineny dva pridatochnye predlozheniya). Pridatochnye predlozheniya svyazany posledovatel'nym podchineniem s glavnym. Vtoroj katren - eto slozhnopodchinennoe predlozhenie s tremya pridatochnymi, svyazannymi s glavnym predlozheniem smeshannym vidom podchineniya - sopodchineniem i posledovatel'nym podchineniem. Tretij katren stroitsya iz slozhnopodchinennogo predlozheniya s tremya pridatochnymi posledovatel'nogo podchineniya. Poslednee dvustishie - eto slozhnopodchinennoe predlozhenie s sochineniem. Vse pridatochnye predlozheniya nahodyatsya v postpozicii. Strukturnoe shodstvo strof etogo soneta vyrazhaetsya takzhe v tom, chto bol'shinstvo pridatochnyh predlozhenij - eto pridatochnye opredelitel'nye. Takoe nagromozhdenie pridatochnyh opredelitel'nyh predlozhenij v kazhdoj iz strof (za isklyucheniem dvustishiya) pridaet sonetu opisatel'nyj harakter. Tematicheskoe chlenenie soneta otvechaet ego strukturno-sintaksicheskomu risunku. Tri katrena - eto tema i ee razvitie, poslednee dvustishie - itog vsemu skazannomu. Tak kak na pervyh strokah soneta lezhit zadacha nachat' proizvedenie, predlozhit' ego temu i podgotovit' k ee dal'nejshemu razvitiyu, nachal'nyj katren slozhen po strukture: 1. My glasse shall not persuade me I am old 2. So long as youth and thou are of one date; 3. But when in thee time's furrows I behold, 4. Then look I death my days should expiate. 5. For all that beauty that doth cover thee 6. Is but the seemly raiment of my heart, 7. Which in thy breast doth live, as thine in me: 8. How can I then be older than thou art? 9. 0, therefore, love, be of thyself so wary 10. As I, not for myself, but for thee will, 11. Bearing thy heart, which I will keep so chary 12. As tender nurse her babe from faring ill. 13. Presume not on thy heart when mine is slain: 14. Thou gavest me thine, not to give back again. (Sonet 22) Struktura nachal'nogo katrena slozhna i interesna: postroenie pervogo iz dvuh slozhnopodchinennyh predlozhenij etogo chetverostishiya yavlyaetsya kak by zerkal'nym otrazheniem vtorogo predlozheniya. Takim obrazom, na styke okazyvayutsya dva pridatochnyh predlozheniya obstoyatel'stva vremeni, a imenno vremya yavlyaetsya osnovnoj temoj dannogo soneta. V nekotoryh sonetah za strukturno prostym nachalom sleduet predlozhenie s vozrastayushchej stepen'yu slozhnosti, struktura vyskazyvaniya uslozhnyaetsya s razvitiem i utochneniem mysli. Takaya kompoziciya soneta sposobstvuet bolee naglyadnomu predstavleniyu o hode mysli. Snachala daetsya kostyak vyskazyvaniya - glavnaya tema proizvedeniya, k kotoroj potom pribavlyayutsya utochnyayushchie ee elementy. Po takoj sheme postroen sonet 142. 1. Love is my sin and thy dear virtue hate, 2. Hate of my sin, grounded on sinful loving: 3. O, but with mine compare thou thine own state, 4. And thou shall find it merits not reproving; 5. Or, if it do, not from those lips of thine, 6. That have profaned their scarlet ornaments 7. And seal'd false bonds of love as oft as mine, 8. Robb'd others' beds' revenues of their rents, 9. Be it lawful I love thee, as thou lov'st those 10. Whom thine eyes woo as mine importune thee: 11. Root pity in thy heart, that, when it grows, 12. Thy pity may deserve to pitied be. 13. If thou dost seek to have what thou dost hide, 14. By self-example mayst thou be denied! Oktavu etogo soneta sostavlyaet slozhnosochinennoe predlozhenie s podchineniem; pervyj katren oktavy - chetyre prostyh sochinennyh predlozheniya. Struktura predlozhenij uslozhnyaetsya lish' so vtorogo katrena, kotoryj predstavlyaet soboj slozhnopodchinennoe predlozhenie s odnim pridatochnym opredelitel'nym, pridatochnoe predlozhenie uslozhnyaetsya odnorodnymi chlenami i zanimaet tri stroki katrena. Posleduyushchee chetverostishie eto takzhe slozhnosochinennoe predlozhenie s podchineniem. No ego vnutrennyaya struktura gorazdo slozhnee. Sostoit ono iz dvuh slozhnopodchinennyh predlozhenij. Odno iz nih, krome