Учебное пособие 1860

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leader, dynast) [1**], - gives all the possible preconditions for assuming an outstanding art image;

2) on the other hand, this personal name (largely due to the «courageous masculine» phonetic form with multiple «strong»/«solid» sounds and the noble meaning) is suitable not only for a representative of the bourgeois class (which the protagonist represents in the novel), but also for the real dynasts and crown princes: «Many of the crown princes of monarchs dynasties had the name of Frederick, for example, Frederick II, King of Prussia, named the Great (17401786)» (translated by the author of the article) [2**, р. 170].

In this aspect, the choice of such a personal name for the protagonist somewhat echoes the tendency of G. Flaubert's other texts – for example, the novel «Madame Bovary», where the name of the eponym character Emma is also a noble personal name [21, p. 482], not suited for the low status of a provincial doctor's wife with a disingenuous surname. The situation of combining a personal name with the family name Moreau is not as controversial as in the aforementioned novel: the surname of the main character is absolutely aesthetically neutral and, integrally inscribed into the stylistic framework of the realistic art work, does not contain neither negative nor positive connotations (which is somewhat similar to the neutral surname of Rouault, both in the absence of any connotative meanings, and in accord with the phonetic form on the basis of a partial coincidence of the sound-letter composition). It should be especially emphasized the realistic approach of the author to anthroponyms and the toponyms in the novel: another one coincidence with reality is the presence in Nogent-sur-Seine of a family really named Moreau (like the existence of a real prototype of the eponym character of the novel «Madame Bovary» [10, p. 110]), - is the creative credo of the realistic writer, who wanted to give the most significant degree of expressiveness to the aesthetic proper names and the art images of the novel by means of all the possible stylistic devices. Moreover, the created art image is autobiographical, because G. Flaubert at one time also studied law in the capital:

(1)«Un jeune homme de dix−huit ans …» / «A young man of eighteen ...»

[3*/4*, P. I, Ch. 1];

(2)«M. Frédéric Moreau, nouvellement reçu bachelier, s’en retournait à Nogent- sur-Seine, où il devait languir pendant deux mois, avant d’aller faire son droit » / «Frederick Moreau, having just taken his Bachelor's degree, was returning home to Nogent -sur -Seine, where he would have to lead a languishing existence for two months, before going back to begin his legal studies » [3*/4*, P. I, Ch. 1].

Adding the word «М. (Monsieur)» in the original text during the presentation of the main character brings a sense of belonging to a particular «social environment, or historical reality: the protagonist is socialized, he is part of a certain society within which he has a civil title»: a «social code» is being implemented [8, p. 432]. The connotative-and-expressive potential of the aesthetic anthroponym is strengthened due to the fact that the character named as a whole

«pleiad of outstanding statesmen of Medieval Europe: ... Emperors of the Holy Roman Empire

Frederick I Barbarossa (1122-1190) and Frederick II Staufen (1194-1250), the Saxon PrinceElectors of Frederick I (1370-1428) and Friedrich II The Gentle (1412-1464), King of Prussia Frederick II the Great (1712-1786)», in the Catholic calendar «in Latinized form of Fredericus

(Frederic) ... three saints ... : Bishop Frederick of Liège (May 27), Bishop Frederick of Utrecht (July 18) ...)» [3 **], - at the end turns out to be so realistically mediocre, inactive and immoral.

Jacques Arnoux : the personal name of the character has a very extensive etymology: «JACQUES (Saint), LE MAJEUR, Jacobus, Jacob (the holy) Elder, one of the twelve apostles, martyred in Jerusalem in the 1-st century, patron of hatters and millers… St. James, nicknamed the Elder (the oldest by age), in order to distinguish him from another apostle with the same name, who became bishop in Jerusalem, was born in Bethsaida, Galilee. He was the brother of St. John the Evangelist. His father Zebedee was a fisherman, his mother Salome was

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one of the holy women who prepared the body of the Savior for burial. The Gospel says that Jesus Christ, passing along the lake of Galilee, saw James and John, his brother, sitting with their father in a

boat and engaged in repairing of nets, and only told them to follow Him, as they obeyed at the same moment» (translated by the author of the article) [2**, р. 218].

