Національна Академія Мистецтв України Інститут культурології
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| visual image that stands especially near to the demands and opportunities of an entirety’s representation. It is not incidental that ‘obeisance’ contains the same root as ‘audible’ (as well as Germ. hören und gehören or слух и послушание). In its turn (and in opposite to the cited example) it is ‘avidity’ that is etymologically associated with ‘vision’ (in the same way as видеть – зависть). These witnesses exemplify the obligatory presence of intentional ingredients in visual images representing verbal contents: to see something means also to want (or to do not) it, to regard something as invidious implies the intentions of making it invisible and therefore undesirable. The famous Latin proverb ignota non cupido ‘one doesn’t want the unknown’ presupposes that the unknown could mean also ‘unseen’. Audibility presupposes silence whereas visible contemplation is attached to activity that can’s be developed in darkness. The non-verbal integrative textual premises are of musical nature and they impart not only the pretext for memorizing textual passages but also the particular musical artistic peculiarities. These items have been the subject of the famous operatic debates from Glück to Wagner.
The initial point in the development of operatic debates was the inner contradiction of the “serious” opera where masculine parts were destined for castrates’ performance so that they looked like feminine voices and the whole tragedy turned into travesty as a kind of a comedy with redressing. It was connected with the destruction of dramatic unity so that motifs represented in this opera were loosely combined without attaining integration1145. The opposition of affect and effect (represented with airs and recitatives respectively) removed dramatic quality that the performance got the outlook of “a concerto with costumes”. That is why the experience of buffo comedy promoted in removing this opposition (in particular with the development of the already discussed ensemble technique). The removal of duality of comedy and tragedy was carried out together with the removal of the duality of affect and effect, sentiment and action. The next step after the development of ensemble technique was that of R. Wagner’s proclaiming symphony as the paragon for opera. The thought (cited here from the article “On the Use of Music in Drama”) came from the objections against the abstract conception of unity whereas the genuine unity and integrity of a work were seen in symphony that in its turn was presumably the generalization of dance1146. Meanwhile the real effect was very far from dramatic integration: rather opera approached lyrical dramatic poem. Actually it was the involvement of the alien genus of lyrics as the foundation of dramatic integration. Wagnerian program of the symphonic model for drama is of a special significance as it takes the transcendental non-verbal musical sources for synthesis. At the same time it was the weak point of confusing drama with lyrics that aroused the criticism of F. Nietzsche. The disappearance of dramatic quality has been described by him (in “The Case of Wagner”, §§ 9, 3) as the lack of motivation (“a series of strong scenes”) and arbitrariness of solution peculiar for lyrics (“his opera is the salvation opera”) so that symphony as the paragon for drama at the same time dissolved the dramatic qualities. These objections can be accepted with the view that R. Wagner’s libretti without music actually can be taken for operettas and not for tragedies. It is music that imparts to them pathetic quality (“Tristan” without music looks like a vulgar adultery story and the bare libretto of “Parsifal” has the outlook of antifeminist pamphlet with the final reasoning on “feminine perfidy”). Respectively it goes about the approach to the verbal substance where the transcendental musical powers get the priority. Such involvement of transcendental musical sources for the synthesis of a work’s entirety concerns also lyrical poem where these sources reveal themselves through reference to non-verbal reality. It does not go only about inspirational sources: musical imagery (irreducible to a bare audibility or euphony of sound substance) builds up the genuine foundation for lyrical textual integration and the ensuing synthesis of images. It is not only the singing as such that entails the necessity of taking into account musical sources of outer form of poetry. The essence if poetical image is still more demonstrative for the necessity of involving such musical features. The role of musical foundations as the transcendental source for poetical synthesis is attested in particular with the practice of compiling music to one’s own texts (as in the cases of Wagner)1147. Apparently it doesn’t go only about the concordance of word and melody, the process attaining much deeper imaginative powers inherent to the both artistic fields. Here the idea of double mimetic reflection promoted by G. Lucacs gives grounds to seek such semantic transformations. The involvement of music changes the whole communicative situation and entails also the change of the relations between lyrical and dramatic genera. It is already the mentioned concert song that acquires scenic features and therefore the dramatic properties as well. The sung words are essentially different from those read in a poem because they are represented as the scenic speech. When the singer sings the words acquire new connotations absent in their ordinary colloquial use. It is here only to mention that the meaning of phraseology endures the radical transfiguration while being sung. Let only the known R. Schumann’s romance “Ich grolle nicht” be cited where the melodic similarity of the incipit with the phrase “verlor’nes lieb” imparts the meaning of complaint to the initial exclamation1148. This simple example demonstrates the general law of the variability