Національна Академія Мистецтв України Інститут культурології
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particles endowed with definite meanings within the borders of a given verse. As the exemplification of artificial particles arising within the rhymes one can detect such sound combinations that belong to those inadmissible in common colloquy1195. One can say of quasi-particles of poetic idiolect arising as the result of rhyming. The virtual particles, arising in a text as the result of inner rhyme (alliteration), represent the additional voice interweaved as a counterpoint into the proper author’s utterances. Therefore a kind of latent bipartite score arises. These quasi-particles behave as the onomatopoetic forms that need conceiving as a kind of neologism and as exclamations that presuppose eidetic perception. Such attachments of extra-systematic nature approach the risk of passing over the language’s borders entailing thus the problem of the chaotic destruction of language. For instance in M. Voloshin’s verse «Ветер, рыдая, прядет /Тонкие нитки дождя» the virtual particle [NT] is separated due to rhyme so that the elements that correspond to Lat. <tenuis = тонкий> and <neo, netum> are confronted; in the line «Лампу Психеи несу я в руке – синее пламя познания» the substantives лампа and пламя of different etymological origins are united with the particle [P(LA)M/(LA)MP}. The system of charades indispensably arises together with any rhyming procedure and becomes the source of the mentioned semantic formants. Of a special interest is the relation of such formants with etymons disclosing due to the special rhyming devices of versification that has already been discussed in regard to proverbs. Rhyme furthers partial homonymy with its effects of dissociation and at the same time it contributes to lexical paronymic attraction. A peculiar poetic etymological simulation is suggested that differs from the effects of etymological regeneration due to the rise of a particular code1196. Thus the problem of the interrelations between the supposed etymons and the arising alliterative derivative particles is to be posed and solved within the rhyming processes. Homonymous dissociation is therefore to be regarded inseparably with the problems of etymological regeneration and simulation as it has already been discussed within the proverbial material. The involvement of semantics in the interplay of partial homonymous coincidences can be attested with numerous cases of poetical intuition. To exemplify it one can cite some lines of L. Staff. As it is known, the Slavonic ulica = улица “street” is cognate to улей “beehive” and Lat. aula “hall” with the primary meaning of a hollow space. One encounters in the verse the synonymous substitution of street with the general way together with the use of the etymological “relative” of beehive. Besides due to the alliterative use of the tułać, tułaczy “to be a vagabond” one finds the additional profile of the idea of movement along the space delineated with the formant UL.
The importance of rhyme is in particular its demonstrative efficacy in producing monosyllabic effects. In this respect the situation of monosyllabic languages of isolated type displays reproducibility within poetry. It is to stress the reciprocity of rhyming devices and monosyllabic tendencies: the appearance of monosyllabic quasi-particles within poetic idiolect promotes the development of rhyme and alliteration, as well as they do in their turn in regard to the isolation of separate syllables. The significance of monosyllabic factor as the structural element of the contemporary versification can be seen in the fact that from the stylistic viewpoint «most neutral English words are of monosyllabic character» [Galperin, 1971, 65], the statement can be detailed with the data of Kirchner (who has shown the reducibility of the most frequent verbs to ten monosyllabic roots – be, have, go, come, do, make, give, take, get, put – with prepositions). It is interesting that in the contemporary English practically any monosyllabic word generates a rhyming series as for instance < fold – old (auld) – bold – cold – gold – scold – wold and Scotch dialectal yauld ‘alert’> (the reversed alphabetical order enables disclosing the most monosyllabic structure of the core of lexical stuff) [Lehnert]. Such monosyllabic reduction of English verb can be also supported with the data of the dictionary of phrasal verbs that consist mostly of the combinations of a single syllable (throw, stay, work, see etc.) with preposition [Courtney]. This conclusion is supported from another side also as the graphic combinations of letters: of importance is that the letter r performs here often the role of a vowel in the formation of syllables [Балинская, 286-314]. Moreover the data obtained by C. Pike the structure of English syllable depends essentially upon the accentual conditions so that the number of real syllables turns out to be restricted still more1197. It promotes building up the “universal” “fundamental” type of the closed syllabeme that enables reshaping words in spite of their etymological structure as in war-drobe, teas-poon [Cygan, 119]. In its turn the decisive distinctive differential features demonstrate as a rule the consonant clusters: in English there are now at least 54 types of syllables with the binary initial clusters and 24 types with the ternary clusters [Торсуев] so that the Tibetan classificatory approach betrays its validity for the English of nowadays! In this case one could remind of the mentioned semivowels