2793

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

basses ronflant, de violons grinçant, de pistons trompettant, de flûtes et de flageolets qui piaulaient. Mais on entendit trois coups sur la scène; un roulement de timbales commença, les instruments de cuivre plaquèrent des accords, et le rideau, se levant, découvrit un paysage» / «Now the lights of the orchestra were lit, the lustre, let down from the ceiling, throwing by the glimmering of its facets a sudden gaiety over the theatre; then the musicians came in one after the other; and first there was the protracted hubbub of the basses grumbling, violins squeaking, cornets trumpeting, flutes and flageolets fifing. But three knocks were heard on the stage, a rolling of drums began, the brass instruments played some chords, and the curtain rising, discovered a coun- try-scene» [4*; P. II, Ch. 15].

This term is also synonymous with the chorus of sounds: «fuss, boo, hubbub (by which were accompanied, inter alia, unequal marriages and remarriages)» / «tapage, huées et chahut (que l'on faisait en particulier lors de mariages mal assortis ou de remariages)» [2**]. Thus, the irony of the onomastic form «Charbovari» consists in the fact that Charles’ character becomes the laughingstock of the whole society of Yonville («la société de

Yonville») due to his failed marriage with Emma, as once he was subjected to general mockery (or ridicule) in the classroom.

Thus, the character of Charles Bovary as a whole is an art image of a worthless and miserable husband (except for the final part of the novel [1, p. 122-123]), despite the fact that the name of Charles by itself seems to «have programmed» its bearer to become a «virile and valiant lover and spouse».

The name of the character by G. Flaubert does not trace any thematic associations, for example, with Charlemagne / Charles the Great (King of the Franks from 768–814) or Charles le Téméraire / Charles the Bold (Duke of Burgundy from 1433-1477)…

The carried out onomastic analysis of the linguistic system by G. Flaubert allowed to clearly trace the individual author’s anthroponymic associations within the text and beyond in order to create a multi-faceted and ambiguous art image.

One of the most inconspicuous art images in the novel is the character of the daughter of Charles and Emma Bovary. However, from the viewpoint of onomastics in the text this character is endowed with some diverse and far-reaching connotations.

The daughter Bovary character’s name – Berthe, as well as the onyms Charles, Emma and Rodolphe, has a Germanic origin and means «brillante» / «brilliant, shiny» or «lumineuse» / «luminous, bright» [1**].

The selection of the name for the child belongs entirely to Emma, choosing from the widest palette of different variants:

«Pendant sa convalescence, elle s'occupa beaucoup à chercher un nom pour sa fille.

D'abord, elle passa en revue tous ceux qui avaient des terminaisons italiennes, tels que Clara, Louisa, Amanda, Atala; elle aimait assez Galsuinde, plus encore Yseult ou Léocadie. / Charles désirait qu'on appelât l'enfant comme sa mère; Emma s'y opposait. On parcourut le calendrier d'un bout à l'autre, et l'on consulta les étrangers. / – M. Léon, disait le pharmacien, avec qui j'en causais l'autre jour, s'étonne que vous ne choisissiez point Madeleine, qui est excessivement à la mode maintenant. / Mais la mère Bovary se récria bien fort sur ce nom de pécheresse» / «Whilst she was getting well she occupied herself much in seeking a name for her daughter. First she went over all those that have Italian endings, such as Clara, Louisa, Amanda, Atala; she liked Galsuinde pretty well, and Yseult or Leocadie still better. / Charles wanted the child to be called after her mother; Emma opposed this. They ran over the calendar from end to end, and then consulted outsiders. / "Monsieur Leon," said the chemist, "with whom I was talking about it the other day, wonders you do not chose Madeleine.

114

It is very much in fashion just now." / But Madame Bovary, senior, cried out loudly against this name of a sinner» [4*;P. II, Ch. 3];

«Enfin, Emma se souvint qu'au château de la Vaubyessard elle avait entendu la marquise appeler Berthe une jeune femme; dès lors ce nom-là fut choisi» / «At last Emma remembered that at the chateau of Vaubyessard she had heard the Marchioness call a young lady Berthe; from that moment this name was chosen…» [4*; P. II, Ch. 3].