of meanings in couplets where the phrases in the same places of the repeated tune display their semantic transformability. The very fact that different words are combined with the identical melody makes one to look for the latent meaning. Therefore some invisible third meaning arises together with the phrases compared due to their allocation in one place of couplet, and this third meaning is added with music. That is why the famous slogan <“De la musique avant toute chose / Et pour cela prefere i’impair” (P. Verlaine)> presupposes semantic and imaginary procedures that can by no means be reduced to outer form of chant. In this respect it is to refer to R. Wagner’s concept of the endless or infinite melody that’s of melody without termination1149 as the counterpart to possible syntactic constructions in poetry. That endless melody is defined as the explicit form of reticent contents attests its attachment to the disclosure of latent opportunities of verbal substance in poetry. To this statement from the article “The Future Music” one can add the reasoning from the treatise “Opera and Drama” where the autonomy of melody is proclaimed so that its infinite opportunities become the source for poetry1150. Whether it goes about Verlaine or Wagner, the essential is that the poetical synthesis admits non-verbal sources and points of references. Concert song is the evidence of lyrical and dramatic mutuality where one of genera serves as a transcendental source for the textual integration in another. The sung poem looks already as the staged scenic speech. Reciprocally it is lyrical sources that impart entirety to a dramatic work in Wagnerian sense. One can in particular exemplify the applicability of the concept of infinite melody with poem built as a single sentence of hypotactic structure (for instance, such sample is to be found in R.M. Rilke’s “Fragments of the Lost Days” from “The Book of Images”, 2.2). In particular poetry needs the involvement of music as the invisible integrative textual power. It was already Virginia Wolf who launched the program of writing literature as a musical score. The idioms impart to V. Woolf’s work semantic rhythm & harmony as the semantic modulation (“rhythmical” as opposed to “narrative” according to her statement). In a letter to the composer Ethel Smith V. Woolf has pointed out: “my difficulty is that I am writing to a rhythm and not to a plot”, this ensuing from the fact that “though the rhythmical is more natural to me than the narrative, it is completely opposed to the tradition of fiction” [quot. Parsons, 2000, V]. The novel is built of the characters’ confessions separated with the inserted author’s meditations so that the verbal masks of these characters can be reconsidered as the roles played by the author herself. Therefore it is reflection that builds up the foundation of textual imaginative synthesis. For instance, it the author’s own declaration that is pronounced by one of the characters, Rhoda: “Wonder and awe change as they put off the draperies of the flowing tide” [Woolf, 2000, 131]. Due to such similitude of epics reproducing dramatic properties one can conclude as to the particular idiolect coined in V. Woolf’s soliloquy. One could call as V. Woolf’s precursor the composer G. Mahler whose “Songs of the Died Children” to the words of Fr. Rueckert include already the future “stream of consciousness”1151. Then such tendencies to synthesis are to be regarded also from the viewpoint of the interaction between the epic, lyrical and dramatic genera and removing their distinctions. At the same time it is not only musical interpretation or inspiration in proper sense that is usually meant here. Rather it goes about the ambiguity of transcendental latencies standing beyond textual integration, and it is this unknown residuum that is conceived as music (within the other transcendental reality). Of importance is that the real interrelations between genera endure serious changes due to the intrusion of such transcendental factors, be they of music or of other field. One can refer in particular to the experience of J. Goethe who modeled his epic works as the potentially staged texts and owned his intentions of being comparable to that of a playwright imagining numerous dramatis personae1152. Thus the prosaic work must be first played as an imaginary staged representation of dramatic poetry. In this case scene with its artificial imagined milieu and respective semantic metrical space must become that of scenic circumstances. Here one can detect the effect of dramatic poetry as a narrative metatext where the sources for prosaic work are enrooted. Theatre can be then generalized as the ultimate source of imaginative transcendental reality for poetry in the sense of the receptacle of artificial milieu. It is already for lyrics that such artificial scenery gives the model for synthesis. Descriptive poetry of ecphrasis discloses in this respect epic tendencies that promote approaching drama with acquiring scenic imagery of artificially created milieu. Thus a kind of scenic space is created where the epic narration acquires the properties of lyrical confession. It is the artificial milieu that becomes the common denominator of naturalism and expressionism where the lyrical imagery betrays confluent movement with that of dramatic art. The attachment of imagery to scenic space of artificiality is described in particularly by M. Voloshin in his essay “Theatre as a Vision of Sleep” where this role of artificiality has been exemplified with the case of F.F. Komissarzhevsky’s interpretation of Mephistopheles’ appearance an the stage so that the artificial milieu approaches the infantile world of toys1153. It is also to warn against the attempts of reducing such theatrical poetical sources of artificiality to imaginative reflection. The romantic irony provokes reflection encouraging semantic transformations and at the same time turns to be endangered with the risk of rhetoric