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It was an autumn time [8, p.62].

It was in July, on the twenty-eighth day [8, p.37] day.

As you will go furtively on the eleventh day of August on pilgrimage to Ise, along the road we will make a condition with him/ So, on the eleventh day! [4*, p.4041].

The second year of Teikyo, January. On the night of the twenty-second day the lovers play khobikinava – they are pulling «a happy string» [4*, p.53].

What else could we do ? The days were passing by, the «wrong time» has come – an autumn rain season [4*, p. 63].

And so, yesterdaythey are the living people, today they are just dew on the place of an execution in Avadaguti... Only the dream which one had at the dawn of the twenty-second day of the ninth month [4*, p.76].

On The deep night of the twenty-eighth of December the house caught fire. [4*, p.78]

The seventh day of January passed when «seven varieties of new herb are picked for a darling», the ninth day went by and after it the tenth, eleventh ... It is already the evening of the fourteenth day! Today the pine-trees days are coming to an end everything «went away in vain as a dream! [4*, p.81].

The story "The story of a lonely woman’s amorous adventuresis a kind of of an inhabitant «of jolly quarters». The heroine tells about her life, reproduces it in parts. In the work the narrative is made from the first-person , there isa feeling that it is a diary or the notes on the moments of a heroine's life presented to a reader . Her life passes in front of a reader, a hetaera’s inner world, her thoughts, the feelings open up. Therefore, we are observing the subjective time which represents most inner time firmly linked to perception of the world, experiences of a heroine. The time side in a story of "History of amorous adventures of a lonely woman" is subordinated to a cause effect relation. More important in a work the role of subjective time is, the greater importance is being given to a cause effect relation of events, the more independent the time from objective time.

Objective time and the chronological dating in a story "The story of a lonely woman’s amorous adventures " are observed only in mention of certain celebrations, ceremonies available in the calendar and seasonal features.

The prosaic works of Ueda Akinari, one of the last classical author of literature of feudal Japan, as well as the works of his contemporaries and works of the future generations of Japanese authors, do not carry any traces of the diary and essay prose founded in the Kheian epoch. Literature ceases to be human and monocentric, the story is led from the third party , historical consciousness and «objective» time go to a secondary plan, an ever more explicit transfer from real time to the artistic time takes place. A «line» of «subjective» time not sometimes related to the time of the outside world is drawn in the works. In a text of the works adverbs and descriptions of time are found ever more often: Someday, once upon a time, long time ago, in the antiquity, before, now, before these times, yesterday, this afternoon, the other day, etc.

Once «they talked too long about cases past and about things of the present time of

[5*, p.395].

A person named Takeske Oja [5*, p.424] lived once in Mivagasaki, which is located in the province of Kiya.

Long time ago a monk of high virtues named Kaian lived [5*, p.442].

So day after day Syotaro spent… [5*, p.423].

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In the antiquity a certain monk stayed for a night in the house about which the bad rumors went around [5*, p.444].

Next morning Toyoo set off to the temple of Yamato [5*, p.437].

Despite the clearly revealed inner, «artistic» time, the events which one can be precisely defined in time are found in the classical prosaic compositions of Japanese writers. The Presence of two time models Artistic and objective one is observed in such worksThe events of the story by Ueda Akinari (1734-1809) "Night lodging in cane" take place in the 13th century: The author is narrating about life of heroes in the period of internecine wars.

In That year, in the summer of Kyotoku's rule, the Kamakura governor of Sigeudzi quarreled with counsellor Uesugi and the warriors of Uesugi burned completely the palace of the governor completely [5*, p.405].

In the second year of Kansyo's rule a irebellion in Kavati, one of the capital provinces, began. The leaders of the kin of Khatakeyama fought there deadly in the internecine battle. It became disquiet Around the capital. In the spring awful pestilence broke out. Piles of corpses laid in the streets of the capital, the souls of people fell into gloom of hopelessness [5*, p.407].

It is quite natural that if the events of a work are indissolubly linked to historical events that occurred in Japan in the certain time l period and are important for a historical chronicle, their chronological fixation will be realised. At the same time the composition of the text "The night lodging in cane" does not represent the sequence where the text time is created in accordance with a course of events in real time, which was typical for diary prose of the Kheian epoch. Ueda Akinari was born three centuries after the events described in his work.