This name was decided on of pure snobbery of the eponym character because of its semantic consonance with the Middle Ages and the heroine of the French epic la reine Berthe au Grand Pied / Queen Bertha Broadfoot, wife of King Pépin le Bref / Pepin the Short (the founder of the royal Carolingian dynasty, 714/715-768) and the mother of Charlemagne / Charles the Great [3**]. In terms of mythology, the name evokes a legendary queen la reine Pédauque / the Reine Pédauque, whose sculptural representations are characteristic to the portals of many French churches. Further, this onym includes some value of the link between the world of the living and the spirit world: la reine de Saba / the Queen of Sheba, in the tales of which appears the mention of her legs ending with hooves that probably echoes the myth of some zoomorphic deity [3** ].

However, the reference of the name of the daughter of Emma and Charles to the art image of la reine Berthe au Grand Pied / the Queen Bertha Broadfoot is not limited to some elevated and mythopoetic connotations, being a much more obvious allusion to the assumed lack of beauty and attractiveness of the girl because of what her mother paid so little attention to her only child. Ironically (and the name is a certain proof of it) the little Berthe became the contrary to the aristocratically beautiful and «brilliant» image so much desired by

Emma.

With regard to the implementation of the author's intentions, the onomastic game by G. Flaubert confirms the gloomy tragic art image of the daughter of Charles and Emma

Bovary. Within the narrative the author seems to be obsessed with the idea of « defective legs» («la jambe défaillante»): first, a broken leg of old Rouault / père Rouault (it is important to mention that the grandfather Rouault / le grand-père Rouault lived in Bertaux which has a certain assonance with the name: «Berthe au…»); then – the broken away foot of the plaster statue of the curie into the garden of Tostes / jardin de Tostes:

«Dans les sapinettes, près de la haie, le curé en tricorne qui lisait son bréviaire avait perdu le pied droit et même le plâtre, s’écaillant à la gelée, avait fait des gales blanches sur sa figure» / «Under the spruce by the hedgerow, the curie in the threecornered hat reading his breviary had lost his right foot, and the very plaster, scaling off with the frost, had left white scabs on his face» [4*; P. I, Ch. 9].

But the most remarkable art image is the plain figure of a club-footed stableman

Hippolyte who had lost his leg which is perceived as a sign of loss of a certain life «support». Thus, in the finale of the novel Berthe Bovary, lost any support and disinherited, is forced to earn her bread by hard work at the spinning mill...

II. The Favorites of Madame Bovary

The character of Léon / Leon in the outline and the scenarios for the novel by G. Flaubert was first named «Léopold» or «Amédée» (among the erased variants the names of Adolphe and Henri were also presented). As a classic romantic «hero of a beloved»

(Amédée means «aimé» / «beloved»), he is a real «lion» with «golden lion's mane (hair)» / à la chevelure «d’or»: indeed, for the first time he appears in the novel such a figure:

115

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

«un jeune homme à la chevelure blonde […] le second habitué du Lion d’or» / «a young man with fair hair […] the second habitue of the "Lion d'Or"» [4*; P. II, Ch. 2].

The appearance of the character is very bright and noticeable:

«…elle le reconnaissait à sa chevelure frisée qui s'échappait de son chapeau»

/ «…she [Emma] recognised him by his curling hair that escaped from beneath his hat» [4*; P. III, Ch. 5].

In a figurative sense of the word, «un lion» / «lion» means «un jeune homme élégant, qui vit dans le luxe et l'oisiveté» / «elegant young man living in luxury and idleness» [2*], «un dandy» / «dandy», «un gandin» / « fop, toff».

The character of Léon Dupuis / Leon Dupuis throughout the narrative remains in the shadows, on the periphery of Emma's passion who easily dominates him in her desires: the initial syllable of the family naming Du- looks like the grammatical form of the French partitive article of masculine «du» having a value of appurtenance to somebody or something.