degradation to trivial commonplaces. Irony itself becomes conventional mask, therefore its opportunities are essentially restricted. Besides, it is not mere ready conventions that build up the scenery of artificiality to arouse the poetical imagination because the very theatrical conditions become here the objective of explorative efforts. What imagination brings forth in its turn gives a puzzle to be solved and not the ready information. In this respect one can find such objectives for exploration in visualized images that are not the ready creative results and nevertheless become invariants for variable textual descriptions. It concerns not only baroque culture of emblems but much broader space of salon traditions. In particular these transformable descriptions of a visual image are the tasks for salon games where they were associated with portraits. A rich stuff of the kind is in particular to be found in the legacy of such writer as I.S. Turgenev, his friend P. Viardot and the participants of their circle. Such “game with portraits” attests in the most immediate way the existence of non-verbal transcendental source of textual synthesis that gives also the invariant foundation for textual transformations, It is noteworthy that the pictorial portrayal performed as the profile drawings concerns the persons supposed familiar for the circle1154; meanwhile this suggestion is refuted un view of the improvised manner of painting peculiar for the writer1155. This imaginary origin of the faces at the same time didn’t preclude their typical outlook so that their verbal descriptions would become a task for the exploration of human characters1156. Thus the personal types and not only visual images are here at hand so that the typology of personalities in visual imagery converges with the typical or categorical situations of functional grammar in verbal interpretation. This attachment to transcendental imagery supports the statement on the priority of personal dimension in artistic synthesis. At the same time such typicality with easily recognizable faces gave a very wide dispersion of verbal interpretations as in the number 1051157. It is worth underlining the exclusive seriousness in the writer’s attitude towards such comments’ compilation1158. Therefore the game can be regarded as the exercises for writing literary work and as the compilation of preparatory stuff: it determines the significance of such verbal portrayal as the transformations of possible textual entities1159. Such exercitations disclose the points of convergence and divergence between the descriptions of I.S. Turgenev and P. Viardot that have been already scrutinized. There are especially remarkable coincidences that demonstrate the transformability of the same locutions1160. It is the selection of eloquent details in portrayal that delineate the respective verbal version. Such are in particular the behavioral features that can determine the fate of a person1161. This example shows that it doesn’t go about visual or audible modality of sensual data but about the typicality and particularity of the image that is of an importance for the determination of invariant features of textual transformability. The simplest portrayal’s drawings give pretext for supplementing it with imagery that supplies additional details disclosing the personal fate and possible past and future. That is why the invariant for textual descriptions can be said to be the visualized images of mind and the naked sensual data as such in full accordance with the known K.S. Stanislavsky’s thought1162. Then one can say of intentional space where the synthesis takes place so that it arises as the result of reflection (“the perception of the perceived”) indispensably connected with intention1163. It is just the reflexive attitude that promotes turning verbal substance into imaginative reality. This transfiguration of word as the universal property of literature (both poetic and prosaic) has been shrewdly described by A.V. Mikhailov1164. The initial G. Lessing’s idea of the “verbal amnesia” is here developed into the statement on the actual eidetic effect of the imagery created with the words. One can conclude from such observations that it is details irrespectively of their modality that provide synthesis in difference to textual integration. Details compress and represent the entirety being cited as the quotations. They can be of visual or of musical nature but in ant case they find verbal equivalents. Here again one can refer to R. Wagner’s statements on the inexhaustible opportunities of details1165. Of particular significance is that here the role of details is seen in the explication of the reticent contents of “endless melody” so that details become the means for representing textual latencies. At the same time this comprehensibility of details proclaimed by R. Wagner entailed also the risk of vulgar degradation that was to encounter in the historical fate of leitmotivs’ technique. Details are actually conceived as the references to more general and essential images that they represent betraying thus the attachment to old rhetoric traditions flourished in Baroque1166. In lyrics this explication and disclosure of latencies with the key words referring to derails has been studied in the works of A. Block1167. In prosaic work key details are discerned from other particulars so that they serve to represent the entirety1168. It is essential that details build up the whole system as at N. Gogol where they demonstrate the absurdity and vanity betraying the infernal essence of reality1169. Such systemic quality displayed with the details betrays its similarity with partial synonymy of hendiadys and therefore attachment to the situation they are destined to depict1170. To sum up the importance of details could be evaluated as the fundament for synthesis that turns out to be based in the residual qualities. It is the perennial residuum of imaginative reality that imparts permanence