deictic scheme of reciprocal references

Certainly, characters do not speak with riddles, but they always have taken hints which always contain a link to the place of reference. The allusion is addressed to those who are able to find such a link⁹⁷⁴. This duplicity of allusion determines its transitory and intermediary role between free lexical combination and idiom. Such role of allusion within the scenic devices is known for ages so that one can cite the Countess’ replica as a slogan: “Monsieur Lelio, expliquez-vous, et ne vous attendez pas que je vous devine” (Marivaux, Les Surprises d’Amour) ‘Mister Lelio, please, explain Yourself and don’t wait until I’ll guess You’. This utterance can be regarded as the task that is permanently solved in dramatic speech. As an example of such allusion one can cite the awful scene of the murder of an infant from L.N. Tolstoy’s “Obscurity’s Power” where the collocation BONES’ CRUNCH becomes the obsession of Nikita <(… как захрустит подо мной, … как захрустят эти косточки, … в нем косточки хрустели)> and represents the prototype of situation. This direct meaning in its turn refers to the genuine sense of SCRUPLES’ TORTURES that designates the situation of REPENTANCE. The logic of dramatic allusions is disclosed in such references that come to the deep contents.

Together with the conclusion on the decisive role of situation for the comprehension of phraseology one has again to return to the above introduced concept of transcendental non-verbal powers as the background of dramatic textual integration. One explores not only pure textual data but first of all situation as the decisive power that these data depend upon and refer to. Phraseology becomes the surface of a transcendental invariant of action’s phantom fixed as a typical situation. Here the poetical transcendentalism is still to be discerned from the folklore syncretism where word is not distanced from the concomitant circumstances: vice versa the transcendental relation presupposes such distance and arises as the invariant arising from the terminal results of the referential net’s development.

Of importance is that the growth of references necessarily passes to the non-verbal terrain of situations as their limit. It is only with the reference to situation that such replica can be adequately deciphered and comprehended: <(Чугунов: Племянник … Думали, ничего из него не выйдет … И вдруг такое дарование открылось! Что хотите дайте, точка в точку сделает А. Островский, “Волки и овцы”)>. The locution ‘point-to-point’ here designates forgery, and one needs the experience of the action besides the words to learn what’s about. One of the lections of the phrase would look like < «* племянник умеет необходимое – подделывать документы» >. This textual transformation can’t be explained with immanent textual data, it involves the transcendental power of situation.

Apparently “the situational surface of phraseology” can be described within the terms of the periphrastic devices known for ages in rhetoric. The importance of this device is seen in particular in that it can intersect with metonymy being at the same time void of the obligatory transference of meanings so that one can discern pure periphrastic descriptions from tropes [Болотнова]. Circumscriptions can behave as tropes, meanwhile the semantic transition is not here indispensable: direct meanings are retained, and they refer to the derivative meanings without being replaced with them. This approach’s productivity has been demonstrated in regard to colloquy⁹⁷⁵. Its applicability to drama ensues from the essence of the device that refers to the deep contents. Periphrastic means have universal significance for drama due to their reference to transcendental phantom of action. For example, in one of dramatic miniatures P. Mérimée “Ines Mendo or the triumph of prejudice” Ines breaks with Esteban, with whom she has recently engaged; the event is preceded with the exchange of cues: “Ines: Dis - moi, veux - tu que j’aille avec toi? Don Esteban: Non, le serein tombe, tu t’enrhummerais” (In.: Tell me, do you want that I go with you? (E) No, the evening comes, you can catch cold’). Links for “evening comes” represent a typical example that searches for and about the probable reasoning against the validity of the proposed politeness. Moreover, a similar phrase gets even ironic overtones, as in proverbs about fictional events (rain on Thursday, cancer at a Mount). It gives pretext for a polite refusal of the promenade. This pretext becomes apparently ironical as the exaggerated circumstances in proverbs. Thus the phrase about the evening to come refers actually to the situation of the PRETEXT FOR REFUSAL. Respectively as the situational surface periphrastic locutions converge with what has been discussed as verbal mask. One could say of a poison concocted with words in A.P. Chekhov’s plays where outwardly innocent speeches result in suicidal cases. Words conceal here the chief events as the verbal disguise so that all looks like the periphrastic replacement of the genuine names. At the same part the same concerns such traditional ingredient of drama as the overt reasoning with the respective role’s enunciations that conceals the real situation with the commonplaces⁹⁷⁶.