The naming and the description of the inn «Lion d'or» / «Golden Lion» - a place of the «romantic» first meeting of Emma and Leon - could not be more appropriate to the nature of the character:

«au-dessus de la grande porte de l’auberge, le vieux lion d’or, déteint par les pluies, montre toujours aux passants sa frisure de caniche» / «and above the big door of the inn the old golden lion, faded by rain, still shows passers-by its poodle mane» [4*;

P. II, Ch. 1].

However, Leon and Emma share the same tastes to reading novels, to the manifestation of «romantic» passion and, at least in the early of both episodes of their relationship Leon seems to Emma an extraordinarily beautiful and attractive ideal lover:

«…entre sa cravate et son cou, le col de la chemise, un peu lâche, laissait voir la peau ; un bout d’oreille dépassait sous une mèche de cheveux, et son grand œil bleu, levé vers les nuages, parut à Emma plus limpide et plus beau que ces lacs des montagnes où le ciel se mire» / «…between his cravat and his neck the somewhat loose collar of his shirt showed the skin; the lobe of his ear looked out from beneath a lock of hair, and his large blue eyes, raised to the clouds, seemed to Emma more limpid and more beautiful than those mountain-lakes where the heavens are mirrored»

[4*; P. II, Ch. 5];

«Jamais aucun homme ne lui avait paru si beau» / «No man had ever seemed to her so beautiful» [4*; P. III, Ch. 1].

So, it would seem in Emma's life there appeared that very «perfect lover» of whom she dreamed as of «a gift from above» feeling herself like:

«l’amoureuse de tous les romans, l’héroïne de tous les drames, le vague elle de tous les volumes de vers» / «She was the mistress of all the novels, the heroine of all the dramas, the vague "she" of all the volumes of verse» [4*; P. III, Ch. 5].

However, she was deluding herself for he was simply a coward and a scoundrel devoid of nobility, as well as all men around:

116

«il était incapable d'héroisme, faible, banal, plus mou qu'une femme, avare d'ailleurs et pusillanime» / «He was incapable of heroism, weak, banal, more spiritless than a woman, avaricious too, and cowardly» [4*; P. III, Ch. 6].

Thus, the character of Léon / Leon is far from the royal-like image of a «lion» gaining a mediocre essence of «bovin»: in the finale of the novel he married a girl named Léocadie Lebœuf, de Bondeville (although «Léo» is a kind of harmony with «lion», but «Leucade» - this is the name derived from the naming of the Greek islands, which means: «la blanche» / «white» and contains an allusion to the purity and chastity; the family name «Leboeuf» - from the French noun with the definite article, masculine «le boeuf» / «bull» - seems directly indicate that the «royal-like lion» came down to the ordinary level of «livestock»; the place name «Bondeville» of the value of its constituting parts: «bon - de - ville» may be interpreted as a «city of good/goodness»).

If the character of Leon Dupuis is too gentle and indecisive for the role of a fatal seducer, Rodolphe Boulanger is the most brutal seducer.

In the manuscripts of G. Flaubert he first appears under the nickname of le Capitaine / Captain, then under the name Théodore Boulanger.

The name Rodolphe has a German origin, where «Rod» means «gloire» / «glory» and «Wolf» - «loup» / «wolf» [1**]. Indeed, the qualities of a «wolf», a «hunter of prey» are inherent to the character along with the search for the «glory» of a provincial Don Juan («un Don Juan de province» [14]):

«…il était de tempérament brutal et d'intelligence perspicace, ayant d'ailleurs beaucoup fréquenté les femmes, et s'y connaissant bien» / «…he was of brutal temperament and intelligent perspicacity, having, moreover, had much to do with women, and knowing them well» [4*; P. II, Ch. 7];

«elle [Emma] s’enflammait à la vue de cette tête dont les cheveux noirs se tournaient en boucle vers le front hâlé, de cette taille à la fois si robuste et si élégante, de cet homme enfin qui possédait tant d'expérience dans la raison, tant d'emportement dans le désir!» / «she [Emma] was burning at the thought of that head whose black hair fell in a curl over the sunburnt brow, of that form at once so strong and elegant, of that man, in a word, who had such experience in his reasoning, such passion in his desires» [4*; 5*, P. II, Ch. 12].