to the arising synthesis. The permanent existence of such non-verbal transcendental integrative foundations shows that the initial problem of the opposition of prose vs. poetry discloses their reciprocal dependency. Prose always includes the opportunities of poetry as well as poetry presupposes the already existent prose as its source. The both of them refer to non-verbal transcendental reality whether as the colloquy for its prosaic representation or as the imaginative reality (as dramatic phantom of action or polemically refuted hidden alternative in lyrics) that poetry refers to. It is out of question to take prose and poetry separately, each of the genera presupposing one another and referring to its opposite side. Disharmony and arrhythmia are always to be born in mind while dealing with synthesis as the result of integrative procedures that overcomes and removes them. It is not only the limits of verbal substance that are to be passed over; it is the chaos that is denied with the synthesis. Thus any phrase taken as a quotation from the work of prose or poetry as the result of synthesis is comparable to the particle of melodic tissue that is potentially infinite and endless. 3.5. Versification & Phraseology as the Problem of Textual Integration The just outlined conclusion on the reciprocity of prose and poetry gives grounds for the conclusion that within the initial G.E. Lessing’s problem of poetry as opposed to prose such opposition does by no means coincide with that of verse vs. prose. There are prosaic verses and poetical narrations. It has been already wittily marked by G.E. Lessing: “Nicht jeder Gebrauch der willkürlich aufeinander folgenden hörbaren Zeichen ist Poesie.” ‘It is not each usage of successively arbitrarily following audible signs that makes up poetry’. Moreover, he has even the grounds to find prosaic and poetical qualities in painting: “Es gibt also poetische und prosaische Maler.” ‘There are therefore poetic and prosaic painters’ (preparatory draughts for “Laokoon”, C.2) [Lessing, 234]. The similar thought uttered still more exactly is to be found at S, Mallarmé: ”Dans le genre appelé prose, il y a des vers, quelquefois admirable, de tous rythmes. Mais, en verité, il n’y a pas de prose.” ‘There are verses, sometimes admirable, within what one calls prose, of all rhythms. But, actually, there is no prose’ [quot. Кенигсберг, 1994 (1925), 152]. Therefore in opposing prose to verses it is the semantic and syntactic properties that are to be born in mind first of all. It is not only the presence of meter and rhymes that differs verses, it is their relation to poetry as the semantic means that is to be considered as the decisive factor in exploring them. Vice versa the prosaic rhythm may appear to become even much stricter than that of a verse. As it has been wittily admitted Moliere’s Jourdain would boast with speaking not only in prose but even in the rhythmic prose1171. It is already the constantly recurrent propositional structures that impart rhythmic organization to prose and serve as its metrical foundation. Moreover, one can remind the old stylistic rule of the necessity to avoid purposely any feature of versification in prose – the so called “vers dans la prose” prohibition [Жирмунский, 1975]. It is inherent cyclic metrical scheme of the recurrent syntactic propositional structures that imparts the inevitable rhythmical flow. Therefore “to remain prosaic” prose must remove other extraneous forces of rhythm imported with versifying factors. Prose can be said to appear as the result of such purification and avoidance of these extraneous rhythmical forces and not only as the primary fact of colloquy. In this respect prose can be called to be derived from verse as its negation in the same way as verse to be derived from prose with the importation of special metrical schemes. That is why in particular prosaic text is more tolerable in regard to the means resembling musical counterpoint in the manner of simultaneous representation of different motifs than the condensed versified speech that admit only successive sequence beyond the borders of poetic line (let here the famous Yu. Tynyanov’s statement on the “density of poetic line” be reminded). It ensues from here that for generic divisions of speech in prose and verse it is to look for other criteria than those of presence or absence of (manifested or latent) rhythmic structure. Rhythm is the universal quality of each speech and therefore it would be absurd to say of its absence. Such alternative criteria would be those of the opposition of [verse & prose vs. colloquy] that is something much broader than the usual verse vs. prose opposition. It was already Aristotle who underlined the necessity of involving colloquial manner in dramatic speech. The respective statement of “Poetic” (1449a.24, § 4) has been repeated in “Rhetoric” (III.1.1404a.30). Besides, it was developed further in the last treatise in asserting the necessity to stress the distinctive prosaic features1172. Still further development this idea has found in Dion of Halicarnassus (XXV) who noticed prosaic speech’s capacity to approximate verse or to be distanced from it1173. It is the diversity of metric scheme together with its sporadic & spontaneous evolvement that imparts to prose its peculiarity (according to him)1174. In the same way he gave recommendations for verses approximating prose with applying discrepancies between different metric structures1175. The further fate of this idea is to be traced in Lessing’s “Dramaturgy of Hamburg” (8): “Der gänzliche Mangel intensiver Akzente verursacht Monotonie …Mit der Deklamation hingegen ist es ganz anders …Wenn wir einen Perioden von mehreren Gliedern als ein besonderes musikalisches Stück annehmen …, so müssen diese Glieder … nie mit einerlei Geschwindigkeit gesprochen werden … so entsteht jene natürlich Musik, gegen die sich unfehlbar unser Herz eröffnet” [Lessing, Bd. 4, 39]. It is essential that the author