Національна Академія Мистецтв України Інститут культурології
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- Sympathy presupposes optimism
| charades. In this way it contributes to textual comprehensibility as the unidentified element of charades to be deciphered turns out to be removed.
Generic properties of the dual structure of poetry (as opposed to prose) find their revelation in verse vs. scansion as the correlates of lyrics vs. drama. The inner duality of poetry is here revealed through the duality of lyrical verse and dramatic recitative. Both prose and poetry are accompanied with the concomitant satellite or epiphenomenon of syllabic pulsation that conceals the puzzling charades. There appear special formants (as separated virtual particles) representing lateral & latent “musical” textual organization that remains inherent both to prose and poetry. Prose in this respect opposes to poetry as the terrain of heterogeneous metrical background (including charades) vs. homogeneous meter of versification (and the systematic rhyme). Respectively sporadic prosaic charades give place to systematic charades of poetry. These systematic charades refer to transcendental reality in the sense of involving non-verbal sources. In particular one can say of chant for lyrics and scansion for drama as such sources. The phenomenon of elevated dramatic speech builds up the prerequisite of scenic scansion as the exhibited. There are two absolutely different types of speech that meet together in the terrain of scansion – those of rhythmical prose and free verse. The distinction of them can be traced within their origins. Free verse can be then conceived as the derivation of recitative (together with proverbial meditative utterances). In opposite to rhythmical prose that represents the inner prosaic opportunities of becoming conform to verse it is in free verse that discloses the outwardly existent paragon. Systematic properties of metrical space provide free verse’s contrast to rhythmical prose that displays sporadic features of rhythmic organization. At the same time these properties can’t be still regarded as sufficient. It is the infinitesimal deviations from metrical schemes that play the decisive role in the formation of versification and scansion as well as in the profile-making of prose. It has been very shrewdly described in the conversation between A.B. Goldenweiser and L.N. Tolstoy1261. To generalize this thought one can say of infinitesimal measures in semantic metrical space where such infinitesimal deviations appear as their particular revelation. It is the negligible infinitesimal residua that build up the fundament for entirety as the details represent the whole synthesis. One could say therefore of vital trepidation instead of syllabic pulsation where the small vibration plays the decisive role for the entirety’s formation. Both prose and verse within the dimensions of chant and colloquy involve these vital forces to apply phraseology as the expressive means to the representation of textual contents, and the infinitesimal unobservable units have here decisive meaning. Conclusion. Aspects of Sympathy as the Primary Sources of Poetry The above said observations on the referential net as the basis of textual integration and its transcendental attachment in poetry with the consequences of the presupposed metrical space as the autonomous power entail the necessity of passing to these powers situated beyond the reality of language. The indispensability of the involvement of such non-verbal powers ensues from the transcendental foundation of deixis as the existential prerequisite of textual integration. Within this realm of transcendental reality it is sympathy as the initial productive power for textual generation that must be called first of all. Both prosaic and poetic imagination would be out of question without curiosity & amazement as the initial and terminal phases of any explorative procedure1262. No need to say that these passions are impossible without sympathy: anger and fear in their pure and abstract form are incompatible with amazement. It is amazement that represents sympathy and therefore presupposes curiosity in opposite to antipathy with its repellence where the cognitive attraction of curious things is precluded. Meanwhile it is important to stress that this attitude concerns the exploration itself and not its object. It is the work of scouting within the fiends’ camp that demands sympathy for the process of observation and not to the observed foes! Therefore the advantages of sympathy that warrant its prevalence ensues from its including also negative moments and being thus more general and voluminous than forms of antipathy. Sympathy presupposes optimism and therefore it isn’t tied to some definite object. Sympathy is the cognitive attitude that involves explorative assurance with the ensuing affirmation of truth without any approval of the explored and disrobed object. It concerns cognition for cognition’s sake without any consequences in regard to the explored object. The phenomenon of what is called in French la haine dans l’amour ‘hatred within the love’ can exemplify this generalization. From sympathy’s priority in its turn ensues the necessity of comedy as the means for the examination of “serious” prosaic utterances1263. Thus laughter can be regarded as a touchstone for textual verity and the adequacy of its comprehension. It is from the beginning here to warn against any suspicion of cynicism or of indifference and tolerability in regard to the evil. The presence of comic elements that are comprised within the most disastrous narration does by no means presuppose the approval of the represented evil. Not to say of Dante’s Francesca that has depicted so that she is conceived as the victim of human contemporary opinion and by no means of the divine condemnation it is the very concept of comic as the universal and ubiquitous that stands there. This approach can be taken for valid also in more general sense irrespectively to its historic origin: the probative function