In the aspect of intertextuality of aesthetic onomastics it should be mentioned a certain connection of the art image by G. Flaubert with the romantic hero of «The Mysteries of Paris» by E. Sue / Eugène Sue, «Les Mystères de Paris» Prince Rodolphe / le prince Rodolphe, an infallible fighter for justice and the welfare of people [7*]. The character of Rodolphe Boulanger is also positioning himself as a noble lord:

«… M. Rodolphe Boulanger de la Huchette […] Ce n'était point par vanité territoriale que le nouvel arrivant avait ajouté à son nom la particule, mais afin de se faire mieux connaître. La Huchette, en effet, était un domaine près d'Yonville, dont il venait d'acquérir le château ...» / «...Monsieur Rodolphe Boulanger of La Huchette

[…] It was not from territorial vanity that the new arrival added "of La Huchette" to his name, but to make himself the better known. / La Huchette, in fact, was an estate near Yonville, where he had just bought the chateau and two farms…» [4*; 5*, P. II, Ch. 7].

117

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

However, the metaphorical image of «grand seigneur», «le châtelain» / «the owner of the castle» in combination with the family name of Boulanger looks trivial, ignoble, vulgar: «Boulanger» - from French means « the baker» which refers to bread or, as an ironic metaphor - to the primary physiological needs of any human being in saturating the flesh.

Thus, in the name of Rodolphe (as in the name of Emma) is stated some pretension for nobility and aristocracy, but the family (original) name (Boulanger as Bovary) makes it completely impossible.

III. The Inhabitants of Yonville / Les Yonvillais

According to the author’s intention, the character of Homais is no less important than the art images of Charles and Emma Bovary (first of all, due to the subtitle of the novel Moeurs de province / Mœurs of Province). And if in the very sounding of the name Emma is contained the meaning «la femme» / «woman», in the family name Homais is an obvious semantic basis of «l'homme» / «a man» (while the family name base of Bovary has only an animal association).

In the manuscripts and the scenarios to the novel G. Flaubert indicates: «Homais vient de «homo», l’homme» / «Homais comes from the «homo», a man» [7*, p. 58]. This abstract

«man» («l'homme») is an average and generalizing: «someone», - in the French grammar expressed by an indefinite personal pronoun on (indicating an indefinite person or undefined group of individuals) as part of an impersonal construction «on dit» / «someone says» that is characteristic for public performances and/or for public expression, generalized and impersonal by the use of cliche, speech patterns, pedantry:

«…l'opinion publique le protège» / «…and public opinion protects him» [4*; P. III, Ch. 11].

The character of Homais says a lot, writes, discusses, he is characterized by a certain pretentiousness: he tends to shine for his eloquence, as evidenced by his obsessive way of use the terms in Latin and in English, as well as the «jargon»:

«L’apothicaire, autrefois, se fût bien gardé d’une telle expression; mais il donnait maintenant dans un genre folâtre et parisien qu’il trouvait du meilleur goût, et, comme Mme Bovary, sa voisine, il interrogeait le clerc curieusement sur les mœurs de la capitale, même il parlait argot afin d’éblouir les bourgeois, disant turne, bazar, chicard, chicandard, Breda-street, et Je me la casse, pour: Je m’en vais» / «The druggist would formerly have taken good care not to use such an expression, but he was cultivating a gay Parisian style, which he thought in the best taste; and, like his neighbour, Madame Bovary, he questioned the clerk curiously about the customs of the capital; he even talked slang to dazzle the bourgeois, saying bender, crummy, dandy, macaroni, the cheese, cut my stick and "I'll hook it" for "I am going"» [4*;

P. III, Ch. 6].

The art image of Homais by G. Flaubert represented a deeply hateful to the writer type of a false expert («un faux expert»), all-knowing and all over the mediocre, with pretensions to some artistic talent: by all means he was seeking an award - «la croix d’honneur» / «the cross of the Legion of Honour», in particular, for his literary works. In this sense, the character of Homais seems a kind of ridiculous «Homer» / «un Homère» in the «skull-cap» - literally, «bonnet grec à la main» / «skull-cap in hand» [4*; P. II, Ch. 4].