In the French language, the form of the male personal name Jacques was perceived somewhat different from the Old Testament Jacob, forming numerous derivatives: diminutive – obsolete Jacquemin, Jacquou, Jacquot, Jacquet, Jacquelin, Jacquelyn, Jacquelinet, Jacquin Jacquinet from the biblical roots and entering (along with the nationally-marked name of Jean) in the original old French onomastic repertoire. Thus, the connection on the personal name with its peasant roots from the first lines is illustrated by the character’s passions:

«…il s’avança jusqu’au bout, du côté de la cloche, - et, dans un cercle de passagers et de matelots, il vit un monsieur qui contait des galanteries à une paysanne, tout en lui maniant la croix d’or qu’elle portait sur la poitrine» / «He went on till he reached the end at which the bell was; and, in the centre of a group of passengers and sailors, he saw a gentleman talking soft nothings to a country-woman, while fingering the gold cross which she wore over her breast» [3*/4*, P. I, Ch. 1]

The realization of the etymologically embedded into the Flaubertian character’s personal name meanings takes place at the joint point of the initial signification and its characteristics by means of the French idiomatization:

1) since in various European translations of the Bible, the transmission of the name of the Old Testament Jacob and the names of the New Testament apostles did not coincide somewhat, another etymology is possible: from the ancient Hebrew name (Jacob) – «holding on to the heel» (according to the Old Testament, the patriarch Jacob was born, holding the heel of his elder twin brother Esau) [4**]; the second son of Isaac and Rebekah, Esau's twin brother bought Esau's birthright from scratch, fought with an angel, for which he received the name

Israel [5**];

2) the name with the ancient Hebrew etymology «aqeb»/«talon» («heel») contains some hidden allusions to the essence of the art image which can be revealed thanks to the presence in the French language of more than 40 idiomatic expressions with the word «talon» («heel»), mostly of common colloquial (conversational, familiar), stylistically negatively colored use [6**] (to illustrate it, the most eloquent expressions suitable for describing the essence of the character are selected from the list):

-pretentiousness, impudence of a man without innate taste and true manners: ne pas se moucher du talon - iron. to consider oneself an important person; ne pas arriver au talon de qn

-cannot (is not fit to) hold (show) a candle to smb., smth.; smb. is not fit to tie the shoelaces of smb.; smb. is not fit to black smb.'s boots; talon rouge - red heels, a courtier in royal France, fam. colloq. a man pretending to be elegant, to good manners, a dandy;

-lightheadedness, frivolity, irresponsibility, stubbornness, recklessness: marcher [être] sur les talons de qn — to follow close on somebody's heels; montrer [tourner] les talons — took <was ready to take> to his heels, to turn on one's heel and walk away; dès que je tourne les talons... — as soon as I turn my heels...; aviez-vous les yeux aux talons? — where were your eyes?; ce qu'il a à la tête, il ne l'a pas au talon — got <took> it into one’s head that...;

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avoir l'esprit aux talons — to be reckless, to act rashly, doesn't have a brain in one’s

head;

-immorality, low moral standards in the relationship (usually referred to women, but best suited to characterize the male art image created by G. Flaubert): avoir les talons trop courts - fam. colloq. have a soft place in heart for…, have a weakness for…, have a soft spot for someone; femme aux talons ronds - push-over, pushover;

-weakness: talon d'Achille – Achilles’ heel, a point or area that is particularly weak or vulnerable; cowardice, chicken-heart: faire tête du talon - fam. colloq. show a clean pair of heels; cruelty - mettre le talon sur qn - put the heel on sb, humiliate someone; cunning, hypocrisy: tirer des soupirs de ses talons - deeply and feigningly sigh, pretend to be saddened, etc.

