Slavic Poetics: Essays in Honor of Kiril Taranovsky [Reprint 2014 ed.] 9783110889710, 9789027925268

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SLAVISTIC P R I N T I N G S AND REPRINTINGS edited by C. H. V A N SCHOONEVELD Indiana

University

267

Essays in honor of

KIRIL TARANOVSKY edited by

R O M A N JAKOBSON · C. H. V A N SCHOONEVELD D E A N S. WORTH

1973

MOUTON THE H A G U E · P A R I S

© Copyright 1973 in The Netherlands Mouton & Co. N.V., Publishers, The Hague No paft of this book may be translated or reproduced in any form, by print, photoprint, microfilm, or any other means, without written permission from the publishers

LIBRARY OF CONGRESS CATALOG CARD NUMBER: 72-88184

Printed in The Netherlands by Mouton & Co., The Hague

CONTENTS

PATRICIA ARANT

Alliteration and repeated prepositions in Russian traditional lament

1

BAY ARA AROUTUNOVA

".ZJaBHo npoiueauiee" MaaKoecKoro

5

JAMES BAILEY

The accentual verse of Majakovskij's "Razgovor s fininspektorom o poèzii"

25

HENRYK BARAN

Xlebnikov and the mythology of the Oroches

33

HENRIK BIRNBAUM

Trends and traditions in medieval Serbian biography . . . .

41

STEVEN JOSEPH BROYDE

Osip Mandel'stam's "Nasedsij podkovu"

49

B. fl. ByXUITAB Κ

Bonpocy

o

CBÍI3H ΤΗΠΟΒ pyCCKOrO CTHXa CO CTHJiaMH

npOH3HOIUeHHH

67

PIERRE COLACLIDÈS

En vue d'une traduction grecque de La Geste du Prince Igor''.

75

MIROSLAV CERVENKA PHTMHHecKHH H M n y j i b c n e n i c K o r o CTHxa

79

LUBOMÍR DOLEZEL

A scheme of narrative time

91

LAWRENCE E. FEINBERG

The grammatical structure of Boris Pasternak's Gamlet . . .

99

VI

CONTENTS

JUOflMHJIA Α. ΦΟΟΤΕΡ HEKOTOPBIE

JieiccHHecKHe

Η

CEMAHTHIECKHE

OCOÖCHHOCTH

cöopHHKa Tristia Ocana MaHflejibiirraMa

125

L. GÁLDI

CTpyKTypa CTaHcoB CHfla Β pyccKOM nepeßoae

135

M. JL. ΓΑΟΙΑΡΟΒ

Κ ceMaHTHKe flaKTHJiHiecKOH ρκφΜΜ Β pyccKOM xopee.

. . .

143

C. H. ΓΗΗΒΗΗ

EpiocoBCKoe onHcaroie ΜετρκκΗ pyccKoro CTHxa c TOHKH 3peHHS COBpeMeHHOH THITOJIORHH JIHHfBHCTHHeCKHX OnHCaHHH

151

Μ. Μ. ΓΗΡΙΙΙΜΑΗ

O pHTMe pyccKOH xyfloacecTBeHHoä npo3bi

161

ANTONINA FILONOV GOVE

PARALLELISM IN THE POETRY OF MARINA CVETAEVA

171

Κ. HORÁLEK

ZEYERÛV VERS IKTOVY

. . . .

193

JOSEF HRABÁK

POZNÁMKY O TRÍDENÍ VERSO VYCH FOREM

197

A. B. HCAHEHKO H 3 HAÔJNOFLEHHÎI HAFL "ΗΟΒΟΗ ΡΠΦΜΟΗ"

203

Β. Β. HB AHO Β I Í 3 HAÖJUOAEHHH HAFL LETBIPEXCTONHBIM HMÖOM COBPEMEMTBIX Π03Τ0Β

231

P. O. HKOECOH

0 6 oflHocjioxcHbix cJioBax B pyccKOM CTHxe

239

LAWRENCE GAYLORD JONES

Anna Axmatova's quiet "Tenderness" : An exercise in counting

253

EJIA3KE KOHECKH 3 a HAPOFLHHOT PEIHTATHB BO JYACHOCJIOBEHCKATA CPEAHHA

.

.

261

K). H. JIEBHH

P a 3 6 o p oflHoro craxoTBopeHH« MaHaejibuiTaMa

267

VADIM LIAPUNOV

A Goethean subtext of E. A. Baratynskij's "Nedonosok" . .

277

VII

CONTENTS ZDENËK MATHAUSER

Mezi stylistikou a ontologii ( K problematice ruského symbolismu a futurismu)

283

NILS ÂKE NILSSON

"Proslavim, brat'ja" and " N a kamennyx otrogax": Remarks 295

on two poems by Osip Mandel'stam . . . RICCARDO PICCHIO

299

The isocolic principle in Old Russian prose KRYSTYNA POMORSKA

Music as theme and constituent of Pasternak's poems. . . .

333

Α. Β. ΠΡΟΧΟΡΟΒ Η Κ). JI. ΦΡΕΗΛΗΗ MAJTOH3YHEHHBIE OCOÔCHHOCTH MJIEHEHH« nyiiiKHHCKHX CTHXOB LUCYLLA PSZCZOLOWSKA

Sound distribution in rhyme

351

361

OMPH POHEH JLEKCHIECKHH π ο Β τ ο ρ , NOFLTEKCT H CMMCJI Β π ο 3 τ κ κ ε

Ocnna

MaHflejibiiiTaMa

367

Π. A. PyflHEB

H3 HAÔJUOFLEHHH HA/i CTHXOM A. Ejioica

389

A. M. CErAJI MrapoceMaHTHKa oflHoro CTHXOTBopeHHJi

395

STEFANIA SKWARCZYÑSKA

Wartosc narodowo-kulturowa przekladu literackiego (na przykladzie Hamleta Shakespeare'a w ujçciu J. Paszkowskiego)

407

EDWARD STANKIEWICZ

The rhyming formula in Serbo-Croatian heroic poetry

. . .

417

F. SVEJKOVSKY

Citât ν poesii doby husitské

433

VICTOR TERRAS OCHIT

MaHAejitmTaM H ero φιωοεοφιω cjioea

455

TZVETAN TODOROV

La re-naissance de la poétique

461

Vili

CONTENTS

Β. Η. ΤΟΠΟΡΟΒ Κ OT3ByK3M 3anaflHoeBponeHCKoii

ΠΟ33ΗΗ

y AxMaTOBoñ . .

467

Β. O. UNBEGAUNf

Metre and language: Vasilij Majkov's Arkas

477

C. H. VAN SCHOONEVELD

Gogol' and the Romantics

481

WALTER N. VICKERY "BocnoMHHaHHH

β

IJapcKOM

Cejie" (1814) η "Πημητηηκ":

κ Bonpocy ο οτροφκκε

485

ANNA WIERZBICKA

The semantic structure of words for emotions

499

THOMAS G. WINNER

"Glaubst zu schieben und wirst geschoben": Some observations about Tolstoj's experiments with children's writing . .

507

DEAN S. WORTH

Remarks on eighteenth-century Russian rhyme (Kostrov's translation of the Iliad)

525

GERTA HÜTTL WORTH

A note on Russian poetic terminology

531

HHKOJIAH XAPflXCHEB 3aMeTKn o MaaicoBCKOM

537

B. E. XOJIIHEBHHKOB CjiynaHHbie MeTbipexcTonnbie

ημ6μ β

pyccKoft n p o 3 e

. . . .

549

A. ZOVTIS

On the problem of rhyme in the structure of modern Russian verse

559

A Selected Bibliography of the Publications of Kiril Taranovsky. Compiled by James Bailey

569

ALLITERATION AND REPEATED PREPOSITIONS IN RUSSIAN TRADITIONAL LAMENT

PATRICIA ARANT

The traditional literature of all cultures is characterized by many kinds of repetition on a variety of structural levels. This paper will focus on a particular type oí repetition, the repetition of prepositions in Russian traditional laments. The material included in the analysis has been restricted to eleven texts, 6,597 lines, from the repertory of Irina Andreevna Fedosova, an outstanding lamenter of the nineteenth century from the North Russian area near Lake Onega. 1 Since the remarks which follow will depend in part on metrical characteristics, a brief description of these features will be given. The verse of Russian traditional laments shows considerable syllabic oscillation; however, the laments of the North are usually characterized by a 'long' line, which Roman Jakobson has described basically as a thirteensyllable line which alternates with a twelve-syllable variant, and which forms three rhythmic units or colons separated by moveable breaks, each containing a principal accent. 2 The line boundary, which is marked by a syntactic pause, is distinguished also by a 'dactylic' accentual close, which is characteristic of Russian oral narrative verse in general. The line is marked by a trochaic tendency, that is, there is almost consistent lack of stress on even syllables of the line. Distribution of accents in the long verse line of the North can be illustrated in greater detail by Kiril Taranovsky's statistical summary: 3 1 In the 1860's the collector Ε. V. Barsov wrote down from Fedosova (1831-1899) over 30,000 lines of funeral, recruit, and wedding laments, which he published in Pricitanija Sevemogo kraja, sobrannye Ε. V. Barsovym 1-3 (Moscow, 1872-1885). See also O. X. Agreneva-SIavjanskaja, Opisanie russkoj kresVjanskoj svad'by 1-3 (Moscow-Tver', 1887-1889). For other published texts see K. B. Cistov, Pricitanija (Leningrad, 1960), p. 49. The texts of the eleven laments used for this study come from the Cistov collection. 2 Roman Jakobson, "Studies in Comparative Slavic Metrics", Oxford Slavonic Papers 111 (1952), 33-39 and 55-57. See also Jakobson's article, "The Kernel of Comparative Slavic Literature", in Harvard Slavic Studies I (1953), 24-29. 3 Kiril Taranovsky, Ruski dvodelni ritmovi (Beograd, 1953), pp. 356 and 369. See

PATRICIA ARANT

2 Syllable: Percentage: Ictus:

1 47.1 I

3 100 11

5 34.4 III

7 100 IV

9 13.9 V

11 100 VI

13 0 VII

The observations which follow will be based on this type of line, a long, thirteen-syllable line consisting of three rhythmic units separated by moveable breaks, each of which contains a principal accent. The following chart illustrates the repetition of prepositions and the role of this kind of repetition in relating or binding segments or colons of the line to each other. In each type at least two and not more than three prepositions within the same line are alike. TYPES OF ALLITERATING COLONS I

TWO DISJUNCT COLONS (2 prepositions) Initial-Final po gul'bisceckam : u vas da : po prokladbiscam

II

TWO CONJUNCT COLONS (2 prepositions) Initial-Internal po castjam rezat', : po melkiim : kusocikam

(No. 10:2086)

(No. 3:135) Internal-Final nedosug idti : ν ljubimo : vo gostibisce (No. 7:787) III

THREE CONJUNCT COLONS (2 or 3 prepositions) Initial-Internal-Final u svoej-to : u zakonnoj : u sderzavuski (No. 7:816) or ugoscus' da : u ljubimoj : u semejuski (No. 7:802)

This chart of types takes into account (a) the number of times (i.e. two or three) the same preposition occurs in a thirteen-syllable line and (b) the relative position of occurrence of prepositions within a line. Those prepositions involved in colon alliteration occur either at the absolute beginning of an initial, internal, or final colon or immediately after one or more particles occurring at the beginning of an initial, internal, or final colon (a, i, to, li, ze, aj, kak, da, ved\ etc.).4 Within the Une as a whole the relative positions of alliterating colons to each other have been also Taranovsky's review of M. P. §tokmar's Issledovanija ν oblasti russkogo narodnogo stixosloienija (Moscow, 1952) in Juinoslovenski filolog XXI (1955-1956), especially p. 357. 4 It should be noted that prepositions in the lines of verse examined seem to occur only in these positions in the colon.

ALLITHRATION IN RUSSIAN LAMENT

3

considered. Two alliterating colons may be separated by a non-alliterating colon : po gul'bisceckam :

: po prokladbiscam

This relationship has been described as disjunct, Type I. Two or three alliterating colons may occur adjacent to each other. This relationship has been described as conjunct, Type II and Type III : po castjam rezat' : po melkiim : : ν ljubimo : vo gostibisce u svoej-to : u zakonnoj : u sderzavuski

The number of lines examined totals 6,597. Of this number, 302 thirteensyllable lines were found to be lines of Type I, II, or III: Type I Initial-Final 100 lines Type II Initial-Internal 63 Internal-Final 96 Type III Initial-Internal-Final 43

Of the total number of lines examined, approximately 613 lines, ranging from nine through seventeen syllables, contain two or three colons which begin with the same preposition, or slightly more than nine per cent of the total number of lines of verse examined. Of these 613 lines, 302 or approximately half are thirteen-syllable lines, which indicates a tendency of Fedosova toward thirteen-syllable lines. Alliteration of colons is clearly a frequent device in those lines of Fedosova which contain the same preposition occurring twice or three times. It is not known with what degree of frequency this phenomenon occurs in lines which are not marked by repetition of the same preposition ; however, a quick inspection of the first 100 lines of each lament used in this study indicates that about 25 per cent of these lines gives evidence of alliteration between at least two colons of the line, whether or not the line is marked by repetition of the same preposition, and we can expect from this that approximately one fourth of all of Fedosova's lines of oral lament will show this kind of alliteration. The results of this brief examination of the inner structure of a particular type of line of Russian traditional lament, especially the relationship of the segments or colons of the line to each other, indicates that the role of alliteration in building lines of verse in relatively modern times deserves further study. B R O W N UNIVERSITY

"AABHO nPOUIEAUIEE"

BAYARA

ΜΑΛΚΟΒΟΚΟΓΟ

AROUTUNOVA

Moxcho He n n c a T b o BOHHe, ho Haflo m i c a T b boähoio. ( " B p a B U J H M KHCTblO")

20 Hoaôpa 1914 r o f l a Ha JTHxepaTypHOH cTpaHHue mockobckoíí r a s e r t i noHBHJiCH KopoTKHH paccKa3

Hoeb

Heo6bI4HMM

ffaeno

npouieduiee,

noanHcaHHbiii

nceBflOHHMOM '-Ί>'. PeflaKTOpOM 3TOH CTpaHHUbl

flBaauaTHJieTHHH

6hIJI

BjiaaHMHp MaaKOBCKHH.1 4 e p e 3 BoceMHaauaTt jieT

TeKCT 3τογο paccKa3a 6m/i onyöjiHKOBaH β CTaTte BbmaiomHxca τεκοτοjioroB B. TpeHeea η Η. XapaacHeea KaK "3aöbiTaa Bemb M a a K o a c K o r o " . 2 Β 1935 η 1939 r.r. ffaeno npouieduiee

6mjio bkjhohcho β ABa loaaHHH

nOJIHOrO COÖpaHHH COHHHeHHH MaHKOBCKOrO BMeCre C OAHHHaflUaTbK) e r o cTaTbHMH, HanenaTaHHbiMH β ra3eTe Hoeb β Hoaôpe-fleicaôpe 1914 r o f l a . 3 OflHaKo, πρκ ποΛΓΟτοΒκβ c j i e a y i o m e r o H3flaHHa, mhchh» o 6 aBTopCTBe MaaKOBCKoro pá3omjiHCb η ffaeno npouieduiee

β Hero He bouijio. 4

Η ε τ HHKaKHX comhchhíi β τ ο μ , ητο aBTopoM ffaeno npouieduiezo

6biji

MaaKOBCKHH. LJejib 3τοίί craTbH — aoKa3aTejibCTBo e r o aBTopcTBa β no/tTBepameHHe B3rjiaaa Β. TpeHeea h H . XapaacHeBa.

ffaeno

npoiueduiee

3aHHMaeT 3HannTejibHoe MecTo β TBopnecTBe MaaKOBCKoro: β HeM 1

T a 3 e T a Hoeb

"TpaypHoe ypa" Jl.

BypjiioKa,

Benep" ;

B.

(MocKBa,

6mjih

"/loeepHe repoHM";

TlacTepHaKa,

ΠρθΗ3ΒβΛβΗΗΗ ÖblJIH

MHXHeBHH, " K n c T b u

2

B.

ckhh).

TpeHeB

h

cthx"

H . XapaxcHeB,

MaaKOBCKHÖ,

4

η yÖHTbiä

bm";

HeMuaMH

ctoht y KopMH.ua". flea npo3aniecKHx 3TOÍÍ CTpaHMLie — o 6 a ΠΟΛ nCeBflOHHMOM : B y p j i i o K ) h '--h' " f l a B H o n p o u i e f l i u e e " ( B . M a a K O B -

ffeub

B . MaaKOBCKHfi, ΠοΑΗοε coöpanue

τ . 1, 3 6 3 - 3 6 6 . B e e

"MaMa

"3a6biTbie C T a T b H " , Jlumepamypuoe nacAedcmeo 2 s t o t CHOBa ποληητ H . X a p ^ î K H e B b i M β e r o c T a T b e

"143 MaTepHajioB ο MaaKOBCKOM", 312-314; Β.

MaaKOBCKoro,

Ha

(fl.

(MocKBa, 1932), 162-163. B o n p o c 3

B.

crpaHHue KaK

"ApranjiepHCT

ΠΟΜβΙΗβΗΜ

fl.

hohöph). H a toh ace J i m e p a T y p H o M cthxh: H . A c e e e a , " P a 3 p y 6 j i e H H o e

1914, 20

HaneiaTaHw

ΠθΛΗθβ

uHTaTW SyiiyT

nos3uu

coöpanue

flaHbi n o

Β . MaHKOBCKHH, ΠθΛΗθβ coöpanue

1968

coiunenuü

(MocKBa, 1968), 157.

1-12 ( M o o c e a , 1934-1938), τ. 1,

couwteHuü

1-12

STOMy H3flaHHio.

(MocKBa,

1939-1949),

coHunenuü 1-13 ( M o c r a a , 1955-1961).

6

BAYARA AROUTUNOVA

OTHeTJiHBo npeacTaBJieHti ocHOBHtie m o t h b w h o6pa3bi, npoxoflamwe Hepe3 Bee ero paHHee TBopnecTBO. PaccKa3 3 τ ο τ npHMenaTejien eme η τβΜ, Μτο 3ΤΟ — eflHHCTBeHHoe npoH3BefleHHe xyaoacecTBeHHoñ npo3w MaflKOBCKoro ( b o t j i h h h c o t ero οπερκοΒ — "jiHTepaTypw cj)aKTa"). Bbijio 6m MeTOfloJiorHHecKH oiuhGohhmm nbiTaTbca AOKa3aTb aBTopctbo

MaHKOBCKoro,

Hcxoaa

H3 OT^cjibHbix

cjiyiaeB

Tek'CTyajibHbix

COBnafleHHH. r o p a 3 f l o 6ojiee yôeflHTejibHbiM AOKa3aTejibCTBOM GYQET ycTaHOBJieHne Toro, KaK β ffaeno npouieduieM

OTpa3HJiHCb m o t h b m MaaicoBCKoro, ero

nosTHHecKHH ΜετοΛ· 3aflana 3ra oôjieriaeTca τβΜ, h t o paHHHH nepHOfl TBopnecTBa MaaicoBCKoro oTMeneH HecoMneHHoii uejibHocTbio. Π ο μ η μ ο opraHHMHOCTH jieñTMOTHBOB, " . . . β KaxcAOM nepHo^e ero nosTHHecKoíí paöoTbi BCTpenaioTca o6pa3bi, noBTopaiomHeca η Bapbupyioiiweca β HecKOJibKHX Bemax." 5 M b i oÖHapyxcHM β pacoca3e He TOJibKo oxaejibHbie o6pa3bi, KOTopbie BCTpenaioTCii β flpyrax npoH3Be,qeHHax MaaicoBCKoro, h o Taxace — yôeflHTejibHoeflOKa3aTeJibCTBOaBTopcTBa — hx CMeaŒOCTb, cxoacTBo nopa^Ka hx pacnojioaceHHa. MaTepHajxoM cpaBHenna hojihchm 6biTb npoH3BeaeHHa,

HanHcaHHbie

ao

h

nocjie

ffaeiio

npouieduieeo.

FoflaMH MaaxoBCKHH coönpaji apceHaji μ ο τ η β ο β h 06pa30B. Π ο ero coôcTBeHHbiM cjioBaM, Ha 3TH l3ar0T0BKH' y Hero yxoflHJio ο τ 10 no 18 nacoB β cyTKH.6 C t h x h h nyGjiHUHcraica óbiJiH zuia Hero "ïiosthmcckhmm 3ar0T0BKaMH, onbiTaMH no pa3pa6oTKe HeHcnpoôoeaHHbix acaHpoB." 7 I l o s T O M y Hey^HBHTejibHo, i t o β ero npon3BeaeHH«x s t h x jieT Mbi HacTO HaôjnoflaeM

caMbie

HeoacHflaHHbie

xo/ibi :

Hapaay

c

oTpaxceHHeM

MaTepHajia paHHHx BemeK, noaroTaBJiHBaeTca το, μ τ ο 6yaeT HanncaHo no3ace. PaccKa3 JJaeno npoiueduiee, raeT

Bonpoc

06

OTHOuieHHH

c ero naun(j)HCTCKoíi nocbijiKoii, β η λ β η MaaKOBCKoro

κ BOHHe. Μ η ο γ ο

öbijio

HanHcaHo Ha 3Ty TeMy; He pa3 6i>ijih c/iejiaHbi He^ocTaTOHHo o ô o c h o BaHHbie 3aKJiK>HeHHsi. flyMaeTca, h t o OTHOiueHHe MaaKOBCKoro κ Boime ÔbIJlO CKOpee CJIOHCHblM, He M npOTHBOpeiHBblM. Β aBTOÖHOrpatjlHHeCKOM " Λ caM" o h no3xe nHcaji: "Bornia oTBpaTHTejibHa. TbiJi eme oTBparaTejibHeH." OflHaKo, ecjiH BOHHa HeH30e»cHa, το, no KpaiiHeii Mepe, oHa npHHeceT B3pbiB cTapbix HopM, cTaHeT t o j i h k o m /um co3flaHHa η ο β ο γ ο HCKyccTBa: " M o ì k h o ne nncaTb o BoiÍHe, h o Ha.no nHcaTb b o h h o i o . " 8 H. XapflxcHee, "3aMeTKH o MasKOBCKOM", Jlumepamypnoe Hac/iedcmeo 65 (Moacea, 1958), 416. 6 B. MasKOBCKHii, "KaK aenaTh cthxh", t. 10, 221. ' P. >Iko6coh, " O noKOJieHHH pacTpaTHBiueM cbohx iicotob", Cjuepmb β,ιαόιΐΜίφα Ma.iKoecKozo (EepjiHH, 1930), 36. 8 B. MasKOBCKHH, "BpaeniHM KHCTtio", τ. 1, 353. 5

7

" F L A B H O NPOIIJEFLLLIEE" M A F L K O B C K O R O

Ho Baa TeMa TpeôyeT ΧΟΛΗΤ

hoboh

φορΜΜ BbipaxceHHa: "Celiac β Mwp πρκ-

aöcojiiOTHO HOBbiH uHKJi Η/jeií.

eMy MoxceT

BbipaaceHHe

aarh

TOJIbKO CJIOBO-BblCTpejI."9 JZ^JIH n o 3 T a

BoHHa He

Tenepb

"eaacHo

flonycKaeT

He

HTÓ,

a

6e3ynacTHoro

KÜK.

EcTb

cjie3bi

H

cjie3bi."10

κ ce6e oTHouieniisi :

6jieHHoro npaeMa, OKCioMopoHa. nejibiii

TeMy

pafl

yxcacoB

o n p a B f l a H H o c r a CKanicoB

BHeiiiHe

BoìiHbi

cjiaôo

H TbiJia.

OTflejibHbix Μ Ο Τ Η Β Ο Β ,

CBa3aHHbix

HecMOTpa

Ha

MEXCAY H H M H

cymecTBycT BHyTpeHHaa cea3b. Bee OHH cBa3aHbi He TOJibKo o6meñ •

Β . MaaKOBCKHH, " H e 6 a 6 o H K n , a A j i e K c a H f l p M a K e f l O H C K H Ä " , τ . 1 , 3 6 1 .

10

Β . MaaKOBCKHH, " E e 3 6 e j i b i x φ - J i a r o B " , τ . 1 , 3 6 8 .

11

Β . MaHKOBCKHH, " H e 6 a 6 o i K H , a A n e K c a i m p M a K e f l O H C K H f i " , τ . 1 , 3 6 2 .

12

Β . MaaKOBCKHH, " K a K

13

P.

aesian

CTHXH", T. 1 0 , 2 2 1 .

ÍIKO6COH, " H o B b i e CTPOKH M a a K o e c K o r o " ,

(HbK> Μ ο ρ κ ,

PyccKuü JIumepamypHbiü Apxue

1 9 5 6 ) , 1 8 4 . T o B o p a o n p n e M e n a p o f l H Ü H O H KOHTpacTHocTH, UHTHpyeT

3anHCb M a a K O B C K o r o β aBT06M0rpac¡>HHCHÄ5I 3THM φρ^ΓΜβΗΤ^ρΗΟΟΤΒ Κ0ΜΠ03ΗίΙΜΗ Β Πρ0Η3ΒβΛεΗΗ5ΙΧ MaHKOBCKOTO.14 P a c c K a 3 HanHHacTca B3BOJIHOBEHHOH T H p a a o ñ JiHpHnecKoro

repoa,

B B O ^ a m e ñ BoeHHyio TeMy. Β KOHue p a c c K a 3 a , s a M t i K a a K0Mn03HUH0HH0e K o j i b u o , a B T o p B 0 3 B p a m a e T c a κ TOH ace ^ e i u i a p a u H H n o 3 T a . JInpnHecKMii MOHOJior r e p o a Β ΤΗΠΗΗΗΟΜ AJia MaaKOBCKOTO ΤΕΛΕΤΡΕΦΗΟΜ CTHjie ( c p . n p o 3 y e r o CTaxeií 3 T o r o n e p H o f l a ) 3 a K p e n j i a e T Β π ο τ ο κ ε n o z n a c

6ec-

CBH3HbIX φ ρ 3 3 MblCJIH, BnCHaTJI8HHH H aCCOUHaUHH, npOHOCaiUHCCa B co3HaHHn

B3B0JiH0BaHH0r0

nejioBcica.

Taxa«

φopMa

BHyTpeHHero

MOHOJiora c e r o a j u i a n r a H H o c T b i o , aHHaMHKoìi, ajiorHHHOCTbio, 6jiH3Ka Κ KOHCTpyKTHBHbIM IipH3HaKaM 'nOTOKa C03HaHH5l\ MoHOJIOr BAETCA

OTCTYNJTEHHHMH

pa3BHBaK>mHMH yiaCTHHKOB

ee;

H

CUEHAMH,

noaBJiaeTca

3ΤΟΓΟ, Β CymHOCTH,

πρερΗ-

HAMENAIOMHMH

HO

ρ HA nepcoHa^tceñ,

uejibiii

ΦΗΚΤΗΒΗΟΓΟ

aCHCTBHH:

HE

ncee/io'floporaa

H a T a u i a ' , « n o H e u - n o p y H H K , 'xcapHbie', H e a H ïiBaHOBHH. Β

paccKH3e

pa3BepHyTa

TOJIOCOB: ocHOBHaa

ueJiaa

ΦΟΡΜ3,

n0B8CTB0BaHH8 OT περΒΟΓΟ JiHua, c o n e T a e T c a c o ô p a m e H H e M KO B T o p o M y jiHuy, HTO OTBENAET ycTaHOBKe Ha a f l p e c a T , x a p a K T e p H o f t a j i a p a H H e r o MaaKOBCKoro ; o n n c a H H a AaHbi Β φ ο ρ Μ ε T p e T b e r o J i a u a . 1 5 'Λ' —

ueHTpajTbHbiH o 6 p a 3

npoH3BeaeHHax

MaHKOBCKOrO,

ffaeno STO

npoweduieeo.

OÔJIHK

ΜΟΛΟΛΟΓΟ

KaK Η Β ΗΕΫΟΒΕ^,

apyrax CTpa-

AaroiLiero 3a lejioBenecTBO. O/IHHOKHH Η nenoHHTtiH, OH n p a n e T 3TO c T p a ^ a H H 8 3 a MacKy 6 e 3 p a 3 J i H H n a : HTO MHe Boima? MHe HTO? Ά π ο 3 τ . ie ôeccoHHHuefl, / cjioacHTe β KOCTep jiHLta. ("il

h HanoneoH",

1 9 1 5 ) . n p r n i m a / h rojiOBy OTiaaHHeM

3aHaBecHJia / Mbicjib o cyMacuieaiiiHx AOMax. ( " O ö j i a K o β uiTaHax",

1915).

BAYARA AROUTUNOVA

10

... MeTanca / Η χρκκΗ Β CTPOHKH BbirpaHHßan, / yace HanoJiOBHHy cyMacmefliimit lOBeJiHp. ("OjieHTa-n03B0H0HHHK", 1915). Kyaa HanpaBJiio οπροΜετπ mar? / Yace O6E3YMEBMAA, / y » e HAEIPTIFL, / Bbiptieasct MOJIHT AYRNA. ( " B o t e a H MHP", 1916). o6pa3 no3Ta, BOBce He orpaHHHHBaeTca jureHOCTbio nosTa MaaicoBCKOrO. 'Ά',

JIHpHHeCKHH TOJIOC IIOBeCTBOBaTeJIÍI, UIHpe: OH BMXOAHT 3a

npe^ejibi KOHKPETHORO o6pa3a nosTa. Β

fíaeno

npoiuediueM

STO

'il'

flBHHCeTCH ΠΟ JIOMaHOH JIHHHH, BbinaflaH H3 3MnHpHHeCKOH peajIbHOCTH, BM3bIBaH COMHeHHH: KTO 3TOT MeMyUJHHCH Π03Τ, He yCTynaeT JIH OH MOMeHTaMH MecTO CBoeMy HeyjioBHMOMy flBOHHHKy? 0 6 p a 3 .ZJBOHHHKE, 'OH', HaMeneH yace Β caMOM Hanajie paccKa3a: HeT. Η ε τ . HH Β KoeM cjiyiae. Bw, noacajiyìicTa, He noayMaHTe, HTO 3TO a. Λ? Xa! CMCIIIHO. KaK a Mory 6biTb TAKHM HepBHbiM. He-e-τϋ (fíaeno npoiuediuee) OFLHAKO,

TyT ace HAMEX Ha FLBOHHHXA CTaBHTca nofl coMHeHHe: ' O H '

oKa3biBaeTca npocTo '3HaKOMbiM' : Προςτο BCTpeTHJi ero. Tax BOT, npocTo. Beflb óbieaeT ace c Barvui: HfleTe no yjiHue, BCTpeTHJIH, 3HaKOMbiíí ... Hy, pa3roBop. XoTa acyTKOBaTo. P-p-p-p. (¿faeno npouiediuee) B c e ARA Ή ε τ ' , ' H e - e - τ ' , ' P - p - p - p ' , 'XOTH', 'EE^B', XAX H SJUIHNRANECKHE

KOHCTpyKUHH, Bbipaacaiomne HaMepeHHoe yMOJinaHHe, BbiCTynaioT 3#ecb KaK CHraajibi, HanpaBjieHHbie κ 3aKpenjieHHK> BToporo rojxoca: o6pa3a flBOHHHKa. OöpamaeT Ha ce6a BHHMaHHe oöbiHHoe ana ΠΟ33ΗΗ MaaxoBCKoro cerMeHTHpoBaHHe TeKCTa: pa3ÖHBKa Ha κοροτκκε npefljioaceHHa, cjioBa, BbiHeceHHbie Β oTflejibHbie οτροκκ. Β cjieayiomeH 3A STHM NACTH cHOBa yTBepac/iaeTca peajibHocTb o6pa3a l 3HaKOMoro' : HTO? Ά

Kpniajj? Η ε τ . XOTH?! 3TO » E ΚΟΓΟ yro^HO

paccrpoHT.

BnponeM, a ero Η paHbiiie 3Haji. OH Bcer^a TaKOH 6biJi. Bcer«a. (fíaeno npouieduiee) CueHa C KOKAHHOM H ÎHIOHCKHM ΟΦΚΐΊΕΡΟΜ ( o HeM no3»ce) pa3BHBaeT uejryio uenb cjioacHbix o6pa3oe. Bce nocTpoeHo 3flecb Ha KOJieSaHHH Meatfly ' Λ ' Η ' H e - Λ ' . Π ρ κ 3ΤΟΜ ABOHCTBCHHOCTL·FLEATEJIAnepeHocHTca HA

caMo aeñcTBHe: aypMaH H ôesyMHe KOKaHHa — BOHHBI.

aypMaH H 6e3yMHe

CTaBHTca no/i coMHeHHe — KTo ace HA caMOM aejie 'npoöoBaji'

KOKAHH:

Bbi roBopHTe, HTO nocjie xoxaima Η Ηε τ ο noKaaceTca. fla a eeflb Η He npo6oeaJi. Hy, pa3. Rea. A flpyrae fleficTBHTenbHo : noflHHMyT rojiOBbi BbirmTb B03ayx, a H03flpn xax CHeroM 3anyiiieHbi. MHane ΗβπεΜ o6bacmiTb BCK> aaJibHemnyio HeJienocTb. (fíaeno npouieduiee)

" f l A B H O nPOLUEflUlEE" MAaKOBCKOrO

11

H H T e p e c H a p e a j i M 3 a u n a H a M e n e H H o r o o 6 p a 3 a ^BOHHHKa: CHanajxa STO ' f l p y r n e ' , 3 a T e M o 6 p a 3 KOHKpeTH3HpyeTca. H a j i i m o l a c r a n y CKoro npHeM CMemeHHa: 3aMeHa aeaTejia ο β ι ε κ τ ο Μ e r o

MaaKOB-

fleñcTBHa:

. . . öacHH, o ö i a c H a i o m e i i e r o x y a o ô y τβΜ, ITO ΚΟΚΕΗΗ Β3ΗΠ e r o , ccbinaji Ha KOHHHK H c m a H BbiHioxaji B e e r ò s o x y a w x Hoacex.

{ffaeno Β

1 9 1 6 r o a y MOTHB K O K a i m a n o a B j i a e T c a Β Borne

npouiediuee)

u Mupe; H H T e p e c H o ,

HTo 3 A e c b coôJiioflaeTca T a »ce CMeacHocTb : ' κ ο κ 3 η η ' — ' h o 3 A P H ' : I l l a p a x a ì i c a HcnyraHHO, B e i e p - κ Η θ κ ! / H « e M ! / P a ï a y e M Ha caMOK / H03/ipn, / BbieaeHHbie 3 y 6 a M H KOKaHHa. ^HXOTOMHa

'Λ'

MaaKOBCKoro

no3Ta

οτ

MoaceT

6bm.

"OÔJiaKa Β iirraHax"

npocjiexceHa AO " Π ρ ο

Β

npoH3BeaeHHax

STO".

06pa3

nosTa

pacmenjieH : M HyBCTByio — / " Λ " / a n a ΜβΗ» M a n o . ( " 0 6 n a K O β i n T a H a x " , 1 9 1 5 ) . K a K a H T H T e 3 a ' Λ ' , n o a B J i a e T c a He B c e r . u a j i e r K o yjiOBHMHH Ό Η ' : ' κ τ ο - τ ο H3 MeHH B B i p b i B a e T c a y n p a M o ' . BOflHTCH KOHTpanyHKT

flByx

Β

" B o i Í H e H M H p e " HacTOHiHBO

προ-

r o j i o c o B pa3flejieHHoro C03HaHHa: yTBepac-

fleHHe M y a c e c T B a H coMHeHHe Β HCM: " B o H u i b c a ? / T p y c ! / Y 6 b i o T ? ! / " Η BCJie/I 3 a 3 T H M : " J l o a c b ! / Ά 3 H a i o , / Η Β J i a e e aTax / a 6 y a y n e p B b i ñ / Β repoHCTBe, / Β x p a ô p o c T H . " / J p y r o ñ acneKT 3 τ ο η α η χ ο τ ο μ η η npe^CTaBJiaeT o T K p w T a a Bpaac^a κ C H T b i M n o u i J i b i M o ô b i B a T e j W M , 'HCHPHMM'. K a K r o B o p H T P . "ΤΟΗΗΜΜ COOTBeTCTBHeM 3TOH B p a x c f l b l 6 b I J i a

ΛΚΟ6ΟΟΗ,

6 b l aHTHHOMHa ' Λ '

Η

'He-fl'."16 Β

paccKa3e

ffaeuo

npouiediuee

npeacTaBjieHbi

o6a

acnexTa

o6pa3a

nosTa. Bee Β paccKa3e BpamaeTca Boxpyr 'Λ' noeecTBOBaTeJia, e r o B3rjiaAa Ha MejioBeKa, BOHHy H Map. BoiÍHa npeacraBJieHa Β

ffaem

npoiuedtueM,

KaK Η Β ΜΗΟΓΗΧ flpyinx npoH3BeaeHnax MaaKOBCKoro, Β THJIOBOM ee oTpaKeHHH. 'Admite ropo^a' — cqeHa aoBoeHHbix CTHXOB — Tenepb pHcyerca KaK MecTo 6e3bicxoflHbix nejioBeiecKHX CTpa/iamiH, CBH3aHHbix C BOHHOH.

ΓοροΑ MeTOHHMHHecKH o H e p H H B a e T c a B flByx H 3 M e p e H H a x : c OAHOH cTopoHbi,

yjiHUM,

'HeöecHMH' n e i o a x .

3flaHHa Tpa

c

ax

HHTepbepoM,

c

apyroH,

—

3eMJia,

p a f l a 0 6 p a 3 0 B CBa3aHbi oTHouieHHaMH

koh-

TpacTa Η napajuiejiH3Ma: P. ÄKOÖCOH, " O nOKOJICHHH päCTpäTHBlliCM CBOHX Π03Τ0Β", CMepmb B.taÒUMUpa MaHK0ecK020 (BepjiHH, 1930), 1 5 .

16

12

BAY ARA AROUTUNOVA yjiHua, öyjitBap pyjKeäHMe BHTPHHM OHapb Ka$e, pecTopaH CKaiKH

non ποτοποκ jiKxrrpa ÄBepi. 3aMOiHa» CKBa*HHa

3eMJlJI

Heöo 3Be3fltl

Γ θ ρ θ Α H KOCMOC, JHOflH H BÊIHH. ΠΟΗΗΤΗΗ 3ΤΗ He TOJTbKO üpOTHBOnocTaBjMioTCJi, h o , KaK nacTO y M a K K o e c K o r o , π ρ ο n e x o a h t o a y u i e e j i e HH6 HeoflyuieBJieHHbix π ρ ε Α Μ ε τ ο β ,

β το

B p e M » KaK jikdah

3anacTyio

CBOflaTCH κ c B o e f t HeoflyineBjieHHoñ CHHeK^oxe. Β r o p o a e c T a j i K H B a i o T c » KOHTpacTw,

npoxoflamne

MaaKOBCKoro : ο κ ο π η

nepe3

—

uejibrn

t m j t , CMepTb

'xcnpHbix' β p e c T o p a H e , CTpaaaHHH — HHH —

pua

ApyrHx

Ha φ ρ ο Η τ ε

npoH3BeaeHHH

—

pa3BjieieHH$i

6e3pa3jinMne κ η η μ , κ ρ π κ

oTnaa-

CMeX. H a CTOJIKHOBeHHH KOHTpaCTHWX ΜΟΤΗΒΟΒ Η HaCTpoeHHÍÍ

ocHOBaHa npHnoflHHTaa SMOUHOHajibHaa TOHajibHocTb p a c c K a 3 a . Β

paHHHx CTHxax M a a K O B C K o r o , e r o CTaTbstx h BbicTynjieHHax bm-

paaceHO φ y τ y p H c τ H ι ^ e c κ o e BHaeHHe r o p o f l a : Bce β HeM n p e f l C T a B j i e H o β Αβηχκηηη, roBopHJi

Bce

caM

'ôbicTpoTeiHo no3T.

06pa3

KaK

Ha

ropoaa

β

jieHTe

κHHeMaτoΓpaφa',

βαβπο

npoiueduieM

KaK

OTMenen

'6bicTpoTeHHocTbK>' m o t h b o b , 0 6 p a 3 0 B , cueH. ^HHaMHKa 3Ta OTpaacaeTCH Ha

ynoTpeÖJieHHH

rjiaroJibHbix

CTaBJieHbi β h x ' n p o T e K a i o m e i i '

bhaob

—

70%

rjiaroJioB

πρε,α-

ΗΜπερφεκτΗΒΗΟΗ φορΜε : " κ Λ ε τ ε

no

y j i m j e . . . ö y M a r a . K a K 6 y a T O n o s T b i a p a j i H C b . . . β O K o n a x e e ^ b yMHpajiH ... JiioflHxoamiH 6bicTpee ... o k o j i o pyaceñHoií b h t p h h m ocTaHaBjiHBajicü oflHH. Π ο τ ο μ

flpyroH

. . . Β ^ φ ε npocHMCHBajm p o l t r o . . . He c n a j x h o h h

x o a h n o ö y j i b B a p a M " η t./j. ITpeACTaBJieHHe r o p o ^ a β BHae l a c T O HecBH3aHHbix m o t h b o b , 0 6 p a 3 0 B η c u e H ocHOBaHo Ha npHHUHne oTHomeHHH nacTH — u e j i o r o . O y T y p H C T H n e c K a a x a p T H H a r o p o ß a β p a c c K a 3 e HJiJiiocTpHpyeT T p e 6 o e a H n e : " n e p e MeHa

B3rji5ma Ha B3aHMooTHouieHHe

HCKyccTBOM

CTaBHTCH

"3aAana

φHKCHpyeTCa Β pa3JIHHHOM HeCKHH

o6pa3

npHBblíHbie

ropofla

C03HaHHH". 1 8

CBOHMH

npOCTpaHCTB8HHbie

Bcex

'KOBepxaTb'

Bemeö".17

ΠερβΑ

npnpoAy

TaK,

hobmm KaK

OHa

flaHHblH Β paCCKa3e ΜεΤΟΗΗΜΗ-

KyÖHCTCKHMH OTHOHKHHH

CflBHTaMH

Ηεκ8»(3ετ

M8>KAy ΒεΐΙΙΗΜΗ.

TaKOB

onpoKHHyTbiíí o 6 p a 3 3eMJiH: " H o B e a t AOMa Hey/ioÔHo K p n i a T b , a a » c e AeiícTBHTejibHO yBHAee h

38mjifo, HaBajiHBUiyioca Ha Η ε β ο . "

{fíaem

npoiuedtueë).19 17 Β. MasKOBCKHH, "OraoïneHue ceroflHflnraero TeaTpa h KHHeMaTorpacfra κ HCKyccTBy", τ. 1, 324. 18 Β. MaaKOBCKHâ, "ΥΗΗττοκβΗΗβ KHHeMaTorpaoM 'TeaTpa' icax np«3HaK B03poxc-

ΑβΗΗΛ TeaTpajibHoro HCKyccTea", τ . 1, 317. 19

06

OTpaxceHHH

Mero,aa

KyömMa Β ΠΟ33ΗΗ MasKoecKoro:

Η.

XapAxmee,

"ΛΑΒΗΟ ΠΡΟΙΗΕΛΗΙΕΕ" MAflKOBCKOrO

13

B e » cueHa Β pecTopaHe nocTpoeHa Ha TaicoM HapyineHHH CBH3H Meacay HacTSMH, KOTopoe ΠΡΗΒΟΑΗΤ κ HCKaaceHHio nepcneKTHBbi. CJIOHCHMH pflA 06pa30B Β 3TOM cueHe nepeKJiHKaeTca c o6pa3aMH ΠΟ33ΗΗ MaaicoBCKoro ; BaacHo, HTo κεκοτορωε H3 HHX BcrpenaiOTca Β TOH » e nocJieflOBaTejibHocTH. Β ocHOBe Bcex Meτaφop JieacaT peajibHbie o6pa3i>i. 3aji pecTopaHa : noTOJlOK, non, JnocTpa, CTyjiba, ßBepH, 3aMoiHwe CKBaacHHM, oTflyuiHHM OKOH. HOHB, yjiHua, φoHapb. ynacTHHKH 'AÊHCTBHK' : nopyHHK, 'acHpHbie'. Bce cjiHJiocb : H rpoMasHoe HanyapeHHoe yxo noTOJixa c 6ojiTaiomeñca cepbroñ JiKDCTpt.1, h acenTbie nyroBHUM φοΗαρεϋ Ha caHOBHHHbeM 5KHBOTe HOHH.

(ßaeuo

npoiueòiueè)

CxoflCTBO 'HanyapeHHoro yxa noTojnca' c 6ejioñ Jiemcoñ K a p w o a oneBHAHO. 0 6 p a 3

3TOT 3HaxoM

no

"06jiaKy

Β urraHax":

"BceJieHHaa

en HT I nojioacHB Ha J i a n y / c KjiemaMH 3Be3fl orpoMHoe y x o " . Bo3HHKinaa Β Hanajie accounauHa ποτοποκ — 06PA30M

'CAHOBHHHBERO

JKHBOTa

ne6o no^TBepacflaeTca Heo6WHHBIM HOHH'.

CxoflCTBO

Meτaφop

'yxo

noTOJiKa' Η 'yxo BcejieHHoñ' 3aKpenjiaeTca OTHOUICHHSMH CMOKHOCTH 06pa30B: jnOCTpa, ΦΟΗΗΡΐ», 3B83/JM, CBa3aHHbie OÖlUHOCTbK) 3HaHeHHa (HCTOHHHK CBeTa).

ΜΕΤΑΦΟΡΑ

'ôojrraiomaaca

cepbra

juocTpti'

flaeT

3pHTCJIbHO-MOTOpHbIH o6pa3 JUOCTpbl, KOTOpblH CBS3BIBaeTCS ΟΤΗΟΙΗΒHHHMH no cxoflCTBy c cepbroii. C a M a « e cepbra noflroTOBJieHa o r a o ï u e HHSMH CMeaCHOCTH c yxoM. 06pa3

JiiocTpbi noHBJiHeTca He pa3 Β ΠΟ33ΗΚ MasKOBCKoro.

OH

HEH3MEHHO NPEACTABJIAETCH KAX HCTOHHHK ceeTa H CBa3biBaeTca c JiyHoñ, 3Be3flaMH, cojiHeHHbiMH jiynaMH—flaace c o6pa30M 3aacaceHHoii E e p o n w : Β yuiax omoxinHx napoxofloe / ropejm cepbra axopeit ( " Π ο ρ τ " , 1912). Mbi / c jnmoM KaK sacnaHHaa προετΗΗ», / c ryöaMH, OÔBHCIHHMH xax jiiocTpa. ("OÖJiaKO Β urraHax", 1915). A Β He6e, jiyHHK cepeaacofi B«eB Β yimco, / 3Be3fla, xaK Bbi, xopomaa, — He 3Be3«a, a fleByinxa ... ("IlycTSK y OKH", 1915). ... Β He6o / juocTpoH noaeemeHa / nejiaa 3aacaceHHaa Eepona, ("BoiiHa Η ΜΗΡ", 1916). 'OÖBHCuiHe ryöbi' nocjieaHeii ijHTaTbi coxpaHaioT CB»3b c OCHOBHOH Μεταφοροϋ: jnocTpa-3Be3aa : y x o - c e p b r n no oraomeHHaM cxoflCTBa ('oÔBHCuiHe' — ymeñ).

CBHcaioiHHe xaK cepbra) H CMeacHocra (ry6bi BMecTo

CXOACTBO o6pa30B

pa36npaeMoro

TeKCTa c npHBefleHHMMH

npHMepaMH CTHXOB MaaKOBCKoro noflTBepacaaeTca HX HaxoacaeHHeM Β oflHOM pswy: JiK>CTpa-jiyH-3Be3fla : yxo-noTOJlOK-He6o. 0 6 p a 3 φ ο ^ ρ β — eme OAHH npHMep CMEIUEHHA nepcneKTHBbi. Β TOH ace

cneHe,

'JTOTOJIOK',

'jiiocTpa',

Haxoflamneca

"MaHKOBCKHii h HCHBonHCb", MdHKoecKuù. Mamepua.ibi 1940), 347-400. K . Pomorska, op. cit., 112f.

Β

3ajxe

pecTopaHa,

u uccAeòoeauuH

(MocKBa,

14

BA YARA AROUTUNOVA

BBOßHTCH Β O AHO M JIHHeHHOM pHfly C yJIHHHblMH φθΗΕρΗΜΗ. Μ β Τ α φ ο ρ α 'acejiTtie nyroBHUbi φ ο ^ ρ β ί ί ' nocrpoeHa Ha a e y x npH3HaKax c x o f l c r a a : KpacKa (acejiTbiñ c b ê t ) h φ o p M a ( x p y r j i w e JiaMnti). Β nepwoa 1912-1917 r.r. yjiHHHWH φoHapb — HacTbiH aTpnôyT ropoflCKoro neìfoaaca MaaKOBCKoro —

noaBJiaeTca

β ero

craxax

o/iHHHa/maTb pa3.

Πρηβολημ

UHTaTbi, HaH6ojiee 6πΗ3κκε HaiiieMy TeKCTy: ... nepHHa. / M Ha / Hee / BCTaiomax 3Ββ3Λ / nerico onepjiHct ηογη. / H o γη- / 6em» φοΗαρεκ, / qapeit / β κοροΗβ ra3a ... ( " Υ τ ρ ο " , 1912). Kor^a ace, XMyp η njiaieeeH, / 3aracHT φoHapHL·Ie 3HaKH, / BJHoöirjriiTecb πολ HeôoM xapieeeH ... ("BbiBecKaM", 1913). H Toraa yace — ckomkcIb φ ο Μ ρ β ή o^eujia — / Honb H3Jiw6HJiacb, noxaÖHa h nbHHa, ("AflHiqe ropofla", 1913). Jlbichiñ φoHapb / cjiaflocTpacTHO CHHMaeT / c yjimiw / »repHbiñ lyjioK ( " Ü 3 yjiHUbi β yjimiy", 1913). ... He HM B03H0CHM ΜΗ necHK) cjiaBbi, a τβΜ, κτο ÔJiecTaiiwe rna3a nan noBenieHHbiM rojioeaM φ ο Μ ρ β ή . (cTaTba "Be3 6eJibix Φιήγοβ", 1914). A caMH CKB03b ΓΟρΟΛ HCCOXmHH, KaK OHaHHfl, / C TOJinOñ φθΗ3ρβΗ KejlTOJIHUblX, KaK CKonijbi, ( " Γ η μ η 3flopoBbK)", 1915). ... a β τ β 6 » eqejiyjo cKB03b TyMaHbi JIOHflOHa, orHeHHbie ryôhi φθΗ3ρείί. ("®jieftTa-n03B0H0HHHK", 1915). Β

npHBeAeHHbix

'jibicbiií',

npHMepax

B03HHKaeT

3pHTejibHbiií

'acejiTOJiHUbiñ', 'orHeHHbie r y ô b i φ ο Μ ρ β ί ί ' .

o6pa3

φο^ρβ:

Β HeM npejio-

MJiHioTca MeτaφopHHecκoe CXO^CTBO H MeTOHHMHHecKaa CMeacHocTb c 06pa30M φ ο ι ω ρ Η β ffaeno npowediueM:

" . . . acejxTwe nyroBHiibi φοΗ3ρπ

Ha caHOBHHHbeM acHBOTe h o h h . " Π ο μ η μ ο θ τ ο γ ο , 3flecb TaKace BCTpenaioTca β o a h o m pa^y

^ O H a p e ñ o a e a j i a ' , 'nepHHa He6a', ' η ο γ η

...

BCTaBuiHx 3Be3fl', KOTopbie nepeKjiHKaioTca c 06pa30M 'caHOBHHHbero acHBOTa ηομη' η Heöa pa3ÔHpaeMoro paccica3a. H a CTyjibax coBceM He flepscajmcb. PoÖKHe. 3axoT»T cecTb, H eapyr cTeKaioT rycToft npocTOKBameìi h3 cajia. CTeKaioT Ha non, π ο τ ο μ β ÄBepn, β 3aM0iHbie cKBaacHHbi, π ο τ ο μ ä o OTayuiHH η ... (fíaeno

npoiueduiee)

H e cjiynaiiHo τ ο , η τ ο 'acHpHbie' — BaacHoe 3Beno β uerin τ η π η η η μ χ fljia MaaKOBCKoro o6pa30B pecTopaHHoñ citeHbi. IIoaBjiaioTca 'acapHbie' y MasKOBCKoro προτΗΒ

β

1913 r o a y

nomjiocTH cbiToro

β cthxotbopchhh öypacya.

Β

tom

"HaTe"

KaK

ace r o a y ,

β

npoTecT TpareflHH

"BjiaflHMHp MaaKOBCKHH", 3 τ ο yace 'cTapbie, / acapHbie, / o6pio3riuHe Bpara'. 3 t o t rpoTecKHbiñ o6pa3 no3ace β pa3Hbix MacKax npoHHKaeT β coBeTCKHH 6biT. ')KiipHbie' cjiyacaT peajin30BaHH0H

ranepSojioft,

ocho-

BaHHOH Ha MeTOHHMHHeCKOM npeACTaBJieHHH naCTH BMeCTO u e j i o r o . MeJioBeK

BbiTecHeH cbohm

oöacopcTBo

—

ero

acejiyzycoM (H^HOMa

pe3yjibTaTOM:

acnpoM,

Maccoií 6e3JiHKoro 'p030BaT0r0 TecTa' :

'acHTb

cajxoM,

acejiyiiKOM');

δεοφορΜεΗΗοή

15

"ΛΑΒΗΟ ΠΡΟΙΙΙΕΛΙΙΙΕΕ" MAHKOBCKOrO

Hepe3 Mac OTCfOfla Β ÏHCTMM nepeyuoK / ΒΜΤΒΠΒΤ n o ΙΕΠΟΒΒΚΓ earn Ο6ΡΚ>3ΓΙΠΗΗ 5κπρ ... ( " H a T e " , 1913). >KejiyaoK Β n a H a M e ! . . . j IlycTb Β c a n e coBceM ΠΟΤΟΗ>Τ 3paHKH . . . ("ΓΗΜΗ o6e,ny",

1915). Β

pecTopaHe 6BIJIO OT ajieicTpHiecTBa

pbiaco. I Kpecjia OÔJIHTM Β aaMCKyio Μ»ΚΟΉ>. ( " K o e - π τ ο n o nOBOfly ¿mpaMcepa", 1915). . . . a Β arainascax jioimuica 3a JKHPHMM ameTOM aTJieT: / JlOnajIHCb JIJOFLH, / npoeBUIHCb HaCKB03b, I H COHHJIOCb CKB03L· TpemHHM cajio ... ("OöjiaKO Β iirraHax", 1915). flea apiinma 6 e 3 i n m o r o p o 3 o e a T o r o TecTa ... ("Hafloejio", 1916). 5Κκροκ 3anHBaeT IUCJIOHKH 6wTa / H 3acTWBaeT / THx η πΐΗροκ. ("CTa6HJiH3aime 6 w T a " , 1927). CxoflCTBO 'acapHMx' Β npHBeAeHHbix npHMepax c 0 6 p a 3 0 M p a c c K a 3 a He BH3HBâeT coMHettHÌi '. o 6 p a 3 CBefleH κ CBoeñ CHHeicfloxe—δεοφορΜεΗΗοίί M a c c e cajia, NPEFLCTABJIEHHOH Β

ee TeicynecTH ( c p . 'CTEXAIOT' C 'BbiTeHeT',

'oÔJIHTbl', 'COHHJIOCb', l 3ajiHBaeT'). Β

CueHa

pecTopaHe

—

npHMep n o K a 3 a BOHHU B ee

ropoflcicoM

ρβφπβκοβ ( c p . " B o i Í H a OTBpaTHTeJibHa. T h j i e m e OTBpaTHTejibHeH"). H e npHHÄTHH Ha

BoeHHyio

cjiyacGy

MaaxoBCKHH

3Haji

o

BoiÍHe

JIHUII.

noHacjibiixiKe. B e e CBOH ceefleHHa o Heìi OH n e p n a e T H3 r a 3 e T , H3 jiHTepaTypbi, p a c c K a 3 0 B oneBHOTeB. 2 0 Β p a c c K a 3 e JJaem —

npotuedw.ee

r a 3 e T a c e e BOCHHUMH COOÖMEHHAMH

oflHH H3 ueHTpajibHbix MOTHBOB. CHOBa npoHcxoAHT pacmenjieHHe

o6pa3a:

BHanajie

HOBOCTefl

öyMara

(oÔbeKT

(MaTepHaji)

fleÍÍCTBHa).

npeACTaßjieHa

ΠΟΛΜΒΡΚΗΓΤΟ

Β

oTpbiee

OT

npoTHBonocTaBjieHHe

MOKfly ΦΡΟΗΤΟΜ H TMjioM. O CMepTH Β o K o n a x ynoMHHaeTca jiHuib MHMOXOFLOM ' . . . Ρ ΗΛΟ M Β OKOnaX BEFLB YMHPAJIH', HO CaM MOTHB C M e p T H PASBHBAETCH Β CJIOHCHOH u e n n O6PA30B : OKaibiBaerca, Ha nojiax, oöoiiaeHHbix cpaxcemieM: öyMara. Bciofly ôyMara H ÖyMara. Kaie öyjrro no3Tbi flpaJiHCb. H Korfla n öpaji H3 e r o pyK KJiOHOHKH, 6biJio MHJiJiHMeTp acyTKO . . . {ΒMHO npomeduiee) E y M a r a Β TbiJiy 'Ha n o j i a x , oöoHfleHHbix cpaaceHHeM', ΒΗΑΗΜΟ, n p e a cTaBjtaeT HaMeK Ha τ ο , Kaie ' r a s e r a a a HeHHCTb' MaHHnyjmpyeT BoeHHbiMH φαΚΤΕΜΗ ( c p . CTHXOTBOpeHH» MaflKOBCKOTO " M a M a H yÔHTbXH HeMUaMH

Benep",

" B a M " , " B o i m a oôbHBJieHa", " Γ Η Μ Η Β 3 8 τ κ ε " ) · 0 6 p a 3 ö y M a r a H

ApaKa n o 3 T a o n p a B a b i e a i o T 'KJIOHOHKH' ô y M a r n . HeoöbiMHoe 'MHJIJIHMeTp HcyTKo' — HHTepecHbiñ npHMep CMemeHHH pa3jiHiHbix ceMaHTHHecKHX p a ^ o B — CTHxax

nacTbiñ npneM MaaKOBCKoro.

Γρ3φΗΗεΰΚΗΗ

3HaK

BbicTynaeT

KaK

Yace Β ero

BaacHbiii

acnexT

paHHHx cjroBa.

ΓΡ3ΦΗΗΕΰΚΟΕ HasepraHHe cjioBa, SyicBbi H a a x c e ΤΗΠ ΙΠΡΗΦΤΠ cTaHOBSTca 20 "3BOHHJI MaSKOBCKHH ... rOBOpHJI, HTO OHCHb ΜΗΟΓΟ HanHCajI CTpailJHOrO προ BoiÍHy, Hano 6bi npoBepHTb . . . " A. E J I O K , 3anucHbie KHUMCKU (MocKBa, 1965), 306.

16

BAYARA AROUTUNOVA

nosTHiecKHM φ α κ τ ο ρ ο Μ . 2 1 Β pafle c t h x o b paHHero nepwofla BoeHHwe HOBOCTH CBH3MBaiOTCH C ΤΗΠΟΜ IIipH(})Ta, ΠβΤΗΤΟΜ: B y a y HTTH η h t t h TaM, / n o K a He o r r n a n y T t b o h r n a 3 a / n o « pyôpHKOH / " y Ö H T t i e " I H a ö p a H H o r o π ε τ ι ι τ ο Μ . ( " B o í í H a h M a p " , 1916). KaacflbiË a e H b T a r y r a M n n a i e M t o j i o c h t π ε τ κ τ Hafl MHoacecTBOM ΗΜβΗ, Bwpe3aHHbix M a p c o M . ( C r a T b a " K a n n « flerra", 1915). U,HTaTM

3TH

noflTBepacaaioT

coneTaioTCH

MeTOHHMHnecxoe

Hauie

HCTOJiKOBamie :

npe/icTaBJieuHe

β

psmy

οληομ

oTpe3Ka

nenaTHoro

TeKCTa, ι ι ι ρ κ φ τ h o n p e f l e j i a e M o e h m c o c t o h h h c a y i i i H H H T a i o m e r o . Bcjiea

3a

sthm

bbo^htch

aioacHaa

nerib

noHBjiaeTCH KJMKca m p , c j i o b o m ' φ y φ a H κ a '

06pa30B.

HeoacH^aHHo

npo/ioJiaceHHe r e x

ace

OTHOuieHHii M e j K a y Γ ρ α φ κ ^ ε ο κ Η Μ 3HaKOM η M a T e p n a j i o M n n c b M a .

Ho

T y T ace CTaBHTCH π ο , α c o M H e H H e :

"a

hto

—

bot,

ecjiH ...

η He KJiHKca

BOBce, a HTo-HHÔyfli. a p y r o e . " M o T H B H p o B K a ' . . . p a / i o M β o K o n a x B e a i . y M H p a j m ' n o f l r o T a B j i H B a e T cflBHr: HepHHJibHaa icanjra MoaceT o K a s a T b c a η K a n j i e ñ κροΒΗ. Β κ ο Η τ ε κ ο τ ε c o o ò m e H H Ì i ο r n S e j i n Ha φ ρ ο Η τ ε 'φyφaHκa'

nojiynaeT

HpoHHHecKoe

3ByiaHHe.22

Β

cjioxchoh

cjiobo TpaHC-

φ θ ρ Μ 3 Ι Ι Η Η 0 6 p a 3 0 B nOHBJIHeTCH HOBOe 3ΒβΗΟ MeTOHHMHHeCKHX I i p e f l CTaBJieHHÖ:

Hy, bot, HanpHMep, 3Ta Mbicjib HarmcaHa cjiobom. A i t o ecjiH He cjiobom. Ecjih 6pH3Hyji H3 nepena h jier Kaic Mbicjib. (ffaeno B b o a h t c h o 6 p a 3 n e p e n a — CHHetcaoxa HejioBenecicoro M 0 3 r a ,

npoiueduiee) hctohhhk

m m c j i h . C a M M 0 3 r π ρ κ 3 T 0 M He Ha3BaH, n p e f l C T a B J i e H t o j & k o p e 3 y j i b T a T fleñcTBHa:

6pbi3rH

H3 n e p e n a .

CyrrecTHBHbiñ

o6pa3

pa3M03aceHHoro

n e p e n a o n p a e a a H CHTyaimeii ' p a ^ o M β o K o n a x Beflb y M H p a j m ' . T a K a a K O H f l e H c a i m a φρΐ3Η0Λ0ΓΜΗεϋκιιχ a e T a j i e ñ T H i m i H a j i n n p a H H e r o MaaKOBCKoro.

Β

ero

CTHxax s r o r o

nepnoAa

MeTOHHMHHecKHH pafl: Hepen-M03r-Mbicjib KJioHba nejiOBenecKHX μο3γοβ:

μ η

BcpenaeM

tot

ace

/ y m—crycTKH κροΒΗ-

B o t Ha oöoApaHHOH CTeHe OTnenaTOK π β τ β ρ Η Η iHpaimeJiH KjiOHbaMH l e j i o e e necKHx Μ03Γ0Β (cTaTbfl " H HaM M a c a " , 1914). flyMaio. / M m c j i h , κ ρ ο β κ crycTKH, / öojibHbie η 3 a n e K u m e c a , jie^yT h 3 n e p e n a . . . r o j i o B y BHM03»cy KaMeHHbiM HeBCKHM! ("®jieäTa-n03B0H0HHHK", 1915). H e p e n a uiKaTyjiKy BCKpoHTc — / cBepKHeT / a p a r o q e H H e t o r a i í yM. ( " Η β π ο Β β κ " , 1916). Α β β τ β ρ a « e p / β KJioHKH H 3 o p B a n I m h c o h n j i a T b e . . . c T p a x , / n o « l e p e n o M , / pyKoft 21 " M b i cTajiH n p i w a e a T b coaepacaHHe cJioBaM n o h x HaiepTaTeJibHoñ η 0HHiecK0ä xapaKTepHCTHKe". MaHW(j>ecT h 3 cSopHmca "CaaoK cyjieii", Β. MasutoBCKHH, ΠοΛηοβ coôpaHue conuHenuU, τ . 1, 400. 22 Kor,na H3flaTenbCTBo " í l a p y c " HCKano Ha3BaHHc « u n nepBOH κηηγη e r o c t h x o b , MaaKOBCKHH npefljioxciui n e p e i HecK0jn>K0 AHeü:

"AABHO nPOlUEÄUIEE" MAHKOBCKOrO

17

KpacHOM / pacnyTbiBajT, pacnyTbieaji η pacnyTuean mmcjih ("BofiHa η m h p " ,

1916). Β cjieayiomeñ 3a s t h m nacra paccica3a 6yMara h ra3erHbie h o b o c t h cjiHBaioTCH Β o 6 p a 3 ra3eTH. HtñciBue

nepeEOCHTca β ο φ ο .

Hobocth

ra3eT BbobiBaioT B3pbiB 3MOUHH noBecTBOBaTeji« no noBoay pa3ropaiom e r o c a noacapa (peajnmuHfl ΜετΗφορω pa3roBopHoro hjuksl

'noacap

b o h h h ' ) : "/Ja, ropHT. CHanajia τορφΗΐιωε, π ο τ ο μ îcycTapHHK. 3aTeM XBOHHtie Jieca π ο ι ι μ η ropeTb." Bcjiea 3a 3 t h m npoHcxoflHT περοοΗκφΜKauH« ra3eT. O^HaKo, 3/iecb, icaic lacTO y MaaKOBCKoro, aonycKaeTca B03M0>KH0CTb flBOHCTBCHHOH HHTepnpeTaUHH : "IlpHXOAHJIH

OHH Β

Ka(|)e ... AKKypaTHbie, rjiaflKO BbiôpHTbie, Gejibie, a TpoHeuib najibueM — Cbipbie." 'AKKypaTHbie', 'rjia/ικο BbiöpHTbie' Bbi3biBaeT accomraitHio c o ô j i h k o m noceTHTeJieñ κaφe. H o TyT »ce B03HHJcaeT Βτοροίί imaH 3 τ ο γ ο o 6 p a 3 a : aKKypaTHO cjioaceHHbie γήηκμ TOJibKo h t o flocTaejieHHbix ra3eT, 'cbipbix', CBejKe-oTnenaTaHHbix, c h x npHrjiaaceHHbiMH h o b o c t a m h (cp. HpoHHHecKoe: "Be^b ra3eTbi He BpyT? "). Tenepb m o t h b no acapa cee^eH κ e r o cHmajiy-HHACKcy abiMy : " H a h m . ¡\ά. IlaxHeT λ μ μ ο μ . " CHoea oöbirpbieaeTCM

pa3roBopHaa

φopMyJIa:

'naxHeT

nopoxoM',

CBH3bi-

Baiomaa bck> CHTyanmo c BoeHHbiMH c o S h t h h m h . OflHaKO, TyT ace aejiaeTca h o b w h cKanoK, B03BpamaK>mnH Hac κ nepcoH^HUHpoBaHHOMy o 6 p a 3 y ra3eT: "Hy, 3aneM hm e m e ayuiHTbca a h m o m ? " FlpeACTaBjieHHe aearejiH b m c c t o o6beKTa ero z k h c t b h h oKOHiaTejibHo 3aKpenjiHeTca: "Beflb η 6e3 τ ο γ ο , pa3Maxneaa pyKaMH, opyT: ' Γ ο ρ κ τ , Γορκτ, Γορκτ'". Β uejiOM ρHfle paHHHX c t h x o b MaaKOBCKoro pyKH BbicrynaioT KaK MeTOHHMHHecKHH CHTHaji oflyuieBjieHHH HeoflymeBJieHHbix npeAMeTOB. 3ajioMjreHHbie pyKH — acecT oTHaaHHa: MocTbi 3ajioMHiiM 5KeJie3Hbie pyKH (Tparexw« "BjiaflHMHp MaaKOBCKHii", 1913). Ax, 3aKpoiiTe, 3aKpoßTe rjia3a ra3eT / ... A Beiep k p h h h t / öesHorHÜ, / 6e3pyKHH ("MaMa h yÓHTbiíí HeMuaMH Benep", 1914). ... a r o p o a , Bbrrpenae pyHeHKH-^jiarH, / mojihtc» η mojihtc« KpacHhiMH KpecraMH. ("Λ h HanojieoH", 1915). ... ansi nero 3κβ / o6bhtm pyKH TpaHiiieft. ("BejiHKOJienHMe iiejienocTn" 1915). ... KOMeTbi 3aJioM«T ropamwe pyKH, / 6pocaTca bhh3 c t o c k o h ("Ce6e jiioÖHMOMy", 1916). /XbiM — oflHH M3 nacTbix MOTHBOB MaHKOBCKoro. Β ero CTMxax n e p n o a a 1913-1917 r.r. o h noHBJiaeTCH ¿jeBHTHazmaib pa3. β,ο b o h h m flbiM öbiji MacTbK) ropoflCKoro neioaaca; nocjie β ο η η η a h m CBHSbiBaeTCH c BoeHHblMM fleHCTBHHMH. Β TbIJiy Η Ha φρΟΗΤε ^blM BblCTynaeT CHniajIOM — — — H.

Λ npn,iiyMaji! Ha30BeM ee,flbUBOJia,— "y(j)añKa"! noHeMy "yaiiKa"? Cjiobo ohchL· CMeuiHoe: "4>y-(j)afi-Ka". Cepe6poB, "O MaaKOBCKOM", Kpacnan Hoeb 7-8 (1940), 163.

18

BAYARA AROUTUNOVA

cpaaceHHH, no>KapoB, KOCTpoB. MHor/ia STOT noacap BOHHW pa3,ayBaeTca Β 'MHpOBOH noacap' : MaMa, rpoMHe! /flbiM./ fluM. / flwM eme! ("MaMa h yÔHTbrn HeMuaMH Benep", 1914). MoaceT 6tiTb, /flbiMaMHH 6O«MH oxMeneHHaa, / HHKor^a He noflbiMeTca 3eMHH rojioea. ...flbiMHbiMXBOCTOM no eexaM Bonoiy / onepeHHoe noacapaMH noôonme! ("Boìma H MHP", 1916). Becb HCTbiKaHHbiñ Β ΛΜΜΗ Η Β najibUH, / nepeeajiHBaio rosa ("POCCHH", 1916). CINI, He TpeeoHcacb KapTHHOH κροΒΗ / H TeM, ITO noacapoM MHP onoacaH. ("ΓΗΜΗ oôeay", 1915). ECJIH ΛΟ BOHHbl MeCTOM fleHCTBHa y MaaKOBCKOTO 6bIJI HCKjnOHHTejIbHO

ropofl (MocKBa, IleTepôypr), Ky^a npoHHKajiH pa3Be TOJIBKO 'cejib/iH H3 KepHH', ΤΟ nocjie 1 9 1 4 roaa CTHXH ero noncTHHe HaBOAHaioTca ΠΟΤΟΚΟΜ ΤΟΠΟΗΗΜΗΗ. Tax, Β npoH3Be,aeHHax 1 9 1 4 - 1 9 1 7 r.r. — copoK Γ Β Ο ^ Φ Π HeCKHX Ha3BaHHH. ÜHTHMHOe 3HaKOMCTBO C KapTOÌI MHpa npHIUJIO BMecTe c BoeHHbiMH HOBOCTÄMH (cp. nocjie 1 9 1 8 rosa: " Λ öoxaMH ynmi ΓΕΟΓΡΕΦΚΚ)", JIK>6AW,

1 9 2 2 R.).