In accord with the similar principle the works of authors of both the twentieth century and our contemporaries are built.

For example, in the story by Akutagavy Ryunoske (1892-1927) "Loyalty" the story is told about Itakure Katsutosi, the head of the department of palace complexes. Itakura’s famly was one of the most famous, the datings of significant historic events are found in a work more than once:

Sigemune’s younger brother – Mondo Sigemasa – successfully fulfilled the mission of a personal representative of the shogun at armistice negotiations during a siege of the Osaka castle in the nineteenth year of the Keityo era and then in the fourteenth year of the Kanei era, during the Simabar rebellion he became the head of western troops and, having defeated rebels, placed the shogun’s flag in the headquarters of conquered Amakusy [6*, p.31].

It was The [10, p.33] end of the third moon of the fourth year of Enkyo .

That year on the first day of the eighth moon a celebration of a new harvest was announced in the shogun's palace... [6*, p.35].

…In the beginning of the fifth moon the mascot was received from the temple of Aidzenin in Gyorane as a present, it was customary to hang it out on the gates [6*, p.42].

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On seventh day after Khosokavy's death, the twenty-second day, the high-ranking official of a secret inspectorate, the ruler of a land Tosa Isikava announced Itakure a sentence in the name of the shogun... [6*, p.47].

In accordance with author’s designations of «objective» time the reader can easily imagine at what time of a historical chronicle these or other events occurred. But in many other works of a writer an «artistic» time prevails which is expressed descriptively or by temporal adverbs:

In those days Loyan was a blooming city, it did not know any other cities equal to Loyan in all the Celestial Empire [6*, p.171].

Since those times nobody, at least in the palace, spoke anything bad about Yosikhide

[6*, p.155] any more.

And then it was the dark moonless night [6*, p.148].

Yesterday Takekhiro with my daughter set out to Vakasu [6*, p.220].

Thus , before an emergence of literature where an author's personal attitude towards occurring events prevails, poetic and historical consciousness depended on and subordinated to a timeline, the time of the historical consciousness dominated in writing culture . The texts related to Buddhism, the temple chronicles, collections of Buddhist myths acquired form of a historical narrative. They abounded in dates of the rule of emperors, dates of important historical events, i.e. they were told in historical and calendar time, namely in objective time.

But with an appearance of vividly expressed author consciousness a transition from real time (objective) to art one (subjective ) occurred.

Artistic time (subjective one) is the «inner» time of the work where the emotions and perception of the world by characters may not relate to time of the outside world. The Presence of the author’s consciousness also speaks about the tendency of introversion and the reduction of perception of time in literary monuments. In such texts the chronological dates give up to event dates, temporal dialects prevail.

Nevertheless the tradition of dating the certain events which is important for a historical chronicle, arising from the first literary anthologies of Japan did not become anachronism and continues even in modern Japanese literature.

There are many works where a certain event can be clearly determined in time, but the accent is made on the emotional experience of the main hero, and the time of the subsequent events may be defined only in a comparison to other events in a text. The time "objective" seemingly defines the course of the "interior" time, which can be named «time» syncretism which is a characteristic to classical works by Japanese authors.

Bibliographic list

1.Meshherjakov A. N. Drevnjaja Japonija: kul'tura i tekst. – SPb.: Giperion, 2006. – S. 113.

2.Meshherjakov A. N. Proza Hjejana: dvujazychie i dvusmyslennost' // Slovo i obraz. Novoe v japonskoj filologii. – M.: MGU, 1990. – S. 148-156.

3.Glaveva D. G. Tradicionnaja japonskaja kul'tura: Specifika mirovosprijatija. – M.: "Vostochnaja literatura" RAN, 2003. – 264 s.

4.Fomina Z.E. Urbanisticheskaja priroda i ee hudozhestvennoe otrazhe-nie v prostranstve juzhnogo goroda: real'noe i mnimoe (na materiale novelly G. Gesse “Die Fremdenstadt im Süden”) / Z.E.Fomina //Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta.