Let's turn to the description of the character in the novel:

(1)«C'était un gaillard d'une quarantaine d'années, à cheveux crépus. Sa taille robuste emplissait une jaquette de velours noir, deux émeraudes brillaient à sa chemise de batiste, et son large pantalon blanc tombait sur d'étranges bottes rouges, en cuir de Russie, rehaussées de dessins bleus» / «He was a jovial blade of forty with frizzled hair. His robust form was encased in a jacket of black velvet, two emeralds sparkled in his cambric shirt, and his wide, white trousers fell over odd -looking red boots of Russian leather set off with blue designs» [3*/4*, P. I, Ch. 1];

(2)«La conversation roula d'abord sur les différentes espèces de tabacs, puis, tout naturellement, sur les femmes…

Il était républicain ; il avait voyagé, il connaissait l'intérieur des théâtres, des restaurants, des journaux, et tous les artistes célèbres , qu'il appelait familièrement par leurs prénoms…» / «The conversation, at first, turned on the various kinds of tobacco, then quite naturally it glided into a discussion about women…

He was republican in his opinions. He had travelled; he was familiar with the in - ner life of theatres, restaurants, and newspa pers, and knew all the theatrical celebrities, whom he called by their Christian names…» [3*/4*, P. I, Ch. 1];

(3)«D'après ses manières avec Arnoux, on pouvait, selon Frédéric, la supposer sa maîtresse.

− "Ah! bah! il en a d'autres! "» / «According to Frederick, one would imagine from her manners with Arnoux that she was his mistress .

- "Pshaw! he has others!"» [3*/4*, Р. I, Ch. 4].

The art image of Jacques Arnoux is undoubtedly one of the most important in the novel in view of the closest relationship with the protagonist: their lives and destinies are interconnected, and the «romantic» hero Frédéric is seeking for a friendship of such an immoral Arnoux to gain the favor of his wife and he even shares his mistress with him, so that the energetic, but empty and ineffectual activity of Arnoux is as useless as the total inaction of Moreau. The family name Arnoux (like the surname Moreau) is aesthetically neutral and fits neatly into the requirements of the aesthetic direction of realism. The number of the syllables and the letters, as well as the sound combination of the family names of both characters make possible to put an equal sign between the two given male art images of the novel: Arnoux = Moreau, which emphasizes the commonality of the characters.

Mari е Arnoux: the main woman art image of the novel, despite the absence of any bright characteristic traits, gets the highest degree of expressiveness due to the extremely significant from the philosophical, religious and cultural points of view personal name:

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«For us, the Christians, she lives in Heaven, where she is revered as God's mother, who is an all-powerful intercessor with her Son; on earth, she is venerated above all the saints, she is the patroness of all who suffer and pray. In every church in the altar there is her representation in the best decoration ; she reigns in every village dwelling; peasant children revere her as a second mother » (translated by the author of the article) [2**, р. 277].

Moreover, this aesthetic anthroponym of biblical origin is able to maintain its root connotations in various languages and cultures without losing them (with the exception of certain transformations and additional connotations within the changing contexts) in the aspect of intertextuality and in terms of diachrony, thanks to a firmly established etymology:

«Maria - from the ancient Jewish Mariam (Mariamna)[from the ancient Jewish m-r-y-m, - perhaps, beloved, desired; this word, written in Semitic texts with the help of some consonants, was read (voiced) in the 7-th century in the biblical texts as Miryam, and in the Gospel texts as Mariam (Maryam) or Maria]; Arab. Maryam(u); Gr. Maria; Lat. Maria; Eng. Mary, Germ. Marie; Fr. Marie; Ital. Maria; Eng. abbr., caress. Moll(y), Polly; Fr. caress. Marion, Manon; Rus. colloq. Марья, abbr. Маня, Маша, Мара, Муся,

Маруся, Мура» [7**, p. 312-313].

From the point of view of using the personal name of the main woman character, it acquires a kind of sacred meaning:

1) the heroine’s personal name revealing is preceded by an exalted description of the external «angelic, heavenly» beauty of the character (without a shade of vulgarity):

«Ce fut comme une apparition:

Elle était assise, au milieu du banc, toute seule; ou du moins il ne distingua personne, dans l'éblouissement que lui envoyèrent ses yeux… Elle était en train de broder quelque chose; et son nez droit, son menton, toute sa personne se découpait sur le fond de l'air bleu » / «What he then saw was like an apparition.