OÖbIHHO MaaKOBCKHH BBOflHT Γ6ΟΓρ&φΗΗΰ0ΚΗε Hä3BäHHSI napaMH ('oT-ao'), KOTOPWE xapaKTepH3yioTca nojiapHocTbio H CXO^CTBOM; 3AMACTYFO

HX

TAIOKE

OTMENAIOT

KOHTpacTbi H CXO^CTBO

φορΜΜ. ΠΟΜΗΜΟ *3aaCHCeHH0H Eßponbl',

Β CTHXH

3ByKOBOH

MaaKOBCKOrO προ-

HHKaioT HasBaHHH cTpaH, KOTopwe He ynacTBOBajiH Β BoeHHbix ACHCTBHHX : ErnneT, Ilepy, Τκδετ, Μηλη». Β ffaem npouieduieM MiipoBaa Boiina npeflCTaejieHa Β fleyx napax ΓεθΓρ3φΗΜεθΚΜΧ Ha3BEHHH : OT Heanojia ÄO TainiceHTa ... ... OT KHJiHMaHflacapo ao KyinicH. Heanojib ynoMHHaeTca no3ace Β no3Me MaaxoBCKoro Boma

u Mup,

KHJiHMaHfl)Kapo — Β "Προ 3το". TaiiiiceHT H KyiiiKa ôojibine He noaBJiaiOTC». Kaayjaa napa

OTJiHiaeTca TeppHTopHajibHoii nojiap-

HOCTbK) H rpaHflH03H0CTbK> MaCIHTaÔOB. Π Ο Μ Η Μ Ο 3ΤΟΓΟ, TauiKeHT Η

Heanojib OÔHAPYXCHBAIOT HeoacHflaHHoe CXOACTBO: o6a ropo^a pacnojioîKeHbi Ha ΟΑΗΟΗ ιπκροτε. BTopyio napy OTJiHiaeT CBoeo6pa3Hhiñ KOHTpacT : KHJiHMaHflxcapo — caMaa Bbicoicaa ropa Β Αφρπκε, KyuiKa — caMaaROACHAATonica POCCHH. CJIEAYIOMHH 3JIEMEHT cxoacTBa : 3ByicoBaa φ o p M a cjioB, BXoaamHX Β aaHHbie cjioBOcoHeTaHHH. Kaayjaa napa COCTOHT H3 CEMH CJIOTOB, Η

necKaa

OPRAHH3AUHH

KOHiaeTca xopeHHecKoñ KaAeHUHeñ.

CJIOBOCONETAHHÍÍ

CBA3BIBAET

HX

PHTMH-

CXO^CTBOM

Η

KOHTpacToM. HajTHUo MeTaTe3a Β pacnpe^eJieHHH y^apHbix H 6e3y^apHbix cjioroB : 2 6eiyn. — 1 ya. — 4 6e3yfl. — 1 yaapH. — 1 6e3yflapHwü 4 6e3yfl. — I ya. — 2 5c3yji. — 1 y/iapH. — 1 öesy/iapHbiH

" Μ Α Κ Ο

NPOIUEFLLIIEE"

19

MAHKOBCKORO

Β coHeTâHHH ' ο τ KHJiHMaHaacapo ΛΟ KyuiKH' HaôJTfOflaeTCH ajuiHTepaiina Ha /κ/ η npoTHBonocTaBjieHHe rjiyxHx η 3βοηκηχ corjiacHtix: [ac] : [m]. K p o M e Toro, HajiHuo npoTHBonocTaBjieHHe BbicoKOTOHajibHOH raacHOH [H] HH3KOTOHAJIÍ>HBIM

fa]

[y]. Ha6jiioflaeTCK Taicxce

H

CXOACTBO

3BYIC0B0H

opraHH3auHH BTopoii e/fHHHUbi KaayioH napbi: TauiKeHTa H KyuiKH. IlOBTOpaiOTCa KOMnaKTHbie [ΐΐΐκ], [KIHK] Ha KOHTpaCTHOM φθΗε ΛΗφφγ3Hbix [y] [H] H ΗεΑΗφφγ3ΗΜΧ [a] [e]. Taicaa neTKaa opraHH3auHa 3ByKOBOH TKaHH flByx ejiHHHU, 3aKpenjiHK>inaa

ceMaHranecKoe

HX

CXOACTBO

H

KOHTpacTHOCTb, ocoôeHHO HHTepecHa, ecjiH npHH«Tb BO BHHMaHHe, HTO eflHHHiibi 3TH pa3flejieHbi uiecTbio npeflJioaceHHaMH. M H paccMOTpeJTH TaK nerajibHO

Äße napbi Γβο^φΗΗβοκΗΧ HasBaHHH

noTOMy

HX

ΗΤΟ

oTpaacaiOT

ΜΘΤΟΛ

Bbiôop, coHeTaHHe

ffaeno

3ByKOBaa φopMa

H

npoiueduiezo, OTHCTJIHBO

MaaKOBCKoro.

Yace ynoMSHyTbie nepcoHaacH paccKa3a : anoHeií-BoeHHbiM u 'floporaa HaTauia'

3acjiya o i e p e f l b , nopoflHJi HOBbiíí nepcoHaîK. O t m c t h m , i t o cTpaflaHHe, BbuiHBaiomeeca β 'noHcap c e p a u a ' η r o p e o aœpTBax b o h h w — ΟΛΚΗ h3 nacTbix m o t h b o b Π033ΗΗ MaaKOBCKoro : OcraBbTe! / O hcm s t o , / 06 yÖHTOM TejierpaMMa ("Maina h yÔHTbifi HeinuaMH Beiep", 1914). MaMa! / Baui cbiH npeicpacHo ôojieH! / MaMa! / y Hero noscap cepaua, ... Tbi xoTb, / o tom, mto ropio β CTOJieraa bwctohh ("OÔJiaKO β iiiTaHax", 1915). ... β cepaue, BbracaceHOM, Ka κ ErnneT, / ecTb Tbicaia tmchh iTHpaMHjn ( " Λ h HanojieoH", 1915). ... 6yay η τ τ η η h t t h TaM / noKa He onjiaiyT tboh rna3a / πολ pyôpHKOH / "yÔHTbie" ... ("BoHHa h μ η ρ " , 1916). Μμη

'HaTarna' h kohtckct, β κ ο τ ο ρ Η ί ί

jiHTepaTypHyK)

accouwauHio:

oho

6aTajXbHyio

BKJHoneHO, Bbi3biBaioT

cueHy

β

poMaHe

JI.

H.

ToJiCToro Boúna u Mup. HHKOJiañ P o c t o b Ha n o j i e 60a. Β e r o co3HaHHH npOHOCHTCH

UeJXblH

ΠΟΤΟΚ

n0Jiy6eCCBH3HbIX

φpa3,

BOCnOMHHaHHH,

3ByK0Bbix accounaunit : /Iojijkho 6biTb, CHer — s t o πητηο; ι μ τ η ο , — une tache — jiywian Poctob. — B o t Te6e η He maw ... HaTama, cecTpa, nepHbie nia3a. H a ... Tarnica ... HaTainKy ... TauiKy B03bMH ... Ha Tamicy, HacTynHTb ... TyriHTb Hac — κογο? TycapoB? 27 C x o a c T B o 3flecb He TOJTbKo β pa3ÔHBKe cjioBa, h o Taicxce η β o 6 p a 3 e nHTHa ( " u n e t a c h e " ) —

OTrojiocKe KJiaKCbi-xaiuiH β paccxa3e JJaeuo

npoiuediuee. Pa3ÔHBKa cjioBa — HacTbiñ ripneM MaaicoBCKoro. ' H a - T a m a ' y T o j i c r o r o , ' H a T a - i u a ' β paccKa3e. ITocjie/tHee oTpaacaeT npHCTpacTue MaflKOBCKoro κ ' x o p o m e ñ 6yKBe I I I A ' . 2 8 C j i e a y e T TaKHce oTMeTHTb, h t o onpeflejieHHe '.noporaa' BCTpenaeTca β flByx npoH3BeaeHHHX

MaaKOB-

CKoro T o r o »ce r o ^ a : ...yôHT, I ΑΟΡΟΓΟΜ, / AoporoH moh! ... ( " M a M a h yÔHTbift HeMuaMH eenep", 1914). Beflb He 3aTeM * e nyTb He 6e3 ηογ KOHTyHceHHbift xieacHT aoporcw JlapHOHOB ... (cTaTbH "BpaeuiHM KHCTbio", 1914). Β τ ο ρ ο ί ί nepcoHaxc — n o c j i e cueHbi c

3araaoHHbiñ anoHeu —

KOKaHHOM. EMy

oTBe^ena

noaBJiaeTca β paccica3e

ö o j i e e aKTHBHaa p o j i b

β

noBecTBOBaHHH ; M 6 β cy.viacixieaujHH hom c6e>Kaji, ecjin 6 He 3 τ ο τ anoHeu. ilnoHUbi, — ΟΗΗ xJiaaHOKpOBHbie ...

(JlaeHo

npouteduiee)

XjiaflHOKpoBHbiH anoHeu c ero MacKoii yjibiÖKH HanoMRHJi anoHCKoro lunHOHa, uiTaöc-KanHTaHa PbiÖHHKoea, β paccKa3e KynpHHa o pyccKO27

JI. Tojictoh, Boma u Mup, Coöpanue cohumhuü

(Mocxea, 1961), τ. 4, lacTb 3,

rji. XIII, 360. 28

B. MaaKOBCKHÖ, "EcTb eine xopomne öyKBbi: /3p,/ ma, / ma", τ. 2, 30.

21

" M e n o nPOOIEflUIEE" MASKOBCKOrO

anoHCKoii BOHHe.29 CxoflCTBO CKyno HaMeneHHOro xapaKTepa anoHija Β ffaeno npotuediueM c nnoHueM K y n p r a a Morjio 0Ka3aTbCH Η cjiyiaftHBiM. Bojxee oneBH^Hoe

CBHFLETEJIBCTBO

BJIHJIHHH

lUmaóc-Kanumana

KoecP" — Β xiocTpoeHHH Beerò Kapxaca c{)a6yjibL Β

ffaeno

PU6HU-

npotuediueM

HaôjnoflaeTca uejibifi pua napajuiejieñ c paccxa30M KynpHHa: CKEHKH, nrpa, CTaBKa Ha Jiomafli. Mexcay flByMH 3ae3^aMH, nocemeHHe pecTopaHa: βαβΗΟ npouieduiee ΛπΟΗβα ΜβίΚΛΥ BTOpMM M TpeTBHM 3ae3flOM roBopHT (Bee yjibi6aeTCJi) ... A? BBI r o B o p H T e Haflo Β3»ΤΒ Ha 3φκρ flecHTB ÔHJieTOB Β opflHHape. Tocnofla, HrpañTe Ha 3φκρ! (HpoHHiecKoe — 'Ha B03flyx' cp. 'Ha 3eHHT').

lUmaóc-Kanumau PbiöituKoe Β aHTpaKTax Meatfly 3ae3/iaMn ... CTp. 2 5 0 riocTaBbTe 3a

MEHH,

noacanyiicTa,

OÍJHH

ÖHJieT Β ΛΒΟΗΗΟΜ Ha 3eHHTa.

CTp.

243

CrpamHO flpyjtcejiioÖHO riofloiujiH κ pecTopaHy. KaK 6yflTO Ha njiaxy B3BOΛΗΠΗ, TaK MM 6biJffl npyîKHM flpyr c

3TO ôyTOHbepKa ueeTOB Β 3HaK Mapa,

flpyroM.

ITpHUIJIOCb

KanHTaH.

CTp. 2 5 6 nOÄHHMaTbCH

Ha

BTOPOH

3 T a * . B30HfleMTe Ha 3iua0T, KanHTaH. CTp. 2 5 7

(Πρκ Bxofle

( Π ρ Η Bxofle Β pecTopaH)

»cecT — ynbrfjxa xjiaflHOKpoBHoro KatiHTaHa: "ece yjibiöaeTC«". MHMHHBCKHÄ

lÜTaöc-KanHTaH

Β NYÔJIHIHBIÂ ÄOM) PBI6HHKOB y j i b i ö a e r c H ,

CKaJiHT 3y6bi, «epraeT ryöaMH Η ycaMH, xoxoieT —• aecHTb pa3 Ha προτιηκβΗΗκ paccxa3a. CTp. 2 3 8 , 2 3 9 , 2 4 0 , 2 4 8 , 2 5 1 , 2 5 2 , 2 5 5

HecoMHeHHoe CXO^CTBO Meayiy paccKa30M KynpHHa Η ffaeno npouiediuuM eme HeaocTaxoHHo a n a floica3aTejibCTBa aBTopcTBa MaHKOBCKoro. Bojiee yÖeflHTeJIbHblM Β 3ΤΟΜ OTHOIIieHHH HBJiaeTCH TO, HTO Tpa MOTHBa fflma6c-Kanuma.ua MaaKOBCKoro

PbiônuKoea ΠΟΗΤΗ AOCJIOBHO ποΒτορκιοτοΗ B CTaTbe

M HÜM MHCÜ,

AHeö 4 0 noHBJieHHS

ffaeno

KOTopaa BbiuiJia

ΠΟΑ

ero HMeHeM 3a inecTb

npoiuedtuezo:

Οφπΐίερ, B3HTMH β ruieH, pa36Hii ce6e rojioey 0 6 KaMeHb ... CTp. 249 Ο τ Hero c ero TopneztOH ocTaJioch 6ojibinoe KpoBaeoe nsTHO Ha öeTOHHOH CTeHe.

CTp. 2 4 8

CaMypaH OTpyßaJiH ceöe yKa3aTejibHbiñ ñauen jieBOii pyKH Η nprnoiaAbiBanH ero κ noflnHCH β BHfle KpoBaBoií nenaTH. CTp. 249 MoTHBbi η φopMyJIbI npHBe/ieHHbix npHMepoB KynpHHa cxoflaTC» β TeKCTe craTbH MaaKOBCKoro: 28

Hame BHHMaHHe Ha paccica3 KynpHHa Ulmaóc-Kanuman PbWHUKoe o6paTHJi PoHeH. A. KynpHH, Coópanue couuneituü 1-9 (MocKea, 1964), τ. 4, 232-269.

OMPH ao

22

BAYARA AROUTUNOVA

BOT Ha oôoflpaHHOM ςτβΗκε OTnenaTOK naTepHH uipaimeJiH KJIOHMMH lexioBEIBHX ΜΟ3ΓΟΒ. K a K yMHO, MTO Κ rjiynoMy n o n i o npHflenajm COTHH o6pe3aH-

HblX HCJTOBeHbHX rOJIOB.

(M HÜM MHCd)31

ECJIH Mbl BCNOMHHM o6pa3 pa3M035KeHH0H rOJIOBW Η 6ρΗ3Γ M03ra Β paccKa3e

ffaeno

το

npouieduiee,

npHBeaeHHbie npHMepw BbicTyiurr

yôeflHTejibHbiMflOKa3aTejihCTBOMaBTopcTBa MaaKOBCKoro. Β KOHUE p a c c K a 3 a

ffaeno

CXO/IATCH OCHOBHBIE e r o M O T H B H .

npoweduiee

KpoBb, npojiHBaeMaa Β oKonax, 3aecb BbiJiHBaeTca Β o6pa3 '3apaxceHHOH KPOBH'.

ΜΕΤΑΦΟΡΗΗΫΟΚΗΗ

Ρ5M

pacumpaeTca:

KpoBb

acepTB

BOHHM

CBH3bIBaeTCH C paCTJieBaKDIUHM BJIHHHHeM TblJia. CHOBa BbinJIblBaeT ( j m r y p a '3ΤΟΓΟ 3Η&ΚΟΜΟΓΟ'. YTOHHAIOMEE ' H y , BOT TOT, C κ ο τ ο ρ υ ι ν ι

...'

B03BpamaeT Hac κ cueHe C KO Kan HO M . Accounamia 3aKpenjiaeTCH : 'OH Hioxaji KpoBb'. IlocjieflHee, o^HaKo, AonycicaeT ÄBOHHOC HCTojiKOBamie. 3 τ ο MoxceT 6biTb CBa3aHo c HioxaHbeM KoxaHHa Η Β το ace BpeMa Bbi3biBaeT o6pa3

BoeHHoro

KpoBonpojiHTHa (cp.

'naxHeT

AHMOM',

oôbirpbiBaiomee pa3roBopHbie φορΜγπυ 'naxHeT ποροχοΜ', 'noHioxaTb nopoxy')· MOTHB

3apaaceHHOH

KPOBH He p a 3

BCTpenaeTca

Β

npoH3BeaeHHax

MaaKOBCKoro BoeHHoro nepHoga: OTpaBHM KpoBbK» Hrpbi PeiiHa ... ("Bofea o6i>5iBJieHa", 1914). ... BSÔypjwe Jiiofleñ KpbimaM BpoeeHb, / cepaeu CTOJNM TbicaHecHJibHbie ^H3ejiH / BoraajiH BaroHbi 3apa»ceHHOH KPOBH. ... ecu« He co6paTb Jiroaefi nyiKaMH ροτ, / He B3«Tb Η He B3pe3aTb jHoflaM BeHH, — / 3apaxeHHaa 3eMJia / caMa yMpeT — / cfloxHyT IlapHKH / Eepjnmbi / BeHti! ("Boima Η MHP", 1916). BHOBL· n o a B j i a e T c a o 6 p a 3 'HCHPHMX B p a r o B ' , Ha STOT p a 3 κ ο Η κ ρ ε τ π 3 Η ρ ο BAHHBIH KAK ' H ß a H HeaHOBHH': " . . . BaM, KOHCHHO, c e f l b M o ñ aecaTOK, Bbi

He noiÍMeTe". ECJIH MeaH y MaaKOBCKoro — coÖHpaTeJibHbm o6pa3 HejiOBeKa-öoraTbipa, 'eflHHbift HßaH', 32 τ ο

MeaH UBaHOBHH —

3το

'(cpyrjibiH ôypacya', 33 Ο£ΗΗ H3 'cTapwx Bparoe', nomjibix oóbiBaTejieñ. PaccKa3

KomaeTca Ha TparanecKOH TOHajibHocTH :

HeH36eacHocTb

Bceoômeft

rHÔejiH:

yTBepxaaeTca

" E C J I H 3ABTPA STO He

NPEKPATST,

3eMJia KOHHHT )KM3Hb CaMOyÖHHCTBOM." MOTHB nOCJieflHerO COJIHIia, nocjieflHero flHa, nocjieflHeii 6HTBW, nocjieflHero 6peaa H nocjieflHero KpHKa, B03Bemai0LLinx o rHÖejiH MHpa, προχο^κτ nepe3 nejibiH pafl npoH3BeaeHHH MaaKOBCKoro : Bee paBHo! / 3 τ ο HaM nocjieflHee conHiie — / comme AycTepjmqa! ("Ä Η HanojieoH", 1915). Ά floôpeay — / ycTanbiíi, / Β nocjie^HeM 6pe^y ("BjiaflHMHp Β . MaflKOBCKHH, M HOM MHCÜ. CTaTba Β RA3ETE Hoeb Hoaöpa). 32 Β. MaaKOBCKHií, 150.000.000, τ. 6, 24. 31

33

Β. MaaKOBCKHH, A imo, ecAu? TlepeoMaücKue

1 1 7 (MOCKBH, 1 9 1 4 ,

17

¿pe3bi β ôypjicyaiHOM xpecAe, τ. 3 , 2 3 6 .

"ÄABHO nPOUIEfllUEE" MAHKOBCKOrO

23

MaaKOBCKHH",1913). H a JIO6HOM MecTe CTOIO / nocne/iHMMM RJIOTKAMH / B03AYX ... ( " B o t a a Η MHP", 1916). IIocJieflHHH Jiyi / ma TI>MOH NJIAHET / H3 COJIHU nocjieflHHX BBIACACET ("ΗεποΒεκ", 1917). 3aKJnoHHTejn.Hwe οτροκκ paccKa3a nepeKJiHKaioTCH c ero

HanajioM.

CHOBa CTaBHTCH ΠΟΛ COMHCHHe JIHHHOCTb IIOBeCTBOBaTejIH,

CHOBa

HAAEBAETCH MACKA 6E3PA3JIHHHH:

TojibKO, noHcajiyücTa, He ayMaìlTe, HTO STO a roBopio. —

MHE HTO?

— Ά Π03Τ.

(ffaeHO

npouiediuee)

M B I NOFLBEPRJIH TAXOMY AETAJIBHOMY AHAJIH3Y ¿faeno

noKa3aTb,

HacKOJibKo

npouiediuee,

ΤΗΠΗΗΗΗ AJIH MaaKOBCKoro

HTO6M

ocHOBHwe

ero

KOHCTpyKTHBHbie 3JieMeHTi.i. CrymeHHe Β τεκοτε κοροτκοΓο paccKa3a TaKoro KoimnecTBa ΜΟΤΗΒΟΒ Η npneMOB, xapaicTepHbix ¿pía MaaKoeC K o r o , He MOACET OKA3ATBCA c j i y n a H H b i M . A e c j i H ΠΡΗΗΗΏ» BO BHHMAHHE ΤΟ, HTO Β UEJIOM psifle c j i y n a e B HAJMUO HE TOJIBKO CXOACTBO ΜΟΤΗΒΟΒ Η

06pa30B, HO TaKxce HX CMOKHOCTI», ΤΟ aBTopcTBO MaaKoecKoro npeflCTaBJM8TCH HeOCnOpHMBIM ΦAΚΤOM. HARVARD UNIVERSITY

THE ACCENTUAL VERSE O F MAJAKOVSKIJ'S "RAZGOVOR S FININSPEKTOROM O POÈZII"

JAMES BAILEY

Accentual verse may be divided into stricter and freer types. The strict type has a constant number of stresses per line and a certain amount of syllabic regulation in the intervals between stresses. The free type only tends to develop an average number of stresses per line and it has much greater syllabic fluctuation. The essential difference between these two verse forms lies in the fact that strict accentual verse preserves a vestige of interaction between rhythm and meter, while free accentual verse loses this opposition and becomes purely rhythm. 1 In so far as statistical analysis is concerned, it is difficult to determine precisely which stresses in accentual verse have rhythmical meaning and are 'countable'. Although the natural stressing of strongly stressed words (samostojatel'nye slova) ideally speaking forms the rhythm of accentual verse, weakly stressed words (sluzebnye slova) rhythmically are as ambiguous as they are in classical meters and doVniki. In a form like strict accentual verse which approaches the very limit of metrical organization, this problem is further complicated by possible ictus omission and stressed anacrusis. To some extent, experience gained from clarification of dol'niki can serve as a guide to analysis of strict accentual verse. Majakovskij's "Razgovor s fininspektorom o poèzii" (1926)2 has 120 lines and consists of thirty quatrains rhyming abab. Most of the lines are broken up by the steps (s tupen'ki) of a lesenka. The meter of the poem essentially has four stresses per line and mainly one to three syllables in 1

Only a few works about accentual verse and Majakovskij's verse will be cited: M. L. Gasparov, "Akcentnyj stix rannego Majakovskogo", Trudy po znakovym sistemarti III (Tartu, 1967), pp. 324-360; Gasparov, "Vol'nyj xorej i vol'nyj jamb Majakovskogo", Voprosy jazykoznatiija (1965, 3), pp. 76-88; Roman Jakobson, O cesskom stixe (Berlin, 1923), pp. 100-112; A. N. Kolmogorov, "K izuceniju ritmiki Majakovskogo", Voprosy jazykoznanija (1963, 4), pp. 64-71; V. ¿irmunskij, "Stixoslozenie Majakovskogo", Russkaja literatura (1964, 4), pp. 3-26. Gasparov uses the term 'taktovik' for 'strict accentual verse': "Taktovik ν russkom stixoslozenii XX v.", Voprosy jazykoznanija (1968, 5), pp. 79-90. * Vladimir Majakovskij, Polnoe sobranie socinenij VII (Moskva, 1958), pp. 119-126.

26

JAMES BAILEY

the intervals between stresses. Lines 94 and 120 have only three stresses and will be excluded from analysis. In order to isolate specific rhythmical problems, the lines will be divided into six groups: (I) 59 lines with strong stresses, (II) 14 lines with strong stresses and subordinate non-metrical stressing, (III) 15 lines with a weak word appearing at the end of a step, (IV) 17 lines with a weak word not set off by a step, (V) 4 lines with a non-metrical stress in the anacrusis, and (VI) 9 lines with omitted ictuses. 3 Lines with four strong stresses in groups I and II will be studied separately to ascertain the 'verse design'. Lines in groups III and IV, and lines in group V will be combined to see how they 'fit' the pattern of the clear lines. Such division will not only allow a maximum amount of objectivity in evaluation of stress gradation and in delineation of basic rhythmical features, but it also will permit determination of 'allowable' deviations in regard to non-metrical stressing, and ictus omission in group VI. Stresses marked in the text will be accepted as is (16, 72, 78, 92, 117, 119). The nonce word làmcadrica-cà (16) does not have entirely certain stressing, but it will be considered to have rhythmical stresses on the first and last syllables. Several lines have words with possible variant stressing (sùffiksov — 19, umèrsij — 83, strokù — 102), but in each case the rhythm seems best with the indicated stress. Fininspektoràmi (103 has a stress on the ending because it rhymes with rame (101). Ènkapeès (106) has final stress as is usual for abbreviations. Only the main stress of the compound word fìninspèktor is rhythmical in lines 1, 23, and 113, but in line 103 the secondary stress becomes rhythmically meaningful because it falls between two widely separated stresses. 4 The steps of the lesenka will be shown by a slash. 103

H BCTàHeT / aèHb 3τοτ / c

φήΗΗΗΰπεκτοράΜΗ

1-1-2-3-5

The 'double word' (dvojnoe slovo) slòva-syrcà (42) has rhythmical stresses on both elements. The stresses of second words in broken rhyme (sostavnaja rifma) lie beyond the stem of the line (povtorlv, my — 15, ν zàjmy ja — 34). 1

Lines in group I will not be indicated and those in groups V and VI are given in the text. Others are: (II) 3, 9, 16, 21, 41, 66, 77-78, 81, 88-89, 97, 103, 113; (III) 7, 33, 51, 53, 56, 59, 67, 71, 74, 85, 93, 110, 114-115, 117; (IV) 2, 6, 10-11, 22, 29, 43, 52, 65, 69, 84, 86, 99-100, 108, 118-119. 4 'Fìninspèktor' is given with secondary stress in R. I. Avanesov and S. I. Ozegov

(eds.), Russkoe literaturnoe proiznosertie i udarenie (Moskva, 1959). * The first number notes the syllables in the anacrusis, the hyphen a stressed ictus, and the other numbers the syllables between ictuses. 1 indicates a stressed ictus.

27

MAJAKOVSKIJ'S ACCENTUAL VERSE

Weak words which have stresses contiguous to the stresses of strong words are absorbed rhythmically and become proclitic or enclitic. Six lines have such proclitics (7, 77, 88, 113, 117, 119) and eight have such enclitics (3, 9, 21, 41, 78, 89, 103, 119). The following lines are examples. 44 77 113

Ho κέκ I Hcnenejifliome / cjiôb 3mux Hcacéime Bee MèHbine juôôhtch, / ece MèHbine aep3àeTCH

Tpa»caaHHH φΗΗΗΗοπέκτορ, / H Bbinnany nàTb

1-3-2-21-1-3-22-2-2-2-

Seven lines (16, 56, 66-67, 71, 81, 97) have weak words whose stress is not adjacent to the stress of the word they are dependent on. Esli, ili, and èto or èia each appear twice in positions where they will be considered proclitic. The particle nibud' is enclitic in line 16. 56 71 81

Ha cflèjiaHHoe / hìmh — / aeyMÄ mu Tpetviá A Ητό, / ec/iu ή / HapÓAa BoaHTejib H Kor^à / 3mo cÓJinue / pa3«HpèBuiHM 6όρ0Β0Μ

1-3-2-31-2-1-22-2-3-1-

In groups I and II (73 lines), the anacrusis varies from zero to two syllables as in doVniki,6 and the average is somewhat less than one syllable (.85 syllables). The stem has from seven to thirteen syllables, and the average is 9.71. Anacrusis Syllables 0 1 2 Lines 24 36 13

Intervals 0 1 2 3 4 5 total No. 1 61 122 30 3 2 219 Stem Syllables 7 8 9 10 11 12 13 Lines 2 8 24 20 14 4 1

The intervals between stresses vary from zero to five syllables, but the overwhelming majority have from one to three syllables (213 of 219, or 97.3%) and the average is 1.90. The quatrain below (lines 25-28) shows how clearly lines with four strong stresses generate the underlying meter. ΓοΒορΑ πο-HàuieMy, / pHcjjMa — / 6 Ô H K a . 2-1-2-1BÔHKa C ΛΗΜΜΗΤΟΜ. / CTpÔHKa — I 4>HTHJIb. 0-3-1-2CrpoKà AOflbiMHT, / B3pbiBàeTCH CTpÔHKa, — 1-2-1-1H rôpofl / Ha BÔ3flyx / στροφόίΐ πετήτ. 1-2-2-1Scholars differ considerably over whether the lesenka performs a rhythmical function in Majakovskij's verse. If Majakovskij's poetry, as Jakobson states, primarily is a verse of the isolated word and if the • Gasparov, "Russkij trexudarnyj dol'nik XX v.", Teorija stixa (Leningrad, 1968), pp. 75-79.

28

JAMES BAILEY

lesenka strengthens a word boundary, then it would appear that the stress of a weak word at the end of a step would be intensified. In the lines below, words which usually are weak seem to be elevated by a step. 53

$mu I ceròflHH / cthxh h óflbi

85

ΠοΛΒβΛΗΤβ I móü I nocMèpTHMÌi ôajiàHC

2-1-1-2-

È I Β aojxry / nepea EpoflBèìicKOH JiaMimoHeii

0-1-3-3-

Bcé I HyjiH / y αήφρω CKpecTÄ

0-1-1-2-

93 114

0-2-2-1-

Ctoby is ordinarily unstressed although it may receive a stress. When Majakovskij isolates this conjunction by a step, he appears to be treating it as being stressed. This occurs in the following line. 59

Hmò6bi /

aoöbiTb

/ ziparouèHHoe

cjiòbo

0-2-2-2-

Meters which have a one- or two-syllable anacrusis often acquire a strong non-metrical stress in the anacrusis. Majakovskij emphasizes this effect by sometimes using a step to isolate a word appearing in the anacrusis of iambic meters and doVniki.1

This happens in several of the iambic

tetrameter lines in chapter I V of the poem Xoroso (1927). ffaù I οκροπϋκ) I

pené« boüojo

Η ... / 3H¿eUIb, ΗΗΗΗ ... ¡ BJUOÔJieHà Numerous lines with a step in the anacrusis appear in the poem Porjadocnyj grazdanin (1926) in regular three-stress dol'niki. Buduiub — I bôh I BbirpeôàioT Mycop c Mopdoú, I Bcnyxiueii Ha pâaocTb nupk) Because the clear lines in this 'conversation' have from zero to two syllables in the anacrusis, three lines (13, 14, 83) may be considered to have a non-metrical stress in an anacrusis set off by a step.

Since

Majakovskij also employs a dash to heighten a word boundary, ctoby in line 98 will be regarded as bearing a non-metrical stress in the anacrusis. The words in the anacrusis are limited to one or two syllables. 13

BaM, I KOHÓHHO, H3B6CTHO I HBJièHHe 'pH(j)Mbi'

2-2-2-22-2-2-2-

14

CKdMceM, I CTpÓHKa / oKOHimiacb CJIÓBOM / 'oTuá'

83

H I yxcè / craniò, / yMèpuimi ποα 3a6òpoM

2-1-1-3-

98

Hmoôbi — uéjibca ρίιφΜΟΗ / η phtmom apHCb

2-1-2-2-

The rhythm of the lines in groups III-V (36 lines) adheres closely to that of groups I and II. The anacrusis has from zero to two syllables and the 7

Gasparov, "Vol'nyj xorej", p. 87.

MAJAKOVSKIJ'S ACCENTUAL VERSE

29

average is .75 (versus .85). The stem has from eight to thirteen syllables and the average Anacrusis Syllables 0 1 Lines 15 15 Syllables Lines

2 6 8 5

Intervals 1 2 3 4 No. 33 56 13 6 Stem 9 10 11 12 13 13 9 4 4 1

total 108

is 9.78 (versus 9.71). The intervals contain from one to four syllables, 102 of 108 (94.4%) have one to three syllables, and the average is 1.93 (versus 1.90). Since the rhythmical structure of lines with strong stresses and those with some weak stresses is basically the same, it can be concluded that weakly stressed mono- and disyllabic words are metrically ambivalent, that is, they may be metrical or non-metrical. The following pairs of lines are instances of such ambivalence. 88 ñ 6yay I — oflHHÎ — / β Henp0Jià3H0M aojiry 86 È yTBepjKflàio / η — 3Hàio — He Hajiry 67 A ITO, ecAu ή / aecÀTOK neràcoe 117 A ècAU I BaM KàaceTca, / HTO Beerò aenÓB

1-2-2-20-2-2-31-2-1-21-2-4-1-

Comparison of the averages for groups I-II, III-V, VI, and all lines reveals how obviously the lines in group VI differ. The figures for the line do not include the clausula. Group I-II III-V VI All lines

Anacrusis .85 .75 2.44

Stem 9.71 9.78 8.00

Line 10.56 10.53 10.44

Interval 1.90 1.93 2.71

Lines 73 36 9

.94

9.60

10.54

1.95

118

If the lines in group VI were short lines, it would be anticipated that they would display a similar average anacrusis and interval. But if the poem were based on a single meter and ictuses were omitted, the line length should be about the same, and the average anacrusis and interval would increase. The latter situation appears to be the case. Anacrusis Syllables 0 1 2 3 4 Lines 1 2 - 4 2 Syllables Lines

5 1

Intervals 1 2 3 4 5 6 No. 3 7 4 - 1 2 Stem 6 7 8 9 10 11 2 1 2 1 2

total 17

30

JAMES BAILEY

The six lines with a three- or four-syllable anacrusis (48, 54, 60, 72, 80, 101) will be considered as having an omitted first ictus since such an exceptionally long anacrusis in doVniki usually signals an omitted initial ictus. 54 Β anjioaHCMèHTax / peBÖMbie peBMS 60 H3 apTe3HÍHCKHX 1 JIIOFLSKHX TJiyÓHH 72 H oflHoBpeMÒHHO — / HapòziHBiH cjiyrà 80 aMopTH3àuH» / cèpflua H ayuiíi 101 Hepe3 CTOJièrbH / Β óyMàacHOH pàMe

3-2-34-2-14-2-23-2-33-2-1-

Two lines (12, 79) develop a six-syllable interval and one (32) a fivesyllable interval when the third ictus is dropped. Omission of this ictus is more questionable because five-syllable intervals appear in two lines with four stresses (55, 106). However, possible ictus omission should be viewed against the dominant rhythmical background rather than occasional syllabic divergences. 12 H CKÔJibKO TpàTHTCfl I Ha MaTepnàji 32 TÓJibKO H ocTájiCH I Ητο Β BeHenyàjie 79 ΠρηχόΛΗΤ / CTpaniHèìiuiaa Η3 aMopTioàuHH

1-1-60-3-51-2-6-

Line 48 may be considered to omit both the first and third ictuses even though the interval between the two stresses has three syllables. Such an interpretation is justified by the fact that the line opens with a threesyllable anacrusis and that the two phrases in the line are syntactically equivalent. This line has the same rhythmical form as a four-ictus binary meter with omitted first and third ictuses, and it adheres to the pattern of two lines (38, 91) which have only one-syllable intervals.8 48 38 91

H y ce6á / H y ^pyrax 3-3Β rpàMM floótina, / β γοα Tpya¿i 0-1-1-1Πθ3Τ I Bcerflà / ^OJDKHHK BceJièHHOH 1-1-1-1-

The tables below give the characteristics of all lines. The anacrusis mainly has from zero to two syllables, the intervals vary from zero to six syllables but 329 of 344 or 95.6 % have one to three, and the stem has from five to thirteen syllables. 92.37% of the lines have four stresses. 8

Ictus omission is not accidental because it affects only the odd ictuses as would be expected from the action of accentual dissimilation on four-ictus lines: 1-94.9%, 11-100%, 111-96.6%, IV-100%. This is another indication that meter is present. Lines with less than four stresses most often appear in the fourth line of each quatrain: 1-3.97 average stresses, II-3.93, III-3.97, IV-3.73. When the average number of syllables for each interval in the 109 four-stress lines is analyzed, the first interval turns out to be the shortest: 1-1.81, II-1.96,1II-1.96.

31

MAJAKOVSKIJ'S ACCENTUAL VERSE

Syllables Lines Percentage

Anacrusis 0 1 2 40 53 19 33.9 44.9 16.1

Syllables No. Percentage

0 1 1 97 0.3 28.2

Syllables Lines Percentage

5 1 0.9

3 4 3.4

Stresses per line 2 3 4 1 8 109 0.85 6.78 92.37

4 2 1.7

2 185 53.8

Intervals 3 4 47 9 13.6 2.6

5 3 0.9

6 2 0.6

total 344

7 3 2.5

Stem 8 9 15 37 12.7 31.3

10 30 25.4

11 20 17.0

12 8 6.8

6 2 1.7

13 2 1.7

Forty rhythmical variations appear in the poem. A generalized picture is obtained when lines with a structure like binary meters (B — one-syllable intervals and three or five when ictuses are omitted), ternary meters (T — two-syllable intervals), dol'niki (D — one- or two-syllable intervals), and accentual verse (A — zero- to five-syllable intervals) are compared. 9 Dol'niki and accentual type lines predominate (78.0%), but binary and ternary type lines are present although to a lesser degree (22.0 %). Type Lines Percentage

Binary 10 8.5

Dol'niki 48 40.7

Ternary 16 13.5

Accentual 44 37.3

The metrical characteristics of Majakovskij's poem are reasonably enough formed for it to be termed strict accentual verse. Sufficient interaction exists between rhythm and meter to consider that several lines have non-metrical stresses in the anacrusis or omitted ictuses. Rhythmical ambiguities which arise are the same as those in syllabically 'tighter' meters. Even though conclusions can be stated only tentatively, the meter should be regarded as an independent form in Majakovskij's versification and should be distinguished from dol'niki and free accentual verse. It appears that strict accentual verse, like classical meters and dol'niki, is organized on word prosody and not phrase prosody since weak words contribute toward generating the verse design. T H E UNIVERSITY OF WISCONSIN, M A D I S O N

• Two stresses: -3- (1 line, B); three stresses: -1-6- (1A), -2-1- (2D), -2-2- (IT), -2-3- (2A), -2-6- (1A), -3-5- (IB); four stresses: -1-1-1- (2B), -1-1-2- (6D), -1-1-3- (IB), -1-2-1- (4D), -1-2-2- (8D), -1-2-3- (3A), -1-3-1- (IB), -1-3-2- (2A), -1-3-3- (3B), -1-4-2(IA), -1-4-3- (2A), -1-5-2- (1A), -2-1-1- (2D), -2-1-2- (12D), -2-1-3- (3A), -2-2-0- (1A), -2-2-1- (14D), -2-2-2- (15T), -2-2-3- (6A), -2-2-4- (2A), -2-3-1- (3A), -2-3-2- (3A), -2-3-3- (1A), -2-4-1- (1A), -2-4-2- (1A), -2-4-3- (1A), -3-1-1- (IB), -3-1-2- (3A), -3-1-3(IB), -3-2-2- (2A), -3-2-3- (1A), -4-1-2- (1A), -5-2-2- (1A).

XLEBNIKOV AND THE MYTHOLOGY O F THE OROCHES

HENRYK BARAN

1.0 The subject of the present paper is an investigation of the source of certain poetic and prose texts of Xlebnikov — the mythology of the Oroches, one of the tribes of the Amur River region. 1.1 The importance of Oroche mythology for Xlebnikov's work is brought out most directly in "Svojasi", the 1919 introduction to an unrealized edition of his works. Discussing the background of the sverxpovesf "Deti Vydry" Xlebnikov writes: "fleTHX B B I A P H " A B3HJI cTpyHbi A 3 H H , ee CMymoe nyryHHoe Kpwjio H flaea» cyflbôbi ΛΒΟΗΧ Ha ΠΡΟΤΗΚΕΗΗΗ Β β κ ο Β , Λ, oimpaacb Ha . a p e B H e f i i i m e Β MHpe npeaaima o p o i e ñ o6 ORHEHHOM COCTOSHHH 3eMjiH, 3acTaBHJi Cbma Bbiapw C K o n t e M ôpocHTbca H a comme H yHHHTOxcHTb flea H3 Tpex COJIHU — KpacHoe H nepHoe ... CKaiaHHH oponeft, apeBHero aMypcKoro ruieMeHH, nopa3HJiH ΜΒΗ», H H 3aflyMaji nocTpoHTb o6me-a3HHCKoe C03HaHHe Β necHsx. 1 Β

pa3Hbie

1.2 Four of Xlebnikov's texts are directly connected with Oroche folklore. In addition to Part 1 of "Deti Vydry" there is the short story "Oko (oroconskaja povest')", the poem "Plamena" and the poem "Pesn' mne". These works are close not only thematically, but also chronologically, falling within the period 1911-1912.2 As a consequence, we can postulate that the texts involved are based in some fashion on a common source. 1.3 In all probability Xlebnikov based his treatment of Oroche mythological motifs on a monograph by V. P. Margaritov entitled Ob orocax imperatorskoj gavoni, which was the result of an ethnographic expedition in 1886 sponsored by the Obscestvo izucenija Amurskogo kraja.3 As part of his discussion of Oroche society and culture Margaritov includes in his work a group of cosmogonical myths. These are, he 1

V. V. Xlebnikov, Sobranie proizvedenij 2 (Moscow, 1928-1933), p. 7. First three sections of Part 1 of "Deti Vydry" - 1912; "Oko" - 1912; "Plamena" 1912; "Pesn' mne" - probably 1911. 3 V. P. Margaritov, Ob orocax imperatorskoj gavani (St. Petersburg, 1888). 2

HENRYK BARAN

34

states, separate tales, but they f o l l o w each other in a relatively logical sequence.

In the rest o f this paper we will show that the first three

stories in this group, as well as the description o f the Oroche prazdnik, provided Xlebnikov with his mythological material. 2.1

Xardziev points out in his introduction to Neizdannye

proizve-

denija that the first three sections o f Part 1 o f " D e t i V y d r y " were written in 1912, while the fourth section probably arose in the summer o f 1913.4 T h e chronological gap is paralleled by the break in narrative structure : the first three sections f o r m a unit in terms of their theme; the fourth section shows a complete switch o f scene. The events o f the first three sections are connected: section one introduces the protagonists, the winged " D e t i V y d r y " , placing them in the setting o f a newly formed planet in whose sky shine three suns; section t w o contains the description o f the elimination o f two o f these by the Syn Vydry; section three shows the pair facing various developments on the now habitable Earth. 2.2

T h e myth o f the destruction o f two suns is the subject o f the first

o f the cosmogonie narratives found in Margaritov : (1) K o r f l a τ ο , aaBHMMflaBHO, 6biJio 3 c o m m a ; BpeMH3το6biJio O M b a c a p K o e , » H T B na 3eMJie T o r a a HENB3H 6MJIO ; 6MJI TORAA πεποββκ (OZIHH HJIH ΜΗΟΓΟ?) Η ÔbIJIH KHBOTHbie, HO KHTB Ha 3eMJie 6HJ10 ΗΒΒ03Μ03ΚΗ0, NOHEMY HejlOBeK 3KHJI Ha Boae PI yMen xoflHTb n o B03ayxy. CKyiHo e r a n o nenoBeicy » a m » TaicHM 06pa30M, BOT OH B3HJI nyK H CTpejibi Η n o m e j i cTpenaTb Β coJiHue. ΛΟΛΓΟ-ΛΗ, CKopo-jiH, HO Bce-TaKH eMy y ^ a n o c b yÖHTb flea comma Η cnycTHTb HX C He6a Β BOfly. T o r a a CTano npoxJiaflHO H MOHCHO 6MJIO nepeexaTb Ha 3eMjno. 3eMJi« ocTbiJia Η noKptiiracb Taftroft, ocraJiHCb ο τ ΤΟΓΟ BpeMeHH TOJibKO Β ropax H03flpeBaTbie KaMHH, KOTopbie π ρ κ

τρβχ

cojraqax

Β ΗβκοτορΗχ

MecTax

KHnejiH.5

T h e artistic development o f this subject in " D e t i V y d r y " works along strikingly parallel lines: M o p e . Β Hero cnyocaeTC» 3ΟΠΟΤΟΗ ΟΤ Ο ΓΗ A 6eper. ΠΟ He6y npojieTaioT flea jiyxa Β öejibix nnamax, HO C KOCHMH MOHRONBCKHMH RJIA3AMH. ΟΛΗΗ H3 HHX KacaeTca pyKoft ô e p e r a H noKa3biBaeT p y x y , C κ ο τ ο ρ ο ή CTeKaioT orHeHHbie 6pbi3rn; OHH, CTeHaa, KaK Jie6e.au oceHbio Β τβΜΗΟϋ HOHH, yHocHTCH aajibiue. H M A I MFLOHOCHTCAHX ruiai. B e p e r BCHHO τ ο ρ κ τ , no^BIMAN KOCTpw ΟΓΗ» Η ô p o c a a ΠΟΤΟΚΗ j i a e w Β Mope; BOJiHbi ÔMOTCH o KpacHiie yTecbi H nepHbie CTeHbi.

T p n cojiHua CToaT Ha He6e — CTpaam nepBbix ΛΗβκ seMJiH ... B o j i H b i B p e M a ΟΤ B p e M e H H y a a p m o T o 6 e p e r . ΟΛΗΟ 6 e n o e c o m m e , 4 6

V . V. Xlebnikov, Neizdannye proizvedenija Margaritov, p. 28.

(Moscow, 1940), p. 11.

apyroe

XLEBNIKOV AND THE MYTHOLOGY OF THE OROCHES

35

MeHbmee — xpacHoe c c h h c b h t h m chhhhcm KpyroM η τρετΒβ — lepHoe β 3eneHOM BeHKe. CnwinHbi, xaK cjioea » a j i o ö b i η rHeea Ha cTpaHHOM »3Μκβ. Β yrjiy 3aHaBecH BHfleH KOHeu KpbiJia. H a a 3 0 Λ 0 τ η μ ßeperoM noKa3biBaeTC« KpHJiaraft ayx c MepHbiM KoribeM β pyxe, β rjia3ax e r o μ η ο γ ο 3Jioñ bojih. Konbe, inyMH, j i c t h t , h KpacHoe cojraue naaaeT, t o h h o ckjioh«hcL· κ 3aKaTy, poHHH KpacHbiH »ceMnyr β Mope; 3eMJia Η3ΜβΗ«βται h TycKHeeT. Heacojibico 3eneHbix TpaBHHOK noKa3ajiocb Ha yTece cpa3y npbirHyB. Π ο τ ο κ η πτηιρ>ι. BcTaB Ha yMepiiiee cojmqe, o h h , ποληηβ pyicy, π ο ι ο τ KOMy-το cjiaBy 6e3 cjiOB. 3aTeM C h h Bbwpbi, BbiHyB Konbe η iiiyMH nepHbiMH KpbijiaMH, τβΜΗΜΪί, cMyrjibiH, rnaBbi KyapHMH Kpyrjibiii, pnHyjic« Ha nepHoe cojmqe, yimpaacb o B03flyx corHyTbiMH KpbuibHMH — η τ ο TOHce naaaeT β β ο α μ . Π ρ η χ ο λ η τ ojiemi Η 3BepH. 3eMJiH cpa3y τβΜΗββτ. H e 6 y B03BpamaeTca r o j i y ö o ß 6necK ... 6

2.3 The poetic parallel of this prose text is found in the poem "Plamena".' It is a rather short text (49 lines) which contains a first person narrative of the sun's destruction. The narrator, it is revealed towards the end of the poem, is the hero himself. The text starts with a description of the fiery condition of the earth : riJiaMeHa riepBbie imeMeHa Kan cHer önHCTaromeü seMJiH. Β Jiynax qeeJiH ογηη KpeMJiH, CpeflH nycTbiHH MHpa CHHeñ 3eMJiH nbijiajia. KpacHbift HHeft Ee mapoleo oaeeaJi Β Garpeq B03ayiiiHbix noicpbiBaJi. Μ β BHxpax paflocTHoro CBeTa BnHCTaJia o6iuHHa orHeft. KoBpoM 3apHHu ßbijia o^eTa CecTpa 3eneHa« Jiroaefl. 8

The poem continues with further details of the primeval state in lines 13-18: Tor/ia κ peice TeKJio a e a TOKa, T o t c 3anafla, s t o t c BOCTOKa,

M OflHHOKHH leJlOBeK, n a p « IHHpOKHMH KpbijiaMH, CTpeJiOK) Tyny nepeceK, KaK cnyTHHK KopMiero MHpaMH.® 6

Sobr. proizv. 2, pp. 142-143. Xardziev points this out in his commentary: "Mifologiceskaja tema ubienija celovekom dvux solnc, zaimstvovannaja Xlebnikovym iz oroconskoj kosmogonii, ispol'zovana takze ν 1-m paruse 'Detej Vydry' i ν 'oroconskoj' povesti 'Oko'" (Neizd. proizv., p. 447). 8 Neizd. proizv., p. 257. * Neizd. proizv., p. 257. 7

36

HENRYK BARAN

Lines 15-18 develop the image of the winged pair in "Deti Vydry" and of the winged man in the original myth. Lines 13-14, with the image of a river with two opposite currents, show the influence of the second of the tales recorded by Margaritov: CHANAJIA SERVIRÍA

Harpeeanacb τρβΜ»

coiiHuaMM, HO JKHTI.

THJKEJIO; BOT ΟΑΗΗ Ο ρ ο ι Η YÖHJI AEA

coJiHua,

Tor/ia

6 b i j i o oweHb

o c r a j i o c b ΟΛΗΟ Η » H T b

CTajio

n p o x j i a Ä H e e . H e j i o e e K Β TO B p e M s HCHJI Β b h A E ΚΗΒΟΤΗΟΓΟ, He HMEJI HH OAEACFLBI,

apyrae JKHBOTHWC ÄHJIH C HHM BMecTe, ΓΟΒΟΡΗΛΗ ace, KAK Η OH. Teueitun β ρβκαχ 6bi.au deoüubte, IN.E. y OÒHOZO ôepeza eoda meKAa β odny cmopony, a y dpyeozo β dpyzyto, BeTep c p a 3 y ayn c o Bcex CTopoH, AEPEBBA ÔBIJIH icaïc KaMHH, a KaMHH r o p e j i H , KaK AEPEBB». CJIOBOM, T o r a a 6u.no He Tax, KaK Tenepb. nepeMeHHJiocb STO öjiaroaapa xoaaTaflcTBy Bbiztpbi ripea AHaypH Boa. OFLHAJKFLW Bbiapa nepenjibieajia c CBOHM peöeHKOM peKy; HA cpeflHHe pera B b m p a , nubiBnian BrrepeflH, nonana Β ΟΛΗΟ T e i e m i e , a peöeHOK Β

HH OCO6OH ΠΗΙΙΙΗ ; TORFLA H

TaK

npoTHBonojTOKHoe. T e i e H H e ô b i n o 6biCTpoe, He y c n e j i a B b m p a

orjiaHyTbc»,

KaK e e peôeHOK 6MJI yHeceH aajieKO ο τ Hee. r i o n j i b u i a OHa 3 a HHM, HO n e H o r H a j i a H OH n p o n a n .

r i o c j i e ΛΟΛΓΗΧ p 0 3 b i c K 0 B OHa n o u i J i a κ A H u y p n H

r o B o p H T e M y : He jiaaHO Bce Ha CBeTe y c T p o e H O , MenoeeK KaK acHBOTHoe, KaMHH r o p a T , a AepeBbH KaK KaMHH, TeneHHa Β ρ β κ ε

pa3JiHHHbie,

BeTep a y e T c p a 3 y c o

B c e x CTopoH H π ρ . H π ρ . H p a c c K a 3 a n a e M y π ρ ο CBoe r o p e . T o n i a A n a y p n B e n e / i Bbiflpe e e i H O »CHTb Β ρ β κ ε h TOJibKO

ropeaKa

KaK

Bce

ACHBYT

apyrae

HCHBOTHMC,

a

ΒΜΧΟΛΗΉ Ha 3eMJiio h r n n a e T b

ocTanbHoe

nepe^ejiaji

H

eeuen

6biTb TaK, KaK OHO T e n e p b c y m e c T B y e T ; n o c j i e STOTO l e i r o e e K CTAJI KHTb OTflenbHO ο τ KHBOTHbix, CTpeMJieHHH e r o CXANH Bbiuie CTpeMJieHHft a p y r H X JKHBOTHblX H nOJiyHHJI OH npaBO n0JIb30BaTbCH BceM ΒΗΛΗΜΜΜ. 10

2.4 The key role played by the otter in creating a liveable balance in the world as described in the Oroche text suggests a possible motivation for the following sentence from the second section of Part 1 of "Deti Vydry" : noKaiHBaa nepBbie ÄHH sonoToro cwacTb«, MaTepb Miipa — Bbiapa noKa3biBaeTca Ha BOHHax C pbiôofi Β 3y6ax H 3aayMHHBo CMOTPHT Ha CBOH aejia. In addition, the folk text may serve as an explanation for the title "Deti Vydry" itself. 3.1 The short story " O k o " (printed in Neizdannye proizvedenija) is another of Xlebnikov's works which is based on an Oroche text recorded by Margaritov. The story has as its subject the love of a woman for her brother. Much of the text contains the woman's pathetic expressions of her feelings. She declares her love to her brother, who is horrified. As a result she leaves their dwelling. As the story ends she has just constructed a new hut, has made it to appear as one occupied for a long time and is awaiting her brother's arrival. 10

Margaritov, p. 28 (the italics are mine).

XLEBNIKOV AND THE MYTHOLOGY OF THE OROCHES

37

3.2 This plot, with its deliberately unclear ending, becomes completely understandable if compared with a part of the third of Margaritov's stories: ... Π ο npoHcmecTBHH HecKOJibKHx jieT y h h x p o o t j i h c i » cmh η λ ο η β . K o r e a a e r a BbipocjiH OTeq οτΒβπ h x β Taftry η nocejiHJi β oxgejibHoft ι ο ρ τ ε . Λ ε τ π flojiro acHJiH BMecTe KaK 6paT c cecTpoft. BpaT jiobhji p w 6 y , 3Bepeft, η τ . π . , a cecTpa iiiHJia oaeacay, roTOBHJia nHmy, y ß n p a j i a lopTy, η τ . π . ¿ ( o j i r o o h h Tax 3KHJIH, HaKOHeu cecTpa Hanajia cxynaTb, τ ο c e p a H n a c b He β Mepy Ha 6paTa, τ ο cjiHiiiKOM ÔBiJia jiacKoea c h h m , a 6paT Bee 6mji oaHHaKOB, Tojibxo x o ä h j i Ha oxoTy. CecTpa ace β s t o BpeM« y n i n a « a n e x o β Taftry, cflejiana TaM h o b j o o K>pTy, h B03BpaTHJiacb aoMOñ. Π ρ η χ ο λ η τ 6paT η c n p a n i n e a e T e e : " τ η r a e ôjbina?" CecTpa paccKa3ajia eMy, h t o oHa 6 t m a .aajiexo β Taftre η BHfleJia TaM HOByK) lopTy, η β Heft r o j i y i o aceHmmiy, KOTopaa npocHJia ee, h t o 6 h OHa npHcnaJia κ Heií cBoero 6paTa. BpaT corjiacHJica η λ τ η κ Heft η cecTpa pa3CKa3ajia eMy x y a a η KaK η λ τ η . BpaT n o m e j i , h o He Harneji, Torfla cecTpa Benena eMy ueiibix a e a a h « HCKaTb e e : 6paT npoxosHJi 2 λ η η , h o ι ο ρ τ κ He Hamen. T o r a a cecTpa Bejiejia eMy HCKaTb 3 λ η η h T o r a a , γ ο β ο ρ η τ , HaeepHHKa Haftneiub. BpaT n o m e j i h fleftcTBHTeJibHO Ha τ ρ β τ κ ί ί aeHb yBHfleji lopTy, n o f l o m e j i κ Heft H BHflHT, HTO Β Heft CHflHT TOJia» JKeHIUHHa C 3aKpbITbIM J1HUOM. B o t OH BOmen β îopTy h cxBaTHJi ee, h o OHa h h c j i o e a h He nomeeejibHyjiacb, o h pacKpbiJi eft jiHUO h 6biJi yflHBJieH cxoflCTBOM ee c cecTpoft. H a n a n yöeacaaTb ee co3HaTbcs, i t o OHa öbijia e r o cecTpa, h o OHa OKOHiaTejibHO OTKa3ajiacb h TOJibKO jiacKajiacb κ HeMy. T o r a a o h npeflJioacHJi eft npoöbiTb β s t o h ι ο ρ τ ε e m e HecKOJibKO ΛΗβΗ, a caM n o i u e n λ ο μ ο Λ , η τ ο 6 μ nocMOTpeTb, aeftCTBHTeJibHO jih cecTpa e r o 6biJia flOMa. KaK TOJibKO o h Bbimeji, OHa o a e n a c b h CKopefr, cxopeft npaMoft a o p o r o i i no6e»cajia aoMoft. ΠρκχοΛΗτ 6paT η b h ä h t h t o cecTpa e r o AeftcTBHTejibHO CHflHT aoMa, a Ta acemiiHHa cneflOBaTeJibHO He e r o cecTpa, a flpyraa. Ceftnac ace noeB h c m h o t o ο π η τ β n o m e j i κ OTxpbiToft hm Tax cjiyiaftHO »ceHiuHHe, c HaMepeHHeM B3HTb ee ce6e β aceHbi. CecTpa, xax TOJibKO o h CKpHUCH, o n s T b npaMoft floporoH onpeflHJia e r o , pa3flenacb h o n s T b c e n a β KjpTe Ha τ ο ace MecTO. IlpHmeji 6paT, o ô h s j t η b3aji ee ceöe β aceHbi. IIpoacHJiH o h h β 3Toft ι ο ρ τ ε 3 λ η η h 6paT pa/iOBa/ica TOMy, h t o o h npnBejieT χ CBoeft cecTpe aceHy, n o M o m m m y β xo3aßcTBe, h o yßbi, cecTpw /lOMa He 0Ka3aji0Cb η oh TyT TOJibKO noHSJi, h t o cecTpa oÔMaHyjia e r o , h o yace öbijio π ο 3 λ η ο eepHyTb npeacHHe öpaTCKHe OTHOineHH« η o h h 3aacH/iH Kax Myac c aceHoft . . . u

"Oko" turns out to be a reworking of the first part of the Oroche story, taken to the point when the sister prepares the elaborate deception. 3.3 In addition to the basic plot, Xlebnikov incorporates into the text a reference to the myth of the three suns, contained in the sister's description of her brother's song: O h Bee ποετ o KaxHx-το λ β yx cojiHuax, yÔHTbix π perico m. EyaTo o h h ynajiH β M o p e h n o r a c j i H , a T p e T b e o c T a x i o c b , h BceM C T a n o j i e r i e acHTb 11 12

Margaritov, pp. 28-29. Neizd. proizv., p. 292.

...la

38

HENRYK BARAN

4.1 A reference to the legend about the incestuous relationship is found in Xlebnikov's poem "Pesn' mne". It is a broad poetic manifesto, into which Xlebnikov interweaves many of the themes of his early period. He strikes in it a militantly anti-Western note, and in the course of the exposition of his thoughts on this subject there appear the following lines: nycTb πρ0Η30ΗΑβτ KpoBOCMeineHHe! EpaTtfl nojuoÖHMTe (hp36.) flpyr apyra. Cyflbôw »cejie3Hoe peiueHbe ripoiecTb Η ΜΟΓ Β lacbi nocyra. TaK MonoflOH Koraa-To oponoH JIK>6HJI KoeapHyio cecTpy H nocjie npoKJiHji, HayieH, YrneJi κ 6jm3MJieHHOMy Kocrpy.13 4.2 The last two lines of this fragment are not quite clear. It is, however, possible that they are derived from another section of Margaritov's third story, a section which deals with the son of the incestuous couple: ... ΠΟΠΙΠΗ y HHX aera, 6MJIH H MajibimcH, ôbiJiH H ACBOHKH. H a n u m OHH 3aTeM Η τ ο MECTO RAE ÄHJI nepebiñ nenoeeK C yTKOß, TaM 6biJio yace ΜΗΟΓΟ ιορτ Η ΜΗΟΓΟ Jiiofleft. KajKflbiH MaubHHK HaiiieJi TaM c e 6 e »ceHy, a Kaacaaa aeßoiica My»ca. TojibKo OAHH 6paT ocTanca 6e3 »ceHbi. ΠοιπβΛ OH pa3 Ha oxoTy, noüMaji öenKy H xoTeji ee yÔHTb, HO B/ipyr ôejnca 3aroBopHJia n o MejiOBenecKH H ynpeKHyjia ero 3a το, ITO OH POACAEH ο τ 6paTa C cecTpoft. OH ôpocHJi 3Ty 6eJiKy H n o m e n aanbine, HO Kaicoro 3Bepa OH He Bcrpenan, BCHKHÖ eMy roBopHJi τ ο ace, T.e. ITO OH poac^EH ο τ 6paTa c cecrpoñ. Pa3flpa»ceHHbiñ STHM OH npHHiejiFLOMOÑΗ Hanau roBopHTb o 6 3TOM OTuy ; OTuy e r a n o CTHÄHO H OH Monna HaKJioHHJi rojioey Η oTBepHyjica Β cTopoHy, npH3Haß TaKHM 06pa30M CBOK) BHHy npea cbiHOM. Torea CbiHy »CHO ciano, ΗΤΟ 3TO 6wjia npaßfla, B3HJI oTiia c MaTepbK), noca/mji Β Jioflicy Η nycmn HX 6e3 Becjia Β Mope. Taic οτειι c MaTepbK) Η ynjibuiH οτ CBOHX «eTefi. >KHJI, JKHJI 3TOT CWH OAHH H crajio eMy acajib CBOHX poÄHTeneft. BOT OH Η nomen HcicaTb HX, aojiro Hcxaji HX, HO HNR,NE He Hamen ; Hanau MOJiHTbca AHflypH, iTOÔbi OH ΠΟΜΟΓ eMy OTbicicaTb OTua c MaTepbK). Aüflypn ycjibimaji ero MOJiHTBy, noflH«ji ero Ha Heöo, npHBS3aji κ ero HoraM jibiacH H eejieji HÄTH Ha apyryio CTopoHy Heöa κ OTuy Η MaTepn. CbiH nomeji h 6ojibme ne B03Bpamajica, ocTanca Ha Heöe ΤΟΠΒΚΟ e n e a οτ e r o 14 JIM», enea 3ΤΟΤ Η Tenepb BH/KH Ha Heöe (MJieHHhiÄ nyTb). If the above text is the source for the lines in the poem, then we have an unmotivated switching in the narrative, with the word 'orocon' referring to two people at once. Such a shift, while unusual, is not impossible for Xlebnikov. 15 "

Neizd. proizv., p. 206. Margaritov, p. 29. " For another example of such shifts see the discussion of "Kon' Przeval'skogo" in K. Pomorska, Russian Formalist Theory and Its Poetic Ambiance (Mouton, The Hague, 1968). 14

39

XLEBNIKOV AND THE MYTHOLOGY OF THE OROCHES

5.1

The final influence on Xlebnikov of Oroche folklore is found in the

description of the prazdnik

— an extremely important festival of the tribe.

Margaritov presents a rather full account of this celebration.

The

following are the most important excerpts from it: XpHCTHJIHCKHX npa3«HeCTB OpOHH ΗΒ npH3HaiOT, fla H He 3HaiOT O HHX HHHero, H3 CBOHX ace ΛΗΚΗΧ npa3ÄHecTB a o HacToamero BpeMeHH co6jno,aaeTCH TOJIMCO

OflHH, 3TO npa3flHHK Β HeCTb ΜβΛΒβΛΛ. Β Haiane Βτοροϋ ΠΟΛΟΒΗΗΒΙ 3ΗΜΗ, Kor^a oxoTa 3a coôojieM ΠΟΗΤΗ yace npexpaniaeTc«, κτο HHÔyab Η3 oponen, BCKopMHBiinifl κ 3TOMy epeMeHH, ycTpamaeT TopacecTBO β lecTb MeflBefl«, Ha κοτοροβ npHrjiamaeT Bcex acHTejieñ OKpecTHbix ceneHHft ... ... Κ Ha3HaieHH0My «Jia Topacecraa ΛΗΚ> CT>e3»AIOTCH Bce Opona, acejiaiomne NPA3ÄH0BATB. C a M o r o ΒΗΗΟΒΗΗΚΕ TopacecTBa OTKOPMJMIOT Κ sroMy EPEMEHH

Ha cjiaBy, oÔBeniHBaioT pa3HbiMH JiocKyncaMH H noöpuKymicaMH H O6IIIHMH CHJiaMH ΒΟΛΛΤ ΒΓΟ ΠΟ lOpTaM ... Korfla ΠΡΗΗΙΛΟ BpeM« ÜOKOHHHTb C MeflBefleM, ero npHB«3biBaioT κ xaKOMy HHÔyzib CTOJi6y HJIH aepeey H OH CTaHOBHTca ΠΡΒΛΜΒΤΟΜ cTpenöbi Β uejib. üepBbiä CTpeuaeT XO3HHH, a 3a HHM OTJIHHHBnmecH na cocT«3aHH«x cTpejucH. CHanajia cTpejiaioT Ha pa3CTosHHH caaceH 30, H ecjiH cTpenöa 6bina He ynanHa, τ ο ΠΟΛΧΟΛΗΤ ôjraHce caaceH Ha 10, ecjrn κ Ha

TaxoM pa3CTO«HHH ΗΗκτο He yÖHJi ΜβΛΒβΛΗ, το noflxoflST eme ÔJiHxce. EbieaiOT cjiynan, ITO Me^Beaa He yÖHBawT cTpejiaMH η Ha 6JIH3KOM paccTOHHHH, Toraa Χ03ΗΗΗ 3aKajibiBaeT ero KonbeM. 3aTeM pa3Boa«Tca KOCTpbi una

nozpKapH-

BaHHH Maca Ha BepTejiax, cacarea Bce β xpyxcKH H Ha*nmaeTca Tpane3a ...16 An artistic condensation of this description is found in the following fragment interpolated into the beginning of Part 1 of "Deti Vydry" : Β BepxHeM yrny ruioiuaaKH, no 3aK0Hy CKJIAFLHEÄ, BHfleH rrpa3,NHHK Me^eea«. BojTbiiioft nepHbiü MEFLBEZTB CHAHT Ha uerm. JIHCTBCHH Ceeepa. Boxpyr Hero, noTpscaa xonbaMH, CHaiana njiaiuyT Η MOJIHTC« eMy, a ΠΟΤΟΜ C 3BYKOM 6y6eH Η njiucKaMH cieaaioT ero.1' HARVARD UNIVERSITY

" 17

Margaritov, pp. 33-34. Sobr. proizv. 2, p. 142.

TRENDS AND TRADITIONS IN MEDIEVAL SERBIAN BIOGRAPHY

HENRIK BIRNBAUM

Formal biography, the genre through which Serbia made a unique contribution to medieval Slavic literature, followed a fairly consistent line of evolution. 1 Originating from hagiography in its two chief varieties, the popular and the learned, Old Serbian life-writing opened in the first decades of the 13th century with the two vitae of Stephan Nemanja, the first ruler of a strong, united Serbia. Written by his two sons, Sava (archbishop and head of the newly established autocephalic Serbian Church) and King Stephan the First-Crowned, they already display a high degree of literary sophistication. In addition to their strictly hagiographie sources, Byzantine as well as Church Slavic, a significant tie seems to have existed between these early zitija, particularly the one by Sava, and the two chrysobulla issued for the Serbian Hilandar Monastery on Mt. Athos by Stephan Nemanja (aided, it seems, by Sava) and Stephan the First-Crowned. These charters were framed in accordance with the standard Byzantine imperial documents of that kind. As was recently shown in some detail, a complex ideology applicable to the Nemanja dynasty and characterized by both religious zeal and, at the same time, considerable political realism is reflected in the first of the two Hilandar charters. This ideology, embellished by fitting stylistic devices, was taken over by Stephan the First-Crowned into his (the second) gold bull and subsequently by Sava into his Life of his father. The combination into one integrated whole of the prooemium and narratio of the charter text with elements of a different kind and origin, namely, monastic legend, laudatio, and translatio account, further with family or clan records of some literary ambition, as encountered in Sava's work, must be considered an achievement previously unmatched in Slavic writing. 8 1

Observations and thoughts condensed in this paper were previously presented in a more elaborate form and in a broader context in my study "Byzantine Tradition Transformed : the Old Serbian Vita" in the volume Aspects of the Balkans: Continuity and Change (The Hague, 1972). 2 Cf. S. Hafner, Studien zur altserbischen dynastischen Historiographie (Munich,

42

HENRIK BIRNBAUM

The semi-legendary Life of Prince Vladimir of Zeta (i.e., roughly present-day Montenegro) has until only a few years ago also been thought of as one of the possible models of Old Serbian biography. This work forms part of the Latin version of the so-called Chronicle of the Priest of Dioclitia (Letopis popa Dukljanina) which was believed to represent a translation of a lost Slavic original written in the 12th century, with some parts, among them the one containing the Life of Vladimir, allegedly dating even further back, to the 11th century. 3 However, the new edition of this text by S. Mijuskovic seems to suggest that this is a piece of pure fiction rather than an historical account, that its factual trustworthiness therefore is virtually nil, and that it actually belongs to the late 14th or early 15th rather than to the 12th century. 4 If this reversal in chronology and the consequent réévaluation of the Letopis turn out to be wellfounded, it must be eliminated from the texts relevant to the prehistory of medieval Serbian biography. Sava's iitije of Stephan Nemanja (or, as monk, Simeon; hence also Vita Simeonis), designed to introduce the typicon of the Studenica Monastery, can perhaps still be held to fall within the popular-narrative variety of the hagiographie genre, its heterogeneous constituents and implied dynastic claim notwithstanding. It should further be noted that Nemanja here — contrary to what is the case in King Stephan's Life of his parental predecessor — is never specifically referred to as a saint, which suggests a pre-canonization date for its recording. The older brother's biography of their father, on the other hand, though couched in a heavy, ornately rhetoric style, served a primarily secular purpose, emphasizing Nemanja's worldly rather than spiritual accomplishments. Hagiographie elements and literary devices, among them quotations from the Scriptures and, if more rarely, from the Apocrypha, are quite normal in the far more elaborate Life of Nemanja by Stephan the FirstCrowned and, indeed, seem to play a more prominent role here than in Sava's stylistically less assuming account of his father's life. Noteworthy is also, for example, the introduction of the established hagiographie device of enumerating miracles, here partly patterned on those ascribed to St. Demetrius, the patron saint of Thessalonica. Yet, the first Serbian king's biography of the founder of the dynasty, with its deliberate realism 1964), 54-77; id., Serbisches Mittelalter: Altserbische Herrscherbiographien I (GrazVienna-Cologne, 1962), 16 and 31-32. 3 See S. Hafner, Studien, 19-20, 40-53, and 58; cf. further Dj. Sp. Radojicic, SüdostForschungen XIX (1960), 87-89 and 91-92. 4 Cf. S. Mijuäkovic (ed.), Ljetopis popa Dukljanina (Titograd, 1967); see esp. the introduction.

MEDIEVAL SERBIAN BIOGRAPHY

43

and political historicism in the foreground and only superficially veiled by the abstract spiritual wording of traditional hagiography, can, with some qualification, be said to mark the beginning of a more pronounced secular note in Old Serbian life-writing. Probably completed a few years later than Sava's parallel work, only little, if any, direct influence of the earlier zitije on Stephan's biography can be ascertained. Where it exists, it seems to be limited, by and large, to common elements taken from the Hilandar charters, some shared loci communes or other rhetorical figures, etc. 5 Subsequently, a third Life of Stephan Nemanja was written by the Hilandar monk Domentijan. As regards biographical data, Domentijan's Life does not add anything substantial to the vita by Stephan the FirstCrowned, his main source. Domentijan's work is considerably longer than its prototype, however. This is due to the fact that while King Stephan's biography of his father was also characterized by an ornate style, Domentijan's Life of Nemanja is not only distinguished by the same heavy, ornamental phraseology but in addition abounds in a vast number of amplifications as well as numerous, partly lengthy quotations from the Bible. No doubt these devices had a well-defined stylistic function within medieval learned hagiography. Still, they must have distracted the reader (or listener) from the main narrative. Among the biographically irrelevant theological amplifications is the long passage which Domentijan had borrowed verbatim from the Kievan Metropolitan Ilarion's famous Slovo o zakonë i blagodati (1 Ith c.).6 The literary evaluation of Domentijan's work has, understandably, varied, ranging from extremely critical to appreciative, the latter mostly in recent years when the aesthetic as well as theological role of these seemingly extraneous elements of his Vita Simeonis has become better understood. More controversial (and uncertain as to its exact dating) is another biography by Domentijan, a Life of Sava, his immediate teacher. The learned, ornate style, with many digressions, of this vita is reminiscent of that in his later written biography of Stephan Nemanja. In addition to this account of Sava's life there exists a further zitije of the first Serbian archbishop by another Hilandar monk, Teodosije, whose own biography is virtually unknown. Teodosije's vita of Sava is stylistically very different from Domentijan's. It is simple and straightforward, 5

Cf. V. Corovic, "Medusobni odnoSaj biografija Stevana Nemanje", Svetosavski zbornik 1 (Belgrade, 1936), 1-40, esp. 8-13. See also S. Hafner, Serbisches Mittelalter, 31-34, 68-71, and 131-170. 6 Cf. L. Müller, Des Metropoliten limions Lobrede auf Vladimir den Heiligen und Glaubensbekenntnis (Wiesbaden, 1962), 39, 49-50, and 104.