podlezhashchego, vyrazhennogo pri pomoshchi pridatochnogo predlozheniya, imeet eshche tri pridatochnyh predlozheniya, svyazannyh posledovatel'nym podchineniem. Vtoroe sostavnoe slozhnopodchinennoe predlozhenie imeet dva pridatochnyh, prichem vtoroe iz nih nahoditsya mezhdu chlenami pervogo pridatochnogo predlozheniya. Vse eti pridatochnye predlozheniya razlichnogo tipa - sravneniya, vremeni, celi i opredelitel'nye. Poslednee dvustishie soneta po strukture - slozhnoe predlozhenie s dvumya pridatochnymi v prepozicii. Dvustishie nachinaet pridatochnoe predlozhenie usloviya, k nemu otnositsya pridatochnoe dopolnitel'noe predlozhenie, i tol'ko posle nego sleduet glavnoe predlozhenie, k kotoromu oni otnosyatsya. Tematicheskoe chlenenie soneta nahoditsya v sootvetstvii s ego strukturno-sintaksicheskim risunkom. Pervaya stroka kak by zaglavie proizvedeniya - prostaya konstataciya fakta, kotoryj beretsya na rassmotrenie: Love is my sin and thy dear virtue hate..., a zatem sleduet razvitie i ob座asnenie etogo polozheniya i popytka dokazat', chto "sin" avtora i "virtue" damy, k kotoroj on obrashchaetsya, - eto ta zhe samaya lyubov'. V sonete 64 sintaksicheskaya kompoziciya predlozheniya oformlyaet inoj stilisticheskij priem - retardaciyu, cel' kotoroj sostoit v "ottyazhke logicheskogo zaversheniya mysli pod samyj konec vyskazyvaniya" {I. R. Gal'perin. Ocherki po stilistike anglijskogo yazyka. M. 1958 s. 239.}. V dannom sonete retardaciya imeetsya v dvenadcatistishii, pervye desyat' strok kotorogo obrazuyut pridatochnye predlozheniya obstoyatel'stva vremeni, otnosyashchiesya k glavnomu predlozheniyu odinnadcatoj stroki soneta: 1. When I have seen by Time's fell hand defaced 2. The rich proud cost of outworn buried age; 3. When sometime lofty towers I see down-razed, 4. And brass eternal slave to mortal rage; 5. When I have seen the hungry ocean gain 6. Advantage on the kingdom of the shore, 7. And the firm soil win of the watery main, 8. Increasing store with loss and loss with store; 9. When I have seen such interchange of state, 10. Or state itself confounded to decay; 11. Ruin hath taught me thus to ruminate, 12. That Time will come and take my love away. 13. This thought is as a death, which cannot choose 14. But weep to have that which it fears to lose. |ffekt, vyzvannyj takoj kompoziciej predlozheniya, usilivaetsya povtorom soyuza when pered kazhdym iz pridatochnyh vremeni. Interesnoj predstavlyaetsya sintaksicheskaya kompoziciya soneta 72: 1. O, lest the world should task you to recite 2. What merit lived in me, that you should love 3. After my death, dear love, forget me quite, 4. For you in me can nothing worthy prove; 5. Unless you would devise some virtuous lie, 6. To do more for me than mine own desert, 7. And hang more praise upon deceased I 8. Than niggard truth would willingly impart: 9. O, lest your love may seem false in this, 10. That you for love speak well of me untrue, 11. My name be buried where my body is, 12. And live no more to shame nor me nor you... Dvenadcatistishie etogo soneta imeet strukturu, kotoraya stroitsya iz treh slozhnopodchinennyh predlozhenij. Kazhdoe iz nih imeet po neskol'ku pridatochnyh predlozhenij. Pervoe sostavnoe slozhnopodchinennoe predlozhenie imeet tri pridatochnyh v prepozicii - pridatochnoe prichiny i otnosyashchiesya k nemu dva pridatochnyh predlozheniya - dopolnitel'noe i opredelitel'noe v postpozicii. CHetvertaya stroka, svyazannaya s predydushchim sochinitel'nym soyuzom for, nachinaet novoe, slozhnopodchinennoe predlozhenie. K nemu otnosyatsya: pridatochnoe usloviya (stroki pyataya, shestaya i sed'maya), raschlenennoe dvumya pridatochnymi sravneniya. Zatem sleduet novoe slozhnopodchinennoe predlozhenie, kotoroe imeet dva pridatochnyh v prepozicii i odno v postpozicii. Stroki pervaya i vtoraya, devyataya i desyataya imeyut odinakovuyu sintaksicheskuyu strukturu. |tot sintaksicheskij parallelizm usilivaetsya