She was seated in the middle of a bench all alone, or, at any rate, he could see no one, dazzled as he was by her eyes... She was in the act of embroidering something; and her straight nose, her chin, her entire person was cut out on the background of the luminous air and the blue sky » [3*/4*, P. I, Ch. 1].

2) further, R. Barthes’ «detective» code is traced, when the beautiful and sublime woman art image seen by Frédéric’s eyes intrigues the reader:

«Quels étaient son nom, sa demeure, son passé ?.. Il la supposait d'origine andalouse, créole peut−être; elle avait ramené des îles cette négresse avec elle?» / «What was her name, her place of residence, her life, her past ?.. He assumed that she must be of Andalusian descent, perhaps a Creole: had she brought this negress across with her from the West Indian Islands?» [3*/4*, P. I, Ch. 1].

2) then, appears as if it were an «inappropriate», mundane naming for such a character pronounced by M. Arnoux:

«−"Ma femme, es−tu prête?" cria le sieur Arnoux, apparaissant dans le capot de l'escalier» / «−"Are you ready, my dear?" cried my lord Arnoux, presenting himself at the hood of the companion-ladder» [3*/4*, P. I, Ch. 1].

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It should be noted, however, that earlier this woman character in a certain manner was divinized by Jacques Arnoux:

«Un jour, Arnoux, dessinant au bord de la rivière (il se croyait peintre dans ce temps−là), l'avait aperçue comme elle sortait de l'église et demandée en mariage...» /

«One day, Arnoux, while sketching on the bank of the river (at this period he believed himself to be a painter), saw her leaving the church, and made her an offer of marriage... » [3*/4*, P. II, Ch. 3].

3) then, there is some symbolic «deification» of the art image by the character of a romantic young man in love:

(1)«Arnoux l’avait appelée «Mariе!» Il cria très haut «Mariе!»» / «Arnoux had, when he spoke to her, addressed her as "Marie". He now loudly repeated the name "Ma - rie!"» [3*/4*, P. I, Ch. 1];

(2)«Comment n’avait-il pas songé à Еlle, plus tôt ?.. il attendit qu’Elle parût» / «How was it that he had not thought about her sooner?.. He was waiting for her to appear»

[3*/4*, P. I, Ch. 3].

In example (2), a stylistic variant of a special kind of pronoun is used in the meaning of a proper name: Elle (in the original: She), written with the capital letter, looks like a natural substitution for the personal name of the only woman or a female deity important to the protagonist.

4) the behavior of the main woman character confirms the integrity of her nature essence, given by the personal name (family, duty of motherhood, honor are more precious for her than an illusory happiness of carnal pleasures):

(1) «Il dit en soupirant:

−"Donc, vous n'admettez pas qu'on puisse aimer... une femme?" Mme Arnoux répliqua:

−"Quant elle est à marier, on l'épouse; lorsqu'elle appartient à un autre, on s'éloigne."

−"Ainsi le bonheur est impossible?"

− "Non! Mais on ne le trouve jamais dans le mensonge, les inquiétudes et le remords"» / «He said, with a sigh:

−"So, then, you don't admit that a man may love—a woman?" Madame Arnoux replied:

−"Assuming that she is at liberty to marry, he may marry her; when she belongs to another, he should keep away from her ."

−"So happiness is impossible?"

− "No! But it is never to be found in falsehood, mental anxiety, and r e- morse."» [3*/4*, P. II, Ch. 3];

(2) «Et elle se tenait debout, sur le seuil de sa chambre, avec ses deux enfants à ses côtés. Il s'inclina sans dire un mot. Elle répondit silencieusement à son salut» / «And she remained standing on the threshold of her room with her two children b e- side her. He bowed without saying a word. She mutely returned his salutation» [3*/4*,

P. II, Ch. 3].

Along with this, some autobiographical traits are traced in the novel in the art image of a student studying law in Paris and having such a passionate love with the beautiful wife of a rich