In its turn within such situational conditions of a phrase’s semantic load it is the aspect that deserves special attention while determining the direction of semantic transitions within a dramatic speech. For instance, the famous cue of Macbeth after the message of the murder of Banco is marked with exaggeration: «Had I but died an hour before this chance / I had liv’d a blessed time; for, from this instant / There’s nothing serious in mortality […]», he uses this image to paint the accomplished deeds and events. It becomes the synonym to such locutions as “the World’s End”, “the World has gone upside down”, “the life is broken” and of the kind. They demonstrate just the intention and the demonstrative exhibitive attitude towards these events. Thus the aspectual consequences entail semantic modulation. The decisive role of situational functions entails such peculiar dramatic textual paradox as the inferential transformability of utterances. Obviously the words are retained and reproduced literally but the observer can detect there different implications. The cited words of Macbeth would display connotations not of “broken life” and demonstrative desperation as in the case but of “the vanity and .vicissitudes of fortune” if one didn’t know the real play of hypocrisy. Such dependence of implications upon the situation and their transformability reveal the performable nature of dramatic utterances. This or that interpretation entails implicit textual transformability and respective possible implications to be detected by the performers from the replicas of dramatis personae in spite of their literal reproducibility. In particular to memorize a role the performer has to first to endow it with one’s own implicit transformations that disclose actually the textual cryptotype.

To examine such possible implications necessary for performance one can’t restrict them with those textual transformations that have been described in regard to proverbs. Here it can’t go only about the conversion of an affirmative utterance into question and into alternative statements. It will not suffice because the situation plays here the decisive role and therefore situational circumstances are to be taken into account without explicit representation in proper textual devices. Therefore one must examine various conjectures as to the situational background involving also the powers of non-verbal nature. Therefore the experimental exploration (and description) of dramatic text converges with its performance that generates its preparatory adaptations as those proper to textual adoption. It is to stress that such adaptation necessarily involves transcendental situation as the basis for the invariants of phraseology. Therefore one must examine not phrases as such but their attachment to the situational circumstances. It is the transformations of such circumstances that are to be taken into consideration and not of the phraseology only. Then the procedure of such adaptational preparation would include together with the identification of the described fragment also the alternatives of various scopes that could represent the latent cryptotype. Then the way of adapting textual stuff is that of contrasting identities & alternatives.

With the transition to preparatory libretti of situation (serving also as the prompter’s or producer’s text) the compressing properties of separate locutions become explicit. It is due to particular idiomatic connotations disclosed in libretti that a locution becomes an aphoristic compression of the situation particular for the given segment of a dramatic text. Such locution represents the compressed textual segment with showing its antecedent and consequent lacunas to be replenished in imagination. It refers to the respective situation, and it is due to the situational functions that the replenishment becomes possible. One can say therefore of the situational idiomatic connotations that enable compression and the formation of the respective aphorisms. Thus the holographic effect can be disclosed when the most inessential textual particle becomes a vestige indicating lacunas that are presupposed to be known. It is already for ages that such approach had been substantiated by K. Pribram in his famous doctrine on human perception, and one can take it for quite admissible in the study of poetry⁹⁷⁷. Of importance is that here situation is the key factor: it is not textual references as such but those concerning the represented situation that determine the invariant of textual version of the narrated events. Moreover, the case conforms with the conditions arising within textual synthesis o that it goes about the above discussed intersections of sets and diagonal process of the power set: any lexical combination involves the implicit possible worlds of all other as the latent concomitant epiphenomena or satellites of the text (as those of synonymous rows and rhymes)⁹⁷⁸. The multidimensionality of referential net represents this holographic effect and entails the involvement of transcendental non-verbal objects in its ultimate degrees of development.

Therefore it is not only the textual entirety and the cited simile between as work and a single word or sentence that procures the compressing properties of each textual particle: rather it goes about the entirety of situations represented with this text and of the respective types & categories enabling their codification as well as recognition and reproduction. Typical situations are the basic units of dramatic genus that become invariants for the condensation of respective phraseology and the sources for referential multidimensionality. For instance, in L.Andreyev’s work “The Days of Our Life” the heroine Olya (a girl compelled by her mother to prostitute herself) is portrayed with frequently repeated synonymous utterances < пожалей меня, не отталкивай меня, не торопи меня, я боюсь, не знаю (Л. Андреев, Дни нашей жизни)> . They all belong to the commonplaces that can be repeated by any person under respective circumstances. Meanwhile it is within the particular situations of the play that they are endowed with the connotations that enable the recognition of the inimitable features of the character; here they make up an idiomatic prototype for the situation of the weakness and incapability to resist. Therefore the slightest mention of one of these locutions makes and observer immediately recollect the image of Olya and to identify the utterance as her voice in the respective situation.