of comedy as the presence of optimistic belief in the victory of truth (veritas vincit) gives the most persuasive testimony to its ubiquity. It is the paradox of observer that gives reasons for the latent sympathy and bitter comedy standing behind the most tragic events: the very fact of them being seen and attested opens possibility for the judgment of history and the genuine evaluation of the represented account. The monstrous apparitions of the past become laughable because they have been seen. The observer doesn’t exert influence on the observed object immediately, meanwhile the very existence of it makes the world as a whole different from that without an observer. If sympathy is the initial transcendental prerequisite for creative process the generic peculiarities of poetry as opposed to prose ate marked with the comical features where the already mentioned irony seems to take an important place. In opposite to prose’s seriousness poetry always presupposes the opportunity of irony at least as a rudiment to be developed. When prose aims at the exactitude of the represented colloquial sources with the consequences of seriousness it is the indispensable poetical ambiguity that entails irony. One can add to the previously discussed problems of the semantic shifts and the ambivalence of the coexistent affirmation and negation (together with the ambiguity of the personal attribution of utterances that irony entails) that the effect of irony can be felt in the vestiges of poetical impact on the development of prosaic genus in early Romanticism where novel has been conceived as the universal model1264. The peculiarity of irony is first of all the dual ambivalence of meanings concealed within the enunciation so that the contradiction of manifestation vs. latency (or surface vs. background in other terms) becomes its prevalent feature endangering the enunciative coherence of the utterance as regards its compatibility with the logical law of the excluded middle1265. Meanwhile such play with the risk of absurdity gains the prominent place in poetry whereas it hasn’t much significance in prose. For dramatic and lyrical enunciations with the decisive role of latencies this property of irony becomes one of the constituent powers whereas for prosaic simplicity and seriousness such ironical ambivalences don’t have comparable consequences. Poetry intensifies the significance of creative interpretation as the indispensable integrative power of drama and lyrics entailing thus the development of irony. Therefore it is in poetry where the irreducibility to logical compatibility is stressed especially1266 in opposite to prose with its intensified similitude to colloquial reality. It is due to the interpretative opportunities that the productivity of irony becomes evident. Irony discloses the opportunities of generalization involving the play of the presupposed typical attributes taken as the latent background for ironical references. Type & ideal as the necessary presupposition are always taciturnly present behind ironical utterances. In particular irony as the device of portrayal presupposes the existent personal markers and verifies their correspondence with the ideal image of personality. Such verification’s procedure initiated with ironical attitude discloses the discrepancy between the imagined latent ideal type and manifested real features that afford various ways of interpretation1267. In this way irony contributes to disclosing delusions. At the same time it is the importance of irony that entails also the fragility and vulnerability of poetry because irony bears the already mentioned risk of nihilistic reduction to seriousness with the ensuing leveling of textual profile1268. That is why irony can easily turn into its opposite of tedium (as it was the case with romantic irony transformed into positivism). Irony presupposes possible deceit while pointing to the inadequacy of the uttered judgment. This deceitful enunciation must become the objective of criticism and struggle carried out with ironical hints. The source of such deviations from verity lies in the fact that irony os the indispensable concomitant satellite of reflection both in dramatic metatext and in lyrical abstractedness. Vice versa prose doesn’t oppose top reality through such reflection and therefore hasn’t such reinforced necessity of irony. Irony presupposes prosaic seriousness to deny it; meanwhile it denies also sincerity and arouses suspicion towards each enunciation. In spite of the cases of “sincere deception or delusion” it is the intention of verity that sincerity attests. Therefore hypocrisy if presupposed as the preexistent possibility to be tested. Irony presupposes the possibility of falsification (deceit) concealed with the manifested utterance and therefore the contradiction of manifestation vs. latency as the decisive prerequisite of adequate comprehension. At last, together with the hypocrisy of deceitfulness and the respective suspicion irony presupposes also the superiority of those deriding over the derided object. Such unilateral asymmetry essentially impoverishes the above described advantages of ironical approach. This risk of proud and arrogant self-confidence essentially diminishes the cognitive value of irony. Comical imagery in its turn presupposes the involvement of “possible worlds” where one wouldn’t be restricted with the obligations as seen with commonsense. Such set of possible worlds can be detected within the genus of tale and in particular of the fabulous imagination of fairy tale. Both comedy and tale are inherently interconnected: apparently the virtual world of fabulous imagery in fairy tale presupposes the prevalence of comedy already due to the obligatory happy end of salvations’ motives1269. Meanwhile these motives represent only the outer and external sides of fabulous and comical mutuality. Of significance is the virtual reality detected both in tale and in comedy where the unforeseen and surprising phenomena are displayed that otherwise can’t be noticed. It presupposes the so called