44

HENRIK B I R N B A U M

without much elaborate amplification. As such it continues in medieval Serbian life-writing the other — popular-narrative — vein of Byzantine hagiography, more akin to Sava's own Life of his father Nemanja. While Domentijan's Life of Sava, designed, it seems, for reading in the fairly sophisticated milieu of the Serbian court, was probably not much in demand in subsequent years and centuries, Teodosije's more realistic and even naïve account of the chief Serbian saint's life story came to enjoy great popularity. In spite of the difference in style (and, correspondingly, in theological and political concept) of the two Lives of Sava, a certain amount of common factual information and interpretation can be ascertained. Contrary to what was the case with the two vitae of Stephan Nemanja by Sava and Stephan the First-Crowned, it has therefore been assumed that one of the Lives of Sava must have served as a model for the other one. Thus the question of priority arose. Against the generally held view that Domentijan's Life predates Teodosije's objections were already raised by M. Murko in 1908.7 In recent years, a reversal in chronology was first suggested by N. Radojcic, and A. Schmaus, at one point, followed suit.8 D. Sp. Radojicic and M. Dinic have, on the other hand, strongly argued for the traditional order of dependency and Schmaus became convinced by their reasoning. 9 The Lives of Serbian kings and archbishops (known as Carostavnik or Rodoslov, thus mislabeled in later copies) by Archbishop Danilo II and his successors mark a new phase in Old Serbian biography. Foremost among Danilo's successors were the anonymous so-called Disciple of Danilo (author of some additional vitae, including Danilo's, and compiler of the first Zbornik zitija kraljeva i arhiepiskopa srpskih) and Patriarch Danilo III (also referred to as Danilo the Younger). The literary attitudes and preferences of the individual authors of this collection of Lives show considerable variation. Thus, Archbishop Danilo's style, resembling, to some extent, Teodosije's, displays a clear poetic, even lyrical talent, fully developed only in his religious poetry. The strength of artistic concept and style of his Disciple lies rather in an ability to render dramatic scenes and in an even, chronicle-like narrative. These Lives were analyzed and discussed particularly by N. Radojcic in the 7

Cf. M. Murko, Geschichte der älteren südslawischen Litteraturen (Leipzig, 1908), 159. Cf. N. Radojôic, "Dva Teodosija Hilandarca", Glas SAN CCXVIII (1956), 1-27; A. Schmaus, Südost-Forschungen XV (1956), 196. 4 Cf. D. Sp. Radojiôic, "O starom srpskom knjizevniku Teodosiju", Istor. casopis (SAN) IV (1952-1953), 13-42; M. J. Dinic, "Domentijan i Teodosije", Prilozi za knjiíevnost XXV (1959), 5-12; A. Schmaus, "Die literaturhistorische Problematik von Domentijans Sava-Vita", Opera Slavica IV (Göttingen, 1963), 121-142, esp. 123. 8

MEDIEVAL SERBIAN BIOGRAPHY

45

foreword to his 1935 edition of this gallery of medieval Serbian portraits. Radojöic has suggested — and his idea has been taken up by A. Schmaus — that the Lives of Serbian kings and archbishops were at once conceived as a consistent whole, i.e., that they were not combined into a larger work only subsequently. 10 According to Radojcic, Danilo's vitae follow an established, largely fixed design: first, a theological introduction; then, the main body containing the historical presentation with some amplifications; and, finally, a rhetorical conclusion, usually with a miracle account. A rigorous, strictly literary definition of the stylistic and compositional elements constituting this specific subtype of the Old Serbian vita genre has not yet been formulated. Radojcic argues that while containing components of hagiography, historiography, and, in particular, panegyrical rhetoric the Lives of Danilo and his school cannot very well be classified as belonging to any one of these three related kinds of literature. Though Danilo, for reasons we can at best guess, did not include among his Lives those of the founder of the dynasty or his sons, it appears that the last Serbian archbishop with his series of portrayals of Serbian lay and church rulers attempted to revive the biographicdynastic tradition begun by Sava and Stephan the First-Crowned. For it can be said that Domentijan's and even Teodosije's writings implied a slight deviation from this tradition, as their Lives served primarily a theological or at any rate edificatory purpose. If Radojcic's interpretation is correct, Danilo's and his successors' zitija would mark a gradual turning from hagiography toward secular biography. The overall historiographie concept of Serbia's princes of State and Church viewed in a chronological order, as it transpires here, must have been alien to the very essence of hagiography proper, considering this genre's obvious preference for typification rather than individualization of characters. 11 In the Lives by Danilo and his successors, Old Serbian biography had reached a point where this genre, having been somewhat modified, could turn in one of two directions: either back to its origins, i.e., to hagiography (the stylistic-ideological apparatus of which life-writing had continued to carry through its gradual secularization), or into wholly 10

Cf. Ν. Radojcic, "O arhiepiskopu Danilu II i njegovim nastavljacima", in: Arhiepiskop Danilo, Zivoti kraljeva i arhiepiskopa srpskih (Belgrade, 1935), v-xxviii, esp. xx-xxii; A. Schmaus, Südost-Forschungen XV (1956), 196-197. 11 The State-Church rule duality, matched in Byzantium by its Emperor-Patriarch relationship, had its western parallel in the shifting balance of power and authority between the Emperor and the Pope. A literary expression of this balance can be found, for example, in the Catalogus brevis pontificum Romanorum et imperatorum by Bernardus Guidonus, a contemporary of Danilo II.

46

HENRIK BIRNBAUM

secular biography serving purely political, and ultimately historical, but no longer any truly religious purposes. The next important representatives of the medieval Serbian vita to appear after a short eclipse were Grigorije Camblak and Constantine of Kostenec. Both foreigners to Serbia (being victims of the Turkish conquest of Bulgaria), they turn Serbian Church Slavic life-writing in precisely these two directions: Camblak back to hagiography, now cast in the spirit of Hesychasm; Constantine further on toward full-fledged secular biography (while retaining much of the traditional paraphernalia of hagiography). Yet, both Camblak and Constantine were the spiritual offspring of the neoByzantine Tärnovo School, headed by the last Bulgarian patriarch, Evtimij, whose religious-literary-linguistic doctrine made, as is well known, a great impact not only in Bulgaria but also in Serbia, WalachiaMoldavia, and, above all, Russia. Γη the biographical genre, Camblak can be considered an isolated phenomenon without any immediate followers, at least in his own time and in Serbia. 12 With Constantine's biographic work, on the other hand, Old Serbian life-writing reaches at once a last peak and the beginning of the subsequent decline of this genre. Though differently oriented, worldly rulers appear as the main protagonists both in Camblak's contribution to medieval Serbian biography, his vita of Stephan Decanski, and in Constantine's Life of Stephan Lazarevic, ruler of one of the semi-independent Serbian petty states which resulted from the defeat in the battle of Kosovo, and a great patron of the arts and outstanding man of letters in his own right. Camblak's vita does not rank high as an historical document in comparison with other Old Serbian biographies. The factual data supplied by Camblak, notably as regards the spiritual strife in Constantinople, is not only biased but also inaccurate. His biography is, on the other hand, not without some remarkable literary qualities. Thus it is characterized by an intimate lyricism and religious feeling rarely encountered elsewhere in medieval Serbian literature. Moreover, its overall makeup bears witness of its author's thorough artistic taste and schooling acquired in the Hesychast circles of Tärnovo and f r o m its new form of Church Slavic literature. Camblak's vita is full of Byzantine-inspired panegyrical rhetoric for his hero, the founder of the famed Decani Monastery, while it shows rancor toward his son, Stephan Dusan, medieval Serbia's 14 Hagiography being vigorously revived in Russia, Camblak soon had a host of followers there, foremost among them Epifanij Premudryj. In Serbia, Camblak's delayed influence can be traced in hagiography and iconography of subsequent centuries, so, for example, in the oeuvre of Zograf Longin (16th c.).

MEDIEVAL SERBIAN BIOGRAPHY

47

undoubtedly greatest ruler. Here the author's mood seems to reveal his sympathy with the Athonite monks and their superior, the Patriarch of Constantinople. In addition, it reflects perhaps Camblak's attitude toward Dusan's role in the dethronement and assassination of his father. It is in line with the emotional atmosphere of Camblak's vita that we find here an enchanting description of the Decani region and of the construction of the local church, one of the pearls of medieval Serbian architecture. 13 In contrast, the Life of Stephan Lazarevic by Constantine of Kostenec is an historical source of primary importance. These were the times when, after the defeat at Kosovo, the victorious Turks overran the Balkans and it is only natural, therefore, that Constantine's work focuses on the history of the Turkish expansion (and on Ottoman history in general). Since Byzantine developments during this critical period (ca. 1360-1420) are rather opaque, the information provided by Constantine's vita assumes particular significance. Generally, Constantine's account has the mark of trustworthiness while showing a certain measure of bias for his hero, a man not only of great political and some military skill but also, as was already indicated, of high culture and considerable education. As opposed to many previous Serbian rulers, however, he was never canonized, and Constantine's attempt to trace his genealogy back to Constantine the Great is one of the few fantastic, historically absurd passages in his Life. In Constantine's other major work, his treatise on orthography, interpreting Patriarch Evtimij's teaching in a formalistic, almost fanatic fashion and urging the fighting of moral decay and heresy by a mechanical imitation of Byzantine models, we meet a narrow-minded dogmatic. However, his Life of Stephan Lazarevic seems to show a well-balanced, generous, and open-minded man at work. The difference in approach and attitude may only partly be accounted for by the different subject matter and, consequently, choice of literary genre. More important, one would think, is the fact that Constantine wrote his orthographic work as a young man while the biography of his patron is the accomplishment of a mature man, experienced in court life and accustomed to associating with political leaders. Thus we can perhaps distinguish two phases in Constantine's writings (disregarding in this context his short travel 13

Cf. D . Sp. Radojicic, "O Grigoriju Camblaku", Glasnik SAN I (1949), 172-175; P. Popovic, '"Éitije Stefana Decanskog' Grigorija Camblaka", in: Stare srpske biografije XV i XVII veka (Belgrade, 1936), xii-xxxvi; D. Trifunovic, "Emocionalni mehanizam Camblakovih liCnosti", Délo VII: 10 (1961), 1214-1222.

48

HENRIK BIRNBAUM

account of the Holy Land): a Bulgarian one, following and narrowly expounding the doctrine of the Tärnovo School, ultimately inspired by Hesychasm, and pleading — in a humanistic spirit, as it were — for a return to the sources of Orthodox Christianity; and a Serbian phase, reflecting the political thinking and historical realism of his later years for which the Hesychast, world-renouncing literature of Bulgaria and Byzantium would not supply any models. 14 Though Constantine may have been influenced by Byzantine secular historiography — a possibility quite plausible in view of his Greek erudition — the main source of inspiration for his biography of Stephan Lazarevic must have come from Constantine's new Serbian milieu: the tradition of medieval Serbian life-writing which culminated in his own contribution to this genre.15 Like so much of medieval Slavic literature, Old Serbian biography can, and ought to be viewed on two levels : as a component of the supranational body of Church Slavic writing; and as a part of the national literature of the Serbs and the Croats. In both these capacities, the medieval Serbian vita occupies a prominent place. As a variety of Church Slavic literature, it is one of the few original contributions to a corpus of texts whose literary and stylistic merits otherwise lie largely in the recreative art of translation and adaptation. And it seems fair to add that, despite some thorough pertinent research, the specifically Serbian share in the so-called Second South Slavic Influence has not yet been fully appreciated. This at least is true if measured against the importance attributed to the Bulgarian impact on the culture of late medieval Russia. Viewed, again, in the overall context of literature in Serbo-Croatian, Serbian Church Slavic life-writing — still dependent on, but gradually beginning to free itself of its Byzantine models — marks an undoubted peak, comparable only to the subsequent, then Italian-inspired, culmination of Croatian vernacular literature of the Dalmatian Renaissance. UCLA

11

Cf. Α. Schmaus, Südost-Forschungen XV (1956), 200-201. Still, the significance of Constantine's change of milieu should not be exaggerated : his moving from Bulgaria to the Serbian 'despotate' of Stephan Lazarevic meant covering a relatively short distance only and did not necessitate any fundamental shift of his linguistic — Church Slavic — vehicle. For details on Constantine's vita, see, e.g., K. M. Kujew (Kuev), Konstantyn Kostenecki w literaturze bulgarsktej i serbskiej (Cracow, 1950), esp. 86-112, with further references; of earlier studies, cf. esp. St. Stanojevic, "Die Biographie Stefan Lazarevic's von Konstantin dem Philosophen als Geschichtsquelle", AfslPh XVIII (1896), 409-472. 16

OSIP M A N D E L ' S T A M ' S "NASEDSIJ P O D K O V U "

STEVEN JOSEPH BROYDE

Osip Mandel'stam's poem "NaSedsij podkovu" was first published in 1923 with the subtitle "Pindariceskij otryvok". 1 Even in his apparently most obscure poems Mandel'stam never attempts to 'trick' his reader; he merely forces him to relate to the poem in a somewhat new way. The concepts of 'subtext' and 'context' used in relation to Mandel'stam's work presuppose that most, if not all, of a given work can be accounted for ; a safe working hypothesis is that little in Mandel'stam is unmotivated. 2 In the course of this paper, we hope to show among other things the motivation for the title ; therefore we will now deal with the subtitle. Mandel'stam's interest in and knowledge of classical antiquity is well known. Assuming that he did not read Pindar in the original, Mandel'stam might have used any of several German, French, or Russian translations. 3 Of Pindar's complete works only forty-five odes survive, as well as 1

For the present analysis I have relied on the text as printed in O. Mandel'ätam, Kamen' (Moskva-Petrograd, 1923). Here, as opposed to the text in the Struve, Filippov edition (Washington, 1964, I, 103-106), the poem divides neatly into ten sections: 1 — "Gljadimnalesigovorim...";II — "A, vdyxajazapax ...";Ill — "Scegonacat'?"; IV — "Trizdy blazen, kto vvedet ν pesn' imja ..." ; V — "Vozdux / byvaet temnym, kak voda, i vse zivoe ν nem plavaet, kak ryba ..."; VI — "Sorox / probegaet po derev'jam zelenoj laptoj ..."; VII — "Zvuk / esce zvenit, xotja priöina zvuka iscezla ..."; VIII — "Tak / nasedsij podkovu..."; IX — "Celoveceskie guby ..."; X — "To, cto ja sejcas govorju, govorju ne ja ..." 2 This has been more than amply demonstrated by Professor Kiril F. Taranovsky — both in his seminar on Mandel'stam's poetry (Harvard University, Spring, 1968) and in his recent study "Pöely i osy ν poèzii Mandel'Stama", To Honor Roman Jakobson: Essays on the Occasion of his Seventieth Birthday, 11 October 1966 (The Hague, 1967), pp. 1973-1995. The present study arose from a paper written for this seminar, and I most gratefully acknowledge Professor Taranovsky's advice and guiding spirit throughout. * There is no complete translation of Pindar into Russian; but one should note Derzavin's translation of Olympian I and Pythian I (G. R. Derzavin, Socinenija, ed. Ja. Grot, vol. II, St. Petersburg, 1868); V. V. Majkov's prose translations of Olympian I, II, VII, XIV, Pythian I, II, IV, V (Éurnal ministerstva narodnogo prosvescenija, 1892, 1893, 1896, 1898); Vjaceslav Ivanov's translation of Pythian I (Zurnal ministerstva narodnogo prosvescenija, 1899, and in F. F. Zelinskij [Tadeusz Zielinski], Drevne-

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STEVEN JOSEPH BROYDE

numerous fragments, and it is with the ode that Pindar's name is primarily associated. As a genre, the ode tends to be used by poets as a means of conveying their reflections on historical events or developments. Most often the contents of an ode relate not only to the poet, but also to a larger audience which becomes the recipient of the poet's insights into these events. The ode presupposes an audience or an addressee, and a topic of more than personal importance. 4 Pindar is essentially responsible for these characteristics of the ode. In subtitling his poem "a Pindaric fragment" Mandel'stam might have been attempting to alert his audience, the potential "poètióeski gramotnyj citatel'", 5 to expect such subject matter. For as we will see "Nasedsij podkovu" (No. 136) deals with history and poetry, and the poet's relation to both. The construction of the Pindaric ode is similarly discernible in Mandel'stam's poem. One poet described the Pindaric ode as follows: ΓορΗΜΜ ΠΟΤΟΚΟΜ, KOTOpblH flOHCflflMH lrl3 ôeperoB Bcex n o B b m e c J i o CHoea,

EypHo BCKunaeT, 6e3aoHHo-my6oKo IlHHflapa cjiOBO.®

This seeming lack of restraint essentially stems from the apparent absence of a coherent structure. Pindar effects extraordinarily rapid transitions from one theme to another. Critics have spoken of his habit of 'leaping' from subject to subject; of his 'plunging', with no apparent bridge, from the past to the present. In dealing with myths, he will include only the most essential features, presupposing his audience's ability to supply the missing facts and see a coherent whole. 7 These are the things which first strike the reader of "Nasedsij podkovu". Throughout the poem Mandel'stam passes from theme to theme with no seeming order, greceskaja literatura èpoxi nezavisimosti, St. Petersburg, 1919-1920); V. V. Majkov's translation of Olympian I, Pythian I, II, III, V. I. Vodovozov's translation of Olympian III, Pythian X, and anonymous translation of Olympian X as well as of several fragments (V. A. Alekseev, Drevnegreceskie poèty ν biografijax i obrazcax, St. Petersburg, 1895); and in Mandel'stam's time: Pindare. Texte établi et traduit par A. Puech (Paris, 1922); Pindar. Übersetzt und erläutert von Franz Dornseiff (Leipzig, 1921). 4 See Carol Maddison, Apollo and the Nine: A History of the Ode (London, 1960), pp. 2, 4. "The poet is wise because he has a special knowledge, and this is not merely how to compose poetry correctly but how to reveal through it matters of first importance of which he is uniquely informed." C. M. Bowra, Pindar (Oxford, 1964), p. 5. 5 O. Mandel'stam, "Vypad", Sobranie socinenij ν dvux tomax (Washington, 1964, 1966), II, 273. Henceforth, poems (No.) and prose (II, p. 00) will be cited according to this edition. • Horace, Odes, IV, 2, in translation of A. Fet (Moscow, 1883), p. 127. 7 See Bowra, Pindar, pp. 316, 347, 354; Maddison, Apollo and the Nine, p. 7; Rev. R. D. Morice, Pindar (Edinburgh and London, 1879), pp. 72, 76ff.

osip

MANDEL'STAM'S "NASEDSIJ P O D K O V U "

51

and to determine what the themes are requires a very close reading of the text, as well as the ability to make use of the subtexts. With both poets, the reader is expected to be able to take a hint. Omitting the obvious, the poets compel their audiences to pay attention to what might otherwise go unnoticed. In Pindar's odes as well as in Mandel'stam's "Nasedsij podkovu" it is the very absence of clearly delimited transitions which helps to underscore the fact that what might at first appear to be widely disparate subjects are in fact closely related. Mandel'stam and Pindar share an essentially similar view toward poetry's ability to remain timeless in a transitory, often disorderly world. It is the poem which is uniquely able to remain intact while all else changes, and hence to contact an unknown future recipient of an unexpected gift in which is preserved also a part of the poet. In Olympian X, for example, Pindar likens his ode to a child born to an old father who thus carries on his father's name. 8 This basic idea occurs throughout Pindar's odes.9 Mandel'stam's thoughts about poetry as a contact between people in different historical periods are clearly expressed in his prose, especially the essay "O sobesednike". But these ideas also run throughout many of his poems, and as we will see, it is precisely in "Nasedsij podkovu" that Mandel'stam gives one of the fullest poetic expressions to this concept. A very important segment of "Nasedsij podkovu" is devoted to the image of the dying horse. It concludes the theme of the era coming to an end and serves to introduce the next to last section, "nasedsij podkovu". The remnants of an era, in the form of a horseshoe, are found. The horse it comes from will run no more ("Kon' lezit ν pyli i xrapit ν myle ..."), but it preserves a memory of a more glorious past ("I legkie dvukolki ... ¡ Razryvajutsja na öasti, / Sopernicaja s xrapjascimi ljubimcami ristalisc." my italics). The image of the horse (which raced in the hippodrome) is classical. While there is more than one possible subtext for this, it seems clearly, if only partially, to relate to Pindar. A large number of his odes are devoted to the winners of chariot and horse races. The horse evokes the splendor and wealth of ancient Greece, and for the modern reader it can become the emblem of an era. While Pindar does not neglect the physical beauty of the victorious horse, he frequently pays equal attention to its non-physical attributes, its character, as it were.10 Of numerous 8

See John H. Finley, Jr., Pindar and Aeschylus (Cambridge, Massachusetts, 1955), p. 120. • See Olympian X, 1-7; Nemean VII, 20-21 ; Isthmian III and IV, 40-42, VI (V) 11-14, VII, 16-19.

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STEVEN JOSEPH BROYDE

possible illustrations, we will quote only from Olympian I, in Derzavin's translation : CHCMJIH C cTeHbi ceft AOPNÜCKYIO UHTpy, KOJIL· OJLHMTHTHCKHM KOHL· nOÖeflOHOCHblS, Hbuie Ha pbmapcKHX H r p a x pHCTaBiimft, CjiaflOCTHbiM ayx TBOÔ luieHseT BOCToproM. O! xaK OH ôeperoM 6bicTpo Απφε» Be3 noflCTpeKaHHH, ropflo, KpacHBO,

M naît cnpaKy3CKa aap« KOHenioÖHa, Κ uejTH jieTH n o BceMy HnnoapoMy, ΓροΜκοκ ποδβΛοβ Meat BceMH ÖJiHCTaa MecTb CBoeMy npHOÔpen τβΜ BJiaflbiKe.11

The significance of this particular horse is revealed in the comments to this poem: "— Kon' pobedonosnyj sootvetstvuet greceskomu imeni skakovogo konja Gieronova [Olympian 1 is dedicated to Hieron of Syracuse]... ; on byl poeti takze znamenit, kak boevoj kon' Aleksandra." 12 Thus we see that in a poetic context, the horse can be an emblem of a whole past era. The significance of it will be shown in the course of the paper. Although it does not relate to "Nasedsij podkovu" specifically, but rather to Mandel'stam's poetry as a whole, it is of interest to show that both poets had in mind a specific type of addressee for their poetry. Mandel'stam's concept of the "poètiôeski gramotnyj òitatel'" is most clearly explicated in "Vypad" (II, 270-274). Pindar expressed similar views: "Mnogo u menja za plecami bystryx strel vnutri moego kolcana, zvuéascix dlja ponimajuscix, no dlja tolpy nuzny tolkovateli." 13 "Nasedsij podkovu" begins with a straightforward description of a pine forest which can be used for the construction of ships. Some of the tall pine trees will be used for masts ; in many varieties of pine the acicular leaves and branches, extending horizontally outward, grow rather high up on the trunk ("Do samoj verxuski svobodnye ot moxnatoj nosi"). The modifier "rozovye" is an accurate description of one of the most common types of pine in Russia: "Drevesina S. [osny] obyknovennoj s rozovatym ili burokrasnym jadrom ,.." 14 In an earlier Mandel'stam poem (No. 70) 10

See Bowra, Pindar, p. 166. Derzavin, Socìnenija, II, 351-352. 12 Ibid., p. 356. 13 Olympian II, trans, by V. V. Majkov, Zurnal ministerstva narodnogo prosvescenija, cast' 317 (May, 1898), p. 65. 14 Bol'saja sovetskaja ènciklopedija (Moscow, 1952), XL, 121. Noteworthy too are the pink pines in 1.1. Siskin's oil painting "Korabel'naja rosea," which hangs in Leningrad. 11

OSIP MANDEL'STAM'S "NASEDSIJ P O D K O V U "

53

we have the opposite image developed: the port, densely filled with the masts of ships, is likened to a forest: O Eepona, HOBaa 3juiafla, O x p a H j m Ajcponojib H rinpefl! HaM noflapKOB c ocTpoea He Haao — IJeJibifi jiec He3eaHHbix KopaöneH.

cf. Derzavin: Jiec npHmeji h3 MaiT apeMyroii Κ KaMHeTecaHHbiM 6peraM. 15

The choice of pine as the wood for the ships is significant. Russia's early fleets were built from pine; and pine for shipbuilding is particularly rich in classical associations: C M o p a HCHe3HeT njioeeu, h cocHe K0pa6e;ibH0M ToeapoB Yace He MeHHTb ... 1 6 ... dant utile lignum Navigiis pinos ,.. 1 7 T o m a He MHajiacb em. Ha n e r i « « napycax HecoMa BeTpaMH Β na3opeBbrx Mopax ,.. 1 8

The ship, as we will see, is symbolically both the ship of state and the ship of poetry. The ship of state is sailing in "infuriated" waters ("raz"jarennyj"). Compare, for example, with Blok: "Oni [russkie xudozniki] nikogda ne somnevalis' ν torn, cto Rossija — bol'soj korabl', kotoromu suzdeno bol'soe plavan'e." 19 Mandel'stam frequently made use of this metaphor (No. 41): "Cudoviscna, kak bronenosec ν doke, / Rossija otdyxaet tjazelo." In "Sumerki svobody" (No. 103) the ship symbolically is time ("V kom serdce est', tot dolzen slysat', vremja, / Kak tvoj korabl' ko dnu idet."), and the ship of state, which is changing its historical course: 15

Derzavin, Soéinenija, III, 31. "Pollion (Cetvertaja èkloga Vergilija)", trans. Vladimir Solov'ev, Stixotvorenija (St. Petersburg, 1900), p. 129. 17 Virgil, The Georgics, II, 4421. 18 Κ. N. Batjuskov, "Èlegija iz Tibulla (Vol'nyj perevod)", Polnoe sobrante stixotvorenij(Moscow-Leningrad, 1964), p. 165. Cf. also: "Athenian stranger. Well, but let me ask you, how is your country supplied with timber for shipbuilding? Cleinias. There is no fir of any consequence, nor pine ...; and you will find very little stone-pine or planewood, which shipwrights always require for the interior of ships." Plato, Laws, IV, 705. Trans, of B. Jowett, The Dialogues of Plato, 3rd ed. (Oxford, 1892). " Aleksandr Blok, "Intelligencija i revoljucija" (1918), Sobrante socinenij (Leningrad, 1936), VIII, 49. 18

54

STEVEN JOSEPH BROYDE H y HTO » , nonpoôyeM : orpoMHwft HeyKJiioJKHÄ

CKpnnyHHñ ποΒοροτ pyjia. 3eMJiH NJILIBGT. MyacaftTecb, MyacH.

The plumb ("otves") has been used by Mandel'stam both in the context of historical thought and of artistic creation. In his essay "Petr Caadaev", he writes: "Mysl' Caadaeva — strogij perpendikuljar [in 1928 version "strogij otves"] k tradicionnomu russkomu mysleniju." (II, 331, 604). In "Notre Dame" (No. 39) it is the plumb which emerges as that element of stability, part of the "tajnyj plan" (of the artist) which paradoxically gives the cathedral its seeming movement : CTHKXHHHÖ JiaÖHpHHT, HenOCTHXCHMBIH jiec, flyiim roTHiecKoft paccyfloiHaa nponacTb, ErnneTCKaa Momb H xpHcraaHCTBa poöoerb, C TpocTHHKoñ paflOM — ay6, h Bcio/iy uapt. — OTBec.

The navigator ("moreplavatel'") is both the poet and the head of state. The poetic ship (of inspiration) is a common enough metaphor. Pindar: M Tax, Β NECHHX MOHX, cnaBamux AOÖJIECTB, Η BCTynjiK) na xopaöjib, yKpanieHHbift noöeflHWMH

BeHxaMH.

Pythian II, 682e

Puskin : TaK apeMjieT HCABH^CHM xopa6jib Β HCABHXHOH BJiare, H o ny — MaTpocbi Bflpyr KHflaioTca, norayT

Beepx, BHH3 — H napyca HaayjiHCb, eeTpa nojiHbi; TpoMaaaFLBHHYJRACBH paccexaeT BOJIHM. ΠϋΜΒβτ. Kyaa ac HaM iuibiTh? ... Mandel'stam uses this metaphor in two ways. In "Zametki o poèzii" (1923) he likens new currents in poetry to a ship sailing in uncharted waters : "Kogda paroxod posle kabataznogo plavan'ja vyxodit ν otkrytoe more, te, kto ne vynosit kaòki, vyxodjat na bereg. Posle Xlebnikova i Pasternaka rossijskaja poèzija snova vyxodit ν otkrytoe more ..." (II, 305). In the optimistic poem "Akter i rabocij" (No. 167), Mandel'stam expresses himself quite lucidly. The poem stands in little need of commentary; we we will cite the most relevant lines: Πο CBOKHMflOCKaMIHHPOKOË ΟΚΗΜ KaKaa paflOCTb enepewe inaraTb! ... M Translation of V. V. Majkov, ¿untai ministerstva narodnogo prosvescenija, cast' 282 (July, August, 1892), p. 105.

osip MANDEL'STAM'S "NASEDSIJ PODKOVU"

55

Ακτερ — KopaßejibiqHK Ha najiyße MHpa! MflOMaKTepa CTOHT Ha Bojraax! ... Becenbie CTpyacKH naxHyT MopeM, Kopaöjib ocHaiueH — β aoôpbiô nyTb! ÜJlblBHTe »e BMCCTC κ rpHflymHM 30p»M, Ακτερ H paôoHHft, BaM HeJib3a oxnoxHyTb! The navigator of the ship of poetry is the poet; the navigator of the ship of state is Peter I, also its builder. The resinous (pine) boards have been built into bulkheads "ne vifleemskim mirnym plotnikom, a drugim — / Otcom putesestvij, drugom morexoda, — ..." The Bethlehem carpenter is obviously Joseph. Most biblical scholars agree that Joseph's homeland was Bethlehem. 21 Western art frequently depicts Joseph as a carpenter with the tools of his trade. In the New Testament, Joseph is frequently referred to as a carpenter, whereas Christ is so referred to only once (Mark VI, 3); more often Christ is called the "son of a carpenter". Joseph is the patron of workmen. Moreover, the total poetic context favors Joseph: as Peter I is the father of a new era of Russian history, so too is Joseph the "father" of a new era through Christ. Peter I is the head of state; St. Joseph's position is that of Head of the Holy Family. 22 Finally, we may cite the following as a possible subtext: KTO 3/iecb njioTHHK, Πετρ HUH Mocmj), ΠΟ3ΛΗΟ 6buio cnpaiiiHBaTb, Koraa, Άκορχ

y HaöepeacHoö 6pocnB,

Graun HCTOMJieHHbie cyaa.23 As regards Peter I, he has gone into history and poetry as a carpenter, founder of the Russian fleet, and helmsman of the ship of state. In Feofan Prokopoviö's funeral oration for Peter, he refers to him as Russia's Japheth, who built and sailed Russia's first fleet of ships. In poetry, this tradition begins with Lomonosov : ... Bjia,nbiKH

IIo3HaK>T, ITO MOHapx Η MTO οτειι npjiMofi, CipoHTejib, nuaBaTejib, Β nojiax, Β Mopax Γεροϋ.24 Most important here, though, is Puskin: 21

Francis L. Filas, Joseph (Boston, Massachusetts, 1962), p. 53. Ibid., p. 366. 23 Benedikt Livsic, "Nabereznaja" (1915), from the cycle "Bolotnaja meduza", Krotonskij polderΐ (Moscow, 1928), p. 93. I would like to thank Omry Ronen for showing this poem to me. 24 M. V. Lomonosov, "Petr Velikij", Izbrannye proizvedenija (Moscow-Leningrad, 1965), p. 299. 22

56

STEVEN JOSEPH BROYDE Cefi niKHnep 6MJI TOT ΙΙΙΚΗΠΗΡ cnaBHwii KeM Hama

flBHrayjiacb

3eMJia,

KTO npHflaji MOIUHO 6er flepacaBHtiii Pyjno poflHoro Kopa6jiH.ss T o aKaaeMHK, τ ο r e p o f i , T o MopeiuiaeaTejib, τ ο IIJIOTHHK, OH Bceo6teMJiK»meH a y i n o ñ H a τ ρ Ο Η β BeHHMÄ 6bIJI paÖOTHHK.26

By designating Peter I "otee putesestvij, drug morexoda", Mandel'stam doubtless has in mind the many explorations that Peter sponsored (notably those of Vitus Bering), as well as the fact that Peter I called to his service in Russia a very large number of artists, journeymen, and artisans. 27 This section concludes with the metaphoric development of the idea that the past must be partially rejected in order that new beginnings might be made: "I oni [ = doski = sosny] stojali na zemle / ... Zabyvaja verxuskami o kornjax ..." New historical eras imply "forgetting" the previous one; Peter I's reign clearly illustrates this idea. 28 Sections one and two together, then, broadly speaking introduce the two major themes of the poem : history and art. They stand as a kind of prologue to the whole work. The poem in this sense may be said to begin with the words "S cego nacat'?". They clearly echo and complete the above-cited half line by Puskin, "Kuda ζ nam plyt'? ..." Section three deals with both art and history; initially the subject is poetry: "Vozdux drozit ot sravnenij ..., / Zemlja gudit metaforoj ..." Poetry is not so much part of the air as the air itself — a life-giving force: "... — vot vse moi prava, — / I polnoj grud'ju ix vdyxat'ja dolzen" (No. 328); "Esli b menja lisili vsego ν mire — / Prava dysat' i otkryvat' dveri..." (No. 342); "Vse proizvedenija mirovoj literatury ja delju na razresennye i napisannye bez razresenija. Pervye — èto mraz', vtorye — vorovannyj vozdux" (II, 220). The historical aspect of this section emerges, first, in the line "Vse trescit i kacaetsja" which refers to the Russian revolution. This idea is reinforced by the image of the "legkie dvukolki/V broskoj uprjazi 25

A. S. Puskin, Polnoe sobranie socinenij (Moscow, 1964), III, 210. « Ibid., 11,344. 27 See V. O. Kljucevskij, Socinenija (Moscow, 1958), IV, 110. 28 The "znamenityj gornyj krjaz" which provided the pine for the ship cannot be conclusively identified. It is possibly Mt. Pelion, as mentioned in Ovid's Amores (il, 11, 1-4) : "Prima malas docuit mirantibus aequoris undis / Peliaco pinus vertice ceasa vias, / Quae concurrentis inter temeraria cautes / Con spicuam fulvo veliere vexit ovem." That Mandel'stam was familiar with this is not to be doubted: his knowledge of Ovid stands in no need of comment; moreover, Amores provides us with a Neaira (cf. below). a

o s i p MANDEL'STAM'S "NASEDSIJ PODKOVU"

57

gustyx ot natugi ptiô'ix staj ..." which, together with the above, has a clear antecedent in Mandel'stam's "Sumerki svobody" (No. 103): "My ν legiony boevye / Svjazali lastoöek — i vot / Ne vidno solnca; vsja stixija / Söebecet, dvizetsja, zivet ..." Not specifically referring to the revolution, but essentially historical in nature, are similar images in other works by Mandel'stam : H npoMejibKHeT njiaMeHHbix jieT e r a Λ ...

(JSs 342)

OcraHOBHTb? 3aneM? Κ τ ο ocraHOBHT cojmqe, Korfla OHO MHHTCH Ha BOpOÖBHHOe ynpJDKH Β OTHHH SOM, o6y»HHoe xcaxcfloñ B03BpameHH»?

(II, 264)

IIIyMejiH Β nepBbiä pa3 repMaHCKHe flyßw, E e p o n a nnaicajia Β TEHETAX. KeaAPHTH lepHbie BCTaeajra Ha Abißbi H a TpHyMajihHbix noBOpOTax.

(Ms 94)

In "breaking themselves to pieces" the carts (chariots) "rival the snorting favorites of the hippodrome". This recalls Pindar's Pythian V to Arkesilas of Cyrene, winner in the chariot race. The driver was so skilled that his chariot alone survived whereas forty others crashed. ... c a p y r o ñ CTopoHbi — Β HacToamyio MHHyTy ΤΗ cHacTJiHB e m e Η τβΜ, ITO, πο/iyMHB Ha cjiaBHbix πΗφπϋςκΗχ Hrpax xeany 3a n o ô e ^ y Ha pHCTajmme, TH npHHHMaemb TopacecTBeHHoe niecTBHe Myaceft, AnojiJiOHOBy ycjia,ny .. · cpean copoKa noTepneBiuHx Heyflaiy BO3HHU, TW ... B03BpaTHJICH . . . 2 9

"Trizdy blazen, kto vvedet ν pesn' imja ..." The significance of the number three requires little comment. Having said this Mandel'stam introduces a name into the poem twelve lines later, Neaira. "Ukrasennaja nazvan'em pesn' / Dol'äe zivet sredi drugix —": this "song" (cf. Pindar, whose odes were intended to be sung) is similarly adorned with a name (in the sense of title). Thus, Mandel'stam's song (poem), having a name in it and being decorated with a title will live on longer amid the others. The song with a title is "marked by a fillet on its forehead"; metaphorically, the title clearly stands in relation to a poem (on the printed page) as a fillet does to the one who wears it — at the top. The fillet ("povjazka") "frees (heals, delivers) from loss of memory". Mnemosyne, the goddess of memory, wears a fillet (frontlet, diadem); cf. Pindar, Nemean VII, 15. Mnemosyne is the mother of the Muses, who similarly wear fillets : 29

V. V. Majkov, Zurnal ministerstva narodnogo prosvescenija, cast' 290 (November, December, 1893), pp. 102, 103.

58

STEVEN JOSEPH BROYDE ToTHac 3aTeM C M H e M o c H H o ñ coiiiejica OH ΠΗΠΙΗΟΒΟΛΟΟΟΗ. M y 3 poflHJia EMY T a , Β 30JI0TMX / w a z i e M a x XOFLHUMX, FLEBJITB CHCTOM. Π Η Ρ Μ OHH JIK>6«T H PAAOCTH necHH.

Hesiod, The Theogony, 915-91730 Yet of all men they are said to have had the highest bliss Who heard on the mountain and in seven-gated Thebes the Muses of the golden frontlet singing. Pindar, Pythian III, 89-9031 Lastly, the Muses exist that man might be freed f r o m ills ("isceljajuscej ot . . . " ; cf. "Slovo — cistoe vesel'e / Iscelen'e ot toski" N o . 175; "Xudoznik p o svoej prirode — vrac, iscelitel'. N e esli on nikogo ne vracuet, to k o m u i na cto on nuzen?" 3 2 ): CeMH BO HpeBO npHHHB OT KpOHHfla-OTUa, Β ΠΗβρΗΗ H x [OJIMMUHÔCKHX M y 3 ] poOTJia MHeMOCHHa, u a p m j a BHCOT EjieBepa,

H t o 6 yjieTajiH 3a6oTti h 6eai>i flyina 3a6HBana.

Hesiod, The Theogony, 53-55 A song with these requirements thus frees f r o m absence of memory ("bespamjatstvo"). The second meaning of "bespamjatstvo" is "poterja soznanija, o b m o r o k " , which is here caused by "an odor which is t o o strong and stupefying" [odurjajusöij < " o d u r j a t ' : vyzyvat' o d u r ' u kogo-n."]. The "thrice-blessed" one is paralleled by a list of three kinds of odors ; these are respectively h u m a n ("blizost' muzöiny"), animal ("zapax sersti sil'nogo zverja"), plant ("dux cobra") odors : the smell of life, of all that is alive in the world. The air is the subject of section five. Essentially it is dark, dense air ("vozdux byvaet temnym, kak voda ...") which is difficult to breathe. This idea is developed through a series of escalated similes. MandePstam prepared us for this earlier: "Vozdux drozit ot sravnenij." The tenor of the similes is air, although it is twice omitted. The vehicle develops in a logical progression: "Vozdux ... kak voda", "Vozdux kak x r u s t a l ' " ( = water, t o o : cf. " G o r j a t ν portu tureckix flagov maki, / Trostinki mact, xrustal' volny uprugij . . . " N o . 111). The final level ("Vozdux ... kak zemlja") is arrived at through a transitionary simile ("[Vozdux kak] vlaznyj cernozem Neery") which relates to the above and below similes: 30

Translated by V. V. Veresaev, Èllinskie poèty (Moscow, 1963). Translated by Lewis Richard Farnell, The Works of Pindar (London, 1930), V. I. 32 O. Mandel'stam, "Zapisnye knizki. Zametki 1931-1932 gg.", Voprosy literatury, 1968, No. 4, p. 188. 31

osip MANDEL'STAM'S

"NASEDSIJ PODKOVU"

59

"vlaznyj" and "Neera" 3 3 to water, "cernozem" to earth. Moreover, this moist black earth is ploughed up by four kinds of tools which correspondingly relate to water and/or earth: the pitchfork is used on land; the trident is a symbol of mastery over the sea ; the hoe is used on land ; the plow is used on land, but is also a common classical metaphor for the bow of a ship. Mandel'stam himself uses it: "... ogromnyj, neukljuzij, / Skripucij povorot rulja. / Zemlja plyvet. Muzajtes', muzi. / Kak plugom, okean delja ..." (No. 103); also, in "Admiraltejstvo" (No. 48), anchors are like plows: "Kak plugi broseny, rzavejut jakorja..." Section five essentially deals with the historical air, in much the same sense that Blok spoke of it in relation to Puskin : "I Puskina toze ubila vovse ne pulja Dantesa. Ego ubilo otsutstvie vozduxa. S nim umirala ego kul'tura. 'Pora, moj drug, pora.' / Pokoja serdce prosit.' Èto — predsmertnye vzdoxi Puskina, i takze — vzdoxi kul'tury Puskinskoj pory." 3 4 Such air is met with frequently in Mandel'stam's poetry: Β rieTponojie np03paiH0M MM yMpeM, Tae BJiacTByeT Haa HaMM ITpo3epnHHa. MBI Β KaayiOM B3aoxe CMepTHMii B03ayx ribeM,

M KaxcflbiH nac HaM cMepraa« roflHHa.

(MS 89)

Hejib3s ABIMATB, H TEEPAB KHLUHT MEPEAMH, M HH oflHa 3Be3fla He ΓΟΒΟΡΗΤ . . .

(MS 1 2 5 )

Ά 3HaK>, C KaxflbiM ÂHÊM cna6eeT HCH3HH

(JÉ 140)

ΒΜΛΟΧ . . .

KojiioT pecHHUbi. Β rpyan npHKHnena cjie3a. Hyio 6e3 CTpaxa, HTO 6yaeT H 6yaeT rpo3a. Κτο-το HyflHOH MeHH HTO-TO τοροπκτ 3a6wTb. — flyiiiHO, H Bce-TaKH ao CMepra xoneTca NCHTB.

(MS 2 0 1 )

MHe C KAACFLBIM AHEM AWMATB Bee T»acejiee,

83

A Meacay τβΜ Hejifa3a noepeMeHHTb — M POACAEHBI ANA Hacna»caeHba 6eroM JlHuib cepaue lenoBeica H KOHA.

(N® 2 2 1 )

Tax, HToöbi yMepeTb Ha caMOM aeae, Tbicflny pa3 Ha AHIO amnycb OÔMHHOH CBOÖOAW B3aoxa h co3HaHb« ueiin.

(ME 2 5 6 )

Greek and Roman sources clearly connect Neaira with water. In Hesychius of Alexandria's lexicon, she is called the daughter of Oceanus; interestingly, the phrase "horses of Neaira" also appears there (Hesychii Alexandrini Lexicon, ed. Kurt Latte, Denmark, 1966, II, 700). In Ovid's Amores Neaira is less directly related to water; she is pursued by a river god: "Nondum Troia fuit lustris obsessa duobus, / Cum rapuit vultus, Xanthe, Neaera tuos." 34 Blok, Socinenija, VIII, 144.

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STEVEN JOSEPH BROYDE

Poetry is treated as well in this section, though more subtly than is history. Poetry emerges in the vehicle of the simile "[Vozdux kak] vlaznyj cernozem Neery, kazduju noe' raspaxannyj zanovo / ... plugami..." This recalls an equation which Mandel'stam had made earlier: "Poèzija — plug, vzryvajuscij vremja tak, cto glubinnye sloi vremeni, ego cernozem okazyvajutsja sverxu" ("Slovo i kul'tura", II, 266; in this essay Mandel'stam cites from No. 108 ; "Vremja vspaxano plugom, i rozazemleju byla."). "Vozdux ... kak zemlja" evokes the earlier "zemlja gudit metaforoj" and together with "vlaznyj cernozem" appear in one of Mandel'stam's Voronez poems ("Stansy", No. 279, pt. 7) dealing in part with poetry; here as well is the same difficulty breathing: M He orpaöJieH » h He HaanoMeH,

Ho TOJibKO HTO Beerò nepeorpoMJieH — KaK Cjiobo ο nojixy, CTpyHa mo« Tyra, Η β rojioce MoeM nocjie y a y u i b « 3BytHT 3eMJia — nocjieflHee o p y » t e — C y x a n BjiaacHOCTb MepH03eMHbix ra.

The next section begins with a visual image: "Sorox probegaet po derev'jam zelenoj laptoj" (cf. Tjutôev: "Vdrug vse smutilos': sudoroznyj trepet/ Po vetvjam kiparisnym probezal ,.." 35 ). The children who immediately appear are not playing lapta (the word designating either the game or the bat used in it, the second meaning probably intended in the above simile), but babki. This game has ominous associations: in an earlier poem (No. 85) children are playing it at Ugliö where the carevic Dmitrij is murdered. The vertebrae for the game come from dead animals. The meaning of this becomes clear from another poem (No. 135):

Ββκ mom, 3Bepb moh, kto cyMeeT β τβοη 3panKH

3arjiHHyTb

M CBOeW KpOBbK) CKJieHT

fleyx CTOJ16THH Π03ΒΟΗΚΗ? Teapb, noKy^a »CH3Hb xeaTaeT flonecTH

xpe6eT

flOJi»CHa,

H ΗβΒΗΛΗΜΜΜ HrpaeT Π03Β0Η0ΗΗΗΚ0Μ BOJIHa.

H eme HaôyxHyT ποίκη, Bpbi3HeT 3ejieHH no6er, Ho pa3ÔHT ΤΒΟΗ Π03Β0Η0ΗΗΗΚ, M o i í npeKpacHbiñ acajTKHñ ββκ. 35

F. I. Tjutcev, Lirika (Moscow, 1965), I, 91.

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61

The next two lines are self-explanatory: "Xrupkoe letoisöislenie nasej èry podxodit k koncu. / Spasibo za to, cto bylo: ..." What follows is not clear: "Ja sam osibsja, ja sbilsja, zaputalsja ν scete." Perhaps this refers to a previous forecast. In an earlier essay,36 Mandel'stam wrote : "Xristianskoe letoiscislenie ν opasnosti, xrupkij scet godov nasej èry poterjan ..." (II, 356). The lines "Èra zvenela, kak sar zolotoj, / Polaja, litaja, nikem ne podderzivaemaja" can be explained on the basis of the following: AHTHiHan Mwcjib EOHHMajia floôpo, KaK ÔJiaro hjih ÖJiaronouyiHe; 3flecb e m e He ôbiJio BHyTpeHHeft nycTOTW reflOHH3Ma. floôpo, 6jiaronojiyHbe, 3FLOPOBBE 6biJin CJIHTBI Β OFLHO NPEFLCTAENEHBE, KAK NOJIHOBECHBIII Η OÄHOpoflHbiH 30JT0T0H m a p . ΒΗγτριι 3ΤΟΓΟ ΠΟΗΗΤΒΗ He ÔbiJio nycTOTbi. Βοτ 3το-το cnnouiHOH ... xapaKTep aHTHHHOfi MopajiH ...

(II, 335)

The "golden ball" is at the same time a symbol of power, a symbol always supported, 37 held in the (emperor's, king's) hands, but here "supported by no one": JJepoicaea, HMea CHMBOJI BJiaflbreecTBa Haa 3eMJieio. Illapbi, HMeiomne TaKoe 3HaieHHe, BCTpenaioTC» yace Ha OÄHOH ΜΟΗβτε ΡΗΜ. HMnepaTopa AerycTa ... Β POCCHK) flepacaea nepeiiijia H3 IlojibmH, rae OHa HMeHOBajiacb jablko (H6JIOKO), Η Β crapHHy HOCHJia HasBaHHa: HÔAOKO ifapcKoeo mm, Η6ΛΟΚΟ emdoMoe, ... H npocTO Λ0ΛΟΚΟ

...38

Such is the "jabloko" in an earlier poem (No. 80): 3 a e c b , KanHTOJiHa H O o p y M a eaajin, Cpeflb YESFLAHHA ΟΠΟΚΟΗΗΟΓΟ npHpoflbi, Λ cjibiiny A e r y c T a Η Ha Kpaio 3eMjiH flepacaBHbiM AÔJIOKOM KaTanmecH roflbi.

And on this basis the capriciousness of the child's answer ("Tak rebenok otvecaet : / 'Ja dam tebe jabloko,' ili : 'Ja ne dam tebe jabloka.' "), echoing the previous " 'da' i 'net' ", becomes wholly understandable. As for the last line ("I lieo ego toönyj slepok s golosa, ...") cf. "Vmesto zivyx lie vspominat' slepki golosov. Oslepnut'. Osjazat' i uznavat' sluxom. Pecal'nyj udel! Tak vxodis' ν nastojascee, ν sovremennost', kak ν ruslo vysoxsej reki." (II, 141). 39

"Puskin i Skrjabin". Only fragments of this essay are preserved. The essay is believed to have been begun shortly after 1915 (when Skrjabin died) and probably completed no later than 1919 or 1920. 37 See the extensive illustrations in Percy Ernst Schram, Sphaira, Globus, Reichsapfel (Stuttgart, 1958). 38 F. A. Brokgauz and I. A. Efron, Ènciklopediceskij slovar' (St. Petersburg, 1899), XXVI, 445. N.b. Derzava: Podrferiivaemaja.

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STEVEN JOSEPH BROYDE

With the sound of the era still ringing ("xotja pricina zvuka iscezla") we pass to the personification of a past era. As we remarked earlier, the horse can clearly be emblematic of (Pindaric) ancient Greece. At the same time, it calls to mind another association, notably Czarist Russia. There is a rich literary heritage linking Russia with a galloping horse. We will cite only Puskin : He TaK jih tm Ha« caMoft 6e3flHoñ, Ha BbicoTe, ys^oñ «enesHOH PoccHK) noflHflji Ha aw6bi? This example could easily be multiplied (Mickiewicz, Annenskij, Blok, Brjusov, Gogol'). The point is that there is clearly a precedent for viewing the once galloping horse ("No krutoj povorot ego sei / Esce soxranjaet vospominanie o bege s razbrosannymi nogami — ...") as an emblem of an entire previous era of history, evoking Pindaric Greece as well as Czarist Russia. In the poem we are viewing history in terms of enormous epochs which are now part of the past. Thus the line "Kon' lezit ν pyli i xrapit ν myle" refers to the death of Czarist Russia (cf. above: "Xrupkoe letoiscislenie nasej èry podxodit k koncu" [my italics]) and sounds like a response to Majakovskij's "Levyj mars (Matrosam)" : "Kljacu istoriju / zagonim. / Levoj! / Levoj! / Levoj!" The past epochs can be reconstructed, as it were, on the basis of certain "artifacts" which remain for future generations. HacToamee MTHOBemie mokct BbiflepacaTb Hanop ctojictmh h coxpamiTb cbok> uejiocTb, ocTaTbCH τβΜ »ce "ceftnac". HyacHO TOJibKO yMeTb BbipeaTb ero H3 noHBbr BpeMeHH, He noepe/mB ero KopHeñ — Huane oho 3aBHHeT. Bhjtjioh yMen 3TO ÄenaTb. Kojiokoji Copöohhw, npepeaBuiHìi ero paöoTbi naa Petit Testament 3BynHT a o chx nop.

(II, 349)

This, to a large extent, is the significance of the horseshoe. To put it crudely, if the horse represents a past era, then that part of it which is preserved and continues into the future, is its poetry, wrought out as a horseshoe. It is not to be doubted that Mandel'stam chose the horseshoe, here identified with poetry, 39 on the basis of a poem by Sologub : — KoHb AnojiJiOHa! Λ HeflocTOHHa ΤΒΟΗΧ ΚΟΠΗΤ. Be^b He TaKyro CicyeT noflKOBy Te6e Γεφβοτ. "

The horseshoe, of course, is a symbol of luck as well.

osip

MANDEL'STAM'S "NASEDSIJ P O D K O V U "

63

— Mojito, noflKoea! Te6a a BwôpaJi, Te6a xony. Λ AnojiJiOHa CTpeMJiio c OjiHMna Κ 36MHbIM nyTHM.40 We might also cite the following, from a poem by Mandel'stam also written in 1923 (No. 138): Λ3ΗΚ 6yjibi»HHKa MHe roiiyöa noHHTHeft, 3aecb xaMHH — ronyÔH, flOMa Kax rojiyöaTHH, H CBeTJXWM pyieHKOM τβιετ paccjca3 πολκοβ Πο 3By*ÍHbIM MOCTOBbIM npa6aÖKH ΓΟΡΟΛΟΒ. Perhaps the most important single subtext for this section of the poem is Mandel'stam's profound essay " O sobesednike" (1913,1928; II, 275-282): y Kaamoro nejioeeica ecu. Apy3ba. IloneMy 6bi no3Ty He oôpamaTbca κ flpy3bHM, κ ecTecTBeHHo 6jih3khm eMy jhoahm? MopermaeaTejib β kphthHecKyio MHHyry ôpocaeT β BOfly oxeaHa 3aneHaTaHHyjo öjrrbuiKy c hmchcm

cbohm h oifflcaHHeM cBoeft cyflböw. CnycTH flonrae roabi, CKHTaacb no aioHaM, a Haxootcy ee β necxe, npoHHTbiBaio rmcbMO, y3Haio .naTy coôbmia, nocneamojo BOJIK» norHÖmero. Ά HMen npaeo cuejiaTb 3το. Ά He pacneiaTan iy*coro nHCbMa. IlHCbMo, 3aneiaTaHHoe β ôyTbuiKe, aapecoeaHO TOMy, κτο müdem ee. Haiuejt H. 3HaiHT, a η ecTb TaHHCTBeHHbift aflpecaT. M o ñ flap yôor, h rojioc moh He rpoMOK,

Ho H «H By — H Ha 3eMJlH Moe KoMy-HHÖyflb jiK)6e3HO ôbiTHe : Ero müdem naneKHÜ moh π ο τ ο μ ο κ

Β MOHX CTHxax; KaK 3HaTb? jxyma moh C ero «yuioñ oKaacerca β cHomem>H, M KaK HüiueA a apyra β noKojieHbH, HHTaTeJiH naùòy β noTOMCTBe a.

Hnraa CTHXOTBopeHHe BopaTtmcKoro, a HcnbiTbieaio t o »ce caMoe nyBCTBO, KaK ecjiH 6w β moh pyKH nonajia TaKaa 6yTbiJiKa. OKeaH Bceft CBoeß 0rp0MH0ö CTHXHeñ npunieji eñ Ha noMomb — πομογ HcnojiHHTb ee npeflHa3HaieHHe, η MyBCTBO npoBHaeHUHaJibHoro oxBaTbiBaeT naiueduteeo. (II, 276-277, my italics) This idea is expressed in many of Mandel'stam's poems : Ά nojiyHHJi ônaxeHHoe HacjieacTBO HyjKHX neenoB Öjiyacjjaroiime chu. ... 40

(Nä 67)

F. Sologub, Sobranie socinenij (St. Petersburg, 1914), XVII, 257. I am most grateful to Omry Ronen for indicating this poem to me.

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STEVEN JOSEPH BROYDE

H pacKpwBaeTca c inypmaHbeM neHanbHMH eeep npoinjitix jict, Tyfla, r a e c tcmhhm coflporaHteM Β necoK 3apwnca aMyjier, ...

(JSs 93)

y KOCTpa Mbi rpeeMca οτ cicyicH, MoaceT 6hti> Beica npofiayr, H 6jiaxceHHbix aι r y M a H H 3 M a , a yenaaT CBOÍÍ íteHb Η, Kax xoflHHaa 3BOHKaa MOHeTa, noñayT no pyicaM, xor^a HacTaHeT CBOÍÍ cpoK. (II, 396) Thus, the poet's art and his values are being held in abeyance. "Cuvstvuju sebja dolznikom revoljucii, no prinosu ej dary, ν kotoryx ona poka ne nuzdaetsja." (1928; II, 259). While the essential thrust of what is being said at the end of the poem is optimistic, — the belief that all this will one day be unearthed — the last two lines are quite pessimistic, with their incessantly recurring ne: "Vremja srezaet mENja, kak moNEtu, / 1 ΠΊΝΕ UZ NE xvataet mENja samogo." "Nasedsij podkovu", then, is a complex synthesis of much of what Mandel'stam has said in other contexts. Essentially the poet here is concerned with history and art, and the relationship of one to the other. It is difficult to see how one critic could have said of this poem : "Kakoe otcajanie ν ètom otoádestvlenii mirovogo processa s tvorceskim bessiliem ..," 42 Aside from the fact that there is no such "identification" here, it is 42

S. K. Makovskij, Portrety sovremennikov (New York, 1956), p. 395.

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STEVEN JOSEPH BROYDE

clear that the poem asserts rather the opposite : the contrast is not in the impotence of art, but in its permanancy, as opposed to history's permutations. For it is, after all, the horseshoe that is found. H A R V A R D UNIVERSITY

Κ Bonpocy

O CBÍI3M ΤΗΠΟΒ PYCCKORO C T H X A

CO CTHJIÄMH ΠΡΟΗ3ΗΟΠΙΕΗΜΛ

Β. Λ. EYXNITAB

Bonpoc o

X X Beica. CTHxa,

THnax p y c c K o r o c T H x a c o Bceií p e 3 K o c T b i o BCTaji Β Μβτρκκε X I X BeKe, n o KpaHHeíi M e p e Β OTHOLUCHMH jiHTepaTypHoro

Β

3ΤΟΤ B o n p o c ,

M03KH0 CKa3aTb,

pyCCKHH JIHTepaTypHblH

CTHX —

3ΤΟ

He CTaBHJICH.

CHHTaJIOCb,

HTO

eflHHblH THn, OCHOBaHHblH Ha

EFLHHOM npHHUHne CTonocjio^CEHHJI H BHAbi e r o pa3JiHHaK>Tca JIHIIÜ» MHCJIOM Η φ ο ρ Μ ο κ CTon. PeflKHe CTHXH, He y K J i a A b i B a e u i H e c a Β C T o n H y i o

BOCnpHHHMajIHCb KaK HHAHBH^ya JXb Hbie 'n03THHeCKHe BOJXbHOCTH' Η Ha Teopnio CTHxa He BJIHKJIH.

CXeMy,

Β X X BeKe STOT B3rjxaa 6 b i J i pacmaTaH KaK TeopeTHHecKHMH HCC.iie.aoBAHHÎIMH, TAK Η CTHXOTBOPHOH npaKTHKOH. Β H3O6HJIHH pacnpocTpaHHJIHCb BHflbI CTHxa, HBHO He HJieHHMOrO Ha CTOnbl, HCCJieflOBaHHH ace

noKa3ajiH, ΗΤΟ Η Β cTHxax ΤΡΕΛΗΙΙΗΟΗΗΟΓΟ THna c r p o K H , Β KOTOPBIX BbiaepacaHO r p e ö y e M o e ΟΤΟΠΗΟΗ cxeMoñ nepeflOBaHHe y u a p H b i x Η 6 e 3 y ^ a p H b i x c j x o r o B , HBJIHIOTCH He n p a B H J i o M , a HCKJUoneHHeM. Β 3ΤΗΧ oôcTOHTeJibCTBax lacTHHHO c o x p a H H T b TpaflHUHOHHyK) c x e M y noMorjxa

τεορπ»,

B b m B H H y r a a , rjiaBHbiM

06pa30M, B. M.

>KnpMyHCKHM

h saKjuoMaioaiaHCH Β TOM, HTO CTonbi Β p y c c K o ñ Μ ε τ ρ h ice c y m e c T B y i O T , HO He Β peajibHOM 3 B y i a H H H c r a x a , a Β H / j e a j i b H o i t MeTpHHecKoñ c x e M e , c

κοτοροΗ peajibHbiH PHTM c r a x a He c o B n a ^ a e r , HO OT cooTHeceHHH c κοτοροΗ n o j i y n a e T CBOIO c T H x o B y i o K e a j i i ^ H K a u H j o . 3 T a T e o p n a p e 3 K o ΛHφφepeH^Hpyeτ a6cTpaKTHhiñ Μετρ η KOHKpeTHbiñ PHTM, O6ï»HCH5iji ΗΧ H e c o B n a a e H H e

conpoTHBJieHneM

Η3ΗΚΟΒΟΓΟ

MaTepwajia

ΜετρπΗβ-

CKOMy 3 a a a H H K ) . "ΟΤΗΧΟΤΒΟΡΗΗΗ PHTM B c e r a a »BJiaeTCH KOMnpoMHCCHOH

φορΜοκ,

B03HHKaiomeH

Β

pe3yjibTaTe conpoTHBjieHHa

MaTepwaJia

3aKOHaM XyflOaceCTBeHHOH Κ0ΜΠ03ΗΗΗΗ". 1 3 T a KOHuenuH« Β cepeflHHe 2 0 - x ΓΟΛΟΒ n o ^ B e p i u i a c b κ ρ κ τ κ κ ε Β .

Β.

T o M a m e B C K o r o . OH n a c a j i : 1 Β . M. KnpMyHCKHH, Beedenue β Mempwcy. Teopun cmuxa (JleHHHrpaa, 1925), CTp. 18. noapoÔHee 0 6 3 τ ο ϋ TeopHH a roBopio β cTaTbe " O CTpyKType pyccKoro KnaccHHecKoro c r a x a " , Tpydu no 3ΗακοβΗΜ cucme.waM IV ( T a p t y , 1969), c t p . 386-408.

β . a. ByXUITAB

68

PHTMHHecKHe «BJieHH« He ecTb pe3yjibTaT HecoeepineHHoro BonjiomcHHH β cjioee a6cojiK)THbix HopM OTBJiCHCHHoro pHTMa, — ohm npeflCTaBKaioT co6ok> CBOñcTBa caMoro peieBoro pHTMa. TaK, c b o m c t b e m h puTMa fleycjioacHoro η TpexcJioacHoro flOJiacHO o6ï.acHaTb, noieMy ziBycjioacHaH rpynna (cTona) Μ05κετ 6biTb 6e3yaapHa, T.e. ο6τ>βκτΗΒΗΗϋ aKueHT He aBJiaeTca HeoöxoduMoü npHMeTOß eflHHCTBa rpymibi, β t o epeina KaK TpexcnoacHaa rpynna TpeöyeT o ö i e K T H B H o r o aKueHTa, 6e3 KOToporo ee c a h h c t b o He BocnpHHHMaeTca OTieTJiHBO. , i t o opraHH3auHa pyccKoñ c t h x o t b o p h o h penn 6a3HpyeTca Ha aeyx ocHoeax, npeflCTaeneHHbix β pa3JiHHHbix c t h x o t b o p h w x φopMax β pa3JiHiHoìf CTeneHH — Ha cieTe c j i o t o b η Ha cieTe yaapeHHfi. Οταο/ia — pacnpocrpaHeHHbrii HbiHe TepMHH, xapaKTepH3yiommi pyccKyio cHCTeMy craxocjioacemia — cuAAaóomonmecKoe

CTHxocjio»ceHHe.3

HecoMHeHHo, MTO B. B. ToManieBCKHH ynyaji 3/iecb »BJieHMe öojibiuoH 3HaHHM0CTH flJIH pyCCKOH ΜεΤρΗΚΗ, OflHaKO οφορΜΠεΗΗε εΓΟ HHTyHUHH npeACTaBJi»8Tca necoBepuieHHbiM. H c b o 3 m o > k h o paccMaTpHBaTb

'επετ

yaap8HHH' β pyccKOM flBycjioacHOM cTiixe KaK ocymecTBJiaeMbiH He β nojiHoìi Μερε: εΓΟ Haflo npH3HaTb jih6O nojiHocTbio ocymecTBjiaeMbiM, ecjiH BecTH STOT CHeT β njiaHe TaK Ha3biBa8Moro 'ΜετρΗΗεεκοΓο 3a,naHH»', jih6O nojiHocTbio HeocymecTBJiHeMbiM, ecjin CHHTaTb peaAbHbie yiiapeHHH. ' s

E. B. ToMameBCKHÜ, O cmuxe. Crrtambu (JleHUHrpan, 1929), c r p . 51-52. E. B. ToMameBCKHÜ, PyccKoe cmuxocAOMcenue. Mempma (TleTporpaa,

CTp. 41.

1923),

69

ΤΗΠΜ CTHXA Η CTHJIH ΠΡΟΗ3ΗΟΙ1ΙΕΗΗΗ

Cthx ace, β κοτοροΜ 'cboGoaho HapyiuaeTCH cieT cjiotob', — sto yace He Tpexcjio/KHtiH cthx, a /iojibhhk, bo3hhkihhh Ha ocHOBe TpexcjioacHoro CTHXa,

HO He TOaCfleCTBeHHblH C HHM H BbinaaaiOmHH

H3 'CHJXJIaÔO-

TOHHHeCKOH' CHCTeMbI BOOÔme. BnocjieflCTBHH oTBepaceHHe

τεορκπ

MeTpa

KaK p e r y j w T o p a

puTMa

n p H B e j i o T o M a u i e B C K o r o η κ oTBepaceHHio CBasaHHoii c Heñ ' c n j u i a 6 o TOHHiecKoíí'

KJiacc^HKauHH.4

I l e p e A Hccjie.no B a T e j i e m BCTajia

salala

HaiÍTH HOBbie OCHOBaHHH flJia ΤΗΠΟπΟΓΗΗ pyCCKOrO CTHXa, HaitTH HX Β caMOM

H3HKe — η Ha hoboíí OcHOBe 3aKOHOMepHO Η TpeXCJIOHCHblH CTHX.

cenapapoBaTb

ilByCJIOaCHUH

Κ

β πο3ληιοιο

p e u i s H H i o 3TOH 3aaaHH T o M a m e B C K H H n o a o u i e j i yace

β 40-50-e

n o p y CBoeñ aeaTejibHOCTH — Β cTaTbe " Κ

hctophh

roflbi.

pyccKoñ ρ κ φ Μ Μ " ,

BnepBbie HanenaTaHHOH β

1948 r o a y , T o M a m e B C K H H , aHajiHSHpya p a 3 H o y a a p H b i e ρ κ φ Μ Η , nacTbie Β pyCCKOM CHJLrtaGHHeCKOM CTHXe, ΠρΗΧΟΛΗΤ Κ 3aKJXK)ieHHIO, HTO 3T0T

CTHX

OCHOBblBaJICfl

Β PoCCHH

0C060ÍÍ

Ha

npOH3HOUieHHfl, UepKOBHOM, β κ ο τ ο ρ ο Μ Horo

cjiora

6ì>ijio

Hey^apHOMy

MeHee

OCOÔOM

CTHJie

"npoTHBonocTaBjieHHe

ΙφΟΰΟΛΗΗ,

yaap-

pe3Koe,

tcm β

HopMajibHOM

Otcbhaho, 3Ta H^eH 8 n o f l a j i a T o M a uieBCKOMy M b i c j i b n o n p o ö o ß a T b η ΤΗΠΗ ηοβογο p y c c K o r o cTHxa n o H S T b KaK ocHOBaHHbie Ha pa3jiHHHbix cthjihx npoH3HomeHHH. 3 T a s a t a n a 6biJia BbinoJiHeHa β toh ace CTaTbe η, β ocoôchhocth, β CTaTbe " C t h x h fl3biK", BnepBbie H3flaHHOH β 1958 r o s y . 0 6 e cTaTbH boiujxh β n o c M e p T 'rpaacaaHCKOM'

npoH3HoiiieHHH".5

HbiH c ô o p H H K CTaTeñ T o M a u i e B C K o r o onepKu

(MocKBa-JIeHHHrpaa,

Cmux

u hsmk.

Β . Β . T o M a m e B C K H H πο-HOBOMy pacHJieHaeT p y c c K H e Β HHX τ ρ π K j i a c c a HblH

CTHX,

HJIH τ ρ π

0uAOAozuuecKüe

1959).

cthxh, Bbwejiaa

CTHXOTBOpHblX CHCTeMbI, a HMeHHO : a B y c j i o a c -

TpeXCJIOaCHblH

CTHX

H

aKIieHTHblH

CTHX

MaHKOBCKOrO.

HeoflHOKpaTHO n o f l n e p K H B a e T , hto TaKaa r p y n n n p o B K a hhhx n p H H a n n a x , tcm oöbiHHaa κ^ϋΰΗφΗκειίΗΗ cthxobmx

ToMameBCKHH ocHOBaHa Ha φορΜ:

3 t h τ ρ κ KJiacca B03HHKai0T He

η3 aöcTpaKTHbix cxeM hhctoio pHTMa, a h3

pa3Hoo6pa3HH caMHX CTHJiefi npoH3HomeHHH, h 3 Bapnamiñ MaTepnajia.

äm6

OTjiHiaeTca ο τ aMH6paxnfl He

pHTMHsyeMoro

tojimco h3bccthoö

cxeMOÄ

nojioaceHH« yflapeHHft β c r a x e , h o h peneBOH π ρ κ ρ ο Λ Ο ή c a M o r o c r a x a . Λ μ 6 η 4

Cp. Β 0C06eHH0CTH ero peiieH3HK) Ha KHHry B. O. YHÖerayHa Russian

versification,

Bonpocbi H3biK03HaHUH (1957, 3), CTp. 127-134. 5 B. B. ToMameBCKHH, Cmux u mbiK. 4>moAozmecKue ouepKU (MocKBa-JIeHHHrpa.il, 1959), c i p . 98. .HajibHeimme ccmjikh Ha 3Ty KHHry .nawrcH β τβκςτβ b cKOÔKax. OHa h nocejie HBJiHexcH npeflMeTOM AHCxyccHH; cp. cTaTtH Α . Μ . ilaHieHKO κ Π . Η. BepKoea β c6opHHKe Teopun cmuxa (JleHHHrpaü, 1968). 6

70

Β. Η. EyXUlTAE

MHTaiOTCfl imane, leM aMcjmôpaxHH, pa3Mepax pa3Haa (cTp. 40). ABTOP

Η

npocoflHTCCKaa npHpoaa peiH

Β 3THX

NOACHAET:

He cjieayeT ayMaTb, HTO npocoflHHecKHH crpoii ji3biKa Bceraa oflHopoaeH. Β caMOM sîMKe cymecTByeT HecKOJibKo craneK np0H3H0iiieHH» — οτ HeöpeacHO (fraMHJIbSpHOrO ("CKOpOrOBOpOHHOro") JXO "BblCOKOro" CTHJ1H TlHaTeUbHOfi nyÖJiHHHoft peiH. B3aHMOOTHOiueHHa Y^apHbix Η HeyaapHbix ΟΠΟΓΟΒ, rpaaauHH cHJibi yaapHbix η HeyaapHbix cjioroB 3aBHCHT οτ xapaxTepa pen« (cTp. 39). Pa3Hbie pa3Mepbi cooTBeTCTByioT pa3HbiM cranaM np0H3H0uieHHH (CTp. 66). Τ pH CymeCTByiOIHHe CTHXOTBOpHbie CHCTeMbl pyCCKOH n033HH COOTBeTCTByiOT TpeM CTHJiaM npoH3HomeHH« c HX xapaKTepHOft npocoflHeü (cTp. 65). AKaaeMHHecKaa ΓραΜΜαηχΐίκα pyccKozo H3bma, KJiaaa Β ocHOBy pa3JiHHeHHa CTHJieñ npoH3HoiiieHHa TeMn penn η TmaTejibHocTb apTHKyjiauHH, Btmejiaer

A E A O C H O B H H X CTHJIH —

CTHJie "τβΜΠ peHH CTaHOBHTCH

Β

IIOJIHHH Η

roií HJIH

pa3roBopHbiii.