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merchant: for example, the meeting of fifteen-year-old G. Flaubert with twenty-six-year-old Elisa Schlesinger/Élisa Schlésinger, who had a small child, in Trouville-sur-Mer in the summer of 1836, a scene of farewell between Frédéric and Marie Arnoux were inspired by the writer's relationship with his muse [8**]. It is presented mainly an official reference by surname to Eliza in the letters: «Mme Schlésinger» [5*, p. 848], hence this is not just a «socializing» code (according to R. Barthes), but also the personal author’s code in reference to the main woman character who embodied the features of the author's platonic love for a married woman: «Mme Arnoux». In terms of the correlation between the real image of the writer's muse and his special woman character, in the name ELISA, in its full variant ELISABETH - from Heb. «The Oath of God» / «serment de Dieu, en hébreu», «The church also venerates among the saints St. Elisabeth, the mother of John the Baptist, St. Elizabeth, Queen of Portugal ...» (translated by the author of the article) [2**, p. 129-131], - there is also a biblical allusion, along with the characteristic internationality of the personal name. Taking into account G. Flaubert’s devotion to anagramming [13, p. 78] it is possible to reveal the common vowel letters of both personal names as in the mirror reflection: ELISA – MARIE (EIA><AIE). As a result, the choice of such a special name-biblionym for the main woman character, which determines her nature and actions and also distinguishes the art image of Mme Arnoux from a range of other women art images in the French and world literature, giving greater credibility to the history created by the author.

Rosanette: second in importance (after Mme Arnoux) woman character in the novel, has a complicated naming: the official name (Mlle Rose−Annette Bron) + the diminutive caress. personal name (Rosanette) + the nickname (in appearance = in character: la Maréchale / The Maréchale). The etymology of the personal name is complex and does not give a direct characteristic:

1) ROSE – «Rose (St., Rosius) since childhood, has been showing the most pious feelings that developed and strengthened over the years, having led her to devote herself to God. At the age of sixteen she took monastic vows in the Order of the Dominicans and spent the next fifteen years of her life in the most severe deprivations … » (translated by the author of the article) [2**, р. 382]. This part of the personal name does not realize its etymological meaning, but it corresponds to the author's stylistic tasks - to create a beautiful and attractive woman art image personalizing a moral defect (a women personal name Rose contains a clear allusion to a beautiful flower with sharp thorns that attracts but can cause pain);

2) ANNETTE – is a form of the name ANNE – «Anna (St.) [in the trans. from Heb. – «grace»], mother of the Virgin: Anna gave birth to a girl who, at the behest of the Lord, she gave the name Marie » (translated by the author of the article) [2**, р. 27-29].

From the point of view of the French grammar, the suffix of the proper name -ETTE means both a diminutive and affectionate form (contains a hint of the status of a «woman of rather loose morals» («courtesan, cocotte» / «la lor-ETTE» [3*/4*, P. II, Ch. 3]) as opposed to the «heavenly» pious Mme Arnoux). However, the component of the name -AN(N)E- actualizes the hidden value at a subconscious level that equalizes both women figures for Frédéric (and therefore for the author himself): i.e. Anna (Anne) - figuratively the mother of Marie, - creates an allusion to the fact that her natural femininity (sensuality) as if generates and feeds the platonic love of the protagonist to his muse:

«La fréquentation de ces deux femmes faisait dans sa vie comme deux musiques: l’une folâtre, emportée, divertissante , l’autre grave et presque religieuse; et, vibrant à la fois, elles augmetaient toujours, et peu à peu se mêlaient ; - car, si Mme Arnoux venait à l’effleurer du doit seulement, l’image de l’autre, tout de suite, se présentait à son désir, parce qu’il avait, de ce côté-là, une chance moins lointaine ; - et dans la

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compagnie de Rosanette, quand il lui arrivait d’avoir le coeur ému, il se rappelait immédiatement son grand amour » / «His association with these two women made, as it were, two different strains of music in his life, the one playful, passionate, diver t - ing, the other grave and almost religious, and vibrating both at the same time, they always increased in volume and gradually blended with one another; for if Madame Arnoux happened merely to touch him with her finger, the image of the other immediately presented itself to him as an object of desire, because from that quarter a better opportunity was thrown in his way, and, when his heart happened to be touched while in Rosanette's company, he was immediately reminded of the woman for whom he felt such a consuming passion » [3*/4*, P. II, Ch. 2].