To exemplify the attachment of phraseology to the traits of character one can take some replicas from A.N. Tolstoy’s “A Jet” where a story of a family’s destruction is studied: brother and sister (Concordia’s children) lose their families because Dasha (the brother Simeon’s wife) and Nikita (the sister Lyuba’s husband) fall in love and decide to divorce. Meanwhile the prerequisites for such turn of affairs is traceable in the respective replicas.

Конкордия «Для нас, идейных людей, всякая собственность есть жернов, одетый на шею» Алпатов (о Даше): «В основу воспитания моей дочери я положил метод рационального наблюдения над явлениями природы» (1) Люба «На такую еще нахалку нарвешься, затаскает по магазинам, как пиявка» (3) Даша: «Мы жили сносно и дружно только оттого, что лгали друг другу во всем, всегда» (3) (А.Н. Толстой «Ракета»)

* Мы отличаемся от иных, мы не связаны обладанием, не считаем себя обязанными * Я не допускал вмешательства не следовал предрассудкам * Воспитание проводилось вопреки мнению среды * Какие явления были избраны для наблюдения? * Откажись от своего решения, он влечет за собой риск * Семейный мир был видимостью. У меня иные намерения.

The first replica includes the obvious prototypes represented with the idioms of [people of idea] and [grindstone put on one’s neck]. It refers to the situation of [resistance / obstinacy]. The next one is resonant with it and continues the phraseology of [natural education]. The consequences of such attitude are to be found in the replicas of the immediate participants of the conflict. Lyuba refers to the common opinion of feminine vamps who aim at [marketing visitations]. Dasha mentions the notions of [reciprocal deceit] and [hypocrisy] that have only concealed the delusive stability.

Still another kind of criticism is to be found in St. Zheromski’s drama “A Christmas Mask” where a portrayal of the peasants’ leader has been suggested (the events take place during the Polish rebellion of 1846). To let aside the events one can only cite some enunciations of such hero to show the motivation of the rioters. It goes first of all about avidity as the genuine foundation of egalitarian ideas. It is from here that the combination of the fidelity to monarch with the hatred against nobility arises. Besides. It is neighbours that are evaluated as the most suspected and envied beings.

The situation where the almost prepared decision of seemingly double suicide (actual poisoning of Ivan by his girlfriend Vanina) has failed is depicted in the fical scene of I. Karpenko-Kary’s “The Sea of Life”.

The personal development to catastrophe as a series of situations is very clearly delineated in the comedy “Flowers’ Road” by V. Katayev. The plot narrates a banal story of a husband departing with the first sweetheart. After her request for financial help he refuses and leaves her for another sweetheart. This person expels him, but when he returns, his place is already occupied with the wife’s boyfriend.

The representation of dramatic situation in the used phraseology is very clearly revealed in the relations within the “amorous triangle” of the three characters in A.I. Sumbatov-Yuzhin’s “Rafael” where the main hero demonstrates his relations with the favorite Bianca who contests for his love and Stella chosen by him as the model for her lecture.

Dramatic phraseology exemplifies the proverbs “first think, then speak” or “a word spoken is past recalling”, “better to slip with the foot than with the tongue” and other of the kind that demonstrate the exactitude of scenic speech. It is this exactitude that entails the necessity of disclosing the latent implications. The task of compiling a libretto (prompter’s or producer’s text) consists in detecting such implicit contents. We have seen that such memoranda of implications disclose the indispensable contents filling up the lacunas or being meant latently. Aphoristic compression becomes here the necessary device of conceiving situations as the essence of the described dramatic scenes.

Thus it is situations that are marked with respective idiomatic connotations becoming prototypes for categorical identification. This locution transformed into a local idiom being mentioned, the antonymous ones are presumed as its possible negations so that the situation represents an objection against the possible alternative statements and discloses the decisive collision of the situation. Such idioms indispensable for the dramatic action must first be produced as the lyrical meditative digression that precedes action: one can say of lyrical meditation turning into dramatic motivation of action. It is lyrical medium that becomes necessary to mediate the transition from common narration or colloquy to its dramatic representation so that lyrical meditation as the idiomatic production provides conditions for the formation of dramatic referential net. One can say of lyrical coinage of motifs representing the abstractions of isolation as the indispensable prerequisite for the rise of dramatic play. Apparently it is the lyrical attitude that becomes the focal point of such furnace of idiomatic coinage. Lyrical meditation arouses the metamorphosis of usual words procures substance for dramatic action where idioms become the vehicles of separate dramatic motifs and the whole referential net of a play. The lexical substance of a dramatic play can be said to be doubly idiomatic, being not only the component of the individual idiolect of the author, but also of the voiced portrayal and verbal mask of character. The same extends over lyrics where personality is always present (the lyrical hero) though its facial outlines are deliberately concealed.