takes the non-verbal musical element of melody for the genuine foundation of the metrical peculiarity of poetical speech. The ideas of the kind had also the particular development in the reasoning about the historical priority of versified speech1176. Meanwhile this intuitive conjecture despite its naïve outlook turns out to be almost exactly repeated in the conclusions of the newest researches on the reconstruction of the earliest verses’ origins1177. It casts a new light also on the seemingly understandable problem of prose vs. verse relationship that can by no means be restricted to the prosodic parameters. In difference to prose vs. poetry opposition (that has been earlier dealt with) it involves these parameters but at the same time doesn’t revoke their semantic peculiarities. Versified speech is a particular speech that is specially marked and therefore bears inerasable seal of connotations. Prose is not externally discernible from common speech so that its artistic load involves special situations and irreplaceable cases where it endures the transformation into an integral image. Therefore semantic peculiarities of verse are manifested overtly whereas in the case of prose they are concealed and demand special conditions for their revelation. The constant and indispensable presence of semantic aspects in the opposition of verse and prose can be attested with the cases of the mixture of them, in particular where versified episodes appear within prosaic tissue. The insertions of poetic texts in prose became one additional source of the rapprochement of prose with the verses as is the case with the song lines that appear while retelling fairy tale. This device of versified insertions within epic prosaic narration is especially widely used in folklore. Meanwhile it attests the indispensable involvement of non-verbal musical element of chant as the textual integrative power. This regularity has been studied for ages disclosing the particular attachment of dramatic works to such musical elements that impart to dramatic play lyrical qualities. In the special research that deals with this problem the role of the insertions as the places of compression in the manner of proverbial locutions and lyrical digressions1178. Still more significant was the device in dramatic genus where the efforts to restrict the lyrical segments turned into the opposite1179. These properties of lyrical (versified and sung) insertions are traceable for instance in F. Eichendorff’s novel “Ahnung und Gegenwart” (“The Foreboding and the Presence”) where a series of recollections is given alternatively with the versified insertions exposing the motivation of the characters’ deeds. The very plot where the wanderings of the young exiles at the epoch of Napoleonic wars gives pretext for the wide use of such ominous insertions that demonstrate the attachment of verses to generitive register of narration. The constant contrasts of welcomes and escapes impart meaningfulness to the slightest details uttered in such peculiar places of speech. For instance, such is the use of verses within the situations of common libations1180. These samples combining prose with verses belong to a significant element of German poetic tradition. Such are, for instance, R. Dehmel’s novel “Folk and Humanity (the military diary 1914-1918)” where some verses are inserted in the narration as the impressions of the observed events or G. Hauptmann’s “theatre novel” “Im Wirbel der Berufung” (‘In the Whirlwind of Vocation’). In its turn the opposite movement of versified prose initiated in particular with the elevated style of Hölderlin’s “Hyperion” and continued with the attempts of “verses in prose” (in the manner of Baudelaire) or with metrical prose (as in Spitteler’s “Prometheus and Epimetheus”) attests the constant presence and coexistence of different prosaic and versified opportunities in the experience of literature tradition. It is in particular apostrophized forms that attest the rapprochement of prose to verses and the use of the so called epenthesis of e with the aim of metrical balance as in “es soll geschehn” (instead of geschehen), “wird er stillestehen” (instead of stillstehen) [Spitteler, 13, 16]. For the development of prose such attempts mean the intention of separating from colloquy and the prevalence of generitive register as the narration acquires the apparent feature of a treatise in philosophy. It is within meditative lyrics and not epics that such devices are used. For instance in the mentioned “Hyperion” the devices of declamatory prose resembling verses serve to represent generalized sentences and not descriptions of particular events. It is the meditation upon history and the fate of peoples that is debated in such versified prose. One can find amphibrach in the utterance “der bloße Verstand, /die bloße Vernunft /sind immer die Könige /des Nordens“ [Hölderlin, 1963, 144] ‘the pure reasoning, the pure mind are always the northern kings’; meanwhile it is the commonplace of the phraseology of the epoch. Even when it goes about the particular environmental details they acquire apparent features of omens as in the phrase with rhymed emphasis of such detail: “das Mondlicht schien ihm hell ins Gesicht” [Hölderlin, 1963, 41] ‘the moonlight shone brightly at his face’. Meanwhile it is still another source of such phenomena that’s to be mentioned together with meditative lyrics. It is scenic declamation with its rhetoric devices that exerted its impact upon prosaic development. The just mentioned Carl Spitteler’s poem in prose “Prometheus and Epimetheus” (1880)1181 demonstrates the vestiges of theatre origin in vers blancs (white verses) though written with the irregular iambic lines (instead of five feet of traditional scenic verse). Noteworthy the author’s speech is restricted with the descrip0tion of events in the manner of an oratorio’s witness whereas the meditations are given in the characters’ replicas. For instance the initiation of