Національна Академія Мистецтв України Інститут культурології
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| partial denotations that complement each other (pars pro parte) in lyrics. It is the dominant role of circumlocutions as the devices of partial denotation that unite dramatic and lyrical kinds of poetry. The distinctive feature of lyrics is to be seen in the absence of explicit conclusions and explanation of the presented subject and of its totality (whereas in drama such a totality is a necessity evoking the importance of synecdoche). As a consequence we have no certainties in lyrics: one may only suggest conjectures as to the inferences from a verse and guess the verbal stuff to refer to them. Thus a series of details arises that enables reader to make such inferences coming back to the depth of latencies and replenishing the supposed lacunas. These inferences ensuing from a lyrical text are to be compared to the already discussed exponibilia in mediaeval logics i.e. to possible conclusions of the statements. The text itself may be regarded in its turn as a counterpart to plain definition of the topics discussed there that is as a so called exposition where these topics are expounded through detailed descriptions without generalized theses. There are only problems to be explored and no ready notions that remain unknown and aren’t admissible for direct designation being only the task for conjectures1024.
In contrast to the “mixture” () of heterogeneous voices and the ensuing devices of randomization (qui pro quo) as the dramatic generic peculiarity lyrical verse is peculiar for its relative homogeneity (together with all features of polemic soliloquy). It creates favorable conditions for the study of partial synonyms (the so called partonyms) that denote those things that participate in the described situation and thus are elements of circumlocution. It is to underline here that one deals with the idioms applied in their very special figurative sense due to which they can be united in such a row. Reduced to minimal scope of a pair of words such rows of partial synonyms coincide with situational synonyms (rhetoric figure called in Greek as hendiadyoin, literally “bifurcation, bisection”). Together with such structure resembling appositive structures of indices (such as enumerations or zeugmatic clauses) circumlocutions are also to be regarded as the “expansions” of key-word (L. Tesniere’s nod and taxis, O. Jespersen’s nexus and junction) as the sources for idioms. Meanwhile such forces of homogeneity don’t weaken the permanent textual differentiation of lyrical work imparting its similarity to dramatic functionalism. Then lyrical verse as a possible drama comes to the explorative field as a performable object. Its representation in a reader’s mental experiments displays the features of dramatic performance from descriptive libretti (here conceived as a glossary elucidating the abstractions concealed behind the connotations arising in the names of details) to terminal spectacle (played in an imaginary theatre). The applicability of such terms to lyrics justifies the efforts of experimentally adapting lyrical poems in the same way as the actors and producers tackle with a dramatic work. A lyrical work becomes the object of editing performing experimental activity, and within the scope of such explorative efforts the adaptations with the ensuing examination can be regarded as the admissible explorative tool. Then each lyrical enunciation taken as a dramatic scenic episode represents a situation in the sense of functional grammar. There lacks the phantom of action proper for drama, but there are referential nets as the sources for commenting inferences that become indispensable part of interpretative transformations of lyrical text. In lyrics designation is to be conceived as a simile to a folklore riddle. The idiomatic motif indicates the existence of something hidden behind the surface of verbal stuff thus designating problem and provoking reader’s imagination to solve the presented puzzle. In its turn attempts to find something behind lyrical motifs can by no means have an outlook of constructing a superstructure of a dramatic metatext. Rather it must go about the emergence of a concomitant epiphenomenon accompanying the development of verbal tissue. This textual concomitant satellite is to be played within the inner mental experimental space of a reader’s imagination as a scenic episode. In this respect the discussed property of lyrical reification becomes the milestone in making up a libretto from a lyrical poem. One can say of a theatre of animated things represented in lyrics. In this respect it is to observe that not only the things become personified, the reverse movement in the opposite direction also taking its place. It goes about the treatment of the so called lyrical hero that becomes especially visible in descriptive lyrics and the so called thing or objective verses (German Dinggedichte). Here the old tradition of the so called ecphrasis gains its revival (for the first time it took place by far in Th. Gauthier’s “Emails and Cameos” who belonged to the Parnassus circle of poets). When human person is described as employs or a mask it will be identified with a thing. Such persons are dissolute in their environment whereas the genuine things are personified. Therefore the objective reality endures the double process of getting and losing personal identities. “Thing as a riddle” becomes the thorough theme of descriptive objective poetry and continues the earlier developed imaginative faculties such as those of chimera brought forth with nocturnal deliria1025. With the task of representing visualized world of things the principal conflict of descriptive poetry becomes obvious, that of the task of circumscribing things and the opportunities of verbal substance. One can say of the resistance of words to be overcome in textual integration1026. Therefore it is reification that determines the invariants for lyrical phraseology. This theatre of things can be found in R. Huch’s sonnet that refers to Orpheus and represents music as the superior power o things.