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Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2007. – vyp. 7 – S.8-23.

5.Fomina Z.E. Prolegomeny «Veseloj nauki» Fridriha Nicshe i specifika ih metaforicheskoj kategorizacii / Z.E. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2013. – vyp. 3 (27). – S. 32-50

6.Goregljal V. N. Dnevniki i jesse v japonskoj literature X—XIII vv. – M.: Nauka, GRVL, 1975. – 386s.

7.Markova V.N., Konrad N. I., Sanovich V. S. (per) Povest' o prekrasnoj Otikubo; Zapiski u izgolov'ja, Zapiski iz kel'i; [per. so starojap.]. – M.: Jeksmo, 2014. – 656 s.

Analyzed sources

1*. Ermakova L. M., Meshherjakov A. N. (per.) Nihon sjoki. Annaly Japonii. – SPb.: Giperion, 1997. – S. 234 - 247.

2*. Sjej Sjonagon. Zapiski u izgolov'ja: Izbrannye stranicy / Per. so starojap. V. Markovoj. – SPb.: Izdatel'skij Dom «Azbuka-klassika», 2006. – 304 s.

3*. Nidzjo. Neproshenaja povest' / Per. I. L'vovoj. – M., 1986. – 107 s.

4*. Ihara Sajkaku. Pjat' zhenshhin, predavshihsja ljubvi: Novelly / Per.s japon. – SPb.: Azbuka, 200. – 288 s.

5*. Ujeda Akinari. Luna v tumane. – M.: Pravda, 1988. S.447.

6*. Akutagava Rjunoskje. Vorota Rasjomon: Rasskazy, jessje / Per. s jap. – SPb.: Azbuka, Azbuka-Attikus, 2012. – 320 s.

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

UDC 81’373.232:82-31:811.133.1

Voronezh State University

of Architecture and Civil Engineering, Ph.D. of Philology, Associate Professor Associate Professor of the Foreign Languages Department

Nadezhda Vyacheslavovna Merkulova e-mail: ndvv@mail.ru

N.V. Merkulova

THE PROCESS OF AESTHETIC ONYMY INVENTION AS A MEANS OF ART IMAGES EXPRESSIVENESS

(based on the novel «Madame Bovary» by G. Flaubert)

The article investigates the aesthetic onymy invention process in the novel

«Madame Bovary» by G. Flaubert in order to determine the symbolic correspondences between the onomastic units and the referred art images within fiction. The subject of the study are the names of the minor characters, as well as some of the place names of the novel. The relevance of the work is due to the need for a comprehensive analysis of the onomastic system of the novel. The scientific novelty consists in carrying out the name-based text analysis of the novel by G. Flaubert taking into account the perception and the interpretation of the onyms by Russianspeaking readers/researchers.

The analysis of the empirical data, carried out with the use of the methods of investigation of the name-based text analysis of an art text, contributed to fill in certain gaps in the field of the study of the creative onomasticon of the writer. The study established a clear link with the overall aesthetic onymy and the ideological- and-factual canvas of the works by means of combination of the sounds and the semantic associations which have some symbolic value in the novel («bovin», «boeuf», «-ry», «on», etc).

Keywords: aesthetic onomastics, onymy, anthroponym, toponym, namebased text analysis, minor character, novel, Flaubert

A thorough and comprehensive study of literary characters’ proper names significantly contributes to the understanding of the meaning and the details of the deployment of the narrative. The previous study presented the onomastic analysis of the linguistic system «Madame Bovary» by G. Flaubert on the example of the eponym heroine’s name and of the central male characters’ names which revealed that the aesthetic onyms become an important component of the communicative context in the process of art communication, i. e. some

«speaking» elements of the text [1, p. 105]. To ensure a multifaceted and multidimensional approach to the investigation of the problems this paper offers a further appeal to some other onomastic units of the novel, which are mainly regarded as some minor ones, what, however, does not detract from their role and their importance from the ideological and the substantive point of view. Indeed, the novel «Madame Bovary» by G. Flaubert offers a gallery of realistic images and of the names of its time, as well as of some actually existing place names in province Normandy mixed with the invented by the author ones by analogy with the reality such as Yonville-l’Abbaye or Les Bertaux [1*].