118

For the greater glory the pharmacist Homais regularly publishes articles in the local newspaper le Fanal de Rouen / the Fanal de Rouen, in particular the advertising article on the surgical experience by Monsieur Bovary:

«C'est ainsi que, mardi, notre petite cité d'Yonville s'est vue le théâtre d'une expérience chirurgicale qui est en même temps un acte de haute philanthropie. M. Bovary, un de nos praticiens les plus distingués...» / «Thus on Tuesday our little town of Yonville found itself the scene of a surgical operation which is at the same time an act of loftiest philanthropy. Monsieur Bovary, one of our most distinguished practitioners...» [4*; P. II, Ch. 11].

So, not having any outstanding merits or achievements, this character in his own way sets the tone in his town, skillfully manipulating public opinion: remember his struggle against «the blind man» / «l'aveugle» [4 *; P. III, Ch. 7], as well as his complete victory over the new doctors in the finale of the novel:

«… trois médecins se sont succédé à Yonville sans pouvoir y réussir, tant M. Homais les a tout de suite battus en brèche» / «…three doctors have followed one another at

Yonville without any success, so severely did Homais attack them» [4*; P. III, Ch. 11].

It is interesting to mention the names that Homais gave to his children: Napoléon,

Franklin, Irma and Athalie:

«M. Homais, quant à lui, avait en prédilection tous ceux qui rappelaient un grand homme, un fait illustre ou une conception généreuse, et c'est dans ce système-là qu'il avait baptisé ses quatre enfants. Ainsi, Napoléon représentait la gloire et Franklin la liberté ; Irma, peut-être, était une concession au romantisme; mais Athalie, un hommage au plus immortel chef-d'oeuvre de la scène française» / «As to Monsieur Homais, he had a preference for all those that recalled some great man, an illustrious fact, or a generous idea, and it was on this system that he had baptized his four children. Thus Napoleon represented glory and Franklin liberty; Irma was perhaps a concession to romanticism, but Athalie was a homage to the greatest masterpiece of the French stage» [4*; P. II, Ch. 3].

The taste for the bright and heroic names: of the General who became the great Emperor and of the creator of the new nation of the United States of America, as well as of the heroine of the tragedy by Racine, - indicates the passionate desire to be «a great man» / «un grand homme», by the words from the novel:

«le plus heureux des pères, le plus fortuné des hommes» / «the happiest of fathers, the most fortunate of men» [4*; P. III, Ch. 11].

Thus, by applying an artistic technique of ironic use of the onyms, G. Flaubert masterfully expressed his aversion to the human type who incarnates the character of Homais in the novel.

Another one noteworthy character is Monsieur Lheureux, «un marchand d'étoffes» / «the linendraper» [4 *;P. III, Ch. 2], among other things, being engaged in a variety of financial and pledge speculation. That was he who awakened the «desire of waste» in the soul of Emma:

119

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

«… elle acheta pour sa chambre une paire de rideaux jaunes à larges raies, dont M. Lheureux lui avait vanté le bon marché; elle rêva un tapis, et Lheureux, affirmant "que ce n'était pas la mer à boire", s'engagea poliment à lui en fournir un. Elle ne pouvait plus se passer de ses services» / «…she bought a pair of yellow curtains with large stripes for her room, whose cheapness Monsieur Lheureux had commended; she dreamed of getting a carpet, and Lheureux, declaring that it wasn't "drinking the sea", politely undertook to supply her with one. She could no longer do without his services» [4*; P. III, Ch. 4].

Like the pharmacist Homais, Monsieur Lheureux succeeds in everything: he was able to close Le Café français du père Tellier / cafe «France» of Pere Tellier, he forced Emma to get into large debts. In the fate of the eponym heroine the character of Monsieur Lheureux acts as a kind of seducer in the novel: he lures by flattering speeches, a disposing smile and false promises, while certainly making dishonest business.

From the point of view of the family name base meaning Lheureux is consonant with the French adjective «l’heureux» which means «happy» or a part of the noun «l’heure» / «hour».

So, Monsieur Lheureux has all the reasons to be happy: he is always successful in his machinations because he doesn’t feel the slightest sympathy for his victims whom he completely ruins.

