entirety of the whole scene as the moment of transition

It is not only lexical compatibility that provides conditions for textual integration. It is commensurability of the units of semantic space that can be called imaginative commensurability that is the indispensable prerequisite of imaginative entirety and therefore for the synthesis with the involvement of transcendental reality irreducible to purely verbal integration. It is not a barren naked simile: there exist statistical methods enabling the formation of such metrical space. For us it will be of importance to say only that this commensurability gives grounds to say of textual imaginative geometry on the way of the so called chronotope. Meanwhile if the concept of chronotope is restricted with contextual conditions the imaginative metrical space can be extended over intertextual relations. As a musical counterpart to this imaginative metrical space one can remind again tonality (with its presupposed opportunities of modulations and harmonious sequences). The simplest example of such metrical space can be found in the image of artistic time and space condensed in itinerary as the basis for dramatic and lyrical enunciations. In its turn it presupposes personification of those committing as adventurous voyage across the scenic space. Not to say of the Japanese “Flowers’ Road” as an obligatory element in some dramatic genera it is to pay attention to lyrical itineraries as the voyage of a soul representing in reality the description of a biography and intersecting with the genus of confession. One could remind the species of imaginary voyage with a soul visiting different places. Another species of lyrical itinerary is to be found in ecphrasis as the transportation of things. It is itinerary that can be regarded as the pattern for semantic or imaginative modulation as the model for the entirety’s evolvement taken within the contemplation from different viewpoints.

It is to warn that such simple exemplification entails the further question on the “geometry” of synthesis where time gets the undisputable priority over space. Therefore it is temporality that gives the foundation for imaginative commensurability. This temporal priority on the broadest sense (that includes the time of history) entails the next conclusion as to the nature of such introduced metrical relations. Meanwhile the time of image is not something like a dial of a clock or the abstract distance of temporal units. Rather it is the existential time of what is called in biology the world of a living being (Germ. Umwelt). It is the “living space” for existence that one gets at the disposal and therefore the paradox arises: temporal and personal categories that are normally far distanced display their convergent development until the full coincidence. Within the temporal axis it is the anticipatory moments that have the decisive meaning in comparison to those of retrospection. As in an orchestra’s conductor’s performance the predictability of a moment represented with the so called Auftakt is of primary significance, it is the expectations that build up the temporal profile of a dramatic play.

It becomes especially visible in theatre where temporality is conceived as the biographical attribute of a dramatis persona. Imaginative metrical space appears as a Lebensraum of a personality, and it gives key for the approach to its analysis from the personal viewpoint. Within this metrical space there are those of personal dimension that should get the priority. In particular the personal identification of utterances is to be correlated with their positional functions as far as the questions of temporality are concerned. The position being dependent upon the contextual references the type of personality can exist presumably also beyond the situations represented in the work and necessarily involving intertextual references. The correlation of personality & spatiality (resp. temporality) has already been observed in regard to the social types¹¹²⁸. One can remind in particular the effect of personally determined homonymous dissociation as the source of dramatic idioms that comes back to the really existent differentiation of social dialects¹¹²⁹. These connections of the same word to different personal contents produced for the use of respective social types with the ensuing homonymous dissociation in the collided replicas within a dramatic play are also the witness of the collision of different temporal dimensions. Personal temporality comes here as a verbal mask exposed in the successive order of a sequence of deeds. The enunciations of a dramatis personae are therefore the symptoms of their inner personal temporality that is to be detected in the textual integration.

It becomes evident that the contradiction between person and position within the integral work’s evolvement becomes the decisive factor for the peculiarities of temporal and spatial parameters of synthesis. One can say of personal characters that determine the semantic metrical space in different genera. The importance of personal foundation of commensurability for drama can be seen especially in the very essence of its integration. Any dramatic work can easily dissociate into a series of “numbers” of separate scenes corresponding to the represented situations due to the relative autonomy of situation as such. There’s always the risk of such dissociation into numbers (as the reduction of opera to “a concerto with costumes”). One can say that positional conditions in drama being favorable for scenes’ segregation contradict to personal necessity of unity. Therefore it is personality that becomes the leading power of dramatic integration and the source for its peculiar temporality. Personal priority gives grounds for conceiving synthesis as a portrayal that can be detected even under the surface of impersonal ecphrasis in descriptive poetry. There arise soul & spirit of synthesis so that a work as a whole can be personified as a vivid entity.