eshche anaforicheskim povtorom i sluzhit sredstvom svyazi, skrepleniya vsego dvenadcatistishiya v odnu strukturu i v odnu tematicheskuyu edinicu. Interesnyj priem kompozicii sintaksicheskih edinic nablyudaem takzhe v sonete 27: 1. Weary with toil I haste me to my bed, 2. The dear repose for limbs with travel tired; 3. But then begins a journey in my head, 4. To work my mind, when body's work's expired: 5. For then my thoughts, from far where I abide, 6. Intend a zealous pilgrimage to thee, 7. And keep my drooping eyelids open wide, 8. Looking on darkness which the blind do see: 9. Save that my soul's imaginary sight 10. Presents thy shadow to my sightless view, 11. Which, like a jewel hung in ghastly night, 12. Makes black night beauteous and her old face new. 13. Lo, this, by day my limbs, by night my mind, 14. For thee and for myself no quiet find. Zdes' komponenty dvenadcatistishiya sleduyut drug za drugom po principu vozrastayushchej strukturnoj slozhnosti. Pervoe predlozhenie (stroki pervaya i vtoraya) - prostoe predlozhenie. Za nim sleduet slozhnopodchinennoe predlozhenie s odnim pridatochnym. Stroki s pyatoj po dvenadcatuyu zanimaet slozhnosochinennoe predlozhenie s podchineniem, kotoroe imeet chetyre pridatochnyh predlozheniya. Posle takogo slozhnogo predlozheniya legko i neprinuzhdenno zvuchit poslednee dvustishie. Nachalo i koncovka etogo soneta imeyut odinakovuyu strukturu. V tematicheskom otnoshenii dvenadcatistishie yavlyaetsya posledovatel'nym razvitiem odnoj temy, zaklyucheniem kotoroj yavlyayutsya poslednie dve stroki. Analiz sonetov pokazyvaet, chto raznoobrazie priemov sintaksicheskoj kompozicii svyazano s velichinoj strukturno-sintaksicheskih edinic. CHem predlozhenie rasprostranennee, tem legche prosledit' v nem opredelennye priemy kompozicii. Nebol'shie po ob容mu predlozheniya svyazany so strukturami menee slozhnymi i otnositel'no odnoobraznymi po kompozicii. B. STRUKTURNO-SINTAKSICHESKIE PRIEMY KOMPOZICII SONETOV VTOROJ GRUPPY Perejdem k opisaniyu sonetov vtoroj gruppy. V nee vhodyat te stihotvoreniya, v kotoryh mezhdu strokami vos'moj i devyatoj obyazatel'no prohodit sintaksicheskaya granica, t. e. stroka vos'maya yavlyaetsya koncom kakogo-to samostoyatel'nogo, zakonchennogo predlozheniya. V bol'shinstve sonetov dannoj gruppy stroki s devyatoj po chetyrnadcatuyu obrazuyut odno samostoyatel'noe, zakonchennoe predlozhenie. Takim obrazom, v otlichie ot sonetov pervoj gruppy poslednee, zaklyuchitel'noe dvustishie soneta oformlyaetsya kak sostavnaya chast' bolee krupnoj sintaksicheskoj struktury. Dovol'no zametnoj chertoj sintaksicheskih struktur v nekotoryh sonetah dannoj gruppy yavlyaetsya bolee slozhnaya, po sravneniyu s ostal'nymi predlozheniyami, struktura vtorogo katrena. Rassmotrim, naprimer, sonet 36. 1. Let me confess that we two must be twain, 2. Although our undivided loves are one: 3. So shall those blots that do with me remain, 4. Without thy help, by me be borne alone. 5. In our two loves there is but one respect, 6. Though in our lives a separable spite, 7. Which though it alter not love's sole effect, 8. Yet doth it steal sweet hours from love's delight 9. I may not evermore acknowledge thee, 10. Lest my bewailed guilt should do thee shame, 11. Nor thou with public kindness honour me, 12. Unless thou take that honour from thy name: 13. But do not so; I love thee in such sort, 14. As thou being mine, is thy good report. Pervyj katren imeet strukturu slozhnosochinennogo predlozheniya s podchineniem, v kotorom sochinitel'nyj soyuz so svyazyvaet slozhnopodchinennoe predlozhenie s dvumya sopodchinezhnymi pridatochnymi; dopolnitel'nym i ustupitel'nym. Sleduyushchee chetverostishie - slozhnopodchinennoe predlozhenie s tremya pridatochnymi (ustupitel'nym, opredelitel'nym i ustupitel'nym) posledovatel'nogo podchineniya. Poslednee shestistishie - eto slozhnoe predlozhenie s sochineniem i podchineniem, sostoyashchee iz