One encounters here the cosmogony of musical world where particular details disclose the corporeal life as the vibrating activity. In its turn reification as the peculiarity of lyrical thought converges with its polemical verve: one thing presupposes another that bears antonymous name. Therefore transcendental problems & emblems come to the respective situations covered with this phraseology. The essence is represented through its reification so that “things” not only refer to the depth but also disclose the collisions as the situational core. Reification then creates the whole artificial environment1027 that correlates with a theatre scene made of verbal substance. This substance gives prototypes for situational categories. In particular the referential multidimensionality (as personal – positional, contextual – intertextual nets) provides conditions for verbal envelopes of situations in the same way as in drama. This multidimensionality is revealed through lyrical connotations (with the respective displacement of the mentioned horizon of discernible levels) so that the prototypes acquire different references and come to different categories. It conforms to R.M. Rilke’s concept of a poetical theme as a “pretext for speech”1028. The necessity to disclose connotations and to trace references coming back to situations entails the performable foundation of lyrical interpretation that looks like playing a poem on the scene of a reader’s imagination built up with the means of reification. The concept of a thing as the embodiment of spiritual power of poetical phantom has been developed within the descriptive poetry by R.M. Rilke who attached it also to the image of a poppet as the generalization of the animated object. In this respect the Gospel tradition has been continued as attested with the famous enunciation: “The wind blows where it chooses, and you hear the sound of it, but you do not know where it comes from or where it goes” (St. John, 3, 8). Thus the Divine Image as embodied in things has attained also the outlook of a puppet (hat continued the known statements of Kleist). The Divine attendance within the sensual world has become here the main theme. This idea of incarnation in a puppetry as the witness of Divine Attendance is attested in the requiem for Clara Westgott from “Das Buch der Bilder” that is opened with meaningful words: «Seit einer Stunde ist um ein Ding mehr / auf Erden ...» (It has gone an hour as it has become still more with one thing in the world) [Rilke, 1976, 105]. Thing is conceived as the transfiguration of the soul. Therefore the poet appeals the God in such a way: “Ich finde dich in allen diesen Dingen / denen ich gut und wie ein Bruder bin“ (Stundenbuch) [Rilke, 1985, 83]. Such lyrically conceived things capable of giving testimonies and endowed with replicas designate the problems standing behind them. In this respect lyrical ecphrasis becomes a puppet theatre where things turn into actors and masks turn into puppets. There arises an imaginative theatre where a reader’s imagination creates performable spectacle. Such things aren’t descriptive imprints; they must arouse curiosity as the indifferent witnesses of something referred to. Therefore they always presuppose collisions and give rise to the conjectures as to their antonyms and alternative images in general so that the whole picture of transcendental non-verbal elements is involved. Then the respective situations are to be taken into account as the background of lyrical work. Things impart segregation and differentiation of poetical text without personal dimension of dramatis personae to be involved because they presuppose impersonal criteria for the parcellation of segments concerning their descriptions. As the transfigurations and metamorphoses of real things referring to unexplored problems they represent lyrical inner world as mental scenery. Due to such precursory scenic quality lyrical work displays performable properties of drama as well. It can be very vividly attested with vocal version of the same poem where different implications from the same literally reproduced text are presupposed as in the performances of a drama. Then the experimental exploration of a lyrical work displays its similarity with the interpretations of a dramatic play. Respectively it is to go about the possible adaptations of textual versions that would be apt to disclose the implied possible inferences. Again, as in the case of drama, it can’t be reduced to the transformations demonstrated with proverbs because a broad referential net (both intertextual and contextual) is to be dealt with. The necessity of reader’s activity of imagination that would replenish lyrical utterances has been especially stressed in symbolism and is attested in particular with the direct declarations1029. Moreover I. Annensky dedicated one of his sonnets to the glorification of rough draft copies where the veracity of preliminary editorial versions was underlined and the simile of draft sketches with ill children suggested.