3) The nickname in the novel, at first glance, is given to the character by outward resemblance (a fancy dress with epaulets), and also on the occasion (mistress of the place, Rosanette makes the guests to be quiet):

(1)«Une jeune femme, en costume de dragon Louis XV , la traversait en ce moment−là. C'était Mlle Rose−Annette Bron, la maîtresse du lieu» / «A young woman in the costume of a dragoon of Louis XIV's reign was passing at that moment. It was Mademoiselle Rosanette Bron, the mistress of the place» [3*/4*, P. II, Ch. 1];

(2)« - Voulez-vous m’obéir, saprelotte ! Regardez donc mes épaulettes ! Je suis votre maréchale!..

Ils s’exécutèrent et applaudirent en criant:

- Vive la Maréchale! Vive la Maréchale!» /

«Are you going to obey me, damn you? Pray show respect to my epaulets! I am your commanding officer!"

They complied, and everyone present applauded, exclaiming, - "Long live the

Maréchale! Long live the Maréchale !"» [3*/4*, P. II, Ch. 1].

It is important to notice, however, that in the French version (in comparison with the Russian translation: «Капитанша») the nickname «la Maréchale» has a higher aesthetic value. In example (2), the actualization of the dominant figurative component of The Maréchale is based on the more «weak» nature of Frederick Moreau (which was emphasized by the already familiar for the characters of the novel «Sentimental Education» presence of some «strong» sounds in the name: RoSe BRon), for whom the use of her nickname appears to be more closely and conveniently than the personal name:

(1)«Que signifiait cette invitation? était−ce encore un tour de la Maréchale?» / «What was the meaning of this invitation? Was it another trick of the Maréchale?» [3*/4*, P. II, Ch. 3];

(2)«La Maréchale était prête et l'attendait» / «The Maréchale was prepared for his visit, and had been awaiting him» [3*/4*, P. II, Ch. 4];

(3)«Bref, la Maréchale désirait le voir... Alors, Frédéric s'informa de la

Maréchale » / «In short, the Maréchale wanted to see him… Then Frederick asked her how the Maréchale was going on» [3*/4*, P. II, Ch. 6];

(4)«La Maréchale, cramponnée à son bras, claquait des dents… Alors, par un raffinement de haine, pour mieux outrager en son âme Mme Arnoux, il l'emmena jusqu'à l'hôtel de la rue Tronchet, dans le logement préparé pour l'autre» / «The

Maréchale was clinging to his arm with her teeth chattering... Then, by a refinement of hatred, in order the better to offer an outrage in his own soul to Madame Arnoux, he led Rosanette to the hotel in the Rue Tronchet, and brought her up to the room which he had got ready for the other» [3*/4*, P. II, Ch. 6].

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Thus, using a nickname along with a personal name gives a wittingly higher level of interpretation potential and serves not only to complete the characteristics of the named art image, but also - as in example (4) – to clarify the nuances of the relationship between the characters.

The hermeneutic analysis of the art text of the novel «Sentimental Education» by G. Flaubert with the use of multidisciplinary aspects of the humanities (linguistics, literary criticism, history, philosophy, cultural study, religious studies, sociology, psychology, etc.) seems to be more effective in view of the disclosure of the focal aesthetic onyms synergy potential. In this case, it should be noted the difference in the expressiveness degree of various categories of aesthetic proper names within the novel. To illustrate the connotative-and-expressive potential of the aesthetic onymy, it is suggested using an estimated scale with the amplitude from 0 to 10 points, depending on the degree of realization of interpretation (characterizing) potential of a particular onym (or a category of onyms) in the art text, while:

-0 points - absence / concealment of the «material» for the interpretation (understanding) of the art text in the aesthetic onym;

-1-3 points - low / lower than average level of realization of the interpretation potential of an aesthetic onym as a «material sign» within the art text;

-4-7 points - medium degree (depending on some extralinguistic factors and characteristics of the recipient) of realization of the interpretation potential of an aesthetic onym as a «material sign» within an art text;

-8-10 points - high / maximum level of disclosure of the interpretation potential of an aesthetic onym within the art text and the intertextuality.