HHOÍÍ M E P E

Β

ÜOJIHOM

3aMeaJleHHbIM

Η

npon3HomeHne KaK yziapaeMbix, TaK Η HeyaapaeMbix cjioroB GoJiee OTHeTJIHBbIM, XOTH pa3JIHHHH MOKZiy HHMH BCe ace COXpaHaiOTCH", Β pa3r0B0pH0M CTHJie "τεΜΠ peHH Β TOH HJIH HHOH Mepe yöbicTpaeTca, a neyziapaeMbie cjiorn no^BepraioTca 6ojiee

HJIH

MeHee CHJibHoñ icane-

CTBeHHOH Η KOJIHHeCTBeHHOH peAyKUHH". Pa3rOBOpHbIH

CTHJIB

HMeeT

ôojibixioe KOJiHHecTBo BapnaHTOB. Hapaay c npHMepoM npoH3HomeHHa "nojiHoro

cTHjia":

"3ztpa[B]cTByñTe,

AjieKcaHflp

AjieiccaH,apoBHH!"

npHBOflHTca η "cpeAHHH pa3roBopHbiñ BapHaHT": "3/ipacTe, AjibcaH AjibcaHH!" H "KpaÜHHH BapnaHT pa3roBopHoro e r a r í a " : "3apacb, CaH CaHH!" Β pyccKOM H3biKe, rae pa3HHua Μ Ο Κ Λ Υ Π Ο Λ Η Η Μ H pa3roBopHbiM CTWieM 0C06eHH0 pa3HTenbHa, pasroBopubifi CTHjib OTJiHHaeTca He TOJibKO H3MeHemwTMH Β 3ByKOBOM cocTaee CJIOB, HO HMeeT H CBOK» ocoôyio pHTMHHecicyio CTpyKTypy H cjioroBoe CTpoeHHe. 3TH Bonpocw oflHaico noxa eme coBceM He pa3pa6oTaHbi.7 H a 3ΤΗ-ΤΟ cBOHCTBa pyccKOH npocoaHH npoôyeT onepeTbca ToMameBCKHÍí, Hxoôbi rjiyöace pa3o6paTbca Β CTpyKType pyccKoro cTHxa.

Β

lacTHOCTH, Hflea pa3HonpHpoflHocTH üeycjioacHHKa η TpexcjioacHHica nojiynaeT Tenepb HOBoe 060CH0BaHHe. JJ,BycjioscHHK ocHOBMBaeTca Ha nOJIHOM CTMJle npOH3HOIlieHHH, TpeXCJIO>KHHK — TpeTba CTHxoTBopHaa CHCTeMa — aKueHTHbiH

CTHX

Ha pa3rOBOpHOM. MaaKOBCKoro

OCHO-

BbiBaeTca Ha "cTHJie npoH3HoiiieHHa, CBOHCTBenHoro HenpHHyac/ieHHOH, 4>aMHübapHOH öbicTpoH peHH" (CTp. 126). flae '

aHajiH3 ρπφΜ X V I I I Beica, ToMauieBCKHH πκπιετ: "M3 oÔ3opa

rpaMMamuKa

pyccKozo

hjukq

I (MocKBa, 1952),

CTp.

57-58.

71

ΤΗΠΜ CTHXA Η CTHJTH ΠΡΟΗ3ΗΟΙΗΕΗΗΗ íiBJieHHH ρ κ φ Μ Η

XVIII

eeica cjie^yeT, h t o

npoH3HomeHHe

β CTHxax

6HJIO " n o j i H o r o CTHJIH", TO ecTb HEYAAPHBIE c j i o r a np0H3H0CHjiHCb C TaKoií xce oTHeTJiHBocTbio, HTO H y a a p u b i e , Η KanecTBO rjiacHbix Β OÓIUCM coxpaHHJiocb Ha HeyaapHbix c j i o r a x τ ο « e , h t o η Ha y/iapHbix" ( ο τ ρ . 98). TaKoe

npoH3HomeHHe

craxa,

cBœaHHoe

c

TpaammflMH

XVII

Bexa,

ßOJBKHO 6hJIO "flOBOJIbHO ÖbICTpO 3BOJIK>UHOHHpOBaTb". "OflHaKO ΤβΜΠ pyccKOH CTHXOTBOPHOH

flemiaMaiíHH

ycTaHOBHJicH Haflojiro, H Topace-

CTBeHHa« HHTKa n o c j x o r a M C T a j i a 3aKOHOM < . . · > . He3aBHCHMO ο τ »caHpa, HTeHHe p y c c K o r o c r a x a OTJiHnajiocb ο τ p a 3 r o B o p H o ñ penn BaacHocTbio, BHaTHOCTbK), neBynecTbio, οτπετίΓΗΒΗΜ BbiaeJieHHeM Kaacaoro

cjiora"

( σ τ ρ . 101). H o Η Β nyuiKHHCKyK) a n o x y c r a j i b CTHXOTBOPHOH aeiuiaMauHH "6bIJI nOJXHblä, HCHblH, KaHCflblH CJIOr 3ByHajI nOJXHOBeCHo" (CTp. 108). XVIII

BCK Η n e p B a s noJiOBHHa X l X - r o

rocnoflCTBa —

flBycjiOÄHbix

—

BpeMa

n o HTM ΠΟΛΗΟΓΟ

pa3MepoB. O c n o B H a a npHMeTa

flBycjioacHHKa

Heo6H3aTeJibHOCTb yaapeHHH Ha CHJibHbix c j i o r a x . I l 0 3 T 0 M y

npoTHBonocTaBneHHe yaapHoro cjiora HeyaapHowy He oneHb pesKO

3ziecb (...)

ü m 6 m η xopeH npeanoaaraioT cjioroeyio H30xp0HH0CTb ( τ ο ecTb SKBHBajieHTHocTb cjioroB) (cTp. 46). T o , h t o yaapeHHe He oôœaTeabHO CBHsaHO c npeaCTaBJieHHeM o eaHHCTee rpymiM η cieT m m BeaeM HesaBMCHMO ο τ h h t c h c h b HOCTH yaapeHHñ, π03Β0τΐΗετ β «MÖax Η xopeax CHJibHO BapbHpoBaTb 3Ty cHJiy yaapeHHH Η ΤβΜ BHaOH3MeHHTb HHTOHaUHOHHblH pHCyHOK. ri03T0My «MÖbl Η xopeH Β KaaCflOM pa3Mepe HMeiOT HeCKOJlbKO ΤΗΠΟΒ CTHxa Β 3aBHCHMOCTH OT pacnoJiOHceHHH yaapeHHH Η rpynrmpoBKH cjioBecHbix coeflHHeHHH BHyTpn CTHxa (cTp. 47). Β cepeflHHe X I X

Bexa, KaK noKa3bmaeT ρ κ φ Μ Ο Β ί ο , npoHCxoflHT

"He-

KOTopbiH cflBHr Β npoH3HoiiieHHH CTHxa Β CTopoHy 6MTOBOH, p a 3 r o B o p ΗΟΗ peHH" (CTp. 114). C 3THM CBH33HO TO, HTO Κ Cepe^HHe BeKa npHBHBaiOTCH Η yace " e a e a JIH He r o c n o a c T B y i o T (HanpHMep, y H e K p a c o e a ) " r p e x c j i O Ä H b i e p a 3 M e p w (cTp. 113-114). Β

CTHxe TpexcjiosKHbix pa3MepoB

pe3K0 npoTHBonocTaBJieHw

yaapHbie Η

HeyaapHbie cjiorn. Β HHX Ηβτ H30xp0HH3Ma CJIOTOB. KeHHe (οτρ. 56). C T H X MAAKOBCKORO —

"HHCTHH PA3ROBOPHBIH CTHX" ( ο τ ρ . 40). Β HEM

oÔHapyacHBaeTca " o c o ô a a n p o c o a n n e c K a a CHCTEMA CTHXOTBOPHOH penn. KU0CTb

Booôme

HE

ajn>TepHHpy-

CIHTAETCA

yperyjiHpoBaHHbiM.

Yxœ

OTHOCHTejIbHOH

τρεχ-

CBOÖOflbl,

a

C ORPAHHHEHHHMH

Η

STOMy

cooTBeTCTByioT

Η

pyccKoro c r a x a " ( c T p . 6 5 ) . yneHHe o pyccKOM craxe, HacKOJibKO MHe H3Becrao, ocTajiocb HeoôcyacAeHHbiM. H H K T O He cojin/iapH3HpoBajic5i c H H M , H H K T O He ocnopHjx ero. rioJiaraio, HTO KOHuenuHH, 3aBepmnBLuaH aenTejitHOCTb oAHoro H 3 KpynHeìiuiHx pyccKHx cTHxoBeflOB, 3 a c j i y a c H B a e T pa36opa H

HCTopHHecKHe 3Tanbi Β pa3BHTHH HoBoe

OUeHKH.

Orviewy npexae Beerò, HTO BtmejieHHe rpex C H C T C M He aBHaeTCH pyccKoro C T H x a , KaK H 3 B C C T H O , BKJiJonaiomero

KAACCU rpaaauHH HX CHJIM, ôoraTCTBO HHTOHaUHOHHBLX BapnaUHH Β 3aBHCHM0CTH OT HHCJia, CHJIbt Η MeCT yflapeHHH, OT HHCJia, OUiyTHMOCTH H MeCT CJIOBOpa3AeJIOB. Ha KaKOM OcHOBaHHH Β. B. ToMameBCKHÜ CHHTaeT TpexcjioscHbiii CTHX MeHee yperyjrapoBaHHWM, 6ojiee CBo6oflHbiM, neM aBycjio>KHbiH? H a TOM OcHOBaHHH, HTo Β Tpexcjto»CHHKe B03M03KHM nponycKH cjiaôbix CJIOrOB. Ho CTHX, Β ΚΟΤΟρΟΜ HapHfly C TpeXCJIOHCHHMH rpynnaMH noHBJiHK)TcaflBycjioacHbie,— STO He TpexcjioacHbiñ CTHX, a AOJibHHK (o neM y»e cxa3aH0 Bbime), co CTopoHbi «e yaapeHHH TpexcjioacHbiñ CTHX öojiee CBH3ÜH, yperyjiHpoBaH, flaneic ΟΤ »CHBOH pena, neM ABycjioacmiK. Ηετοπκο H yTBepxcfleHHe ToMameBCKoro 06 "HCTOPHHCCKOH cMeHe rocnoACTByiomHx pa3MepoB" (cTp. 6 5 ) . BepHo, HTO TpexcjioacHbin CTHX CTaHOBHTCH nOJIHOnpaBHbIM Β pyCCKOH Π033ΗΗ Π033ΚΕ, HeM flByCJIO»CHMH, a aKueHTHbiH CTHX — 3HaHHTejibHo no3»ce, neM cTonHbiii CTHX. O/jHaico zocnodcmeyionfUM HH TpexcjioacHtiH, HH aKueHTHbiH CTHX He 6HJIH HH Ha KaKOM 3Tane, — Η noHbiHe flBycjioacHbie pa3Mepbi (ocoôeHHO HM6) ocTaioTc» ocHOBHbiMH pa3MepaMH, a aicueHTHhie — HaHMeHee pacnpoCTpaHeHHbiMH pa3MepaMH pyccKoro jiHTepaTypHoro CTHxa. Β. B. ToMameBCKHÌi CJIHLUKOM côjiHacaeTflBycjioacHbuiCTHX C cmuiaÖHnecKHM, npHnncbiBaa «MÔaM h xopesM paBHyio AJiHTejibHOCTb Bcex cjxoroB — yflapHbix H HeyaapHbix — Η Booöme "He oneHb pe3Koe npoTHBonocTaBJieHHe yflapHoro cjiora HeyaapHOMy". Ho Beflb sto Te »ce CBOHCTBa, κοτορωε Β. Β. ToMaiueBCKHH npHnncbiBaeT cmuiaÖHHecKOMy CTHxy. MONCHO JIH jiyMaTb, HTO HM6 — OCHOBHOH pa3Mep pyccKoro CTHxa — 6a3HpoBaH Ha caMOM HCKyccTBeHHOM crajie npoH3HouieHHa? Η HTO »ce ocTaHeTCH οτ Hflen o CBJBH ΤΗΠΟΒ CTHxa co CTH/IHMH npoH3HomeHHa, ecjra ABa TaKHX pe3Ko pa3JiHHHbix THna, KaK CHJiJiaÔHHeCKHÌÌ CTHX H KJiaCCHHeCKHH ZIByCJIOaCHHH CTHX HMeiOT OflHHaKOByiO npOCOAHK)? Meacay TeM, Β. B. ToMameBCKHÌi yKa3aji H Ha flpyrne CBOHCTBa ABycjio5KHbix pa3MepoB, yflaHHO HM noflMeneHHbie H npoTHBopenamne, KaK MHe KasceTCH, yTBepac/jeHHio 06 HX cjioroBoii H30xp0HH0CTH H cjiaöoM pa3jïHHHH Me»cay y/iapHMM H HeyaapHbiM cjxoraMH. ToMameBCKHÌi Be,m> roBopHT, HTO Heo6fl3aTejibHocTb MeTpHHecKHx yaapeHHH "n03B0JweT Β aMÔax Η xopeax CHjibHo BapbHpoBaTb cHjiy yaapeHHH" (cTp. 47). KaK

Β. ». ByXUlTAB

74

ace πρΗ cjiaôoM yaapeHHH MoaceT CHJIBHO BAPBHPOEATB ero CHJia? ΠρΗΤΟΜ AaBHo ycTaHOBJieHO — h ToMaixieBCKHH He pa3 ynoMHHaeT 06 3TOM — HTO Β pyccKOH penn yaapHbiH rjracHHH HMeer, πρκ προπΗχ paBHbix ycjioBHflx, 6ójn>myK) ,ηJTHTCJIBHOcTb, neM 6e3y,napHRH. H3BCCTHO Taicace, HTO H /uiHTejrbHocTb 6e3y/japHbix rjiacHbix cmibHO BapbapyeT H HTO ΒflJiHHecjiora HrpaeT pojib He TOJIBKOFLJIHTENBHOCTBrjracHoro. KaK ace Toraa B03M0acHa moxpoHHocTb cjioroB Β aMÖe H xopee? PaBHa» AJiHTeflbHocTb Bcex cjioroB ôbuxa 6bi 3^ecb He MeHbiiiHM HacHJiHeM Haa pyccKOH npocoaneii, neM το, κοτοροε HMejio MecTO Β CHJijiaÔHHecKOM CTHXOCJIOaCeHHH. MTO KacaeTca H3OXPOHHOCTH, —

HccjieflOBaHH» nocjieflHHx jieT CTHXOBblX CTpOK Β UejIOM;

HE

3KcnepHMeHTa.in>HO-OHeTHHecKHe

noflTBepacaaioT

H H30XPOHHOCTH

Te M ÖOJiee COMHHTeJIbHa

H30Xp0HH0CTb

CJIOrOB BHyTpH CTHXa.

OTMeny, HaxoHeu, ΗΤΟ Β CTATBE " K HCTOPHH pyccKOH pH

2 χ

ιπΗροκΗίί

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Bce

c j i o B a yKa3biBaioT Ha u e j i o c x H o e H Kaic-6bi 'icocMHHecKoe' BoenpHHTHe MHpa.

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3 χ 2 X

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CEOPHHK 'TRISTIA' OCHIIA MAHflEJlblUTAMA H e a e j i H n o HT M c o B c e M He B o c n p H H H M a e T c a

131

MaHAeJibiirraMOM,

aaHbi

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1 χ

Β n o J i e BpeMeHH, HecoMHeHHo NPEO6JIAAAET noHHTHe HOHH. F i o c h e 3ΤΟΓΟ, M a H f l e J i b i u T a M o T M e n a e T BpeMH, Kaic TaKOBoe, a Taicace onpeflejiëHHbiH e r o 0 τ ρ β 3 0 κ — Mac. H n r e p e c H o , ΗΤΟ ΑΗΗ HeflejiH, KaK n a c T b ofJxjfflaHajibHbix 6yAHeñ, AJÍ» H e r o He c y m e c T B y e T .

BpeMH « e

3pMTejIbHbIM BOCnpHHTHeM CBeTa H T a K H M lomeMy 3.3

cetviaHTHHecKOMy n o j i r o

ΠοΛε

ifeema.

ΑΗΗ CBH3äHo

06pa30M

— oKpacKe MoaejiH

co

CpOAHH CJiefly-

MHpa.

K p o M e UBCTOB pa^yra, AJIH MAHJJEJIBUITAMA BaxcHa

Hrpa cBeTO-TeHH, HHHMH cjioBaMH, pa3Hbie OTTCHKH ôejioro Η nëpHoro. ÖEJIBTH

9 χ

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11 Χ

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II,BETA PAXIYRH, HAIHHAN C HA3BAHHH —

KPACKA- Η CMECH-NECRPHFLB,

NËCTPBIH (BEE n o 1 x ) — NPEFLCTABJINIOT HHTEPECHYIO UBETOBYIO CXEMY: TËMHOÔYPWH

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JIIOÄMHJIA Α. ΦΟΟΤΕΡ

132

MTaK, β nojie uBeTa MaHflejibiircaM omymaeT β τβΜΗΟτε, Ha nëpHOM φοΗε, 3eJiëHHÎi h pa3Hbie o t t c h k h r o j i y ô o r o ueeTa. 3 τ ο npHflaëT MoaeJiH MHpa cypoByio, ποητη 3JioBemyio oxpacKy. 3.4

Ilone

3βγκοβ.

IloaTHHecKHH Mnp MaH/iejibnjTaMa nojioH 3ByKOB.

Π θ 3 τ BocnpHHHMaeT Hx oneHb ocTpo h aeiajibHO Hx KJiaccH hchbothhmh : meôeTaTb

1 χ

acyaofcaTb

1 χ

jiañ

1 χ

KyaaxTaHbe 3aBopKOBaTb

1 χ 1 χ

BnoJiHe oHeBH^Ho, μ το 3ByKH β MOflejiH MHpa MaHflejibuiTaMa aeTajibHO ΑΗφφερβΗηΗροΒ3ΗΜ h npeoÖJiaflaeT rapMOHHH.

133

CBOPHHK 'TRISTIA' OCHIIA MAHflEJIblUTAMA

3.5 Tlo/ie 3anaxa. OneHb HHTepecHO, mto 3anaxH coBepmeHHO oTcyTCTByioT β MHpe MaHfleJibuiTaMa. BcrpeiaeTCJi TOJibKO onpefleJieHHe caMoro ποηητηη: 3anax 1 x , naxHyTb 5 χ h jXHiiib nacTHMHO Bxoflamee β nojxe 3anaxoB, πρκτοΜ OTprnjaTejibHoe — nafl 1 χ η na^HTb 1 χ . OmymaeMbie 3anaxH BecbMa npo3aHHHbi: 3anax anejibCHHHoñ κορκκ, naxHeT xjieô, yKcycoM, Me/iyHHua, Tonojia, ahmom.

4.0 HEKOTOPWE 3AKJIIOMEHWÄ JleKCHHecKHe h ceMaHTHHecKHe ocoGchhocth c ô o p H H K a M a H f l e j i b Tristia BbmeJiaiOTCH flOBOJibHo othötjihbo h3 c o c T a ß j i e H H o r o c j i o B a p a 3HaqHMbix cjToβ c ô o p H H K a . Βο-nepBbix, c j i o B a c O T p m i a T e j i b 4.1

uiTaMa

HbiMH npHCTaBKaMH h O T p H u a e M b i e r j i a r o j i b i He y K a 3 b i B a i O T H a o T p n u a -

HHe

MHpa, a jraiiib npoBoflHT pa3rpaHHHeHHe Mexcay

iiostom η

ero

O K p y ^ e H H e M , TaK KaK o h He o r p i i u a e T h h n p e f l M e T O B , h h C B o e ñ aicTHB-

HOCTH.

Bo-BTOpblX,

HajIHHHe

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ΓΗ03Λ

flJIH

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noHHTHH y K a 3 b i B a e T Ha p a 3 H o c T o p o H H H H H H T e p e c κ h h m M a n a e J i b i i r r a M a

η

Ha M H o r o r p a H H o c T b e r o

ποηητηη,

BbiflCHHeT

MaHflejibuiTaMa: B03flyxa

h

βοοπρηηίήη.

B - T p e T b H x : nacTOTHbiH c j i o e a p b

Beerò n o r j i o m a i o T BHHMaHHe ηοηη η coJiHenHbrn CBeT, n p 0 3 p a H H 0 C T b cojiomw, K o c M H i e c i c o e OTflajxeHHe 3Be3flbi η

KOTopbie

6oJibuie

nepHOTa

peajibHocTb

KOHKpeTHOCTb 3eMJXH. Μ κ ρ 3 τ ο τ He TOJibKO c y m e c T B y e T — 6 b i T b , —

nOJIOH aKTHBHOCTH

— r J i a i O J I b l flBHHCeHHH,

HO

η

H H3flaëT rapMOHHieCKHe

3ByKH. T a K H M 0 6 p a 3 0 M , no3HTHBHoe yTBepacfleHHe M H p a n p e o ô j i a a a e T β c o 3 a a B m e f t c » nporaBonojioxcHOCTH.

CTPYKTYPA

CTAHCOB

C H A A

Β

PYCCKOM

ΠΕΡΕΒΟΑΕ

L. GÁLDI

,Π,Ο CHX nop OTHOCHTeJIbHO MaJIO rOBOpHJIOCb O COXpaHeHHH H H3MeHeHHH CTpyKTypw flaHHoro noflJiHHHHKa η Μκκροοτργκτγρ, HaxojiamHxca Β HeM BCJieflCTBHe a^anrapyiomero Tpyaa nepeBOflHHKa. Bee »ce HecoΜΗβΗΗΟ, HTO Ha ypOBHe CTHJIHCTHHeCKOH Biipa3HTejIbHOCTH ΠΟΗΤΗ Bee 3aBHCHT HMeHHO OT COXpaHeHHH HJIH nepepaÖOTKH 3THX M H KpOCTpyKTyp, HMeiomHx ocoßeHHyio Φυηκιιηκ) npeHMymecTBeHHo β nosranectcHX npoH3BeaeHHHX.

IT03T0My HaM KaxceTCH He6e3biHTepecHOH 3aAaneH

H3JI03KHTb, XOTH Η Β KpaT4äHIIieH φορΜβ, HaiIIH HaÔJnOfleHHfl Ha/I o6meH3BecTHbiMH CTaHcaMH KopHejiH (Le Cid, 1636) η HX pyccKHM nepeeoflOM M . JIo3HHCKoro (1938). HaM H3BecTHW, 6jiaroaap« jno6e3Hocra Kojuiera JT. HoBaK (KmuHHeß) eme a e e apyrne π3ραφρ33Βΐ CTaHCOB : MeTpHiecKHe, HO

HepH3H

jiHHHHKa.

CjieaoBaTejibHo,

BoceMbio ajieiccaHflpHHCKHMH

BOJibHbix

CTHXOB;

OTPAXCEHHH

HaM npaxo/urrca

n03T0My y

HHX H

CTPYKTYPBL

nofl-

cocpeaoTOHHTbca

Ha

nepeBOfle JIo3HHCKoro, οφορΜΛβΗΗΟΜ no o6pa3y no/yiHHHHica. Π ο TepMHHOJiorHH HTajibHHCKOíi ΜβτρκκΗ — KOTopan 6biJia xopouio H3BECTHA H BO O P A H U H H BO BPEMA BO3PO3KFLEHHH H NJIEAFLBI — CTAHC, T.E. KAAC^OE FLECARACRAMBE

canzone,

Β

(CT. 1-4),

chiave

κοτοροίί (CT.

MONCHO

5-6)

ROCNOFLCTBYET NPHHUHII (CT.

1)

COHETAETCH C

Cwjxa

PASJIHHHTT

strofa di nacra : fronte

τρκ

RJIABHBIX

coda (CT. 7-10). Β KAACJIOÑ NACRA ποΛΗΜετρκΗ: Β fronte NETBIPEXCTONHBIH « M 6 H

sirima

KAACFLBIII

ABJTAETCA HACTOAMEÑ

τρεινίΗ

HJIH

AJIEICCAHAPHHCKHMH CTHXAMH (CT.

2-4),

Β

chiave ANEKCAHÜPHHCKOMY CRAXY (CT. 5) nporaBonoeraBJieH TPEXCTONHBIÑ HM6 (CT. 6), a Β sirima HAXOFLHM 3 ΠΗΤΗΟΤΟΠΗΜΧ HM6A (CT. 7, 9, 10) η ΟΛΗΗ TPEXCTONHBIH H M 6 PACNOJIOACEHHH HOPM,

(CT.

8).

HJIEHEHHE FLECARACRAUIBH OTPAACAETCA η

ρκφΜ: a B B a C C d E d E .

nocjieflHHe ABa

CRAXA

οφορινυικιοτ

Β

K P O M E BBIUIEYKA3AHHBIX

Η BH/I JIERXO H3MEH5UOMEROCA

L. GÁLDI

136

pe(j)peHa:

BO BCHKOM

Chimène, KaK

cjiynae Kaacaaa

JKHTMOTHBOM

ΟΤΡΟΦΑ

3aKaHHHBaeTca

HMCHÊM

uejtoro jiMpanecKoro 3ira3ooa. Bee

3aaaHH« TpeöoBajiH ο τ nepeeoflHHKa ocoöoii

TCXHHKH Η

3TH

Hanparajm ero

«3HK0-cTHJiHCTHHecK0e BooöpaxceHHe. I Percé jusques au fond du cœur D'une atteinte imprévue aussi bien que mortelle, Misérable vengeur d'une juste querelle, Et malheureux objet d'une injuste rigueur, Je demeure immobile, et mon âme abattue Cède au coup qui me tue. Si près de voir mon feu récompensé, O Dieu, l'étrange peine! En cet affront mon père est l'offensé, Et l'offenseur le père de Chimène! ¿1,0 rjiyÔH cepflua nopaaceH CMepTejibHoio CTpenofi, HeamaimoH H JiyKaeoii, H a ropecTHyio MecTb nocTaBJieH Β ÔHTBe npaBoñ H e n p a e o f t ynacTMO TCCHHM CO Bcex CTopoH, Λ MeflJiK), HeflBHÄHM, H CMyTeH ayx, HeBJiacTHbift CHecTH yaap yacacHtifi. Ά Κ c M a c T b i o 6MJI TaK 6JIH30K, HaKOHeu,

—

O , 3JIHX e y a e ö Η3ΜΒΗΐ>Ι! —

Μ Β 3Τ0Τ ΜΗΓ MOÄ OCKOpÔJieH ΟΤΒΙΊ, M ocKopÔHBiuHM 6hji OTeu XHMeHbi. PyccKHH nepeB0fl4HK H

OTJIHHHO

coxpaHHjx cnHTaKcn4ecKoe HjieHeHHe cTHxa

BbipasHTejtbHocTb fljiHHHoro nepHoaa .no

(W W J- Ν -U I ) ~

MEFLJIK),

HEABHXCHM'

CJIOB

( -' -

'Je demeure immobile'

^ ; ^ ^ -).

MOTHB

'percé'

CTaji ôojiee κοΗκρετΗΜΜ Β pyccKOM nepeBoae: BbipaaceHHe 'cMepTejibHOK>

cmpeAoiï

TaKHce KaxceTca ôojiee TpaaHijHOHHMM

(CM.

CTpejibi

KynHflOHa ), NE M aôcrpaKTHoe H OTHOCHTejibHO peflKoe 'percé'. Xoporno coxpaHHJicK h CMMCJi CTpoKH 1,3; Β pyccKOM TeKCTe HaxoflHM τ ο » e npoTHBonocTaBjieHHe

ΠΟΗΗΤΗΗ

'juste'

H

'injuste', KaK

BO

HbiMH pt^MaMH 'abattue/tue'

(c KpacuBWMH onopHMMH corjiacHbiMH) ; nepeBojiHHK

Μονκετ 6biTb, coup ...') —

ΠΟΛ BJIHUHHCM TCMHOTO

—

TeMÖpa cjioBa 'coup' ('Cède au

npHÔerHyji κ noBTopy rjiacHoro y: 'c^yreH a y x ' ;

'yjiap

jxcacHMií'. Β CTHxe 1,7 coBpeMeHHbiH nepeBOflHHK Bbipaamica npocTO. Β 1776 r . KHHHCHHH n e p e e e j i CTHX /JOCJIOBHO n y T e M r a j u w u n 3 M a : ' K a c a a c b

macTHH MOÚ nAüMeub yeemamb'

(cp. 'couronner la flamme de qn.'). tÍ3

CT. 1,8 Hcne3Jio, κ coacajieHwo, BocKjrauaHHe Ό Dieu' (CM. y Jliaxaneea :

CTpyKTypA ctahcob ch^a β pycckom περεβολε

137

Ό ôoDKe, ôoMce ...'), ho Hejn>3« ynycTHTb h3 BH^y φεκτ, hto p ^ M a U3MeHbl / XuMeHbl 3HaHHTejIbHO OrpaHHHHJia KOMÖHHaTOpHbie B03M0HChocth

nepeBOflHHKa. Βοπρεκκ

sthm

tpyahocthm

coxpamuiHCb

η

KOHTpacT Meamy cjioBaMH 'offensé' h 'offenseur', h κοηιιοβκη 'le père de Chimène' (y - ^ ^ ^ - H ) ~ 'ôtrji otuom XHMeHbi'

^- ^ -

II Que je sens de rudes combats! Contre mon propre honneur mon amour s'intéresse: Il faut venger un père, et perdre une maîtresse. L'un m'anime le cœur, l'autre retient mon bras. Réduit au triste choix ou de trahir ma flamme, Ou de vivre en infâme, Des deux côtés mon mal est infini. O Dieu, l'étrange peine! Faut-il laisser un affront impuni? Faut-il punir le père de Chimène? X npeitaH BHyTpeHHeft Boitae; JIlOÖOBb MOJI H HeCTb Β 6opb6e HenpHMHpHMOH : BcTynHTbCH 3a OTua, OTpeibc» οτ jhoôhmoë! Tot κ MyaœcTBy 30Ββτ, TaflepxcHTpyKy MHe. Ho, hto 6 ά nu H36pan — CMemm» jnoôoBb Ha rope Hub npo3«6aTb β no3ope, — H TaM, h 3flecb Tep3am»jiM Ηβτ KOHua. O 3Jibix cyae6 H3MeHbi! 3a6biTb JTH MHe o Ka3HH Harjieqa? Ka3HHTb JIH MHe ΟΤΙ» MOeft XHMeHbl? Β CTpoKe 11,1 He περεΒε,αεΗ 3ΠΗτετ cjioea 'combats': BMecTO 'de rudes combats' JIo3hhckhh roBopHT o 'enympemeu 6opb6e'. HecMOTpK Ha 3ΤΟ H3MeHeHHe,flJIHHaH aBTOHOMHOCTb nepBOH CTpOKH COOTBeTCTByiOT noflJiHHHHKy, xoTH HCHC3 BOCKJiHuaTejibHtiH HioaHC npeflJioaceHHH. MoaCHO OUeHHTb H aBTOHOMHOCTb CJieflyiOIUHX flByX CTpOK, HO CTHX 11,4 noTepjui cboio 3aK0HHeHH0CTb, noTOMy hto cthxh 11,4-7 οφορΜπ5[κ>τ β pyccKOM nepeBOAe oahh nepHOfl, ocHOBaHHbiñ Ha TaKHx KOHTpacTax Kaic: 'Tom κ MyxcecTBy 3θΒετ, ma ÄepacHT pyKy MHe'. Kohcmho, no a BJWHHHeM TaKOH npOCTOH, HO COBCeM He np03aHHeCK0H φρ33ΗρθΒΚΗ HCHe3JXO Hanp. τηπηηηο KopHejibCKoe cjioBocoHeTaHîie 'triste choix', κοτοροε npnaaBajxo Bceñ οτροφε ποητη poMaHTHiecKyio OKpacKy; c apyroñ CTOpoHbi, οτ t o h ace hhtoheuhh ocTajiHCb κοΗκρετΗΗε cjieffbi β cjieayiomHx napajuiejibHbix φpa3ax: '... CMeHHTb jnoöoßb ho zope / Hjib npo3»6aTL· β no3ope — / H TaM, h 3flecb Tep3aHb«M Ηβτ KOHua'. Β CTHxe 11,8 yace He roBopHTCH TaK TporaTejibHo 06 'étrange peine', nepeeofliHic orpaHH-

L. GÀLDI

138

HHJiCH noBTopeHHeM CTHxa 1,8, ao6aBji«η κ HeMy — 6e3 ββοληβιχ cjiob 'faut-il' — flea napajiJieJibHbix pHTopunecKHx Bonpoca. Μ το xacaeTCH CMMCjia 3Toro 'faut-il', το OH noapa3yMeBaeTca η πρκ mtchhh (hjih aeKJiaMauHH) napajuiejibHbix KOHcrpyicuHH: '3a6wTb jih MHe ... Ka3HHTb Jin MHe ...' Bo BCHKOM cjiynae coxpaHHJica raaBHbiH sjieMeHT 3TOH οτροφυ: BbipaxceHHe MyacecTBa aaace β MOMeHTbi rjiyôoKoro aymeBHoro KOJieôaHHH. III Père, maîtresse, honneur, amour, Noble et dure contrainte, aimable tyrannie Tous mes plaisirs sont morts, ou ma gloire ternie. L'un me rend malheureux, l'autre indigne du jour. Cher et cruel espoir d'une âme généreuse, Mais ensemble amoureuse, Digne ennemi de mon plus grand bonheur, Fer qui causes ma peine, M'es-tu donné pour venger mon honneur? M'es-tu donné pour perdre ma Chimène?

Οτβιι, HeeecTa, necrt, jiioôobî., Bo3BL.niieHHaH BJiacTt, nto6e3Haa aepacaea! YMpyT Bee paaocra hjih nornÔHeT cjiaBa. 3flecb — h He β npaee jkhtL·, TaM — a HeciacTeH BHOBb ! Haaeacaa rposHaa «yiiiH ÔJiaropoacfleHHOH, H o TaK»ce h Bjno6jieHHOH, Men, MHe κ ÔJiaaceHCTBy nperpa/iHBUinü nyTb, C y p O B b l H B p a r H3MeHbI,

T b l npH3BaH JIH MHe HeCTb MOK> BepHyTb?

Tbl npH3BaH jih MeHS jmniHTb Xkmchh?

CoflepacaHHe οτροφω h HJieHeHHe φρa3 xopouio coxpaHeHbi; ncMe3Jio TaKoe ceMaHTHHecKoe BecbMa cjioxcHoe BbipaaceHHe KaK 'noble et dure contrainte' (cm. '2to3BbmieHHaa ejiacTb', c KpacHBoií ajuiHTepauneñ), ho BMecTo OKCHMopoHa 'aimable tyrannie' Bbipaacemie 'jno6e3Haa aepxcaea' xaxceTca He coBceM schhm h no MeHbmeii Mepe aey cMbicjieHHbim . OKCHMopoH h KOHTpacT KOJieöJiJOTCH Meacfly npomeaiUHM speMeHeM h 6yaymnM β CTHxe 111,3: 'Tous mes plaisirs sont morís' — ' Y M p y m Bee paaocra'. Β ayxe KopHejia nepeeeaeH ct. III,5 'cher et cruel espoir' — 'Hafle^caa rpo3Haa', ho bmccto KOHBeHUHOHajibHoro aöcTpaKTHoro TepMHHa 'fer' HaxoaHM 'Men', KaK 'cypoBbiñ Bpar H3MeHbi', cKopee β cTHJie JlepMOHTOBa, neM KopHejia. Bce-TaKH οτ CTHxa 111,5 chiave η sirima coeaHHeHbi β ο λ η η n e p H o a η β pyccKOM n e p e B o a e , β kohiic βτογο n e p H o a a c t o h t o n a T b a s a napajuiejibHbix B o n p o c a . Β 3 t o h kohiiobkü

CTPYKTYPA CTAHCOB CHAA Β PYCCKOM ΠΕΡΕΒΟΑΕ

139

6BH, KOTopyro a 3Hajo, Λ e ce paBHO reparo ! Y »tenu ace a ΜΟΓ 6H npeanoiecTb IIOCTblflHhlft nyTb H3MeHbI? CMejiefl, pyxa! CnaceM XOTH 6bi necTb, Pa3 Bee paBHO HaM He BepHyTb XHMeHbi.

140

L. GÁLDI

Ο ΐ ρ ο φ Η I V - V npOHBJIHIOT BHyTpeHHee H CTHJIHCTHHeCKOe eflHHCTBO : nocjie npoAOJDKHTejibHbix kojicóshhh ^ o h Ροαρηγο 3Aecb y3HaeT cboio HacToamyio pojib : kojih HyacHo, το xpaöpo yMepeTb corjiacHo c npaBHjiaM cpeflHeBeKOBoro pwuapcKoro 3THKeTâ. Bce-xce naeajin3aii;HH repoji 3axoflHT He cjiHiuKOM aaJieKO ; 3pHTeJiH nocTosHHo ynacTByiOT — πομτη âKTHBHo — β 3Τ0Η flyiiieBHOH 6opb6e : HyBCTByeTCH, ητο η nyôjiHKa Te χ BpeMeH, T.e. nepBoñ πολοβηημ X V I I - ο γ ο BeKa eme oacHAajia HfleajibHoft BbICOThl MOpaJIbHOrO C03HaHHH OT fleHCTByiOIUHX JIHU TpareflH« Β COOTBeTCTBHH C HX OÔmeCTBeHHblM II0JI03KeHHeM. HecMOTpa Ha TaKHe HeH36e)KHhie orpaHHieHHs apaMaTHHecKoro 3aMbicjia — (KOHeHHO, KopHejib eme He aHajin3HpyeT 6ojiee HejioBenecKHe 'cjiaôocTH' Φβ^ρω) —, η β stoh nacra MOHOJiora H3o6HjryíOT KOHTpacTHbie 3φφβκτκ: craxy 'Il vaut mieux courir au trépas' npoTHBonocraBjweTCH BOCKJiHuaHHe ' M o u r i r sans tirer ma raison'. Cm. h cthxh I V , 7 - V , 7 : ' M o n mal augmente à le vouloir guérir' — 'N'écoutons plus ce penser suborneur'. Bce s t h JiaKOHHHecKne BbicKa3biBaHHH npno6peTaioT Haaneacamyio φopMyJ^HpoBκy Taxace h β pyccKOM nepeeofle: TlycTb jiynine a He 6yay hchb' — ' H o yMepeTb c TaKHM c t h u o m ' ; 'HanpacHO MHe cnaceHb» BoawejieTb' — 'YacejiH ace h mot 6 h npe/monecTb / ΠοCTMflHbiH nyTb H3MeHM?' OneBHflHo, noHTH bo Bcex cjiyiaax nepeBoaHHK coxpaHHJi KpaTKOCTb H3Jio»ceHHa; KpoMe τογο, oh coxpaHHJi JiorunecKHe CTHXOTBopHbie ue3ypbi TaM »ce, rfle ohh OTMenaioT MjieHeHHe φρ33 y KopHejM. CjieayeT o6paTHTb ocoGoe BHHMamie Ha nepeBoa craxa I V , 5 ; β 3ΤΟΜ cjiynae pyccKHÜ TeKCT oKa3bmaeTCH ropa3^o Soiree κοΗκρετΗΜΜ h njiacTHHHbiM, »km aöcTpaKTHaa φopMy.π:a KopHejw: Ά mon plus doux espoir l'un me rend infidèle / E t l'autre indigne d'elle' — 'Ha^eamy MHJiyio OTBeprayTb pazm Mecra? / Haeex jimuHTbca necra?' BonpocHTejibHbiH xapaKTep pyccKHx npeftnoaceHHH ycHjiHBaeT BHyTpeHHioio OTHaMHKy BbipaaceHHa. JIorHHecKoe eflHHCTBo sthx στροφ noflHepKHyTo, KpoMe τογο, CHMMeTpHHecKHM noBTopeHHeM bockjihuehhh 'Allons, mon âme' ( I V , 9 - V , 9 ) ; β 3TOÍÍ φpa3e Βοπρεκκ ojiHueTBopeHHK) ποηητηη 'mon âme', npocToTa h ποητη npo3aHHHocTb cjioBa 'allons' BbicrynaeT KaK HeoxcHaaHHoe cpeacTBo 'HeraTHBHoii c r a m m u H H ' . Be3ycjioBHo, HeMaJia» flOJM xapaKTepHOH ziJia HcnaHCKoro TeaTpa HenocpeflCTBeHHocTH KpoeTC» β 3TOM caMOM 'allons' ; rjiaBHaa φορΜ3 MHoacecTBeHHoro Muoia, bhahmo oôpameHa κ oflHOMy JiHuy. Κ coacajieHHio, JIo3hhckhh He cyMeji nepeflaTb bck) ceMaHTHHecKyK) crpyicTypy BOCKjnmaHHH 'allons' ; BbipaaceHHe 'CMeAeü, ayiua' ocHOBbiBaeTca cKopeÈ Ha MOTHBe ojiHueTBopeHH» hjih, jiynme CKa3aTb, Ha oôpameHHH repoa κ caMOMy ce6e.

CTpyKTypA ctahcob chaa β pycckom περεβοαε

141

VI Oui, mon esprit s'était déçu. Je dois tout à mon père avant qu'à ma maîtresse: Que je meure au combat, ou meure de tristesse, Je rendrai mon sang pur comme je l'ai reçu. Je m'accuse déjà de trop de négligence; Courons à la vengeance; Et, tout honteux d'avoir tant balancé, Ne soyons plus en peine, Puisque aujourd'hui mon père est l'offensé, Si l'offenseur est père de Chimène. Ά 6biJi β paccyaice noMpaneH : Omy o6«3aH h nepeee, ΗβΜ jhoöhmoä; VMpy JiH a β 6οκ>, yMpy Jib, tockoh tomhmhü, Sí c κροΒωο HHCTOK) yMpy, KaK 6biJi posmeH. Moe h 6e3 τογο npe3MepHo HeôpeaceHbe ; EexcHM HcnoJiHHTb MiueHbe; H, KoneôaHbaM noJioacHB kohmi, H e coBepuiHM h3mchm : H e Bee Jib paBHo, pa3 ocKopôneH οτευ, Ητο ocKopÔHBuiHM 6biji OTeu XmvieHbi ! Mto xacaeTca nocjieaHeä ο τ ρ ο φ « , mu flOJixcHbi oöpaTHTb BHHMaHHe npeîKfle Beerò Ha CHMMeTpHHHOCTb cthxob IV,2 h VI,2: 'Je dois à m a maîtresse aussi bien q u ' à m o n père' — 'Je dois tout à m o n père avant qu'à m a maîtresse'. H β pyccKOM nepeeofle 3th cthxh coxpaHaioT Ty ace n a T e r a MecKyK) HHTOHauHK), cm. VI,2: Ό τ υ γ o6a3aH h nepeee, neM jhoôhmoh'. Β Kflbi cepfluy He HBCCTH" y BecTyaceßa). Y Pbuieeea H (OT Hero) y nojieacaeea 3 T H MOTHBbi ecmecmeemozo yendauuH ocjioacHaioTca M O T H B O M pa3onapoeamin β AIOÒHX: "onbiT rpo3Hbiil", "6biTb cocyaoM HCTHH TarocTHbix", "nmeiub, cyeTHWH, Jiro/iefi, a BCTpenaemb Tpynbi xjia^Hbie" y Pbuieeea, FLOKA3ATEJIBHA,

147

CEMAHTHKA AAKTHJIHHECKOH ΡΗΦΜΜ "rpo3eH npe^ajiH

yM,

pa30Hap0BaHHí.m

MeHH",

"JIKWH,

CBCTOM HCTHHH H a r o f t " ,

JIK>AH p a 3 B p a m e H H b i e !

..."

y

"flpy3b«

...

IIojiexcaeBa.

O T C K j f l a yace ΟΛΗΗ TOJIÍKO m a r a o rpaacataHCKoft T e M a r a K H : " H a c b i J i a e T CKaHaHHaBHH

BjiacTejiHHOB

Ha cjxaBHH" ( " B a ^ H M "

PtuieeBa),

"ΠρΗ-

TecHHTejiH Top>KecTByK>T Ha 3 e M J i e " ( ü o J i e a c a e B ) . H o 3 T a T e M a T H H e c K a a TeHaeHUHH pa3BHTHH He n o j i y i H j i a : r o c n o A C T B y i o m e H

ceMaHTHiecKoft

OKpacKOH p a 3 M e p a o c r a j i a c b a j i e r a n e c x a H T o c K a n o ö b i j i o M y . 5 J I i o ö o n b i T H o , HTO 3 a n p e ^ e j i b i 4-CT. x o p e » c e r o T p a ^ m i H e ñ 'ΤΟΜΗΟΓΟp e c T H b i x MyBCTB' AaKTHJiHHecKaa ρ κ φ Μ α

BbixoAHJia oneHb

ΗβοχοτΗο.

Β 4-CT. « M Ö e 3THX JieT Mbl HaXOAHM JIHUIb eflHHHHHbie OnblTbl ρΗφΜΟΒΚΗ Β Μ , Ο , Μ (^(yKOBCKHH, " M o T b i j i e K h UBCTW"; Λ 3 Μ Κ ο β , " Β a j i b 6 o M K . I I I . " ; EapaTbiHCKHH, " M w n b e M β ΛΚ>6ΒΗ o T p a e y c j x a f l K y i o . . . " — c x e M ace KOHTpacTOM n p o i i i J i o r o H ô y a y m e r o ! — H " / J a j i o a e e AOJIH n p o B H ^ e HHe . . . " ) ; BO B T o p o H n o J i o B H H e B e x a η 3 t h o n b i T b i n p e i c p a m a i o T C J i (BO BceÄ MÜAOÜ 6u6nuomeKe

noima

— j r a u i b ΟΛΗΟ C T H x o T B o p e H H e H . ß o ö p o -

j i K ) 6 o B a , / i a η τ ο h 3 Ceucmm).

3 τ ο τ p a 3 M e p , T a x π ρ η β η η η μ η HaM n o

" H e 3 H a K 0 M K e " B j i o K a , X I X B e x y 6 b i j i n y a c ^ . O c B o e H H e aaKTHJiHHecKoft ρ κ φ Μ Η pyCCKHM CTHXOM, BCe 6 o J i e e UIHpoKOe BO BTOpOH nOJIOBHHe X I X Β., — Ha 3TOM H H T e p e c H e i i m e M n p o u e c c e Mbi He HMeeM BO3MO)KHOCTH OCTaHOBHTbCJI, — COBepiUaJIOCb, Β OCHOBHOM, 3 a C4eT TpeXCJIOÄHbix p a 3 M e p o B , o c o ö e H H o ziaKTUJi». PHTMHKO-TeMaTHMecKaH

HHepuna,

3aflaHHaH s j i e r H i H O C T b i o

C K o r o , 3 a x B a T b i B a e T a a a c e c j i e a y i o m e e ποκοΛβΗΗβ ΠΟ3ΤΟΒ. Y

>KyKoeOrapeea

MM HHTaeM: " H j i b 6 o p b 6 a HeyMOJiHMa», M n j i a a p y r a y H e c J i a ? H j i b Te6e, MOS p o A H M a a , C HHM p a 3 J i y K a T s a c e j i a ? " (",Β(ΟΗ", 1 8 3 9 ) ; y H m c H T H H a : " H MeHH B e c H a n o K H H y j i a , MMJIUH a p y r MEHH 3 a 6 b i J i , C HHM MOH BCJI p a a o c T b MHHyjia, O H MOK> BCIO >KH3Hb c r y Ô H j i . . . " ( " H e p e M y x a " , y

HeKpacoBa:

"BcnoMHHaio

OMH HCHbie / J a j i b H e ñ

I l o B T o p a K ) cTaHCbi c T p a c T H b i e ,

4το

1854);

cTpaHHHUw

Moeü,

CJIOÄHJI K o r a a - T o eft . . . "

("Τρκ

sjierHH", 1874). B e c b 3ΤΟΤ 3MOUHOHaJIbHbIH φ θ Η 4-CT. x o p e a C ρΗφΜΟΒΚΟΗ

flMflM

c j i e a y e T npoHHO a e p x c a T b Β naMXTH, MTOÔH n o AOCTOHHCTBY o u e H H T b T y 'ceMaHTHHecFcyio p e B O j n o u H K ) ' , K O T o p a a n p o H 3 o m . u a Β 3TOM p a 3 M e p e Β 1850-1860-x

rr.,

teoria

HeKpacoB

H a n n c a j x HM B e m b ,

anaMeTpajibHo

n p o T H B o n o j i O Ä H y i o h n o T e M e Η n o TOHy — " K o p o ö e Ü H H K O B "

(1861):

" O f t , n o j i H a , n o j i H a K o p o ô y u i K a , E c T b h CHTUH h n a p n a , n o a c a a e f t , m o » 3a3Ho6yuiKa, M o j i o a e u K o r o n j i e i a ! " 3 τ ο — xapaKTepHeftuiHH o 6 p a 3 e u 5 BnepBbie coriocraenji Μβτρκκγ (HO He TeiuaTHKy) Ηβκοτορκχ craxoTBopemrä 3 τ ο ή TpaflHUHH H. H. P03aH0B, "JlepMOHTOB Β HCTopHH pyccKoro CTHxa", Jlumepamypuoe HacAedcmeo 43-44, c t p . 456-457.

148

M. JI. ΓΑΟΠΑΡΟΒ

Tex nepeMeH Β pyccKOM c r a x e ,

κοτορωε

nprniecjia

c

coôoii

anoxa

peaJiH3Ma. ü e p e x o a ο τ KJiaccHUH3Ma κ poMaHTH3My CKa3ajics Β Μ β τ ρ κ κ β pe3KHM paciiiHpcHHeM p e n e p T y a p a CTHXOTBOPHMX p a 3 M e p o B ;

nepexofl

ο τ poMaHTH3Ma κ peajiH3My CKa3ajica Β Μετρπκε pe3KHM pa3pbiBOM TpaaHUHOHHbix CBH3eH ΜβτροΒ c acaHpaMH H TeMaMH.® K o m a H e K p a c o B nHcaji p a 3 M e p o M JlepMOHTOBCKoro " C n o p a " , paacHÍj",

a

pa3MepoM

"^BeHazma™

rocnoAHH

/^ojiroB,

C

cpeACTBa

pyccKoro

craxa

" I l a p e H b 6biJi

cnamHx

flee"

HceHOH H flOHKOH H a f l e ñ " , He

MeHbiiie,

neM

— —

Bamoxa

"5KHJI OH

Koma-To

Ηβκτο

oôoramaji

ÜCyKOBCKHH,

BnepBbie ΒΒΟΛΗΒΙΙΙΗΗ Β ΗβΓΟ ÖajIJiaAHblH 3Μφκ6ρ3ΧΗΗ H 4-3-CTOIIHbIH ΗΜ6. ΤΟ »ce c a M o e ziejiaji H e K p a c o B H n e p e H o c a ajierHiecKHH p a 3 M e p "OTbiMaeT

HaiiiH p a a o c r a

..."

Ha a e e

HeoacHflaHHO

HOBbie

οφερυ

ΙφΗΜβΗβΗΗΗ — Ha KpeCTbSHCKHH 6 t I T H Ha ΙΟΜΟρ. IlpHMeHHTejibHO κ KpecTbHHCKOMy 6biTy KJiaccHxoñ Harnero p a 3 M e p a ocTajmcb C.

"KopoóeiÍHHKH"

flpoacxcHH);

(HM

noapaxcaji

Β

no3Me

"^yHHiua"

Η

oflHaKO oneHb BaxcHbi e m e flBa CTHXOTBopeHHa, KaK 6bi

CBH3biBaiomHe Hoeyio CTa^HK) e r o ôwTOBaHHH c npeacHeñ. B o - n e p e b i x , 3TO " B j i a c " (1854-1855) — c m x o T B o p e H H e c Tpa/iHUHoHHMM fljia Harnero p a 3 M e p a KOHTpacTOM npoiuAoao jmpHHecKoe, 'npouiJioe'

a

—

annnecKoe, MpaHHbiM, a

Η,

Η Hacmoniyeeo,

HO CTHxoTBopeHHe He

Β OTJIHHHC ΟΤ Tpa^HUHH,

'HacToamee'

—

pncyiomee

npocBeTJieHHbiM.

Η

BO-

B T o p w x , STO " ü e c H a E p e M y u i K e " , r a e nojieMHKa H e K p a c o e a c s j i e r n necKOH Tpa/muHefi oÖHaaceHa ao

n p e a e j i a : n e p e a a necHa, CKopÔHaa Η

yHbiJia«, KaK 6 w TpaHcnoHHpyeT Ha KpecTbHHCKyio TeManiKy npe)KHioK> 3JierHHecKyK) r p y c T b , B T o p a a C ee Bbi3biBaiomHM ΟΠΤΗΜΗ3ΜΟΜ BWABHr a e T HOBbie MOTHBH, KOHTpacrawe Η n o HfleaM Η n o SMOIXHHM. Π ρ Η MenaTejibHO, h t o y npofloJiacaTejieñ H e x p a c o e a

1870-1880-x r r .

ÔOflpblH

a

ΟΠΤΗΜΗ3Μ

HCCHKaeT ßOBOJIbHO

paHO,

STOT

CKOpÖb AepXCHTCH

προΗΗΟ — rpa^HUHH sjierHHecKoro H a e r p o e H H » CHJibHa : " H 6 h u i a , MOJÍ, CMeJiocTb ô o H K a a , fla 3 a T o n T a H a c y f l b ó o ñ ; H 6biJia, MOJÍ, BOJIH CToiÍKa«, flapa3ÖHTa3JIOHHyxcAoñ

..." ( M . C y p H K O B , " Π Ο Κ Ο Η Η Η Κ " ) ; " P a 3 b i r p a ñ c a ,

H e n o r o f l y u i K a , B e T e p , * a j i o 6 H O 3 a B o ñ , Μ τ ο n p H i n j i a KO MHe H e B 3 r o ayuiKa, Η ΠΟΗΗΚ « TOJIOBOH . . . " ( C . ^poacxcHH, " J l y i H H y i i i K a " ) ; " / J a e a T r p y f l b pbiaaHbH CTpacTHbie, B c T a j i a jiyM ΜΗΤΟΚΗΜΧ p a T b . . . Π ρ κ χ ο Λ Η , Mon n p e K p a c H a a , B M e c T e MbicjiHTb H c r p a a a T b ! "TpeBora").

Ho

Β

u e j i o M 4-CT. x o p e ñ

c

ΡΗΦΜΟΒΚΟΗ

..."

(Π.

ΛκγδοΒΗΠ,

flMflM He c p o c c a

npOHHO C KpeCTbHHCKOH TeMaTHKOH; 3fleCb OH CHJIbHO oTCTynaeT n e p e a 4-CT. XOpeeM CO CIUIOIHHblMH flaKTHJIHHeCKHMH OKOHHaHHHMH Ä A A A •

Cp. IO. THIMHOB,

Apxaucmbi u Hoeamopu (JleHHHrpaa, 1929), cTp. 402-403.

(c

149

CEMAHTHKA /JAKTHJIHHECKOH ΡΗΦΜΜ

ΡΗΦΜΟΒΚΟΗ αβαβ, χαχα, ααββ; STO — "Hjn>H

MypoMua",

He

pa36aBJieHHHH

ΗΤΟ

HHoe, KaK

pH(j>MaMH),

»ce

TOT

JiyHiime

pa3Mep

o6pa3mJ

κοτοροΓο aaji TOT »ce HeicpacoB Β "OpHHe, MaTepn coJwaTCKOH", "KajiHCTpaTe", " ß y M e " ("CTopoHa Haina y ö o r a a . . . " ) , H κοτορΗΗ c r a j i 3aTeM caMHM Χ Ο Λ Ο Β Η Μ pa3MepoM y ΗΗΚΗΤΗΜ, CypHKOBa, flpoacacHHa Η ΠΡΟΗΗΧ Π 0 3 Τ 0 Β , BbipaÖOTaB CBOK) CHCTeMy MeTpHKO-CeMaHTHHeCKHX HITaMnOB, Ha KOTOpOH 3flfiCb OCTaHaBJIHBaTbCH Mbl He MoaceM. Β lOMOpHCTHHeCKOií Π033ΗΗ CepeflHHbl X I X Β. OflHH H3 ΠβρΒΜΧ 06pa3H0B Harnero pa3Mepa TaK»ce flaJi H e K p a c o B : STO

"OnjiaHTpon"

( 1 8 5 3 ) : " H a c T H i o n o r j i y n o ñ HCCTHOCTH, S a c r a t o n o npocTOTe I l p o n a g a i o Β

HeH3BecTH0CTH,

BJIHHHHe

IIpecMbiKaiocb

, ϋ Μ , Π , Μ ( ' T o B o p y H " η Τ.Π.) — 4-CT.

Β

HHmeTe!

...

3fleci>

HecoMHeHHo

'BOfleBHJIbHOro' Η 'φβ^βΤΟΗΗΟΓο' 3-CT. HMÔa C

xope»

Ha

"aHaKpeoHTHKH"

BceM

npoTaaceHHH

X V I I I B.) x o p o i i i o

y KypoHKHHa ( " . . . A x ,

ρΗφΜΟΒΚΟΗ

ceMaHranecKaa 6JIH3OCTI> 3-CT. HMÖa h HCTOPHH

H3BecTHa.

pyccKoro

CTHxa

Mu HaxoflHM Haiii

3 a i e M »ce s HHTEJI T o c n o a H H a

(c

pa3Mep

AcKoneHCKoro

Ha3HaaTejn>HHii acypHaji!"), y rojibUMHJUiepa ("MeM He rpaacflaHHH?"), y

,£(o6pojiío6oBa

("Cpe^î»

ΑκροποΛ»

pa36HToro"

—

c

omyTHMoñ

napoflHeñ Ha s j i e r H i e c K y i o T p a / u m m o ) , y A . K . T o j i c T o r o ("Pa3HBix JICHT c x B a T H J i O H p a a y r y . . . " — c ôjiecTHiioiMH AaKTHJiHHecKHMHco3ByiHÄMH); j n o ô o n w T H o , H T o TOT »ce A . K . TOJICTOH npHMeHHeT TÔT »ce pa3Mep h Β

naTeTHHHeñineM MecTe "HoaHHa flaMacKHHa" ("TOT, kto c B e i H o i o ohcbhaho, CTapaa h HOBafl

JXK)6OBHK) Bo3flaBaji 3a 3Jio a o ô p o M . . . " ) — ceMaHTHHecKaa

TpaflHHHs Β S T O M

pa3Mepe

cymecTBOBajiH

CTOJib »ce pa3flejibHO, CKOJib H AJIÍÍ H e K p a c o B a , aBTopa H

fljia

Hero

"Kopoóeñ-

ΗΗΚΟΒ", H " T p e x SJierHñ". 3 n o x a MoaepHH3Ma He c T a j i a STanoM Β pa3BHTHH Harnero p a 3 M e p a : IHHpOKHe SKCnepHMeHTbl C HOBbIMH MeTpaMH, pHTMaMH H ϋΤρθφ3ΜΗ OTBJieKaiOT BHHMaHHe nOSTOB OT CKpOMHOrO 4-CT. x o p e a C ρΗφΜΟΒΚΟΗ J Í M ^ M . M s flByx y»ce BbiflejiHBuiHxca ceMaHTHnecKHx Tpa/wuHH BpeMH HBHO rocnoflCTByeT CTapmaa, sjierHHecKaa : KOHCBCKOH

B

STO

πκπιετ

" C xoJioflHoii BOJIH" ( " C e p f l u e HoeT, KaK 6e3yMHoe, BHCMJIH »CH3HH Β Heôecax . . . " ) , ΙΟΗΗΗ B p i o c o B —

"YHbiHHe" ( " C e p / m e , nojiHoe yHbiHHeM,

OÔOJIBCTH JiyHOM JIK)6BH" ...). JIlOÖOHblTHa 3BOJIK5UH«: 3ÜOXa )KyKOBCKoro noanepKHBajia n p e » m e Beerò MOTHB pasonapoBaHHH B npouiJioM, s n o x a 70-80-x rr. —

MOTHB TOCKH h yôo»cecTBa b HacTOHiueM, HOBaa

s n o x a — MOTHB cHa h 3a6BeHHH b ö y a y m e M . y »ce y JIOXBHHKOH w r a e M : " J l a r , ycHH, 3 a 6 y ^ b o cnacTHH. Κ τ ο 6e3M0JiBeH — yxoflHT

6e3

yiacraa,

H o Mb 3a6eeHbeM

noflapHT

TOT 3a6wT. /JeHb ...". y

Bjioxa :

"B

roJiyôoH AajieKOH cnajiemce T B O Î Î peôeHOK ΟΠΟΗΗΛ. THXO BWJie3 KapjiHK

M. JI. ΓΑΟΠΑΡΟΒ

150

MAJIEHBKHH, M n a c b i OCTAHOBHJI . . . " ( C p . TAIE*E — HECMOTPA HA OTKJXOHeHHfl OT x o p e a — " Π θ 3 Α Η β ϋ OCeHbK) H3 r a B a H H . . . Β CaMOM HHCTOM, c a M O M HexcHOM c a B a H e , C j i a f l K o j i b cnaTb Te6e, M a T p o c ? " ) . H a K O H e u , y B e p u M H Ö e p : " ß e H b OKOHHCH. / ^ e j i a T b H e l e r o . B e n e p C H e a c H o - r o J i y ö o f i . Xopouio

y i o T H b i M B e n e p o M H a M ô e c e a o B a T b c TOÔOH . . . " . 3 T H M ace

p a 3 M e p O M H a n n c a H O OflHO H3 JiyHllIHX CTHXOTBOpeHHH Φ . C o j i o r y ô a j n o Ö B H - c M e p T H : " B o r a MHJIOTO, i c p b u i a T o r o O c T o p o x c H e e 3 0 b h

o

...".

Β coBeTCKyK) s n o x y 3Ta 3JierH4ecKaa Tpa^Huna Β H a i i i e M pa3Mepe OTHK>Ab He OTMHpaeT : Γ . CaHHHKOB π κ ι ι ι ε τ HM " I l p o m a H H e c KepocHHoBOH JiaMnoñ" ( " 3 a OKHOM c o ö o p o B 30flHecTB0 Be3 KpecTOB H 6e3 orHeñ. Ά 3aTenjiHji Β oflHHOiecTBe JlaMny IOHOCTH Moefi . . . " ) , a CTpoHocTb. H o

β

Bpiocoe

tcpmhhm

HexcejiaTeJibHbie a c c o a n a u m i

oTBeiaiomHMH cyTH ßejia TepMHHaMH Haa'

153

METPHKH

h m . B . H . JIcHHHa ( f l a n e e O P Γ Β Λ ) ,

φ. 386, KapT. 3,

r. oh β cbh3h c 3TKm cthxom n p j i M O n o j i e M H 3 H p o B a j i c hto "bchkhc πηρρηχηη M o r y T 6 b i T t hyîkhw n o s T y " h M02KH0 A a B a T b KJiaCCi^HKaUHlO, HO HejIb3H a a e a T b OUCHKH H

1897

yTBepacflaa,

φορΝΜΜ

CTHxa

n p e a n H c a H H H , " y c T a H a B J i H B a T b 3 a K O H t i " ( m a M otee, K a p T . 3 , e a . 1 3 , ji. 4 5 0 6 ) . 10

O P T E J I , φ. 386, KapT. 38, e a . 1 9 h (oT^eirtHbie KycKw) e a . 24.

154

C. Η. ΓΗΗΛΗΗ

HEÑ HMCHHO T y " M e T p H i c y " , H a f l κ ο τ ο ρ ο Η OH p a ô o T a j i Β B a p n i a B e 1 1

Ha

p y ô e a c e 1 9 1 4 - 1 9 1 5 I T . , 3 a a o J i r o ΛΟ n e p B M x ΟΠΒΙΤΟΒ n p e n o f l a B a T e J ü C K O H flearejibHOCTH.

pyccKozo

Eme

cmuxa.

κ

6ojiee

PAHHEMY

CucmeMammecKuü

BPEMEHH

Kypc.12

H

OTHOCHTC»

Ta,

Η

3ΟΚΟΗΜ

flpyra«

PACCMATPHBAJIHCB a B T o p o M He KaK y i e Ô H H K H , HO TOJIBKO KaK

KHHra

Teopera-

necKHe p a ô o T W , ' y n e Ô H H K O M ' ace B p i o c o B c i H T a j i CBOK> G y f l y m y i o K H H r y j i H U i b n p H c a M O M 3 a p o Ä ^ e H H H 3 T o r o 3 a M b i c j i a Β 1898 r . , K o r ^ a c a M ÖBIJI e m e CTYAEHTOM, HO 3ATO Η HA3BIBAJIACB o H a T O R ^ a He

cmuxa

Η He

Ηαγκα o cmuxe,

a

YueónuK

3aKomi pyccKozo

cmuxomeopcmea.13

K a K ΒΗΛΗΜ, Η

x p o H O J i o r H H e c K H He n p e n o A a B a H H e o 6 y c j i o B H J i o r e o p n i o , a Β OCHOBHOM cKHOCTI>

onpeaejiHTb

159

aaHHOM pa3Mepe, Hapjmy c

Β

ΠΟΗΗΤΗβΜ BblBO^a 'φορΜΜ pHTMa' H3 'MeTpa', nOHHTHe BhlBOaa H3 npOH3BOJIbHOH φορΜΜ

3ΤΟΓΟ

pa3Mepa. 2 9

Β

TaKOM Μ0ί(ΗφΗυΚρ0Β&ΗΗ0Μ

BbiBo^e 'HnocTaca' CTaHOBHTca yace He o p y / m e M nepeiHCJieHHH ecex ' φ ο ρ Μ ' , HO CpeaCTBOM Iipe06pa30BaHHS OAHOH KOHKpeTHOH φορΜΒΙ (Hanp., noneMy-jraöo He yflOBJieTBopHBiuero n o s T a pe3yjibTaTa 'TBopHecKoro 3 T a n a ' 3 0 paôoTbi) Β BATBCK

KAK O C H O B H O H

(HO ne meopnecKozo)

flpyryio

3JIEMEHT

amana

o6oco6jieHHoií paGoTbi

φ o p M y ) T.e. MoxceT p a c c M a i p H -

cmmemmecKoH

paôombi

HAA P H T M O M

nodma

Modenu

mexnmecKoeo

Had pumMOM.

31

FLOCTATOHHO

pe/ικΗ,

H

Cjiynan noJiHocTtio

TaKOH 'MOflejIblO MOHl^HlIHpOBaHHOH HnOCTaCbl' OXBaTblBaiOTCS TOJIbKO HcnpaBJieHHa -rana c j i e a y i o m e r o BBeaemia ceepxcxeMHoro yaapeHHH y JlyroBCKoro: " T o M y , κ τ ο CHOBa

ΠΟΒΤΟΡΗΤ

CKHTaHba" ("KaK κ

IUIMJI

BMecTe c OflHCceeM", 1943 — MauiHHoiracb Β apxHBe nosTa) — "TeM, κ τ ο KaK npeacfle

ΠΟΒΤΟΡΗΤ

CKHTaHb»" (oKOHiaTeJibHtm τ ε κ ο τ n o s M t i

"KaK HejioBeK njibui c OßHCceeM", 1957 — Β. A . JlyroBCKoñ,

Cepedma

ββκα, MocKBa, 1958, σ τ ρ . 27). Bee »ce Taxa« M o / i ^ H K a u H « GpiocoBCKoro ΠΟΗΗΤΗΗ

'nnocTacbi' npeflCTaBJxaeT ΗεκοτορΜϊί HHTepec, H 6 O

HMCHHO

" Cp. C00TH01116HHC ΠΟΗΗΤΗ0 "jJOKa3yeMOCTn" H "BblBOflHMOCTH" Β HCHHCJieHHHX MaTeMaTHiecKoö ΛΟΓΗΚΗ (C. Κ. KJIHHH, Beedeuue β MemaMameMammy [MocKBa, 1957], CTp. 78, 82-83), a raxxe "φ-aepnBamm" H "ψ-aepuBauun" Β H . XOMCKHÄ, "O ΠΟΗΗΤΗΗ 'npaBHjio rpaMMaTHKH'", Hoeoe β AumeucmuKe I V (MocKBa, 1965), CTp. 39. 3aMeHa O/IHOCTOPOHHHX npaBHJiraiocTacHpoBaHH»HaflBycTopoHHueBooôme caejiana 6w KAAMYIO " φ ο ρ Μ γ " aaHHoro pa3Mepa ΒΜΒΟΛΗΜΟ0 H3 JIK>6O8 apyroä " φ ο ρ Μ Η " 3ΤΟΓΟ ACE pa3Mepa. 30 EprocoB roBopHJi O TsopiecKoñ Η TCXHHHCCKOÍÍ CTopoHax nosTMecKoro HCKyccTBa (Β. Ά. Epiocoe, PeMecAo nosma, crp. 295), STO IHCTO jiorHiecKoe aenemre. JJ,jia HarjiHflHocTH ΜΗ roBopHM 3,necb 06 3Tanax, xoTH TaKoe xpoHononwecKoe flejieHHe, oneBnnHo, τβΜ MeHee eeposTHO ana roma, ieM 6ojiee aBT0MaTH3Hp0BaHHblMH Η n0aC03HaTejH>HMMH (CJiefl., CJWTbIMH C TBOpiCCTBOM) HBJIHIOTCJI βΓΟ TexHHiecKHe HaBbiKH ("πρκ 3Hamm TCXHHHCCKHX 33ΚΟΗΟΒ cBoero pernecjia no3T CTaHOBHTca «eñcTBHTeJibHo rocnoAHHOM CBoero H3bnca" — Β. Ά. BpiocoB, PeMecAo nodma, CTp. 314). KcTaTH, ToMameBCKHü, roBopa, HTO H3 "TBopiecKoñ KOHuemum BpwcoBa BbiTeKaeT Heoöxo/iHMocTb royiemiH, T.e. ncumoro oco3HaHHa TDopnecKHx npHeMOB" (Β. B. ToMameBCKHfl, "Banepnü Eptoccm κβκ CTHxoBea", CTp. 320), HecKOJibKo ByjibrapH3HpoBaji 6piocoBCKHe Β 3 Γ Π » Λ Η Ha 3aTpoHyTyro npo6;ieMy. Hayna, no EpiocoBy, H3yiaeT Bee (Β. Λ. EpiocoB, PeMecAo nosma, CTp. 297), Β TOM HHCJie Η T B O p n e C T B O , HO O " n p H e M a x " BpiOCOB rOBOpHJI TOJTbKO n p H M e H H T e J J b H O κ TexHJwecKoÄ cTopoHe, o npiieiviax ace TBopieerea, a τβΜ 6ojiee 0 6 HX ΠΟΛΗΟΜ 0C03HaHHH, y Hero Ηβτ Η peiH. 31 JlerKOCTb onHcaHHoro npeo6pa30BaHHH Τ Ρ 3 Η Σ Φ 0 Ρ Μ 3 ΐ ΐ Η 0 Η Η 0 Ϋ nopoxmaiomeü MOflejiH pa3Mepa Β MOÄCJIL· cHHTe3a OTflenbHbix φορΜ oÖMCHHeTCJi, no cymecTBy, KOHeiHOCTbK) KajKfloro OTaejibHoro MoaenapyeMoro pa3Mepa. Cp. c nojioaceHHeM Β ecTecTBeHHbix subiicax, rfle A N « BO3MO»HOCTK KOHeiHO-aBTOMaTHOH armpoKCHMainra HC-rpaMMaTHKH TpeöyeTca orpaHHHeHHe iHCJia caMOBCTaeneHHä — H . XOMCKHÜ, "Ο ΠΟΗΗΤΗΗ 'npaBHJio rpaMMaTHKH' ", CTp. 35 H crp. 43-46.

