ავტორის სახის მარკერები იმპერსონალურ თხრობაში (გაბრიელე დ' ნუნციოს

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: narrator, image, impersonal Narrative, Le Novelle della Pescara, D’Annunzio.

The author’s image, “the concentrated embodiment of the essence of the work” which “draws together the entire system of the linguistic structures of the characters in their correlation with the narrator or narrators, and thereby being the conceptual stylistic centre, the focus of the whole” (V. Vinogradov), the author’s point of view finds a very explicit expression in the prose in which the author uses objective, neutral narrative technique when not the author but the reader judges events and characters’ behavior. Eighteen short stories making up Gabriele D’Annunzio’s (1863-1938) collection “Le novelle della Pescara” (1902) about the life of the author’s native province, each with different themes and different characters are all united by the common provincial chronotope and narrative technique.

Unlike most of his counterparts of his time who were intruding upon a story with their own authorial opinions, comments and remarks, right after Gustave Flaubert and Giovanni Verga, D’Annunzio presents dispassionate impersonal observation of the reality, refusing to comment on the story or to pass judgment on his characters and events. But the objective, neutral method of narration does not mean that there is not a moral center in the fictional work, that an author’s image is absent in it. Even when the narrator remains a detached observer and tries his best to remain neutral, objective and impersonal telling only the action and dialogue or chooses to tell the story through various characters’ points of view, the authors image, his axiology never disappears from the text in which always can be found actualized indexical signs of the implied author.

The authors modality, his axiological values is inevitably present in any fictional work. “The author can to some extent choose his disguises, he can never choose to disappear” (W. Booth). We try to argue that in Gabriele D’Annunzio’s “Le Novelle della Pescara” there are some dominant and especially actualized markers, indexical signs expressing the character of the author’s image, its axiological aspects. In most of D’annunzio’s short stories the function of such markers is fulfilled by specific simile (for example, comparison of characters with beasts) belittling the characters and thus revealing the authors attitude to them. In some cases the author’s point of view is implicitly expressed by antiphrasis or ironic use of the titles of short stories (“The Hero”, “Idolater”, “The Marine Sergeants”).

In the short story “Mungià” a role of a marker of the narrator’s favorable attitude to the protagonist is performed by the use of such figures of speech as repetitions, anaphora and such kinds of simile which are characteristic for lyrical poetry. The function of the author’s point of view is performed as well by carefully selected details highlighting aimless and monotonous life of characters. Like Flaubert’s Félicité in his short story “A Simple Heart” for whom a parrot becomes her most important possession, the protagonist of D’Annunzio’s “Virgin Anna” is obsessed by a turtle. In D’Annunzio’s short story this detail (a turtle) acquires a symbolic meaning pointing beyond itself to the author’s point of view.

Occasionally, very rarely D’Annunzio violates his commitment to his objective narrative style by brief authorial intrusions. But in all of D’Annunzio’s short stories the main marker of an author’s image, a moral center of the narrator is first of all constructed by their chronotope representing particular worldviews of Pescara, the world of religious fanaticism, hidden sexual impulses and estrangement of a person from his own sense of self. The character of the space-time organization of the “Le Novelle della Pescara” clearly reflects the author’s point of view, a moral center of the collection, axiological values of the narrator. Gabriele D’Annunzio constantly reminds the reader that the characters, representatives of different various social strata of the society belong to the world of Pescara, to the place and time marked by permanent repetitiveness, by a lack of historic progress and movement forward.

In a short story “Virgin Ursula” D’Annunzio accentuates the fact that a life of the protagonist “passed lamentably and monotonously in three rooms, among the ugly little statuettes of saints and images of Madonna”. In “Virgin Anna” the author notes that “Anna lived in the house of her relatives and there she withered fulfilling hard duties and withstanding with great Christian humility all kinds of tortures”. The author makes it clear that a course of time does not change anything in the life of the protagonist. D’Annunzio leads his readers to the conclusion that the life of his characters is subordinated to a provincial life and it is impossible to disrupt its usual routine course.

At the same time it is obvious that by refusing to express directly his opinion about the life of his characters the author suggests that within the world of Pescara no perspective is possible. Instead of expressing his judgment and opinion in short stories, Gabriele D’Annunzio does so through the descriptions the monotonous life of characters and their thoughts and impressions trying his best to follow Flaubert’s ideal of objective narration.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 14 (2013), გვ. 260–265. ნაშრომის გახსნა