Особенности кульминации в произведениях Дика Френсиса "Reflex" и "Smokescreen"

Мы неоднократно встречались в тексте с эпизодами, когда герои каким-то образом узнают, предугадывают, провидят, просчитывают или предполагают возможные варианты развития — и они фактически работают как отдельные сюжетообразующие линии. В детективных романах Дика Фрэнсиса этот прием сильно развит — когда просчитываются версии. Соответственно, сразу идет расширение и временного, и географического пространства текста; и привлекаются дополнительные персонажи, которые могли быть задействованы в картине преступления. Например:
I wondered, reading it, how many people would believe just that. I wondered, remembering that mischievous smile, whether Katya could possibly even have set it up herself. She and Roderick, between them.
But she wouldn't have risked her life. Not unless she hadn't realized she was risking it [Francis Dick. Smokescreen].
I told him about George Millace. About the burglaries, the attack on Marie Millace, and the burning of their house. I told him about Elgin Yaxley and Terence O'Tree and the five shot horses: and I told him about the lovers. "George very carefully kept those oddments in that box," I said. "I've deciphered two of them. What if some of the others are riddles?
What if they all are?" "And all.." the basis for blackmail?" [Francis Dick. Reflex].
Кроме того, расширение может крыться в биографиях персонажей, за счет ретроспектив. Их предыстория (то, чем они занимались раньше, их взаимоотношения до начала непосредственного действия романа) сильно влияет на фактуру романа: прошлое героев зачастую весьма важно для того, что происходит сейчас. Но это далеко не все. Есть лирические отступления, пейзажные, этнографические, эстетические, культурные, философские и так далее. Роман — кроме полифонической структуры сюжета образует еще и полифоническую структуру текста. То есть автор дает огромное количество эстетически организованной информации, которая создает ауру романа. В произведениях Дика Фрэнсиса большое внимание уделяется описанию процесса подготовки и самых скачек.
A big race, a good horse, moderate opposition, and a great chance of winning. Such combinations came my way rarely enough to be prized, but I never liked to believe in them until I was actually on my way down to the post. Daylight, I'd been told, had arrived at the course safe and sound, and for me there was just the first race, a novice hurdle, to come back unscathed from, and then, perhaps, I would win the big Pattern "Chase and half a dozen people would fall over themselves to offer me the favourite for the Gold Cup [Francis Dick. Reflex].
Newmarket was Newmarket the world over. Stands, cards, horses, bookmakers; atmosphere of rush and purpose; air of tradition and order. All were much the same. I wandered across to the parade ring, where the runners for the first race were already walking round. Same little clumps of owners and trainers standing in hopeful conversations in the middle. Same earnest race-goers leaning on the rails and studying the wares.
Differences were small. The horses, to English eyes, looked slightly smaller-framed and had very upright fetlocks, and they were led round, not by white stable lads in their own darkish clothes, but by black stable-boys in long white coats. [Francis Dick. Smokescreen].
Или, например, это могут быть воспоминания о детстве героя:
As for me... the mists round my birth were there for the parting. The cataclysm which had echoed like a storm receding over the horizon through my earliest memories could at last be explained and understood. I could know what the shouting had been about behind the white painted door, while I waited in the hall in my new clothes.
I might in the event detest the man who'd fathered me. I might be horrified. I might wish I hadn't been told anything about him. But Jeremy was right. Given the chance.." one had to know [Francis Dick. Reflex].
Те же воспоминания о детстве мы прослеживаем и в романе «Smokescreen».
I had had a stepmother who loved her two previous children exclusively, and a busy father nagged by her to distraction. Nerissa, who had owned three horses in the yard where my father reigned, had given me first sweets, then pound notes, then encouragement, and then, as the years passed, friendship. It had never been a close relationship, but always a warmth in the background [Francis Dick. Smokescreen].
К кульминации автор подводит постепенно, с каждым новым открытием главный герой меняет версию совершения преступления.
В романе Reflex нагнетание напряжения происходит с помощью цитирования писем, шантажирующих людей, занимающих высокое положение в обществе. Филипп Нор узнает, что фотограф шантажировал большое количество людей, предлагая им «альтернативный вариант» развития событий и оставлял свои письма им на пленках в виде негативов.
Dear Elgin Yaxley, I am sure you will be interested in the enclosed photograph. As you will see, it clearly contradicts a statement you recently made on oath at a certain trial.
I am sure that the Jockey Club would be interested to see it, and also the police, the judge, and the insurance company. I could send all of them copies simultaneously.
I will ring you shortly, however, with an alternative suggestion.
Yours sincerely, I George Millace [Francis Dick. Reflex].
В романе «Smokescreen» главный герой анализирует, кому выгодно такое положение дел и приходит к выводу, что это – племянник его тетушки Нериссы Данило.
'It's so insubstantial,' I said with frustration. 'Mostly a matter of chance remarks and impressions, and terribly few facts. Well- for one thing, Danilo was around the horses when they started doing badly. Their jockey told me Danilo was in Africa then, in June, for a fortnight, which must have been just after he had stayed with Nerissa, because he talked about having seen her. After that he presumably went back to the States for a while, but the horses went on losing, so obviously he was not doing the actual stopping himself. It's difficult to see how he could ever have the opportunity of doing it himself, anyway, but he seems to have an understanding with Arknold's head lad: and I'll admit that all I have to go on there is the way they look at each other. Danilo never guards his face, by the way. He guards his tongue, but not his face. So suppose it is Barty, the head boy, who is arranging the actual fixing, with suitable rewards from Danilo.' [Francis Dick. Smokescreen].
Кульминация романа разворачивается в тот момент, когда Данило приезжает посмотреть, оставил ли Линк (Эдвард Линкольн) улики против него. Смерть Линкольна должна выглядеть как несчастный случай. То, что его заперли в машине в наручниках, выглядит как реклама фильма, потому что в фильме есть такие кадры. Единственная улика против Данило может быть запись Эдом всего происходящего. Ему сообщили, что у Эдда в машине имеется ручка и блокнот. Это ему сообщили для того, чтобы он приехал к машине и раскрыл себя. Такой сценарий разоблачения придумал сам главный герой романа.
Danilo drove up beside me and stopped where the station wagon had been.
I pressed the buttons taped within reach on the steering column.
I put all the actor's art I had into looking not far from death: and didn't have to elaborate all that much on what I knew of the real thing. A couple of vultures had conveniently flapped and spiralled down, and now perched on a nearby tree like brooding anarchists awaiting the revolution. I eyed them sourly, but Danilo was reassured [Francis Dick. Smokescreen].
Решив сжечь все улики, Данило спокойно удаляется, оставив Эдда умирать одного в машине.
He put the keys in his pocket, shut the door on me, and without another glance, drove heartlessly away [Francis Dick. Smokescreen].
В это время появляются полицейские машины и коллеги Эдда по работе – сценаристы.
In time, four cars rolled back into the reflection in the driving mirror, and stopped in a cluster round my car. Evan and Conrad's estate wagon. A chauffeur-driven car with van Huren. Two police cars; the first containing, I later discovered, their photographer and their surgeon; the second, three senior police officers- and Danilo Cavesey.
They all stood up outside the cars; a meal and a half for any passing pride of lion. Wild animals, however, kept decently out of sight. Danilo outdid them all for savagery [Francis Dick. Smokescreen].
Весь разговор Данило с Эдом был записан на видео.
Conrad fished his best tape-recorder out from under the car and unhitched the sensitive microphone from just inside the door frame.
'Everything you said here,' he echoed, with equal satisfaction, 'we recorded Link switched on the recorder, when you came.' [Francis Dick. Smokescreen].
Последнее предложение является финальным в романе. Полиция арестовывает виновника всех преступлений.
The police produced a pair of handcuffs of their own, and put them on Danilo, who had gone blue-white under the sun-tan [Francis Dick. Smokescreen].
В романе Reflex главный герой заставляет Лэнса Киншипа выдать полиции поставщика наркотиков, написав его имя и адрес на листке бумаги и подписав его. Тем самым Филипп Нор имеет на руках документ, который позволит ему держать в руках этого распространителя наркотиков и раскрыть целую сеть наркоторговцев.
Sit down." He sat by one of his glass and chrome coffee tables, looking totally dazed. He wrote a name and address on the notepad.
"And sign it," I said casually. "Sign..." "Of course. Just your name." He wrote: Lance Kinship. And then; underneath, with a flourish, added "Film Director." "That's great," I said, without emphasis. I picked up the pad, reading what he'd written. A foreign name.
An address in London. One tentacle under the axe.
I stored away in a pocket the small document that would make him sweat next year.." and the next, and the next. The document that I would photograph, and keep safe [Francis Dick. Reflex].
Но кульминацией романа можно по праву считать последние мысли героя:
Neither my life nor George Millace's would ever sway the fate of nations, but our actions could change the lives of individuals; and they had done that.
The dislike I'd felt for him alive was irrelevant to the intimacy I felt with him dead. I knew his mind, his intentions, his beliefs. I'd solved his puzzles. I'd fired his guns [Francis Dick. Reflex].
Филипп Нор завершил благородное дело, начатое фотографом Джорджем Миллесом.
ЗАКЛЮЧЕНИЕ
Изучив теоретический и практические материал на заданную тему, мы достигли следующих результатов:
Рассмотрена стилистику текста;
Изучtys особенности и законы построения художественного текста и его анализ;
Проанализироваys особенности детективного произведения Дика Фрэнсиса – герои и сюжет;
Произведен сравнительный анализ кульминаций в анализируемых произведениях.
Материалом для исследования послужили романы дика Фрэнсиса Reflex и Smokescreen.