In addition, the suicide of Emma Bovary, perhaps, to a greater extent, was due to her exorbitant debts rather than the unhappy love that looks like Lheureux had measured the hours of her life.

Another important in terms of developing the plot (though undoubtedly minor) is the character of Hippolyte Tautain.

The family name Tautain is one of the most common in Normandy (which once again confirms the realistic nature of the narrative).

The plain figure of a club-footed stable-boy all of a sudden becomes fatal for the relations of the spouses Bovary: for Charles - as a chance to become famous in the professional sphere through the implementation of a unique surgery, to Emma - as a reason to be proud of her husband.

And the pharmacist Homais acts as the initiator, a sort of seducer, who keeps talking about «an act of loftiest philanthropy» / «un acte de haute philanthropie» [4*; P. II, Ch. 11]:

«- Car, disait-il à Emma, que risque-t-on? Examinez (et il énumérait, sur ses doigts, les avantages de la tentative; succès presque certain, soulagement et embellissement du malade, célébrité vite acquise à l'opérateur» / «"For," said he to Emma, "what risk is there? See—" (and he enumerated on his fingers the advantages of the attempt), "success, almost certain relief and beautifying of the patient, celebrity acquired by the operator» [4*; P. II, Ch. 11].

And then it is possible to ascertain the full realization of the character's name inherent connotations in the novel: Hippolyte Tautain has the name with some mythical and biblical extra-textual associations.

First of all, there is a clear reference to the name of the son of Theseus / Thésée, the hero of Euripides / Euripide or Racine. The name «Hippolytos» comes from the Greek noun: «ἵππος» / «cheval» / «horse» and the verbal base: «λύω» / «délier, détacher» / «to free, to untie»; the hero of the myth Hippolyte / Hippolytus was cursed by his father and tragically died crashing on the rocks from his frightened horses who dragged their rider to his death [3**].

120

But even more the deplorable fate of the club-footed stable-boy subjected to a senseless operation to correct the turning of the foot, seems similar to the history of the martyr of Saint Hippolytus / le martyre de saint Hippolyte: St. Hippolytus was tied by the legs to the tails of wild horses and dragged through the littered with sharp stones and thorns earth [8*, p. 227-230]. Not without reason it has been said about his martyrdom by the character of Mere Lefrancois / la mère Lefrançois:

«… ils t'ont déjà bien assez martyrisé?» / «Haven't they tortured you enough already?» [4*;P. II, Ch. 11].

It was suggested that such a vivid and naturalistic description of the suffering of Hippolyte in the novel by G. Flaubert might have been inspired by a picture of the painter

François-Joseph Heim The Martyr of Saint Hippolytus / Le Martyre de saint Hippolyte which was being exhibited in the Cathedral of Notre-Dame from 1822 to 1862 [15].

According to another legend [8*, p. 227-230], St. Hippolytus with the Virgin Mary come to the aid of the poor farmer who had lost his leg in a fall of his carriage into the river, and the poor man was returned his lost limb.

An ironic association is traced when Emma (note that originally the name of Mary / Marie was intended to the character) offers to Charles to give a wooden leg to the unfortunate stableman after the amputation...

Thus, the scene with the surgical operation to straighten the club-foot of the stable-boy Hippolyte becomes one of the turning in the novel by G. Flaubert due to the fact that from that moment it becomes inevitable the tragic finale for the main character.

In case of success it was still possible to restore some tender feelings of Emma to Charles. The failure definitely made their rupture definitive and irrevocable, involving the married woman into low adultery which led her to moral collapse, debts and death.

IV. Some Toponymy of the Novel

Yonville-l’Abbaye is a place name invented by G. Flaubert. This toponym seems to be an allusion to Saint-Victor-l’Abbaye, the town in the neighborhood of Tôtes (spelling used in the novel «Tostes»), the location of the farm which owned the family of the writer [9*].

In the place naming Yonville it is possible to read again the indefinite personal pronoun «on» to mean «everybody», «general opinion», «stereotyped judgment» (as in the case of the name analysis of the character of Homais).