slozhnopodchinennogo predlozheniya s pridatochnym celi, svyazannogo s nim sochinitel'nym soyuzom, slozhnopodchinennogo predlozheniya s pridatochnym usloviya, prostogo predlozheniya, svyazannogo s predydushchim sostavnym predlozheniem soyuzom but, i, nakonec, slozhnopodchinennye predlozheniya s pridatochnym sravneniya, svyazannym s predydushchim predlozheniem. Sintaksicheskaya struktura etogo stihotvoreniya otvechaet trebovaniyam strogogo klassicheskogo soneta, v kotorom katreny oktavy otlichayutsya strukturnoj zavershennost'yu, a sekstet mozhet oformlyat'sya odnim samostoyatel'nym predlozheniem. Tematicheskoe chlenenie etogo soneta sootvetstvuet tem zhe usloviyam klassicheskogo soneta. Predlozhennaya v pervom chetverostishii teza poluchaet razvitie i zavershenie vo vtorom katrene (otsyuda ego slozhnaya struktura). Sekstet predstavlyaet soboj antitezu k soderzhaniyu oktavy, i poslednee dvustishie zaklyuchaet ves' sonet. Opisannuyu vyshe na materiale pervoj gruppy sonetov kompozicionnuyu shemu, v kotoroj sintaksicheskaya struktura predlozhenij zavershayushchej chasti soneta proshche, chem ego nachalo, mozhno proillyustrirovat' i sonetami dannoj gruppy. Rassmotrim sonet 78: 1. So oft have I invoked thee for my Muse 2. And found such fair assistance in my verse 3. As every alien pen hath got my use 4. And under thee their poesy disperse. 5. Thine eyes, that taught the dumb on high to sing 6. And heavy ignorance aloft to fly 7. Have added feathers to the learned's wing 8. And given grace a double majesty. 9. Yet be most proud of that which I compile, 10. Whose influence is thine and born of thee: 11. In others' works thou dost but mend the style, 12. And arts with thy sweet graces graced be; 13. But thou art all my art, and dost advance 14. As high as learning my rude ignorance. Pervyj katren obrazuet slozhnopodchinennoe predlozhenie s pridatochnymi sledstviya, uslozhnennym odnorodnymi chlenami. Takuyu zhe strukturu imeet vtoroj katren, v kotorom v dannom sluchae imeetsya pridatochnoe opredelitel'noe predlozhenie. Sleduyushchee shestistishie - eto slozhnosochinennoe predlozhenie s podchineniem, v kotorom za slozhnopodchinennym predlozheniem s sochineniem (dva pridatochnyh opredelitel'nyh, sochinennyh) sleduyut tri prostyh predlozheniya. Tematicheskoe chlenenie soneta takoe zhe, kak i v opisannom vyshe 36-m sonete: teza i ee razvitie - eto oktava, a antiteza i zavershenie proizvedeniya dayutsya v sekstete. Sintaksicheskaya struktura nekotoryh sonetov dannoj gruppy otlichaetsya bol'shoj slozhnost'yu. Tak, naprimer, v sonete 71 kazhdoe iz sostavnyh predlozhenij oktavy i shestistishiya imeet po dva-tri pridatochnyh predlozheniya v prepozicii i postpozicii, svyazannyh s glavnym predlozheniem, k kotoromu oni otnosyatsya, razlichnym vidom podchineniya. 1. No longer mourn for me when I am dead 2. Than you shall hear the surly sullen bell 3. Give warning to the world that I am fled 4. From this vile world, with vilest worms to dwell: 5. Nay, if you read this line, remember not 6. The hand that writ it; for I love you so, 7. That I in your sweet thoughts would be forgot, 8. If thinking on me then should make you woe. 9. O, if, I say, you look upon this verse 10. When I perhaps compounded am with clay, 11. Do not so much as my poor name rehearse, 12. But let your love even with my life decay; 13. Lest the wise world should look into your moan, 14. And mock you with me after I am gone. Sonet nachinaetsya s povelitel'nogo predlozheniya, k kotoromu otnosyatsya: pridatochnoe vremeni, raspolozhennoe s nim v odnoj stihotvornoj stroke, pridatochnoe sravneniya - stroki 2, 3 i 4 i pridatochnoe opredelitel'noe, podchinennoe pridatochnomu sravneniya (posledovatel'noe podchinenie). Sleduyushchij katren - eto novyj komponent oktavy - nachinaetsya s pridatochnogo usloviya, zatem sleduet glavnoe predlozhenie, k kotoromu otnositsya eshche pridatochnoe opredelitel'noe predlozhenie. V