from the Tibetan language. These conditions were favorable for the formation of such particular English poetical genus as limerick peculiar for the presence of concocted imaginary names approaching onomatopoetic effects as Yonghy-Bonghy-Bo where the apparent source of the first component (young) the second can be guessed in its similarity to This construction of initial signifying root element with the variable continuing formants substantiates the conclusion on the universal properties of syllabic procedures peculiar both for the Indo-European etymons and for the Sino-Tibetan monosyllabic so that the division of initial – medial – final – terminal elements of a syllable demonstrates its broad applicability. The development of homonymy is clearly seen in Japanese where due to the loan-words from Chinese the normative quantity of lexical units is estimated as more than trice as much as in the contemporary European languages [Пашковский, 1980, 182]. One can build up such rhyming series where the initial element plays the role of the uniting feature. Here one can again trace the reverse analogy: when Indo-European etymons display homonymy as the result of reconstruction it is the convergent development that entails the homonymy in the Sino-Tibetan. For instance in the contemporary Chinese syllables have lost terminal explosive consonants that are retained in Japanese loan-words (as ritsu, koku etc.), and it has contributed to the reduction of syllables’ number with the ensuing effect of homonymous convergence. A very persuasive example of such convergent development can be found in the fate of the initial flowing sound: nowadays it is only lateral [l] in Chinese and vibrant [r] in Japanese1198. Homonymous hieroglyphic rows with this initial element can be exemplified with the Japanese “loan-words” [ryu:] ‘to leave / to glide / flow / stream / row / nearby’; another sign gives the meanings ‘to become / a kind / other’ – all taken in the key of ‘water’. The row of [ryu(:)/ryo:] gives the meaning of ‘flow’ with the derivatives concerning the movement of fluids. Noteworthy in the contemporary Chinese these rows are homonymous with the Japanese reflection of [roku] ‘six’. Contemporary Chinese syllabeme le is the result of the convergence of at least two homonyms represented with the different Japanese reflections (retsu and ryo:) that have the hieroglyphic phonetics of ‘bone’ with ‘knife’ (with the meaning ‘series, all’) and ‘dog’ with ‘mouse’ (the meaning ‘chase’ in the determinant key of ‘river’). The cases of the kind are cognate to the above described allothetic forms in etymology. These and other samples of the kind demonstrate the applicability of Chinese monosyllabic experience for the problem of European lyrics. This distanced approach seems to be productive while being used in exploring the rhyming devices of poetry as the survival of the supposed etymons. Meanwhile it is not the case of speculative etymological reconstruction only. Monosyllabic patterns have become a peculiar feature of the contemporary English reflecting its stress system as well1199. This apparent tendency is attested even as that undesirable in colloquial communication. “I wish you weren’t so damned monosyllabic”, says the narrator to the hero in S. Maugham’s “Moon and Sixpence” (21) although the answer consisted only of single words and not of syllables. The shade of monosyllabic patterns appears as the parallel latent charade that becomes textual concomitant satellite. Lexical units being reshaped as the onomatopoetic formations of a charades’ kind, it inevitably comes to monosyllabic structures in the manner of apostrophized verbs and their Slavonic correlations (already discussed above). These phenomena of contraction are of a special significance in regard to the verb in Slavonic languages. N.S. Trubetskoy stresses the cases of the alternative forms with the so called zero vowel as the factor of syllabic variability1200. A similar phenomenon as the “parasite vowel” (Germ. Flickvokal) has been noticed by R. Jacobson in regard to imperative mood as in <сохни, езди> [Якобсон, 1985 (1948), 218]. The importance of the apostrophized (abridged and contracted) forms of verbs has been already underlined by A.A. Potebnya who has called them “verbal particles” where the aspectual features are usually lost1201. It is significant that such monosyllabic verbal versions retain their syntactic capacities of completion though lose their circumstantial and attributive connections1202. It attests once more the peculiar role of completive relations. Such contractions impart to words the properties of an interjection: for example such property can be found in хап that belongs to the great nest of Lat. capere ‘to take, habere = ‘to have’; the same concerns прыг, скок, топ. These verbal particles (to use the cited Potebnya’s term) build up a sort of monosyllabic “shaded concomitant satellites” appearing in particular as imperatives and exerting essential impact upon the poetic tongue. M. Tsvetayeva uses the effect of replacing a word with monosyllabic structures as часто → час да: «Оттого так часто горят / Чердаки – часто и скоро - / Час, да наш в красном плаще!»; in the same way one finds совсем → со всем: «Совсем ушел. Со всем – ушел» [Зубова, 150, 211]. That the phenomenon has a wide distribution can be seen in the apostrophized verbs of English. It is here to pay attention to the convergence of such devices with the Futuristic onomatopoetic use of syllables1203. That the verb here approximates to an interjection and exclamation can be exemplified