Table 1. Evaluation of Interpretation Potential (IP) Level of Aesthetic Onyms (AO)

in the Novel «Sentimental Education» by G. Flaubert

AO(category)	Brief Description of the Art Images	IP
	and Examples	level
Frédéric/	An official presentation: the description of the appearance, the charac-
Frederick Moreau	ter and the social status of the protagonist is given in several traits: an
(anthroponym:	eighteen-year-old student from the province studying law in the capital
personal name +	- an autobiographical art image (realistic with the identification of the
family name;	individual author's code), there is a nuance of opposition between the
toponyms +	capital and the province by using the toponym – the name of a provin-
urban names)	cial small town:
	«Un jeune homme de dix - huit ans , à longs cheveux et qui tenait
	un album sous son bras...»; «M . Frédéric Moreau ,	nouvellement
	reçu bachelier, s’en retournait à Nogent - sur - Seine , où il devait
	languir pendant deux mois, avant d’aller faire son droit»/«A young
	man of eighteen, with long hair, holding an album under his arm...
	Frederick Moreau, having just taken his Bachelor's degree, was
	returning home to Nogent - sur - Seine, where he would have to lead a
	languishing existence for two months, before going back to begin his
	legal studies» [3*/4*, P. I, Ch. 1].

	7 points
Jacques Arnoux	The presentation is realized through 3 different categories of onyms: a
(anthroponym:	personal and a family name + an ergonym + an urban name, which
personal name +	gives an exhaustively meaningful characterization of the character: the
family name;	social status of the capital's bourgeois, source/income level (successful
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urban name +	merchant from art), free morals (due to the relationship with some bo-
an ergonym)	hemian lifestyle representatives):
	«- Jacques Arnoux , propriétaire de l’Art industriel , boulevard
	Montmartre »/«"Jacques	Arnoux ,	proprietor of	L'Art
	Industriel, Boulevard Montmartre"» [3*/4*, P. I, Ch. 1].

	9 points
Mariе Arnoux	A woman art image with the domination of maternity feelings over
(anthroponym:	low-lying passions, distinguished from not only the other women char-
personal name-	acters of the novel (Mme Dambreuse, etc.), but also from other women
biblionym +	art images in the French literature (in particular, Madame de Tourvel
family name;	from «Dangerous Liaisons»/«Les Liaisons dangereuses» by
the use (in the orig-	P. Choderlos de Laclos, Mme de Rênal from «The Red and the
inal) of a pronoun	Black»/«Le Rouge et le Noir» by Stendhal, etс.), which is largely real-
in the meaning of a	ized due to some particular ways of naming of the character:
personal name)	- in the novel the character is mainly named «Mme Arnoux», a personal
	name as if is not mentioned «in vain», and only for the deifying the
	woman art image Frederick it is allowed to pronounce «with pleasure»
	her «heavenly» name:
	«Elle l'appelait "Frédéric ", il l'appelait "Marie", adorant ce
	nom−là, fait exprès, disait−il, pour être soupiré dans l'extase, et qui
	semblait contenir des nuages d'encens , des jonchées de ro s -
	es »/«She called him "Frederick"; he called her "Marie", adoring
	this name, which, as he said, was expressly made to be uttered with a
	sigh of ecstasy, and which seemed to contain clouds of incense and
	scattered heaps of roses » [3*/4*, P. II, Ch. 6].