It is the permanent existence of draft versions as the concomitant satellites of the terminal version that is asserted here. The poet enumerates some attributes concerning this mode of existence that presume *ILLUMINATION, *PROPHETISM, *AMBIGUITY (of the ‘fog’ and ‘silence’ mentioned in the sonnet), not to say of the ‘maternal love’. Of importance is that this imaginative existence is marked with the ideas of [*struggle] (with ‘unequal battle’) that enable referring it to the sphere of the dramatic. Actually draft versions behave similar to a libretto (producer’s or prompter’s text) in theatre giving to a poet or an actor the necessary opportunities for conducting the searches of terminal version. These preliminary versions build up concomitant glossary that represent textual enumerative structure (of appositive type). They display the productivity of a lyrical poem just as the performable versions of a role presuppose different implications to be disclosed on stage. Therefore this appeal to creative interpretation still more reveals lyrical common features with scenic speech of theatre. The reader is thus invited and encouraged to intrude in lyrical works just as the producer and actor tackle with dramatic plays! This interpretation of editorial versions as the performances of an invariant can be exemplified also with the numerous cases studied in A.S. Pushkin’s legacy. In particular one can attract attention to the equivalence arising between the notions of LIBERTY and NATURE (свобода – природа) so that one can replace another in different copies of the same verse1030. These copies were created by the readers so that they really took the part of scenic performers. It is here that the above discussed interpretative divergence encouraged in lyrics and ensuing presupposed discussion with readers acquire an outlook of a scenic performance in anm imaginary theatre. Annensky’s suggestion on creative interpretation of lyrics in a reader’s imaginary theatre can be conceived as the actual practice of vocal music interpretation. One can say of music images disclosed in a song written to the words of a lyrical poem as one of such interpretative versions. Therefore one can say of chant as the opposite to colloquy. A lyrical poem presupposes a set of opportunities for its turning into a song so that one can say of imaginary concomitant music accompanying this poem. It is within this music images that the transcendental invariants for lyrical phraseology are to be looked for. In this respect lyrical poetry can be regarded as the performable genus in the same way as the dramatic one is performable. The performance of a lyrical poem is included in its potential musical imagery. Then the interpretation of a lyrical work can be conceived as the preparation for music where different versions of its imaginary comprehension are suggested. Together with these transcendental (in particular musical) sources of lyrical phraseology the above said holographic effects are to be taken into consideration. A phrase of a lyrical poem refers to all other words in the same way as a replica of a dramatis persona reminds all other situations. A separate phrase bears vestiges of the whole and indicates them as the lacunas while being taken in an isolated position as an aphorism. Thus a phrase of a poem becomes its inimitable particle in the same way as it has been traced in regard to drama. Instead of personal attachment as the features for portrayal in lyrics these particles become recognizable due to the unique situation they represent. For instance, the initial phrase of Rilke’s 21st sonnet to Orpheus <“Singe die Gärten, mein Herz …”> is a typical convention and in this respect a latent quotation; meanwhile the continuation and in particular the terminal line where it goes about <“der rühmlich Teppich”> makes this phrase inimitable incipit, One of the stanzas of A. Block’s poem looks like an autonomous proverbial locution: < «… Пусть заменят нас новые люди! / В тех же муках рождала их мать, / так же нежно кормила у груди» (Блок, Поднимались из тьмы погребов … 10.09.1904)>. Meanwhile the environment refers to a very particular situation of the growth of urban population and therefore to the known by the contemporaries image of the monsters of cities. Therefore what can be taken for a mild resignation displays tragic features. This property of lyrical phraseology as the reification of situational collisions enables conceiving it in the same way of periphrastic description as in the case of drama. Lyrical periphrastic means can be exemplified with the lines from Hoelderlin’s “Hyperion”. To say of the ascending way the hero uses the circumscription “durch tausend glühende Gebüsche wuchs mein Pfad nun aufwärts” [Hölderlin, 1963, 33] that’s refers to the familiar phraseology of the philosophy of life. In the same way the departure is represented with the words “ein frischer Bergwind trieb mich aus dem Hafen von Smyrna” [Hölderlin, 1963, 64] that refers to the phenomenon of the mountain wind (the so called foehn) accompanied with a multitude of beliefs; the locution “um uns spielte der Wind mit abgefallenem Laube” [Hölderlin, 1963, 235] gives the symbols of the faded vegetal world and of the wind of revival. That it goes just about the use of periphrastic circumscription can be seen from the author’s own words: “ich gab nun treulich, wie ein Echo, jedem Dinge seinen Namen” [Hölderlin, 1963, 72]. These devices have here the task of suggestive effect and therefore represent scenic attachments of lyrics. They make the effect of prompts for a reader to detect the further associative rows coming back to transcendental objects of reality. Periphrastic description in its turn makes voices of improper direct speech in lyrics ambiguous and indefinite. It entails the prolixity of the forms of soliloquy that prevail in R.M. Rilke’s lyrical works. As the paragon for such lyrical soliloquy the famous “Cornet” can serve that was written in one night. One can cite as an example the following lines:
It remains ambiguous whose words are these. They may belong to cornet or to his comrades. Still more significant are the realities mentioned there. It goes about the supposed situation arising between a guest and a host. One can suspect here the growing seduction of the refusal from the hard life with constant tension and compulsion. It is the danger that leads the hero to destruction. This seductive verve is still reinforced with the confrontation <immer - einmal> ‘always - once’ suggesting the evasiveness of the favorable moment. Thus the situation can be described as that of POSSIBLE REPOSE arising after exhaustive voyage. It can produce such implications as <* die Gelegenheit entsteht, sich auszuruhen nach der ermüdenden Reise> where contextual references are taken into account. With the possible intertextual references there can arise also the connotation reminding a Another sample would demonstrate how prosaic work could display the properties of a lyrical soliloquy behind the surface of an overt epic narration in R.M. Rilke’s “Notices of Malte Laurids Brigge”. The impact of lyrics upon novel is here to be felt in imparting to it theatrical properties. If the tendencies of the dissociation of a work into a series of short novels (with the development of novel in the opposite direction to that of the formation of genre) are usually overcome with including dramatic episodes in the continuity of epic narration it is here the imaginary theatre of the stream of consciousness that becomes the integrative force (in particular the recollections1031 where on memorizes the events as the possession of one’s self). Respectively generalizations are here exemplified with the accounts on particular events. Integration then looks like argumentation in meditative lyrical poem. One finds in R.M. Rilke’s work the intermediary forms situated between epics and lyrics where as a result as theatrical text arises due to the prevalence of lyrical manner: events are not narrated, they follow the author’s thought as the emanation of the author’s soul. Theatrical properties reveal themselves in the ambiguity of the voices so that it becomes detail that gives grounds for the conclusion as to the position of the enunciations within the textual entity. As an example the introduction of an account on the acquaintance with Abelone can be taken.
This confession betrays evident association of the sweetheart’s image with that of the mother in an outspoken Freudian manner. Of importance is then the very fact of attention arising just to the circumstances of the presence of Abelone. Here the effects of interference of improper direct speech come into play as the questions put in the manner of soliloquy presuppose the answers of some possible partners in a dialogue. And this answer appears at last as the author comes to the decisive question. Confession is transformed gradually in a soliloquy and then in am obvious conversation. Together with the reasoning on music there is a whole series of reflexive statements displaying the key to the structure of the work as a lyrical poem. They concern in particular the theatrical and narrative elements as the author comprehend them.