___________________

© Merkulova N.V., 2016

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The focus of the present study is aimed to reveal the invention process of the aesthetic onymy in the novel «Madame Bovary» by G. Flaubert according to the author's intentions.

The main objective is to identify and to explain the symbolic correspondences of the onomastic units in the novel in relation to the art images of the named characters and to their role in the overall ideological-and-factual canvas of the art work. The subject of the study are the names and the surnames of the characters, habitually interpreted as some minor ones, as well as some of the key toponyms of the novel.

The relevance of the work is due to the need for a comprehensive and complete analysis of the onomastic system of the art work by G. Flaubert in its complex: anthroponymy and toponymy of the novel, - based upon the linguistic-and-aesthetical, linguistic-and-cultural, symbolic-and-suggestive potential of aesthetic onyms within fiction.

Despite the presence of certain works of scientists dedicated to the topic in France [2; 3; 4], the aspect of scientific novelty of the present study is to carry out a partial onomastic analysis of the art work in order to identify and to describe in detail the individual characteristics and the creative specificity of onomastics by G. Flaubert based on the perception and the interpretation by the Russian-speaking readers/researchers. In the course of the investigation the methodology of the name-based text analysis of an art text was applied which supposed the involvement of such techniques as semantic, etymological, linguistic-and- stylistic, linguistic-and-aesthetical, linguistic-and-cultural analysis based on the textual and the intertextual interpretation.

The review of the names in a literary text is a clear confirmation that the process of aesthetic onymy invention requires a masterful work with semantic elements, because «language is the material of literature, just as the stone or bronze - the material of sculpture, the paints - to create pictures and the sounds - for composing music» [5].

The onyms as any other artistic element of the text are, no doubt, endowed with a certain symbolic component that requires analysis in a broader context: from the text of the art work to the intertextuality.

It is impossible to calculate a single algorithm of the functional relationship between the aesthetic onyms and other aspects of a literary text. When considering the semantic effect of aesthetic onyms we must take into account all the thematic and ideological nuances, originally laid in the basis of the art work.

Proper names within fiction in their complex are characterized by various types of semantic connotations due to their ability to accumulate some historically and spontaneously occurring nuances of meaning, associatively assigned to one or other onym regardless of the context [6; 7].

Thus, the skill and the creativity of the author may be manifested not only in the description of the artistic reality, but also in the process of naming some of its elements, which focuses on a specific reader’s response in the form of some implicit emotional reactions on the basis of the onomastic form and its symbolic component that can encompass the nominal nature of the work.

So, in modern literary criticism and linguistics, it is a clear trend of the onomastics interpretation in the context of art creativity in terms of precedent names [8] which allows the description by the only mention of an onym without any additional explanations or comments.

Obviously, this approach is not undisputed to be applied to the aesthetic onomastics, but the common characteristic of proper names within fiction is a set of some referential values, enclosed in the symbolic representation of the nominal shape and able to connote in a certain way in a specially organized context. In addition, in the process of the art narrative deployment the increasing of the characteristic potential of the aesthetic onyms by disclosure of some additional nuances of meaning is possible. In this sense, the aesthetic onyms are able to act as a «topos», created through symbolic links of thematic or stylistic nature,

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depending on the characteristics in the spheres of their functioning [9, p. 69]. The ability of the aesthetic onyms to the attainment of the associative characteristics enables them to act as a referential marker of a literary text with a high connotative-and-expressive potential, particularly in the creation of imagery.

The main contradiction is the fact that the basis of the general theory of onomastics is the assertion of some semantic reduction of proper names: «... the proper name … does not transfer any properties or characteristics of the referent» [10]. However, the most important feature of the onyms in a literary text is determined by the very essence of the aesthetic (literary) onomastics: «Literary onomastics differs from the traditional onomastics principally because any literary study analyzes the work of art and therefore is designed to take into account the artistic function of language more than its forms» [11, p. 10]. An aesthetic onym always has a certain component of the denotative values coming from the semantic identification by means of its representative qualities and characteristics [12, p. 28].

