Національна Академія Мистецтв України Інститут культурології

To sum up one has to notice the rise of a broad referential net arising from particular aspectual concomitant circumstances that accompany the respective usage of idioms. This net spreads far beyond the textual borders as well as the boundaries of language and involves transcendental non-verbal reality so that the whole competence of possible observers comes into play to disclose the contents of the phraseology. The properties of poetry as a special genus presupposing transcendental objects (as its inspiration & incarnation) reveal themselves in lyrics par excellence. Phraseology that appears in this genus becomes the compression of textual entities and the condensation of additional meanings acquired due to functional destination within the particular contextual and intertextual references. Each textual particle bears the vestiges of the whole providing thus the holographic effect of retention the acquired connotations that refer to latent cryptotype. Therefore a phrase used in poetry is radically different from that used within other referential nets. This dependence upon reference becomes obvious within music interpretation of verbal text. R. Wagner’s “Parsifal” begins with the exclamation “Hey”; meanwhile this exclamation as the operatic incipit entails the whole expected stream of events and has absolutely different meaning in comparison to the similar commencement of a folksong. Of course, one never would site a separate exclamation, but this exclusive example shows the existence of connotative load endowed with contextual place that refers to the latent reality of non-verbal nature. At the same time it is to remark that the seemingly exclusive case of exclamations in the role of quotations becomes the regularity under the conditions of the monosyllabic languages of isolating type: lexical units coinciding with separate syllables, such cases give grounds to see iu lyrical context a more general model for endowing textual particles with deep semantic load.

It concerns both prose and poetry whereas their difference becomes evident with their relation to this non-verbal reality. It would be here to remind the apparent thing that both dramatic play and lyrical poem deal not only with problematic utterances needing not only explorative efforts (as well as prosaic narration needing in particular interpretative efforts in detecting the plot) but also mediating idiolect (together with its poetical conventions). Prosaic pragmatic certitude (ensuing from the priority of codified means of language and the attachment to colloquy) is admissible in epic narration with the necessity of the manifestation of semantic direct meanings. It is practicable colloquial speech with all its codified conventions of conversational etiquette that lies exclusively within the realm of prose. Therefore the seeming simplification of prosaic word entails the involvement of the whole experience of such colloquial conventions. But this attachment to such broad experience is only the external side of prosaic depths. Still more significant is the discussed transcendental reality indispensably arising behind the plain direct prosaic descriptions. It is already within the contextual conditions of prosaic textual entirety that the colloquial locutions acquire particular meanings of irreducible residuum making them idioms. The difference of prosaic usage from poetical one is its pragmatic destination that precludes abstractedness and ambivalent ambiguity proper for poetry. Prosaic “words” due to their connections with colloquy are not distanced from “things” as the poetical “words” where the mediation is always presupposed. This difference can be conceived as that concerning the opposition of manifestation vs. latency: in prose verbal substance is taken in the way of colloquy and represents latency due to the pragmatic attachments whereas in poetry it gives a puzzle to detect and solve. The opposition prose vs. poetry concerns not only the external textual outlook (in particular of versification): epic prose is often more poetical than verses pretended to be lyrics or a chat pretended to be called a dramatic episode. Poetical quality doesn’t arise automatically with the application of devices pretended to be poetical.

While being incorporated into an entire textual organism the separate locutions become transformed into passwords that belong to this transcendental reality as its procedural signals. Each textual particle becomes inverted: it doesn’t refer to transcendental reality but belongs to it as the medium enabling passage to it. The mechanism providing such transformations is the functional structure of a text. The transfiguration of a word incorporated in textual entirety is indebted to the functional distribution that the text endows each its particles with. Then it is functional load that plays the role of mediating link between the verbal surface and its cryptotype. The most insignificant word endowed with special functions becomes responsible for the procedures taking place in non-verbal reality. Thus it is functional distribution that imparts meaningfulness to the plainest locutions. Taken as a quotation from the created textual entirety a separate phrase retains all functional ties that are endowed to it and attest therefore the acquired meaningfulness. Functionalism is the most apparent property of synthesis that imparts its properties to all textual particles. It entails the priority of contextual references in opposite to the intertextual ones so that conventions retreat to give place for idiomatic connotations. Functional hierarchy of a prosaic or poetical work gives the scheme (in Kantian sense) of integration that imparts respective properties to textual particles. It becomes traceable in textual stratification where these functional destinations determine the division between the registers and entail the segregation of separate segments used already as the quotations. For instance it is already the phrase of incipit vs. cadence where functions remain as the vestiges of the whole.