shestoj zhe stroke beret nachalo novoe sostavnoe slozhnopodchinennoe predlozhenie s dvumya pridatochnymi. SHestistishie nachinaetsya s pridatochnogo usloviya i podchinennogo emu pridatochnogo vremeni, zatem sleduet predlozhenie, k kotoromu oni otnosyatsya. S 12-j stroki nachinaetsya vtoroj komponent etogo shestistishiya. |to slozhnopodchinennoe predlozhenie s dvumya pridatochnymi posledovatel'nogo podchineniya. Poslednee dvustishie etogo shestistishiya soderzhit pridatochnye predlozheniya, otnosyashchiesya k predlozheniyu iz 12-j stroki. Takim obrazom, mezhdu strokami 1, 2 i 1, 3 obrazuetsya prochnaya sintaksicheskaya svyaz'. Bol'shinstvo rassmotrennyh sonetov pokazyvaet, chto poslednee dvustishie obladaet vsegda otnositel'noj samostoyatel'nost'yu, yavlyayas' ili otdel'nym samostoyatel'nym zakonchennym predlozheniem, ili obrazuet sostavnoe predlozhenie vnutri bolee slozhnoj struktury. Opisannyj vyshe sluchaj redkij (sm. takzhe sonet 117). Tematicheskoe chlenenie etogo soneta prohodit po sheme chleneniya klassicheskogo soneta: teza, ee razvitie, antiteza i zavershenie. Inogo roda kompoziciyu strukturno-sintaksicheskih edinic nablyudaem, naprimer, v sonete 32: 1. If thou survive my well-contented day, 2. When that churl Death my hones with dust shall cover, 3. And shalt by fortune once more re-survey 4. These poor rude lines of thy deceased lover, 5. Compare them with the bettering of the time, 6. And though they be outstripp'd by every pen, 7. Reserve them for my love, not for their rhyme, 8. Exceeded by the height of happier men. 9. 0, then vouchsafe me but this loving thought: 10. Had my friend's Muse grown with this growing age, 11. A dearer birth than this his love had brought, 12. To march in ranks of better equipage: 13. But since he died, and poets better prove, 14. Theirs for their style I'll read, his for his love. Oktava etogo soneta imeet slozhnuyu "mnogoetazhnuyu" strukturu. Pervyj katren soderzhit pridatochnoe predlozhenie usloviya i raspolozhennoe mezhdu ego chlenami pridatochnoe vremeni, sleduyushchij katren - eto predlozhenie, k kotoromu otnosyatsya eti pridatochnye. Krome togo, mezhdu ego glavnymi chlenami nahoditsya eshche pridatochnoe ustupitel'noe. Mezhdu katrenami nablyudaetsya opredelennaya simmetriya, pridayushchaya im odinakovoe ritmicheskoe zvuchanie, nesmotrya na sushchestvuyushchie mezhdu nimi otnosheniya podchinennogo i podchinyayushchego. Sleduyushchee predlozhenie yavlyaetsya sochetaniem odnogo prostogo i dvuh slozhnopodchinennyh predlozhenij, svyazannyh sochinitel'nym soyuzom but s pridatochnym usloviya i prichiny v prepozicii. Postroenie oktavy strogo logichnoe. SHestistishie s samogo nachala emocional'no okrasheno (mezhdometie, upotreblenie glagolov v povelitel'nom naklonenii). Dovol'no redkuyu kompozicionnuyu shemu predstavlyaet oktava 94-go soneta: 1. They that have pow'r to hurt and will do none, 2. That do not do the thing they most do show, 3. Who, moving others, are themselves as stone, 4. Unmoved, cold and to temptation slow, 5. They rightly do inherit heaven's graces 6. And husband nature's riches from expense; 7. They are the lords and owners of their faces, 8. Others but stewards of their excellence... Oktavu obrazuet slozhnosochinennoe predlozhenie s podchineniem. V sostav ego vhodit slozhnopodchinennoe predlozhenie s sochineniem i dva prostye predlozheniya. V pervom iz etih sostavnyh predlozhenij imeyutsya tri pridatochnyh opredelitel'nyh predlozheniya, svyazannyh sochineniem i otnosyashchihsya k podlezhashchemu glavnogo predlozheniya, kotoroe nahoditsya v nachal'noj pozicii soneta, no potom, posle perechisleniya vseh opredelyayushchih ego pridatochnyh predlozhenij, ono eshche raz povtoryaetsya pered skazuemym. Zatem sleduyut dva prostye predlozheniya - pervoe iz nih po soderzhaniyu otnositsya k predydushchim strokam, a sleduyushchee yavlyaetsya vtoroj chast'yu protivopostavleniya, na kotorom