The suffix «ville» is one of the most common for the French toponymy; the initial «Y» may be an assonance to the ending of the family name Bovary, to the place names of Ry or

Vaubyessard or, at last, to the part of the noun «l’abbaye» / «Abbey» (it is noteworthy that

Emma was brought up in a convent where she took pleasure in reading novels).

Indeed, the word «l’abbaye» / «Abbey, monastery» is not only to give a reference to the place name of Saint-Victor-l’Abbaye, but it also may contain an allusion to the state of mind of the main character: Emma feels herself in Yonville (which naming reminds her

«noble» «Yverbonville») as if enclosed in a monastery:

«Jean-Antoine d’Andervilliers d’Yverbonville, comte de la Vaubyessard et baron de la

Fresnaye, tué à la bataille de Coutras, le 20 octobre 1587» / «Jean-Antoine d'Andervilliers d'Yvervonbille, Count de la Vaubyessard and Baron de la Fresnay, killed at the battle of Coutras on the 20-th of October, 1857» [4*; P. I, Ch. 8].

However, similar to the naming Yonville which lacks several morphemes as compared with Yverbonville (by the way, the missing syllable «verb» in French means «verbe» /

121

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

«verb», i. e. the expression of the action), at the given place of action of the novel no events of «romantic» love story take place in such a way as it was drawn up in Emma’s dreams.

La Vaubyessard also represents a fictitious place name invented by the author on the productive model [16]: the form base «Vau» (from the French: «val» / «Valley») is connected with the name «Biessard» - the real naming of a little farm near the village of Canteleu (like the famous Croisset where the writer worked in seclusion on his novel).

So, as the result of the comprehensive analysis of the anthroponymic and the toponymic systems of the novel «Madame Bovary» by G. Flaubert on the material of the names and the surnames of several minor characters, as well as of some key toponymy, carried out with the use of the methodology of the name-based text analysis of an art text aiming to fill in certain gaps in the field of the study of the creative onomasticon of the writer, it was established the following:

1)with all plenty of hypotheses (undoubtedly having the right to exist) on the origin and the meaning of the personal names and the toponyms and their values within the linguistic system «Madame Bovary» by G. Flaubert there is always a clear link with the overall aesthetic onymy and the ideological-and-factual canvas of the art works.

2)the names of the characters traditionally interpreted as the minor ones in the novel aimed in the focus of attention, first of all, demonstrate the close relationship with the nature of the art image, his/her history and the destiny in the narrative by some direct or indirect characteristics or ironic metaphors according to the author’s intention, as well as activate and draw up various interactions between the characters including some symbolic ones, from the point of view of the general ideological orientation of the novel: love affairs, ironic attitude of the narrator, tragic finale, etc.

3)there is a clear link and some kind of interdependence with the anthroponymic and the toponymic systems of the novel from the point of view of the sound combinations and the semantic associations: «bovin», «boeuf», «vache», «-ry», «-y-», «léon», «lion», «on» and so forth, - with a certain symbolic significance within the narrative representing «stupidity», «weakness», «vanity», «general nature of character/situation», etc.

In this case a complicated problem for a speaking another language recipient (in particular, a Russian-speaking) consists in impossibility to properly interpret the nuances of the proper names’ meanings within the novel by G. Flaubert without special philological reading, while in the original language all the aesthetic onyms without exception have been

«programmed» by the author at a certain emotional impact on the reader.

In the final analysis, the full range of aesthetic onymy of the novel «Madame Bovary» by G. Flaubert contributed to the formation and further development of such individual stylistic and aesthetic trends later qualified in literary criticism and linguistics as a particular style of «bovarysm» / «bovarysme» based on irony and dissonance between the preceded in literature romantic and illusory narrative and pure realism.

Thus, the name-based text analysis on the material of the aesthetic onymy of the literary text «Madame Bovary» by G. Flaubert contributed to revealing some creative ways of forming the writer’s onomasticon, as well as to disclosure of some methods and creative techniques of using aesthetic onyms as an artistic element realizing the ideological expressiveness of the art images according to the author's intentions.

A challenging direction for further research is the study of the aesthetic onomastics as a major form of encoding ideas and meanings of a literary text.

