30. Прочитайте уривок з роману е. Бронте «Грозовий перевал». Дайте відповіді на запитання та виконайте завдання:

1. Дайте визначення роману. Вкажіть жанрові особливості, що відрізняють роман від інших прозових жанрів.

2. Вкажіть функції розповідача в художньому творі. Чим розповідач як суб`єкт оповіді відрізняється від автора та оповідача?

3. Як в даному уривку моделюється простір дії та загальна атмосфера роману?

4. Яким у свідомості розповідача постає головний герой Хіткліф? Проаналізуйте монолог Хіткліфа та його поведінку.

5. Визначте ознаки романтичної естетики в даному фрагменті.

Emily Brontё

Wuthering Heights

<…> I obeyed, so far as to quit the chamber; when, ignorant where he narrow lobbies led, I stood still, and was witness, involun-arily, to a piece of superstition on the part of my landlord, which relied, oddly, his apparent sense. He got on to the bed, and trenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of tears. Come in I come in! " he sobbed. " Cathy, do come. Oh, do – once morel Oh! my heart's darling 1 hear me this time, Catherine, at last I " The spectre showed a spectre's ordinary caprice: it gave no sign of being; but the snow and wind whirled wildly through, even reaching my station, and blowing out the light.

There was such an anguish in the gush of grief that accom­panied this raving, that my compassion made me overlook its folly, and I drew off, half angry to have listened at all, and vexed at having related my ridiculous nightmare, since it produced that agony ; though why, was beyond my comprehension. I des­cended cautiously to the lower regions, and landed in the back-kitchen, where a gleam of fire, raked compactly together, enabled me to rekindle my cancjle. Nothing was stirring except a brindled, grey cat, which crept from the ashes, and saluted me with a queru­lous mew.

Two benches, shaped in sections of a circle, nearly enclosed the hearth; on one of these I stretched myself, and Grimalkin mounted the other. We were both of us nodding, ere any one invaded our retreat, and then it was Joseph, shuffling down a wooden ladder that vanished in the roof through a trap: the ascent to his garret, I suppose. He cast a sinister look at the little flame which I had enticed to play between the ribs, swept the cat from its elevation, and bestowing himself in the vacancy, commenced the operation of stuffing a three-inch pipe with tobacco. My presence in his sanctum was evidently esteemed a piece of impu­dence too shameful for remark: he silently applied the tube to his lips, folded his arms, and puffed away. I let him enjoy the luxury unannoyed; and after sucking out the last wreath, and heaving a profound sigh, he got up, and departed as solemnly as he came. <…>

31. Прочитайте уривок з роману е. Бронте «Незнайомка з Вайлдфел-Холу». Дайте відповіді на запитання та виконайте завдання:

1. Дайте визначення роману. Вкажіть жанрові особливості, що відрізняють роман від інших прозових жанрів.

2. Визначте особливості оповіді від першої особи в художньому творі. Як присутність розповідача визначає читацьке сприйняття?

3. Визначте типи портретних описів, наведених у даному уривку. Доведіть, що портрет є засобом психологізму.

4. Зверніть увагу на велику кількість порівнянь в портретних описах Елізи, Мері та преподобного Мілуорда. Визначте їх функції.

5. Визначте ставлення розповідача до героїв.

6. Яким чином опис зовнішності героїв поєднується з їх морально-психологічною характеристикою?

Anne Brontё

The Tenant of Wildfell Hall

Now, Halford, before I close this letter, I'll tell you who Eliza Millward was; she was the vicar's younger daughter, and a very engaging little creature, for whom I felt no small degree of partiality; and she knew it, though I had never come to any direct explanation, and had no definite intention of so doing, for my mother, who maintained there was no one good enough for me within twenty miles round, could not bear the thoughts of my marrying that insignificant little thing, who, in addition to her numerous other disqualifications, had not twenty pounds to call her own. Eliza's figure was at once slight and plump, her face small, and nearly as round as my sister's – complexion something similar to hers, but more delicate and less decidedly blooming – nose, re­trousse – features, generally irregular – and, altogether, she was rather charming than pretty. But her eyes – I must not forget those remarkable features, for therein her chief attraction lay – in out­ward aspect at least; they were long and narrow in shape, the irids black, or very dark brown, the expression various, and ever chang­ing, but always either preternaturally – I had almost said diabolic­ally – wicked, or irresistibly bewitching – often both. Her voice was gentle and childish, her tread light and soft as that of a cat; but her manners more frequently resembled those of a pretty playful kitten, that is now pert and roguish, now timid and demure, according to its own sweet will.

Her sister, Mary, was several years older, several inches taller, and of a larger, coarser build – a plain, quiet, sensible girl, who had patiently nursed their mother through her last long, tedious illness, and been the housekeeper, and family drudge, from thence to the present time. She was trusted and valued by her father, loved and courted by all dogs, cats, children, and poor people, and slighted and neglected by everybody else.

The Reverend Michael Millward, himself, was a tall, ponderous, elderly gentleman, who placed a shovel-hat above his large, square, niassive-featured face, carried a stout walking-stick in his hand, and encased his still powerful limbs in knee-breeches and gaiters – or black silk stockings on state occasions. He was a man of fixed principles, strong prejudices, and regular habits, intolerant of dissent in any shape, acting under a firm conviction that his opinions were always right, and whoever differed from them must be either most deplorably ignorant, or wilfully blind.