The emptiness of theatrical space together with the perception of narration as obsolete art and lyrical images of unthinkable things (that correlate with the respective situations) give an account on the genera as they are conceived by the author. Lyrical phraseology as the surface of situational background can be traced in L. Staff’s poetry that demonstrates especially clearly the importance of aspectual attributes. Due to the ambiguity of location & localization lyrics need intertextual references much more than drama does, the dramatic locutions’ references lying within the work’s tissue. It becomes obvious that passive constructions prevail in lyrics because lyrical temporality is marked first of all with the quality of being severed from all historical exactitude. Respectively the personality of lyrics is represented with incognito in contrast to dramatis personae. The lines of Staff’s verses are filled with the so to say “humanoid garlands” made up of ornamental corporeal images of conventional knights and princesses, vagabonds and reapers, gardeners and beggars that would inhabit the imagined land with equal rights as well in the Middle Ages as under the government of the emperor Franz-Josef or Polish dictator Pilsudski. The poetry of orchards and gardens, of groves and forests, the descriptions of female beauty and interior furniture reproduce the manner of the so called ecphrasis () that’s of the verbal representation of visual images as if borrowed from the mannerist paintings. All it follows the rules of Horace’s poetry with its prescription of imitating visual picture ut pictura poesis. This approach comes back to the rhetoric tradition and has been developed in descriptive poetry that was inherited in the objective lyrics of the l’art pour l’art movement. Thus it is Horace’s principle of ecphrasis that builds up the foundation of descriptive lyrics with the necessity of developing verbal devices capable to represent adequately such images. The system of respective conventions comes back to the legacy of catholic literature of the mediaeval Latin poetry (translated by L. Staff). This principle of ecphrasis in its turn is agreeable with the dominance of reproduction that’s with the rule of the imitation of paragons as a side of mimetic art (the so called imitatio operis). Therefore the reproduction of commonplaces is not only obligatory and indispensable for descriptive poetry following this principle; it becomes its most essential source. This poetry is out of being conceived without the existence of traditional code to which it refers and which conventions it represents. It concerns Staff’s poetry too. To exemplify it one can take the “eternal poetic” convention of melancholy (ubi sunt? ‘where are (they) now?’) that finds reflection in the images of faded and fresh leaves (“Here is the New Foliage” in “The Tracks upon Sand”): the poet glorifies “nowe liście trawy świeże” ‘the new fresh leaves of grass’ and simultaneously mentions “o innych liściach” ‘the other leaves’ that “których już niema” ‘there aren’t already’ as the refrain repeats. Thus a collection of curiosities is gathered in poetry that would serve to the task of diversification and exemplification the immobile fundamental ideas that are supposed to remain out of the reach of any dubitation. A conventional commonplace can be found in the erotic motif of LOVE AS HUNT (as it is attested in Ovid’s line militiae species amor est ‘love is a species of military service’): “Przypadek… zawiązawszy mi oczy, dał w dłoń luk i strzały /I nagiego posadził na koń” “wkrąg śmiechy stu dziewczyn rozbrzmiały” “z nagą dziewczyną słodki traf mnie zderzył” (Chwila - Radoś życia). The motif of ‘ubi sunt?’ is attested in the lines “nowe liście trawy świeże” “o innych liściach” with the refrain “których już niema” (Ot nowe liście “Śliady na piasku”), The traditions and conventions of Anacreon are to be found in the lines <“I znalazł świat swój złoty – dziecinny odkrywca, - /W okresie izby swojej płynął snów głębiną…/Falą marzeń wśród złotych wysp niósło szczęsliwca /Kołyszące, jak morze, dobroczynne wino” (Chwała winu)>. The phraseology of “golden islands” and “waves of dreams” refers apparently to the respective conventions that coincide here with curiosities. It has been shown that it is also to C. Norwid that the mastering of details of this kind comes back. For instance one can remind C. Norwid’s sonnet “The Straw’s Ears” [Jastrun, s. 205] where in the conclusion a car with straw crosses the road for the pair of lyrical heroes that return to the devastated and faded garden left by them while flourishing: a simple detail becomes an omen within such situation. In this respect the baroque “concept” appertains to the same set of idiomatic locutions and is “nothing else as a paradox that has been promoted to the degree of a compositional foundation”, besides, “such poetical exercises are founded upon the opportunity of the double meaning imparted to a word … whereas the peculiar meaning – the derivative or theological one – prevails always over the common or colloquial one”; it can be exemplified with the line of N. Sęp-Szaryński paradoxically representing the Godmother «Przedziwna matko stworzyciela swego» ‘the most miraculous mother of her own creator’ [Błonski, 1967, 136 - 137]. It is with such “concepts” in their baroque interpretation that Staff’s verses are filled up. It gives rise for the wanton foppery of paradoxes in the manner of popular Nietzsche’s adherents (let it be here only Przybyszewski mentioned): «… dzwon rozbrzmiewa piersi cieśń /Choć spiewu nikt nie słucha» ‘the is ringing the bosom’s ravine although nobody listens to the song’ («The Song about the Sun’s Conqueror» from «Love’s Garden»), «I jęczy rozpacz… w żalu za grzechy me nie popełnione» ‘and the desperation howls in sorrow of the sins that weren’t committed by me’ («The Repentant» from «Appearances»), the sweetheart girl says that “… tym potęzniej kochać chcę, że umrzeć muszę” ‘I want love inasmuch as I must die’ (“The Victorious Beauty” from “Love’s Garden”), “Cień czoła mego kładzie mi ciszkiem pod nogi” ‘my forehead’s shadow lies down at my legs ostentatiously’ (“Connections”from “Life’s Joys”). The same interplay of paradoxes gives the foundation for the sonnet cycle «The Tragic Phalange» from «In the Shade of a Sword»: «Bo najmniej, co nam wolno uczynić, jest: więcej!» ‘because the lest that we are destined to perform, it is the more!’ (1); “… jeśli zakrześlilismy sobie granicę /To jeno, by je ciągle przekraczać zuchwale…” ‘if we demarcate our borders, it is only to transgress them audaciously’ (3); “Za nami, idącymi ku słońcu, cień pada” ‘the shadow falls behind us that are marching to the sun’ (8). It is such paradoxes that the narrative strategy of apologue is based upon. As the inversions of tautologies they represent textual codification and therefore come back to conventions obligatory for the given genre. Conventionality does often converge with the reconstruction of the particular stylistic specimen. The poem “School” (it goes about the school used as hospital during the war) apparently refers to the O. Wilde’s “The Ballad of Reading Gaol”. It goes not only about the strophes exactly reproduced here but also the images and meethods of sematic transitions used as the devices of social criticism. One of these overt allusions can be found in the symbol of the Mill of Vanity. In O. Wilde’s Ballad one reads: “But this I know, that every Law / That men hath made for Man, / Since first Man took his brother’s life / And the sad world began, / But straws the wheat and saves the chaff / With a most evil fan”. The respective strophe of L. Staff’s poem is the following: “Bo bałwochwalstwem ślepym jest / Ten postęp, ten automat, / Co miażzdży jak diabelski młyn / Tłumy człowieczych gromad, / By z nich omanów tworzyć mgły, / Kadzideł mdłych aromat”. The description of the torturous and painful habitual life of the hospital “ciał tych ból, / Co jękiem wsiąka w śćiany” makes one recollect Wilde’s “the weeping prison-wall” (3.27). In O. Wilde’s poem the author sees (3.28) “the shadowed bars” move “across the whitewashed wall”, and it compels him to remind that “God’s dreadful dawn was red”. In Staff’s poem one finds the similar notice “kwitł Czerwony Krzyż / Na czystej tła pobiale” that resounds with the question addressed to the wounded “Czy krew stracona, czy ta myśl / Zbieliła tak ich twarze?”. The same concerns other samples of reproduced specimen as in the case of the already mentioned C. Simonov’s poem “If Your Home is dear to You” referring to R. Kipling’s “If you can keep your head …”. The novelties do here concern in particular the reinterpretation of commonplaces. In particular C. Simonov developed the Gospel statements (Math. 10.34 ff., 11.22). It doesn’t contradict the statements on the love to foes from the Hilly Preacher (Luke, 6.35) because it doesn’t go about the foes of the God imparting thus the essence of the sacred war. The primary sense of “psychomachia” is here clearly to be read. In contrast to it consolation becomes the decisive property of Staff’s poetry. He knows to find little curiosities that would distract from fatigue and entertain with diversities of recreation for the tired soul. This amusement is procured with nourishment for meditation. Therefore the reconciliation with the world is there exposed as the deepest aim of poetry. The world must be accepted, although it is evil, and it also must be acknowledged – such is the conclusion implied in his poetry. Thoughts of protestant action are thus replaced with those of reconsidering the situation within the mental space of abstract imagination1032. Even the ephemeral fluidity and transiency of existence is conceived as the source of joy that obviously refers to Franciscan tradition: <“Ledwo wieczna rozłąka z jednym mnie zasmuci /Spojrzenie już twarz nową tym radośniej wita”> ‘As soon as the departure with one makes me sorrowful, my glance is greeted with a new face’ (“I” from “Life’s Joy”). One could only express doubts as to the moral dignities of a person capable to change the predilections so easily and to replace the old friends’ commemoration with the new acquaintances. This artificially provoked permanent joy (or its hypocritical mimicry) as the reconciliation with the world is obviously felt in the episode with the visit of a mournful person (posępnik) so that the author says to him about the existential beauty and in result “posępnik śmiał się drwiaco /Jam śmiał się radosnie” ‘the mournful man laughed mockingly, I laughed joyfully’. This confrontation of the two kinds of laughter is very meaningful within the framework of the public opinion of the time when the ideas on the predatory origin of this emotion gained popularity (let only the well known H. Bergson’s simile be mentioned as to a predator’s grinned teeth being the ancestor of human smile). Still one additional argument for the reconciliation & consolation are to be found in the known justification of beggary and misery as the beneficiated status (miseria res sacra est). The poet prays that he would have “w duszy pogodę i wolność żebraka” ‘the repose and liberty of a beggar in the soul’ (“The Beggar’s Prayer” from “Life’s Joy”). Obviously reconciliation & consolation are to be conceived as the intensified inherent lyrical property of contemplation. This consolatory mission of lyrics can be achieved under the only condition of truth: be the affairs given here falsified, so they will remain with the label and seal of deceit. That the poet was fully aware of this meaning of reconciliation and consolation can be seen in his last sonnet.