122

Bibliographic list

1.Merkulova N.V. Aesthetic Name-Based Text Analysis Methodology of a Literary

Text (on the material of the novel «Madame Bovary» by G. Flaubert) / N.V. Merkulova // Scientific Newsletter. Series: Modern linguistic and methodical-and-didactic research. – 2015. – vyp. 8 (11). – P. 94-107.

2.Pommier J. Noms et prénoms dans Madame Bovary. Essai d'onomastique littéraire, in Dialogues avec le passé. Études et portraits littéraires / J. Pommier. - Grasset, 1967. - P. 141-157.

3.Windels L. Déserts et Thébaïdes (suite). Essai d'onomastique autotextuelle, Flaubert. Revue critique et génétique [en ligne] // Flaubert et la traduction, sous la direction d'Agnès Bouvier, Ildikó Lörinszky et Loïc Windels / L. Windels. – 2011. - n°6. URL: http://flaubert.revues.org/1724 (vremja obrashhenija - 25.01.2016).

4.Daubert E. L'Invention des noms propres dans Madame Bovary / E. Daubert. URL: missiontice.ac-besancon.fr/.../3LES_NOMS_PR... missiontice.ac-besancon.fr (vremja obrashhenija - 23.03.2015).

5.Theory of literature [by] Rene Wellek and Austin Warren. – 3 d ed. New York Harcourt, Brace & World - A Harvest book, HB75. - 374 p. URL: Theory of literature / [by] Rene Wellek and Austin Warren ... trove.nla.gov.au/work/10084204 (vremja obrashhenija - 25.01.2016).

6.Butler, J.O. Name, Place, and Emotional Space: Themed Semantics in Literary Onomastic Research / J.O. Butler. PhD thesis, University of Glasgow, 2013. URL: http://theses.gla.ac.uk/4165/ (vremja obrashhenija - 02.02.2016).

7.Fomina Z.E. Meteorologicheskie poslovichnye primety s imenem svjatogo v nemec-kom lingvokul'turnom soobshhestve / Z.E.Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2015. – Vyp. 2 (26). – S. 129-146.

8.Alekseeva E.A. Imja sobstvennoe v aspekte otozhdestvlenija (na materiale francuzskogo jazyka) / E.A. Alekseeva // Filologicheskie nauki. Voprosy teorii i praktiki. Tambov: Gramota, 2013.- №12 (30). - Ch. 1. – S. 29-34.

9. Merkulova N.V. Themed Semantics of the French Literary Onomastics / N.V. Merkulova // Scientific Newsletter. Series: Modern linguistic and methodical-and- didactic research. - 2014. - Vyp. 2 (5). – P. 43-56.

10.Superanskaja A.V. Obshhaja teorija imeni sobstvennogo / A.V. Superanskaja. M.: Nauka, 1973. – 366 s.

11.Smith G.W. Names as Art: An Introduction to Essays in English / G.W. Smith // Onoma – Journal of the International Council of Onomastic Sciences, 2005. - № 40. - R. 7- 29.

12.Coates R. Some Consequences and Critiques of the Pragmatic Theory of Properhood / R. Coates // Onoma – Journal of the International Council of Onomastic Sciences, 2006. - №41. – R. 27-44.

13.Merkulova N.V., Motashkova S.V. Aesteticheskaia onomastika v hudozhestvennom texte i intertexte: osnovnye funkcii i problema perevoda [Aesthetic Onomastics in the Literary Text and the Intertext: the Main Functions and the Problem of Translation]: Моnographia. – Voronezh : Voronezhskij GASU, 2013. - 177 p.

14.Leclerc Y. Comment une petite femme devient mythique / Y. Leclerc. URL: flau- bert.univ-rouen.fr›etudes/mbmyth.pdf (vremja obrashhenija – 15.09.2015).

15.Edi Zollinger: Ecouter l’intervention d’Edi Zolliger «Hippolyte: réinterprétation flaubertienne d'un mythe antique» du 24 janvier 2009 lors du séminaire «Flaubert: Mythes, symboles et représentations/2008-2009». URL: http:// www. item.ens .fr/ index. php? id= 344199 (vremja obrashhenija - 01.02.2016).

123