Both dramatic and lyrical functional systems and respective referential nets are peculiar for their multidimensionality. Thus double (personal and positional) references of an enunciation in a dramatic work correlate with contextual and intertextual references indispensably present in lyrics. Together with the multidimensionality (that is proper also to prosaic work) the referential net in poetry is marked with its extreme and ultimate extension. We have already discussed the paradoxical statement that the sources for textual integration (such as plot) are situated beyond the reach of proper textual means. This statement can be continued and intensified in the thesis of transcendental non-verbal sources of poetry so that textual entirety’s foundation can be said to lie beyond the reach of language as such. Poetry deals always with problematic images so that the prerequisite of textual integration is the opportunity of compressing its unity to musical or visual images where verbal substance would make up an account on them. The visible verbal textual entity gives such account in the manner of periphrastic circumscription that would represent the invisible visual image or, more generally, the phantom of imagination, and at the same time substitute it. Thus one can say of a compression carried out around non-verbal things as the integrative conditions. These conditions are both of initiation and termination of creative poetical act that’s they belong both to inspiration and incarnation of a poetical work.

To continue the initial G.E. Lessing’s idea of the insignificance of verbal substance for poetry as opposed to prose one would remind the Gospel’s statement: “And the Word became flesh and lived among us …” (John 1.14). One can say of the incarnation of word into imaginary objects that takes place in poetry. In its turn if incarnation represents the terminal point of images’ development in poetry it is inspiration that can be taken for initial point. The transition from inspiration to incarnation can then delineate the developmental way of poetical image. This incarnation & inspiration in its unity entails still one paradox also noticed by G.E. Lessing. It goes about the enrichment of non-verbal images due to the imaginative power of verbal poetry. While commenting the descriptive poem of J. Thomson (“Laokoon”, 11) he stressed: “Der Maler, der nach der Beschreibung eines Thomson eine schöne Landschaft darstellt, hat mehr getan, als der gerade von der Natur kopiert.” ‘The painter who represents a nice landscape according to Thomson’s description, would have done more, than in the case as if he copied it immediately from nature’ [Lessing, Laokoon, 85]. This reasoning has given substantiation to the famous conclusion (ibid., 13): “So weit das Leben über das Gemälde ist, so weit ist der Dichter hier über den Maler.” ‘As life exceeds painting, so a poet exceeds a painter’ [96]. Therefore poetry is to be taken in its permanent references to non-verbal world of imagination that becomes its basis and at the same time gets enriched with its issues. Poetical referential net necessarily reaches the transcendental objects (to return to A.A. Reformatsky’s term) so that in its limits it passes over the boundaries of language. The involvement of the transcendental is proper for prose as well but it has the other prerequisites and effects. Pragmatic attachments of prosaic colloquial substance give references to transcendental reality different from those of poetry as the deviation from prose (epic normal narrative genus).

In its turn the involvement of non-verbal integrative foundation both in prose and on poetry implies the necessity of explanatory phantoms (in particular, visual images) that would become the objects circumscribed with proper textual verbal means. It can be exemplified with common practice of memorizing text of a role of dramatics personae. One can mention the beads as the paragon for such memorizing technique. The mentioned paradox of the integration of poetic text consisting in the indispensable presence of the non-verbal foundation of phantom for integrative procedures (plot being the most obvious example) can be exemplified especially brightly with the case of baroque drama where things were used as a kind of emblematic designations of general ideas¹⁰³⁴. Such things taken as emblems remain common objects no more; they refer to enigmatic problems posed for audience as the tasks to be conceived and solved¹⁰³⁵. It was of significance that such reference concerned imaginative generalizations and not single objects so that things revealed the whole worldview with its plots and narrative manners¹⁰³⁶. The verbal components of dramatic play resembled inscriptions on things especially in segments addressed to the audience as if inviting to take part in action and demonstrating (with its impossibility) the confrontation of stage and life and therefore the particular dramatic distance¹⁰³⁷. Thus the already mentioned problematic & emblematic background of textual integration becomes especially observable and effective. Meanwhile the reference to animated things capable of giving testimonies to situations is not the peculiarity of baroque theatre alone. It is the common practice of memorizing role’s text recommended still by K.S. Stanislavski¹⁰³⁸. Visual row appears then as a parallel and equivalent to a proper dramatic text.