images of impossibilities (impossibilia) that can’t be reduced to a mere inversion of common sense (in the sense of mundus inversus). That such possibilities are to be perceived as impossible doesn’t entail their derivability from something preexistent as its interpretation (in particular parody as a very special kind of comedy). Existential joy is autonomous to the same degree as dolor existentiae. Fabulous world is to be explored and examined so that the discoveries entail here such joy as the cognitive force with the concomitant sentiment of amazement. These properties of tale are of significance for dramatic poetry. The thought about the role of tale for theatre has been uttered, for instance, by S. Krzhizhanovsky in his doctrine on the virtual nature of scenic art. His presumptions were the contradiction between existence and habitual life as those of invisible essence and external semblance that entail the last to become immediate source of theatre1270. In its turn the solution of this contradiction is to be found in what would correlate with the possible worlds represented in the scenic space in fairy tale where the phenomenon of metamorphose plays the main role1271. Both tale and theatre can be said to give their enunciations in subjunctive mood. Fairy tale not only doesn’t know unsolvable conflicts, happy end being its obligatory element: in opposite to myth this genus always deals with game and therefore precludes the fatal inevitability of ritually foreseen course of events. In this respect fairies resemble dreams where all becomes possible but they don’t coincide with the mythological obligatory wonders and miracles. Play replaces the miraculous phenomena with spontaneity. Therefore it begins its existence when the outer compulsory paragons for activity vanish and the actions are done for their own sake without external purposes. Respectively the conventions of game have no compulsory consequences as in the case of rite. In particular the enchantment and enthrallment of the fairy tales comes from the replacement of miracles with playful spontaneity. Game comes here instead of magic ritual actions. Therefore it is the optimistic viewpoint that prevails here in spite of all and makes a bridge to the historical worldview where the perspective of the course of events promises the final disclosure of the Isis’ cover. Instead of miracles one deals here with the mental experimentation in the field of historical opportunities that “open windows” to the unlimited and unforeseen development. This quality enables comparing tales with drama. It has already been stressed that tales belong to dramatic genus as far as their reproductions can’t be restricted with epic means. Being retold each tale involves scenic conditions and respective imagination. That tale and fabulous imagery belong to the initial transcendental sources of poetry enables replacing the mentioned irony of self-conceit with the more general idea of humor that precedes all other forms of comedy. The priority of humor within the diverse forms of comedy ensues from the constant presence of the passion for beauty as its indispensable concomitant satellite included within the habitual reality1272. Such coexistence of the sublime and the low within the same humoristic entity may seem a blend when viewed from the space of abstract attributes but actually it represents the initial inseparability of the both in the existent world. Therefore it is the phenomena of the terminated and the mortal that humor always deals with1273. In this respect humor continues and widens the category of amusement that was used in the preromantic epoch as the opposite to satire and irony1274. In difference to pure diversification of entertainment humor demonstrates its capacity of coming to the extreme in the same manner as tragedy does. It is not here merely hyperbole of lampoon or a mere absurdity that one would deal with in comedy and that would make humor: the essence lies in attaining limits of the represented phenomenon. The paradox of humor is that it can be absolutely serious without any hint to absurdity. In the same way lampoon must not necessarily arouse laughter as it was the case with the ugly and rude lampoons of Reformations that had their destinations in provoking malicious condemnation. Vice versa humor doesn’t presuppose aggressive behavior so that any hint to aggression is converted in and conceived as a form of caress. This humoristic conversion of assault into caress attests the duplicity of manifested and latent meanings as the essential feature of comedy belonging to the cognitive and not to the existential sphere. Still more important is that such duplicity becomes here examined at the extreme^ the action of the attacking person turns into something radically opposite. This duplicity comprises cognitive processes as a whole and in particular the difference between the depicted object and the very fact of this object’s descriptive representation. This distinction entails such paradoxical consequence as the latent humor of optimism accompanying the most disastrous tragedies. In spite of and together with hatred and disgust such account arouses the moment of satisfaction with the very fact of attesting the perfidy as disposed to the heirs’ judgment. That is why the awful events retold in the books of Maccabees are concluded with the eloquent testimony of the most sorrowful and at the same time optimistic smile: “For just as it is harmful to to drink wine alone or, again, to drink water alone, while wine mixed with water is sweet and delicious and enhances one’s enjoyment, so also the style of the story relights the ears of those who read the work. And here will be the end” (Maccabees, 2, 15.39) [The Holy Bible, The Apocryphal Deuterocanonical Books of the Old Testament, 1995, 194]. The importance of humor ensues from its compatibility with sincerity as the intention to verity in opposite to irony that betrays skeptic attitude to verity. When irony posits the contradiction of manifestation vs. latency as the main place humor