Creative demands are here of existential effectiveness. The appeal to the contest for ideas becomes obvious so that it is not admissible to use meaningless conventions. Words must be experienced personally to be conceived as the meaningful unit and to deserve the right of being used in poetry. These samples confirm additionally the general law of holographic effects of lyrical poetry where an arbitrary particle of a work becomes the representative of all other particles and the whole due to the load of connotations that it bears. Every textual segment serves as a prompt for each other and the whole in the same way as in drama each replica arouses the recollection of all others. Such ubiquitous contextual referential net provides prerequisites for textual integration resulting in the mentioned simile of a work and a word. It is the connotations as the vestiges of the references that represent the retention of the holographic image of a poem in each its particle. These references represent the respective functions that the phrase has within the whole so that connotations bear functional destinations of the phrase. One can remind for instance the famous A. Block’s verse («Девушка пела в церковном хоре …») where the last lines ( «Причастный тайнам – плакал ребенок / О том, что никто не придет назад» ) are not abstract generalities: they refer to those mentioned beforehand ( «усталых в чужом краю» etc.) and therefore entail possible interpretative implications (such as * ребенок оплакивает невозвратимость; * плач вступает в спор с пением; * всеведущий ребенок олицетворяет время как живописный символ ‘Putti’). In its turn the intertextual references with the respective connotations presuppose implications ensuing from the horizon of competence and experience and disclosing the latent contents. Any particle of a poem with the load of connotations becomes something radically different from the same homonymous locution that could be met in a plain colloquy. A pure exclamation when taken as a quotation from a poem refers to all its contents and to the respective intertextual tradition. The vital necessity of intertextual references for a lyrical work presupposes its performable interpretative nature as its existential condition. Therefore lyrical phraseology represents text and tradition (conventionality) as the integrated entities with their referential vestiges in the connotations where the various functions of the phrase are retained. It passes across the boundaries of the proper verbal means entering the transcendental area of problems & emblems. This ultimate limit of references represents the situations that just this (and the other) phraseology paints. It is situational foundation that determines phraseology as the peculiarly lyrical device. This decisive role of the presupposed and referred situation is in particularly attested with the observations on the mentioned associative rows in folklore lyrics (Ye.B. Artemenko, A.T. Khrolenko)1033. The means of taxis and nexus that can represent situations on these cases of associative rows indicate this load of phraseology acquired within the textual and traditional conditions. This situational determination is to be taken into account in the interpretative preparation of lyrics and in particular in the parcellation of its phraseology. A glossary is necessary for a lyrical poem in the same way as a libretto is necessitated for the performance of a dramatic play. As far as lyrical speech is opposed to the colloquial speech and distanced from it the conditions are favorable for involving the devices from beyond the space of purely verbal world. Therefore music is involved not only as the source for versification but as the semantic imaginative power. Due to suggestiveness lyrical work becomes nearer to music than to purely verbal art. The idea of Orpheus’ myth has been guessed here by Rilke. This compressing property of lyrical phraseology can be exemplified with the following patterns where glossaries disclosed the connotations referring to isolating abstractions made up from lyrical details.
The image of the initial word – mirrors (taken here in plural that is homonymous to the singular) – is here conceived as the situational antonym to the terminal word, the names of Narcissus. Such connotation is peculiar only for the given lyrical verse. One can notice easily that the use of the name of ‘the squanderer of the void halls’ applicable for a flippant person becomes only here the epithet used for mirrors. These and other connotations refer to the particular situation background of the poem. It goes about MIRRORS’ PRESENCE as the permanent existential circumstance of the world.
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