conflict is represented as the seductive proposal of an angel who in the appeal to Prometheus says that “verworfen wirst Du sein am Tag des Ruhms um Deiner Seele willen, die da kennet keinen Gott und achtet kein Gesetz” ‘Thou will lost in the day of glory for thy soul’s will that doesn’t know the God nor celebrate the law’, therefore he gives the proposal: “trenne Dich von ihr und ein Gewissen geb’ ich Dir an ihrer Statt, das wird Dich lehren “Heit” un “Keit”” ‘leave this soul and instead of it I’ll give thee the conscience that will teach thee ”- ness” and “- dom”’. Here the suffixes of abstract substantives are ´meant. The response of Prometheus is that the soul “meine Herrin ist’s und ist mein Gott in Freud und Leid” ‘this is my Lady and my God in joy and harm’ [Spitteler, 9]. In other words the author delineates here the problem of abstracted “unhappy consciousness” as the result of alienation and rejects it. Therefore one can say of the reflection upon the word as the immediate source of such versified prose, and it is just the property of scenic speech that leaves here the vestiges of its impact. A perfectly different sample gives the development of free verse that resembles prose outwardly though essentially gives an outspoken contrast to it. The conflict of word with meter as the essential property of verse attains here the ultimate degree, and it is just at the limit that this property can seem to converge with the opposite pole of prose. There existed a peculiar kind of the so called anti-syntactical free verse where word collocations appeared to become dissected and thus their mutual “gravitation” became stronger. The invisible metrical scheme exerts its impact especially effectively in such cases1182. As an example of anti-syntactical free verse one can cite Rilke’s “Requiem” where the Gospel allusions give grounds for free verse exposing discrepancy between the presupposed reference and its use in the given moment: «Sieh her, / dieser Kranz ist so schwer. / Und sie werden ihn auf dich legen, / diesen schweren Kranz» ‘look here, this wreath is heavy and they have laid it on thou, this heavy wreath’. It is not occasional that the terrain of free verse has become the genera of parables and short “gnomic” sentences associated usually with proverbial and fabulous imagery. It is of a particular interest as well that this association turns to be especially observable in German tradition: as a unique witness of such attachment one can cite the singular verse written by M. Gorki in 1918 in German language (Полн. собр. соч. М.: Наука, 1973. Т.10, 455). The genera of parables and apologues as the terrain of meditative lyrics deliver the space for free verse’s development. In particular here the minimal textual scope gives the favorable opportunities for the presupposed and negated metrical scheme so that aphoristic utterances become the genuine sphere of free verse. Therefore in particular one has to take into consideration semantic and not only phonological features to discern free verse from rhythmic prose. The apologues of the kind come back to descriptive lyrical ecphrasis with its artificial environment of scenic space. Thus the relationship “verse - prose” involves a much broader one of “literature - theatre”. Meanwhile in its turn already the verse vs. colloquy opposition (as the narrower version of verse vs/ prose) conceals more versatile and manifold interrelations. One deals actually not with the dual division but with the triangle chant vs. scansion vs. colloquy where each of the three pairs of oppositions displays peculiar properties. Declamatory speech and singing are not only opposed metrically. They imply also different connotations inherent to them as the different ways of representing contents & intents of the sung or spoken words and of stressing the respective meaningful textual units. It can’t remain without consequences in particular that singing presupposes also smiling (both lovely and sorrowful) while scansion presupposes neutral or even aggressive countenance1183. Together with the chant vs. scansion opposition another pair of colloquy vs. scansion becomes more significant for dramatic speech. In theatre the declamatory manner exists autonomously due to scenic exhibitionism as a particular convention. Therefore the realistic manner of representing colloquial locutions and conversational devices of customary life appears here to be the aftermath of scansion’s approximation to colloquy. Exhibitory quality entails that the speech of dramatic genus inherits all peculiarities of oral speech as opposed to written speech. The declamatory means implied in drama are to deal with the specific complication of oral utterances always loaded with the accompanying concomitant tasks of the entire human conduct so that these means involve the whole image of corporeal movement otherwise segregated and abstracted in written speech1184. The impact of oral conditions upon the dramatic scansion has been already noticed and stressed1185. It betrays apparent similarity between the scenic declamation and the oral transmission in folklore. Meanwhile oral conditions are here only the outer prerequisite for much deeper stylistic peculiarities as it has been discussed in regard to the “formulaic theory”. It is the preexistent commonplaces that provide the properties of reproducing texts peculiar for folklore patterns while dramatic declamation deals with quite different effects where formulaic locutions are replaced with colloquial occasional pseudo-sentences of conversational remplissage. In spite of the mutuality of oral conditions theatre and folklore go along perfectly divergent ways. Therefore the opposition scansion vs. colloquy is to be accepted as the initial point for the development of dramatic genus. It is not the immediate imitation of colloquy that takes the initial place in dramatic speech history. Vice versa this development went from versified scansion that gradually approximated to