with R. Kipling’s lines (such as For all we have and are, / For all our children’s fate / Stand up and take the war. / The Hun is at the gate!). The verses approaching slogans entail such convergence with onomatopoetic consequences that estrange such locutions as something alien to the language. This effect of estrangement entails still broader consequences. One of the most significant powers promoting monosyllabic structures is the adoption of alien elements (as is the case with loan words). It is not incidental that futurist movement encouraged the effects of Creole language1204. Such effects of adoptive processes are observable in proper names that in its turn easily can be converted into interjections. In its turn adoptive processes supply favorable conditions for homonymous convergence of the native and the adopted entailing thus the specific semantic condensation with its consequences of ambiguity. Monosyllabic contraction looks then like a counterpart to textual encapsulation in epigrammatic utterances. Therefore the case of monosyllabic contraction bears witness to the fact that rhyme contributes essentially to the more general minimalistic tendencies of textual evolvement. It is already the “narrowness” of versification that discloses apparent minimalistic features. Meanwhile due to minimalistic compression (making us remind of epigrams) it furthers also the evolvement of charades as the systematic segregation of virtual particles. One can say of charades as the inseparable concomitant satellite of the minimalism that rhyme gives rise to. Rhyme is intermingled with charade and contributes to semantic ambiguity resulting from such confusion. These conditions intersect with the general properties of lyrical genus that encourages the formation of syllabic sequences of charades due to meditative attitude evident especially in epigrams. Charades arise as the element of an alien speech in the sense that they are perceived and conceived as the utterances of some unknown language. Charade comes than as an unidentified language’s utterance. In this way it imparts ambiguity that arouses efforts of solving the puzzle. Moreover, the very existence of the “inner music” of charades as an inerasable satellite of any speech (both prosaic and versified) reveals the redundant and unexploited possibilities of verbal code. The presence of such latent opportunities that have not been still involved in language points to the complementary forces that evolve together with speech generation and supplies this procedure with alternative opportunities disclosed already with a mere rhyme. At the same time the paradox becomes apparent that this redundancy turns into its opposite of randomness: the incomprehensibility and ambiguity of charades entails their attachment to the terrain beyond the language’s coherence. With the “inner music” of charades one passes into the domain of the phenomena inadmissible within the body of language that appertain to transcendental reality. This passage paves the path to the involvement of such references to the broader world and at the same time brings risk of chaos. Lyrical text is opposed to colloquialisms and therefore entails the development of the effects that would provide distance in regard to colloquial speech. Moreover together with charade also the secondary onomatopoetic effects obtain developmental opportunities. Such were in particular the issues of the futurists’ lexical experiments. It goes in particular about the device attested with the procedure designated by V. Khlebnikov as ‘the searches for the minimal (segments)’ («поиск наималов») endowed with meanings: there appears the ultimately compressed space of a single syllable where the phonological procedure of imparting meaningfulness to separate distinctive features takes place1205. A very particular type of charades is attached to ambiguities arising at the delimitation of adjacent words. It is the case that the so called super-comprehensible speech («заумный язык») of the Futurists appeals to. As a demonstrative example of the kind one cites usually A.S. Pushkin’s line from “Eugene Onegin” («Со сна садился в ванну со льдом» with the ambiguous opportunities of comprehending the first words denoting together ‘a pine’)1206. Charades bring therefore also the risk of reduction to chaos together with the convergence of lexical units to interjections. Here the jeopardy of reducing speech to parroting is to be reminded1207. The cases of Futurism or Dadaism attest the known symptoms of degradation or the “return to the primitive forms of behavior” peculiar for hysteria [Kępiński, 1977, 70]. Such risk was apparently meant already by Sumarokov who designated some of the “charades” resembling hysterical glossolalia as the satanistic product1208. Vice versa the opposite movement to the reduction of words to exclamations can be traced in such elevated use of etymologically onomatopoetic (from хлюпать) idiom as «хляби небесные» that appeared in the translation of the Gospel. Various kinds of exclamatory & onomatopoetic degradation of charades do always presuppose the risk of destruction to be removed with elevating their meaning. This degradation attests in its turn the always present risk of charades degrading to the pathological phenomenon of glossolalia. The rhyming devices of charades as textual concomitant satellites contribute to the rise and development of the already discussed syllabic sequences together with accentual contours as the counterpart to lexical combinations. It is such sequences that build up the background for