stroitsya dannaya oktava. CHasti etogo protivopostavleniya neravny po ob容mu. V pervoj chasti v semi stihotvornyh strokah opisyvayutsya lyudi sderzhannye, umeyushchie upravlyat' svoimi emociyami, vtorye prosto "Stewarde of their excellence". Tak kak pervye stavyatsya v primer, oni schitayutsya luchshimi, oni i zasluzhivayut bolee podrobnogo opisaniya. V. STRUKTURNO-SINTAKSICHESKIE PRIEMY KOMPOZICII SONETOV TRETXEJ GRUPPY Sonety, sostoyashchie polnost'yu iz odnogo samostoyatel'nogo zakonchennogo predlozheniya, vyvedeny v tret'yu gruppu. Obshchuyu strukturu etih sonetov predstavlyaet sleduyushchaya model': MZ:/(4+4+4+2)/ Po dannoj modeli postroeno 14 sonetov. Vse sonety dannoj gruppy predstavlyayut soboj slozhnosochinennye predlozheniya s podchineniem razlichnoj stepeni slozhnosti. Otnositel'no prostuyu strukturu imeyut sonety 7, 141. Rassmotrim sonet 7. 1. Lo, in the orient when the gracious light 2. Lifts up his burning head, each under eye 3. Doth homage to his new-appearing sight, 4. Serving with looks his sacred majesty; 5. And having climb'd the steep-up heavenly hill, 6. Resembling strong youth in his middle age, 7. Yet mortal looks adore his beauty still, 8. Attending on his golden pilgrimage; 9. But when from highmost pitch, with weary car, 10. Like feeble age, he reeleth from the day, 11. The eyes, 'fore duteous, now converted are 12. From his low tract, and look another way: 13. So thou, thyself out-going in thy noon, 14. Unlook'd on diest, unless thou get a son. Sonet etot obrazuet slozhnosochinennoe predlozhenie s podchineniem, sostoyashchee iz slozhnopodchinennogo predlozheniya s pridatochnym vremeni (stroki 1, 2), dvuh prostyh predlozhenij (stroki 2, 3, 4 i 5, 6, 7, 8), slozhnopodchinennogo predlozheniya s pridatochnym vremeni (stroki 9, 10, 11, 12) i slozhnopodchinennogo s pridatochnym usloviya (stroki 13, 14). V sonete opisyvaetsya solnce, kotoroe vyzyvaet vostorg lyudej, kogda ono voshodit i gorit yarkim svetom, no pro kotoroe zabyvayut, kogda ono klonitsya k zakatu. To zhe samoe zhdet druga, predosteregaet avtor. Tol'ko potomki smogli by navsegda sohranit' ego svetlyj oblik. Kak by dva syuzheta soneta "solnce" i "lyudi" razvivayutsya parallel'no. V odnom dvustishii govoritsya o solnce, kotoroe prohodit svoj ezhednevnyj put', v drugom opisyvaetsya vospriyatie etogo fakta lyud'mi. Tematicheskoe chlenenie v predelah odnogo predlozheniya, kotorym yavlyaetsya dannyj sonet, otvechaet trebovaniyam klassicheskogo soneta. Teza proizvedeniya predstavlena v pervom katrene, razvivaetsya vo vtorom chetverostishii - pervyj i vtoroj katreny svyazany soedinitel'nym soyuzom and. S protivitel'nogo soyuza but nachinaetsya v devyatoj stroke sostavnoe predlozhenie, predstavlyayushchee soboj antitezu k skazannomu v predydushchih strokah. Pri pomoshchi soyuza so prisoedinyaetsya k dvenadcatistishiyu poslednee zavershayushchee dvustishie. Uzhe samo nalichie soyuzov (and, but, so) v nachale samyh vazhnyh dlya tematicheskogo chleneniya klassicheskogo soneta strok (pyatoj, devyatoj, trinadcatoj) govorit o tom, kak v dannom sonete razvivaetsya tema. Ostal'nye sonety dannoj podgruppy, imeyushchie bolee slozhnuyu strukturu, chem opisannyj vyshe sonet, razdelyayutsya na dve podgruppy. V odnu podgruppu vhodyat te sonety, v kotoryh bol'shinstvo pridatochnyh predlozhenij nahoditsya v prepozicii, predshestvuya glavnomu predlozheniyu, obrazuya takim obrazom retardaciyu, ottyazhku osnovnoj idei, kak pravilo, k nachalu devyatoj stroki soneta (sm. sonety 12, 15, 143, 29). Voz'mem dlya analiza sonet 15. 