Another demonstration of the non-verbal integrative sources comes from the cases of the so called scenic amnesia connected with the features of the stuttering & stammering in actors’ speeches. Actually these cases look like the inversions of loquacity and garrulity with their pleonastic effects. If pleonasm comes back to tautology with its redundancy it is the deficit of verbal means arising from the “self-oblivion” of words in favor of images, to remind here E.G. Lessing’s concept. It is known that the factors that promote removing such deficiencies are caesuras and other pauses (German Luftpause & Auftakt) not only dividing speech into segments but also representing these segments as the objects of reflexive attitude though they are comprised with the respiratory technique [Саричева, 1955, 145 – 183]. There appears in particular the so called “shame of words” as the inhibitory factor that displaces necessary words from consciousness and entails verbal lethargy. It is the effectiveness of word and its capacity of addressing the audience that promote in overcoming such deficiencies restoring thus the adequate correlation of words and things¹⁰³⁹. This effectiveness is not only of colloquial attachment to pragmatic circumstances; it is textual situation that refers to the imaginative world where the sources of memory are enrooted. Verbal tissue always has a non-verbal implicit foundation (as those of phantom’s actions together with emblematic & problematic background) in the manner of auxiliary mnemonic prompt as the mentioned “beads” are. Thus verbal amnesia can be said to turn into visual anamnesis. It implies also the virtual plurality of the versions of this tissue, the given version being not the only possible. Poetic work always looks like a circumscription of some invisible and latent cryptotype (as represented with pictograms). One textual version of such verbal representation can be substituted with another so that they both become reciprocal periphrastic transformations of this emblematic circumscription referring ultimately to the latent problem. All it gives evidence that the transcendental sources of poetry’s integration are of universal nature. In particular for drama they aren’t restricted with action only including diverse forms and sides of imagery. The existence of non-verbal (in particular presumably pictographic or emblematic) integrative textual foundation entails also the involvement of non-verbal outer form. In difference to drama, for instance, there arises an obvious correlation between lyrical contents and versified forms¹⁰⁴⁰ as the reduced chant. It goes about musical imagery first of all and not externally taken musical devices as the basis of versification.

The problem of verbal amnesia with the ensuing conclusion on the transcendental non-verbal foundations of textual imaginative synthesis gives grounds for the conjecture of the double destination of this foundation. It hoes in particular about the initial (inspirational) and terminal (that of incarnation) presence of it within the process of textual generation. From one side the integrative premises and inspirational sources are of non-verbal origin, from other side such non-verbal integrative basis involves the elements of outer form that are also from non-verbal realm together with the incarnation of word in the created images. To repeat again the statement of words’ “self – oblivion” one can say of poetry extending beyond its proper limits. It goes not only about the versification but the semantic impact that comes from the non-verbal realm of inspiration & incarnation. As the mentioned markers of separate locutions the “emblematic” objects can be taken that serve as the folders or compressors for verbal textual entities and play the role of “beads” for prayers. All it gives grounds for the conclusion on the transcendental foundations of textual integration in poetry as well as in prose where such premises are of pragmatic origin. Textual synthesis implies transcendental property as it always passes over the limits put with words. In particular it goes about arousing curiosity & admiration referring to the inspirational non-verbal objects as the mentioned “emblems”. It is the endeavored terminal effect of admiration that is supposed to be achieved as the result of poetic or prosaic work’s creation and adequate perception. In its turn this termination must be preceded with curiosity that correlates with the incarnation of the textual verbal substance into images. Obviously neither