doesn’t presuppose any suspicion of deceit. Humor discloses the ambivalence and the coincidence of alternative meanings without deceit as the tolerable semantic duplicity where incongruence becomes admissible as the property of such fundamental property of language as homology. Humor can be said to be enrooted in the nature of language as the “fuzzy set” of meanings with its tolerability. Humor ensues from ambiguity as the inseparable property of language as such. Subsequently humor retains sincerity and open-mindedness that enable the existence of the so called “black humor”. These properties represent the most essential and general features of comedy as such that’s its ambivalence that reveals the interpretative duplicity (and multiplicity) of utterances1275. This duplicity of ambivalence as the fundamental property of humor has been detected for ages1276. That is why humor is always spontaneous; otherwise it loses its definitive features. From here ensues also the particular humoristic capability of comprising sorrow and condolence together with pure existential joy1277. It is the last point of existential attachment that affords such generalizing comprising opportunities of humor where the conscience of the mortality of all existence indispensably takes its place1278. Therefore humor is free from unilateral side of laughter as the expression of joy1279 in the same way as grotesque where laughter is mixed with fear with the essential difference that here sound and not ill forms take preference. The priority of humoristic comedy and smile ensues immediately from the priority of sympathy that includes negative moments as its necessary concomitant satellites. It is the incompatibility of humor with aggression (presupposed with the pathetic) that has been discovered and underlined in early romanticism1280. That is why humor always presupposes the reversibility of derision so that the laughing person derides oneself. Moreover humor as the revelation of sympathetic passion is regarded as opposed to tedium and attached to love1281. This revealing mission of humor comes from its destination of disclosing virtual “possible worlds” absent in the reality at hand. Thus the contradiction of humor vs. tedium arises with peculiar humoristic ambivalence’s tolerability (that in tragedy tedium becomes out of question ensues from the essence of catastrophe). Besides as a more general contradiction one has to compare humor and pudency (shame) that comes as a usual concomitant satellite of risibility. Although one has already attracted attention to such opposition it is to stress that it is of cognitive and not existential nature whereas these two aspects are blended together [Карасев, 1990]. Laughter presupposes pudency of shame and not ire, aggression or terror. If tedium concerns both comedy and tragedy it is the specific aspect of pudency what concerns comedy. Is goes here about the comical version of catharsis as a triumph instead of catastrophe where the comprehension of shame comes to conscience without existential consequences as well as in tragedy. That pudency and shame belong to pure cognitive realm can be attested with its origin that presupposes the normative behavior with the respective restrictions of conscious nature. As well as in tragedy the distance between spectator and stage is presupposed (otherwise the intrusion of irascible spectators would be inevitable) so in comedy the sentiment of shame as the result of illumination or catharsis can’t entails consequences in the audience’s conduct. Pudency presupposes the abuse of conventions and therefore the previous existence of conventional code for game. Apparently such code belongs to cognition and has nothing to deal with the existential consequences as in Fr. Goya’s picture representing the torture of “The Punishment with Shame” (“No Help” from “Capriccios”, N. 24). Humor and shame can be said to supplement one another reciprocally and don’t contradict one to another. They both become mobilizing cognitive abilities necessary for sound activity. In this respect it is worth reminding that the concepts of shame and conscience are correlated (in particular for conscience in German one discerns Gewissen / Bewusstsein)1282. Therefore one can say of shame as the part of personal conscience in the same relation as soul to spirit (conscience being conceived as the source of the “remorse of conscience”). It gives additional arguments in favor of the cognitive nature of humor and shame. At the same time together with tedium humor contradicts and correlates to the pathetic and the elevated: in this property its opposition to satiric derision (that correlates with pathetic confirmation of those opposed to the derided subjects) becomes apparent1283. Meanwhile it would be erroneous to deduce another opposition of humor vs. pathos (in opposite to the correlation of satire & pathos) due to the constant coexistence of the low with the sublime in humoristic entities1284. Therefore humor unites the sublime & doleful together with immediately derisible things. Moreover humor can be said to be open also for the gracious and the heroic. These opportunities are to be discerned from the risk of being derided as in the famous words about a single step between the elevated and the ridiculous (ascribed to Napoleon). One could object to this statement that it presupposes not only the fall from grandeur to laughter but also the movement in the opposite direction attested with the known proverb that “each joke contains only a part of joke, all the rest is very serious” (or in a much more somber version that “corpses don’t experience any shame”). Therefore such examination of the pathetic turns into that of the effectiveness of humor as well. The existence of the so called heroic-comical and tragic-comical genera attests the blend and transition of humor to the elevated forms of pathetic expression. The common denominator here can be grace that displays the opportunities of жүктеу/скачать 6.92 Mb. Достарыңызбен бөлісу:
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