In other words, the aesthetic onyms with their high semantic potential can act as a kind of semantic links through linguistic and extra-linguistic associations in the text and beyond, as well as by the heuristic perception.

All the categories of proper names within fiction without exception serve as a means of psychological influence, coming from the author to the recipient (the reader) and are able to require certain perception of the art images and provoke the expected reaction to those or other actions of the characters and the plot under the influence of the semantic background inherent in any real name that illustrates the example of the study of the aesthetic onymy within the linguistic system «Madame Bovary» by G. Flaubert.

There is even a proof of this in the modern French novel: leaving in a boundless intertext field, the name of Flaubert itself goes into the category of aesthetic onyms as a symbol of «the French literature greatness» and «the high skill of the writer» (as well as the pretentious meaning: «an indicator of a good taste» of his talent admirer):

«I have received the «Unpublished Chronicles» by Guy de Maupassant, a unique of its kind book with a preface by Pascal Pia. [...] / First article is called «An Evening with Flaubert». The remarkable thing. Portrait of Gustave Flaubert at work. «He is sitting in a deep oak chair with a high back, hunching his shoulders. [...] / He is working with stubborn fury, writes, crosses out, squeezes between the lines, gets on the field, depicts the words across the page, and by the strongest mental stress moans like a lumberman» [2 *, p. 106-107].

As for the name of the eponym heroine of the novel by G. Flaubert, there is a clear indication of the author on the origin of this naming:

«Quand j’ai fait Madame Bovary, [...] Tous les pharmaciens de la Seine-Inférieure, se reconnaissant dans Homais, voulaient venir chez moi me flanquer des gifles; mais le plus beau (je l’ai découvert cinq ans plus tard), c’est qu’il y avait alors, en Afrique, la femme d’un médecin militaire s’appelant Mme Bovaries et qui ressemblait à Madame Bovary, nom que j’avais inventé en dénaturant celui de Bouvaret» / «When I finished the novel «Madame Bovary», [...] All pharmacists of Lower Seine, finding themselves in the art image of Homais, would find me and slapped me in the face; but the most remarkable (as I found out five years later), is that in Africa there lived a wife of a military doctor named Mme Bovaries, similar to my Madame Bovary, whose name I invented by distorting Bouvaret» [3*].

In more detail the question of the genesis of the main onym of the novel «Madame Bovary» by G. Flaubert was considered in the monographic study [13, p. 107-110].

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In this paper, the focus of attention is aimed at the onyms of the characters habitually interpreted as some minor ones.

All the multi-level system of onomastics in the novel «Madame Bovary» by G. Flaubert may be conditionally divided into several groups: I. The Family Bovary; II. The Lovers of Madame Bovary; III. The Inhabitants of Yonville; IV. Some Toponymy of the Novel.

I. The Family Bovary

Despite the importance of the male image, in terms of onomastics in the novel the character of Charles Bovary always remains a minor one, because the very title of the art work indicates the only eponym and main character - Madame Bovary. Monsieur Bovary is to be content with the role of one of the most ambiguous and controversial characters what may be revealed, in particular, through his naming.

The name «Charles» is derived from the Germ. «viril» / «courageous», «fort» / «strong»,

«vigoureux» / «powerful», «mari» / «husband», «époux» / «spouse», «campagnard» / «villa ger» [1**]. Indeed, at the beginning of the story, Charles is as follows:

«…un gars de la campagne […] plus haut de taille qu’aucun d’entre nous» / ...a country lad [...] taller than any of us» [4*; P. I, Ch. 1];

«il n’avait guère d’élégance dans les tournures» / «he had little finish in composition» [4*; P. I, Ch. 1];

«son père le laissait courir sans souliers, et, pour faire le philosophe, disait même qu'il pouvait bien aller tout nu, comme les enfants des bêtes» / «his father let him run about barefoot, and, playing the philosopher, even said he might as well go about quite naked like the young of animals» [4*; P. I, Ch. 1];

«il [son père] avait en tête un certain idéal viril de l'enfance, d'après lequel il tâchait de former son fils, voulant qu'on l'élevât durement, à la spartiate, pour lui faire une bonne constitution» / «he [his father] had a certain virile idea of childhood on which he sought to mould his son, wishing him to be brought up hardily, like a Spartan, to give him a strong constitution» [4*; P. I, Ch. 1];

«Aussi poussa-t-il comme un chêne» / «Meanwhile he grew like an oak» [4*; P. I, Ch. 1].