160

C. Η. ΓΗΗΛΗΗ

ee npezmojiaraiOT cjibmiaHHbie HaMH ο τ p j m a

n03T0B-nepeB0aHHK0B

(KaK H3BCCTHO, β n e p e e o a e TexHHHecKaa CTopoHa π ο 3 3 η η BwpaaceHa OCOÔeHHO CHJIbHO Η ΗΜβΙΟΤ fleJIO n03TI>I-nepeB0AHHKH ΗΜβΗΗΟ C CHHTe30M — co^epacaHHe ace, B o o ö m e r o B o p a , 3aaaHO nepeBO^HMbiM t c k c t o m ) npH3HaHHH, HTO ôpiocoBCKHe ' a n o c T a c b i ' —

Hanöcmee yaoÖHa» β h x

npaKTHKe craxoBeflHecKa« T e o p a a . PaCCMaTpHBaJl JIB B03M0)KH0CTb TaKOH MOflH(|)HKâLlHH CaM EpiOCOB, MONCHO 6 y a e T β β μ ο η η τ β , Tojibxo e c j i a HañayTCH 3anHCH e r o ceMHHapCKHX 3 a H H T H Ä , Ha KOTOpHX OÔCyJKflaJIHCb H 'peflaKTHpOBaJIHCb' c t h x o TBOpeHHH CTyfleHTOB.

O PMTME PyCCKOH XYAOíKECTBEHHOÍÍ ΠΡ03Μ

Μ. Μ. ΓΗΡΠΙΜΑΗ

P h t m npo3bi oMCHb Majio H3yneH, h Β HacToamee BpeMH He cymecTByeT eAHHOH H onpeflejreHHOH ero TPSKTOBKH. Bnojrae OHCBHÜHO, HTO ero cneuHijwHecKHe KanecTBa He MoryT 6ΜΤΒ HCTOJiKoeaHW c noMombio XapaKTepHCTHK, ΠρΗΜβΗΗΜΗΧ Κ CTHXOBOMy pHTMy. Β np03e HeT HH aKueHTHpoBaHHOH paBHOMepHOCTH peneBoro HJieHeHH», HH nocjie,noBaTeJibHo npoBeaeHHoro H HenocpeacTBeHHo BbipaxceHHoro npHHUHna noBTopa, KOToptiH oxeaTMBaeT Η conocTaejiaeT Bee sjieMeHTM CTHXOBOÍÍ crpyKTypbi. MHTOHauHOHHo-CHHTaKCHHecKHe napajuiejiH Η apyrne BHflbi ποΒτοροΒ MoryT npncyrcTBOBaTb Β xyzioacecTBeHHoñ npo3e, HO He KaK HopMa, a KaK 6ojiee HJIH MeHee HBHAA TeimeHUHH, ΠΡΚΠΕΜ pa3Hbie ΒΗ/Π>Ι ποΒτοροΒ ôecnpepbiBHO CMeHHioT xipyr iipyra Ha npoTaaceHHH ΟΛΗΟΓΟ Η ΤΟΓΟ

ace TeKCTa.

Β το ace BpeMa H 3MnnpHHecKHe HaÔJiiofleHHa, H MHoroHHCJieHHbie BBICKA3BIBAHHA

nncaTejieñ — N P 0 3 A H K 0 B H, HaKOHeu, CTaracTHHecKHH

aHajffl3 oÔHapyacHBaiOT CTpyKTypHyio CBoeoôbiiHocTb xyaoacecTBeHHoii np03bl H, Β HaCTHOCTH, ee pHTMHHeCKHe OTJIHHHH OT H a y M H O H , JieJIOBOH, pa3r0B0pH0H p e í a . HcxoflH H3 npejinojioaceHHa o tom, h t o CHHTarMa HBjiaeTca e^HHHueii peneBoro pHTMa, a "sjieMeHTapHbiM HJICHOM 3Toro

pHTMnnecKoro

nepHOfla aBjiaeTca cjior", 1 MM pacHjieHHjm Ha CHHTarMbi HecKOJibKo npoH3BefleHHH xy^oacecTBeHHOH npo3bi, a TaKace HayHHbix H HaynHonyôjiHUHCTHHecKHX paôoT (B oipbiBKax) H HayHHO-nonyjiapHbix CTaTeñ. Β cjieflyromeH

TaÖJiHue nprnoaaTca

aaHHbie o

CJIOTOBOM

oôbeMe

cHHTarM Β paccMOTpeHHbix npoH3BefleHHHx (CM. Ta6jnmy 1). Yace caMbiH noBepxHOCTHbiñ aHajiH3 oÖHapyacHBaeT cymecTBeHHbie OTjiHHHa xyaoacecTBeHHOH npo3bi. Πρκ o6meM coBnaaeHHH BejiHHHHbi cpe^Heñ Η HanöoJiee BepoaTHoñ CHHTarMM, Β JiHTepaTypHbix npon3BeaeHHHX caMa 3Ta BeJiHHHHa oTJiHHaeTca 6ojn>meií ycTOHHHBOCTbio (7-8 CJIOTOB), a caMoe rjiaBHoe — öojiee f Bcex CHHTam pacnojiaraioTca 1

B. ToMameecKHä, "PHTM npo3u", O cmuxe (Jlemmrpafl, 1929), CTp. 173.

M. M. ΓΗΡΙΙΙΜΑΗ

162

α υ § gi Ι yυ H pa30BhIX (βφ) Η Μ«κφρ330ΒΜΧ (Mi (3) ΤΗΠ 3aHHHOB H OKOHTOHHÖ

-

—

-

npo3aH"jecKne npoH3BejieHHH

BC Μ φ

Βφ

BC

Μφ

Βφ

BC Μ φ

1. "EayT"

33 35 21 28 30 35 26

50 54 17 54 62 52 41

29 27 23 21 21 27 22

41 38 41 48 42 41 40

35 24 65 26 28 33 43

45 43 34 52 48 46 39

22 21 27 18 16 18 21

16 16 20 8 13 15

22 25 29 19 20 20 23

26 24 20 21 25

26 26 21 21 27

26 22 20 19 24

34 30 33 40 34

33 34 34 41 37

35 30 30 41 32

25 28 30 27 29

21 32 32 31 33

26 28 30 26 27

2. "KaflHHHH" 3. "MejioeeK β yTJMpe" 4. "riepexofl iepe3 36py 6 a MejiOBeKa"

7. "Pa3ymeHHe jihtoocth" 8. " C o m m e , 5kh3HL· h ΧΛΟροφΗΠϋ" 9. "OCHOBbl M-JÏ. φΐυΐΟΟΟφΗΗ"

10. H. H. ÄyKejibCKHfl 11. H. Jlaaa 12. B . EMejibHHOB

BepoHTHocTb "cnynafiHoro B03HHKH0B6HHA"flaHHOrOTHIia 3a^HHOB hjih Kjiay3yji

34

40

11

Βφ

BC

Μφ

Βφ

3 5 8 5 10 5 11

4 7

2 3

1

11

1 2

11

14 19 12 12 5 14 14 12 16 9 7 11 11 2 15

21

WULflaHHOrOnpOH3BeAeHHH nOKa3aTejIHMH. Pa3JIHHHe 3TO BblSBJMeTCH HJIH Β 3HaHHTeJXbHO ÔOJlee HHTeHCHBHOM BW^ejieHHH OnpefleJieHHblX pHTMHHecKHX φορΜ, npeoöJiaaaiomHX h Ha BHyTpeHHHX pa3flejiax, hjih flaace Β H3MEHEHHH He TOJibKo KOJiHnecTBa, HO H KanecTBa ΟΟΗΟΒΗΟΓΟ, name flpyrax BcrpenaiomerocH rana 33ΗΗΗΟΒ H ΟΚΟΗΗΒΗΗΗ no cpaBHeHfflo c BHyτpHφpa30BHMH noKa3aTejwMH. Bo BCHKOM cjiynae Β KaacaoM jiHTepaTypHO-xyaoxcecTBeHHOM TeKCTe BbiaejiaeTca npeoöJia^aiomHH ΤΗΠ ME5^pa30BbIX 3aHHHOB Η OKOHHaHHH, OXBaTHBaiOIUHH OKOJIO nojioBHHbi oömero KOjnreecTBa. O H BbicrynaeT, ΠΟ-ΒΗΛΗΜΟΜΥ, Β icaneCTBe CBoeo6pa3Hoñ pHMHHecKoíí aoMHHaHTbi h, BMecTe c τβΜ, cocTaBJiaeT Ty ocHOBy, Ha κοτοροίί npwoöpeTaeT onpeaejieHHocTb h CTaHOBHTCH oiuyTHMO BMpa3HTejifcHbiM rocnoflCTByiomee h 3flecb pa3Hoo6pa3He. He MeHee ρε^εφΗΗΜΗ npe^cTaBJiaiOTCfl otjihhhh ΗεκοτορΗΧ h3 paccMOTpeHHBix HaMH xyfloxcecTBeHHbix TeKCTOB Β pacnpe/iejieHnn CHHTarM C pa3JIHHHMM KOJIHHeCTBOM yflapeHHH4 (cm. TaÔjIHIiy 3). H Β ropbKOBCKOM H Β HeXOBCKOM paCCKa3aX, npH OÔmeM C HayHHOnyÔJXHUHCTHHecKHMH TeKCTaMH coBnaaeHHH cpeflHeñ h HaHÖojxee nacTO BCTpenaiomeHCH TpexyaapHoñ CHHTarMbi, s t o npeoöJiaaaHHe ropa3flo 4 ΠρΗ yneTe yaapeHHä 'coMHHTenbHbie' awieHTbi Ha mcctohmchhäx, mcctohmchhwx HapeiHsx, οβηβοίημχ rnaronax, coio3Hbix cjioeax h t.π. ο6μίηο BKJHOHaJiHCb β o6innä cneT, HCKJiioiafl cjiyian hx 'ctmkob' c '6e3ycnoBHWMH' yqapeinuiMH.

6

—

1

4

6 13

O PHTME P y C C K O H Π Ρ 0 3 Μ

β npo3amecKux

npouieedemmx

pamux

munoe

165

peiu

OKomaHHft (0) npOHHC

— W

-

BC

Μφ

Βφ

BC

Μφ

1

—

1

2 2 3 2 3 2

—

— 1 — 1 — —

35 37 26 32 40 36 26

58 25 60 27 13 31 50 32 40 40 34 36 38 22

2 6 3 3 1

1 3 1 — 2

1 6 4 3 ]

26 23 23 21 26

14 25 21 22 27

3 1

2 1

1

Βφ

30 23 23 20 26

BC

Μφ

Βφ

BC

50 32 53 48 27 56 43 50 39 48 40 49 45 52 43 48 51 46 46 46 46

13 13 27 16 11 14 26

10 20 11 14 32 26 10 17 7 11 14 14 14 30

2 1 3 1 4 1 2

40 45 35 36 37 38 38 40 37 39

33 34 36 36 30

40 37 38 37 32

1 8 4 5 7

38

37 35 36 37 35

nporae

—

Βφ

BC

Μφ

—

32 33 36 36 30

17

41

Βφ

Μφ

1 1 2

2 2 3 2 6 3 2

1 2 3 1 2

1 9 5 7 9

—

1 4 —

BC

Μφ

—

—

1 1

βφ

1 1

1 1

—

—

—

—

—

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1 — — —

1 —

—

—

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— .

—

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3

—

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1

3HaHHTejibHee, Η OHa BMecTe c coceflHeñ ^Byxy/iapHOH o 6 p a 3 y e T ΟΠΗΏ»TaKH CBoeo6pa3Hyio ycToiiHHByio ocHoey Gpocaiomeroca Β rjia3a TOHHnecKoro pa3Hoo6pa3HH. KOJIHHCCTBO aeyx η Tpexy^apHbix CHHTarM, KaK ΒΗΛΗΟ H3 TaöJTHUM, Hen3MeHHO npeBbiuiaeT 6 0 % H raK »ce, KaK H KOJIHHECTBO CHJinaÔHHecKH H a n ö o J i e e 6 J Ï H 3 K H X Κ c p e / m e ñ , 7 - 8 CJIOXCHOH

CHHTarMe, KOJieôJieTC» OKOJIO F oômero

incjia. C

3TOH Gojibuieñ

njioTHocTbK) nepenjieTaeTCH H öojibinaji CHMMeTpHHHOCTb pacnpe^ejieHHH p a 3 H o y ^ a p H b i x Τ Η Π Ο Β : KOJIHHCCTBO C H H T a r a c O O T H M H H e r a p b M H

ynapeHHHMH, npHÔ^Hacaacb apyr κ apyry, HaxoflHTc» Ha npH6jiH3HTem»Ho Taöjuma 3 KoAMtecmeo

ydapemü

β cunmaejuax

npou3eedeHunx

(β %)

β

npommecKux

pa3Hbix munoe peeMaM, KaK no HacwnsM — CrpacTH! r a e HacMOpKOM Ha3BaH — iman! H t o ace MHe aejiaTt, peöpoM h npoMHcjiOM

rieeieñ ! — KaK n p o B o a ! 3arap! Ch6hpi>! Πο HaBa^KfleHLSM cbohm — KaK no Mocry ! C HX HeBeCOMOCTbK) Β MHpe rupb. H t o ace MHe aenaTb, neeuy η nepeeimy, Β MHpe, r a e HaHHepHefiuraft — cep! r a e BfloxHoeeHbe xpaHJiT, icaK β TepMoce!

C 3T0ñ

6e3MepHOCTbK)

Β MHpe Mep?!

The poem I will anatomize in the following pages (see text above) is from the cycle Poèty10 written in April, 1923. It is the third and final poem of the cycle, the other two being "Poèt izdaleka zavodit ree' " and "Est' ν mire lisnie, dobavocnye". The cycle is a brilliant contribution to the apologias of the Russian poetic tradition, of which Puskin's Poètu is the classic example. The first poem of the cycle is an affirmation of the iconoclasm of the poet, ranging metaphorically from the mundane to the cosmic. In the second poem, after acknowledging themselves to be the • Robert Austerlitz, "Parallelismus", Poetics (cf. fn. 8), pp. 439-443. The original German of the definition (p. 439) reads: "Zwei Segmente (Verszeilen) können als parallel bezeichnet werden, wenn sie, mit Ausnahme eines ihrer Teile welches in beiden Segmenten dieselbe relative Stelle einnehmen muss, identisch sind." 10 Marina Cvetaeva, Posle Rossii (Paris, 1928), pp. 77-79 ; Izbrannoe (Moscow, 1961), pp. 231-233.

174

ANTONINA FILONOV GOVE

lowliest of the lowly, the poets-outcasts lay claim to a rivalry with the gods. The final poem incorporates thematic elements of the first two poems of the cycle. In a shift from the third person singular poèt of the first poem and the first person plural poèty my of the second poem — and without using the word 'poet' at all — the poet-speaker questions her {sic, v. pevcej) own destiny in a world of les autres. Important to the poem is the change in tone from stanza to stanza. In the first stanza, the speaker appears blind and a stepchild in an unfeeling but dynamic and threatening world of the well-endowed. The second stanza is an elated account of her métier. In the final stanza she reappears as the first-born, a singer (i.e., bard), and the world is reduced to a gray, hermetical place of weights and measures. The shifts in tone are played out against the close lexical, grammatical and rhythmical parallelisms that obtain between the stanzas of the poem. 11 The poem is set in a strict metrical and rhyming framework. The rhyme scheme is aBaB, with the a's constituting dactylic rhymes and the B's being masculine (end-stressed) rhymes. The metrical scheme is as follows : (1) (2) (3) (4)

' ' ' '

X χ χ χ

X χ χ χ

' ' ' '

X χ χ χ

X χ χ χ

' ' ' '

X χ χ χ

' X X ' ' χ χ '

For the purposes of this analysis, lines (4) and (5) of the poem are taken together as two hemistichs of a single line (4). The only accentual variations in the poem are in stanza II, line (3), which has x x x ' x x ' x ' x x and in stanza III, line (2), which has ' χ χ χ χ χ ' χ ' ; i.e., omission of the first metrical stress in the first instance and of the second metrical stress in the second instance. In traditional metrical terms this is a tetrameter combination of dactylic and trochaic (ternary and binary) feet: the first three stresses are separated by two unstressed syllables; stresses three and four are separated by one unstressed syllable. The even lines can be viewed as catalectic variants of the odd lines. In the terminology of some metrists this could be called a logaoedic meter, comparable to the meters of, for example, classical Latin poetry, with the difference, of course, that the prosodie feature is stress, not syllable length. 11

"Grammatical parallelism" refers here, as in Worth (p. 953), to "the repetition of like word-classes in like functions", and also to recurrent constructions with equivalences in their transformational histories, e.g., two or more interrogative sentences, as in our text.

PARALLELISM IN MARINA CVETAEVA

175

The logaoedic aspect of the versification is supported by the regular distribution of word boundaries, resulting in breaks, shown in the following scheme: (1) (2) (3) (4)

'x x'x/x ' χ / χ ' χ /'χ ' χ χ ' χ χ ' χ χ ' χ χ /

' / χ ' χ χ ' /'χ ' ' /bx ' χ χ ' χ '

* Observed in stanzas I and II only. b Observed in stanzas II and III only. The change in the position of caesuras from line to line within the stanza constitutes rhythmic variation. The identical placement of caesuras in corresponding lines of the respective stanzas creates the additional strophic metrical constraint typical of logaoedic meters. It is important to note that the introduction of strophically determined caesuras increases the metrical restrictions on the positioning of grammatical and lexical parallelisms in the poem. In fact, some of the stichs are isosyllabic words. In the remarks that follow, the meter will be used as a basis for establishing the parallelism of the segments. Two segments will be considered parallel provided that those of their parts that are equivalent appear in corresponding metrical positions and, by the same token, the parts that are non-equivalent also appear in corresponding metrical positions. With the few exceptions to be noted below, grammatical parallelisms appear pairwise, linking two of the three stanzas. By far the greatest number of parallel constructions is found in stanzas I and III. The number of shared constructions in stanzas II and III is smaller, and in stanzas I and II, smaller yet. All the stanzas are linked by the triple repetition of the rhetorical Cto ze mne delat' which commences each stanza. As a word for word repetition, this phrase, of course, constitutes a complete identity, but the requisite non-identity of Austerlitz's definition is introduced in the second hemistich of each line. There is another construction that links all three stanzas, namely the comparative phrase occuring under the last metrical stress of line (3) : (3)

I ... kak po násypjam II ... kak pó mostu III ... kak ν térmose

Further linking all three stanzas is the presence of a compound phrase in line (1): slepcu i pasynku, rebrom i promyslom and pevcu i pervencu. (In

ANTONINA FILONOV GOVE

176

stanza II, the phrase in question is, of course, different both in case and syntactic function, on which see the discussion of variation below). Each of the stanzas is a single complex interrogative sentence. Stanzas I and III display grammatical parallelism of the first three lines. The interrogative anaphora is followed by (a) a compound dative complement, (b) a prepositional phrase, (c) a wA-clause with (d) a masculine pronominal/adjectival subject and (e) a predicate consisting of one or more short-form adjectives, which is followed by (f) another νν/ί-clause which incorporates (g) a comparative clause with (h) prepositional complement (the latter two also appearing in stanza II). To illustrate schematically : (a) (1)

I III

slepcu pevcu

(2)

I III

(b) ν mire ν mire

(3)

I III

(f) gde gde

i i

pasynku pervencu (d) kazdyj naicernejsij

(c) gde gde (g) kak kak

i ote ser

(h) po nasypjam ν termose

The fourth line is grammatically parallel in stanzas II and III rather than in I and III. It consists of (i) a prepositional phrase with pronominal modifier followed by (j) another prepositional phrase with genitive noun modifier. (4)

II III

ω

s ix nevesomost'ju s ètoj bezmernost'ju

ω

ν mire gir' ν mire mer

The grammatical parallelism linking stanzas I and II occurs under the second metrical stress and consists of (k) a prepositional phrase with dative plural complement: (3)

I II

... ...

(k) po anafemam po navazden'jam (svoim)

The grammatical parallelisms observed above are supported by parallelism on the other linguistic levels — lexical (both morphemic and semantic) and phonic. 12 The most conspicuous lexical equivalences appear in the 12 I have extended the application of the notion "lexical parallelism", defined by Worth (p. 953) as "the repetition of lexical (and derivational) morphemes" to include (1) the repetition of phonically identical grammatical (inflectional) morphemes, i.e., homoeoptoton with homoeoteleuton, and (2) the use of words belonging to the same semantic field, e.g., in our text, the kin terms pasynok and pervenec, which do not

PARALLELISM IN MARINA CVETAEVA

177

repetitions, which necessarily involve all the linguistic levels. These are the anaphoras Ùo ze mne delaf (line 1, stanzas I, II and III), and ν mire (2,1, III). Also to be included is the identity of the connectors gde, kak (2, 3, I, III) and of the prepositions po (3, I, II). Parallelism through bound morpheme identity is found in 1,1 and III slep-c-u, pev-c-u (homoeoptoton with homoeoteleuton); 1 ? and in 4, II and III ne-ves-om-osf-ju, bez-mer-(n)ost'-ju. Lexico-semantic parallelism obtains in 1,1 and III, where pasynok and pervenec are kin terms, the first with a value-negative, the second with a value-positive connotation (low vs. high status), presented as an antithesis. In 4, II and III we have two antitheses couched in terms of weights and measures: gir\ mer and nevesomost''ju, bezmernost'ju. Phonic parallelism occurs in line (1) with the alliteration of the isosyllabic pasynku, promyslom and pervencu in stanzas I, II and III, respectively, and internal rhyme of the likewise isosyllabic slepcu, pevcu in stanzas I and III. Less salient are the consonant repetitions in the rhyming words of line (2) in all three stanzas: [ZR'ác], [S'ib'íR'] and [S'éjR]. The presence of parallelism in each line can be shown schematically in a graph which indicates the number of metrical positions containing equivalent segments (Figure 1). As can be seen from Figure 1, of the twelve lines of the poem, only two do not form part of a parallel dyad or triad, namely I (4) and II (2). Each is syntactically part of the preceding line (enjambment is present). Although part of II (2) — pevcej — is thematically of a piece with slepcu, ote i zrjac and pevcu, all of which denote capabilities in terms of which the poet evaluates herself, it is not in a metrically corresponding position with any of these and is, therefore, not considered to be parallel to them. involve morpheme repetition. The first of these extensions is necessary because phonic identity of inflectional suffixes (homoeoteleuton) is by no means a necessary consequence of grammatical identity (homoeoptoton); e.g., ν teñí, ν stené. As regards the second of these extensions, an alternative classification would be to put semantically related but morphologically diverse words in the class of semantic parallelism. This, however, has the disadvantage of obscuring the fact that semantic parallelism need not be isolexical ; e.g., the pleonastic lines from Blok Pust' duSit ziztii son tjaielyj, / Pust ' zadyxajus' ν ètom sne; or the examples of "stylistic symmetry" quoted by Lixacev (pp. 419-422 of the study cited in fn. 21), such as Ispovëdaite sja gospodju ν gouslexb, vo psahtyri desjatbstrunbnê poite emu (Psalm 32,2), where the single lexical item gouslex corresponds to the phrase psahtyri desjatbstrunbnê. 13 Note that homoeoteleuton based on inflectional (case) endings alone is presumably not as weighty as derivational homoeoteleuton, because the former is dependent on the syntactic determinants of inflection.

178

ANTONINA FILONOV GOVE Stanza I

4-

Number of metrical positions containing parallel elements

32-

Stanza II

Stanza III

V \

\

/

\

/

À

/

\i

ΙΟΣ

3

4

2

3

4

2

3

4

Lines Grammatical parallelism Lexical (morphemic, semantic and/or phonic) parallelism

Figure 1.

Parallelism in Cvetaeva's "Cto ze mne

delat"\

The amount of parallelism is measured for each line of the poem in terms of the presence or absence of parallel segments in each of the four metrical positions of the line. Thus in line (1) of stanza I, all four metrical positions are shown to contain parallelism; in line (4) of the same stanza, none of the metrical positions contain parallelism, and so forth. Grammatical and lexical parallelisms are indicated separately.

The parallelisms which have been enumerated incorporate certain variations not represented in the graph: in line (1), a difference in the morpheme constituents of the second members of the compound dative complement (pa-syn-ok but perv-en-ec) as contrasted to the identity in the derivation of the first members (slep-ec, pev-ec); in line (2), a generalizing pronoun vs. a superlative ( k a z d y j but naicernejsij); in line (2), a single adjective in the predicate (ser) vs. two (/ ote i zrjac); in line (3), a different preposition in stanza III, with accompanying difference in case (po nasypjam, po mostu, but ν termose). In the last example, the first two phrases are differentiated by placement of the stress on the preposition in the second instance, with the accompanying difference of vowel quality in the preposition. In addition to these variations within the parallel sequences, one should also take into account the non-parallel parts of the sentences in parallel lines, viz. line (3), where stanza I has a prepositional phrase with elided verb (po anafemam) and stanza III has an impersonal third person construction with verb and accusative object (vdoxnoveríe xranjat). In this context it must be stressed that variation as well as invariance is of the essence in parallelism. In Jakobson's words, "any form of parallelism is an apportionment of invariants and variables." 14 An 14

Jakobson, "Grammatical Parallelism ...", p. 423.

PARALLELISM IN MARINA CVETAEVA

179

important difference between parallelism and refrain, which consists of total repetition, is that the options for variability in parallelism make possible a relationship which is vastly more complex than the identity of all parts in refrain. To quote Jakobson further: "The fluctuating distribution of different linguistic levels between variables and invariants imparts a highly diversified character to parallelistic poetry and provides it with ample opportunities to individualize the parts and to group them with respect to the wholes. Against a background of totally congruent lines, the sporadic concurrence of equivalence on one linguistic level with disagreement on another level acts as a forceful device."18 From the foregoing analysis it can be seen that strophic parallelism in our text is implemented extensively on the metrical, grammatical and lexical levels. It is reinforced phonically by rhyme and by a few other internal sound correspondences, such as the aforementioned slepcu, pevcu or pasynku, pervencu. The most striking of these is incorporated in the anaphoric lexical repetition ν mire, which links all three stanzas, appearing in line (2) of stanza I, line (4) of stanza II and both lines (2) and (4) of stanza III. Many of the other intricate sound symmetries of this poem are at work within individual lines and will not be examined here. Others appear in adjacent or non-adjacent lines within a stanza. These form a parallelism of the type I term versicular. A list follows. Stanza I. In adjacent lines. 1. Simple identity of stressed syllables: aNÂf'imam, NÁsyp'sm / NÁsmsrksm, NÁzvan.1β Note that the first and third occurrences of the syllable ηά are in metrically parallel position (under the second metrical stress), while the second and fourth occurrences are under fourth and third metrical stress, respectively, i.e., asymmetrical with reference to metrical stress. 2. Consonant repetition with contraction of the syllable:17 NáSyP'aM / NáSMarkaM NáZVaN-, schema ABCD (n-s-p'-m), ABcD (n-sm-m), Abc,d (rt-zv-n), where A = word-initial «-; B, b = a post-tonic sibilant s, ζ ; C, c = a labial p, m, ν in medial position ; and D, d = a word-final nasal ; the difference between upper case and lower case indicates a difference of one distinctive feature and lower case sub one indicates an additional difference by one distinctive feature. 18 " Jakobson, "Grammatical Parallelism ...", p. 427. " In discussing sound symmetry, the examples are presented in a quasi-phonetic transcription; elsewhere transliteration is used. 17 Terminology after Dale L. Plank, Pasternak's Lyric (The Hague, 1966), pp. 20-22. " It may be questioned whether anything less than complete phonological identity can be legitimately claimed to constitute sound repetition. The empirical test for this type of repetition would be the same as that for repetition based on phonological

180

ANTONINA FILONOV GOVE

In non-adjacent lines. PáSynku

¡ náSyP'sm,

1. Mirror symmetry of consonants:

schema AB BA Ab; and sViPcú

SViPcú,

/ Plác, schema

AB Ba. 19 Stanza II.

In adjacent lines: 1. Repetition of a consonant-vowel

sequence: r'iBRÓM

I PRÓMIshm

/ PRÒ Vat, schema A B C D E +

a B C D E , A j B C d , where D, d = labial and k^ = identity with the second rather than the first sequence. sequences: r'i Β Rom, PRómishm A =

br, a = b\..r'

Ν s Vazd'èrìpM

2. Mirror symmetry of consonant-

/ PRóvat, s'iByíR\

schema AB Ba, where

(dilative), and Β = pr. 3. A complex repetition

SVaíM,

MaSTu

/ N'iV'iSoMaSTju,

schema A B C D B -

C C D E a b D C D e B c , where A, a = η, ή\ B, b = v, v'; C, c = m, m'; D s; E, e = t, t\

=

The complex repetition is composed of several simpler

subsequences, such as AB ab and C D E , CDe, or the dilative mirror symmetry DB, bD. Stanza III. In adjacent lines: 1. Rhymes of odd and even lines, including internal rhyme: p'ÉRv'incu m'ÉR.

/ s'ÉR

/ t'ÉRmas'i

/

b'izm'ÉRnast'ju,

2. Complex hypersyllabic contractive-dilative-contractive sym-

metry: p'ÉRv'INcu

I micIRN'Éjsij

/ vddxnav'ÉN\ρ

xRaN'át

/

b'iz-

identity, namely to establish whether or not the frequency of occurrence and/or degree of patterning of such repetitions is significantly greater in a text in question than in other texts selected for comparison to qualify such repetition as a poetic device. Such precise tests have been eschewed by literary critics in favor of intuitively plausible demonstration on a set of examples. The acceptability of particular correspondences varies with the literary tradition ; cf. the increase in acceptability of inexact (assonantal) rhymes in modern poetry, as well as their use in Russian proverbs (on the latter, see D. Samojlov, "Nabljudenija nad rifmoj", Voprosy literatury 6 (1970), pp. 160-177; cf. also the example of alliteration by phonological feature in folk verse quoted in R. Jakobson, G. Fant and M. Halle, Preliminaries to Speech Analysis (Cambridge, Mass., 1963), p. 42. As regards sound repetition, the examples discussed in the literature suggest that there is a strong tendency for repetitions based on partial phonological equivalence to occur in close conjunction with repetitions based on complete identity. 1 * The distance at which an observable recurrence of a sound sequence can legitimately be counted as a device is likewise open to question. A necessary condition would seem to be that the recurrence be shown to occupy a parallel position within a larger structural unit (possibly near a metrical boundary; cf. Plank, Pasternak's Lyric, p. 22). Such recurrences can be referred to as positionally marked. In the case of the first of the repetitions discussed here, pásynku and násypjam occur in the second part of the second hemistich, which is the fourth metrical position ( ' χ χ ) and the rhyming word of the odd lines of the stanza and thus, it would seem, amply positionally marked. In the second case, the -Γ-ρ- of slepcú appears in the first syllable of the second hemistich of the first line and pi- of plàc in the last syllable of the second hemistich of the last line of the same stanza. The relationship of their positions is chiastic: 3 / Ί'-ρ/ ...

4 pi-.

PARALLELISM IN MARINA CVETAEVA

181

m'ÉRNast'ju, schema ABCD CBdA AdBd ABD (-ér-in-1-irríé-l-érí-r-ri-j-érn-). In addition to the sound repetitions just outlined, each stanza appears to be characterized by one or more dominant vowels, suggesting the presence of sound symbolism (in particular, a rise in tonality from very low in stanza I to very high in stanza III), 20 which in the context of this paper shall be left unexplored. The poem's composition is remarkable not only for its parallelism and its phonic linkages, but also for its choice of grammatical categories. 21 Although the poem is written in the first person, the speaker presents herself not as a nominative subject T , but obliquely in subjective and appositive datives (mne; siepcu, pasynku, etc.). Nominative subjects appear only in subordinate clauses referring to 'the others'. Even these are not nouns, however. One is a 'generalizing' (Verallgemeinendes) pronoun (kazdyj) ; the other, a qualitative adjective in the superlative degree, functioning as a noun (naicernejsij). The entire poem has only one finite verb form, the third person xranjat, used impersonally. The other three verbs are repetitions in the infinitive of the same verb — délai'. Besides a participial construction (gde nasmorkom nazvan plac) and verbless predicates (gde kazdyj i ote i zrjac; rebrom i promyslom pevcej; gde naicernejsij — ser), the other subordinate predicates have the typical verb elision practiced by Cvetaeva (gde po anafemam, kak po nasypjam — strasti! po navazden'jam svoim, kak po mostu). The punctuation notwithstanding, each stanza is a single complex interrogative sentence. Whereas in stanza II, all but the final hemistich are about the speaker as poet, stanza I contains direct information about the speaker only in line (1) and stanza III, only in line (1) and in the first hemistich of the last line. The remaining lines are about the world of 'the others'. It is my impression that this oblique presentation of the speaker's person, with a concentration on her bardic qualities, contributes to making the statements in the poem appear less egocentric and more substantive and generalizable than they would be in a direct declaration from the speaker. 20 Cf. Lawrence G. Jones, "Tonality Structure in Russian Verse", IJSLPIX (1965), pp. 125-151 ; and Kiril Taranovsky, "The Sound Texture of Russian Verse in the Light of Phonemic Distinctive Features", IJSLP IX (1965), pp. 114-124. 21 Cf. R. Jakobson, "Poèzija grammatiki i grammatika poèzii", Poetics (cf. fn. 8), p. 403: "Korna Henpe«B3aToe, BHHMaTenbHoe, noapoÔHoe, uenocraoe oraicaHHe BCKpweaeT rpaMMaTHiecKyw cTpyKTypy OTaenbHoro CTuxoTBopeinra, icap-rima OTÔopa, pacnpeaejieinw h cooTHoniemia pasjmiHMx MopoJiorHHecKHx KJiaccoB h CHHTaKCHMCCKHX KOHCTpyKUHH CÜOCOÖHa H 3 y M H T b HaÔjIIOflaTeJM HeHWaHHHMH, pa3HTejibHo cHMMeTpuOiMMH pacnojioacemwMH, copa3MepHbiMH nocTpoemwMH, HCKyCHMMH CKOnHeHIWMH 3KBHBaJieHTHbIX φορΜ H ÔpOCKHMH K O H T p a C T a M H . "

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ANTONINA FILONOV GOVE

Instead of a transitory, message-bound 22 Ί ' vs. 'them', the reader apprehends the 'blind' poet matched against the conventionally sighted, the poet's intangibility against the world's weights and measures, and the miraculous transformation of a poet-stepchild into a first-born. At the same time, the maintenance of an underlying first-person subject in all three of the sentence-stanzas lends the poem a tenor that is deeply engagé and personal.

II. STROPHIC AND VERSICULAR PARALLELISM IN POSLE

ROSSII

The purpose of the following remarks is to draw a distinction between what I have termed strophic parallelism and versicular parallelism and to document their occurrence in a volume of Cvetaeva's mature poetry. Versicular parallelism, of which the biblical parallelismus membrorum is an instance, serves to concatenate successive contiguous verses?* When present, it lends thematic and formal coherence to the text, reinforces the imagery, and provides possibilities for the elaboration of a theme by means of reformulation, comparison or contrast. D. S. Lixacev24 distinguishes what he calls "stylistic symmetry", which involves restatement of the same proposition in two successive lines or clauses, from parallelism proper, which consists of non-tautological development of a theme in parallel terms, likewise in successive lines (pp. 419-421). Lixacev (pp. 421-422) and Jakobson (1966, p. 409 and p. 424, fn. 42) also point to the difference between optionally occurring parallel dyads or triads and canonical or pervasive parallelism, which runs through larger units of text and contributes the basic poetic form, as in the Russian oral tradition. In strophic parallelism, the equivalences constituting parallelism obtain between corresponding segments of successive stanzas. This kind of parallelism on the metrical level can be seen in Byzantine versification 25 and in classical logaoedic meters. As regards lexical and grammatical strophic parallelism, it can be observed in a pair of stanzas of Hungarian S2

R. Jakobson, Shifters, Verbal Categories and the Russian Verb (Harvard University, 1957), p. 2: "... shifters [which include personal pronouns, A.F.G.] are distinguished from all other constituents of the linguistic code solely by their compulsory reference to the given message". 23 Jakobson, "Grammatical p a r a l l e l i s m . . p p . 309, 405. 24 "Stilisticeskaja simmetrija ν drevnerusskoj literature", Problemy sovremennoj filologii (Moscow, 1965), pp. 418-422. " Cf. the Appendix in Sancii Romani Melodi Cantica: Cantica Genuina (eds.) Paul Maas and C. A. Trypanis (Oxford, 1963).

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183

folk verse cited by Austerlitz as an example of suffix parallelism (p. 441).26 The function of strophic parallelism is partly the same as that of versicular parallelism — it is a means for thematic and formal integration and thematic development. The difference is that in strophic parallelism, the relatively greater length of the unit in terms of which the parallelism is presented (stanza as opposed to line) allows for greater complexity in the comparisons. In addition, pervasive strophic parallelism serves to delimit and define the stanza, a function variously performed in traditional Western poetry by rhyme, meter and syntactic boundaries. Although it would be premature to make generalizations about the genre differences between the two types, it would appear that pervasive strophic parallelism would be especially suited for short poems in which all the stanzas contribute to the development of a single more or less complex proposition. On the other hand, versicular parallelism, whether sporadic or pervasive, is suitable for the formulation of one of a series of propositions, which can appear with equal effectiveness in long or short texts. The poetry of Cvetaeva contains numerous instances of versicular as well as strophic parallelism, with an astounding diversity of application. Each type appears sporadically in some poems and pervasively in others, although most of the cases of pervasive parallelism are strophic (cf. Table II below). When appearing sporadically, either type is found with high frequency at the beginning or end (sometimes both) of poems and stanzas, serving as memorable openings or aphoristic conclusions, or as a thread tying together successive stanzas. The following are some of the simpler instances of sporadic parallelism taken from Pos le Rossii: 1. Versicular parallelism in initial couplet or stanza of a poem: а.

б.

Π θ 3 τ — H3«ajieKa 3aBO«HT peni.. ri03Ta —flajieico38βολητ peni».

(ΠΟ3ΙΠΜ)

JXepeBa — nepewft — B3zipor,

TojiyÔH — nepBbiH — Βορκ. (3τθ He TBOH JIH Β3ΛΡΟΓ, FopaocTb, He tboìì jih Βορκ, BepHocTb?)

(c. 13)

2. Versicular parallelism in final couplet or stanza; the second example is partially chiastic: " If we accept LixaSev's distinction, the example quoted from the Shih Ching in the Princeton Encyclopedia of Poetry and Poetics, p. 118, is an instance of strophic stylistic symmetry, since the two stanzas are tautological.

184

ANTONINA FILONOV GOVE А.

JIioôoBt:

3HO6 FLO KOCTH!

JIIO6OBI>: 3HOÜ 3 0

6ENA!

Bofla — JIIOÖHT KOHUW. B o a a — JIIOÖHT Tena. (HotHtae Mecma) б.

Ά Teôfl BbicoKo jiioÔHJia : Η τ ε 6 « cxopoHHJia Β Heöe!

(c. 95)

3. Strophic parallelism, appearing in three of six stanza-initial lines of a poem: I, 1

4.

O , e r o He ΠΡΗΒΗΐΚΒΤΒ!

III, 1

O , e r o He n p n y i H T e !

IV, 1

O , e r o He aoroHHTe!

(c. 47)

There are also examples of parallel hemistichs : Κ ρ κ κ CTamiHË: ocTaHbc«! BoK3anoB: o »canocTb! (c. 119)

5.

And examples of annular parallelism : I, 1

V, 4

I, 1, 2

Concluding couplet

raMJieTOM — nepeTHHyTbiM — HaTyro, (...) (...) raMJieTOM — nepeTswyTbiM — BCTaHeTe ... (ΟφβΛίιη —

ΓaMAemy)

Κ τ ο TO eaeT — κ c M e p r a o f t n o ô e a e . y «epeBbee — »ecTbt TpareOTH. Κ τ ο τ ο βΛβτ. H e 6 o KaK Bi>e3a. y aepeBbeB — »ecTbi TopacecrB.

(JJepeebn)

6. Occasionally the parallelism is exclusively phonic with no lexical or grammatical correlates. The following examples include "antigrammatical" rhymes :27

7. 87

IV, 3, 4

d a z D R á f S T V U j i t l'ivagrúdij K Ó F n'imúDRSTVUjuscix K a n c Ó F

V, 3, 4

i f s p ó m n ' i s R Ú K u m a j ú b'is p r Á F i múzistv'innij R U K Á F (p. 8)

Adjoined to this discussion of parallelism as a special case can be the

Cf. R. Jakobson, "Linguistics and Poetics", Essays on the Language of Literature (eds.) S. Chatman and S. R. Levin (Boston, 1967), p. 313.

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185

frequent use o f refrain by Cvetaeva, which ranges f r o m the repetition o f single lines : Β njiac! Β Tpac! Β npax — a a He β idwc!

A — ax, CTpyHa (pyxa, ayrna) copeajiaci»! {ΠΛΟΗ ifbieaHKU no ζραφγ 3y6oey) t o the repetition o f entire stanzas (in this instance constituting stanzas I I I , V I , I X , X I I , and X I ) : Hafl HCTOHHHKOM,

Cjiymaft-cjiyuiaft, AaaM, ΗΤΟ npOTOHHbie ÄHJiti ρβκ — ßeperain : 8.

(c. 27)

There are numerous cases o f genuine parallelism, which is refrain-

like in that part o f a line is repeated verbatim. In the following incantatory example, the parallelism embraces entire stanzas : 28 O t CTpeji η OT nap, Ο τ ΓΗβ3Α Η OT Hop, ΕΟΓΗΗΗ H i i r r a p

XpaHH Moft maTep : EpaTbee, cecTep. Pyabi Moeft Bap, BpaKflbi Moeft naH, ΕΟΓΗΗΗ MiiiTap XpaHH MOÜ KOJIMEH ... (B3HJ1 MeHH — xaH!)

Η T.jx.

(CfcucßcKue, 3)

Repetition with variation, as in the preceding example (rather than complete identity, as in traditional refrain), is characteristic o f Cvetaeva's verse. In "Rassvet na rel'sax",

the variation is effected by changing the

wording o f the second half o f the line and by placing the quasi-refrain in different positions in the stanza, or omitting it altogether in some stanzas : I, II,

3 Ü3 cbipocTH η liman 1 U s cbipocTH — h cBaft

2 Ito CbipOCTH — Η CepOCTH. III, — Absent IV, "

1 143 cbipocTH —

Η cTaii ...

N o t e that although line (3) is repeated in its entirety, it is only part of a syntagm

extending through the following line, thereby meeting the requirement for partial non-identity of segments.

186

ANTONINA FILONOV GOVE

V, VI, VII,— Vili, 3 4 IX, X, —

Absent PÏ3 CUPOCTH H Ilin&n Ms CWPOCTH H CHPOCTH, Absent

(Pacceem uà pe.ibcax)

In the same poem there is another recurring configuration, which appears three times, two of them in conjunction with the preceding refrain : 1

I l o K â M e c T fleHb H e BCTaji C e r o cTpacTHMH cTpaeneHHbiMH,

Ü3 CbipOCTH H UinaJI POCCHK) BoccTaHaBJiHBaio. II

M 3 CbipOCTH — H c e a f i ,

H3 CbipOCTH — H CepOCTH. rioKâMecT aeHb He BCTan M He BMeiuaJiCH cTpejioMHHK. IX

rioKaMecT aeHb He BCTaji C e r o CTpacTHMH C T p a e j i e H H b i M H

Bo BCK) r0pH30HTajIb POCCHK) BoccTaHaBJiHBaio! 9. Some of Cvetaeva's poems combine versicular and strophic pervasive parallelism: Β ceflHHy — BHCOK, Β Kojieio — coJiflaT, — H e 6 o ! — M o p e M β τβ6st oKpainHBaiocb. K a K H a KaacabiH c j i o r —

ΗΤΟ Ha TaHHbltt Β3ΓίΙΗΛ 06opaiHBaiocb OxopaniHBaiocb.

Β nepecTpejiicy — ςκκφ, Β xpHCTOnjiHCKy — xjimct,

— Mope! — He6oM β

Te6a

0TBa»HBai0Cb.

KaK Ha KaxcAbiH c t h x — H t o Ha TaiíHbiM CBHCT

OcTaHaBJiHBaiocb, HacTopaKHBaiocb.

The third stanza varies this pattern slightly:29 *· Note that the deviant line (4) repeats the derivational prefix raz- of the preceding line as well as the grammatical categories of its verb (first person reflexive) and noun (instrumental singular).

PARALLELISM IN MARINA CVETAEVA

187

Β KaJKflOH cTpoHKe : CTOÜ! Β Ka»cflo0 TOHKe — KJiaa. — OKO! — cBeTOM Β Te6a paccjiaHBaiocb, PacxoJKyct. TocKofi Ha rHTapHbui Jia/i nepecTpaHBarocb,

ITepeKpaHBaiocb. The next-to-the-last stanza introduces a considerably different lexical and grammatical composition, except in line (5), which is parallel in all the stanzas (with a slight variation in stanza V) : He Β nyxy — Β nepe JleôeflHHOM — 6pax! EpaKH po3Hwe ecTb, pa3Hbie ecTh! KaK Ha 3HaK rapa — Μτο Ha TaöHbifi 3Hax EpoBH B3flparHBaioT — 3anofla3pHBaeuib? The final stanza refers to the immediately preceding stanza in its lexicogrammatical construction of lines (1) to (3) and to the earlier stanzas in its concluding three lines : H e Β MAIO CIIHTOM

CnaBbi — ayx MOH xpen. M Ka3Ha MOH — HeMana« ecTb! ΠθΛ TBOHM nepCTOM HTO TocnofleHb xjie6 riepeManbiBaiocb, IlepeJiaMbiBaiocb. (c. 150) The versicular parallelism is observed in lines (1) and (2) of the first three stanzas; lines (4) and (5) in stanzas I, II and IV (in which it is chiastic) and in lines (6) and (7) in all but the next-to-last stanza, in which the parallelism is restricted to sound repetitions and verb stem-formant. 10. Interesting is the use of parallel enjambment (see also the example in l.b. above): a. Versicular parallelism: flyMajiocb : 6yayT jiencH Ληη — h ôecTpeneTHa CMeacHOCTb PyK. (c. 18) Tbi BO MHe KaK Β xpycTajibHOM rpo6e Cnmub, — BO MHe KaK Β rjiy6oKoii paHe CnHUib, — (c. 94)

188 b.

ANTONINA FILONOV GOVE

Strophic parallelism : I, 1 ΠρΗΗΐι TaMneTÎfloBOJibHOnepBHByio 3ajie>tcb TpeBOJKHTb ... Ha po3bi Β3Γ.ΠΗΗΗ! (...)

II, 1 npHHq raMjieTÎ ^OBOJibHO uapnubiHM Heflpa riopoHHTb ... He ÄeBCTBeHHbiM — cyn (...) (Otfie/iux — β 3aufumy Kopoaeebi) (...)

I, 4 ΠροβτΗ, HTO6 HE OCTABHTB ΤΒΗΗ 11,1

HacTeHax...

MoaceT 6biTb — OTKa3CK B3HTb? BbinHcaTbCH H3 3epKan? (...) (...) III, 4 PacnacTbCH, «e ocTaBHB npaxa 2

IV, 1 Ha ypHy ... 2

MoxceT 6biTb — oÖMaHOM B3HTb? BbiruicaTbCH h3 uiapoT? (...) (c. 90)

II, 1 CHOBHfleHHblMH 3apOCJ7HMH (B BbICOKOM 3ane — oToponb pa3jinjiacb) (...) III, 1 BoaonaflHbiMii paayraMH, oôeanoM Jlaepa (BBepHJTCH *ce! 3Han!) (...) (3aHaeec) ( . . . ) E m e HHKCM He

I, 3

BbicjiexceH H He OTKPMT. (...)

II, 3 3Haio JiHuib : eme Hnr,ae He HHCJIHTCH, KpoMe TBOHX IV, 1

Tjia3 KoJiyMÔOBbix. (...)

IV, 3 3Haio jiHiHb : eme H h rae He HHCJIHTCH, ΚΡΟΜΒ LUHPOT

ByAymero ...

(Ocmpoe)

N^te that in some of the examples, the parallelism of enjambment cooccurs with lexical and grammatical parallelism, in others not. In order to gain a somewhat more comprehensive notion of the extent to which parallelism acts as a compositional device in Cvetaeva's verse, I examined carefully every poem in Posle Rossii.30 This collection conSince Cvetaeva's poetry is available only in various selected editions, any attempt

PARALLELISM IN MARINA CVETAEVA

189

tains 160 poems written between June, 1922, and May 7, 1925. The examination showed that of the 160 poems, only nineteen (11.9 per cent) had no discernible parallel lines. Nineteen (11.9 per cent) were characterized by pervasive parallelism 31 and 122 (76.2 per cent) were marked by sporadic parallelism. Of the latter, 13 (8.1 per cent of the total) can be said to have minimal parallelism, i.e., they contained a single parallel versicular pair (for example, a single parallel couplet); in the remainder of the poems with sporadic parallelism, the parallelism was more extensive. To sum up, approximately 80 per cent of the poems in Ρosle Rossii were found to contain parallel lines in an amount exceeding a single parallel versicular pair. The difference in the amount of strophic and versicular parallelism can be seen in Table I. Table II shows the tendency of pervasive parallelism Table I Occurrences of Versicular and Strophic Parallel Lines (in per cent) Versicular parallel lines Strophic parallel lines

41.8 58.2

Total number of parallel lines: 1213

to be strophic, as stated at the beginning of this section. In each case the amount of parallelism shown is measured in number of parallel lines. Not included in the tables are the results of counts made in terms of (a) the number of poems containing parallel lines (see the preceding paragraph) and (b) the number of parallelisms, each of which by definition embraces at least two parallel lines, although in several poems a single parallelism was found to extend to as many as six lines, and one poem ("Popytka revnosti") has a parallelism that can be considered to extend to ten or eleven lines. The ratio of parallelisms to lines per poem gives an indication of the pervasiveness of the parallelism. The count of parallel lines alone, as presented in the tables, gives a rough measure of the extent of the occurrence of parallelism throughout the volume. 32 to sample all of her published work seemed like a needlessly laborious undertaking at this point. al Note that while "versicular" and "strophic" are exact terms, "pervasive" and "sporadic" are inexact, requiring subjective judgment. In the present count, "pervasive" means extending throughout the poem and incorporating sizable parts of the poetic text, while "sporadic" refers to pairs of lines in isolation from the surrounding text. 82 The measure is "rough" because no attempt was made to measure the "amount" of parallelism within the lines. It may range from one-word anaphora with partial syntactic correspondence to complete lexical parallelism.

190

ANTONINA FILONOV GOVE Table II Pervasive and Sporadic Occurrences of Versicular and Strophic Parallelism (in per cent)

Versicular parallel lines Strophic parallel lines

Sporadic

Pervasive

Total number

92.1 76.2

7.9 23.8

507 706

The use of sporadic parallelism, especially of the versicular type, is certainly not unique to Cvetaeva. In the verse of Blok, to take one important example, we have numerous instances of parallelism, both versicular and strophic. However, on closer examination, certain differences in the use of sporadic parallelism by the two poets become immediately apparent. In a great many of the parallel lines in Cvetaeva, the grammatical and lexical equivalences occupy the entire line and tend to involve a majority of the grammatical features, word formations, and semantic features of the corresponding lexical items. In Blok there is a tendency either to restrict the equivalences to the first one or two lexical items in the line (anaphora) or, if the parallelism extends to the entire line, to involve only a few of the grammatical and/or semantic features of the corresponding items. This can be seen from the following illustrations. 1.

Versicular anaphora. MHe CHHJiHCb eecenbie ayMW, MHe CHHJIOCfc, ΗΤΟ h He o ä h h ...

(I, 1, 2)

2. Versicular anaphora and interrogative sentence, but with different ordering of verb and complement, and with one of the verbs being perfective, transitive and in the past tense, the other imperfective, intransitive and in the present tense, etc. Κτο nprnuiHicaJi MOHX jieöeaeÄ? Κτο Has 03ep0M δροΛΗΤ, cMeacb? ("Ecjih TOJibKO OHa πο,ηοΗΛβτ", I, 1 , 2 )

3. Strophic anaphora, with a displaced verb, absence of personal pronoun, and absence of the particle ze in the second member of the parallel pair of lines, etc. Ï I o ë m h »ce, Λ c n y r a j i , Λ cnyTaji

CrpaHHUH H CTpOKH CTHXOB, (...) (I, 1, 2) IIoëmh, β 3ΤΟΜ cyMpaKe — MarOM

Ctok) Haa το6οκ> η amy (...) (II, 1, 2)

191

PARALLELISM IN MARINA CVETAEVA

4. Lexical variation is present in each of the parallel lines of the concluding quatrain of the poem quoted in the preceding example. MeHamaa CHHTCH Mflymy najiamaa Tern ... HTO cepflue — neTamaa nraqa ... Ητο Β cepaqe — meM»ma« jieHb ... Η Τ Ο TOJII.KO

(VI)

5. Even in such a seemingly reiterative stanza as the following, the order of grammatically corresponding constituents occurs in a different metrical position in each of the four lines, with the exception of the anaphoric first person pronoun, the adjectives of the first and last lines and the rhyming verbs lovlju and ljublju. R öjießHbie BH3Ky jiaHHTbi, Λ n o c T y n t j i e Ö H Ä b i o JIOBJUO,

Λ cjiymaio

r o e o p OTicpbiTbiii,

Ά TOHKOE HM« JIK)6JIIO!

("Ο, HTO MHe 3aKaTHbift pyMSHeu", II) 6. In contrast to the preceding example, in the even lines of the following quatrain the ordering of grammatically corresponding lexical items in the line is maintained, but the consistent variation in grammatical and semantic features results in a subtle parallelism that is barely perceptible. He Tbi j i b Β ΜΟΗΧ M e i T a x , neeynaa, npoxujia Haa ôeperoM Heebi H 3a περτοΚ CTOJIMIM? H e Tbi Jin TaHHbift C T p a x c e p a e i H b i f t coBJieKJia

C oTBaroK) MyaceË H c HeacHOCTbio aeBHUbi?

(I)

To be noted in this example are the contrasting prepositions nad vs. s, za vs. s; the instrumental nouns beregom (+Masculine, +Concrete) and otvagoju (+Feminine, + Abstract); the genitive nouns Nevy ( + F e m i n i n e , —Animate, + Proper) and muzej f+Masculine, + Animate, —Proper); the instrumental nouns certoj and neznost'ju, the first of which requires a noun modifier to be inanimate, the second, animate; and finally, the respective genitive noun modifiers, stolicy and devicy. It should be evident from the preceding examples that the subject of parallelism in Blok deserves separate study. My remarks here are only meant to be suggestive of differences in the way the device is implemented in his and Cvetaeva's verse. Even on the basis of these limited observations, it seems correct to say that the characteristics of Cvetaeva's sporadic parallelism constitute a significant stylistic difference between her poetry and that of Blok. Whereas the differences in sporadic parallelism are subtle enough to require detailed documentation, it is my impression that pervasive

192

ANTONINA FILONOV GOVE

parallelism, especially of the strophic type, which appears so strikingly in Cvetaeva, is otherwise relatively rare in modern Russian poetry. 33 It recalls the traditions of Russian folklore and of the Byzantine-based hymnody of the Russian Orthodox church. In this context it is interesting to remember that features of folk poetry and folk dialect play a prominent part in Cvetaeva's poetic lexicon, as do Church Slavisms.

SUMMARY

It has been shown that Cvetaeva's use of parallelism as a poetic device is extensive, appearing in many of her poems, and intensive, constituting a basic principle of structure on a par with rhyme and meter in particular poems. Furthermore, a brief comparison suggests that the amount of equivalence within the parallel segments of her poetry is significantly greater than in the parallelisms of other poets, such as Blok. In addition to being an important aspect of her style, her use of parallelism is of interest for a typology of this device because her poetry presents clear and numerous instances of a peculiar, insufficiently studied variety of parallelism. This type, which I have called strophic parallelism, is exemplified by the poem analyzed in Section I of this paper. Strophic parallelism involves the equivalence of corresponding lines in successive stanzas. It contrasts with the widespread and well-known type of parallelism, such as that found in the Old Testament, which I call versicular parallelism, and which involves equivalence of successive lines. In Cvetaeva's verse, each of the types is found in sporadic and in pervasive occurrence. VANDERBILT UNIVERSITY

*3 A cursory search produced two poems with extensive strophical parallelism in the work of Mandel'stam — Cto pojut casy-kuzneciki and, especially, Na strasnoj vysote bluidajuScij ogori. The first of these is characterized by a shifting in the order of corresponding lines in the stanzas; the second, by changes in the order of corresponding constituents within lines, somewhat as in Blok.

ZEYERÛV VER§ IKTOVY

K. HORÁLEK

V dosavadních pracích o dëjinâch ceského verse Zeyer piati za póstitele stejného typu verse, jaky prevládl ν ceské poezii pûsobenim generace Jar. Vrchlického a Sv. í e c h a . Podle Mukarovského (Kapitoly II, 1948, s. 76) charakterizuje tuto generaci odklon od daktylotrochejskych rozmërû, jez do ceské poezie zavedli básníci druziny Máje (Neruda, Hálek), Vrchlicky a jeho soucasníci "dávají opët prednost versi trochejskému a jambickému; ζ meter jambickych se stává privilegovanym schematem zejména pëtistopy jamb (u Vrchlického rymovany, u Zeyera nerymovany)". Pëtistopého nerymovaného jambu (blankversu) uzival hojnë také J. V. Sládek ve svych prekladech Shakespearovych dramat. O Zeyerovë blankversu napsal zajímavou studii V. Mathesius ("Dynamická kadence ν Zeyerovë blankversu", Slovenská miscellanea. Sborník vënovany prof. A. Prazákovi k tricátému vyrocí jeho literární cinnosti, Bratislava 1931, s. 258-261). Dynamickou kadencí rozumí zde Mathesius pnzvukové zdûraznëni osmé (event, sesté) slabiky. V básni Abgar, vlozené do Kroniky o svatém Brandanu, koncí ζ celkového poctu 264 versû 134 versû trojslabicnym slovem, 10 versû trojslabicnym celkem predlozkovym (jednoslabiéná predlozka + dvojslabicné slovo), 9 versû celkem s príklonkou (dvojslabicné slovo + príklonka), asi 50 versû koncí slovem (nebo celkem) pëtislabiënym. Koncová slova (celky) jsou rûznym zpûsobem zdúrazñována, takze tim pràvë vzniká zvlástní 'kadence', pro Zeyerûv blankvers podle Mathesia tak charakteristická. Blankversu Zeyer uzil ν ohlasech stredovëké epiky (Karolinská epopeja), ν ceskych bájích (Vysehrad), ν básnickych povidkách (cyklus Ζ letopisû lásky) a také ve versovanych dramatech. Cesky desítislabicny jamb, ve kterém není vyzdvihována poslední slabika, tíhne automaticky k ctyriktové formé, tj. k versi, ktery obsahuje ctyri plnovyznamová slova. Základní schéma rûznotvaru s tríslabicnym zakoncením je (1) + 2 + 2 + 2 + 3. Prípadu uzití ctyrslabicnych slov

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(celkû) i jinych odchylek od "ideálního" ctyfiktového schématu je u Zeyera tolik, 2e lze mluvit jen o nevyrazné tendenti k ctyriktovosti (podobné jako u ceské napodobeniny jihoslovanského deseterce, kdy ctyriktovou formu nejcastëji splñuje forma 2 + 2 // 3 + 3). U Zeyera se vyskytuje jestë jiny typ verse, ν nëmz se uplatñuje iktovy princip, pritom ve vyraznëjsi podobë nez u blankversu. Je to vers bàsnë "Cechûv prichod", ν nëmz signalizuje iktovy princip také kolísání ν slabicném rozmëru. Je zde asi 60% versû dvanáctislabicnych, pak následují verse jedenáctislabicné (asi 30%) a desítislabicné (asi 10%). Dvanáctislabicné verse mají podobu daktylü s predrázkou (jsou to 'nepravé' amfibrachy). V jedenáctislabicnych byvá nejcastëji druhy tríslabicny celek nahrazen dvojslabicnym, takze vzniká forma: (1)+ 3 + 2 + 3 + 2 Devítislabicné verse koncí nejcastëji jednoslabiënym slovem (napr. "kol dumavych dubû, ν selestu bríz"). Na pocátku verse mûze byt slovo plnovyznamné, pred následující prízvucnou slabikou jednoslabicné slovo nerealizuje iktus. Ctyriktovych versû je ν "Cechovë príchodu" asi 85%, je to tedy tendence velmi vyrazná. Vlastnosti dvanáctislabicnych versû jsou dobfe patrny na tomto úryvku (poc. II. zpëvu) : Jest Siry ten prostor, ν nëmz Tatry se ηίέί a vlnité hrby své s planinou poji, jest rovina celá, jez odtamtud na jih i k vychodu slunce se ν dálavu ztrácí, tak nesmírnym porostlá Iipovym lesem, 2e se ätitü Tater se podobá moïi bez konce a bïehu, ν nëmz luciny velké, jak ostrovy ν slunecním jasu se tïpyti. Vsech 8 versû tohoto úryvku má po dvanácti slabikách a vsecky jsou jasnë ctyriktové. Jen jeden vers (7) má na zacátku pocátecní slabiku prízvukovanou, to je odchylka od amfibrachického schématu (resp. od predráákového schématu daktylského), nikoli vsak od schématu ctyriktového. Jedenáctislabicné verse prevládají ν tomto úryvku (1. zpëv, vers 133-138): A ve skále Sedé jeskynë zela, na jejím prahu dub ohromny stài, a pod nim, tak svëtlà jak slunecni paprsk, jak bohynë lepá sedëla dëva ve snëhovém rouie, a útlymi prsty nif pfedla zlatou a zpivala tiSe.

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Jeden ζ dvanáctislabicnych versû tohoto úryvku je zase nepravidelny na pocátku (bez porusení iktového pravidla). V desítislabicném versi (2) je jednoslabicné slovo ν sesté slabice neiktové. Predël pred sedmou slabikou ve dvou versieh odpovídá zhruba statistickému prûmëru ν celé básni. Vers Zeyerovy básne "Cechüv príchod" má tyto charakteristické rysy : 1. Kolísavy pocet slabik (12-11-10). 2. Vyrazná tendence k ctyíiktovosti. 3. Prízvukování druhé, pàté, osmé a jedenácté slabiky (ve vsech pfípadech téméï konstantní). 4. Nevyrazná tendence k predëlu pred sedmou slabikou. Jen vzdálenou obdobu k versi Zeyerova "Cechova príchodu" tvori vers Erbenova "Záhorova loze". Spolecnym rysem je kolisáni ν rozmëru poloversû (5-6 slabik), u Erbena mají prevahu verse desítislabicné, predrázka se vyskytuje zridka, tendence k ctyíiktovosti není u Erbena ani zdaleka tak vyrazná. Otázku, tanulo-li Zeyerovi na mysli pri versi ( 1 ) + 3 + 3 + 3 + 2 (zákl. varianta (1) + 3 + 3 + (1) + 2 + 2) metrum amfibrachické nebo daktylské (s predrázkou), bylo by mozné rozhodnout jen na základé nëjakych jeho vypovédí k této véci. V Zeyerové korespondenci jsme zádnou takovou vypovéd nenasli. Objektivnë vzato, jde o daktyl s predrázkou.

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forem

JOSEF HRABÁK

Tyto úvahy se netykají abstraktního trídéní virtuálních, tj. moznych verSovych tvarû, nybrz forem realizovanych ν konkrétní literature. Pokud jde o materiál, opirám se o ceskou literaturu, domnívám se vsak, ze mé poznámky mohou mit i urcity obecnéjsí dosah. Jde mi o dvojí zpusob klasifikace, totiz (1) o tridëni ζ hlediska obecného, pri nëmz se stavëji väechny versové formy, které vznikly ν urcité literature, horizontálné vedle sebe, a (2) o trídéní ζ hlediska fungování versovych forem ν urcitém historickém kontextu. Pokusím se ukázat, ie se obë tato hlediska mohou rozcházet a 2e se proto musí prihlízet pri analyze konkrétní literatury k obéma zároveñ, tj. ze se musí kombinovat hledisko obecného katalogu forem s hlediskem jejich funkce ν urcitych konkrétních kontextech. Vzhledem k omezenému rozsahu clánku upoustím od uvádéní literatury a príkladú.

I Uvodem se pokusím strucné nastínit, ν cem vidím specificnost literární a vûbec umélecké tvorby proti rozlicnym praktickym cinnostem. Specificnost ζ hlediska problému, o ktery mi jde, spocívá ν torn, ze se umélecky vytvor neztrácí s casem, ktery jej vyprodukoval, ale ze pretrvává dobu svého vzniku, a protoze je svym zpûsobem vzdycky jedinecny, 'nestárne'. Umélecká soucasnost tedy obsahuje nejen vytvory nové vzniklé, ale zároveñ soubor starsích vytvorû, které prezívají a jsou ν obëhu. Pro literaturu to znamená tolik, ze literatura urcitého národa predstavuje soubor dèi vzniklych sice ν rûznych dobách, ale predstavujících se soucasníkovi jako staticky systém, ktery se sice mûze ν dalsím casovém prübéhu obohacovat o novou tvorbu, ale ν nëmz stojí rûznë staré vytvory vedle sebe. Proti tomu lze namítnout, ze stredovéká literární díla jsou známa jen

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zlomku publika a ζe tedy nejsou soucástí systému 'dnesni literatury'. Totéz vsak lze riti i o umëlecké avantgardë; i t a j e známá obycejnë jen zlomku publika, a presto ji nikdo ζ literatury nevylucuje. Otázka 'zivosti' literárního díla není fakt statisticky, nybrz fakt potenciální. Systém literatury si nesmíme predstavovat tak, jako by byl cely objektivizován ν povëdomi kazdého príslusníka národa. Chápu jej jako celistvost, která je potencionâlnë prístupná kazdému príslusníkovi ctenárské obce. Proto sem patri i díla stredovëkà: pokud mají vyznam, jsou dnes ν kazdé rozvinuté literature zpravidla editována a jsou ν urcitém obëhu, i kdyz nezasahují cely rozsah publika. A to piati pochopitelnë i pro literární formy, jimiá byla tato díla slozena, ν nasem pripadë pro jejich vers. Nepochybnë se zde primo nabízí analogie s lexikem jazyka, nebot' ν jazyku se prirazují stále nová slova k slovûm starsím, která vznikla bëhem dlouhého vyvoje, takze lexikální vrstvy vzniklé ν casovém rozpétí stojí ζ hlediska uzivatele dnesního jazyka vedle sebe. (Nëkterà slova ovsem odumírají, ale stejnë odumírají nëkterà literární díla). Jinak je tomu s morfologií, nebot' se ζ jazyka vytrácejí celé kategorie, napr. ν ce§tinë jednoduchá préterita. V literature je vsak jiná selekce nez ν jazyce: kdezto ν jazyce se bëhem vyvoje ztrácejí nëkteré tvary, ν literárním zivotë staré formy pretrvávají, resp. odumírá ζ nich jen cást; staroceská Alexandreida je i faktem dnesního literárního zivota, protoze je stále ν povëdomi, a proto pretrvává i její vers, kdezto aorist je pouze faktem historickym. Ζ tohoto hlediska je vytváreno bohatství versovych forem urcité literatury vsemi veräovymi tvary, které vznikly bëhem historického vyvoje a jimiz byla slozena díla, která jsou pocit'ována jako nositelky urëitych umëleckych a ideovych hodnot. Je to tedy struktura sice otevrená, ale ν podstatë statická: to, co bylo dosud vytvoreno, dà se usporádat ν logickou soustavu umozñující rychlou orientaci ν bohatství historicky vzniklych forem, pfiëemi se neuzavírá moznost vcleñovat do této soustavy formy, které snad vzniknou pozdëji. V takto pojatém systému se nejlépe dají klasifikovat versové formy podle toho, jak je slozitá metrická norma, jinymi slovy — jakymi prostredky je vyznacována segmentace jazykového projevu na verse. Vers se tím stavi ν první rade do opozice proti próze, která se jeví jako forma bezpríznaková, kdezto vers je formou príznakovou: proti prozaickym projevûm jsou verSované projevy 'svázány' urcitymi normami (metrické normy). Nejjednodussí ζ hlediska metrické normy je vers volny; uvnitr nëho jsou ovsem rûznotvary, zejména vers rymovany a nerymovany — rym je príznak, kterym se oznacuje konec versového celku. Dále je

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starocesky vers bezrozmërny; nemá pevny pocet slabik, ale proti volnému versi je tu navíc snaha, aby byl kazdy vers gramatickym celkem, konfrontuji se tedy gramatické celky rûzné povahy (vëta, vëtné cásti) a rûzné délky. Dále se rada rozstëpuje, protoze lze aplikovat princip sylabicky, princip tónicky a princip casomërny. Pri aplikaci sylabického principu, ν nëmz se normuje délka verse podle poctu slabik, je mozno rozeznávat 'cisty' sylabismus, kde je normován pouze pocet slabik, resp. kromë toho jestë stredni diereze a klauzule, a sylabotónismus, kde se normuje i distribuée slovnich prízvukü uvnitr verse (to je 'klasicky' cesky vers 19. století). V mezích sylabismu lze dále klasifikovat podle povahy (resp. existence) strednx diereze, podle klauzuli (versové a poloversové) a podle poëtu slabik verse, ν mezích sylabotónismu podle zpüsobu, jakym jsou distribuovány tëzké doby verse, podle poctu slabik verse a dále podle metrickych tendencí. Zejména Studium metrickych tendencí prineslo pozoruhodné vysledky, a to stejnë pri popisu verse jako ve srovnávací slovanské metrice ; zvláste pronikavé jsou zde práce Κ. Taranovského. Naznacil jsem hlavni smër, kterym se ridi systematická klasifikace verse radici jednotlivé formy podle slozitosti metrické normy, pricemz se postupuje od nejjednodusäi formy k formám stále 'vàzanëjsim'. Pri katalogizaci stojí forma vàzanëjsi napravo a jevi se jako forma pnznaková, protoze má proti formé sousedící zleva nëco navic ve své metrické strukture (napr. pozadavek, aby byl vers syntaktickou celistvosti, aby mèi normovany pocet slabik, aby ν ném byla normována distribuée slovnich prízvukü, atd.). Tato klasifikace je vyhodná zejména pro srovnávací Studium, protoze usnadñuje rychlou orientaci a nutnë vede k jednotné terminologii. Kdybychom hledali analogii, mêla by asi podobnou funkci jako klasifikace tzv. básnickych figur: jednotlivé útvary jsou zarazeny vedle sebe podle urcitych logickych hledisek. Pri studiu ver§e jde vsak také — a domnívám se, ze predevsím — o problém, jak funguji jednotlivé formy ν konkrétních literárních kontextech ; pro tento úcel je naznaceny zpûsob klasifikace pouze pomûckou, pouhym katalogem, nebot' neríká nie o funkci utridënych forem ν literárním kontextu, o jejich postavení ν konkrétní literární strukture (stejnë jako neríká nie o funkci urcité básnické figury její misto ν systematickych prehledech, jaké známe ζ bëznych praktickych prírucek poetiky). Je proto treba se podívat, jak se uvedeny zpûsob klasifikace jevi ζ hlediska studia konkrétní literatury. Predevsím ν zivé literární tvorbë neexistují vsechny uvedené versové formy jako útvary pëstované soucasností: dnesní ceská poezie nezná bezrozmërny vers ani nepëstuje ëasomíru, na druhé strane stredovëk neznal volny vers, atd. To je ovsem

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samozrejmé, s tím pocítáme. Zàsadnëjsi je vsak to, 2e se ν konkrétních historickych podminkách jednotlivé formy jinak hierarchizují, nez jak ukazuje domnële 'prirozená' hiérarchie, kterou jsem naznaôil, a 2e i postavení téze formy ν rûznych kontextech mû2e mit rozliônou funkci. Napriklad vztah prózy a ver§e byl ν dobè, kdy se umëleckà próza zaöala vytváret, opacny, neï jak se jevi dneäku : jako bezpríznaková forma se jevil vers a umëleckà próza byla formou priznakovou; priznak byl tedy negativni povahy (nedostatek pevného poëtu slabik a závazného rymu). Obdobnë tomu bylo pri vzniku bezrozmërného verse : i kdy2 je ζ hlediska metrické vystavby jednodussi nez vers s normovanym poctem slabik, vznikl na jeho pozadi a jako jeho protiklad, byl tedy zase pïiznakovou formou, jejíz priznak se dá charakterizovat jen negativnë. Stejnë je tomu i pri vzniku moderniho ver§e volného. Obecnë se dá rici, 2e nové formy vznikají jako popreni starych forem a jejich priznak je proto negativni. Dobre je to vidët i mimo oblast verse. Dnesni román nemël predchûdce ν 'literature faktu', naopak 'literatura faktu' vzniká jako protiklad románu, tedy jako pfíznaková forma: proti fiction se vytvárí non-fiction. V historickém vyvoji se oväem mû2e mënit vztah mezi pocitem priznakovosti a bezpriznakovosti té2e dvojice forem. V moderni literature uz neexistuje pocit, ze próza vznikla na pozadí verse jako jeho protiklad, ale próza je pocit'ována jako forma bezpríznaková, ver§ "má nëco navíc". Také ν podrobnëjsim clenëni pozorujeme presuny. Na pocátku obrozeni byl pocit'ován jako bezpríznakovy rytmus ceského sylabotónického verse trochej, kdezto jamb se prosazoval jen zvolna: jestë básník Durych (1886-1962) jej charakterizoval jako 'svátecní' metrum. Díky lumirovské skole vsak byl rozpracován jamb do té míry, 2e se dnes pocit'uje jako forma zautomatizovaná a naopak trochej nabyvá podoby versového spádu príznakového. Ζ toho je vidët, ze pri rozboru konkrétni literatury musíme pocítat s historickym vëdomim jako s faktem a ze je nemû2eme Ikrtat: abstraktnë a obecnë vidëny vztah versovych forem se mûze mënit podle rûznych konkrétních situaci. Historie je stály pohyb, zmrtvujeme jej ν uröitych okam2icích jen proto, abychom se ν nëm lépe orientovali podle 'záchytnych bodû'. Jestlize klasifikace verSovych forem podle jejich slo2itosti je dobrou pomûckou pro jejich obecny popis a tridëni, prihlí2ení k jejich historické funkci je nutné pro jejich interpretaci.