1. When I consider everything that grows 2. Holds in perfection but a little moment, 3. That this huge stage presenteth nought but shows 4. Whereon the stars in secret influence comment; 5. When I perceive that men as plants increase, 6. Cheered and check'd even by the self-same sky, 7. Vaunt in their youthful sap, at height decrease, 8. And wear their brave state out of memory; 9. Then the conceit of this inconstant stay 10. Sets you most rich in youth before my sight, 11. Where wastful Time debateth with Decay, 12. To change your day of youth to sullied night, 13. And all in war with Time for love of you, 14. As he takes from you, I engraft you new. Pervye dva katrena - eto pridatochnye vremeni, kotorye otnosyatsya k predlozheniyu, sostoyashchemu iz 9-j i 10-j strok. |ti pridatochnye svyazany bessoyuznoj sochinitel'noj svyaz'yu. Pervoe pridatochnoe po strukture slozhnopodchinennoe predlozhenie s sochineniem, prichem odno iz sochinennyh pridatochnyh imeet, v svoyu ochered', pridatochnoe predlozhenie. Stroki 5-8 - vtoroe pridatochnoe vremeni (slozhnopodchinennoe s odnim pridatochnym) k glavnomu predlozheniyu iz 9, 10, 11, 12-j strok. Final'noe dvustishie - eto slozhnoe predlozhenie, sostoyashchee iz odnogo prostogo i odnogo slozhnopodchinennogo predlozheniya. V sonete posledovatel'no razvivaetsya ideya o razrushayushchem, unichtozhayushchem dejstvii vremeni. Tematicheskoe edinstvo soneta podcherkivaetsya strukturoj i leksicheskoj anaforoj v pervyh strokah pervogo i vtorogo katrena i v sposobe svyazi dvuh katrenov s posleduyushchimi strokami (when-when-then). Inuyu kompozicionnuyu shemu predstavlyayut te sonety, v kotoryh pridatochnye predlozheniya (imeyushchie, v svoyu ochered', pridatochnye) raspolagayutsya posle glavnogo predlozheniya, k kotoromu oni otnosyatsya. Na pervyj plan vyhodit, takim obrazom, glavnaya, osnovnaya mysl' soneta, kotoraya postepenno razvivaetsya i utochnyaetsya. Voz'mem dlya primera sonet 68: 1. Thus is his cheek the map of days outworn, 2. When beauty liv'd and died as flowers do now, 3. Before these bastard signs of fair were born, 4. Or durst inhabit on a living brow; 5. Before the golden tresses of the dead, 6. The right of sepulchers, were shorn away. 7. To live a second life on second head; 8. Ere beauty's dead fleece made another gay: 9. In him those holy antique hours are seen, 10. Without all ornament, itself and true, 11. Making no summer of another's green, 12. Robbing no old to dress his beauty new; 13. And him as for a map doth Nature store, 14. To show false Art what beauty was of yore. Dannyj sonet - eto odno slozhnosochinennoe predlozhenie s podchineniem, v kotorom sochetayutsya slozhnopodchinennoe predlozhenie s sochineniem i podchineniem, zanimayushchee pervye vosem' strok, prostoe predlozhenie, zanimayushchee chetyre stroki, i slozhnopodchinennoe predlozhenie s odnim pridatochnym v poslednem dvustishii soneta. Samuyu slozhnuyu strukturu imeet pervyj komponent soneta. V pervoj stroke soneta vyskazyvaetsya glavnaya, osnovnaya dlya vsego proizvedeniya mysl': Thus is his cheek the map of days outworn, a potom postepenno vo vseh pridatochnyh predlozheniyah vremeni (stroki 2, 3, 4, 5, 6, 7, 8) raskryvaetsya znachenie slov: days outworn. Ves' sonet yavlyaetsya postepennym razvitiem odnoj tezy: drug, kotorogo opisyvaet avtor, voploshchaet vse luchshee, chto est' v prirode (1-ya i 11-ya stroki soneta). Takovy osnovnye strukturno-kompozicionnye varianty sonetov SHekspira. Dlya udobstva analiza my rassmatrivali tri gruppy sonetov, kotorye vydeleny po razlichnomu vneshnemu strukturno-sintaksicheskomu priznaku, t. e. po chislu samostoyatel'nyh zakonchennyh predlozhenij, sostavlyayushchih kazhdyj sonet, i v zavisimosti ot togo, na kakie stroki chashche vsego prihoditsya sintaksicheskij "shov". Mozhno obobshchit' vse vyyavlennye v otdel'nyh gruppah strukturno-kompozicionnye shemy, tem bolee, chto nekotorye iz nih universal'ny i vstrechayutsya v razlichnyh sonetah nezavisimo ot "prinadlezhnosti" k vydelennym gruppam. REZYUME Kak pokazyvaet issledovanie, sonety SHekspira ves'ma raznoobrazny po svoej sintaksicheskoj strukture, kotoraya po-raznomu sootnositsya so stroficheskim postroeniem soneta. V zavisimosti ot etogo sonety byli razbity na chetyre gruppy. Vnutri kazhdoj iz grupp, uchityvaya