СПИСОК ИСПОЛЬЗОВАННОЙ ЛИТЕРАТУРЫ
1. Виноградов В.В. О языке художественной прозы. Избранные труды. М., 1980. С.228-229.
2. Винокур Г.О. Об изучении языка литературных произведений // О языке художественной литературы. М., 1991. С. 229.
3. Горшков А.И. Русская стилистика. М., 2001. C.277-309.
4. Кожина А.Н., Крылова О.А., Одинцов В.В. Функциональные типы русской речи. М., 1982.
5. Костомаров В.Г. Наш язык в действии. М., 2005. С.22.
6. Литературный энциклопедический словарь. М., 1987.
7. Лотман Ю.М. Анализ поэтического текста. Л., 1972. С.15
8. Новиков Л.А. Лингвистическое толкование художественного текста. М., 1979. С.8.
9. Одинцов В.В. Стилистика текста. М. 1980.
10. Полищук Г.Г. Семантико-стилистический анализ поэтических текстов // Вопросы стилистики. Вып. 24. Саратов, 1992. С.8.
11. Щерба Л.В. Избранные работы по русскому. М., 1957. С.97.

СПИСОК ИСПОЛЬЗОВАННЫХ ИСТОЧНИКОВ
1. Francis Dick. Reflex. Pan Macmillan. 2007. 265 p.
2. Francis Dick. Smokescreen. Penguin USA. 291 p.











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