As a result, he has gained all but ostentatious masculinity and pretentiously elegant manner:

«Il ne savait ni nager, ni faire des armes, ni tirer le pistolet, et il ne put, un jour, lui expliquer un terme d’équitation qu’elle avait rencontré dans un roman. / Un homme, au contraire, ne devait-il pas, tout connaître, exceller en des activités multiples, vous initier aux énergies de la passion, aux raffinements de la vie, à tous les mystères?» / «He could neither swim, nor fence, nor shoot, and one day he could not explain some term of horsemanship to her that she had come across in a novel. / A man, on the contrary, should he not know everything, excel in manifold activities, initiate you into the energies of passion, the refinements of life, all mysteries?» [4*; P. I, Ch. 7].

The family name «Bovary» invariably evokes the idea of a kind of animal, of a wild part of the character’s essence: the French term «une bouverie» / «cowshed, byre» means the notion of «étable à boeufs; il se dit particulièrement des étables qui sont dans les environs des marchés publics» / «cowshed; especially in relation to the byres near the public

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markets»; the meaning of the word «un bouvard» / «young bull, steer» or «calf», figuratively and familiarly: «se dit d'un homme extrêmement robuste, et dont la taille annonce la force» / «refers to the extremely strong person whose appearance demonstrates the strength» [2**]. It should also be noted that the last syllable of the family name «Bova-ry» is conformable with Ry - we are talking about the naming of the village - the family patrimony of Delamare / the Delamares, who served as the prototype for the characters of G. Flaubert [3*].

In particular, the writer will turn once again to the family names with the same consonance («à consonance bucolique») for the novel «Bouvard et Pécuchet» / «Bouvard and Pecuchet» characters: the family name «Bouvard» clearly brings back to «Bovary», both on the value of the common root «le bovin» / «bull» and on the semantics of association «le bavardage» / «babbling», «le babil» / «(children's) babble»; also, the family name «Pécuchet» may be derived from the Latin words: «pecus, pecoris», - which mean «troupeau» / «herd» or «bétail» / «livestock», as well as probably derived from the Latin: «pecus, pecudis» within the meaning of «personne grossière et violente» / «rough and hottempered nature», «homme stupide» / «silly, stupid man» [5*].

So, Charles is «le bouvard de Ry» / «young bull from Ry» or «le bouvard d’y – d’ici» / «a young bull from local (provincial)», and the French pronominal adverb «y» may be an initial letter of the name of the village Yonville.

In the description of the character the following down-to-earth traits are sometimes referred:

«Il [Charles] suivait les laboureurs» / «He [Charles] went after the labourers» [4*;

P. I, Ch. 1];

«il porte un couteau dans sa poche, comme un paysan!» / «he carried a knife in his pocket like a peasant» [4*; P. II, Ch. 5].

Once meeting Mlle Emma at Monsieur Rouault’s house he unintentionally slightly touched the girl:

«elle se redress[e] toute rouge et le regard[e][…] en lui tendant son nerf de bœuf [sa cravache]» / «She drew herself up, scarlet, and looked at him over her shoulder as she handed him his whip» [4*; P. I, Ch. 2].