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II Pro ceskou literaturu je príznacné, ze ν rozhodujících obdobích literárního zivota existují vedle sebe dva prozodické systémy. Ve 14. století, kdy se ceská literatura rychle vysvihla na evropskou úroveñ, byl to ver§ s pevnym poctem slabik a vers bezrozmërny. Okolo r. 1600, kdy vzniká ν podstatë moderni cestina, je to tradiëni vers o pevném poôtu slabik na jedné stranë (bezrozmërny vers prestavi hrát vyznamnëjsi úlohu), a na druhé stranë vers casomërny. V obrození je to vers ëasomërny a sylabicky na jedné stranë, a na druhé stranë vers skládany podle pozadavkû metrické reformy J. Dobrovského (proklamované r. 1795), tj. vers sylabotónicky. Domnívám se, ze i zde slo o dichotomii a hlavni rozpor byl mezi systémem casomërnym a prizvucnym; tento rozpor pokraöuje i pozdëji, jak ukazuje manifest Pocátkového ceského básnictví (1818), kde se proti Dobrovského reformé propago vaia öasomira. I ν tomto pripadë máme co dëlat s rozhodující vyvojovou fází ceské literatury, protone slo o dobu, kdy se formoval novodoby ëesky národ a kdy se po pretrzené literární kontinuitë zaéíná nová literární tradice. V devadesátych letech 19. století, která predstavovala nesmírny rozmach literární tvorby, vzniká (a od té doby se pëstuje) vedle ver§e sylabotónického jako novy prozodicky systém vers volny. Zasluhuje snad vykladu postavení sylabotónického veräe ν dobë Dobrovského, kdy se Dobrovského reforma obrací stejnë proti casomíre, jako proti versi ëistë sylabickému. Domnívám se, ze slo ν podstatë o protiklad binární, ze totiz nestály proti sobë tri prozodické systémy (casomíra, ver§ cistë sylabicky a vers sylabotónicky), nybrz ze stàio proti sobë dvojí chápání stopy. Casomíra a vers cistë sylabicky mëly spolecného jmenovatele ν pomëru ke stopë, rozdíl byl jen ν tom, ze óasomíra predstavovala slozitëjsi systém; ν ëistë sylabickém ver§i slo prostë o clenëni verse na pomyslné jednotky po dvou slabikách a básníkovo umëni (a neumëni) spocívalo ν tom, jak harmonicky slova — abych pouzil dobové terminologie — 'léhala' nebo 'vstávala', tj. zda pripadaly jejich hranice doprostred pomyslnych dvojslabicnych celkû {stop), nebo zda splyvaly s jejich hranicemi. V obou prípadech tedy bylo napëti mezi hranicí slova a hranicí stopy, kdezto u verse podle pozadavkû Dobrovského byla jediná moínost: stopa mêla byt jazykovou realitou, resp. rozlození slovních hranic bylo 'pevné'. Existence dvou prozodickych systémû vedle sebe není snad znakem tápání, nybrz signalizuje zvëtsujici se clenitost literárního zivota. Je totiz nápadné, ze se toto rozclenëni projevuje ve väech plánech literárního

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projevu, stejnë jako ve formé verse i ν tematice a ve stylu. Aplikaci nové ver§ové formy a nového prozodického systému si zrejmë vynutila nová tematika, která byla projevem nového sociálního rozlození ctenárstva a novych ùkolû literatury, ζ nichz vyplyvala potreba tvarovë diferencovat literární tvorbu. V tomto vyvoji pozorujeme zrejmé smérování k opozicím binární povahy. Nejlépe to ukazují takové formy, které by se daly charakterizovat — vidëno ëistë abstraktnë — jako "tretí cesta". Takové formy jsou jaksi pohlcovány a vcleñovány do dvojdílného schématu. Zmínil jsem se jiz ζ toho hlediska o vztahu casomíry, cistého sylabismu a sylabotónismu ν dobë Dobrovského. Príkladem ζ nové doby mûze byt cistë prízvucny (tónicky) vers, ktery se pri svém objevení vcleñoval do systému verse 'volného'. Bylo tomu tak proto, ze tento vers nemá pevny sylabicky základ, ktery se pocit'uje jako hlavní charakteristicky rys klasického, standardního ceského verse 19. století. BRNO

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MCAHEHKO

I l y T b , NPOHFLEHHBIII p y c c K H M CTNXOCJRO>KEHHEM c B P E M E H C H M BO JXH3M a

η ΛΟ HauiHx flHeñ TOJixyeTca H H o m a Kaic n o c T e n e H H o e

pacmaTtiBaHHe

acecTKHx npaBHJi η y c j i o B H o c T e i í K n a c c n n e c K o r o p y c c K o r o cTHxa

19-ro

Bexa, KAK p e s y j i b T a T n o c T e n e H H o i i , HO HeyKJioHHOH KAHOHH3AUHH p a a a *n03THHeCKHX BOJIbHOCTeíí', KaK ΠρΗΜΟΗ OTKa3 OT CTapOÍÍ T a K o í í HHCTo o T p H u a T e j i b H M Ì i ΠΟΛΧΟΛ Κ npoÔJieMaTHKe pyccKoro

cTHxocjroaceHHH He Μ ο > κ ε τ ,

paayMeeTca,

Π03ΤΗΚΗ.*

coepeMeHHoro

cjiyacHTb

Teopera-

HecKoií 6a30H a n a H3yHeHns HOBHX 3aKOHOMepHOCTeii, n p H u i e a u i H x Ha CMeHy CTapbiM. Β HSCTHOCTH o c T a e T c a HenoHHTHbiM, n o n e M y

npouecc

HeyKOCHHTeJIbHOH AeKaHOHH3aUHH Bcex HOpM KJiaCCHHeCKOH ρ κ φ Μ Μ He 6biji

flOBeaeH

ao

jioranecKoro

KOHua, n o n e M y

6buia uejiHKOM jiHKBH/iHpoBaHa

CTHxy He n p H m e j i CTHX ΗΕΡΚΦΜΟΒΒΗΗΗΗ. BepjiHÔp

name

Beerò

pncj)Ma KaK n p a e M

h noMeMy Ha CMeHy

pi^MOBaHHbiií,

Be/ib

Hepe^oK

flaxce TaKoft

He

pHφMOBaHHOMy y

XjieÔHHKOBa BepjiHÔp

H

y

K y 3 M H H a . K a 3 a j i o c b 6bi, HTO BMecTe C 0 T K a 3 0 M OT KOHCHHOH Ρ Κ Φ Μ Μ pyccKHH CTHX flOJiHceH 6biJi OTKa3aTbca H OT a p y r n x HaHÔoJiee ycToîtHHBWX

ΦΘΡΜ3^ΗΜΧ

ϋΤροφΗΚΗ.

ΓΦΗ3Η3ΚΟΒ

MoKfly

TOM

KaK

CTapOÍÍ

Π033ΗΗ

ΗερΗφΜΟΒ3ΗΗΗΗ

—

H30CHJIJia6H3Ma

Bepjraôp

H

3aHHMaeT

r o c n o f l C T B y i o m e e MecTO B c o B p e M e H H o ñ 3 a n a f l o e B p o n e i í c K O H H aMepHKaHCKOH

Π033ΗΗ

H

ΠρΟΗΗΟ

BOIIieJI

Β

OÖHXOfl

nOJIbCKOH,

HeUICKOH,

CJIOBaUKOH, CepÖCKOH H XOpBaTCKOií I7033HH, Β pyCCKOH Π033ΗΗ H3LUHX flHeñ

BepjiHÔpHCTbi 3aHHMaioT BecbMa C K p o M H o e H ΗΒΗΟ π ε ρ Η φ ε ρ κ Η Η ο ε

MecTO. 1 P y c c K o e CTHXocjiovKeHiie, Β n p o u i j i o M TaK n y T K o OT3biBaBineeca Ha HOBbie BeXHHS H Φ Θ Ρ Μ 3 Ι Λ Η Μ 6 SKCnepHMeHTbl 3anaflHOH Π033ΗΗ, He n p H M K H y j t o κ HepHφMOBaHHOMy BepjTHÔpy, He o T p e K J i o c b o r , K a 3 a j i o c b * ABTOP rnyôoKo npjBHaTejieH προφ. Β. Φ. MapKOBy 3a ero u e m w e yKa3aHns Η npHMenaHHa. 1 Cp. HHTepecHyw e r a n d o A . Jl. JKOBTHC, " Ο κρκτερΜΗχ THnoJionwecKoii xapaxTCpHCTHKH ΟΒΟβΟΛΗΟΓΟ CTHXa", BonpOCbl

M3blK03HÛHUM ( 1 9 7 0 , 2 ) , CTp. 3-77. Β C T a T t e

paccMaTpHBaioTca (JiopMaJibHwe aneMeHTbi ΟΒΟ6ΟΛΗΟΓΟ CTHxa β aana/ioeBponeHCKoií ( β TOM MHCJie HeUICKOÈ) Π033ΗΗ.

Α. Β. HCAHEHKO

204 6bi, H3

6e3Haae5KHo

ycTapeeuieü

nocTOSHHtix

HjieHeHHe

CTpo(J)H4ecKoe

ΓΟΛΟΒ Morjxo cöpocHT

uejiHKOM ρκφΜΕ

KaàaTbCH,

pyccKoro

HTO

He

τοπικό

ne

KaK

H3

H3

KaK

BMecTe

pyccKaa

ρκφΜΜ;

c

pyccKoñ

ΠΟ33ΗΗ

aaace

oflHy

Hew

npneMe.2 ΠΟ33ΗΗ,

'MeTpHMecKoro

Η

20-x

BOT-BOT

TaKoñ

nncaji ο

5KnpMyHCKiiii

ncne3üa

a

TeKCTa. E m e Β Hanajie

xy^oacecTBeHHOM

npeBpamaacb

coxpaHHB

pHφMy,

peBOJUOUHOHHaa

pyGaimcy'

CTHxa,

'npeoflOJieHHOM'

pa3BHBaTbCH,

KOHeiHyio

craxoTBopHoro

'cMHpHTejibHyio

TeopeTHK

H H3JKHTOH ΠΟ3ΤΗΚΗ,

ycjioBHOCTeH

πγτκΗΗ

ρπφινιε,

IlojiBeKa

KaK

o

cnycTH,

npo/iojraaeT

HO

npHBecKa'

Β

ΠΟΜΤΗ

c a M o f l o B J i e i o m y i o xyaoacecTBeHHyio BejiHHHHy. IlpHiHHy 3TOMy, OHCBHAHO, H e C J l e / i y e T H C K a T b Β ΗΒΚΟΕΜ B H e U I H e M ' H 3 0 J l a U H 0 H H 3 M e '

nOpeBOJIIO-

UHOHHOH

OT

Hbix'

pyccKoñ

SCTeTHHeCKHX

npOHBJieHHflM peTHKaM

He

Β c03HaTejibH0M

Π033ΗΗ, HOpM,

OryjIbHO

'fleKafleHTCTBa'.

y/iajiocb

OTHOCHMblX

HHKaKHM

ocraHOBHTb

OTTajiKHBaHHH HHbIMH

Ka3eHHbIM

pa3BHTHe

Β

KpHTHKaM

HeiucKoíí

4

3anaa-

KpHTHKaMH Η

Κ

Teo-

HJIH nojibCKoñ

Π033ΗΗ, r a e JiyHuine n o s T b i n n r n y T BepjiwöpoM; pyccKwe n o s ™ , 0 K a 3 a e iiiHecH 3 a p y ö e x c o M , He B o c n o j i b 3 0 B a j i H C b o T c y r c T B H e M

scTeTHHecicoH

perjiaMeHTauHH Η He nepeuiJiH Β j i a r e p BepjiH6pncTOB. CoxpaHeHHe Β pyCCKOH

Π033ΗΗ

HaiUHX flHeH npHHiyina KOHeHHOH ρ κ φ Μ Η H CBH3aHHOH c

ρκφΜΟΗ ο τ ρ ο φ ι ι π ε ε κ ο Η c r p y K T y p b i CTHxoTBopHoro TeKCTa He c B s n a H o C T0pM03HUJHM B03fleHCTBHeM C^HUHajIbHOH flOKTpHHbl 'COUHaJIHCTHnecKoro

peajiH3Ma',

3aMezmnBmero

pa3BHrae

coBpeMCHHbix

φορΜ

p y c c K o r o p o M a H a , . a p a M a T y p r a n , ÄHBOIIHCH, ô a j i e T a , apxHTeKTypbi H T./J. IlpeoflOJieHHe ' i c p i o H c a ρ κ φ Μ Μ ' Β p y c c K o ñ n o 3 3 H n o ö i a c H a e T c a CBoeBpeMeHHblM

noaBJieHHeM

UeJIOH

nneHflbl

TaJiaHTJtHBeHHMX

HOBaTopoB, H36paBuiHx He HMeiomHH napajiJiejiM Β .zipyrax

Π03Τ0Β-

eBponeñcKHx

j i H T e p a T y p a x n y T b κορβΗΗοκ nepecTpoiÍKH c a M o r o npHHUHna ρ κ φ Μ Μ , Mo6HJIH3aHHH

COBepUieHHO

HOBblX

(Ha

nepBblH

Β3ΓΛΗΑ)

H3bIKOBbIX

p e c y p c o B H C03,aaHH5i HOBMX SCTCTHHCCKHX HopM, CTOJib ace 'JKCCTKHX' Η o 6 « 3 a T e j i b H b i x , KaK H HopMbi p y c c K o r o TPAXINUNOHHORO CTHXOCJIOJKCHHJI. H a c T o a i U H e 3aMeTKH He CTaBHT c e 6 e uejibio npocjie^HTb Β

fleTajiax

Becb XOfl pa3BHTHH pyCCKOH ρ κ φ Μ Η OT CHMBOJIHCTOB ΛΟ HaiUHX ΑΗΒΗ. H a m e BHHMaHHe 6 y a e T c o c p e ^ o T o n e H o Ha JiHHrBHCTHHecKOM aHajiH3e 'ΗΟΒΟΗ ΡΚΦΜΜ' y n a c T e p H a K a H y ΠΟ3ΤΟΒ 5 0 - Χ Η 60-Χ ΓΟΑΟΒ. HO npexcAe HeM nepeHTH

κ pa3Ôopy

caMoro

MaTepwajia,

Heo6xo,anMo

cflejiaTb

HecKOJibKo o 6 m n x MeToaojiorHnecKHx 3aMeHaHHH. 2.

TpaflHUHOHHaa ΚΙΜΟΟΗΦΗ^ΙΙΗΗ ρ π φ Μ Η n o MeTpHHecKOH CTpyKType

' Cp. KanHTajibHbifl Tpyfl Β . M. }KnpMyHCKoro, ΡιιφΜα, ee ucmopuH u meopun (JleHKHrpafl, 1923), CTp. 152.

205

H3 HAEJIIOAEHHH HA/I "HOBOÍÍ ΡΗΦΜΟίί"

Kjiay3yjibi, pa3JiHHaK>maa MyxccKHe, aceHCKHe, flaKTHJiHiecKne η rnnepflaKTHJiHMecKHe ρπφΜΗ, 3 HepaBHOcjioacHbix ρ κ φ Μ

ô t i j i a BpeMeHHo rana

aHHyjiHpoBaHa

áemopa¡3áempa

BBeaeHHeM

β TBopnecTBe

MaaicoB-

CKoro, CejibBHHCKoro, I^BeraeBOH η Η β κ ο τ ο ρ κ χ ηχ nocjieaoBaTeJieñ. Β Π033ΗΗ

50-Χ

Η 60-Χ

ΓΟΛΟΒ HepaBHOCJIOÎKHbie

ρκφΜΜ

BCTpenaiOTCH

cpaBHHTejibHO peflKo. flajieKo He Bee HOBmecTBa, nopaacaeuiHe coBpeMeHHHKOB Β Π033ΗΗ MaHKOBCKOrO, 0Ka3aJIHCb HHTepeCHbIMH Η ΠρΗβΜjieMMMH zura nocjieflyiomHX ΠΟΚΟΙΚΗΗΗ pyccKHx nosTOB. HccjieaoBaTejiH yfleJiHjm HeMajio

ΒΗΗΜ3ΗΗΗ cjioacHOMy

npOrpeCCHBHOH fleKaHOHH3aUHH TOHHOH ρκφΜΜ

npoueccy

B pyCCKOH

Π033ΗΗ.

CaMO noHaTHe TOHHOCTH/HCTOHHOCTH ρκφΜΒΐ oKa3aJiocb KpaÖHe OTHOCHTejIbHblM Η Η3ΜΒΗΗΗΒΜΜ. OaKTHHeCKOe 'C03ByMHe' BCeX SJKMeHTOB KOHueBoro co3ByHH«,

noBTopa Β

6BIJIO nocTeneHHO

κοτορΜχ

oTfleJibHwe

3aMeHeHo TaKHMH

3ByKOBbie

sjieMeHTbi,

φορ\^ΜΗ He

ôyayiH

axycTHiecKH ToacaecTBeHHbiMH, crajiH HHTepnpeTHpoBaTbca Kaie 'SKBHBajieHTHbie'.

Ilpouecc

nepeoueHKH

TpeöoBamiH,

npeffwiBjiHeMbix

κ

pyccKOH ρκφΜβ Ha npoTHXceHHH 18-ro H 19-ro BCKOB noapoÔHO H3yneH ÎKHpMyHCKHM.4 3 τ ο τ npouecc HHoraa HHTepnperapyeTca KaK npaMOJiHHeiiHbiH nepexoA ο τ 'TOWHOH' Κ 'HCTOHHOH' ριιφΜε. T . 3KMaH Β CBoeM floKjiaae Ha V I MeacayHapo^HOM ci>e3fle cjiaBHCTOB Β I l p a r e yôe^HTejibHO noKa3aJi, HTO noBbiuieHHe npoueHTa 'ΗΒΤΟΗΗΒΐΧ' ρκφΜ BjieneT 3a coöoii noHHHceHHe npoueHTa rpaMMaTHHecKHx

ρπφΜ

H 3THM oöoramaeT

penepTyap BO3MOHCHMX ποΒτοροΒ. 5 TeM He MeHee, 'TOHHocTb' ρκφΜΜ ΜΗΟΓΗΜΗ TeopeTHKaMH Mepe,

(no

Kpaimeìi

HMIUIHUHTHO) KaK HeKHH 'Hfleaji', a OTKJIOHCHHH ΟΤ

npoflojiacaeT paccMaTpneaTbca

ΤΟΗΗΟΓΟ

C03ByHHfl — KaK npOflBJieHHe 'BblpOXCfleHHa' CaMOrO npHHUHna ρπφΜΗ. /^onymeHHe pa3Horo p o j a OTKJioHeHHÌi ο τ neaaHTHHecKoro

noBTopa

KOHueBoro 3ByKop«,aa Β a e y x HJIH HecKojibKHx ρκφλ^ιοιιΐΗΧΟβ c r a x a x OCBOÖOflHJIO

pyCCKyiO

ρκφλ^

ΟΤ

HeOÔXOflHMOCTH

'3aflaHHyio' uenoHKy 3ByKOB c BepHocTbio

'sxo',

BOCnpOH3BOflHTb

ηιηροκο

pacKpwjio

BO3M05KHOCTH TBopnecKoro Η HHaHBHflyajibHoro no^xofla Κ ρΗφΜΟΒΚε, He Hapymaa,

oaHaxo,

npeeMCTBeHHOcTH

B Tpa/umHOHHOM

OTOxcae-

CTBJieHHH ρΗφΜΜ CO 3ByK0BbIM OTpe3KOM, CrpynnHpOBaHHOTO BOKpyr nocjreziHero yqapHoro rjiacHoro οτροκΗ. Β c y m n o c r a , y>Ke Β ΠΟ33ΗΗ

8 Β HacTOHmeü cTaTteranepAaKTHJuiHecKHeρκφΜΜ, eecbMa peflKHe Β pyccKoË Π033ΗΗ, 6YAYT OCTAENEHW 6e3 BHHMÎIHHÎÏ. 1 Cp. Pu(ß.ua, ee ucmopun u meopuM. 5 T. 3KMaH, "PH(J>Ma Β ΠΟ33ΜΜ cjiaBflHCKHX napo/iOB. HecKOJitKO 3aMCTOK", American Contributions to the Sixth International Congress of Slavists II (Mouton, 1968), CTp. 87 H CJl.

206

Α . Β. HCAHEHKO

19-ΓΟ Beica ' τ ο 4 Η ο σ π > ' ρ π φ Μ Β ΐ n e p e c T a e T 6 w T b 3ΗΕΗΗΜΜΜ n a p a M e T p o M pyCCKOH ρκφΜΟΒΟΗΗΟΗ TeXHHKH. Ρ κ φ Μ Ε —• 3TO HCTOpHHCCKH CKJla/JblBajOIUaHCH K a T e r o p H f l , TOHHOCTb C03ByHHH

yCJIOBHOCTb. E e H O p M H He OnpeAeJIHIOTCH

npaBHJiaMH,

a

ycTaHaBjiHBaiOTCH

AHAJIMA

nyTeM

anpHOpHblMH

T3KHX

TCKCTOB,

KOTOpbie npHHHMaiOTCa ÔOJIblUHHCTBOM COBpCMCHHHKOB KaK 0 6 p a 3 U b I cjioBecHoro

HCKyccTBa.

CrpyKTypa

'HOBOH

ρκφΜΜ'

MoxceT

6biTb

p a c K p b i T a TOJibKO Ha ocHOBaHHH e e CO6CTBCHHMX BHyTpeHHHx 3aK0H0MepHOCTeñ. T e M He MeHee, coeeTCKHe H sapyôeacHbie cTHXOBeabi flOJxacaioT Β

προ-

n0Jib30BaTbca n a p a M e T p o M 'TOHHOCTH/HCTOHHOCTH' ρ π φ Μ Μ .

CBoeft

coaepacaTejibHOH

pyccKOH

ρκφΜΜ,

A.

M.

cTaTbe,

nocBHmeHHOH

KoHflpaTOB

nbiTaeTCH

CTaracTHKe H3MepHTb

ΤΗΠΟΒ

'cTeneHb

C03ByHH»' ρΗφΜγίΟΙΙΙΗΧ OTpe3KOB HA OCHOB3HHH ZIBVX TpaflHHHOHHblX noKa3aTejieö :e (1)

'TOHHOCTH',

IToKa3aTejieM

corjiacHO

KoHflpaToey,

JIBJIHCTC«

coBnafleHHe/HecoBnafleHHe 3ByKOBOH uenoHKH, HannHaioLueHca n o c j i e a HHM y a a p H b I M rJiaCHbIM CTpOKH (nOCJieflHHM HKTOM) H BKJHOHaiOmHH BCe 3ByKH, C T o a m H e παηραβο

ο τ n o c j i e ^ H e r o HKTa.

( 2 ) I I o K a 3 a T e j i e M ' r j i y Ö H H b i ' ρ κ φ Μ Μ HBJIHIOTCH Bce 3ByKOBbie 3JieMeHTbi, c T o s i n n e ΗαΛεβο TaKHM

ο τ n o c j i e A H e r o y a a p H o r o r j i a c H o r o CTpoKH. 7

o6pa30M,

KOHueeoft

ποΒτορ,

öeccnopHo

cocTaBjmiomHH

u e j i b H y i o H H e a e j i H M y i o C T p y K T y p y , HCKyccTBeHHo pa3ÖHBaeTC5i Ha a e e caMocTo«TejibHbie flpyra.

Ha

Harn

nacTH, H c c j i e a y e M b i e KaK 6bi He3aBHCHMo A p y r Β3ΓΛΑΛ,

TaKoe

pa36HeHHe

KOHueeoro

noBTopa

οτ Ha

' c o ô c T B e H H o ' ρ Η φ \ ^ κ > ι ι ΐ Η ε 3JieMeHTbi, H Ha TaK Ha3biBaeMbie ' o n o p H b i e ' 3JieMeHTbi

He TOJibKO jiHuieHO

TeopeTHnecKoro

Β ripn-

060CH0BaHn«

MeHeHHH κ p y c c K o ñ ρ κ φ Μ ε , HO n p a M o π ρ ο τ Η β ο ρ ε π Η τ e e C T p y K T y p e . 2.1.

Β TpaflHUHOHHOH pyCCKOH Π033ΗΗ ρ κ φ Μ Η OrpaHHHeHa 3ByKOBbIM

OTpe3KOM, HaHHHaKJuiHMca n o c j i e f l H H M 3ByKOM CTHxa pecmopÁHAMH, oflHaKo,

yòÓrHX/cmpÓrHX,

ΟΛΗΟ

HeMajioBa»Hoe

HCKJironeHne.

CymecTByeT,

ECJIH

KJiaCCHHeCKOH

rjiacHoro

HOpMbl

Β ρΗφίν^ιοιιιεΗΟΑ

CHHTaeTCH

ρ κ φ ι ν ^ τ ο Η c o cjxoBaMH nepÓ,

òoaÓ,

CTHX

οτροκε

HeflOCTaTOHHblM. KmO,

KOAecÓ,

C

MyìKCKoii

τ ο π ο Β τ ο ρ ΟΑΗΟΓΟ

KJiay3yjioH KOHnaeTC» Ha OTKpbiTbiñ c j i o r , H a n p . eum, jiHuib y a a p H o r o

( m y M A H A M H /

nomÓM/àOM).

moË

c TOHKH CjIOBO

3peHH«

BUHÓ

He

H τ.,α. Β Heivieu-

ΚΟΗ Π033ΗΗ c o 3 B y i H e o f l H o r o JiHiiib n o c j i e A H e r o y a a p H o r o r j i a c H o r o Β KOHue c j i o B a CHHTaeTca nojXHOueHHOH ρ κ φ Μ Ο Η ( R u h / d u ) . Β cjxoBeHCKoíi • A . M . KoHflpaTOB, "CraTHCTHKa ΤΗΠΟΒ pyccKOH ρκφΜΜ", Bonpocbi nibwo3HaHun (1963, 6), cTp. 96-106. ( B flaJTbHeiimeM uHTHpyeTCH KaK "CTaTHCTHKa ...".) 7 "CTaTHCTHKa ...", CTp. 97.

207

H3 HABJIIOflEHHH HAfl "HOBOH ΡΜΦΜΟΗ" (cHJiJiaöo-TOHHHecKoii)

Π033ΗΗ

'npomaHHe' ρπφΜγετο» c okô Jiacb,

fleñcTByeT

tot

ace

npHHUHn:

slovô

'rjia3'. H o Β pyccKOH ΠΟ33ΗΗ ycTaHOBH-

Π Ο Α BJIHHHHCM Φ Ρ 3 Η Η Γ 3 0 Κ Θ Ί Ί

Π03ΤΗΚΗ, CJieflyiOma«

yCJIOBHOCTt:

Β My^KCKHX ρκφΜΗχ Ha OTKpbiTbiH cjior TpeôyeTCH, κροΜε coBnaaeHH« yflapHoro

rjiacHoro,

eme

H

coBnaaeHHe

HenocpeacTBeHHo

npefl-

uiecTByiomero corjiacHoro, TaK Ha3HBaeMoro 'onopHoro corjiacHoro'

(consonne d'appui). M H W M H cnoBâMH, euHÓ MoxceT oHÓ, dalló, ompaoKeHÓ Η Τ . Π . CxreaoBaTejibHo,

C

pHφMa

BKJiKmeT

(,aoeopHT/AencífT), Hwa

OT 3Toro

o6«3aTejibHo JIH6O

oômero

aea

3ByKa:

KpaTHafiiiiaa pyccKaa

JIH6O

coneTamie

coneTaHHe C V {MOCKBÉ¡cwieBÉ). npaBHJia

BCTpenafOTC«

TOJibKo

ΡΗΦΜΟΒ&ΤΒΟΗ

y

VC

OncjioHe-

JiyHuiHX

dpy3bÄ/MeHÄ [druzj-á/rpin-á], OHÚ¡MOÚ [ani/mají], Moú¡Aw6eú y IlyuiKHHa, oHáj npuuiJIá, mbMe/cicaJIé y JlepMOHTOBa; M U

ΠΟ3ΤΟΒ: [mají/Jubví] eepHeMca

κ HUM Β pa3aeJie 9.3. rioHBjieHHe 'onopHbix corjiacHbix' β yKa3aHHbix cjiynaax He « b j u k t c « KaKHM-jiHÔo

AoôaBOMHbiM

oöoraiueHHeM

ρκφΜΗ,

noKa3aTejieM

ee

'rjiyÖHHbl'. C TOHKH 3peHHH pyCCKOH TpaOTUHOHHOH Π033ΗΗ ρΗφΜΗ THna

MocKBé/cuneBé 'TOMHOCTH'

JiHUJb yaoBJieTBopaiOT

ρπφΜΗ.

IloflBjieHHe

MHHHMajibHbiM TpeöoBaHHHM

onopHoro

corjiacHoro

β

MyaccKHX

ρκφιν^χ Ha oTKpbiTbiH cjior MoxceT 6biTb npeflCKa3aH0 c b8POHTHOCTMO oneHb ÖJIH3KOH κ 1. 8 'OnopHbiñ' corjiacHbiíí 3flecb o6»3aTejieH H, CTajio 6biTb,

npHHUHrmajibHo

He OTJiHHaeTCH

στ

noBTOpa

nocjieyaapHbix

3ByKOBbix 3JieMeHTOB BO Bcex ocTajibHbix THnax ρκφΜΗ. Β ο τ noHeMy MexaHHHecKoe pa3ÖHeHHe ρΗφΜγιοιιχβίκΗ uenoHKH Ha 'onopHbie' 3ByKH (paccMaTpHBaeMwe KaK noKa3aTeJiH 'rjryÔHHbi' ρ Η φ Μ « ) η Ha 'COÖCTBCHHO ρκφΜγκ)ΐυ.Ηεο5ΐ' (paccMaTpHBaeMbie KaK noKa3aTejin 'TOMHOCTH' ρκφΜΜ) HenpH8iMJI8MO.

CTaTHCTHKa

KOH^paTOBa,

nOCTpOCHHaa

Ha

TaKOM

npHHUHne, aaeT, κ coacajieHHK), HCKaweHHoe npeacTaejieHHe 0 6 HCTHHHOM noJio)KeHHH Bemeñ. 2.2.

A p y r o e flejio — ToacflecTBo 3ByKOB CTOHLUHX Hajreeo ο τ nocjieju-

Hero y^apHoro rjiacHoro β xiaKTHjinHecKHx, »8HCKHX H MyaccKHx ρ κ φ Μ 3 χ Ha 3aKpbimbiü cjior. Β TaKHX pHφMax, Kax my MÜHCIMU / 06 neHàAu/eeHHàm, ΜαΒέκ/πεΛοΒέκ coAepacHTca AOnoJiHHTejibHbiii

MÄNAAM,

3ByKo-

BOÍÍ 3JieMeHT, He MOTHBHpOBáHHblíí HOpMaMH pyCCKOH KJlaCCHHeCKOH Ρ μ Φ μ ο β κ η η, CTajio 6biTb, Ηε npeacKasyeMbiH. TojibKo TaKHe TaTHBHb^ aonoJTHHTejibHbie noBTopbi H M o r y T paccMaTpHBaTbCH KaK rioKa3aTejiH 'rjiy6HHbi' ρκφΜΜ. 8 Tan, HanpHMep, Β τρεχ rnaeax "EereHH« OHenraa" 6WJIH OTMCHCHW jwuib flea cjiynaa Heco6jnofleHHJi oômero npHHUHna, npuneM Β KanecTBe onopHbix corjiacHbrx Β ΟΘΟΗΧ cjiynaax BWCTynajiH coHopHbie.

208 2.3.

Α. Β. HCAHEHKO TeopeTHHecKH cnopHbiM »BJiaeTca Taxace oTHeceHHe KoHjipaTO-

BbiM ecex

3ByKOBbix ποΒτοροΒ, CToaiuHx HajieBo OT nocjieaHero HKTa,

κ napaMeTpy 'rjiyÖHHbi' co3ByHHS. Β aByx ρπφινψκιιΐίΗχοι cTHxax M o i y r 3ByKOBbie

coBnaaaTb

sjieMeHTbi,

Haxo/iHinHeca

Ha

3HaHHTejibHOM

paCCTOHHHH OT ΚΟΗΙίβΒΟΓΟ ÜOBTOpa, cp. TboA

eecHá

Twxá, jicHá. M o 3 k h o jim CHHTaTb coBnaaeHHe nepBbix corjiacHbix h nepBbix y^apHbix rJiacHbix noKa3aTejieM 'rjiyÖHHbi' κοπμεβοεο

noBTopa? M b i BOBce He

n p e f l j i a r a e M HrHopnpoBaTb 3ByKOBbie n o B T o p w BHyTpH ο τ ρ ο κ κ ; xax η BCe ΤΗΠΗ 3ByKOBbIX nOBTOpOB Β Π033ΗΗ, 3TH C03ByHHfl He MOryT 6bITb OTHeceHbi 3a cneT ' c j i y i a i Í H b i x ' coBna/ieHHH. Co3ByHHJt BHyTpH crpoKH BCTpenaioTCH y p a a a ΠΟ3ΤΟΒ 19-ro Β., β coBpeMeHHoñ πο33ηη HX p o j i b öbijia

oTMeneHa

BHyTpeHHHe nOBTOpbl

A.

JI.

noBTopbi

BHyTpH

)KOBTHCOM,

Β TBopiecTBe

CTHXa

oócjieflOBaeuiHM CBoeo6pa3Hbie Bo3HeceHCKoro.9

npHHUHnnaJTbHO

Ho

OTJIHHaiOTCJI

3ByKOBbie

Η ΠΟ CBOeñ

φγΗΚΙΙΗΗ, Η ΠΟ CBOeñ CTpyKType OT 3ByKOBbIX nOBTOpOB Β KOHUe CTpOKM. BHyTpeHHHe π ο Β τ ο ρ ω M o r y T oTcyTCTBOBaTb, ρκφΜΗ —

o6H3aTejibna.

OTCyTCTBHe 3ByKOBOÍÍ 'HHCTpyMeHTOBKH' BHyTpH CTPOKH He BOCnpMHMMAETCA KAK HCAOCTATOK; OTCYTCTBHE ρ π φ Μ Μ β ρ η Φ μ ο β ε η η ο μ

τεκοτε

iiioKHpyeT. 3ßyK0B0e MoflejiHpoBaHHe BHyTpH ο τ ρ ο κ κ Henocpe,acTBeHHO He CBH3aH0 C ΜετρΗΚΟΗ; pHφMa CHrHaJIH3HpyeT KOHeU CTpOKH H 3THM caMbiM BbinojiHaeT onpeaejieHHyio MeTpHiecKyio φγΗκιΐΗίο. Β npHBe^eHHOM Bbiuie npHMepe cjioea ΤβοΑ Η Tuxá

He ynacTByioT Β

KO Hue BO M noBTope. Κ ρκφΜε OTHOCHTCA JiHuib cjioea IlponHCHblMH

ÔyKBaMH

o6o3HaHeH

MHHHMaJIbHblH

eecHAjacHÁ.

ρκφΜγίΟΙΙΙΗΗΟ»

0Tpe30K. Β zia H HO M cjiynae MH HMeeM ^eJio C ' r j i y ô o K o « ' ρκφΜΟΗ, τ.κ. KpoMe

Heoôxo^HMoro

onopHoro

ποΒτορ 3ByKocoHeTaHHH

[i e s],

corjiacHoro

[n]

ρκφιν^

co^epmiT

nocKOJibicy MOHCHO npeanojiaraTb, HTO

peayuHpoBaHHbin rjiacHbiH Β [vi e sná] He OTJiHHajica, Β nepBoñ nojioBHHe 19-ro BeKa, ο τ pe/iyunpoBaHHoro rjiacHoro Β [ji c sná], TaKHM 06pa30M, rjiyÔHHa paccMaTpHBaeMoñ ρκφΜΜ paBHa 2, T.e. HHCJiy 3ByxoB, CTOJHHHX HajieBo ο τ

nocjieHero

HKTa, 3a BbineTOM o6»3aTejibHoro

onopHoro

corjiacHoro. Β o p 6 m y ρπφινίΗ M o r y T BTarHBaTbca jiHiiib 3ByKH, OTHOCHLUHCCH Κ 6e3ydapHbiM

c j i o r a M , CTOSHUHM HajieBo ο τ nocjie/iHero HKTa. KpaHHaa

'jieBaa' rpaHHna KOHueBOH ρκφΜΗ —

npednocAedHuü

y/iapHbiñ

cjior

CTHxa. npeanocjieaHHH yaapHaa rjiacHaa πετκο pas/ieJiaer cTpoKy Ha *

A . JI. )KOBTHC, " O cnocoöax ΡΜΦΜΟΒ&ΗΗΗ Β pyccKoñ ΠΟ33ΗΗ", Bonpocbi H3btKO(1969, 2), CTp. 64-75.

3HCMUH

209

H3 HAEJIIOAEHHH HAfl "HOBOÍÍ ΡΗΦΜΟίί" 'jieeyio'

m Jin

'BHyTpeHHioio' n a c T b CTHxa,

HenocpeflCTBeHHO

He CBSi3aH-

Hyio c ρ κ φ Μ Ο Η , h ' n p a B y i o ' n a c T b CTiixa, M o r y m y i o npHHHMaTb y n a c T H e Β OCymeCTBJieHHH 3ByKOBbIX ΠΟΒΤΟρΟΒ, CBS3aHHbIX C pH(j)MOH Β C o 6 cTBeHHOM CMbicjie c j i o B a . 1 0 Ο τ Μ ε τ Η Μ , MTo rjiyÔHHa CTHxa n3MepaeTCH He TOJibKO HHCJioM ' o n o p H b i x c o r j i a c H b i x ' , 6e3yaapHbix rjiacHbix, 2.4.

Κ

ctohiuhx

'HeTOHHbiM'

ho

h

hhcjiom

HajxeBO ο τ n o c j i e f l H e r o

pncj)MaM

KoHApaTOB

coBnaxiaiomHX

hkt3.

OTHOCHT T a x a c e

ρκφΜΜ

'npH6jIH3HTeJIbHbie', T . e . TaKHe, KOTOpbie "oTJTHHaiOTCfl OT TOHHblX ρ κ φ Μ jiHUJb

He3HaHHTejibHbiMH

rjiacHoro, .noJiroro

hjih

(!)

HeyaapHOM B O K a j n m i e — Hbix ( ! ) , Β

oTKJioHeHHHMH

KpaTKoro

(!),

KanecTBe

npHMepoB

oTTeHKax

MepeflOBaHHeM T B e p f l w x

λολγηχ h KpaTKHX, β HeKOTopbix

npHBOAHT ρ κ φ Μ Η ,

β

TaKHx

yflapHoro

οτκρκτοΓο hjih 3 a K p b i T o r o ; β

η μαγκηχ c o r j i a c h rjiyxHx".

c j i y n a a x — 3BOHKHX

'npH6jiH3HTejibHbix'

ρκφΜ

KoaapaTOB

KOTOpbie C TOHKH 3peHHfl CaMblX CTpOTHX npaBHJI

KjiaccHHecKoö ΒεροΗφΗκαιίΜΗ αολ>κημ paccMaTpHBaTbCH KaK aöcojiiOTHo 'TOHHbie': αηγκ/όργε, cmanjesnA, peiuÚA/MUA.11 Oicbhaho, K o H f l p a T O B n o f l x o A H T κ ρπφίνιε c t o h k h 3peHH5t pyccKOH ορφθΓρ3φκΗ. BbiiieJieHHe 'λολγηχ' η 'KpaTKHx' rjiacHbix β pyccKOM s 3 W K e , o r a e c e H H e T B e p a w x η μηγκηχ c o r j i a c H b i x κ ' 6 e 3 y a a p H O M y BOKajiH3My', He3HaK0MCTB0 c 3JieMeHTapHbIMH

3aKOHaMH pyCCKOH φοΗβΤΗΚΗ —

Bee

3TO

CHHXCaeT

noKa3aTejibHocTb πρηβοαημηχ KoH^paTOBbiM n o f l c n e T O B ao H y j i a . Xoth a B T o p η n o j i b 3 y e T c a y n e H b i M TepMHHOM ^ O H e M a ' , ho c i H T a e T oh, OHeBHflHO, 6yKBbI. / J o H3BeCTHOH CTeneHH TaKOH nOflXOfl Κ a3bIKOBbIM φ a κ τ a M noHJiTeH

:

MaTeMaTHK.

flajibHeñiiieM

npHBJieHeHHa

Β

K o H f l p a T O B He

npHBOflHMblX

mw

ληηγβηοτ η BbiHyscaeHW

KoHflpaTOBblM

He j i H T e p a T y p o e e a , a 6yzjeM

ΙΙΗφρ

0TKa3aTbca

H CTpOHTb

— οτ

HauiH

H a ö j n o f l e H H « Ha coöcTBeHHOM ( B e c b M a HenoJiHOM) M a T e p w a j i e .

3.

'EoraTCTBo'

ρκφΜΗ

3ByKOB, y n a c T B y i o m n x

He HBJiaeTca φγΗκκΗείί a ö c o j u o T H o r o

β kohucbom η ächckhx

nojioaceHHe Ha MyaccKHx 3.1.

HHCjia

noBTope. npoaeMOHCTpwpyeM

3το

pHφMax.

^ B y x s j i e M e H T H b i e MyxccKHe ρ κ φ Μ Μ T H n a V C ( p y K Ó H / M O A o d Ó Ñ )

He BocnpHHHMaioTCH HEMH KaK MeHee ß o r a T b i e n o cpaBHeHHio c τ ρ ε χ 3JteMeHTHbiMH p i ^ M a M H T H n a V C C ( n A e n M C T j z o p H É C T ) . O ô b a c H n e T c a

3ΤΟ

BbicoKOH c T e n e H b i o n p e a c i c a

OKaHHHBaeTca

cjiobom Λ MCT,

3yeM0CTn T a K o r o β ρΗφΜγιοικϋ.Μ

το

n o B T o p a : ecjiH

cthx

CTHxe 3 Β γ κ ο ρ » Λ [ist]

10 Πρηηιιηπ orpaHHieHH« pwJiMyiomerocH OTpe3Ka npeanocJieAHMm yaapHMM rjiacHHM CTHxa He co6jiioflaeTCJi β tekhx opaeypHbix "naHTopHMax", xax καιμέύ

jtemyHuü/uféAU mynu (Bpiocoe). 11

"CTaTHCTHKa . . . " , CTp. 97-98.

210 ruh

Α. Β. HCAHEHKO [ist] n o m r a e T C H c B e p o a r a o c T b i o 6JIH3KOH κ 1 ; Β pH(f)MyK>meMCH

CTHxe

Β KOHue

mpaianopHCT, 3.2.

CTPOHKH öypyT xjiMCT Η Τ.Π.

CToaTb

η HCT,

rana

ceHCT,

M H H H M a j I b H M M 3BYKOPAFLOM XCÊHCKOH Ρ Κ Φ Μ Μ «BJiaeTCH

HO e a r n

(3AÄTO/6OZATO).

BMECTO

uiecTb ( V C C V C C ) , eÉPHOCTblpaeuoMÉPHOCTb).

ynacTBOBaTb cp.

cjioea

τρεχ

οτ

pnMyK>merocH

3BYKOPWA Β O6OHX c j i y n a a x O^HHAKOBA: ecjiH 3A^AHO CJIOBO

3apA3A,

το

ΚαβκΑ3Α,

Β PH(J)MYIOMEMC5I

ζaÁ3A,

ηροκΑ3Α,

CTHXE

6Y^ET

npmÁ3A.

CTOHTB CJIOBO

BPOAE

ECJIH 3AJIAHO CJIOBO

edHHCTBEHHbIM

( V C C C C V C C V C ) , ΤΟ pn(J>MyiomnMCH CJIOBOM 6y,neT c o n e H b BWCOKOH Bep0«TH0CTbK)

CJIOBO

maHHCTBEHHbIM

eoMHCTBEHHbiM.

HJIH

C TOHKH 3 p e H H a ' ö o r a T C T B a CO3BVHHH', r p a M M a r a n e c K H e Ρ Κ Φ Μ Μ

aKtnueMCT/mpaKmopHCT HerpaMMaTHHecKHx 3.3.

Β

no

He

οτ

oTJiHHaiOTca

rana ρπφινι

tiAenMCTIzopuHCT.

rana

KaKOH-TO

cymecTBy

MOMCHT

pa3BHTHa

pyCCKOH

Π033ΗΗ

nOJIHOCTbIO

n p e a c K a 3 y e M b i i í π ο Β τ ο ρ n e p e c T a j i y ^ o B j i e T B o p H T b 3CTeTHMecKHM τ ρ ε 6 ο BaHHHM. C r a p a a H o p M a n p e e p a T H j i a c b Β T p H B H a j i b H b i ñ , h 6 O n o j i H o c T b i o aBT0MaTH30BaHHbiií

Η,

cjieaoBaTejTbHo,

nojiHocTbio

npe/iCKa3yeMbiH

n p n e M . H a p y m e H H H 'TOHHOCTH' ρ κ φ Μ Μ , TAKHM 0 6 p a 3 0 M , He o6e,aHHjTH, a , H a n p o T H B , n o B b i i n a j i H 3CTeTHHecKHÍf 3 φ φ ε κ τ ΚΟΗΙΚΒΟΓΟ C03ByHHa. H a H M e H e e ycTOHHHBbiM 0 K a 3 a j t c a c o r j i a c H b i ñ Β a ô c o j H O T H O M KOHue (»eHCKOH

H

flaKTHJIHHeCKOÜ)

ycmÁJIblHjcKAJIbl CjieayiomMM

ρκφΜΜ.

Pa3HOKO HeHHbie

y3aKOHeHbi KJiaccHHecKoíi inaroM

ôbijio

ρπφΜΜ

THna

rpaflnuHeii.

nepeocMbrcjieHHe

caMoro

' T O Ä f l e c T B a ' 3ByKOB, y n a c T B y i o m H X Β KOHUCBOM n o B T o p e .

ΠΟΗΗΤΗΗ

ΟόιεκτνίΒκο

c y m e c T B y K ) i u n e KanecTBetiHbie p a 3 j i H M n n n o c j i e y ^ a p H b i x r j i a c H b i x CTaJiH HTHopHpoBaTbca.

riojiBJiaioTca

ριιφίνΐΜ

¿ópHbIE\ynópnYK),

Tuna

Aü3ypHOE¡6ypHyiO.

B o 3 H H K a e T HOBaa H o p M a , c o r j i a c H o κ ο τ ο ρ ο ϋ n o c j T e -

yaapHbie

TpaKTyioTca

rjiacHbre

Kaie

'sKBHBajieHTHbie',

T.e.

ycjioBHo

'HfleHTHMHbie'. ΠρΗΗΙΙΗΠ pa3HOKOHeHHbIX ρ κ φ Μ , COHeTaaCb c n p H H U H n O M 3KBHBaJieHTHOCTH

nocjiey,aapHbix

OKÓHtfy/cÓAHijEM. T a K H e

ρκφΜΗ,

rjiacHbix,

nopo/KZUiCT

paccMaTpHBaeMbie

ρκφΜΗ

Ha φ ο κ ε

THna coBpe-

MeHHOH HM HOpMbl, ßOJIHCHbl 6 b I T b n p H 3 H a H b I CTOJIb 3Ce 'ΤΟΗΗΗΜΗ', KaK ρκφΜΗ

THna

6eMcAJlH/cKa3AJIH.

IlpHMeHaTb

κ

HCKyccTBy p a 3

Ha-

B c e r a a a a H H b i e κ ρ π τ ε ρ Η Η 3HaHHT H r H o p H p o B a T b c a M y i o c y T b HCKyccTBa, nocTpoeHHoro MO/KCT 6 b i T b

Ha

ycjioBHOCTax.

paccMOTpeHo

Pa3BHTHe

KaK n o c T o a H n a a

jnoöoro 3aMena

BM/ia

HCKycciBa

o/inoro

Haôopa

y c j i o B H O c x e H — a p y r H M . I l p H M e H a T b κ c o e p e M e H H O H pyccKOH n o 3 3 H H KpHTepHH 'TOHHOCTH c o 3 B y H H a \ n o c T p o e H H b i i i Ha a ô c o j n o T H O M To>K/ie-

211

H3 ΗΑΕΛΙΟΛΕΗΗΗ ΗΑΛ "ΗΟΒΟΗ ΡΗΦΜΟΒ" CTBe ρΗφΜ>ΊθΐιΐΗχο» 0Tpe3K0B, TaK»ce aôcypflHo, KaK TpeöoBaTb coBpeMeHHOH 4.

flpaMbi

MHTepeCHblM

HOBIlieCTBOM

Β pa3BHTHH

pyCCKOH

ρΗφΜΟΒΟΗΗΟΜ

TexHHKH 6buio BBe^eHHe HepaBHocjioacHbix ρκφΜ Tuna (MaaKOBCKHÖ).

pyKÚMu/KáMepa

οτ

eflHHCTBa MecTa h BpeMeHH.

aBJweTCH jioranecKHM

FIoHBJieHHe

áemopa¡3áempa,

HepaBHOCJioacHbix

cjieacTBHeM noaBJieHHa

aojibHHKa

β

ρκφΜ

pyccKoñ

πο33ΗΗ, T.e. TaKoro cTHxa, β κοτοροΜ HHCJXo cjioroB "nepefl nepBhiM MeTpHHecKHM yaapeHHHMH

yaapeHHeM ...

m β npoMeacyTKax

noflBepxceHO

KojieôaHHaM", η ρ κ ι ε Μ

Mexc^y

He πο/ιμηη6ηηημ

ziHanasoH sthx

MeTpHHecKHMH

tohhmm

npaBHJiaM

KOJieôaHHH orpaHHHeH : "fljia

aHaKpy3bi 0-2, AJia MeacyaapHbix npoMexcyTKOB 1 - 2 cjioroB". 1 2 rioHBJieHHe HepaBHOcjioacHbix ρκφΜ TOJiKyeTca ToMaiueBCKHM KaK "yTpaTa omymenHH cjxoroBoro oóbeMa ρκφΜΗ". 1 3 H o eejib h aojibHHK, KaK TaKOBOH, MoaceT 6biTb HHTepnpeTupoBaH KaK pa3Mep, β κ ο τ ο ρ ο Μ "vTpaHeHo omymeHwe cjioroBoro o ô b e w a

cmonuHepaBHocjioacHbie

ρΗφΜΜ

KaK

Β aOJIbHHKe

TaK

5Κε 3aKO HO MepHbl,

'HepaBHOCJIOXCHbie

CTonbi' BHyTpH CTHxa. rioneMy-To KCCJiejioBaTejiH aojibHHKa orpaHHHHBaioTCH

aHajin30M CTHxa

enjioTb

go

nocjie/iHero

yaapnoro

cjiora,

ocTaBJiaa 6e3 βηηνήηηη nocjieaHHe 6e3yaapHbie cjiora στροκΗ.

He-

"rpy/iHO, OAHaKo, noKa3aTb, mto cjioroBaa CTpyKTypa kohuobkh aojibHHKa

HBJiaeTCH

hhhcm

HHHM,

KaK

'3epKajibHbiM'

OTOôpaweHneM

aHaKpy3bi. ECJIH, npHMeHaa TpaflHUHOHHbie TepMHlHbi, aHaKpy3a AOJibHHKa v i o l e r ocyiuecTBjiaTbca 'aHanecTOM' ( Β napoeÓ3Hbix — 2 6e3y,aapHbix cjiora), 'am6om' ()KuebëM — oTcyTCTBOBaTb (3é.ieHbw

—

1 ßesy/iapHbiü cjior) hjih npocTO

0 6e3yaapHbix cjiotob), τ ο

CTpyKTypa kohuobkh mo>kct 6biTb 'MyaccKaa' (αρδά cjioroB), 'xopeHHecKHM' {sáempa HecKaa'

(áemopa

—

2

—

MeTpHiecKaa 0 ôesy/iapHbix

— 1 6e3y,o,apHbiH cjior), hjih 'aaKTHJiH-

öesy^apHbix

cjiora).

Ηη

o

KaKoií

"yTpaTe

omymeHHa cjioroBoro o6i>eMa ρ π φ Μ Η " He Μθ>κετ 6biTb h ρείΗ. Μ ε τ ρ κ HecKaa CTpyKTypa pHφMb[ 6biJia nocjreaoBaTejibHO no/iHHHeHa 3aKOHOMepHOCTaM

MeTpHHecKoh

ρ κ φ Μ Μ T H n a β 2àpodejno 6AéemcH¡6uÓAéütfeM,

CTpyKTypbi

MÓpde,

cmó/iuKa/ÓAbza

(Xjie6HHKOB) BOCnpHHHMaiOTCa

/jojibHHKa;

Mápca/Apyca,

'HcpaBHOcjioacHbie'

K0MC0MÓAbtieM¡

(MaaKOBCKHñ), hjih

KaK "SKBHBaJieHTHbie"

MÓAumcñ, cmáeü/npocihá

Β OTHOmeHHH

cjioroBOH CTpyKTypbi.

12 A. H. KojiMoropoB, Α. Β. Προχοροβ, " O AOJibHmce coBpeMeHHoit pyccKoü Π033ΗΜ", Bonpocbl HiblK03HaUUH (1963, 6), CTp. 95. 13 Ε. B. ToMauieBCKHH, Cmux u HJUK (MocKBa-JleHHHrpafl, 1959), CTp. 118.

212

Α. Β. HCAHEHKO ITocTeneHHaa K a H o m m i W H β p y c c K o ñ π ο 3 3 η η caMbix

5.

pa3Hoo6pa3-

Hbix 'BOJibHOCTeH', A o n y i n e n n e pa3HOKOHeHHbix h pa3Hoc;ioscHbix ρ κ φ Μ , npH3HaHHe

(JmKTHHeCKH

He

COBnaaaiOmHX

3ByKOB

SKBHBaJieHTHbIMH,

A o n y m e H H e ( b peflKHx c j i y n a a x ) HeToxcaecTBeHHbix y a a p H b i x r j i a c H b i x β ρ κ φ Μ ε ( T H n a déembw/dáeew

y CejibBHHCKoro), HMejio

cboh

npe/iejibi.

H e j i b 3 H 6biJio OTKasaTbca ο τ K a K o r o - τ ο MHHHMyMa φ α κ τ Μ π ε ο κ Η c o 3 B y i Hbix

3JieMeHTOB,

He

pHCKyH

JIHKBHflHpOBaTb

ΠρΗΗΚΗΠ

KOHIieBOrO

n o B T o p a KaK T a x o B o r o . T p e ô o B a T e j i b H o c T b , n p e ^ i H B U H e M a a

jiyniuHMH

n o 3 T a M H κ o p H r H H a j i b H o c T H ρ κ φ Μ Μ , Bee B 0 3 p a c T a j i a , r p a M M a T H H e c K H e

cjiob η

ρ κ φ Μ Η ôbLfiH 3 a 6 p a x o B a H b i , a p e n e p T y a p

skbh-

αποΒοφορΜ c

BâJieHTHHMH KOHUOBKaMH, Ka3ajIOCb, HCHepnaH. H 3 3 Τ 0 Γ 0 nOJIOaceHHH 6bijiH TOJibKO nepeiiTH

flBa

Bbixo^a: jih6o

κ HepHφMOBaHHOMy

ρκφιν^ιοιιιεΓοοΗ

0Tpe3Ka

OTKasaTbca

BepjiHÔpy,

οτ

ρκφΜΜ

uejimcoM

η

jthôo oTOflBHHyTb rpaHHXibi

' B r j i y ô b CTHxa',

κ npeanocjie^HeMy

Μβτρπ-

necKOMy y a a p e H H i o . Hh

φρ3Ηΐ^3ϋΚ3Η,

hh

HeMerncaa,

hh

aHrjiHHCKaa

Π033Η»

TaKoro

cjiob οληογο h τογο ace

B b i x o a a H3 *KpH3Hca ρ π φ Μ Μ ' He H a u i j i a . P e n e p T y a p p ^ M y i o m H X C f l

h

φ ο ρ Μ 6biJi HcnepnaH.

Mohœo

noKa3aTb,

mto

y

H e M e u K o r o a B T o p a HaeHTHHHbie ρ κ φ ί ν ^ ι ο ι ι ΐ Μ ε ο Α n a p w n o B T o p a i o T C «

c

^OBOJTbHO BbICOKOH BepOHTHOCTbK). Β nOJIbCKOH, HeiUCKOH H CJIOBaUKOH π ο 3 3 η η , r f l e , β OCHOBHOM, r o c n o f l C T B y i o T aceHCKHe ρ κ φ Μ Η ,

penepTyap

ρ κ φ Μ τ ο » ( e oKa3ajiCH orpaHHneHHbiM. r i e p e x o f l κ B e p j i n 6 p y ö b i j i jxorHnecKHM cjieflCTBHeM T a j c o r o n o j i o a c e H H » B e m e ñ .

6.

Oahoíí h3

c a M b i x 3aMeHaTejibHbix n e p r p y c c K o ñ

πο33ηη

Ha

προτ«-

aceHHH B c e r o e e p a 3 B H T H » « B j i a e T c a c o n e T a H H e aep3HOBeHHbix H O B a T o p -

CKHX TeHfleHiiHH c 6epe»HMM otholuchhcm κ n03THHecK0My HacjieacTBy. rOTOBHOCTb

Κ BCHKOrO p o f l a

UHpyiomHM

HOBiuecTBaM,

CBoeo6pa3HO

3KCnepHMeHT3M,

6opb6a

coneTaioTca

c

npHeMOB. 'PeBOJiiouHOHHbie'

c

CKJTOHHOCTb Κ npOBO-

no3THHecKHMH

npeeMCTBeHHocTbio

οαβηγη β p y c c K o ñ

'apxaH3MaMH'

xyAoacecTBeHHbix

Μετρκκε,

β ρκφΜΟΒκε, β

n03TH4ecK0H JieKCHKe He a H H y j i H p y i o T C T a p w x , T p a / w u H O H H u x y c j i o B H o C T e ö . TpaflHUHOHHaa ρ π φ ΐ ν Ή c o c y m e c T B y e T c

'hoboíí ρ κ φ Μ ο ί ί ' β npe.nejiax

ΟΛΗΟΓΟ Η ΤΟΓΟ ace CTHXOTBOpeHHH ; aOJlbHHK He BbITeCHHJI OKOHHaTejIbHO TpaflHUHOHHblX p a 3 M e p O B CHJIJiaÔO-TOHHHeCKOH MeTpHKH; flO CHX n o p HeTBepOCTHIIIHe

HBJIHeTCH OCHOBHbIM n p n e M O M

CHHTaKTHKO-CeMaHTH-

M e c K o r o HjieHeHHH CTHXOTBopHoro TeKCTa, h t . a .

flpyroH nopa3HTejibHOH

περτοδ

pa3BHTH» pyccKoü πο33ηη ABjuieTCH

τ ο τ φ 3 κ τ , HTo MHoroHHCJieHHbie xyaoacecTBeHHbie n p n e M b i , B03BefleHHbie

β HopMy β TeneHHe 19-ro η 20-ro Be ko β h BocnpHHHMaeMbie co epe-

213

H3 HABJIIOAEHHH HAfl "HOBO« ΡΗΦΜΟΚ"

MeHHHJcaMH KaK 'BM30B', co3HaTe;ibHoe oTpmjaHHC CTaporo, Ha noBepsy OKa3BiBaK)TCH jiHiiib nocjieao BETejibHHM H CHCTeMaTHiecKHM o6o6meHHeM npHeMOB, 3acBnaeTejibCTBOBaHHbix eme Β ΠΟ33ΗΗ 18-ro BeKa. 06meH3BecTHbi ^epacaBHHa,

'KanpH3Hbie'

JiHiiib

Η πρκ

cnopa^HnecKH

nojioBHHbi 19-ro BeKa. Ho

3TOM

GoraTeñiiiHe

HMHTHpyeMbie

ρκφΜΒΐ

nosTaMH

y

nepBoñ

3KcnepnMeHThi Β jiyxe 'HOBOH ριτφΜΜ'

HeMyxcflbi h BTopocTeneHHbiM no3TaM KOHua 18-ro BeKa. Β STO M OTHOrneHHH 3acjiy>KHBaeT ocoGoro BHHMaHHH HccjieaoeaHHe fl. C. BopTa, noMemeHHoe Β HacToameM côopHHKe (D. S. Worth, "Remarks on eighteenth-century Russian rhyme", crp. 322-326). A b t o p yGeflHTejibHO noKa3aji, ΗΤΟ Β cBoeM nepeeoae "HjiMa^bi" (1787) KocTpoB CHCTeviaTHMeCKH n0JIb30BajICa 'jieBOH ρκφΜΟΗ', BO ΜΗΟΓΟΜ cxoaceñ c 'HOBOÍÍ ΡΗΦΜΟΚ' HamHX aHeñ, onepe^HB, TaKHM 06pa30M, coBpetvieuHbix HaM ΠΟ3ΤΟΒ Ha noJtTopa BeKa. Πο cpaBHeHHK) c ,ZJ,ep)KaBHHbiM HJiH KocTpoBbiM, ρκφιν« IlymKHHa npoH3BoflHT BnenaTjieHHe 6ojree KOHcepBaTHBHoe H 'KjiaccHiecKoe', xoTH h y riyuiKHHa το η ¿tejió noHBJiaiOTCH rjiyôoKHe ρκφΜΜ: Moñ Α$ΜΗ caMbix lecTHbix npaeiui, Kor^a He Β myTKy 3αΗΕΜ0Γ, O H YBAXCATB ce6a 3ACTABHJI,

H Jiyime BbmyMaTb HE rjiyÔHHa ρπφΜΜ 3aHEMóz¡HEMóz HEM

Μ0Γ

paBHaeTca TpeM 3ByKaM. 3eyKopaa

Β AAHHOIÍ ΡΠΦΜΕ Mbi HA30BEM 'rjiyÔHHHbiM'.

HaMH 6bijia oôcjieaoBaHa rJiyÔHHa ρκφΜ Β τρβχ rjiaeax EßreHH» OHerHHa (I, V, Vili). riojinocTbK) npeACKasyeMbiü onopHbiñ coraacHbiH Β MyaccKHx ρκφΜ3χ He npHHHMajxc« Β paccTCT (ΤΗΠ ceEA/meEA). Κ 'rjiyÔHHHbiM' 3ByKaM öbiJiH oTHeceHbi He TojibKo corjiacHbie, ho h 6e3yflapHbie rjiacHbie. EbijiH oÖHapyxceHbi cjieflytomwe ΤΗΠΜ: MyjKCKHe : Κο3φφκΐίΗεΗΤ rjiyÔHHbi 1: κ ο τ Λ έ τ / ό κ ϋ έ τ , nOpá/ABOpá; Κο3φφκΗΗεΗΤ rjiyÖHHbi 2: cJIOeá/roJIOBá, norYBóji/jiIOBH^ ; Κθ3φφΗΐΐΗβΗΤ rjiyÖHHbi 3: 11 IlPáB/HEIlPáB, CTOjié/xpyCTAjié ; Κθ3φφΗΐΐΗεΗΤ rjiyÖHHbi 4: EOJlHBáp/EyJIbBáp. (Β nocjie^HeM npHMepe JiaÖHajiH30BaHHbie rjiacHbie [o] H [U] paccMaTpwBaiOTCH HaMH KaK 3ΚΒΗΒ3ΛεΗΤΗΗε.) >KeHCKHe: Κο3φφΗΗΗεΗτ rjiyÖHHbi 1 : ΕΒΓέΗΗκ/ΓέΗΗΗ, 6ecnJIóflHbiñ/xoJTÓAHbiH ; Κθ3φφκΗΗεΗΤ rjiyÖHHbi 2 : Ά Páfla/MacKAPáaa ; Κθ3φφκακεΗτ rjiyÔHHM 4: nOflEIMáeT/OTEIMáeT. 1 4 14

3eyKH [t/d] Β aaSHOä ρπφΜβ CHHTajlHCb H a M H 3KBHBaJieHTHMMH, CM. 8.2.

214

Α. Β. H C A H E H K O

ΡϋφΜΜ C Κ03φφΗΙΙΗβΗΤ0Μ rJiyÔHHbl, npeBHUiaiOIUHM

3 3ByjCa

—

eflHHHHHW. IlOflaBJIHIOmee ÖOJIbUIHHCTBO C0CTaBJI8K>T ρπφΜΒΙ C OflHHM rJiyÖHHHblM 3 B y K 0 M . HTO6M

ycTaHOBHTi»

cpe^HioK)

rjiyÖHHy

ρπφΜΜ,

Haao

pa3flejiHTb

c y M M y κο3φφΗΐ[Η£ΗτοΒ r j i y Ö H H M H a c y M M y B c e x o ö c j i e a o B a H H t i x ρ κ φ Μ .

Hejiecoo6pa3Ho npoBoflHTb ποΛοπετ oT^ejibHo

AJIH

MyaccKHx

Η »CCHCKHX

ρκφΜ: cyMMa rjiyôHHHbix

CyMMa ρΗφΜ

598 453

My»CKHe ρΗφΜΗ »eHCKHe ρκφΜΒΙ

3ByXOB

HHCJIO rjlyÔHHHfclX 3ByKOB H a pHφMy

101 42

0.17 0.09

XapaKTepHo, ΗΤΟ Β MyaccKHX cTpoKax rjiyÔHHHbie ρκφινίΜ BCTpenaioTca ΠΟΗΤΗ ΡΚΦΜ3

BflBoe name,

TCM Β JKCHCKHX.

HMeeT Β cpe^HeM

Β

ΚΟ3ΦΦΗΐΐΗΕΗΤ

ACEHCKHX

craxax icaacflaa

AECATAA

rjiyÔHHbr 1, Β MyxccKHX — Ka*yiaH

mecTaa. O 'cjiynaHHOCTH' rjiyÔHHHbix ρκφΜ y IlymKHHa roBopHTb He NPHXOFLHTCH,

HO

Bce we BOBJieneHHe 'rjiyÔHHHoro OTpe3Ka'

Β

PHΦMY

ocTaeTca Β ΠΟ33ΗΗ IlymKHHa 0KKa3H0HajibHbiM HBjieHHeM. Β Kaexa3CKOM tiAewtuKe JlepMOHTOBa

HHCJIO

rjTy6nHHbix 3ByKOB Ha

ÄeHCKyio pHφMy paBHaeTca 0.19, Ha MyaccKyio — 0.28, r.e. npHÖJiH3HTejibHO Kaacflaa neTBepTaa MyaccKaa pHφMa HMeeT κο3φφΜΐΐΜεΗΤ rjxyÔHHbi paBHblH l.15 H e c M O T p a Ha BMCOKHH npoueHT rjiyÖHHHbix 3ByKOB, r j i y ô o K a a Ρ Η Φ Μ » Ha npoTaaceHHH Beerò 19-ro Beica ocTaeTca aBjieHHeM 0KKa3H0HajibHbiM.

Hejib3a 3a6biBaTb,

MTO

CBOHM noaBJieHHeM

TOÄÄECTBY

Β

p a ^ e cjiynaeB rjiyÔHHHoe cosByMHe o6a3aHO rpaMMaTHHeCKHX

OKOHHaHHÍÍ H

coB, cp. ÓAecHyjiu/MeAbKHyAu, nyjtcEÚHejcydbEÚHe, cnaCnújcHeCAÚ, ebicOTé/xpacOTé, 7.

CYΦΦHK-

Haecerjjájmorffá,

cmopoMcEBbie/öoEBbie,

Η Τ.Π.