This personal attachment of dramatic unity can be exemplified in particular with the prose of F.M. Dostoyevsky where one finds the vestiges of theatre impact in particular in the respective use of improper direct speech in the manner of dramatic replicas¹¹³⁰. Such impact gives essential arguments against M.M. Bakhtin’s conjecture as to the pretended polyphonic background of such prosaic peculiarities. The incompatibility of such conjectures as to the seeming counterpoint in prosaic structures can be refutes already with the radical distinctions of respective musical structures¹¹³¹. It is another problem that arises here being concealed with the outlook of the pretended counterpoint: it is the problem of disharmony that is to be overcome to reach synthesis¹¹³². One can point to at least two features that exemplify such disharmony: it is the chaotic haste with the ensuing incoherence of narration at one side, and the automatic use of commonplaces at another side¹¹³³. Such devices of incoherence and automatism entail the necessity of the searches for the uniting powers that would procure grounds for textual integration. Then the problem of disharmony is to return to the above discussed cases of textual incoherence in the scenes of imbroglio (qui pro quo). Such episodes can be generalized with what has been called conclave¹¹³⁴. Noteworthy the device of conclave can be correlated with what F.M. Dostoyevsky used to call entrefilet¹¹³⁵ or explanatory insertions of episodic nature. of importance is that such devices serve to the apparent dramatic destination of the retardation (or acceleration) of action so that they coincide actually with a kind of intermezzos used in a prosaic work¹¹³⁶. Therefore there are no grounds for counterpoint: one finds typical dramatic devices that can account for the phenomena taken for polyphony.

One can also detect personalities with the symptoms of the so called fear of time (chronophobia) that are associated also to some peculiar aesthetic attitudes. Enigmatic verve of expressionistic mysteries turns into fear, and it becomes easily traceable in the works of Chr. Morgenstern (1871-1914) who belonged to the satanistic circle of R. Steiner together with A, Bely. This fear of time are attested in his utterances on “new lyrics”¹¹³⁷. Such denial of temporality and in particular of history has been declared in his lines from “Fanta’s Castle” (abbreviation for fantasy): “Längst gesagtes wieder sagen / hab ich endlich gründlich satt” ‘I’m fully satiated with what has been said for ages’. Thus the attempts of escaping from time have been here delineated and pretended to be substantiated with the appeal to the exhaustion and saturation. Here the contradictions of naturalism were felt: it proclaimed nature meanwhile it appealed to the artificial milieu of urban scenery. Beginning with the criticism of infernality it comes to the adoration of the formerly criticized things. Thus the so called “lyrics of the great town” (Großstadtlyrik) demonstrated this escape from time into the infernal particulars in the baroque manner of glorifying vanity. Another sample of such nihilism is to be found in the verses of Fr. Wedekind (“Erdgeist“): <Greife wacker nach der Sünde: / Aus der Sünde wächst Genuß“ “Glücklich, wer geschickt und heiter / Über frische Gräber hopst. / Tanzen auf der Galgenleiter / Hat sich keiner noch gemopst>. This glorification of sins needs no further comments …

Artificial milieu is isolated from history due to its absurdity and therefore it betrays the same escape from time into the habitual particulars. It resembles imaginary promenades in sleep over the fantastical milieu. Thus artificial milieu with its invented metrical space converges with the visionary space of dream. Such convergence plays the fatal role in M. Yu. Lermontov’s “Masquerade” that belongs to the class of the so called “dramas of honor” (in particular it comes back to P. Calderon’s “One’s Own Honor’s Surgeon” that betrays also mutuality with the fatalistic dramas). The confusion of the concocted images with the real state of affairs makes the hero to commit the murder so that the personal attachment of eventual temporality can be traced here quite visibly. There’s seduction to compare Arbenin with Othello. Meanwhile the seeming jealousy can’t be here the foundation because it goes at Shakespeare about the interplay of dubitation that comes to gales decision¹¹³⁸. This interpretation suggested by K.S. Stanislavsky correlates with the picture of delirium’s development disclosed here by the psychologist¹¹³⁹. Another case is in “Masquerade”. It is the wondrous automatism of Arbenin’s conduct that betrays the overt features of schizophrenia¹¹⁴⁰. It is attested with the particular traits of spatiality and temporality that outspokenly contrast to those peculiar for Nina’s portrayal. There are at least two aspects that worth attention within such contraposition: the attitudes toeards love and spatial imagination.

These samples of personal attachment as the ground for words’ synthetic use takes still another outlook in operatic libretti where the lexical scheme itself approaches those of lyrical poetry. The paragon for the use of key words here can become W. Mozart’s “The Magic Flute” where the very initial conception presupposes the conventional use of verbal stuff. One can trace just the lyrical way of the treatment of lexical stuff so that the designations of things become the pivots for the evolvement of action.

A peculiar problem of verbal text’s entirety and harmony arises in connection to its visual representation together with musical interpretation. It is well known that it is just the