3.3. Lyrical Phraseology as the Performable Device

In this respect lyrical poem is a kind of discussion conducted with one’s own self in a manner of dramatic soliloquy. A collision (as the revelation of the mentioned ambivalence) must always be detected in lyrical contents represented as a contest (at least as partial antonyms). Therefore a lyrical poem bears usually the traits of dramatic soliloquy observable in meditative utterances implying latent discussion with oneself, not to say of suggestive lyrics with apostrophic appellations. This overtly dramatic property in its turn gives grounds for the problem of alien voices and their direct speech within a lyrical work. This problem has arisen in particular within the discussion about epic traits in A. Block’s lyrics. One has then suggested in this regard the locutions that could be ascribed to alien voices as the testimonies of epic impact in the manner of stylistic insertions. Meanwhile such viewpoint has been justly criticized as the case of simplification. An alternative and more persuasive approach to the phenomena suggested by L.I. Timofeyev consists in conceiving them as the representation of the voices of those who are reflected by the poet’s personality⁹⁸² that’s as improper direct speech. One can say of a broader view upon such cases as the universal property of lyrics. In particular it concerns the unavoidable use of conventional phrases that must be perceived as the latent quotations of conventions. Such cases are to be encountered in each lyrical work as far as it must attest its relation (confirmation or rejection) to tradition with its conventions. Therefore the presence of alien voices has nothing to do with epic direct speech; it arises from the inherent lyrical conventionality resulting in the structure of soliloquy as the basic lyrical form common with drama.

There are still inner reasons of lyrical genus for such approach. Lyrical poem represents an interior mental experiment that makes its observer (reader) become actor. Such experiment is comparable to a dramatic play staged within one’s brain. From this viewpoint lyrical lines are by no means monologue. Rather it gives for a reader a soliloquy so that one can detect numerous segments of improper direct speech in each line that look like the concealed quotations or cited conventional commonplaces. The traits common with dramatic genus are here evident in the fact that lyrical work is built as a soliloquy. Separate phrases are ascribed to personified essences as different voices of the participants of a dramatic scene. Lyrical works always bear the features of a cento compiled of latent quotations even if they imply no hints to the outer sources. Be a lyrical work equivalent to an episodic dramatic scene, so the quotations of improper direct speech gain here priority. Lyrical utterance of an incognito needs also the presence of the other personified entity, of alien personifications that these latent quotations could be ascribed to. Therefore a lyrical verse can be interpreted and performed in the manner of baroque declamations. In practice it can be implemented with inserting the inverted commas as the signs for latent improper direct speech and at the same time for figurative locutions. Such stratification of lyrical monologue in a cento of latent quotations as in declamations gives rise for the disclosure of the performable properties of lyrical poetry. These properties can find their achievement in concert song where musical interpretation finds its incarnation. The latent quotations in lyrics concern first of all conventions and allusions as the involved intertextual references. It is due to such references and improper direct speech that a lyrical poem displays its musical interpretation’s opportunities. A lyrical poem can be said to be “an unsung song” where declamatory potential presupposes its continuation in chant as the disclosure of alien voices with latent quotations. Besides, it is addressees and not only the voices of cited persons that are of importance for lyrics (especially in the suggestive kind represented with apostrophes). Thus it is mental examination of dramatic utterances that is carried out by the reader of a lyrical work. Reference to mental experiment in lyrics replaces action of drama. Therefore lyrical poem encourages readers for outspokenly divergent interpretations as the responses. This latent discussion with readers is the source of lyrical theatrical attachments and performable properties.

In particular it concerns the unexpected references to the phenomena that are meant without being mentioned. Instead of action it is the abstraction of isolation that is imparted to the details depicted in a lyrical poem. Things and not personalities become the participants of lyrical textual evolvement so that ecphrasis gives here a paragon. At the same time it is not the description for a description’s sake: the implied abstraction plays here decisive role. The inner transformability of lyrical text ensuing from the necessity of representing the implicit and concealed contents explicitly can be regarded as the initial source for the performable properties of lyrics. In particular the very nature of implicit modality becomes here the moving force of disputing the explicitly manifested statements in the imaginary discussion. Thus the whole scope of contemplation & imagination of an observer is involved. Lyrical events take place in the inner imaginative world. Of special significance is that the whole textual entirety takes part in such imaginary contest so that it is by no means separate propositional structures that decide of modality and its indicators. The implications concerning the specific modality of lyrical utterance (that has already been demonstrated) enable representing the depicted reality in the passive voice of contemplating and enduring observer.