06maa KapTHHa pe3KO MeHaeTca Ha pyôeace nepeoro AecaTHJiexna

Harnero Beica. Β paHHHx CTHxax

ΑΧΜΗΤΟΒΟΗ

ΡΚΦΜΜ

C

Κ03ΦΦΗΐΐΗΕΗΤ0Μ

Β KaiecTBe onopHbix corJiacHMx β pe/iKHx cjiynanx BHCTynaioT 3BOHKne h rayxHe napHtie Β xaieeree 3KBHBajieHTHwx 3ByKOB, Hanp. ejia3á¡poCá y JlepMOHTOBa; cp. Β noroBopKe "EMy χοτι» njiioHb Β a^asa/OCÁHCET ΕΟΙΚΒΑ pocà". 3το íiajio HaM npaeo OTMENATB Hamrme rnyÖHHHWx co3ByHHÖ Β pw¡>Max mem/dem, cmonóio/co6óio, Z.WDÚMLAEMÚM (CM. HUXCE, 9 . 1 ) . Πρκ noflcneTe 6HJIH TaKHce yrreHM Bce CJIYHAN co3ByMHH rnyÔMHHbix 6e3ynapHMx rjiacHbix, Hanp. zAHdúmjAEmúm, c? y6ÚA¡AÍ06ÚA, ¿AA3á/pOcá. ECJIH Β 6e3yflapHoñ KOHI^OBKC craxa φβκτΗΐεαοκ pa3H03ByHblM HBJleHHeM. OpMBe/lCM AJIfl HJTJIlOCTpaLlHH CTHXOTBOpeHHe

"ΠΡΟ

3TH CTHXH": Ha TpoTyapax HCTOJIKY C CTeKJiOM h coJiHiieM nonoJIÁM 3HMOM οτκροκ) noTOJIKY (3) H aaM HHTaTb cbipaM yrJIAM (1)

TaJiHOHKOM rnaHeT POHCÂECTBÔ, H 3aryjiaBiiiHËcji flEHËK Οτκροβτ ΜΗΟΓΟ H3 T o B Ó (3) Ητο MHe h MHJibiñ HeBflOMËK. (3)

3afleKnaMnpyeT HEP^ÁK C noKJiOHOM paMaM H 3MMÉ Κ KapHH3aM npAHCT HExaPflA HyaaiecTB, ÔCÎICTBHH H 3 A M É T

Β KaiiiHe, Jia^oHbio 3acjiOHíICb, CKB03b φ ο ρ τ ^ KpiiKHy aeTBOPÉ : Kaicue, MHJiwe, Y H A C (2) TwcHHejieTbn Ha flBOPÉ? (3)

(3) (2)

EypaH Ha Mecsm ôyaeT MecTb KoHQbi, Hanana 3aMETËT. BHe3anHO BCIIOMHIO : cojmue ecTb. (0) YBHacy : ceeT aaBHO H E T O T . (3)

Κ τ ο Tponxy κ flBepH προτΟΡΜΛ, Κ aupe, 3acbinaHHOH KpynOii IToKa a C BaftpoHOM KYPMJI, (2) nona a TiHJi c 3flrapoM ΠΟ? (0)

IloKa Β Raptan, KaK κ apyry, BXOHC, KaK Β a Λ, Β ueftxray3 Η Β ApceHAJI, Ά acH3Hb, KaK JlepMOHTOBa apo5Kb, (0) KaK ryöbi, Β eepMyT OKyHAJl. (2) ΠρΗΒβΛβΗΗοε ΙΟΗΟΓΟ

CTHXOTBOpeHHe

riacTepHaKa.

n0Ka3aTeJibH0

Co3ByHH»

fljia

nocT-HKranecKoro

Bcero

TBopiecTBa

0Tpe3Ka

ρκφΜω

CBOflSTCH Κ MHHHMyMy, HO 3Ta CKyflOCTb KOHUeBOrO C03ByHHa 6oraTo KOMneHCHpyeTCH

.ZIOIIOJIHHTejIbHHMH C03ByHHHMH Β npe-HKTHHeCKOM

oxpe3Ke ριιφΜΗ. ß j r a Kaxcfloñ ρπφΜΗ oTMeneHO cooTHomeHHe Mexcfly O6IHHM HHCJIOM 3ByKOB, ynacTByiomHx Β ριιφΜε, H HHCJTOM rjxyÔHHHbix 3ByKOB. HaaexcHbiM noKa3aTejieM KopeHHoro n3MeHeHHH OTHOUICHH» Κ ΡΚΦΜΕ ABJIAETCFL HE CTOJIBKO aôcojiioTHoe cKOJibKo

HMeHHo cooTHomeHHe

KOJIHHCCTBO rjiyÔHHHbix 3BYKOB,

Meacay

cyMMoñ

Bcex

pi^MyiomMx

3ByK0B H cyMMoìi myÔHHHbix 3ByKOB. IIpHBefleM fljia cpaBneHna flaHHbie, nojiyieHHbie

Ha

ocHOBaHHH

noflcneTa

ρκφΜ

Β

'Τρ3φε

HyjiHHe"

riyiUKHHa16 Η Bcex MyaccKHX H aceHCKHX ρκφΜ Β CÔOPHHKC Cecmpa MOH Ιβ rnyÖHHHtie ΡΫΦΜΒΐ Β "ΓΡΆΦΕ HyjiHHe" HOCHT JIH6O BNOJIHE TPA,ANIINOHHBIFI xapaKTep (cHee/Hea, EZÓ¡HUHEZÓ, CJIYXDMALJIELKDHKA), JIH6O npH6jiH»caioTCJi κ xaJiaMÖypaM, cp. A ITO ace néjiaer CyiJPΫΓΑ/OflHá Β OTCYTCTBHN CYTlPyrA ; ροΜάπα/ΑρΜάπα ([ram-]/[arm-]), ΦΡΑΗΐΙΓ30ΚΕΗ pinina Potier/pitié.

216

Α. Β. HCAHEHKO

Mcu3Hb EopHca IlacTepHaKa

(1917).

.ZJJIH MYXCKWX

Η XCCHCKHX

ΡΚΦΜ

nojiyneHti cjieayiomHe ιΐΗφρω : MHCJTO ΡΗφΜ M 'Tpa HyjiHH" 87 "CecTpa MOH XC." 75 Cpe,HHee

pwjìMyioLUHXCH 3ByXOB

3Κ

M

HC

89 53

185 307

345 268

3ByKOB Ha ρκφΜγ M

2.1 3.2

rjiyÔHHHUX 3ByKOB Ha pHLnne κ öoraTCTBy HenpeflCKa3yeMoñ 'RJIYÓHHHOÑ' UENOHKH oöbHCHaeTca Bee ôojiee 'jiHÔepajibHbiM' OTHOiiieH nervi κ ΠΟΗΗΓΗΙΟ 'ToacflecTBa' ρΜφΜγιοιίίΗχε» 3ByK0B. Aicycranecicoe Toxc/iecTBo KOHueΒΟΓΟ nOBTOpa 3aMeHHeTCH yCJIOBHOH 'SKBHBajieHTHOCTblo'. Β TpaflHUHOHHOH Π033ΗΗ MOHCHO BblflejIHTb HeCKOJIbKO CJiyHaeB ΡΗΦΜΟΒΟΗΗΟΊΊ SKBHBaJieHTHOCTH 3ByKOB H KJlaCCOB 3ByKOB. 8.

POCT

TPEÔOBAHHH

8.1.

H e p e f l O B a H H a T B e p f l b i x Η ΜΗΓΚΗΧ

H flaxce mpeufúm/3a6t>imb jiyniiiHX

corjiacHbix

rana

(JlepMOHTOß) c n o p a ^ H i e c K H

Mcú.abi¡McÚAu

BCTpenaioTCH

Π03Τ0Β, HO TOJibKo β Hey flap HO ñ l a c T H aceHCKoñ

H a M H He o T M e n e H c j i y n a i i l e p e f l o e a H H H ΜΗΓΚΗΧ h T B e p a b i x c o r j i a c H b i x ( T H n a Mená/oná).

y

Kjiay3yjibi. onopHbix

E C J I H TaKHe ρ κ φ Μ Μ H BCTpenaioTCH, τ ο OHM

217

H3 HAEJIIOAEHHH HAA "HOBOS ΡΗΦΜΟίί"

Hpe3BbiHaHH0 peflKH. H e K O T o p y K ) p o j i b 3 A e c b M o r j i a H r p a T b η ο ρ φ ο ΓρΕφϋ5ΐ ;

pemaioiuHM

φακτοροΜ,

oflHaKO,

cjieayer

CHHTaTb

HMCHHO

φΟΗβΤΗΗβΟΚΟβ pa3JTHHHe MeXCfly ΜΗΓΚΗΜ H COOTBeTCTByiOmHM TBepflblM c o r j i a c H b i M . 0H0Ji0niHecKH, T B e p f l b i e η ΜΗΓκκε c o r j i a c H b i e β pyccKOM 83biKe n p o T H B o n o c T a B J i e H b i flpyr a p y r y n o oflHOMy npH3HaKy, κ ο τ ο ρ ω κ , Β H3BeCTHbIX yCJIOBHHX, Μ Ο » β Τ 6bITb HeHTpaJIH30BaH. 8.2.

T p y f l H o c y a H T b , h b j i h i o t c í i JIH 3BOHKHe h r j i y x n e c o r j i a c H b i e β

KJiaCCHHeCKOH

Π033ΗΗ

BnOJIHe

3KBHBajieHTHbIMH.

'^HarHOCTHHeCKOH

p a M K o i i ' η Β aaHHOM c j i y n a e MoaceT cjiyacHTb o n o p H b i i i c o r j i a c H b i ñ MyjKCKOH ρ κ φ Μ β Ha ο τ κ ρ ω τ Μ Η c j i o r . Ρ κ φ Μ Μ T H n a

2Aa3á/poCá

β

BCTpe-

MawTCH, oAHaKo, o n e H b pe^KO (CM. npHMenaHHe 1 5 ) . r i 0 3 T 0 M y TpyjXHo c yBepeHHOCTbK)

CHHTaTb

niyÔHHHbiMH

TaKHe

aceHCKHe

ρκφΜΗ

yEÚAu/riÚAu, MAaffbiejKpyTbie, pyKöü/Horöü, epelllmujMÚAU.

KaK

C

φοΗο-

JTOrHMeCKOH TOHKH 3pCHH8 r j i y x H e Η 3BOHKH6 OTJIHHaiOTCJI flpyr OT a p y r a OflHHM npH3HaKOM, KOTOpblH, Β OnpeflejieHHblX yCJIOBHHX, MOaCeT 6bITb HeHTpaJIH30BaH. 8.3.

Β KJiaccHiecKOH π ο 3 3 η η OKKa3HOHajibHO BCTpenaioTCfl ρ κ φ Μ ω , β

KOTopbix

Β KanecTBe

οπορΗοκ

corjiacHoñ

BbiCTynaiOT φ ρ κ κ 3 Τ Η Β ω

B3pbiBHbie T o r o xce M e c T a 0 6 p a 3 0 B a H H 5 i , H a n p .

nacmyXú/peKú

η

(JlepMOH-

TOB). HHKaKHX o 6 o 6 m a i o m H x ΒΜΒΟΛΟΒ h 3 S T o r o , o a H a K o , a e j i a T b Hejib3H. 8.4.

3KBHBJTaHTHOCTb

3ByKOB

[bl]

H

[H]

β

KJiaCCHHeCKOH

Π033ΗΗ

OÖbIKHOBCHHO OÔiHCHfleTCfl φοΗΟΛΟΓΗΜβΟΚΗ : 3TH 3ByKH CTOHT B pyCCKOM 33bIKe Β B3âHMO-HCKJUOHaK)lUHX φοΗβΤΗΗβϋΚΗΧ KOHTeKCTaX Η »BJTJHOTC«, TaKHM 0 6 p a 3 0 M , p e a j n m u H H M H ο λ η ο η φοΗεΜΜ / i / . C j i e ^ y e T ,

oAHaKo,

HMÊTb Β BH^y, ITO φΟΗΟΛΟΓΗΜβΟΚΗε C006pa3KeHHH Β ρ » Λ JIH MOryT 6bITb peUiaHJUIHMH

npH

HHTepnpeTaUHH

ρΗφΜΟΒΟΗΗΟΗ

3KBHBajieHTHOCTH

3ByKOB. C TOHKH 3peHH« KJiaCCHHeCKOH Π033ΗΗ, ρ κ φ Μ Μ THIia

MCUejuZpÚe

( [ i f ] / [ i f ] ) npH3HaK>Tca a ö c o j i i o T H o t o h h b i m h , T . e . φ 3 κ τ Η Η ε ο κ ο ε φ ο Η ε τ κ HecKoe H e c o B n a a e H H e

pactfenueaemcM

KaK T o a c a e c T B o . B e f l b β ΗβΜβιικοή

Π033ΗΗ flOJirne Η KpaTKHe Ö Η e, Ü H i φοΗΟπΟΓΗΗβϋΚΗ flBJIHIOTCH CaMOCTOHTeJIbHblMH

φoHeMaMH,

HO Β ρ Η φ Μ 3 Χ

BbiCTynaiOT

TOyKíiecTBeHHbie, τ . e . SKBHBajieHTHbie 3ByKH, c p .

KaK

yCJIOBHO

Höh/See, Müh/nie.11

CTHXOBeßbl JIIOÔHT Β CBOHX HCCJieflOBaHHHX ΠΟ ρ κ φ Μ ε n0JIb30BaTbCH τερΜΗΗΟΜ ^ O H e M a ' . H a caMOM ü e j i e , ΜΗ Ηε ΗΜεεΜ ΗΗΚΒΚΗΧ o c H o e a H H Ü n p e a n o j i a r a T b , h t o eflHHHiiaMH, y n a c T B y i o u i H M H β o p r a H H 3 a u n H KOHueB o r o n o B T o p a ( f l a η β JIK)6om a p y r o ñ 3ByKOBOH 'HHCTpyMeHTOBKe' CTHxa) »BJiaioTCH a ô c T p a K T H b i c φ ο Η ε Μ Η , a He κ ο Η κ ρ ε τ Η Η ε 3ByKH p e n n . 17 3KBHBaJieHTHOCTt JiaÔHaJIH3HpOBaHHtIX H HeJia6najlH3HpOBaHHHX nepeaHHX rjiaCHblX Β H6M61IKOH Π033ΗΗ OÖblIHO OÔWlCHHeTCJI BJlHHHHeM II03T0B-IIIBa60B (Kpyr yjiaHfla), β KynbTypHOM /maJiexTe kotopmx 3ByicH [i/ii] η [e/ó] He pa3JiHHaJiHCb.

218

Α. Β. HCAHEHKO

8.5. HecTH

Κ

y c j i o B H H M 3ByKOBbiM 3KBHBajieHTaM cJieüyeT, HaicoHeu,

cJiynaH

ΡΗΦΜΟΒ3ΗΗΗ

c o r j i a c H b i x . IIpaKTHHecKH

Η

npocTbix

flejio

flojirax

(HJIH

CBOAHTCH Κ y/iB0eHH0My [NN] H [CC] Ha

Μ ο ρ φ β ί ν ^ Τ Η Η ε ο κ ο Μ m e e Β p H φ M a x T u n a u3MéHoüjHüdMéHHbiü (φοΗετΗπεοκΗ

eecemmcH

SICBHBAJIEHTHOCTB

[-icca]).

Η

tfapúifa!

3BYKOB

y c j i o B H a ; φ ο Η ο π ο Γ Η π ε ο κ κ 3Byx [ c ] Β ifapúifa c o o T B e T C T B y e T oahoíí /c/, Β eeceAÚmcn

οτ-

yflBoeHHbix)

— coHeTaHHK» φ ο Η ε Μ /t +

MHCTO φοΗεΜε

c¡.

B e e 3TH y c j i o B H b i e SKBHBajieHTHocTH n p o a o j i a c a i O T .geiícTBOBaTb Η Β HOBOH ρ κ φ Μ ε , HO φyHK^HOHaJIbHaH H a r p y 3 K a KaXCAOH Η3 ΗΗΧ n p e T e p -

neBaeT 9.

3HaHHMbie ΟΑΒΗΓΗ.

COBEPMEHHO OHCBHAHO, HTO 0TKA3 ΟΤ n o j i H o r o TOÎK^ECTBA 3BytcoB,

y n a c T B y i o u i H x Β ρ κ φ Μ ε , n e npnBO/ΐΗΤ κ n o j i H O M y np0H3B0Jiy. B o 3 m o > k HocTb

HHTepnpeTauHH

O6T>CKTHBHO

HeT05K,aecTBeHHbix

3ByKOB

KaK

3KBHBaJieHTHbIX C TOMKH 3 ρ β Η Η » ρ κ φ Μ Μ , ΠΟ-BHflHMOMy, ÄaHa KaKHM-TO OÔieKTHBHblM 'CXOflCTBOM' 3THX 3ByKOB. OflHaKO JIHHTBHCT He M O Ä e T npHMOJIHHeilHO 'cTeneHH'

HCn0JIb30BaTb

o6beKTHBHoro

nOKa3aHHH ρ κ φ Μ Η

cxoAcrea

apyry Β ρκφΜε.

SKBHBaneHTHbix

flpyr

3yeTca

onocpeacTBOBaHHo,

a3biKOM

H3BecTHOMy flaHHbie

OTÔopy,

flByx

npHHHMa»

H

CBOHCTBa a3biica, H r H o p H p y a

HJIH

flJia

yCTaHOBJKHHH

HecKOJibKHX

3ByKOB,

Β TOM, HTO ΠΟ33ΗΗ n o j i b -

flejio

noflBepraa

«3ΗΚΟΒΟΗ OÄHH

ne,aaJiH3Hpya HJIH T 0 p M 0 3 a

MaTepnaji

ο6τ>εκτΗΒΗο ECJIH, n o

flpyrne.

c j i o B a M B . A . Y c n e n c K o r o , "Bcaicoe npoH3Be^eHHe HCKyccTBa y c j i o B H o " , 1 8 ΤΟ H BCSKHH Xyfl03KeCTBeHHblH n p H e M

CJieayeT npH3HaTb

OCHOBHOH

CTpOHTCa

yCJIOBHOCTbK),

Ha

KOTOpOH

yCJIOBHblM.

KaTeropHH

ρκφΜΜ,

HBJiaeTCH y c j i o B H o e n o H a r a e 'co3ByHHa'. HMCHHO Ö J i a r o ^ a p a TOMy, MTO 'co3ByHHe' He o ô i n a T e j i b H o o c y m e c T B j i a e T c a n y T e M MexaHHHecKHX cjieaoBaTejibHo,

noJiHocTbio

npeflCKa3yeMbix)

ρ Η φ Μ 3 H HMeeT CBOK> HCTOpHK). "HenpepblBHblH

npouecc

Pa3BHTHe

3ByKOBbix

pyCCKOH ρ κ φ Μ Μ —

,H8KaHOHH3aHHH ΤΟΗΗΟΗ ρ κ φ Μ Μ " , 1 9

CHCTeMbl O f l H O H yCJIOBHOH ' T O M H O C T H C03ByHHa' — MOaceT

KOMMeHTHpOBaTb

ara

yCJIOBHOCTH,

flpyrOK).

OÔbHCHHTb

(H,

ποΒΤοροβ, 3TO He

a

CMeHa

JIHHrBHCT Β

KaJKflOM

KOHKpeTHOM c j i y n a e oôbeKTHBHhie ΠΡΗΗΗΗΜ ΒΟ3ΗΗΚΗΟΒ6ΗΗΗ TOH HJIH HHOÖ yCJIOBHOCTH, H O OH He MOHCeT, Ha OCHOBaHHH JIHHrBHCTHHeCKOrO p a 3 6 o p a ρ π φ Μ , ^ e j i a T b CK0JibK0-HH6y,ab Ha^eacHbie ΒΜΒΟΛΗ O6 OTHOCHTeJIbHOÌÌ φ ο Η ε Τ Η Η β Ο Κ Ο Η

HJIH φ 0 H 0 J I 0 Γ H H ε C K 0 i ^

6JIH30CTH

KJiaccoB 3ByxoB Β c a M O M a3biKe. r i p o a e M O H C T p H p y e M

3ByKOB HJIH

3Ty M b i c j i b

Ha

c j i e a y i o m e M npHMepe. 18

CM. Β. A. YcneHCKHH, " O CCMHOTHKC HCKyccTBa", CuMti03uyM no cmpyKmypnoMy u3yneHUK> juaKoebix cucmeM ( M o c x e a , 1962), cTp. 127. 19

Cp. Β. M . 5KnpMyHCKHH, ΡιιφΜα, ee ucmopun u meopua, CTp. 101.

219

H3 HAEJHOflEHHH HA/I "HOBOH Ρ Η Φ Μ Ο Η "

IlOJIbCKHH JIHHrBHCT K . HhTUI yCT3.HOBHJI, HTO Β nOJIbCKOH HapOflHOH Π033ΗΗ

3BOHKHe UiyMHbie

BblCTynaiOT

Β ρκφΜβ

KaK

3KBHBajieHTH

HOCOBblX, njMBHblX H 3ByKa [j]. AbTOP 3THX CTpOK yCTaHOBHJI COBepiueHHO aHajiorHHHoe nojioacemie Bemeñ β cjioBaiiKoñ HapoflHoìi π ο 3 3 η η . OflHOH ΙΟ KOHCTaHT CJIOBaUKOH HapOflHOH Π033ΗΗ »BJIHeTCH

flBy-

cjioxcHocTb pHκετ ρ Η φ Μ Ο Β 3 Ί ^ ϋ 5 Ι c nebu 'He6y', vedú 'eejiyT', vezú 'Be3VT', rezú 'pexcyr', melú ' m c j i i o t ' , sejú 'ceioT', h o He Μονκετ pv^MOBarbCH co cjioBaMH sklepu 'jiaBKe', metú 'MeTy-r', reku 'roBopio', nesú 'HecyT', pekú 'neKyr'. C j i o b o baba ' 6 a 6 a ' CBoôoflHo ρκφιν^τΌΑ co cjioBaMH hada '3MeH', vraha 'yÔHHiibi', dvaja 'flBoe', mala 'HMejia', β TO epeMH KaK Ρ Κ Φ Μ Η rana baba/chlapa 'MyacHHHbi' He B C T p e n a i o T c a . 2 0

Mohcho

jih,

Ha

ochob3hhh

npHBefleHHbix

φ3κτοΒ

yTBepacflaTb, h t o 3ByKH [b] h [j] β cjioBaiiKOM fl3bnce öojiee 'cxoflHbi', neM 3BVKH [b] η [ρ]? OMeBHflHo, flejio TyT BOBce He β CTeneHH oöbeKTHBHoro 20 Cp. Α. V. Isacenko, Spektrografická analyza slovenskych hlások (Bratislava, 1968), crp. 199.

220

Α. Β. HCAHEHKO

φΟΗβΤΗΜεΟΚΟΓΟ CXOaCTBa, a HCKJIIOHHTejIbHO Β ΟΠβαΗφΗΗβΟΚΗ ΒΟΗΗΟΗ

Η yCJIOBHOH

OUeHKe

3ByjCOB, φ γ Η Κ Ι Ι Η Ο Η ί φ γ ί Ο υ ΐ Η Χ

ρκφΜΟ-

TOJIbKO

Β

ρ κ φ Μ β KaK 3KBHBaJieHTHue.

hto 3bohkhc oziHy o ö m y i o φοΗετΗΗεοκγκι i u y M H M x (THna [p t k s s c]) flpyroe

aejio,

uiyMHbie, HocoBbie, njiaBHbie xapaKTepHCimy: Bee

sth

h

[j]

β otjihmhê o t

hmüiot rjiyxHx

3Byicn n p o n 3 H o c a r c a c y n a c T H e M

rOJIOCOBOrO HCTOHHHKa. C TOHKH 3 p e H H » φΟΗΟϋΟΓΗΗ, TOJIbKO y 3BOHKHX i u y M H b i x ( T H n a [ b d h ζ ζ ] ) HajiHHHe r o j i o c o B o r o HCTOHHHKa a B J i a e T c a pejieeaHTHbrvi npH3HaKOM.

IlocKOJibKy β cjioeauicoM

a3biKe

HocoBbie

/ m η ñ / , njiaBHbie / r 11/ η / j / B c e r a a n p o H 3 H o c a T c a c ynacTHeM r o j i o c o B o r o HCTOHHHKa H, c j i e f l O B a T e j i b H O , He M o r y T 6biTb npoTHBonocTaBJteHW r j i y x H M , Hx

'3B0HK0CTb' aojracHa paccMaTpHBaTbca KaK npH3HaK 'h36h-

TOHHMH', C TOHKH 3ρβΗΗ5Ι KOMMyHHKaUHH HeCymeCTBeHHblií. Κ TOMy ace, npoTHBonocTaBJieHHe no/iKJtaccoB (Α) η (Β) Hcnojib3yeTca β cjioBauKOM H3biKe h BHe ρκφΜΗ. Β npeflejiax ^pa3bi' HaöJiioflaioTca cjieayiomne aejieHHa BHyTpeHHero caHaxH : nepe/i rjiyxnr»in uiyMHbiMH 3BOHKHe m y M H b i e (κροΜε /ν/) orjiymaiOTca : med kúpit' metkúpit' 'Me/i KynHTb'; rjiyxHe uiyMHbie 03B0HHai0Tca nepezi 3bohkhmh iuyMHbireiH, HOCOBHMH, n j i a B H b I M H Η /j/, Cp. pät' boboV + pädboboW 'íIKTb 6o6ob', pài vajee pädvajec 'naTb anu', pät' rôzkov -> pädrwoskow 'naTb poryjiHKOB' η τ.π. CTporoe aejieHHe φοΗετΗπεοκΗχ npH3HaKOB Ha 'flHCTHHKTHBHWe' H 'H36bITOHHbie' Η OTOHUjeCTBJieHHe M3ÖbITOHHOCTH C 'HepejieeaHTHOCTbio' β a a H H O M cjiynae He onpaeabiBaeTca H a ô j n o aaeMbiMH φaκτaMH. Ecjih β cjioeauKoii Hapo^Hoñ πο33ηη πετκο BbmejiaioTca a s a 'ecTecTBeHHbix' no^KJiacca corjiacHbrx, pa3JiHHaiomHxca Ha OCHOBaHHH HaJIHHHa/OTCyTCTBHa rOJIOCOBOrO HCTOHHHKa, ΤΟ 3TOT npH3HaK T p y f l H O CHHTaTb ' H e p e j i e B a H T H b i M ' . B e / l b o T M e n e H H o c T b ρ κ φ Μ T H n a

baba/mala npn HeoTMeneHHOCTH ρπφΜ THna *babajchlapa o6i>acHaeTca HCKJIIOHHTeJIbHO HajIHHHeM/OTCyTCTBHeM rOJIOCOBOrO HCTOHHHKa Β COOTBeTCTByfOLUHX COrjiaCHblX. Bee

BbiCKa3aHHbie

HcxoflaT

H3

UIKOJIOH η

Bbiuie cooGpaaceHHa

φοΗοιτοΓΗΗεεκοΗ

paccMaTpHBaiomeii

aBTOHOMHyK) C T p y K T y p y .

Πρκ

MOfleJiH,

φοΗΟΛΟΓΗΜεοκοΓο pa3pa60TaHH0H

φοΗοιιοΓϋΗεοκγκ) ΜορφοφοΗεΜΗΟΜ

nopa^Ka npaaccKoíí

cHCTeMy a 3 b i K a

πο,αχο,ιιε β

KaK

paMKax

Φοηολογηη p a c c T o a H H e M e a m y ' n o e e p x H o c T H b i M ' C H r H a j i o M β ρκφΜβ η ' r i r y Ó H H H o ñ ' p e n p e 3 e H T a u H e H 3HaHHTejibHo y e e j i H H H B a e T c a : c o 3 B y H H e deubjmeub o c y m e c T B j i a e T c a JiHUib Ha y p o B H e a K y c T H H e c K o r o C H r H a j i a ; ΜορφοφοΗεΜΗΗε C T p y K T y p b i { d , # n , } w | t , e n , } flajieKo He η/κητηηημ. B e e c K a 3 a H H o e 3 a c T a B J i a e T H a c p a c c M a T p H B a T b φβΗΟΜεΗ 'co3ByHHa' β ρΗφ.νιε KaK aBJieHHe, uejiHKOM OTHocameeca κ nopoîKflaiomeH

221

H3 H A E J l K J f l E H H H H A f l " h O B O Í Í Ρ Η Φ Μ Ο ί ί " φ ο Η β Τ Η Η ε ο κ ο Μ γ ( ' n o B e p x H O C T H O M y ' ) , a He κ φ ο Η Ο Λ Ο Γ Η π ε ο κ ο Μ γ

njiaHy

»3MKa. O ö p a T H M c a T e n e p b κ C H c r e M e 3ByicoBbix 3 K B H B a j r e H T H O C T e ñ ,

xapaic-

T e p H b l X /UIH HOBOÌ1 ρ κ φ Μ Μ .

Btiiiie 6biJio OTMeneHO, h t o 3bohkhc η ray χ He uiyMHbie M o r y T

9.1.

0 K K a 3 H 0 H a j i b H 0 B w c T y n a T b β K a n e c T B e 3 K B H B a j i e H T H b i x 3ByKOB β K j i a c c H MecKOH p y c c K O H π ο 3 3 η η , h o n p e H M y m e c T B e H H o β n o c j i e y ^ a p H O M ο τ ρ ε 3 κ ε ρ κ φ Μ Η ( 8 . 2 . ) . Β Η Ο Β Ο Η ρ κ φ Μ ε 3BOHKHe η r j i y x w e u i y M H b i e KaK 3 K B H B a j i e H T b i He T O J i b K O β n o c j i e y a a p H O M , h o η β OTpe3Ke, π ρ κ π ε Μ , h t o o c o 6 c h h o x a p a K T e p H o ,

BbicTynaioT

npeayaapHOM

M o r y T 6biTb

Hcn0Jib30-

BaHbi β KanecTBe ' o n o p H b i x c o r j i a c H b i x ' . B o t necKOJibKo n p H M e p o B : CjiyuKHÜ:

6ecnojié3Ho

3arÓHe

HHTepéCHO

3aKÓHe

MapTbiHOB :

npá3(fl)HHKH OflHOKáCCHHKH

HaBpócHT Ilpóceflb

Eokob :

πηΤοκ npá/Ι,οκ

EBTymeHKO :

MyCicyjioB

HanpáCHOCTb

My3bIKH Poac/iecTBeHCKHH :

npá3(/l)HOCTb

HapacIléB ceBé

Bo3HeceHCKH0 :

Β

peflKHX

Bóa3ho Üóe3fla

MHÜlypy

jihctK6

coflá

KoJKypy

Tañré

ceBá

cjiynaax

HaóJiKJflaeTca

SKBHBajieHTHocTb

Meacfly

3ByKâMH,

oTjXHHaiomHMHCH .npyr OT A p y r a c p a 3 y n o a e y M npH3HaKaM (3B0HK0CTb

h MHncocTh), cp. y Epo^cicoro AeTÁjcuJlÉm

; BnpoieM, 3aecb Henojmoe

c o B n a a e H H e o n o p H b i x c o r j i a c H b i x MoaceT 6biTb K O M n e H C H p o e a H o κ ο η θ μ H b i M - m β cudhm

n o n p H H U H n y 3ByK0B0ñ 'iiHCTpyMeHTOBKH' Bceñ ε τ ρ ο κ Η ,

np0B03rjiaiiiaeM0M MaaKOBCKHM.

9.2.

HocoBbie pa3Horo MecTa 06pa30BaHHa ([m/n; ip/ç]) 3κβηβ&-

jieHTHbi flpyr a p y r y : AxMa^yjiHHa :

jiaaóHa β

PoacAecTBeHCKHH :

flóMe TáñHbie HeoÖHTaeMbie

9.3.

Bbirne y n o M H H a j i o c b ο τ ο μ , ητο β (ρε,ακΗχ) c j i y n a a x necoÖjnofleHHH

222

Α. Β. HCA4EHKO

npaBHJia

o

TOHcaecTBe

OTKpwTfciíí c j i o r 3KBHBajieHTHWx

β

onopHbix

corjiacHbix

KjiaccHiecKofl

3ByKOB

Π033ΗΗ,

BbiCTynaioT

β MyjKCKHx p v ^ v i a x

KaK n p a B H J i o ,

ΜΗΓκκε

η

β

TBepAbie

Ha

KanecTBe

coHopHbie:

U/H» [j/ 1 ?]. [j/y]» [ n / t ] , [m/1] η τ . π . 2 1 ( c p . 2 . 1 . ) . 3 K B H B a j i e H T H o c T b c o H o p H b i x , H a M e T H B i u a H c a e m e β ΠΟ33ηη 1 8 - γ ο η 19-ΓΟ BCKOB, n o J i H o c T b i o icaHOHH3 H p o B a H a β HOBOH ρ κ φ Μ ε : EBTyiueHKo :

mojiiò [maju] moiò [maju]

HcaKOBCKHÜ:

6eccHJieH [-í|en]

β rJIa3y

PoccHio

β rPo3y

[-íju]

HcnbrráHHH CTáJlHH

AxMaAyjiHHa:

nejió nero

BecbMa noKa3aTejibHo β 3 t o m CKoro

"Λ

Γοηη",

u e n o H K a M H Η Γόύα, 9.4.

y

oTHomeaHH cTnxoTBopenHc

r / t e KaHc^aa

f i zope, Η

coBpeMeHHwx

οτροφβ ZÓAOC,

nosroB

β

Η

HanHHaeTca ZÒÀOÒ

KanecTBe

Bo3HeceH-

pi^MyromHMHca

([j-r-1])3XBHBajienTHbix

3ByKOB

B b i C T y n a i o T (jjpHtcaTHBHbie p a 3 H o r o o 6 p a 3 o a a H n a : Bo3HeceHCKHH :

Ty3bi

cjiá)Ky

Ty^CH

cpá3>

TOCKH

CTpallIÓH

Ho>Ká

poCá

MelllKH

caKCoOÓH

rjia3á

xopolllá

MepeítoBaHHH THna [ x / f ] β r i 0 3 n u n n

' o n o p H o r o c o r j i a c H o r o ' He

6buio

OTMeneHo. 9.5.

M e H e e OTHCTJIHBO H c n o j i b 3 y e T C f l 3KBHBajieHTHOCTb a φ φ p H κ a τ b I

[c] C ΜΗΓΚΗΜΗ B3pbIBHblMH [t] H φρΗΚ3ΤΗΒΗΜΝηΐ [s] : nacTepHaK :

IJenb

noIJejiyH

cTenb BHHOKypoB :

Cejiy

HeB03MyTHM0 OcBenIJ,HMa

EjiarHH :

noccópaCb CTHXOTBÓpetl,

9.6.

3KBHBaJieHTHblMH CHHTaiOTC» B3pbIBHbie H φ ρ Η Κ 3 Τ Η Β Η Μ ε

3a^He-

HeÔHoro h r y Ö H o r o p a f l a [k/x] h [b/v], [p/v] : n

Κ COHOPHHM M U OTHOCHM 3ByKH [1/1], [ r / f ] , [ m / m ] , [n/lj], [ v / v ] H [j]. C T04KH apeHHH

"CKOJn>3«mefi" KJiaCCH(j)IlKaaHH, φοΗβΜΜ / ν / Η / ν / BXOÄHT ΟΛΗΟΒρβΜβΗΗΟ Β KJiaCC

coHopHLix η 3B0HKHX inyMHHX, cp. Α. V. Isacenko, Spektrografickä analyza

slovenskych

hldsok, c r p . 198-199. «toHonorniecicaH ôjiraocTb Mexmy Φ ο η € μ ^ μ η / ν / , / ν / h / j / β pyccKOM H3Lnce noKa3aHa β p a ô o T e H . A n d e r s e n , " T h e phonological status of t h e R u s s i a n 'labial fricatives'", Journal of Linguistics 4 (1969), 69-72.

H3 HAEJTKWEHHH HA/J "HOBOH ΡΗΦΜΟΗ" IlacTepHaK :

IleTb

KaKáo

BeTBb AxMaayjiHHa :

EBTymenKo :

223

Xáoc

opéXn

Be^y

péKa

Β BHFLY

πετγΧή nHTaKó

MaTBeeB :

τργΕώ

yBbi JlloßonblTHO,

HTO H â M H

He ÔbIJIH 3 a p e r H C T p H p O B a H b I

JieUTHOCTH B 3 p b I B H b I X H φ ρ Η Κ Η Τ Κ Β Η Η Χ

CJiynan

Β 3y6HOM p»AY THna

[ d / z ] , x o T f l a K y c T H H e c K H p y c c K H e n a J t a T a j i H 3 H p o B a H H b i e [\/d]

3KBHBa[ { / s ] HJIH

coflepacaT

3JieMeHT aCCHMHJIHIIHH, OÔteKTHBHO npHÔJIHaCaJOIliHH 3TH 3ByKH κ ΜΑΓΚΗΜ [ s / z ] . He oTMeneHa SKBHBaJieHTiiocTb Mexc/iy TBepflbiMH [ t / d ] Η [ s / z ] , HaM He n o n a / i a j i H C b ρ κ φ Μ Μ THna *nycmú¡cnpocú, *eodÁ¡HeM3Á, *cyemá¡cmpeK03á

HJIH *6edájzAa3á.

O Ô T A C H H T B STOT n p o ö e j i C TOHKH

3peHHH JIHHrBHCTHieCKOH 3aTpyflHHTejIbHO. 9.7.

rio-iHa«

lüónom/Ufëôom,

3KBHBajieHTHocTb

HaöjnoflaeTca

tu η

μοκλυ

ιμ,

cp.

umo stc/doMcdb ; Β . n a m i b i x p i ^ M a x O T p a a c e H O n p 0 H 3 H 0 -

u i e H H e C ΛΟΛΓΗΜ ΜΗΓΚΗΜ ΙΙΙΗΠΑΙΙΙΗΜ [ s s ] . y

ΜΗΟΓΗΧ Π 0 3 Τ 0 Β O T M e H e H a 3KBHBaJXeHTHOCTb 3ByKOB H H Uf, Η β Π ρ .

(üacTepnaK), n^eVô/elI^ë. Πο AaHHbiM HMeioiUHXca nocjieflOBaTejibHo np0H3H0CHJi [ss]. O T M C T H M ,

3aIU,ëAKujHëjixu

3BYK03ANHCEß ILACTEPHAK Η'ΓΟ, C TOHKH

3peHHfl φ 0 Η 0 Λ 0 Γ Η Η ,

BapHaHTbl

H H T e p n p e T H p o B a H b i KaK c o n e T a H H a φ ο κ ε Μ | c +

[ s s ] H [§$] M O r y T

6bITb

c}.22

H M e K ) T C « e ^ H H H H H b i e C J i y n a H SKBHBajreHTHOCTH ΜΗΓΚΟΓΟ ΛΟΛΓΟΓΟ [ZZ] κ

TBepAoro

npoH3HocMJi

[ζ],

cp.

òpe6e3)KàAjnooeΜάη

[ z z ] ; y ΠΟ3ΤΟΒ,

c j i y n a a x Hajirnjo aicycTHHecKoe τ ο χ , α ε ο τ Β ο

10.

(IlacTepHaK).

npoH3Hocamax TBepAoe

IlacTepHaK

[zz] Β ΠΟΛΟ6ΗΜΧ

corjiacHbix.

C T p y K T y p H o e o n H c a u w e HOBOH Ρ Κ Φ Μ Ω T p e ô y e T o c o ô o r o n o f l x o f l a Κ

C a M O M y ΠΟΗΗΤΗΙΟ ' C 0 3 B y H H 0 C T b ' . H e f l O C r a T O H H O y C T a H O B H T b

H30JIHp0-

BaHHbie 3ByKH, Φ Η Γ Γ Ρ Κ Ρ Γ Ι Ο Υ Ι Κ Ε Β HOBOH Ρ Κ Φ Μ Ε KAK 'co3ByMHbie', T.e.

SKBHBaJieHTHbie 3JieMeHTbI. Κ C03ByHHK> Β HOBOH ρκφΜβ Hejlb3a ΠΟΑx o f l i i T b C TOHKH 3 p e H H » o T f l e j i b H b i x 3ByKOB. P e u i a H D m y j o p o j l b Bce φ ο Η β Τ Η Η ε ο κ ο ε oKpyjKeHHe, β nacTHOCTH p a c c T O H H H e 22

flaHHoro

HrpaeT 3Byica

Κ B o n p o c y ο φοΗΟΛΟΓΗΐεοκοά HHTepnpeTauHH e a p n a i r r o B [sä] H [$Ç] p y c c K o r o jiHTepaTypHoro n p o n 3 H o m e H n a CM. Α . V . I s a c e n k o , " T h e d e v e l o p m e n t o f t h e c l u s t e r s *sk\ *zg' e t c . in R u s s i a n " , Scando-Slavica X V (1969), CTp. 9 9 - 1 1 0 ; e r o « e , "ΜΟΡΦΟΗΟn o r m e c K a a HHTepnpeTauHH ΛΟΠΓΗΧ ΜΛΓΚΗΧ u r a n a m H X [s,:] Η [Ζ,:] Β pyccKOM SAUNE", IJSLP X I V (1971), CTp. 32-52.

224

Α. Β. HCAHEHKO

οτ nocjieflHero yaapHoro rjiacHoro. Ecjih y IlacTepHaKa μ η HaxoflHM TâKyio pHφMy Kaie u eocméû/Kocméû, το μ η He MoxceM c yeepeHHOCTbiO CKa3aTfc, hto cooTBeTCTBHe ε/κ β flaHHoñ ρκφΜβ βχοαητ β cocTae 'co3ByHHJi'. TojibKo Ha φοΗε 6ojn.uioro KOJiHiecTBa aHajioraHHbix ρκφΜ, β κοτορΗχ 3BOHKHC h rjiyxne HepeayioTca β jieBOM οτρβ3κε, m h Bnpaee npeflnojioacHTb, h t o pi^MyiomnecH cjioBa aocméü/Kocméü BHÔpaHH ne 'cjiyiaHHo' h h t o rjiyxne h 3Β0ΗΚΗε y IlacTepHaKa BHCTynaioT KaK 3ByKOBHe 3KBHBaJieHTbi, cp. BeKá/mioeM ρΗφΜΗ y IlacTepHaKa Ha οληη 3ByK 6orane

o6mero

oôieMa

nyiiiKHHCKoñ ρκφΜΗ.

co3ByHHH, npeBbimaromero

τρπ-Ηετπρε

Ha

φοΗβ

3ByKa, .uaaœ

ôoraToro

HecoBna^HHe

nocjieaHeñ yaapHoñ rjiacHoñ, CTOJib iuoKHpoBaBuiee kphthkob Hanajia BeKa, nepecTaeT BocnpHHHMaTbca KaK HapymeHHe KaHOHa. Β nacTepHaKOBCKOH ρκφΜε 3anopouiHm/napaiuIOm '/IHCCOHaHc'

(no

T8pMHHy

EpiocoBa),

HMeeTC« TaK Ha3biBaeMHH ho

HecoBnafleHHe

ygapHoro

rjiacHoro β flaHHOM cjiynae c jihxboh KOMn8HCHpyeTca nojiHbiM co3ByΗΗβΜ meCTH OCTajIbHHX 3ByKOB pHφMbI. ECTeCTBeHHO, HTO Β nOflOÔHblX cjiynaax ηη o Kaicoñ sKBHBajieHTHOCTH yaapHbix [i] h [u] roBopHTb He npHXOaHTCH. CaMO nOHHTHe 'flHCCOHaHCa' BeCbMa OTHOCHTejIbHO. Πρκ HajTHHHH deyx HfleHTHHHblX 3ByKOB (nO pyKáM¡6oCUKÓM) HeCOBnaaeHHe y^apHbix rjiacHbix omymaeTca Kax HapymeHHe KaHOHa; 'aHCCOHaHc' MeHee pe30K npH HajIHHHH Tpex HfleHTHHHblX 3ByK0B (no

pyKÚM¡

καδαγκόΜ) ; πρκ hojihom ToacflecTBe neTbipex 3ByK0B 'jmccoHaHc' ποητη CTHpaeTCH (no pytcàMjôupwKÔM), a πρπ coBnafleHHH π»τη 3ByK0B coBeprneHHO Hcne3aeT (no pyKáM¡napuKÓM).

BaacHyio pojib nrpaeT πρκ 3tom

coBnafleHHe

3HaHHTejibHoe

nepeoro

3ByKa

cjioBa.

hhcjio cjiynaeB

'flHccoHaHca' nocTpoeHO no cjieayiomeMy npHHunny: nepBHft 3ByK pHφMyκ>I^HXcs cjioB coenaaaeT, κροΜε τογο nojiHOCTbio coBnaaaioT corjiacHbie, CToamne no o6e CTopoHbi yuapHon rjiacHOH, cp. ymúx/ymyx (XjieÔHHKOB), KycÓK/eycáK (MaaKOBCKHÖ). CoBepraeHHo ohcbhaho, hto 3ByKH κ/ζ Β TaKHX ρΗφΜΕΧflOJDKHblCHHTaTbCa 3KBHBaJICHTHbIMH. CTpyKTypa ηοβοη ρκφΜΗ oTJiHHaeTca, o/maKo, h uejibiM paaoM flpyrHx, He MeHee cymecTBeHHbix 0C06eHH0CTeâ. 11.

Β TpaAHUHOHHOH ρκφΜε nOCJie/IHHe 3ByKH l3aaaHH0H' CTpOKH

noBTopaiOTca β ρΗφΜ)τοΐΗείίε» ετροκε β CTporo jihhchhom πορΗ,ακε.

225

H3 HAEJIIOflEHHH HAA "HOBOH ΡΗΦΜ0Η"

3 B y K o p j w y 1 - 2 - 3 . . . ' 3 a a a H H o r o ' CTHxa cooTBeTCTByeT 3 B y K o p a a 1 - 2 - 3 . . .

ρπφίν^ιοιιιεΓοο« CTHxa. ΟτκΛΟΗβΗΐω OT o ô m e r o npaBHJia eaHHHHHW η H o c f l T 8BH0 ' c j i y M a H H b i H ' xapaKTep, cp. BÓAHbi/6e3MÓABmm

(JlepMOH-

t o b ) . 2 3 Β h o b o h pH(j)Me co3ByHHwe 3JieMeHTbi n o B T o p a i o T c » He o 6 » 3 a IlacTepHaKa Haxo^HM T a r a e ρ κ φ Μ Μ x a x

T e j i b H o β T o m »ce nopaaice. y rfluTIcTelIú,

mpúKHyejuepHúKoú,

uipáMaX/XpáMe. BCTpenaioTCH

Ha

JIwEÚAjEeJIÚA,

THna OZHÚ¡ZOHÚ

ΡηΦμκ KaayioM

uiary.

KBaptflneKäpcmB,

(1234/2134) y

MaaKOBCKHÖ

MaaKOBCKoro

sKcnepHMeHTHpoBaji

c

'3epKajibHOH' ρ κ φ Μ ο π , r a e 3ByKopaÄ ' 3 a a a H H o r o ' c r a x a π o BTopaeTca β ρ κ φ Λ ^ ι ο ι ί ί β Μ CTHxe β oôpaTHOM πορΗΛκε, cp. luópoxjxopouió

(12345/

54321 [2]). Β COBpeMeHHOH Π 0 3 3 Η Η ΠρΗΗΙΙΗΠ HejIHHeHHOCTH 3 B y K O B O r O

nOBTOpa KaHOHH3HpOBaH:

AxMaayjiHHa :

caMOJiera / COJIOMÓHH

nponéjijiep / npoBépHJi

12 34567 η

123466

ί

54 3 6

8

78

123

5 87 6

rajiflflT / ι.ίΐίϊΛίίτ 1234 5 6 Bo3HeceHCKHH

:

132456

napmÓBbiH / riapiíxceM 12345678

132547

Ε γ ή π τ η / 6enÍTe 1234567 52346

6epjióra / βρεπόκκ

ó6iuyio / ómynbjo

1234667

12 3 456

132456

1342

56

H H H r a e x á H / CHHTHH£LHII 1 234567 8 9 6 2 345189 Hárjitie / ΑΗΓΛΗΗ [nágliji / ángl,iji] 1 2 34567 21 34 5«7

11.1.

Hoeaa ρ κ φ ΐ ν ^ aonycicaeT nponycKH h j i h b c t 3 b k h oT,nejTbHbix

3ByKOB β oflHOH H3 ρκφΜγκιιιΐΗΧΟΑ ι χ ε π ο π ε κ : MÓÍÍHUK¡zapMÓmiK Médum 11.2.

HajieBo

(üacTepHaic),

περόάκIveXApdá,

CyMámpoü/MoHMáPmpa,

ργκο-

MéHmuKuj

(Bo3HeceHCKHñ). riepeHoc

ochobhoíí

OT n o c j i e a H e r o

φyHκ^HOHaJIbHOH

Harpy3KH

HKTa Hen36eacHo nopoxcaaeT

co3BynHa

cTpeMJieHHe

κ

pHφMOBaHHK> uejioro cjioBa c uejibiM c j i o b o m . T e H ^ e H U H a κ TaKoro THna ρκφΜε

33M8THa

meMHÚifa/menAÚifa,

y

JiyHuiHX

KjiaccHHecKHX

e3Ópy/e3dápy,

πο3τοβ,

doAÓü/doMÓü,

τ . π . Β h o b o h ρ κ φ Μ ε cjiynaH ρ η Φ μ ο β 3 η μ η

cp.

y

üyuiKHHa

no καηαny/noKOAony

η

uejibix c j i o b λ ο λ ϊ κ η μ p a c -

CMaTpHBaTbca KaK H^eajibHwe o6pa3iu>i, κ κοτορΜΜ aBTop cTpeMHTca πρΗ peajiH3auHH o n T H M a j i b H o r o co3ByiHa. B o t HecKOJibKo npHMepoB : 28

Β ocHOBy HauiHx noflcieTOB 6I>IJIH nonoaceHw craxoTBopemui IlacTepHaKa 3a 1917-1922 rr. h no c t o MyaccKHx h xceHCKHX ρκφΜ cthxotbopchhö EBTynieHKO h Bo3HeceHCKoro, HaneHaTaHHbix β pa3Hiix côopmocax.

Α. Β. HCAHEHKO

226 BuHOKypoB : CjiyuKHH :

nojiócKa/njiócKO rpaHÉua/rpoÔHHua

MapTMHOB :

ÄHHeHCKHH :

ycTájibiñ/ycTáBy

CH«Hbe/CJIHÄHbe TajiáHTa/TejiÁTa

AxMaayjiHHa :

pwôëuiKa/peôëHKa

PoacaecTBeHCKHH : EjiarHH :

cjie3áMn/cjie3ájin

(3a) nécHHMH/(o) üchchh

Haneeáji/HanoBáji

EBTymeHKo: npoJiór

nojiëTe/noHëTe

copBáTbca/coBáTbca

TBapflOBCKHH :

Ka3aKOBa :

pyMHHa/poMáHa

npoBajmjiHCb/nponbijmjniCb

nopey H/napHyK)

no nojxáM/nonojiáM

BpéfleH/BpéMH

Bo3HeceHCKHH :

repoÓHa/repoÓHa cjiáacy/cpá3y

aKuéHT/aôcéHT

mojiió/moió

KapéTy/Kapbépy

3eMJiá/ceMbá

MépHH/MépjiHH

njiáTbHue/iuiáHeTCH

MacniTáó/MocTáx

nopór/

MycKyjioB/My3wkh

o6ÓJiraHHbiñ/o6ópKaMH

rajiHjiéa/rjiynée

noflÓHKaMH

M03rá/Ma3Ká

nojiyHyBCTB/noJiynycb

noTÓMKaMH/ γρ03λη/γβ03λη

nepenáx/B nepenáx

Β 3TOM KOHTeKCTe HeoöxoflHMO bhccth HeôoJibiuyio nonpaBKy β o6mhHoe

πρκ

pa3Öope

ρκφΜ

TpaaminoHHoe

cjioßoynoTpeöJieHHe.

Πο

cymecTBy He Bnojrne npaeoMepHo roBopHTb, i t o 'cjiobo' myMmaMu ρκφΜγετοΗ co 'cjiobom' pecmopmaMu.

Be^b β aaHHOM cjiynae pHMy-

10TCH TOJibKo 3ByKOBbie OTpe3KH -0HaMu/-änaMu. ΡιιφινιοΒκα uejrtix cjiob MaccoBo ocymecTBjiaeTca jiHiiib β hoboíí ρκφΜε. 3το πρηβοαητ κ HOBbIM, HeOXCHaaHHbIM, 'Henpe^CKa3yeMbIM' CTOJIKHOBCHHSIM He TOJIbKO uenoneK 3ByKOB, ho uejibix cjiob, KaK HocHTejieñ onpe^ejieHHOH ceMaHTHKH. Β ριιφΜε nepenâxje nepenâx HeoxcnaaHHo pacKpbiBaeTC» sthmojionmecKaa

CBH3b Meamy cjioBaMH uépen h uepenâxa,

φHκcHpyeτca Ha KopHeBoñ ΜορφβΜε —

BHHMaHHe

rjiaBHOM HocHTejie jieKCH-

lecKoro 3HaieHHe. Becb κοΗφϋκκτ caMoyÔHiicTBa KHH03Be3flbi MepjiHH MoHpo 3aKjnoHeH β 'kojijih3hh' cjiob zepoÚHH h zepoma. 12.

HauiH Ha6jnoaeHHH nafl hoboíí ρΗφΜοίί TpeôyioT o6o6maiomero

TOJIKO BaHHH.

TpaflHUHOHHa» pHφMa 19-ro BeKa nocTpoeHa He TOJIbKO Ha cTporoM COÔJIIOfleHHH φοΗεΤΗΗβΟΚΟΗ HfleHTHHHOCTH ΠΟΒΤΟρΟΒ, HO H Ha ΟΤρΟΓΟΜ COÔJnOfleHHH nopHflKa ρΗφΜ>'ΙΟΙΙΙΗΧΟΗ SJieMeHTOB Ha BpeMeHHÓH OCM. HoBaa ρΗφΜΕ KaHOHH3HpyeT pflA 3ByKOBbIX 3KBHBajleHTHOCTeÜ, He

'

H3 HABJIK>AEHHH HAfl "HOBOH ΡΗΦΜΟΗ"

227

oTBeiaiomHX TpeöoBaHHio φοΗετΗπεοκοΓο ToxcflecTBa pnMyiomHxca 3ByKOB. O f l H O B p e M e H H O , ho Baa ρκφ\ω Ä o n y c K a e T B b i n a a e H H H h BCTaBKH OTflejibHbix 3ByKOB η r p y n n 3ByKOB β ρΗφΜγκ)ΐιΐΗΧθίΐ u e n o H K a x , a TaiuKe 3HaMHTejn>Hbie n e p e c T a H o b k h ( n e p M y T a u H H ) β c a M O M jihhchhom p a c nOJIOaCeHHH 3ByKOB, OCymeCTBJIHIOmHX KOHUeBOM ΠΟΒΤΟρ. Mohcho y T B e p j K f l a T b , m t o β TpaAHUHOHHOH ρ κ φ Μ ε

'co3Bynie'

ocymecTBjraeTca

CHHTarMaTHHeCKH, Β CTporOH nOCJleaOBHTejIbHOCTH OT^eJIbHblX 3ByKOB,

β hoboíí ρ κ φ Μ ε H a M e n a e T c a π ρ κ Η Η κ π n a p a ^ a r M a T H 3aMeHy οαηογο 3 B y x a — a p y r u M ( s K B H B a j i e H T hhm), H a p y m a i o m H H n o c j i e ^ o B a x e j i b H o c T b , ho οΑίιοΒρεΜεΗΗο bm3hMeacAy τ ε Μ KaK

HecKHÌi, A o n y c K a i o m H H

3φφεκτ

BaiomHH co3ByHHH.

Ecjih

CTpyKType

o6mero,

oneHb

nonbiTaTbca

pyCCKOH

ôoraToro

(κ6ο

HenpeflCKa3yeMoro)

3th KopeHHbie TeXHHKH Ha H3bIK

nepeeecTH

ρπφΜΟΒΟΗΗΟΗ

H3MeHeHna My3bIKH,

β TO

Tpa^HUHOHHyK) ρ κ φ Μ γ M05KH0 CpaBHHTb C pa3JI05KeHHblM aKKOpflOM, CO CBOero

pofla

φοΗετΗπεεκΗΜ

H8pa3JIOaC8HHbIM

a

apnedMcuo,

h o By ί ο

3aKJTK>HMTejIbHbIM ÜKKOpÓOM,

ρκφΜγ

εκορεε

COACpHCaillHM,

c

KaK H Β

c o B p e M e H H o i í My3biKe, n o n o j i H M T e j i b H b i e h .aajieKO He Bcer/ia rapMOHHΗεεκΗε 3jieMeHTbi. 0 6 ι η η η 3 φ φ ε κ τ ' c H M y j i b T a H u o c T H ' co3ByHHH

ycmiaeTca

napajrjiejiH3MOM

Apyroro

Mnoropa3MepHoro

ypoBHS

HHOHHOH ρπφΜΟΒΚΜ 19-ΓΟ 12.1.

HOBOÍÍ

BÊKa Κ

ρκφΜε

β

asbio

ρ Η φ Μ 3 χ , β K O T o p b i x y n a c T B y i o T jieKCHHecKHe u e j i b i e . Κ ρ κ τ ε ρ κ Η

τεχ

TpaAH-

ΗεπρΗΜεΗΗΜΜ.

r p a M M a r a ^ c K n e ρ κ φ Μ Η H36erajiHCb TpaaHUHOHHoñ

pyccKoñ

KaK 'cjihuikom j i e r K H e ' , τ.ε. ποητη aBTOMaTMnecKH πρε,αCKa3yeMbie. Β ycjTOBHax hoboh ρ κ φ Μ Μ c εε n e p e H o c o M c o 3 By ih a β πρεΛπο33κεκ

HKTHMeCKHH

0TpC30K,

rpaMMaTHHeCKHÊ

ρκφΜΜ

CraHOBHTCH

BHOBb

AOnyCTHMbIMH, n p H yCJIOBHH flOCTaTOHHOH ' m y Ô H H H O C T H ' : CjiyijKHH :

ocTájrca/flocTájica

EBTymenKo :

oöoHaTb/oÖHHTb

Bo3H8C8HCKHH : Bo

Bcex

3aM8Máio/MeHTáio

.aejiáMH/TejiáiviH

^ep^cájiH/^epsájiH

HMeHá/ceMená

πρΗΒεΛεΗΗΜχ ρκφινωχ κο3φφΗακεΗΤ

rjiyÖHHbi p a B H x e r c a

τρεΜ

HJIH MeTbipeM 3ByKaM. C o B C p m e H H O 0H8BHAH0, MTO 'rpaMMaTHMHOCTb' ρκφΜ

13.

Ηε MQyKCT

Ecjih

H3yHaxbca

β οτρωβε

n o n b i T a T b c a Bwpa3HTb

ο τ A p y r n x napaMeTpoB.

οπΕακφκκγ hoboh ρκφΜΗ β

HHCjtax,

oôluhm 4HCJI0M (TOJK/ieCTBeHHUX H SKBHBaJICHTHblx) 3ByKOB, yHaCTByiOIHHX B ρκφΜε, η HHCJioM 'rjiyÔHHHbix' 3ByKOB, npHXOAaiUHXca Ha πρε,αΗΚΤΗΗεΟΚΗΜ 0 Τ ρ ε 3 0 Κ . fljIH (MyXCCKHX H XCeHCKHX) ρκφΜ riyiUKHHa Β

το

Hejiecoo6pa3Ho

6yjieT

onpeAejiHTb

εοοτΗοπιεΗκε

Meac/jy

228

Α. Β. HCAHEHKO

conocTaBjieHHH c ρκφΜΗΜΗ ITacTepHaica, EßTymeHKO h Bo3HeceHCKoro HaMH öbiJiH ycTaHOBJieHH cjieayiomHe 0pneHTwp0B0HHbie ιχκφρΒί : 2 4

Β KoJIOMHe" IlacTepHaK EBxyraeHKo B03HeCeHCKHH "flOMHK

cpeflHee «meno 3ByKOB Ha pHφMy

cpejiHjM rnyÖHHa ρΗφΜΒΙ

npOUeHT rjiyÖHHHMX

3.1 4.1 4.5 4.2

0.4 1.9 1.8 1.6

13% 46% 40% 43%

3ByKOB Ha Ρ Η φ ί ^

C BpeMeH riyuiKHHa o 6 m e e hhcjio ynacTByiomnx β ρκφΜε 3ByicoB β cpe^HeM yBejiHMHJiocb ô o j i e e neM Ha ο λ η η 3ByK. MhCJIO rjlyÔHHHblX 3ByKOB BbipOCJIO Β 4 - 5 pa3. IlpOUeHT rjiyÖHHHblX 3ByKOB β ρκφΜε yBejiHHHjrca b 3 - 4 pa3a. XapaKTepHo, h t o HOBaa pHφMa He BbiTecHHJia TpaflHUHOHHyio pHφMy uejiHKOM.

Β

pane

OTpe3Ka ρκφΜΜ

cjiynaeB

6e3yAapHbie

BbicTynaioT

C03ByHHH, cp. Zy{A)bl¡Zy{6)bl,

κηκ

6m

rjiacHwe

β KanecTBe

epé(d)eH¡epé{M)H,

nocT-HKTHHecKoro flonojiHHTejibHbix

Hé(6)o/Hé(otCH)o Η τ.π. B o

Bcex npHBefleHHbix pHφMax hhcjio cosByHHbix 3ByKOB paBHaeTCH τρεΜ. M b l He peiUHJIHCb IipH3HaTb 3ByKH λ/6, Ò\m BnOJIHe SKBHBajieHTHblMH, XOTH HX 06l.eKTHBH0 CÔjIHXCaeT ΠpHCyTCTBHε rOJIOCOBOrO HCTOHHHKa (cm. Bbiiue, 9 . ) . 2 5 "Heo6xoflHMbiM ycjioBHCM pjw BcaKOH ρκφΜΗ CHHTajrocb coBnafleHHe He MeHee a B y x φοΗβΜ β ρκφίνίγιοιιΐΗχ c j i o B a x " . 2 6 Β CBoeñ 'aKCHOMaraice' KoH^paTOB npHflepacHBaeTCH SToro npHHUHna η β npuMeHeHHH κ h o b o í í ρ κ φ Μ ε ; Ha ocHOBaHHH yKa3aHHoro npH3HaKa hm pa3JiHHaK»Tca 'ΗετοπHbie' ρπφΜΜ OT 'He ρ κ φ Μ ' . 2 7 H o p a 3 HHCJIO 3ByKOB Β HOBOH ρκφΜβ Β cpeflHeM paBHaeTCîi neTbipeM 3ByxaM hjih aaace npeBbimaeT s t o h h c j i o , TO B p a a JIH 3aKOHOMepHO OrpaHHHHBaTb HOByiO pHφMy MHHHMajIbHWM HHCJIOM flByX C03ByHHbIX 3ByKOB. HaJIHHHe ρκφΜΗ C OTyMH C03ByHHbIMH sjieMeHTaMH oöecnenHBaeT npeeMCTBeHHOCTb Meacay Tpa,zumHOHHOH η COBpeMeHHOH ρκφΜΟΗ, HO fljlfl HOBOÌÌ Π033ΗΗ OHO He ΤΗΠΗΗΗΟ. 24 y πο3τοβ 18-ro Beica, ocoôeHHo y ^epjKaBHHa, Taicne "HejiHHeitHbie" ρπφΜΜ BCTpenaioTca ropa3flo ïame. R. C. Βορτ πρηβολητ β "Hjraafle" KocTpoea Taime ρκφΜΒΐ KaK npeÒKulKpeiiKU ([pre/rep]), noc/iéÒHUM / 3AoepédiibiM ([osl/zlo]), rtoAémj KAeepém ([Je/Je]) η τ.π. Cm. yx. coh., crp. 323, 324. 26 Β 3ΤΟΜ KOHTeKCTe Hejitssi He οτΜβτΗτι., hto y Bo3HeceHCKoro HaMenaeTCÄ TeHAeHIIEfl ρΗφΜΟΒβΤΒ 3BOHKH6 B3pHBHlje C COHOpHMMH. KpoMe npHBefleHHtix npHMcpoB MOJKHO yKa3aTt xoTH 6 h Ha pn(j>My eoflá/paídaJIá ("Tañra"), rae 3bohkhíí B3ptrBHO0 [d] h nJiaBHbift [1] BbicTynaioT β KanecTBe "onopHMX cornacHwx". 28 A. M. KoHflpaTOB, "CraTHCTinca ...", οτρ. 99-100. 27 A. M. KongpaTOB, "CraTHCTHKa ...", οτρ. 99-100.

H3 HABJIIOflEHHH HAfl "HOBOÍÍ ΡΗΦΜΟΗ"

229

/JoÔaBHM, HTO HOBaH ρΗφΜΕ OTHIOflb HeflBJIHeTCSflOCTOSHHeMJIHUUb CaMblX TajiaHTJIHBblX Π03Τ0Β COBpeMeHHOCTH.floCTaTOHHOnOJIHCTaTb Β TOJicTbix xcypHajiax, mto6m yöeflHTbca, hto HOBaa ρκφν^ ιπκροκο npuMeHHercH β npoflyicuHH MajioH3BecTHbix πο3τοβ pa3Hbix noKOJieHHH. flaace β nepeBOflax hhoíbmhhoh πο33ηη, T.e. β ocoôeHHO saTpy/jHeHHbix yciioBHHx, HOBaa pí^Ma — Hapjwy c TpaflHimoHHoñ — HaxoflHT ce6e npHMeHeHHe. Πο BMÔOpOHHblM nOflCieTaM ρπφΜ Β CTHXOTBOpeHHaX, HanenaTaHHbix β acypHajiax lÖHocmb (1968), Hoebiü Mup η ΟΖΟΜΚ (1970) cpeflHHH zuiHHa ρκφΜ aocTHraeT 3.8 3ByKOB, a rjiyÔHHHocTb ρκφΜ β cpeflHeM paBHa 1.4 3Byica. IIonaaaioTca ρηφΜΜ KaK npocú/iu/Poccúu, CMupéHUH¡cupéHU, tomúmc.i ¡ ¡Ocmúifux,

MÓHHOM/ifeemómwM,

¿OA)I6KU¡

noAyiuyôoK, eecHbi/eoüHÚ, T.e. ρπφΜΒΐ, no cBoeft CTpyKType nojiHocTbio cooTBeTCTByiomne HopMaM, BbipaöoTauHbiM jiyniUHMH nosTaMH. 14. IlepeHoc ueHTpa τπ^κεατκ KOHueeoro co3BynnH c aöcojiioTHoro KOHua CTpoKH Ha 0Tpe30K, HenocpeacTBeHHO npeamecTByiomHH nocjieflHeMy yaapHOMy rjiacHOMy, KaHOHH3auHa pa.ua nacTHHHbix co3ByHHíí, OTKa3 OT JIHHeíiHOro npHHUHna nOBTOpa, CTpeMjieHHe Κ ρ Η φ Μ Ο Β Κ β uejibix cjioB — Bce sto npoHBjieHna eAHHoro npouecca KanecTBeHHOH nepeoueHKH caMoro npwHUHna ρ κ φ Μ ω . OTKa3aBuiHCb οτ Tpa/iHUHOHHbix orpaHHHeHHÍi, pyccKaa no33Ha npeoflojiejia 'kph3hc ρκφΜΜ', οτκρωΒ KanecTBeHHo HOBbie, β Bbiciue« cTeneHH opHrHHajibHbie h aajieKo eme He HCHepnanHbie bo3mo»chocth pyccKoro cjioBecHoro HCKyccTBa. C iipyrofi cTopoHbi, Hejib3a He 3aMeTHTb τογο φ3κτ3, hto 'HOBaa' ρπφΝΉΐ bo MHoroM nepeKjiHKaeTca c pi^MaMH πο3τοβ 18-γο BeKa. Ohcbhaho, Μτο coBpeMeHHbie no3Tbi co3HaTejibHo Hcnojib3ytoT h o6o6maK)T JiHuib το, hto 3ajio5KeHo β caMOH CTpyKType pyccKoro a3biKa. riepexoA κ cB060flH0My CTHxy β paae eBponeñcKHx jiHTepaTyp cen^eTejibCTByer ο tom, hto β KaKoö-το momcht 3CTern4ecKHe b03M0hch0Cth TpaflHHHOHHOH ρκφΜΗ OKa3ajIHCb HCHepnaHHblMH. PyCCKaH Π033ΜΗ nouiJia no HHOMy nyra, Mo6min3npoBaB 'cKpbiTbie' a3biKOBbie 'pecypcbi'. Hoeaa ρπφιν^ He aBJiaeTca, o^HaKo, eflHHCTBeHHbiM npoaBJieHHeM rjiyôoKOH nepecTpoHKH coBpeMeHHoro pyccKoro CTHxa. Ha φοΗε Bce 6ojiee h ôojiee cjiokhwx h TpeöoBaTejibHbix 3ByKOBbix ποΒτοροΒ BHyTpH CTHxa28 yAeJibHbiH eec κοηικβοη ρκφΜω noaeepraeTca, b cboio onepeflb, rjiyóoicoñ nepeoueHKe. AfleKBaTHaa nosTHKa coBpeMeHHoro pyccKoro cTHxocjioxceHHa MoxceT 6biTb nocTpoeHa JiHuib c yneTOM Bceft CJTOaCHOH H pa3HOnpHpOflHOH MeTpHHeCKOÍÍ, 3ByKOBOH H CeMaHTHHeCKOH CTpyKTypbi pyccxoii πο33ηη HauiHx ¿me«. 88 3thm BonpocaM noce» me Ha ctaTb« A. JI. )KoBTnca β HacronmeM c6opHiuce.

H3 HABJTÍOAEHHH

ΗAß

ΗΕΤΜΡΕΧϋΓΟΠΗΒΙΜ

COBPEMEHHblX

ΛΜΒΟΜ

Π03Τ0Β

Β. Β. MBAHOB

RIPE^METOM H a c T o a m e ñ

CTETMÌ aBJiaeTca Hcn0Jib30BaHne

BapnaHTOB

H e T b i p e x c T o n H o r o »MÖa c n p o n y c i c a M H flßyx MeTpHHecKHX yaapeHWH y Tex coBpeMeHHBix IIOSTOB, KOTopbie pa3BHBaiOT BBeAeHHoe KpynHeHLLiHMH

no3TaMH

npefliuecTByiomero

ποκοπβΗΗ»

6ojiee

CBo6oflHoe

( c o r j i a c y i o m e e c a C ΒΟ3ΜΟ»ΗΟΟΤ3ΜΗ a3biKa) y n o T p e 6 j i e H H e STHX B a p n a H TOB. 1 Β

KaiecTBe

npHvrepa

Bbipa3HTejibHoro

Hcn0Jib30BaHna

TaKHX

1

A. KojiMoropoB, Α. ΠροχοροΒ, "Κ ocHOBaM pyccKOH KJiaccHMecKoií ΜβτρκχΗ", c6. Coòpyxcecmeo παγκ u mambí meopuecmea (MocKBa, H3fl. "HcxyccTBo", 1968), cTp. 426 Η enea. Kax npeacTaBJiaeTcsi, Β HexoTopbix yToiHeuHHX 3aeci> HyamaeTca JIHIM> yTBepiKfleHHe O 6e3yxopH3HeHHO TOHHOM cieTe cjioros. Β xanecTBe ΛΟΠΟΛΗΜTejibHoro xyjiOJKCCTBeHHoro npneMa c6oft 3ΤΟΓΟ cieTa aonycxanca riaerepHaxoM ιιρκ Tex nponycKax MCTPHMCCKHX ynapeHHÖ Β TpexcJioKHbix pa3Mepax, xoTopwe 6MJIH HM BnepBbie nrapoKo BBeaeHbi, CM. main sice, CTp. 430 Η aanee, G. Struve, "Some observations on Pasternak's ternary metres", Studies in Slavic linguistics and poetics in honor of Boris O. Unbegaun (New York, 1968), οτρ. 227-244, r a e OTMCieHM Η Ηβκοτορωβ cjiynaH C6OH cneTa cJioroB. ΠρΗΜβρκ SToro c6oa Β coieTaHHH C nponycxaMH yaapeHHÄ HaxoflHM Kax y paHHero nacTepHaxa ("BbinapxHBajio Ha apxHneJiar" paaoM c MeTpHiecxH TOHHMM "Β ΠΟΛΜΗΗ Η Μ«τβ Η nepeneJiax", Β. IlacrepHax, Cmuxomeopeuun u nosMbi [MocxBa-JIeHHHrpaa, 1965], CTp. 104; 3TH ςτροκκ "H3 nosMw" He coflepacaT nponycxoB Β nepBOM BapnaHTe, maM 3ice, CTp. 524), Tax H y no3flHero : CM. maM 3ice, CTp. 392-400, craxoTBopeHHe "IlHeñ" c 4 CTpoxaMH rana "PaccrpaHBaTtca He Haao" πρκ 32 MeTpniecxH npaBHJibHbix, Β ΤΟΜ MHCJie 3 c nponycxaMH yaapeHHfi, pacno.ioaceHHbix Β τβχ ace CTpc^ax : "Bee oôJieaeHeJio c pasMaxy Β nanaxe a o caMbtx 6poeeii M xpaflymeäcH poccoMaxoñ IloflCMaTpHBaeT c ΒβτΒβϋ", r a e 3a nepBofi οτροκοϋ c BHeMeTpHiecxHM yaapeHweM Ha nepBOM cuore H nponycxoM nepBoro MeTpnnecKoro yaapemui (cxeMa A | - ^ ^ -'- j ^ ¡) cjieayeT eanHCTBeHHasi Β MeTeepocTHUiHH noJTHoyaapHaa av^n6paxHHecKaH στροφ3, οτροφβ c nponycxoM BToporo MeTpHHecxoro yaapeHim H, HaxoHeu, CTpoxa c HeTbipexcno>KHbiM 6e3yaapHbiM npoMeJxyTxoM BMecTO npaBujibHoro nHTHCJioHCHoro; rax « e Β ΤΟΜ » e craxoTBopeHHH "HHeñ" crpoxH c leTbipexcnoxcHbiM 6e3yaapHbiM npoMeacyTxoM npeAuiecTByroTroiTHCiiOHCHOMynpoMeacyTxy Β apyroM — npeanocjieaHeM — MeTBepoCTHIIIHH, r a e To*e (xax Η Β npneeaeHHOM Bbiuie) ecTb Tojibxo O AH a noJiHoyaapnaa CTpoxa — Β 3TOM cjiynae 3axjiioHHTejibHaH :

232

Β. Β. H B A H O B

'TpyflHMx' BapnaHTOB,

V

KAK

Η

V I I , coneTaioiuHxca

Β CMWKHWX

cTpoKax

Β OflHOM Η TOM 3Κβ CTHXOTBOpeHHH, y » e Ha3bIBaJIHCb HMÔbl MOKHpOBa. 2 Β

flonojiHeHHe

κ npoeeaeHHOMy paHee pa3Ôopy " B a j u i a a w ο υ » φ κ ε "

3 Τ Ο Γ Ο N O 3 T A MONCHO

yKa3aTb Ha cjieayiomHe xapaKTepHbie

TCHACHUMH

HeTbipexcTonHoro HM6a jipyrHX e r o CTHxoTBopeHHÌi (TaôJiHua 1). TaÖJiHua 1

Cmamucmma eapuaumoe nembipexcmonnoeo HM6O "ΒβτροΒΟΜ cTeKJie" u "ΠοΛκοΒβ" Mexcupoea BapnaHT CÔOpHHK "BeTpoBoe CTeioio" 6e3 "EajiJiaAbi o UHpKe" (B %) "BeTpoBoe οτβκηο" (B a6c. UHpax) "BaJiJiaaa o υπρκβ" 1 H. (B %) "BajTjiaaa o impice" 2 1. (B %) "IloflKOBa" (B %)

IV

I

II

III

17,3

8,1

8,3

32

15

44

Β

V

VI

VII

9,7

12,4

0

100

Beerò

16

82

18

23

0

186

18,5

4,6

12,3

27,7

12,3

21,7

3

100

18 20,9

8,2 7,9

9,8 12,9

45,9 33,7

1,6 9,8

16,4 13,5

0 0,6

100 100

21

55

23

1

163

"RIOFLKOBA" (B

a6cOJIK)THbIX UH(}>paX)

34

13

16

OôpamaeT Ha c e 6 a BHHMaHHe ycToiiHHBocTb HMCHHO Tex xapaKTepncTHK aMÔa Me»HpoBa, KOTopbie oTJiHnaioT e r o ο τ Tpa^HUHOHHoro aMÔa. RJIX OÖOHX

cöopHHKOB (KaK

H

fljw " E a j u i a f l b i o UHpKe") xapaKTepHa cyme-

cTBeHHa» p o j i b V e a p H a m a

(OÔMHHO

BCTpenaiomeroca

Β

KaxcflOM

CTHXO-

TBopeHHH) κ AOBefleHHe ¿IOJIH VI BapnaHTa no BejiHHHHbi, 6JIH3KOH Κ TeopeTHHecKOH Mo/iejiH. ECJIH ace paccMaTpHBaTb CTpyKTypy Kanmoro CTHXOTBopeHHa, τ ο pojib V BapnaHTa oKaxceTca Β OT^ejibHbix cjiywaax 6ojibuieñ. "TopîKecTBeHHoe 3aTHuibe, OnpaBJieHHoe Β pe3b6y

Ποχοικβ Ha HeTBepocTHuibe O cnHLueíi u a p e B H e Β r p o 6 y " . Β ÄByx npHBeaeHHbix HeTBepocTHiiibHx coaepacaTca 6 H3 7 οτροκ c nponycicaMH MCTpHHCCKHX y/iapemm (7-a crpoxa C "HCMCTPHHCCKHM" MexbipexcjioJKHWM npoMejKyTKOM

BeTpenaeTca

Β

nepBOM

neTBepocTHiiibe

CTHXOTBOpeHHH).