After the marriage, each time he is going riding on the country roads to his patients, the G. Flaubert’s character is «re-thinking» about «his happiness»: in the original the author uses the verb «ruminer», which means «to think about carefully, going over in the mind» or

«chew the cud (for ruminants)», thus again giving the allusion to the similarity of the character with «a bull in the field»:

«Charles, à cheval, lui envoyait un baiser; elle répondait par un signe, elle refermait la fenêtre, il partait. Et alors, sur la grande route qui étendait sans en finir son long ruban de poussière, par les chemins creux où les arbres se courbaient en berceaux, dans les sentiers dont les blés lui montaient jusqu’aux genoux, avec le soleil sur ses épaules et l’air du matin à ses narines, le cœur plein des félicités de la nuit, l’esprit tranquille, la chair contente, il s’en allait ruminant son bonheur, comme ceux qui mâchent encore, après dîner, le goût des truffes qu’ils digèrent» / «Charles from horseback threw her a kiss; she answered with a nod; she shut the window, and he set off. And then along the highroad, spreading out its long ribbon of dust, along the deep lanes that the trees bent over as in arbours, along paths where the corn reached to the knees, with the sun on his back and the morning air in his nostrils, his heart full of the

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joys of the past night, his mind at rest, his flesh at ease, he went on, re-chewing his happiness, like those who after dinner taste again the truffles which they are digesting» [4*; P. I, Ch. 5].

Even Charles’ moving to Yonville is not accidental, since the borough - in French «le bourg» - with the initial syllable repeating the already known sounding «une bouverie» /

«cowshed, byre», - in addition, has a figurative description:

«… le bourg paresseux, s'écartant de la plaine, a continué naturellement à s'agrandir vers la rivière. On l'aperçoit de loin, tout couché en long sur la rive, comme un gardeur de vaches qui fait la sieste au bord de l'eau» / «…the lazy borough, growing away from the plain, has naturally spread riverwards. It is seem from afar sprawling along the banks like a cowherd taking a siesta by the water-side» [4*; P. II, Ch. 1].

Besides, even the name of the mayor of the city of Yonville Tuvache contains an obvious allusion to the French word «vache» / «cow», as if in the course of the general theme of «rural animals» which began with Bovary.

On the other hand, in the name of Charles is read a clear consonance with the word

«charlot» / «not serious person», «fool» derived from Provençal: «charla» which means «chatter» and has an onomatopoeic form basis «tšarl-» expressing the sound of the words in the speech stream - babbling («un babil»). This noun goes into the category of proper names

- «Charlot», a diminutive form of the name Charles on the basis of its secondary etymology: it is indistinct and comic nature which is inherent to the character who at the beginning of the novel is not able to introduce himself other than «articulating in a stammering voice an unintelligible name»: «Charbovari» [4*; P. I, Ch. 1].

In this distorted and truncated naming of the character in the scene describing his first day at school - «Charbovari» - later it is traced as if provoked by this the chain of his life events - «un charivari» / «noise, hubbub, din»:

«Ce fut un vacarme qui s’élança d’un bond, monta en crescendo, avec des éclats de voix aigus (on hurlait, on aboyait, on trépignait, on répétait: Charbovari ! Charbovari !), puis qui roula en notes isolées, se calmant à grand’peine, et parfois qui reprenait tout à coup sur la ligne d’un banc où saillissait encore çà et là, comme un pétard mal éteint, quelque rire étouffé» / «A hubbub broke out, rose in crescendo with bursts of shrill voices (they yelled, barked, stamped, repeated "Charbovari! Charbovari!"), then died away into single notes, growing quieter only with great difficulty, and now and again suddenly recommencing along the line of a form whence rose here and there, like a damp cracker going off, a stifled laugh» [4*; P. I, Ch. 1].

The very term «un charivari» meaning «un concert où se mélangent les sons discordants et bruyants d'ustensiles de cuisine entrechoqués, de crécelles, de cris et de sifflets, qu'il était d'usage d'organiser pour montrer une certaine réprobation devant un mariage mal assorti ou la conduite choquante d'une personne» / «cacophony of clumsy and noisy sounds of cooking utensils beats, rattles, whistles and shouts, which suits a sign of disapproval for an unequal marriage or some human provoking behavior » [2**], appears only in the second part, when Charles and Emma Bovary come to the performance of the opera

Lucie de Lammermoor / Lucia de Lammermoor:

«Cependant, les bougies de l’orchestre s’allumèrent; le lustre descendit du plafond, versant, avec le rayonnement de ses facettes, une gaieté subite dans la salle; puis les musiciens entrèrent les uns après les autres, et ce fut d’abord un long charivari de

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