chislo predlozhenij i ih ob容m, vydelyaetsya neskol'ko modelej sintaksicheskoj struktury soneta. |ti modeli obuslavlivayutsya cel'yu vyskazyvaniya, i eta zavisimost' nahodit otrazhenie v opredelennoj aranzhirovke sintaksicheskih struktur, sluzhashchih sredstvom vyrazheniya soderzhaniya proizvedeniya. Kompozicionnyj priem - strukturnoe obramlenie (povtorenie shodnyh sintaksicheskih struktur, naprimer v pervom i tret'em katrenah) ukazyvaet na shodnoe soderzhanie etih katrenov i podkreplyaet eto shodstvo. Vo vseh rassmotrennyh gruppah sonetov vstrechaetsya sleduyushchaya strukturno-sintaksicheskaya kompozicionnaya shema soneta: v nachale proizvedeniya daetsya slozhnaya sintaksicheskaya struktura, kotoraya neset vsyu nagruzku predstavleniya i razvitiya temy soneta. Posleduyushchee predlozhenie razvivaet nekotorye polozheniya, vyskazannye v nachale proizvedeniya. Zaklyuchenie soneta, predstavlennoe v poslednem dvustishii, ukladyvaetsya v ramki eshche bolee prostoj sintaksicheskoj struktury. V ryade sonetov kompoziciya sintaksicheskih struktur idet po obratnomu puti. Posle prostogo - v sintaksicheskom otnoshenii - nachala proizvedeniya struktura vyskazyvaniya uslozhnyaetsya s razvitiem i utochneniem mysli. V nekotoryh sonetah strukturno-sintaksicheskoe postroenie proizvedeniya sozdaet priem retardacii. Tak, naprimer, postroeny te sonety, v kotoryh posle ryada pridatochnyh predlozhenij vremeni v prepozicii daetsya glavnoe predlozhenie, k kotoromu eti pridatochnye otnosyatsya. Strukturno-sintaksicheskaya organizaciya proizvedeniya mozhet podkreplyat' tematicheskoe chlenenie soneta. Tak, naprimer, pri strogo logicheskoj organizacii pervyh dvuh katrenov soneta sil'nee oshchutima emocional'nost' tret'ego katrena, sintaksicheskaya struktura kotorogo menee slozhna. UILXYAM SHEKSPIR. SONETY  Perevod A. Finkelya Avtor publikuemyh zdes' perevodov, professor Har'kovskogo universiteta Aleksandr Moiseevich Finkel' (1899-1968), byl raznostoronne odarennym chelovekom. Ego peru prinadlezhit svyshe polutorasta knig i statej po voprosam obshchego yazykoznaniya, lingvostilistiki, metodiki prepodavaniya russkogo yazyka, leksikologii, grammatiki, frazeologii i drugih lingvisticheskih disciplin. On byl pervym sovetskim lingvistom, napisavshim knigu o yazyke i stile V. I. Lenina (Har'kov, 1925). V soavtorstve s N. M. Bazhenovym on sozdal vuzovskij uchebnik "Sovremennyj russkij literaturnyj yazyk", neodnokratno pereizdavavshijsya v SSSR i za rubezhom (Kiev, pervoe izdanie - 1941 g., poslednee - 1965), "Uchebnik russkogo yazyka" dlya srednih shkol, kotoryj vyderzhal 19 izdanij (Kiev, pervoe izdanie - 1930 g., poslednee - 1959). Predmetom postoyannyh i plodotvornyh nauchnyh issledovanij A. M. Finkelya byla teoriya i praktika hudozhestvennogo perevoda. Ego pervaya stat'ya na etu temu poyavilas' v pechati v 1922 g. Za nej posledovali eshche dvadcat' rabot, sredi kotoryh - kniga "Teoriya i praktika perevoda" (Har'kov, 1929), vypushchennaya na Ukraine svyshe soroka let tomu nazad, no po sej den' ne utrativshaya svoej cennosti. V poslednie gody zhizni A. M. Finkel' rabotal nad novoj knigoj, podvodivshej itogi ego mnogoletnih issledovanij. V nej on stremilsya vyrabotat' i obosnovat' ob容ktivnye kriterii, na osnovanii kotoryh dolzhno opredelyat'sya kachestvo stihotvornogo perevoda. On skrupulezno sopostavlyal raboty mnogih perevodchikov. Odna ego stat'ya posvyashchena russkim perevodam "Zaveshchaniya" SHevchenko, drugaya - perevodam "Evrejskoj melodii" Bajrona, tret'ya - perevodam "Nochnoj pesni strannika" Gete, chetvertaya - 66-mu sonetu SHekspira v russkih perevodah. A. M. Finkel' byl ne tol'ko uchenym, no i poetom, v chastnosti odnim iz avtorov izvestnoj knizhki literaturnyh parodij "Parnas dybom" (pervoe izdanie - Har'kov, 1925, pereizdavalas' trizhdy). |tu knizhku ee sozdateli nazyvali "nauchnym vesel'em". I dejstvitel'no, smeshnye stihi o Sobakah, Kozlah i Veverleyah byli ne