Система часопросторових координат у романі Агати Крісті "Нескінченна ніч"

Abstract

У статті аналізуються часопросторові відношення у структурі роману Агати Крісті «Нескінченна ніч». Виокремлено часові моделі (добовий, календарний, біографічний, психологічний, легендарний час) та визначені його функції в архітектоніці художнього тексту письменниці. Доведено, що сюжетна лінія роману будується на паралелізмі та протиставленні, аналогіях і символізмі. Відкритий топос та хронотоп дороги є координатою спрямованої на чужий локус небезпеки, яка призводить до неминучої смерті.

The paper analyzes the temporal and spatial relations in the structure of Agatha Christie’s novel «Endless Night». The time models (diurnal, calendar, biographical, psychological, legendary) have been singled out and their functions in the architectonics of the literary text of the writer have been identified. It has been proved that the plot of the novel is based on both parallelism and opposition, analogy and symbolism. The novel itself is created on the principle of «a story inside the other story», where the fate of two lovers (Michael and Greta), penetrating into the fate of other people (Ellie), do not coexist, but evolve into a new substance (the love of Ellie and Michael). The legendary time of the Gypsy court acquires concrete forms, and, mingling with prophecy, turns into a tragic reality at the end of the plot line of the novel. The writer deliberately chooses time markers with a seme of completion and extinction: sunset, autumn, dead autumn leaves, twilight leaves hair-colour as a sign of fading charm and predestination. As a result, a number of analogies have been identified and analyzed: the cycle character of the events succession in the plot of the novel and the natural cycle; the fate of the girl and the fate of the bird; a saddled horse and the regulated type of freedom, given to the female protagonist; the doom of the heroine and the fading nature of autumn or the fading of the day. The artistic space is characterized by locality and limitedness. The artistic space, created in the novel, from infinity and immeasurability transforms into a clearly defined locality of the house with a mystical past. The protagonist tries to break through the created boarders surrounding her, by means of the equestrian walks, like a free bird, dying in freedom. Thus, the meaning of the open space is reconsidered: openness brings a fatal meeting with Michael, which leads to the death of the main character. The open topos and the chronotope of the road transform into danger-holding coordinates, leading to the alien locus and the imminent death.