colloquial manner and imitated it. Scenic speech must be initially exhibited & elevated so that the colloquial intrusions appear as the secondary results of imitative attempts. Such way can be exemplified with Ukrainian baroque drama scrutinized by M. Sulyma where the colloquial tendencies have appeared gradually as the result of overcoming distance between scansion & colloquy. In particular it is the devices of enjambment known still in the ancient rhetoric instructive manuals as the “fractured line” (Lat. linea fracta) that were widely used there, not to say of the inversed word order (hyperbaton) proper for the syntax of verses1186. For instance such disruptions of verses with the aim of approximating colloquy are to be found in D. Tuptalo’s Christmas Mystery where the rudiments of the later dramatic speech are felt1187. It especially the work of Varlaam Leszczynski that exemplifies M. Sulyma’s paradoxical conclusion concerning the absence of verse with the presence of the forms of versification dissolved within the sequence of dialogical disruptions1188. One can add here that such steps towards reproducing conversational speech in verses with the aid of disruptions can be found still in W. Shakespeare. For instance the use of enjambments for rendering dialogical retorts is observable in “Macbeth” (3.1): “Macbeth: … I’ll request your presence. Banquo: Let your highness / Command upon me … ”. Such divided lines impart continuity to the flow of conversation and therefore make the versified speech imitate that of colloquy. As to the devices of enjambment as those taken in common opinion for approaching prosaic speech and weakening metric scheme one must stress that they by no means were connected with modernistic movement and the formation of free verse. Vice versa the device of the so called “juncture of verses” (Lat. junctura versuum) belonged to obligatory means of Jesuit school drama described in old poetic treatises [Маслюк, 139]. With such processes of approximation towards colloquy one can come to the conclusion that dramatic scansion or recitative builds up an independent type of speech together with versification and prosaic reproduction of colloquialism. The exhibitory essence of dramatic genus presupposes impossibility of the full reproduction of and identification with colloquy as it occurs in prose. Scenic conventions can’t vanish completely; otherwise scenic work would stop to exist as an artistic work. Therefore scansion as the scenic conventions can only approximate to colloquy without coinciding and identifying with it. The priority of tradition and the independent existence of such autonomous scenic manner of scansion can be exemplified with a fluent notice of P. Merimée concerning the reformation of the Spain theatre in the XIX century1189. Thus there existed the stable tradition of scansion that was gradually adapted to colloquial needs, and it can be generalized as the general rule. That scansion opposes to fluent versification and approaches colloquial speech is attested in particular with the observations at A.S. Pushkin’s dramatic works1190. The peculiarity of scenic scansion in difference to usual versified meter is its attachment to semantic and syntactic forces of intention and respective expectations. The constant presence of the phantom of action compels all textual data to be adapted to it so that it can by no means be the sound meter only that determines the respective expectations. In its turn intentions are interwoven in the net of deixis that becomes the main metrical power. The interconnections of the words’ meanings generate expectations and therefore entail the formation of dramatic meter represented with the outer form of scansion. In its turn such interconnections are divided into the contextual and the intertextual ones so that metrical forms of a given dramatic work refer also to the whole textual corpus of the respective genre and style. Of significance is that such dramatic rhythm always becomes the rhythm organized primarily with semantic references and not only with the signifying means. The irreducibility of scenic scansion neither to prose nor to verse substantiates the statement on its autonomy as a particular speech genre. This autonomy has been disclosed also in R. Barth’s observations on the peculiarities of Racine’s monologues where enunciations are represented as if they were immediate movements1191. Scenic scansion has the particular task of disclosing idiomatic locutions and of exhibiting them before audience so that it indispensably must add the element of non-verbal origin as the integrative foundation. Such element is to be found in music, in particular, it can be a kind of vocalization (the chant without words) where the prosody of scenic speech is treated separately as an abstraction. The usage of such abstractly prepared and vocalized text is a common practice in the scenic rehearsals. In particular it is here to remind the famous advice of K.S. Stanislavski on the reasonability of uttering scenic speech in the manner of bars in music1192. Meanwhile music is not only the outer element of chant that becomes the constant concomitant satellite of verse. It was the great discovery of S.B. Burago that there exists the inner melody inherent to each verse and irreducible to outer sound patterns. Verse does not only presuppose the transcendental concomitant satellite of musical sources as chant: it generates its own musical contents as its inherent (and by no means external) transcendental essence. It seems to be conformed to the ideas of S.B. Burago to say that it is the inner rhyme in the broadest sense (as the allothetic etymological foundations of word) that becomes one of the sources of this “inner melody”. One could also add here alliterative means of inner rhyme and the so called euphony with the outer outlook of charade that conceals meaningful referential net of textual integration. In particular inner rhyme enables disclosing or at least