			10
			points
Rosanette	The second most important (and deeply elaborated) woman character
(anthroponym:	of the novel: the main characteristic of the art image is contained in the
personal name +	personal name and in the nickname: the diminutive suffix -ETTE, as
family name +	well as the nickname indicate the sphere of occupation/the social posi-
a nickname)	tion of the character, the official name Mlle Rose-Annette Bron is not
	widely used, since the character has no official social status. From the
	point of view of the formal analysis, the art image is although compa-
	rable to the main woman figure of the novel, although it obviously
	stands at a lower level than the figure of Mariе Arnoux - if there are
	some sound-letter coincidences of both onyms (R/A/E≈A/R/E), the
	character's personal name and the surname are monosyllabic.
			7-8
			points
The system of top- The system of toponyms, urban names and other categories of
onyms,	aesthetic onymy in the novel:
urban names and	- contributes to making the narrative more realistic (which corre-		5
other categories of	sponds to the stylistics of realism);		points
onyms in the novel
	- deepens the characterization of the art images: the opposition of the
	capital and the province: «…à Nogent - sur - Seine , où il devait
	languir …»/«…Nogent - sur - Seine, where he would have to lead a
	languishing existence …» [3*/4*, P. I, Ch. 1]); serves	to certify
	high social status and prosperity: «…propriétaire….	boulevard
	Montmartre » / «…proprietor..., Boulevard Montmartre » [3*/4*, P.
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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 1 (20), 2018	ISSN 2587-8093
I, Ch. 1];	7
	points

- strengthens the author's marked writing style - the aesthetics of realism with some elements of impressionism in the novel:

«… et peu à peu, Villeneuve−Saint −Georges , Ablon, Châtillon , Corbeil et les autres pays, tout son voyage lui revint à la mémoire, d'une façon si nette qu'il distinguait maintenant des détails nouveaux, des particularités plus intimes…» / «…and by degrees Villeneuve, St . Georges, Ablon, Châtillon , Corbeil, and the other places—his entire journey—came back to his recollection with such vividness that he could now recall to mind fresh details, more intimate particulars» [3*/4*, Р. I, Ch. 1].

* It is of particular note that the evaluation of the interpretation potential for toponyms and other categories of onomastic units in the novel is able to vary depending on the level of the art text analysis: a high degree (8-10 points) of connotative-and-expressive and semantic meaning is characteristic to culturally marked toponyms, urban names, etc. (Paris, the Cité/la Cité, Nôtre Dame, etc.), while less well-known and culturally significant onomastic units of this kind (with a score of 0-3 points) (the Quai St. Bernard/Saint-Bernard, the Ville de

Montereau/«la Ville-de-Montereau»,Villeneuve−Saint−Georges, Ablon, Châtillon, Corbeil, Bray, etc.) are able to realize the whole range of their values not independently but in combination with anthroponyms increasing the characteristic potential, such as Nogent- sur-Seine, «l’Art industriel, boulevard Montmartre» (4-6-8 points) during a comprehensive philological interpretation.

0-10 points

Conclusion.

From the point of view of formal hermeneutics, the interpretation of the art images’ names and meanings in the novel «Sentimental Education» by G. Flaubert seems to be productive in the aspect of a purely linguistic analysis. Thus, the phonetic form (sound-letter combinations) of the aesthetic anthroponyms selected by the author for the key characters clearly indicates the degree of significance of this or that art image and their interdependence, allowing the more multilayered interpretation. For example, in part of the key family names (primarily in writing in the original): Moreau and Arnoux – it is clearly traced the equity in the number of the syllables (2 syllables) and the letters (including unpronounceable consonant and the constituent letters of vowels - 6 letters in both surnames Moreau/Arnoux, and almost a half of them (ROU) coincide), which gives the right to assume the similarity of both art images programmed by the author: indeed, the seeming so «romantic young man» Frédéric Moreau in his passive submission to vice is no less immoral than the active and completely unscrupulousness Jacques Arnoux (Moreau≈Arnoux: being a friend of M. Arnoux Frédéric is seeking for love of his wife and even shares with him his mistress).

It should be specially noted that for such a master of the word which G. Flaubert was, the coincidence of the letter combinations and the number of the syllables and the sounds could not be involuntary (it is enough to recall the now become textbook Flaubert’s expression: «Un nom propre est une chose extrêmement importante dans un roman, une chose capitale » / «The character's name is an extremely important thing in the novel, you can even say the funda - mental thing» [22]), therefore, in the intertextuality aspect, the aesthetic onyms contain some

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