versification as the autonomous prosodic structure arising within the flow of speech. Naturally these sequences arise in prose as well as in verse; therefore it is here to remind again that prose opposes not only to verse but also to poetry in general. Prosaic recurrent propositional structures of syntax prepare already the conditions for the rise of meter, and in its turn reciprocally versification can’t be regarded only as an external technical device applicable to the already existent textual entity. Vice versa it reveals the inner textual form and in its turn exerts impact on its contents taking part in textual integration as the force endowed with meaningfulness1209. In the most immediate way this interaction of verse and word as the meaningful powers irreducible to the game of accents and syllables is to be seen in the problem versification & phraseology. That there arise prosodic preliminary conditions of syllabic sequences & accentual contours quite independent from lexical stuff is not only evidently observable: the very existence of such conditions becomes necessary for a speech’s comprehensibility. In particular one detects always normal and deviational variants of a phrase’s prosody that enables their comparison and respective disclosure of the meaning1210. Apparently this prosodic organization concerns prose as well as verse so that versification comes in the play as the aftermath of respective development of phraseology. Such interaction of versification with phraseology can be exemplified with a special problem of the role of Church Slavonic locutions in A.S. Pushkin’s poetry posed already by V.A. Bogoroditski in 1940. This role ensues in particular from the coexistence of various syllabic versions of lexical units from apostrophized forms («усечение») with reduced vowels to prolonged syllables («полногласие»)1211. Such variability delivered a certain license to versification1212. A more detailed analysis of editorial versions has shown selective procedures of reciprocal adaptation between lexical substance and metrical scheme1213. Of importance is that the samples of such interaction of verse and phrase demonstrate codification1214. To sum up, one can say of versification’s conditions, stylistically marked phraseology and stylistically neutral locutions1215. The interaction of the kind is still more clearly traceable within the syntactic structure of verse. As a well-known example here the Onegin strophe may serve where syntax determines meter1216. Moreover rhythm becomes here the surface structure of the inner syntactic form and is developed just as its revelation1217. Among 12 thousand theoretically possible syntactic versions of the strophe the poet has selected the only possible for the formation of idiomatic phraseology so that rhythm becomes here the generative power1218. These observations meet with the generalized statements as to the syntactic priority within the development of versification. Such generalizations have been obtained in particular as the result of the researches of the so called equirhythmic translations where the word order is also to be retained1219. That is why there are enough grounds for the statement of the transition from inner to outer form within the process of the development of versification1220. It is to stress again that rhythmic devices of versification are always filled with the semantic and syntactic load as the core of their inner form. In this respect syntactic means (with the respective prosodic conditions) become the mediating link between verse and meaning. The already discussed relationships between semantics and syntax are now to be taken into account in the analysis of versification1221. Therefore while dealing with versifying schemes one has to bear in mind the set of possible syntactic structures with their syllabic sequences and accentual contours that they can represent. In particular the source for such metrical schemes are to be found in the just mentioned interplay of prosodic norms and deviations as the precondition of the comprehensibility of a phrase. It is to bear in mind that meter as the indispensable existential condition of rhythm does always remain invisible latent power present only in imaginative efforts of the communicative procedure’s participants (as such interplay of prosodic norm and deviations) and never manifested explicitly. It builds up the presupposition of the “possible worlds” of a phrase. That is why one can’t agree with a wide-spread opinion as if the free verse would be approximation to prose (in particular to the verses in prose) and would refuse from meter1222. Vice versa, the meter pretended to disappear and to become indefinite, it becomes in actually still intensified suggesting the necessity of searches for it. Therefore the experience of scenic declamation would become more significant for the explanations of the origins both of free verse and prosaic poems. A similar error can be encountered in attempts to reduce some forms of versification to prose as is the case with V. Mayakovski1223. Such approach has been refuted with the detailed researches where it has been shown that the criteria of accented verse are retained1224. Meter (as a particular aspect of general semantic metrical space) is always implicit and must be detected with special efforts as the necessary prerequisite for textual rhythmic development based upon the deviations from its successions of tautological “mean values”. In its turn it is the жүктеу/скачать 6.92 Mb. Достарыңызбен бөлісу:
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