imitating etymological structure of verbal substance1193. It is the outer form of the inner music of the verse that is disclosed and represented with rhyming devices in the form of charade as the concomitant epiphenomenon of verse though this music can by no means be reduced to such external representations. One can only say that each verse indispensably generates the constant epiphenomenon of charade but the existence of such concomitant epiphenomenon gives testimony of the verse’s transcendental musical essence that presupposes multiple and irreducible revelations. At the same time it would not be justifiable to ascribe the effect of charades to poetry and to versification exclusively. Prose indispensably generates the mentioned rhymed particles as well. It is already the selection and elimination of phonemic elements, their inclusion and exclusion as the indispensable concomitant satellite of any speech generation that entails the formation of such vestiges of puzzling sounds. Charade becomes therefore the indispensable textual epiphenomenon. One could compare the samples of prose and verse of R.M. Rilke (“Auguste Rodin”) to find the distinctions between the two kinds of charades.
One finds here the obvious development of alliteration F → R where the particles FL/FR are further replaced with those of BR/GR/RM. The phenomenon of such “inner music” appears in these prosaic lines as the concomitant effect so that ir intensifies the suggested ideas and promotes detecting particular connotations arising in the confrontation of separate lexical units. Quite a different case is to be found in versified lines where such coincidences are replaced with regularly used devices.
Here one encounters also alliteration together with rhyme, but these devices not only are used systematically, they refer to the meaningful field arising just in the given textual entity. When in prosaic work alliterative means serve as auxiliary & facultative profile-making concomitant means, on verse they become the constituent & autonomous power that can be consciously separated as a particular rhyming scheme as in the game of bouts rimés. Therefore charades in prose appear sporadically whereas in verse they are systematic. In prose they appear as a concomitant epiphenomenon while verse applies them consequently. It is rhyme in the broadest sense (the inner rhyme or alliteration as well as the so called allothetic formation) that provides conditions for permanent appearance of accompanying concomitant sound combinations as the background of text in proper sense. To sum up one can stress that a phrase does always imply the parallel charade as a counterpart that coexists together with the given unit of phraseology as a purely versification’s unit. In this duplicity it goes about the shade of a meaningful phrase as an independent copy of the “skin” or “surface” of the enunciation. Within such “copy” the inner meaningful deep structure becomes ignored so that one deals with a kind of puzzling sound pattern to be still endowed with the conjectures of sense. Then the particular semantic significance of rhyme consists in its capacity of generating special “virtual particles” or “quasi-particles” (usually of monosyllabic structure or of a combination of consonants). This transformation of rhymed segments into meaningful elements of poetic idiolect has been demonstrated in particular in A. Akhmatova’s verses where the similarity to musical leitmotivs is discovered1194. The very existence of such detailed segments of charades supplementing textual entity in its proper sense bears witness of the systematic nature of rhyme and of the appearing virtual particles. Respectively such particles become peculiar semantic formants endowed with particular meanings and not occasional combinations of phonemes. It is essential that rhyme furthers the separation of syllables and not only phonemes. These effects can be easily exemplified with the widespread device of such a mentioned poetical game as bouts rimés. This effect of creating formants as meaningful particles in the manner of reminiscences (leitmotivs) can be regarded as the general rule of textual harmony in poetry that supplements the immediate meaningful textual elements. Therefore versified charades that appear within poetry become the source of concomitant formants accompanying the evolvement of a lyrical poem. It can be exemplified with the line from Polish poetry «słowo stało siłą» ‘word has become force’ (C. Norwid’s “Rzecz o wolnosci”) where the alliterated element SL as a rhymed particle can be separated. It intersects semantic etymological fields of слово ‘word’ of Lat. clueo = слыть, gloria = слава and сила – Lit. sailai ‘sinew’, Germ. Seil “rope”. Such confrontation refers to the metaphor of the symbols of binding as the mental act. M. Tsvetayeva’s idiom «о путях пытать» ties two different etymological nests (Lat. pons, pontem ‘a bridge’ and puto ‘to suppose’ respectively) thus enabling to represent the symbolism of a road as an allegory of cognitive process. In L. Staff’s verse «Oczy me pełne ciebie /Jak polne krynicy» alliteration enabling reciprocal rapprochement of pełny = Lat. plenus and pole (Lat. palam «openly») that are etymological antonyms. In another L. Staff’s verse (“Curriculum vitae”, W cieniu miecza) one finds the stressed alliteration of prefixes PO that behaves as an independent particle promoting the combination of the respective words. Besides, there appear the secondary alliterative combination of “far way” (through the initial D) and “way of trees” (through DR).
Rhyme results in intensification of semantic significance of separate phonemes. In particular it is already the restrictions of space that bring the issue of homonymous convergence. This intensification and the ensuing convergence are to be traced in particular in the cases of adoption. There arise separate жүктеу/скачать 6.92 Mb. Достарыңызбен бөлісу:
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