Still more grounds for the outlook of a lyrical work as a possible dramatic utterance are to be found in the mentioned contradictoriness as the inherent property of each lyrical enunciation. Lyrical work always refers to some alien and different, to the otherness that is not manifested within the poetical lines. It is not only within the personal dimension of alien voices of soliloquy that such otherness reveals itself. In particular it refers to latent collisions as the invisible textual integrative power (as the action for drama). The place of action’s phantom in drama is m now occupied with collision of sentiments that becomes the integrative basis of a poem. Dramatic action as the integrative textual prerequisite is now replaced with the collision of affects representing the problem that the lyrical verse deals with. This collision as the integrative basis is deeply hidden and reveals itself as the latent power. To be comprehended adequately, each lyrical utterance must be mentally compared with the antithetic statements or merely with the antonyms. Lyrical utterance is always a polemical objections against some statement or image that can even be not mentioned and only meant as something vaguely delineated or reticently omitted. Lyrical lines are written as the objections in a discussion. The latent refutation of antitheses is the foundation of lyrical integration. Lyrical text can be said to be integrated with its own implications so that the formation of inferences and textual integration go here side by side. When an image is mentioned in a lyrical line then another antonymous antithetic image is implied to be denied and rejected belonging to the latent background. Therefore latent alternative has for lyrics the same meaning as action for drama so that lyrics can be said become polemics. Each lyrical work implies polemics. Latent polemics and not only latent alternatives play very essential integrative role for lyrical works. Lyrics conceived as polemics can therefore be represented as a chamber theatre. In particular in invites a reader for contest, and in this participation its performable nature becomes revealed. To comprehend a lyrical work adequately a reader must behave as the performer suggesting his or her own responses.

Lyrical work behaves as a drama without action. It imposes upon a reader its particular vision instead of compelling to action. Therefore lyrical poem doesn’t imply imperative (as a drama) but it presupposes the comprehensible attitude towards its contents and the resistance to what has been suggested. A reader is invited to take part in polemical contest. It is things and images that become dramatis personae without being specially personified. Distant & latent objects are permanently implied in lyrics as the alternative to those manifested overtly, and it gives rise to the development of periphrastic descriptions of them. Thus a paradoxical contemplative participation arises presupposing the disputable topics to be displayed in imaginative space. It is this paradox that builds up the foundation of lyrical imaginative theatre. A special case of such paradox is another contradictory combination of solitary play that takes place in lyrical imaginative space. Although play presupposes the involvement of the participants’ community it is the sole addressee’s imagination where such theatrical treatment of lyrics is carried out. It can be exemplified with the following lines by the Ukrainian poet V. Svidzynski.

In this respect one can refer to the inherent duplicity of lyrical contents as the genuine source for such theatrical treatment of verses. The presence of otherness as some general (not necessarily personified) participant of latent polemics becomes then a special case of this property. Such lyrical appeal to some other viewpoint and the ensuing vision with its implications is widely attested and acknowledged⁹⁸³. In particular there arise the duplicity of genus as the textual corpus with its codified conventions and particular textual entireties that represent their integrative conditions⁹⁸⁴. As the consequence of such interaction between the contradictory forces a poem demonstrates antithetic implications that build up the constant concomitant satellites of lyrical enunciation. While dealing with a poem one must bear in mind those things that aren’t even mentioned. In particular one must take into consideration all possible latent antonyms that would oppose to the manifested images. While referring to the alternative sides of the represented world a lyrical detail behaves as a verbal mask. Instead of persons there are things that are represented with such masks. Thus the descriptive lyrics and especially the ecphrasis become the paragons for such disguising effects. Here once more the dramatic attachments of lyrics are attested. That is invisible action for drama it becomes invisible antonymous alternative for lyrics. Subsequently the opposition latency vs. manifestation gains special importance in lyrics. As a paragon for such representation one can cite Solomon’s “The Song of Songs” that reminds that “for love is strong as death, passion fierce as grave” (8.6). Meanwhile this succinct mention refers to the latent background whereas it is love and garden that are manifested in the lines, and it is reminded and referred to what lies beyond the “garden’s” borders. The inevitability of death is meant but it refers to the implied latency. This presence of the implied alternative is felt for instance in very plain cases as in a song of the less known poet.