HHIOKHX

οτ aMH6paxH6HJIH,

OraeHaBitnejiH

maM

3Ke,

CTp.

39

(leTbipexcroriHbie

aaicTHjib

c

nponycKOM HanajibHoro H cepe^HHHoro MeTpmecKHX yaapeHHfi). H noxBJifleTcsi H3-3a o r p a « b i ,

maM otee,

σ τ ρ . 38.

C p O K UOJIOJKeHHblÖ OTBOeBaBUIH, l i e n Β HeeeaeHbH Ha r u i o m a ^ H x , H a HeJienbie ΒΜΧΟΛΚΗ e a n i H H e nporHeBaJiCH Β ΟΗβρβΛΗΧ. K a K Bbi T o n a j i H n o K o p m i o p a M , K a K noacJiyimreaJiH n o f l a e e p b M H (TpexcTonHbifi maM

&ce,

aHanecT

c

nponycKOM cepeflHHHoro

yaapeKHH

β 5 CTpoKax

CTp. 6 6 ) . Ü H a i e r o B o p a , p e n i . Η ^ ε τ o e a n H o á p H T M i r a e c K o ä

H3

6,

τβΗΛβΗΚΗΗ,

peaJiH3yK>meäcH β pa3Hbix M e T p a x , c p . Β . Β . H e a H O B , " Μ β τ ρ η ρ η τ μ Β ' Π θ 3 Μ β KOHua' IjBeTaeBoö", — c6.

TeopuH emuxa ( M o c r o a ,

1968). H o B o o 6 m e r o B o p a , S T O BepHO He

u n a Bcex ΠΟ3ΤΟΒ. H a n p H M e p , A . TapKOBCKHä, H c n o j n > 3 y i o m H i í V φ o p M y β l e T b i p e x CTOnHOM

HMÔe

A . TapKOBCKHñ,

Β

eflHHHHHblX

CTpOKaX

3eMJie-3eMHoe

(β

HaCTHOCTH,

3aKJIK3HHTenbHbIX

—

CM.

[ M o c K B a , 1966], CTp. 1 2 4 ) O H e m π τ κ ρ ο κ ο πρΗΜβΗΗβτ

n p o n y c K H MeTpHHecKHX y q a p e m i i i β a H a n e c T e : β CTHxoTBopeHHH " B e c c o H H H i i a "

5

TaKHX ο τ ρ ο κ ( β T O M w c j i e 2 n e p e b i x ) H3 2 5 (T.e. 2 0 % Bcex ο τ ρ ο κ ) . 1

JI. MapTbiHOB, " Ο τ r o p o f l a H e o T r o p o H c e i m o e " ,

1957). 6

A . MexcnpoB,

Ποόκοβα,

CTp. 81.

JIumepamypHan MocKea

(MocKBa,

234

Β. Β. ΗΒΑΗΟΒ

XapaKTepHO, ητο β KHwre Ποόκοβα

(KaK η β "Bajijia^e ο uiipKe") V I I

BapHaHT BbicTynaeT TojibKo β coneTaHHH c V BapaaHTOM. CyMMapHaa craracTHKa flaeT aojiio V BapHaHTa, 6jiH3Kyio κ ero ynoTpeöjieHHio β TaicHX öoJiee o6mnpHbix cTHXOTBopeHHax, KaK " A TaM Bce Tax »ce Mope 6beT", rae, χοτη η BcrpenaiOTca cKonireHHa στροκ c 3THM BapnaHTOM ("HeTBepflo, KaK ποϋ KopoMbicjiOM YaepjKHBaenibCH c TpyflOM" —

C 3epKaJIbHO-CHMMeTpHHHbIM paCnOJIOXCeHHeM CJIOBO-

pa3aejioß), aojiH ero He npeBhiiuaeT 13,6% (6 οτροκ h3 44). Β npe.ae.nax xce OTHOCHTejibHO HeöojibiiiHX MacTeü craxoTBopeHHa y MeacupoBa M03KH0 HaHTH H CyiljeCTBeHHOe npeBbimeHHe He TOJXbKO stoh äojih, ho h toh, KOTopaa oÔHapyxcHBaeTca β ynoMHHyTOM BocbMHCTHiiiHH. TaK, β nepBbix

flByx

HeTBepocrauiHax

CTHxoTBopeHna

"Μρκγτοκ"

στροκ,

HanHcaHHbix V BapaanTOM, — neTbipe (τ.e. nojioBiina Bcex οτροκ). Ohm pacnojioxceHbi chmmctphmho

β ρκφΜγκιιιΐΗΧΟΗ cTpoKax

1-Η η 3-Η

CTpoKax 1-ro neTBepocTHiiiHa (c MyaccKHMH ρκφΜβΜΗ) η bo 2-η η 4-η CTpoKax HeTBepocTHuiHH (c hcchckhmh pH(j)MaMH). CßH3b Meatfly nepewMH TpeMa cjiynaHMH ynoTpeôJieHHa 3ΤΟΓΟ BapHaHTa ocymecTBjraeTca 6jiaro,napa noBTopy oflHoro η ΤΟΓΟ « e cjioBa (OKa3biBaeTca), n03B0JiaKMneMy Hcn0Jib30BaTb peflKHH β 3ΤΟΜ BapHaHTe cjioBopa3fleji (bo Bcex 3 CTpoKax COBnaaaiOIUHH H C Γρ3φΗΗ60ΚΗ BbipaaCeHHOH CHHTaKCHieCKOH nay3oñ) nepea nocjieflHHM 6e3yAapHbiM AoyaapHbiM cjioroM —

β

oTJiHHHe σ τ 6ojiee Ο6ΗΗΗΟΓΟ cjioBopa3flejia nocjie nepBoro nponycKa MeTpHHecKoro y^apeHHa β 4-h CTpoKe BToporo HeTBepocramHa. TaKHM 06pa30M, Becb οτρωΒοκ, o6pa3yiomHH oaho CHHTaKCHHecKoe uejioe, pe3Ko OTflejieHHoe (b tom HHCjie η rpaφHMecκH — HHTepBajioM) ο τ nocjieÄyiouiHx CTpoK, HanHHaeTca η KOHMaeTca CTpoKaMH V φορΜΗ, ho c KOHTpacTHpyiomHM pacnojioaceHHeM cjioBopas/iejioB η ρκφΜ: OKa3bmaeTC»,

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235

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Map«» ΠβτροΒΒίχ, "flajiBHee aepeBo", Cmuxu (EpeeaH, 1968), CTp. 48. OieayeT OTMCTHTb, MTo no3Ma flarapoeaiia 1930 r. b OTJinroe οτ apyrnx CTHXOTBOPCHHÜ cöopHHxa, 3HaHHTejibHO 6ojiee ΠΟ3ΛΗΗΧ. 9 AHflpeñ Bo3HeceHCKHÄ, Teiib 3βγκα (MocKBa, 1970), CTp. 74.

236

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Β. Β. ΗΒΑΗΟΒ

238

XapaKTepHo, ΗΤΟ y IIIajiaMoea MOHCHO oÔHapyacHTb M CRPOKH C V I I BapHEHTOM ; " K a K

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TpexyaapHOCTH ο τ ρ ο κ κ , 1 9 H36aBjiaiomeH PHTM ο τ TOH OÔJTERHEHHOCTH Η CBepxBHpTy03H0CTH, KOTopaa jienco B03HHKaeT π ρ κ pa3o6paHHbix Bbiuie c j i y i a a x cTaHaapTH3auHH ΠΗΤΗΟΠΟΪΚΗΜΧ ΠΡΟΜΟΚΓΤΚΟΒ.

16

Β . IIIanaMOB, " n a c r o p a j i t " , ÍHÜMH 7 ( 1 9 6 6 ) , CTp. 105.

17

Cp. Β. B. MeaHOB, "O IIPHMCHCHHH ΤΟΊΗΜΧ Μετο/ιοβ Β JiHTepaTypoBeneHHn",

Bonpocbi Aumepamypbi 1 0 ( 1 9 6 7 ) , CTp. 1 1 7 . 18

B . IHajiaMOB, ffopoza u cydbôa, CTp. 98.

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Badan Literackich,

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241

OB OflHOCJIOaCHblX CJIOBAX Β PYCCKOM CTHXE PA3H0BHFLH0CTAMH φοΗβτΗΗεοκκχ

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copeúeoAoeá,

C ΠΟ6ΟΗΗΗΜ y a a p e H H e M

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242

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(jiyHKumo, yTpaMHBaeT

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243

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244

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KpacHonjiomaAHoro

aMBOHa

ΠΥΙΠΚΗΗΗΜ —

η

HM

"EacMaHOB

»ce

caM

c

p a c K a a H b e M y c e p A H H M " Η T.A. — H a x o A H T c e 6 e c r y m e H H o e B b i p a a c e H w e Β CTpeMHTeJibHOM MOHOJiore nepe6e>KHHKa, r / t e φ ρ 3 3 Η K O H i a i O T c a

He

TOHKOH, a JIH6O B o n p o c H T e j i b H b i M , JIHGO B O C K j r a u a T e j i b H W M 3HaKOM HJIH ace M H o r o T O M H e M .

ΗΗβΜ —

Herape

M 0 H 0 C H j r j i a 6 a ΠΟΑ 3 Μ φ 3 Τ Η Η β ο κ Η Μ

"OH n p a B , OH n p a e " —

cocraBjiHioT

nepeoe

yflape-

nojiycTHinne

c j i o x c e H H o r o u e 3 y p H b i M ΠΗΤΗΟΤΟΠΗΗΜ RM6OM M O H O J i o r a , a

ero

τρκ-

P. O. MKOBCOH

246

Ha/maTbiH h coôcTBeHHo nocjieflHHH CTHX n e p e a aBTopcKoñ peMapKoñ o nay3e ( " 3 a f l y M W B a e T c a " ) H OOTOCTPOHHUM npnKa30M BoficKy ο τ κ ρ Μ BaeTCH Β CBOK) onepeab neTbipbMa M0H0CHJUia6aMn : " H o CMepTb ... HO BJiacTb . . . " 3 T H jj,bcl ho Β o6eHx cjiaôjbix ΛΟΛΗΧ nojiycTHiiiH», 3Byna oTaajieHHoií MeTaTC3oñ a e y x

paBHOMecrabix

cjioBeneic oh

Β Havane

MOHOJiora, M o r y T 6biTb Β ΑΦΦΕΚΤΗΒΗΟΫ penn oxaejieHbi aaace nay30H ΟΤ n o c j i e a y i o m e r o c j i o e a , Η HeKOTopbie aKTepbi Tax Η npoH3HocHT : " H o

—

CMépTb ... HÓ — BJláCTb ... HÓ — ÔéflCTBHfl HapÓflHbl . . . " IloTeHUHajibHas CHHTaKCHnecKaa nay3a HepeziKo c j i e a y e T 3a C0i030M HO Β Hanajie oHerHHCKHX « M 6 O B : " H O , Boxee MOÍÍ, Kaicaa CKyxa"; " H o , ABepb THxoHbKo o T i m p a a , // Yhk eñ OHJinnbeBHa ce^aa // ΠΡΚΗΟΟΗΤ Ha noflHoce Haii"; " H o , M y 3 a ! n p o u u i o e 3a6y,m>"; " H o , r o c n o a a , n03B0JieH0 j i b " . C p . TaioKe " H , φ ϋ ε ρ ο τ iujianbi OTBepHyB, // r j i a 3 a M H öerjibiMH HHTAET // I I p o c T y i o Ha^roicb". Bo3MoacHocTb HTCHHH C paccTaHOBKOH, T.e. Φ3^.ΙΠ>Τ3ΤΗΒ^3 nay3a, OTAEJIHK>inaa TaKHe C0i03bi, KaK HO HJIH U, OT aaJibHeñuiero c j i o e a , ΠΟΛΊΟΚΗΤ y n e r y . HaKOHen, yMecTHo HanoMHHTb, HTo Β pyccKOH ΦΟΗΟΠΟΓΗΠΕΟΚΟΗ CHCTeMe rjiacHbiM /o/ Ha^eJieH TOJIBKO yflapHblH

BOKaJIH3M,

H HTO COOTBeTCTBeHHO

B C0K>3e HO rJiaCHblH

HHKoraa He yTpaHHBaeT oKpyrjieHHocTH. Β φyHí^aMeHτaJIbHOM T p y ^ e PycKu deodeAHu pumMoeu

( E e j i r p a a , 1953,

CTp. 22 c j i . ) TapaHOBCKHH UHTHpyeT neTbipexcTonHbie » M 6 w p a 3 r o B o p H o r o nouiHÔa c coK)3aMH HO au Β npHHyflHTejibHo yaapHOM KOHue c r a x a , πρΗΗβΜ 3a COI030M cjie,aoBajia 3iv^aTHHecKaa

nay3a, H 3TOT COK>3

ρΗφΜ0Β3Λ C yflapHHM CJIOrOM nOJIHCHJTJiaÔOB, a KpOMe ΤΟΓΟ HaXOAHJI ce6e co3ByMne B y^apHbix c j i o r a x oKpecTHbix cjioBocoieTaHHH. TaKOBbi CTpoKH nponoBeflH EBreHHfl TaTbaHe : T a x AEPEBUO CBOH JIHCTH MeHaeT c Kaacaoïo BCCHOÎO. T a x BHFLHO ΗβδοΜ cy»flewo. ÜOjnOÖHTe Bbl CHOBâ : HO ... YHHTecb BJiacTBOBaTb co6oK) ; S n H r p a M M a T H i e c K o e 3aKjiiiHaHne JlepMOHTOBa Β CBOK> onepeflb aicueHTHpyeT COK)3 Ù\ flfL oxpaHKDCH « ο τ MyrneK, ΟΤFLEEHE3HAK>IUHX JIK>6B», OT apyacôw CJIMUIKOM HEXHOFI u ... Ο τ poMaHTuiecKHx cTapymeK. 3 T H NOTEHUHAJIBHO aBTOHOMHbie coio3bi cymecTBeHHo OTJIHMAIOTCA ο τ HeyKJioHHo 6e3yaapHbix, npoKjinTHHecKHX n a c r a i ! THna da [da]. ECJIH ΠΟΛΟΗΤΗ Κ paccTaHOBKe y ^ a p e n n ñ C TOHKH 3PEHHA OTFLEJIBHBIX,

OB OAHOCJlOÄHblX CJIOBAX Β PYCCKOM CTHXE

247

ecTecTBeHHo noAAaiomHxca O6OCO6JICHHK) CJIOB, TO oÔHapyvKHTC», Μ ΤΟ HanpHMep Β ÜHCbMe TaTbHHW κ OHerHHy yaapeHHH nojivicHJiJiaôoB Ha neTbipex

neTHbix

o6pa3Hyio

cjiorax

KpHByio,

CTHxa

o6pa3yioT

xapaKTepHyio

AJm

perpeccHBHyio

HerapexcTonHoro

BOJIHO»MÖa

c

TpeTbero AecamjieTHH AO KOHua npoiujioro BeKa, Toraa KaK npoueHT MOHOCHJIJiaÖOB Β ΟΤΗΟΙΗΒΗΗΗ Κ OÖmeMy MHCJiy CJIOBeCHblX yaapeHHH ΠΟΑ KaacflbiM AAHHBIM HKTOM HeCKOJIbKO nOBblllieHHyiO

noKa3biBaeT,

KAK H cjieaoBajio

OXCHAATB,

ΙΙΗΦΡΓ ΠΟΑ JlerKHMH HKT3MH H HeCKOJIbKO

noHHaceHHyio ΠΟΑ THHCKHMH HKTAMH, T.e. pacnpeflejxeHHe MOHocHJUiaöoB CKJIOHHO conyTCTBOBaTb pa3BepcTKe 6e3yaapHbix cjioroB ΠΟΑ HKTaMH, KaK cBHfleTejibCTByeT HHacecjieAyiomaa TaôJiHua : Cjiorn YflapeHH« nojiHCHnjiaöoB yaapeHHH MOHOCHJIJiaÖOB Β OTHOUieHHH κ oömeMy HHcjiy yaapemifi

64,3%

2

4 78,3%

6 38,0%

8 84,7%

20,3%

17,3%

21,1%

15,3%

CTpoKH THna " O H eac NJIENMI, Η β moM yeepeH"; " Τ Η BOiueji, a ΒMUZ y3Hajia" ; "Ho con 3JiOBeiiiHH eü cyjiHT'' MoryT 6biTb conocTaBJieHbi c TaKHMH CTpoHKaMH, r^e o6a HeneTHbix jierKHx HKTa jiHixieHbi cjioBecHoro yAapeHHa, KaK Hanp. "Bea oöoMjiena, janujiajia"; "Pa3eecejiHTb BooôpaxceHbe" ; "Ocmanommcx OHa". Cp. napajiJiejiH3M CTHXOB, HBCTBeHHO COnOCTaBJIHIOIHHX H KT Ha MOHOCHJIJlaÔe C HKTOM Ha 6e3yaapHOM cjiore: " O H 3HOK noAacT: Η ece xjiononyT" — " O H CHMMETPHHHBIE nymb

ece χοχοπγτ".

jacMeeTca:

PHMyiomHe CTpoKH, HaflejieHHbie — oAHa MOHocujuiaöoM, a Apyraa 6e3yflapHbIM CJIOrOM ΠΟΑ BTOpblM HKTOM, OTHOCHTejIbHO TaXCKHM Β nyiHKHHCKOM aMÔe, —

3ByiaT Β OHerHHe npnMy/tJiHBOH CTHJiH3auHeii

ΠΌΑ CTapHHKy Η myTJiHBOH peiiiHMOCTbio " ο ÔHJIOM

BocnoMHHaTb"

( r u a B a nepeaa, X I X ) : "BHeMjiHTe MOÜ neMajüHträ rjiac: // Bcë Te ace jib ebiì ApyrHe Jib AeBbi, // CMCHHB, He saMeHHjiH Bac?" (c 3a6aBHOH napoHoMa3Heü:

eneMAujc

- CMenm - He

3a MeHUAu).

PyccKaa

BepcHcJjHKauHfl

XVIII BeKa BbiAeJiHJia ABe rpaHHiiti CTHxa — c OAHOÍÍ CTopoHbi ero nocjreAHHH HKT, c A p y r o ä ace HKT, HenocpeACTBeHHo cjie/iyioiiiHii 3a nepBOK» cjiaßoH AOJieñ. 3 τ ο 6ΜΛΗ Aßa THÄKHX HKTa, »BCTBCHHO onepHHBäBIIIHX H KOHeU, H HaHaJIO CTHxa, AJia ΤΟΓΟ MTOÖH CAHHCTBO CTpOKH pa3HTejibHo

BbiCTynajio

β

pHTopHnecKOM

τόκε

ee

BbicoKonapHofi

AeKJiaMauHH. IIocTeneHHbm nepexoA ο τ BHTHHCTBeiiHoro κ HaneBHOMy Jiaay CTHxa, xapaKTepH3yK>mHii nyuiKHHCKyio anoxy, CKa3ajics c ocoÖEHHOH HCTKocTbK) Ha npeo6pa30BaHHH TorAaniHero OCHOBHOTO pa3Mepa,

HerapexcTonHoro

aMÖa,

rAe

perpeccHBHaa

BOJinoo6pa3Ha«

248

P . O. HKOECOH

KpHBaa, BbiABHrafl MejioflHHecKHH π ρ ο φ ι υ π » c T H x a , o c j i a ô J w e T Hyw

CHrHajiH3auHK)

ero

HanajibHOH

rpaHHUbi

h

nepBHH-

cootbctctbchho

nepeHOCHT p o j i b τ η ϊ κ κ ο γ ο m e r a c o Β τ ο ρ ο Γ ο c j i o r a Ha ΗβτΒβρτΒΐΗ. H a i i i H β η β ο λ μ β » c y p H a J i e Word

X I (1955), cTp. 646, h3

Cp.

BbiuieHa3BaHHoii

ΚΗΗΓΗ T a p a H O B C K O r O . B b i f l a i o m a a c a p o j i b M O H o c H j i J i a ö o B β pyccKOM CTHxe X V I I I B e K a TeMa, 3acjiy3KHBaiomaji BHHMaTejibHoro oôcjieaoBaHHH. H x cTBeHHyio

omyTHMocTb

HJunocTpHpyioT

C T p o K H H 3 ΟΛΗΗΧ o a h o c j i o s c h m x c j i o B ,

BbicnpeHHHe

M ijapb-H

aepacaBHHCKHe

nepeb-H 6oz,

ραδ;-Λ

H j i H »ce H 3 M O H O C H J i J i a ô o B 3 a B b i n e T O M 3 a K j n o H H T e i n > H o r o c j i o B a : rde OHÌ— OH

maM.-Tde

maMÌ-He

3HaeM; rde cmoA

—

Henocpea-

MC

acme, maM epo6

6ΜΛ

cmoum. H a 3TOT p a 3 o r p a H H H H M c a ö e r n b i M y K a 3 a H H e M H a C K j i o H H o c T b O6OHX JienCHX, B H y T p e H H H X HKTOB Η Κ 6 e 3 y a a p H b I M C J I O r a M , Η Κ MOHOCHJUiaÔaM. Cp.

Β JIOMOHOCOBCKHX

OflaX

T3KHC ΤΗΠΗΗΗΗβ

XOflbI,

KaK

"BejIHKa/I

E y i M c a B e T a " HJIH " M o H a p x H H . * , n p H H a à n e a c H T " , c e r o ace M O H O C H J i J i a ö a M H πολ

OÖOHMH

BHyTpeHHHMH

οτΒβτ" ; ' T a e cojiHua

ecxod

HKTaMH,

η

Hanp.

ade Ä M y p "

H a K O H e i x , OAHH h 3 JierKHX h k t o b

"Myacaöca,

; " Ο τ peBy

nee

h

emoü h daü 6pez a p o x c H T " .

MOHCCT 6 b i T b B b r a o j i H e H MOHOCHJUia-

6 O M , a a p y r o H 6 e 3 y ^ a p H b i M c j i o r o M : " K a K A p e B O OH p a c n / 7 0 C T p a H H T C H " ; " f l o B O J i b C T B o My3 ece

y c y r y ô j M e T " HJIH β o ô p a T H O M n o p a í K e " H

M e c T a " . C m o k h m m CTpoKaM, 3 a B e a o M o HepejiyiomHM

ceToeajiH

6e3yaapHbie

HKTbi H a n e T B e p T O M h u i e c T O M c j i o r a x — " 3 a p s ô a r p a H o w p y K o i o / /

Οτ

yTpeHHMX CnOKOHHblX BOfl / / B m B O A H T C COJIHUeM 3d C o 6 o K > " — COOTBeTC T B y i o T c x o a c n e η He M e H e e o c f l 3 a T e J i b H b i e a j i b T e p H a u H H β p a c n o j i o a c e H H H MOHOCHJIJiaÔOB :

Mpü3

KaK JuoTbia

BecHa n p o r H a B i i i H ,

3 a M e p 3 H b i M M c m m a a e T ΒΟΛΕΜ, T y M a H b i , 6 y p H , enea n o n p a B i n H , •HejineT HCHbi dnu CTpaHaM ... Β

aHajiorHKHOM

xoflHT,

//

He

HepeaoBaHHH

xoneT

—

rpeuiHbiM

"BjiaaceH,

β CAed

κτο κ 3awm

CTynaTb"

—

β coBeT

BTopa«

He

cTpoKa

c o n o c T a B J i e H a He t o j d > k o ρ π φ Μ Ο Η , h o h c b o h m p h t m h h c c k h m C T p o e M c 3aKjiK)HHTeJibH0H CTpoKOH

paribus

3aMeHaeT

Toro

M0H0CHJUia6

»ce H e T B e p o c T H i i m a , 6e3yAapHbiM

KOTopaa

cjioroM:

"B

ceteris

corjiacHbix

Mbicjiax j a c e a a T b . "

Β

3aKJiK)HeHHe c j i e a y e T 6 e r j x o 3 a T p o H y T b

HeKOTopbie

Bonpocw

Tpex-

CJIOrOBblX p a 3 M e p O B , T . e . CTHXOB C IIOCTOHHHO flByCJIOMCHblMH C J i a 6 b I M H flOJIHMH,

npOTHBOnOCTaBJieHHblMH

0,HH0CJI0)KHhIM

CHJIbHbIM

flOJIHM

OB OaHOCJIOaCHblX CJIOBAX Β PYCCKOM CTHXE

249

(flaKTHiib, aHanecT, &Μφιι6ρΐΧΗά). ΙΊρκ BceM pa3Hoo6pa3HH HCTopaHeCKOH TpaKTOBKH Hâ3BaHHtIX pyCCKHX MeTpOB, OflHHM H3 BepUIHHHblX

aocTHaceHHH, ayMaeTCH, 6HJIH naTHCTonHbie aHanecTw Eopnca IlacTepHaKa, Η e r o n o s M a "fleBHTtcoT IMTMH T O A " nocjiyacHT HaM n p a M e p o M

TpexcjioroBOH pa3HOBHflHOCTH pyccKoro KJiaccHiecKoro CTHXocjioaceHH«. AHanecTti ü a c i e p H a K a Β CBOHX aßycjiOÄHbix cjia6bix AOJWX ο τ κ ρ ω BaioT uiHpoKHH

flocTyn

^HCHJUiaôaM c yaapeHHeM Ha nepBOM cjiore.

OHH HaHÖojTee pacnpocTpaHeHbi nepeA nepBWM HKTOM ( 3 3 , 6 % CTHXOB), 3aTeM nepeA

TpeTbHM

(6,2%)

H BOBce OTcyTCTByioT

nocjieöHHM HKTOM. BHyTpH CTHxa TaKOMy

flHCHjijiaôy

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ΠΗΤΗΜ,

npefliiiecTByeT

npHHyAHTejibHa«, a H H o m a Beerò JiHiiib B03M0XCHa« CHHTaKcmecKaji nay3a.

CerMeHTbi-cTpÓKH,

Ha KOTopwe aBTop pa3ÔHBaeT

oxaejibHtie

CTHXH no3Mbi, Β HH5Kecjie,ayiomHX npHMepax OTAeJieHbi A p y r ο τ A p y r a npocTOK), a uejibie CTHXH ΛΒΟΗΗΟΙΟ anaroHajTbio. Β c τ p o φ a x 6 3 Η 6 4

CeMb H3 BOCbMH CTHXOB OTKpblBaiOTC«flByCJIOaCHblMIiapOKCHTOHOM, Hanp. : Bxodbi, BeiuajiKH, CBOÄM. / "Il03B0JibTe. CoËflHTe c n y r a ! " // Hutuu, JieCTHHIIbl, xopbl, / OlnHeJIH, npOÔHpKH, KHCJIOTbl. // "Turne, rame. / Kna^HTe. / Be3 nynbca. ΓΟΤΟΒ ΟΤΟ3ΤΗ". //

Β nanajie nocjiejiHero craxa xapaKTepHO aKueHTOJiorHHecKoe oôbirpwB3Hne oflHoro Η Toro »ce cjioBa; yaapeHne npHxoAHTca pa3 Ha cjiaôyio, pa3 Ha CHJibHyio AOJIIO; cp. "// 'Cuezo M, cHeroM, KOJiJiera'. /", a TaKxce "//

3a.mbi, 3ajinbi, / H 3a ΗΟΓΗ 3a 6ορτ / Η Mapiii Β Π ο ρ τ - A p T y p . //".

riapoKCHTOHbi nepeA nepBbiM H BTopwM HKTaMH : "// Cmepcn cjieA, / Ebuu Ηβτ, / Ο τ Hee He ocTajiocb πρκΜβτ. //". — flepea nepBbiM H TpeTbHM HKTOM: "// ffbiMum HOHb. / H H

flyuiH.

flpeMAem

n j i o m a f l b , / H COH e e

njiox. //" ; "TeMHbiü ροποτ pacTeT. / Eenbiü (j)jiar HaÖHBaioT Ha » e p f l b . //". — nepeA ΗετΒβρτΜΜ HKTOM: "// H , HarHyBiiiHCb HaA aflOM, / BcKpHHaji: / —

Cmenal

/ H a i n a B3«Jia! //". —

C MHHHMaJibHOH Φ3^.ΙΠ>Τ3ΤΗΒΗΟΗ

nay3ofi: Μ Β Hafly, 3a CTCKJIOM / Budum OH: / TpOTyap o6e3Jiioflen. / M eme eudum OH : / PaccKaKaeuiHCb Ha CHOKHOM Kpyry, / Β np0THB0n0JI05KH0CTb napOKCHTOHHbIM AHCHJIJiaÖaM ynaCTHe OKCHTOHHbix flHCHJiJiaöoB Β cjiaôbix AOJIHX aHanecTOB IlacTepHaKa Hpe3BbiHañHO ORPAHHHEHO h CBOZIHTCH Κ HecoMHeHHbiM O6PA3MHKAM CHHTaKCHiecKoil npoKjiH3bi: "// OT3biBaeuibca ra, / Kozda AAJIB Te6a KJIHMCT AOMOH! //" (c NP0KJIH30M nepeA TPETBHM H nepeA NETBEPRAM HKTOM); "// FtoKopacb ezo

BOJie, / CnyocaeMca caMH Β ΠΟΑΚΟΠ. //" (npoKJiH3a, oôbiHHaa Β

250

P. O. flKOECOH

T p e x c J i o r o B O M , HO peflKOCTHaa Β

flBycjioroBOM

p a 3 M e p e , Kaic CBHfleTeJib-

C T B y e r x o A o e a a UHTaTa H3 nyuiKHHCKHX ΠΗΤΗΟΤΟΠΗΗΧ hm6OB : " Λ πρε,αj i a r a i o ΒΜΠΗΤΙ» Β eeo n a M H T b " ) . C p . a a j i e e Β n o s M e I l a c T e p H a K a TaKHe OKCHTOHHOC y ^ a p e H H e

n p H M e p u aTOHHpyiomHx " / O x a a e T ceoto 3aieM

κ meôe,

—

/";

KaK

Β M a p T e / E y p a H / " ; "// Ά

c e T b 6 e 3 c y ^ a //"; "// Eufe CTena,

cjioBoconeTaHHH,

"// I I I a n K H C M W T W

C FOJIOB. /

Cnacu,

r O C n O f l H , JliOflH TBOFL. //". — EflHHHHHbl n p H M e p b l 3HKJIH3bI : "/ H COH CE ΠΛΟΧ. //". r i o f l o Ö H o n e p B O M y c j i o r y napoKCHTOHHtix aHCHJUiaöoB, c j i a ö y i o AOJIIO CHHTaKCHMecKH n o j i H o y f l a p H b i H MOHO-

aHanecTOB Hepe/ικο o T x p w B a e T

CHJUiaô, o c o 6 e H H o Β H a n a j i e c r a x a : "// jiexcHT Ha BCTBHX, / " ; "//

Bepcm

Cmoül /

/"; "// Cnez 3eon y O j i o p a

floBOjn.no!

Ha T b i c a n y B u i n p b / " ; "//

H J l a e p a / " . A Β KOHue c j i a ó o ñ AOJIH, CHOBa HapaBHe C n o c j i e f l H H M c j t o r o M OKCHTOHHHX

i j a T b . //";

nOJIHCHJIJlaÔOB,

"// UIJIO 6 e 3

POKOBOH'. //". — noJiHoyaapHoro SToro 6biJib.

HCKJIÍOHHTeJIbHO

Β yCJIOBHHX

MOHocHJUiaôbi, H a n p . " / * í e p e 3 M e c a u MM

flonycTHMbi

rana

rnanox:

/ '5B? » c e p T B o i o

naTHa/i-

/ Β

6opb6e

najin

T a K H M 0 6 p a 3 0 M c j i o r nepe/i HKTOM He MOJKCT HCCTH MOHocHJiJiaöa

Β OTJIHHHC OT npHBbiHHbix

Β ABycjioroBbix p a 3 M e p a x , Hanp.

»H3HH

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Β

floíKAb"

AMÔHHecKOH

coneTaHHH HJIH

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"Bajuiaae"

IlacTepHaKa. OcHOBHoe pa3JiHMHe Meac^y

OÔCHMH CHCTeMaMH

H e c K o r o cTHXocjioHceHHa COCTOHT Β TOM, Η τ ο

pyccKoro

KJiaccH-

flBycjioroBbie

pa3Mepw

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a TpexcjioroBbie pa3Mepbi

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251

MOCTOBUM r o p o f l O B //" ; HeTBepTbiii

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/ Κ

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334

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1 89,0%

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4 88,1%

5 93,5% 6,5%

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—

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φορΜε,

HO β c y m H o c r a Bcë T y ace p e r p e c c H B H y i o

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τΗΓοτεΗκε

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252 flaace

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//".

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noKaMecT npOCOÄHH

Β

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Η ΜετρΗΚΗ

yBJieKaTejibHbie

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cpaBHeHHH O T H a C T H 3Ke

A a J i e K o H e c x o a c H M H ΗΗΟΗ3ΜΗΗΜΜΗ, Β n e p e y i o o n e p e f l b ΗΗΟΟ^ΒΗΗΟΚΗΜΗ OTHOIIieHHHMH.

flpyrHM

HaCTOHTeJIbHbIM

BOnpOCOM,

ΠΟΒΤΟΡΗΚ), Β C O B e p m e H H O O C O Ö O M , n O C J i e f l O B a T e J I b H O M

HyaCflaiOIUHMCa, paCCMOTpeHHH,

HBJiaeTCH CHHTaKCHHecKHM a c n e K T p y c c K H x y j i a p e H H H Η e r o rjiyôoKaa cTHxoTBopHaa

HCCOMHCHHO

3HaHHM0CTb.

CAMBRIDGE, M A S S .

ANNA AXMATOVA'S QUIET "TENDERNESS": AN EXERCISE IN C O U N T I N G LAWRENCE GAYLORD JONES

INTRODUCTION

Anna Axmatova's eight-line poem "Nastojascuju neznost'" contains an interesting instance of sound symbolism and one of phonological patterning, both related to the key word neznost'. As will be demonstrated in the following pages, the silence or quietness attributed to tenderness in the second line of the poem (ona tixa) is reflected by the almost complete lack of voiced stops or fricatives in these opening lines. The consonants of the key word neznost' are distributed symmetrically in the opening line of each distich of the poem. Both of these phenomena can be demonstrated by counting or examining the distribution of phonemes in the poem. The transliterated text 1 given herewith is divided into two four-line strophes according to the rime scheme of the poem and indicated by roman numerals. Syntactically the poem divides itself into distiche since TEXT la , NastojáScuju néznost' ne spútaes' 2 Ni s cém, i oná tixá. b jTy naprásno béreino kútaes' 2 Mne pièci i grúd' ν mexá. IIa jl naprásno slová pokórnye 2 Govorís' o pérvoj ljubví. b t Kak ja znáju èti upórnye 2Nesytye vzgljády tvoí. full pauses occur always and only at the end of even-numbered lines.2 For easy reference the distichs of each quatrain are indicated as a and b 1

Dated December 1913 in Anna Axmatova I, p. 109 (eds.) G. P. Struve and B. A. Filippov (Munich, 1965). Page references to other poems are from this edition. 2 This structure of eight lines with full pauses at the ends of even numbered lines occurs frequently in Axmatova's verse, especially in her earlier poems.

254

LAWRENCE GAYLORD JONES

in the text and the lines of each distich by arabic numerals. The strophe and distich structures play an organizing role in the patterns discussed below. Although the poem has a purely accentual meter with three major stresses per line (indicated in the text), it contains a strong anapestic rhythm.

THE PHONETIC SYMBOLISiM O F QUIETNESS

Table I lists all of the morphonemes 3 in the poem in which the feature of voicing is distinctive, that is, all and only the stops, affricates, and fricatives. The feature of sharping (palatalization) is disregarded as irrelevant to the symbolism involved. The first line of the poem (la,) has 9 U(nvoiced) and 1 V(oiced) consonant while the second line (Ia 2 ) has 4U and OV. As a whole, therefore the first distich (la) has a total of 14 voice-paired consonants of which only one is voiced. A survey of Table I shows that the proportion of U:V is greatest in line lai of all lines and in the first distich of all distiche. This preponderance of unTable I Voiced and Unvoiced Consonants

Ia

iStSôàstsptS δt χ tt ρ s b ζ k t s 2p t g d ν χ !P s s ν ρ k 2g ν 3 ρ ν b ν ik k ζ t ρ 2s t ν ζ g d t ν 2s

b IIa b

Line U V 1 9 4 0 2 6 4 2 1 5 2 5 4 1 3 5

Distich U V 13

1

10

4

7

6

7

6

Strophe U V

Distich Total

Strophe Total

14 23

5

14

28

13 14

12

13

26

voiced consonants could be interpreted as symbolizing or imitating the quietness of true tenderness. Curiously enough, the preponderance of U over V is reversed most significantly in IIa 2 and may mirror the seman* According to the morphonemic analysis of Russian in M. Halle, The Sound Pattern of Russian (The Hague, 1959), p. 45. The morphonemes c and c which are not technically among the voice-paired consonants are included as unvoiced consonants on the basis of their phonetic quality of voicelessness. From a purely phonetic point of view it is interesting to note that in only one instance, the word grud', does the morphonemic transcription of a consonant differ from its phonetic realization in this poem, e.g., d' becomes t' in final position. Although the morphoneme d was kept, little of significance would occur by choosing t or d in the treatment of the phonetic symbolism involved.

ANNA AXMATOVA'S QUIET "TENDERNESS"

255

tic content of the line: "(you) speak of first love", in which the verb contains the only reference to sound in the poem. These oppositions can be highlighted by looking at certain gross statistical properties present in Table I. First, the total number of voicepaired consonants per distich is practically constant: 14 each in la and b, 13 each in Ha and b. Furthermore, the total of 37U and 17V for the entire poem is not significant since it is close to the ratio of 2:1 which is roughly the value of these two types of consonants expected over any significant sample of Russian. 4 In other words, the gross statistics of the frequency of occurence of U and V in the poem are not significantly different from those of ordinary Russian discourse. This is to be expected since such gross statistics are analogous to taking apart a mosaic and classifying the stones into piles, one pile to a color. The relation of the individual stones to the original design is lost. Significant relationships must be sought within the structure itself. Returning to the patterns noticed in the first distich, one sees that for no distich in the poem is the U:V ratio typical, except perhaps for lb. Whereas there is an unusually high number of unvoiced consonants in I, the values 7U and 6V in Ha and b represent a strong reversal of the rough 2:1 ratio expected. As pointed out above, the reversal of this ratio is greatest in line IIa 2 where the ratio approaches 1:2. The closing line, IIb 2 also approaches this ratio. Whether or not Axmatova consciously manipulated these consonantal oppositions cannot, of course, be ascertained but as is also the case in the patterns to be described below, the distribution certainly appears to fall outside the realm of chance.

CONSONANTAL PATTERNING

Table II shows the key consonants (i.e., the consonants of the key word neznost') as they occur in sequence in the poem. Of these consonants, n, s, and t are among the ten most frequently occurring consonants in Russian discourse. 5 Hence here again gross * The ratio of U:V is 1.63:1 as based on the probabilities of the feature of voiced/ voiceless (+.1174/-.1920) given in R. Jakobson, C. Cherry and M. Halle, "Toward the Logical Description of Languages in their Phonemic Aspect", Language 29 (1953), 34-46. 4 Cf. Jakobson, Cherry and Halle, op. cit., tabulation, p. 41, which shows that of all consonantal phonemes t, n, s are the first three in frequence of occurrence.

256

LAWRENCE GAYLORD JONES

Table II Key Consonants (η, ζ, s, t) Line 11 4 7 1 5 0 3 4

instnznstnst 2n s η t b ,t η s η ζ η I 2η IIa in s η s η 2 b in t η 2 η s 11 Ia

Totals Distich

Strophe

15 8

23

5 7

12

statistics are of little avail in discovering significant patterning. The fact that the poem contains a large number of these consonants shows nothing, but the way in which they occur proves to be very unusual. Furthermore, it is interesting to note that the three voice-paired consonants of the key consonants, i.e., z, s ,t, show the same U:V ratio of 2 (s, t) to 1 (z) discussed above. Just as in the case of the voice-paired consonant distribution described above, the longest sequence of key consonants occurs in distich la and the shortest in Ha where, curiously enough, line IIa 2 , the same line in which the U : V ratio is reversed, contains not a single consonant of the key word. Furthermore, strophe I contains almost twice as many key consonants (18) as II (8). The most interesting feature, however, of the distribution of these consonants is the fact that in all and only the odd-numbered lines, they are symmetrically disposed : la, Ibi Hai IIb,

nstnznstnst tηsηζηt πsηsη ηtη

In line I a t the consonants of the key word itself are preceded and followed by the sequence nst. Line I b t is completely symmetrical but with s corresponding to z, thus making a chiasmus with these fricatives in the original word. Lines IIa! and IIb x are perfectly symmetrical. The number of key consonants diminishes in each successive odd-numbered line : 1 1 - 7 - 5 - 3 . Furthermore the sequence nCnC (where C stands for stop or fricative) of nezmsf recurs in lines Ia 2 and Ib x and nCn in I l b j , thus preserving part of the phonotactic profile of the key word. 6 This diminishing progression, especially in the sequence of odd• For a discussion of phonotactic contours see L. G. Jones, "English Phonotactic Structure and First-Language Acquisition", Lingua 19 (1967), 1-59.

ANNA AXMATOVA'S QUIET "TENDERNESS"

257

numbered lines, may act as a 'fade-out' 7 of the phonological reference to the key word.

VOWEL PATTERNING

The major stressed vowel phonemes of the poem occur in the following sequence: la , 2

b ! 2

IIa ! 2

b ,

a e a e a i a i

e u a a eu ua a o eι e o ai

The last vowel of each line is, of course, the rime vowel and the rime scheme is an alternating pattern repeated twice. This alternating rime scheme is also reflected in the first major stressed vowel in each line: a-e-a-e a-i-a-i. Notice that the vowel a is always the first stressed vowel in each distich and that the second line of each distich has an acute vowel (e or i) as its first stressed vowel. In the second strophe the final line of each distich begins and ends with the same vowel (/). Among the distribution of stressed vowels it is interesting to note the patterning of the phoneme e since it is the stressed vowel of neznost\ This phoneme occurs four times in the first strophe and only twice in the second and this can be said to contribute to the 'fade out' effect mentioned above in the description of the consonantal patterning. Turning to the combination of this stressed vowel with the key consonant we see an extremely interesting pattern. Of the five occurrences of the stressed e (in addition to that in the key word itself), not one has any of the key consonants in the same syllable. In Ilbj the consonant t follows e, but it is, according to normal syllabification rules, in the following syllable : è-ti. It would be easy to believe that the poet would consciously avoid associating the key consonants with the 'key vowel' since this leads to an over-conscious paranomasia as would occur if such words as smeznosf or prileznost' had been used. In one instance, berezno, the orthographic sequence ezno, related to the key word follows the stressed 'key' vowel which occurs in the first syllable of the word. ' Or "dissolve" as Jakobson calls it. Cf. R. Jakobson, "On the Verbal Art of William Blake and Other Poet-Painters", Linguistic Inquiry 1 (1970), 1-23 in which a similar "dissolve" is described on p. 10.

258

LAWRENCE GAYLORD JONES S O U N D A N D SENSE

The two phonological patterns discussed above relate to the semantic values of the poem in a very interesting way. In the first distich of the poem Axmatova attributes quietness to true tenderness. The second strophe contains the only reference to sound (IIa 2 govoris"). The quietness of true tenderness is mirrored by the high number of unvoiced stops in I, and the 'loudness' of the lover by the preponderance of voiced stops in IIa 2 . 8 In a similar way, the key consonant patterns are distributed in a semantically significant way. The 'loud' line, referred to above, is the only one which contains no key consonant, whereas the first line of the poem contains 11 key consonants. 9 The lack of key consonants in the 'loud' line is made even more striking by the fact that three of the four key consonants occur with very high frequency in Russian discourse and from this point of view, this line is highly unusual. As a kind of undercurrent, these two patterns can be seen quite clearly on the strophic level of the poem : the first strophe contains 23U and 5V whereas the second contains 14U and 12V.10 Similarly, the first strophe contains 23 key consonants, the second 12.

COMPARISON A N D CONCLUSION

The whole point of the foregoing analysis is that the phonological configurations described and counted herewith can be related in an interesting way to items in the semantic content of the poem. A comparison of this poem with other poems by Axmatova which have a similar strophic form often show that the gross statistics of U : V are quite similar to those of "Nastojascuju".u There are even cases where the U :V statistics are reversed as in the 'loud' line described above but this reversal cannot be clearly related to any elements in the semantic content. Such poems all contain large numbers of the consonants n, s, t, but only 8

The same pattern holds for the entire distich in each case, but one must remember that it is necessary to refer to normal statistical distribution to show that in II 7U is lower and 6V higher than their expected values. • Perhaps this is an unfair way of describing the first line since it contains the word neinost' itself, but it contains 6 key consonants in addition to those of the occurrence of the key word. 10 See footnote 8. 11 Cf. for instance, Provodila druga..." (p. 89); "1/ menja est' ulybka odna" (p. 100); "Vresetkax..." (p. 84); "Tvcy belyj dom..." (p. 102); "Rodilas'ja..." (p. 108).

ANNA AXMATOVA'S QUIET "TENDERNESS"

259

sporadically do these phonemes form any discernible, if abstract, pattern. This is not to say that these poems do not contain sound tropes but only that they do not contain configurations related to the word neznosf. As a contrast in this regard, here are some data easily discernible from Axmatova's "C7 menja est' ulybka odna".12 The first strophe contains 8U:17V, which is a highly abnormal preponderance of voiced over unvoiced consonants, whereas the second strophe has the ratio 15U:14V which although it is closer to normal still represents an unusually high number of voiced consonants. But nowhere among the distichs of this poem is the U : V ratio as highly abnormal as it is in la of "Nastojascuju".™ Nor can the distribution be related in any interesting way to the semantic content of the poem which has to do with a peculiar type of smile which the poet reserves for her deceptive fiancé. On the other hand there is a very interesting distribution of the consonants of two forms, ulybka (/, b, k) of line 1 which is obviously a key word, and glaz- (g, I, ζ) which occurs in seroglazyj in the last line of the poem. Since both words contain I one can disregard it in considering the frequency of occurrence of the key consonants. These remaining consonants are distributed with the following frequency in the two strophes of the poem : I II

b, k 7 1

g, ζ 2 6

Thus the consonants peculiar to ulybka occur with just about the same preponderance in I as do those of glaz- in II.14 The distribution of these same consonants in "Nastojascuju" is : I

2

l

II

4

4

which certainly shows no obvious patterning. Furthermore, whereas in "U menja" the phoneme / occurs 8 times, it occurs only 4 times in "Nastojascuju". In other words, each poem has its own peculiar phonological patterning which is not shared by the other, and in each case it is interestingly built around the phonological structure of key words. 12 This poem shares with Nastojascuju" a structure of eight lines with full pauses at the end of every distich. But the number of syllables per line is less and the rime scheme is different. 13 It is interesting to note that line 4 of this poem has an extreme reversal of U :V values similar to the 'loud' line discussed above. The values are OU :5V. 11 This poem also contains many other fascinating phonological patterns which cannot be discussed in any detail here. The juxtaposition of ulybka and glaza, incidentally, plays a dominant role in a much later poem written in 1940, "Kogda celovek umiraet" (p. 231).

260

LAWRENCE GAYLORD JONES

There are other phonological patterns present in "Nastojascuju" which must be left out of consideration here not only because of the limitations of space but also because they bear no apparent relation to the semantic structures involved in the patterns described above. Patterns and contrasts on other linguistic levels, such as the impersonal sputaef as opposed to the personal kutaes' would deserve attention in a full treatment of this poem. It seems to be the case that one of the distinctive features of a well-received poem by a major poet is that its language structure easily and fruitfully lends itself to extended analysis and discussion.

3A H A P O A H H O T

PEHHTATHB

BO j y » C H O C J I O B E H C K A T A

CPEflHHA

EJ1A5KE KOHECKH

YKaae Mefy aKiieHTHpaH>eTo BO roBopoT Η BO KaxcyBaaeTo Ha necHHTe. TaKa, 36opyBajkH 1 8 3

ByK KapauHh, O cpncKoj uapoduoj noe3uju ( B e o r p a j , 1964), CTp. 97. ByK KaparjHh, yum. dejo, CTp. 108. CBeT03ap M a r a h , Ham napodiiu en u Ham cmux (HOBH C a á , 1964), CTp. 354.

EJIA3KE KOHECKH

262 3a xeHCKHTe necHH o a BejiH:

"H

OBora npaBHjia, j a

Cäfl

BäM j ë BpêMë

ocyM cjiora, co ue3ypa no npeaTa cTona,

182,

ByK

h ocmh cthx 6 a u i π ρ ο τ π Β 6hx y 3 e o Meljy oBe, Hnp. : ü ö n e B ä j / Té míí iithhhuö, nëBâTH."4 Ce pa3ÔHpa a e x a b3kboto n o c T a B y e a i t e h

caMy njecMy

y Kojoj je π ρ Β Η

Ha u e 3 y p a T a h Ha aKueHTHTe He c e c o o 6 p a 3 y B a c o r o B o p o T , h m h n o c K o p o c o T o a u i T o , c n o p e f l B y x a , 6 h 6 h j i o HopMajiHo n p n n e e a e T o .

Oea 0TCTanyBaH>e u i T o M o a c a T aa

aKiieHTOT bo

bo roBopoT, K a K o h hckoh A p y r n ByKa Kora T o j r o öejiexai M e c T O T O Ha He M o a c e M e aa r o o ô j a c H y B a M e K a K o hhcto HeroBa

ο,α c o c T o j ô a T a

ce c p e r a a T

necHHTe,

Kaj

n p 0 H 3 B 0 J i H 0 C T , n p o H 3 J i e 3 e H a o n 0pcHpaHH0T c T p e M e a c a a c e o n p e f l e j i a T n p a B H J i H H CTonH bo CTpyKTypaTa H a cthxot Ha c p n c x a T a HapoAHa noe3Hja. BcyiiiHocT, 6h Mopajie OBfle a a mhcjihmc H a e f l e H M e r y n p o c T o p Mefy neeH>eTO h r o B o p o T , kojiuto My n p a n a r a Ha H a p o f l H H O T p e M H T a T H B . H Kora ByK 3a6ejieacyBa a e x a n e c H H T e , h aceHCKHTe h j y H a H K i i T e , c e KaacyBaaT "Kao Ka,n mobck hhte h 3 KH>nre, Taico Aa c e n o 3 H a j e h cthx h 5 O A M o p (cTaHKa)" — T o r a n i e 3anpaeo ochobhoto aa. c e 3Hae Kaxo c n o p e f l Hero 6h H3rjieaajio Toa H H T a i t e oa KHura. H e M a c o M H e H n e A e K a peHHTaTHBOT hito ro HMa Ha y M ByK c e o n n p a Ha τ ο Β ο ρ ο τ bo a a j i e K y norojieMa M e p a oTKOJiKy n e e H > e T o , n a Mo>Ke aypH bo hckoh cjiynaH η c o c e M aa ro 3ana3yea oôhhhoto aKueHTnpaH>e, ho ο λ A p y r a cTpaHa H3rjie^a n o c e T O uito r o H3HecoBJvre M H o r y B e p o j a T H o .aexa T o j η OTCTanyBaji ο α τ ο Β ο ρ ο τ .

3a CBojcTBaTa Ha HapoAHHOT peHHTarae, KaKo 3a e/ieH hehhh Ha HHTepnpeTauHja Ha necHHTe nocTaBeH Mery neeiteTo η τοΒοροτ, MoaceMe a a AOÔHeMe n o 6 o r a T a HHkhoct aa yKaacyBaM Aocera

Ha n o B e i c e M e c T a . 6

ri03HaTH0T

coÔHpan

Ha

MaKeAOHCKH

HapoAHH

necHH

oa

BTopaTa

n o j i o B H H a Ha MHHaTHOT B e K , K y 3 M a H I I l a n K a p e B , 6 e m e e ^ e H o a

3anHiiiyBaHH Ha H a u i H O T H»eTo, bo 3 a n n c H T e H a

HapoflHH

M e c T O T O Ha a K u e i i T O T . M e í y r o a , pea

HeroBH

3anHCH

npBHTe

T e p e H η ι τ ο c e T p y ^ e m e A a r o 3azioBOJiH 6 a p a yM0TB0p6n

hco6hmho

Ha H a p o A H H

necHH

jxa

ce

HHTepeceH e

He c e

oflôejiexcyBa h 4>aKT0T hito bo

nocoiyea

MecTOTO

Ha

aKueHTOT c n p e M a τ ο Β ο ρ ο τ , aMH c n p e M a ρεπΗΧΕΤΗΒοτ. C o T o a I I l a n K a p e B HH o c T a B a z i p a r o u e H M a T e p H j a j i 3 a 3 a n o 3 H a B a H > e

co

0C06eH0CTHTe

peHHTaTHBOT b o M a K e a o H C K a T a c p e A H H a h T o a o a B p e M e T o K o r a

4

Ha

opaji-

ByK K a p a u n Fi, ;tum. de.io, CTp. 110.

B y x K a p a u H h , μ um. dejw, CTp. 135, 6eneuiKa 2. Β . o c o ö e H o : Ejiaace KoHecKM. "Ja3HKOT Ha Maxe/ioHCKaTa HapojiHa noe3Hja", MaKedoHCKU jaiuK X V I I I (1967), CTp. 8-13. 5

β

3A HAPOAHHOT PEHHTATHB BO jyaCHOCJIOBEHCKATA CPEflHHA

263

HATA n o e 3 H j a BO H e a 6 H j i a y u i T e ÄH3HEH M3BOP H a ΓΜΕΤΗΜΜΚΟ C 0 3 A A B A & E Η AoxcHByBafte,

na

Kora

OHCBHAHO 3 a HCKOH j x y f e PEIHTATHBOT

OCHOBHHOT HAHHH H a Η φ π Η ο τ ο

6HJI

penpoAymipaH>e.

Y 6 a B o 6 p a 3 e u H a a K u e H r a p a i t e T o BO p e n H T a T H B O T H M a M e , H a n p H M e p , BO CJIEAHHTE CTHXOBH OA NECHATA 6 p . 7 8 x a j I I I a n x a p e B , 7 3 a n H i u a H a BO OxpHfl: CeflÓT-jyHaK, ceflHT-jyHaic, ο β ή ρ - Ή ο π ι τ . . . JHee ΓρΚΗΗΗ —

CpMá-TOHaT,

flee

BJiáHHKH 6yjbKá-BHjaT,

flee

HéBecTH x ó p o n r p e e T ,

flee

BflÓHUH njiaTHÓ-òejbaT . . .

C e p a 3 Ö H p a a e x a e OBA H e i m o c o c e M n o A p y r o OA O6HHHHOT p a c n o p e A Ha

aKueHTHTe

BO

roBop,

OXPHACKHOT

cnopeA

Koj

oBHe

CTHXOBH

6H

T p e ö a j i o AA c e H 3 r o B a p a a T n o CJICAHHOT H a H H H : CéflHT jyHaK, céflHT jyHaK, céHp HHHHT . . . flee

ΓρκΗΗΗ — c p M a TÓvaT,

^ E E BJiáHHKH ö y j b x a BÓjaT, ß p e HéeecTH x ó p o á r p e e T , FLEE BflÓHim n j i á r a o 6 é j b a T . . . CnopeAyBaH>eTO

noxaacyea

AeKa

penHTaTHBOT

cjieAH

eAHa

noceÔHa

pHTMHHKa i u e M a K o j a n o B e í c e HJIH n o M a j n c y ΓΗ H a p y n i y e a n p a B H J i a T a Ha a K i i e H T H p a H . e T o BO τ ο Β ο ρ ο τ . T a a u i e M a naBHCTHHa He c e c n p o B e a y B a c o KpajHa AocjieAHocT,

aMH BO K a » y B a H > e T O

ce jaByeaaT

HacnopeAHO

Η

CTHXOBH CO aKHeHTH p a c n o p e A e H H c n p e M a τ ο Β ο ρ ο τ , ΚΒΚΟΒ IHTO e c j i y n a j c o π ε τ Β ρ τ Η ο τ CTHX BO π ρ κ Μ ε ρ ο τ α ϊ τ ό τ ο n p H B e A O B M e . M e r y T o a ,

cenaK

T o a M a K a p Η H e A O C j i e A H o o T C T a n y B a a e e H3pa3HT 6 e j i e r 3 a T o a A e K a c e K a a c y e a HMCHO n o e T C K a T B o p ö a . BKJiyiyBa τρετΗοτ

BO c e 6 e

aKueHTHH

c j i o r OA K p a j o T . T o a

Bo

BO

KOH a x u e H T O T

nieMaTa

ro

e e A e H ΡΗΤΜΗΗΚΗ ΠΡΗΗΗΗΠ UITO

OCHOBA BO 3ANAAHOMAKEAOHCKHOT nocTaeyBaaeTo

OBoj κ ο Η κ ρ ε τ ε Η n p H M e p

uejiocTH,

aiciieHTeH

CHCTCM, BO

Koj

H36npa Haofa

e OÖHHHO

Ha a x n e H T O T β ρ 3 T p e T H O T c j i o r OA K p a j o T He c a M o BO

OAAeJiHH 3 6 o p o B H , a M H Η BO CHHTarMH. I I I e M a T a M o a c e AA ÔHAe H 3 r p a A e H a H Ha " T p o x e j c K a " o c H o e a , x a x o BO n e c H a T a 6 p . 1 1 6 3 K a j I I I a n K a p e B , n a x OA O x p H A :

Xájfle, Aa xoflHMe, MOMe, BO JléreHa rpáaa; TáMO Aa ΜΗ BHFLHQI nyflo noiyAeHo; Hyflo noHyaeHO, náraa noTxoéHa ... ' Ky3MaH LDaiiKapeB, CôopuuK om ÓMzapcKu (Co4>iw, 1891).

napodnu yMomeopenua,

l a c T rrbpBa

264

EJ1A5KE KOHECKH

PACNOPEFLOT

HA

AKUEHTHTC

BO

OXPHÄCKHOT

6H

ROBOP

6HJI

BO

OBOJ

CJIYIAJ BAKOB:

Xájae, «a xóflHMe, MOMe, BO JléreHa rpáaa; T Á M O AA ΜΗ BÎÏAHIII LY/IO NONY/JEHO ; H Y ß O ΠΟΠΓΛΒΗΟ, NÁTKA NOTKÓEHA ...

C A M H O T ILIANKAPEB 6HJI, ONEBHAHO, H3HEHA,AEH O A PCHHTATHBOT HA OEAA OCHOBA,

I I I T O M JA A A E A

CJIEAHATA

3A6EJIEIUICA

NO A

ΤΕΚΕΤΟΤ:

"HACTO-

J A U I T A T A NECEK CJIYMAHA E Β O X P H A , HI» C N O P E A Y A A P E H H E T O , BHHCAA CE NE TAJA E ΟΤ ΗΕΚΟΕ ΟΤ JYACHHTE MECTA HA MAKEFLOHHJA". O ß A PEARNPAFTE E CHMIITOMATHHHO,

3ATOA

IIITO

E NPEFLH3BHKAHO

HMEHO

OA

IUEMAXA

HA

PEHHTATHBOT HA 'TPOXEJCKA' OCHOBA, KOJA NOEEKE K O H T P A C T H P A HACNPEMA P H T M H H K H O T Π Ρ Η Η Ι Ι Η Π HA TPETOCJIOHCHOTO AKUEHTHPAH>E BO OXPHFLCKHOT ROBOP. EFLHOBPEMEHO T O A NOKAACYEA KAKO NO

eaen ΟΠΙΙΙΤ Ρ Η Τ Μ Η Η Κ Η Η

CJIYXOB BNENATOK VIOACEJI P E H H T A T H B O T BO N P E T C T A E A T A HA 3ANHIUYBAHHTE A A HE CE O^ÍIEJIYEA JACHO O A N P 0 3 0 A N J A T A HA ROBOPOT. M BO BPCKA CO OEA MOHCEME M

CE NOTCETHME NAK HA B Y K

KAPAIJNK.

OCBEH KAJ ILIANKAPEB, P E A Π Ρ Η Μ Β Ρ Κ HA H A P O A H H O T PEHHTATHB HAOFAIVTE BO PAKOIIHCHHOT 3 0 Θ Ρ Η Η Κ HA MAKEFLOHCKH HAPOFLHH Y.MOTBOPÔH, COÔPAHH O A C . H . T O M H K BO BPEMETO Ο Λ 1 8 9 9 AO 1 9 0 1 ROAHHA. 8 K O R A COÖHPANOT NOHYFLHJI 3A O6JABYEAH>E E^EH AEJI OA CBOHTC 3ANNCH ( Ο Λ JIA3APONOJIE Η RAJIHHHHK) BO CN.

Epacmeo,

PEAAKUNJATA M Y RO NPEAAJIA PAKONHCOT HA

M . B . BECEJIHHOBHK, KOJUITO A A E A 3A n e r o H e r a r a B e H C Y A . M E F Y A P Y R O X O , TOJ M Y npeKYßAJIE NECUHTE NO TOJ NAHHH. C E K A K O Ε BAACHO A A CC

CNOMEHE AEKA H JIEHECKA HA 3 A N A A H 0 M A K E A 0 H C K H 0 T HYE 8

REHEPAUNJA

Η3ΓΟΒΟΡ

HA

ΗΒΚΟΗ

NOCJTOBHUH

ΠΟ

ΤΕΡΕΗ MOJKE na

NPABHJIATA

HA

CE

HAPOAHHOT

CN. EJIAAŒ KOHECKH, "MATEPHJAJIH 3A NPECNAHCKHOT ROBOP ΟΛ 36NPKATA HA

C . H . TOMHK",

MmedoncKu jaiuK V I I I - 2 (1957), CTp. 173-175.

3A ΗΑΡΟΛΗΗΟΤ ΡΕΗΗΤΑΤΗΒ BO jyXHOCJIOBEHCKATA CPEAHHA

peHHTaTHB: núj-euHO

(=

Cmpâe-Λο Typu

/ 3jé-uyea

npâma,

(=

Cmpáe

núj eúuó).

Toa

AÓ3je nyea) ; Typú-ηραπκα, Moxce

KaKo

IIITO ce r j i e f l a , p a c n o j i a r a M e

co

/

CTAHE H BO APYRH

H 3 p e K H , KaKo IUTO e c j i e A H a e a : 3éAHUK ¡ eodá-nuja HaKO,

265

(=

3éAHUK eóda

núja).

H3BCCCH M a T e p n j a n

3a

peHHTaTHBOT H a MaiceAOHCKHTe H a p o A H H necHH, T o j He e c a M H O T n o c e 6 e AOBOJieH 3 a ßß. c e a a a e BO o B o j MOMCHT H c u p n e H o n n c H a CBOJCTBATA H a T o j peHHTaTHB. O H A IUTO He e y u i T e H a n p a e e H o , T o a e c n o p e A y e a i f c e T O H a u i e M H T e H a peHHTaTHBOT c o AeJieH>eTo H a 3 6 o p o B H T e BO PHTMHHKH rpynn ÖH^e

πρκ

neefteTO.

BO n o e e i c e

MejioaHHTe

Ha

peHHTaTHBOT.

CeKaKo

cjiynan

HeKOH necHH CenaK

AeKa

oTexcHaTO 3a

T3KBOTO co

Toa

KOH H M a M e

πρετχοΑΗΟ

Moxax

Aa

cnopeayBaae IUTO

ce

nocTapH ce

AeHecica ice

3a6opaBeHH 3anHCH

3a6ejieacaT

Beée

cnpeMa

oBne

aee

M05KH0CTH. Π ρ Β Ο , BO peHHTaTHBOT M o a c e A a c e o # P A 3 Y B A OHa A e J i e i t e BO PHTMHHKH r p y n H IUTO ΓΟ H M a M e π ρ κ n e e i t e T o (icaico a a e T o a ' B H a T p e i i i H O neeH>e', AHCKpeTHo cJiejieH.e H a p a c H j i e H y B a a e T o H a τ ε κ ς τ ο τ π ρ κ neeH>eTO, co

IUTO ce n o c T H r a

H nojiecHO n p H c n o M H y e a i t e

H a TCKCTOT).

Βτορο,

peHHTaTHBOT Moace A a c e H3flejiH BO u i e M a H a cicaHAHpaH>e, H a aaKTHJiCKa HJiH T p o x e j c K a o c H O B a , K o j a c e n p H M e H y e a β ρ 3 CTHXOBH CO o n p e a e J i e H a CTpyKTypa OCOÖeHO

He3aBHCHO

oA

neea>eTO.

Ha

OBaa

MOHCHOCT

nOCJIOBHHKHTe H 3 p a 3 H UITO ΓΗ C n O M e H a B M e ,

yKaxcyeaaT

ÖHflejKH

pacno-

p e f l O T H a aKueHTHTe BO HHB n p o H 3 J i e r y B a H e n o c p e A H O OA CTpeMe»C0T a a c e H3flejiH noeTCKHOT HCKa3 OA ceKHAHeBHHOT r o B o p . I l o c e Ô H O npaiiiaH>e, K o e a o c e r a He e HH 3 a c e r H a T O , n p e T C T a B y e a OAHOCOT M e f y peHHTaTHBOT H pa3JiHHHHTe j m j a j i e K T H H c p e a H H H I l p H T o a ceKaKo ice

flojflaT

BO KOH c e p e n p o A y u H p a

necHaTa.

AO H3pa3 H KapaKTepncTHKHTe Ha

roBopoT,

n o K p a j o H H e Ha peHHTaTHBOT H n e e i t e T o . Bo

H3ynyBaH>ETO

Ha

CTpyKTypaTa

Ha

HapoAHHOT

CTHX

c j i o B e H C K a T a c p e A H H a e H a n p a B e H 3HaHHTejieH H a n p e A O K .

BO

floöap

jyxcHoAeji Ha

3acjiyraTa 3a T o a My n p H n a f a Ha π ρ ο φ . Κ . TapaHOBCKH. C è ποβεκε ce o ö p H y ß a BHHMaHHe BO n o c j i e f l H O B p e M e η H a 6EJIE5KEH>eTO H a H a p o f l H H MejioflHH. T p e 6 a

Aa

ce H a a e e a M e

Aeica ice Moace BO HAHHHATA A A

ce

H a n p a B H H e n i T o noBeice η 3a p e K O H C T p y K y n j a T a Ha H a p o A H H O T peHHTaTHB H a HauiHOT T e p e H , n a x o e Beice H 3 M H H a T 0 ΒρβΜετο K o r a T o j 6HJI TOJiKy cnoHTaH

HaHHH

Ha

HHTepnpeTHpaae

H a j i a r a j i c o CBOJOT p a c n o p e A

HM

ce

H a a K u e H T H T e H a HCKOH 3 a n H u i y B a H H

Ha

necHHTe,

UITO

aypn

Ha

HapoAHa noe3Hja.

ΦΗΛΟ3ΟΦΟΚΗ Φ Α Κ Υ Λ Τ Ε Τ , CKONJE

PA3EOP OflHOrO CTMXOTBOPEHMfl

MAHflEJlbUITAMA

K). M. J1EBHH

yMbieajica HOHbK) Ha ABope — Teepflb CHajia rpyöbiMH 3Be3,aaMH. 3Be3flHbiH jiyi, KaK cojib Ha τοπορβ, CTbiHeT ôoHKa c π ο π η η μ η KpaaMH. H a 3aMOK 3aKpMTbi BopoTa, M 3eMJiH no COBCCTH cypoBa, — Hume npaBflbi ceeacero xojicra Bpafl Jin r^e OTbimeTca ocHoea. TaeT β öoHKe, cjiobho cojib, 3Be3aa, H BOfla CTyaeHaa nepHee, l ]mue cMepTb, cojieHee 6eaa, Μ 3βΜΠΗ npaBflHBefi h CTpauiHee. 1921. 1.

M b i HaHHeM p a 6 o p 3τογο CTHXOTBopeHHa c paccMOTpeHHa jickchkh.

npexcfle Beerò öpocaeTca β rjia3a r p y n n a cymecTBHTejibHbix, Ha3biBakjiuhx npocTbie, oôbiaeHHbie, rpyôbie peajiHH : 6orna (2), 3ÛMOK, eopoma, deop, monop, xoAcm ; cio^a ace npHMbiKaioT TaKae cjioea, KaK zpyóbiü h cypoebiü. Bee 3 t h cjioea He BnepBwe BCTpenaioTCH β πο33ηη MaHflejibiUTaMa, ho HeoôbiHHa CTeneHb HacbimeHHOCTH hmh TeKCTa, ôjiaro^apa HeMy npHoôpeTaioT HeoöbiiHyio oKpacKy κ apyrae, HeíiTpaJibHbie β n03THHecK0M

cjioBape cjiOBa. TaK, 3ee3dbi 0Ka3biBaK>Tca

apyôbiMu,

3ββ30α 'TaeT β ôoHKe', ee Jiyn — 'KaK coJtb Ha Tonope': Bnojine πο3τηnecKoe CJIOBO cHCTeMaTHnecKH orpyöjiaeTca, cHHacaeTca kohtckctom. JlHjöonbiTHo cpaBHHTb ynoTpeôjieHHe 3τογο cjioea 3/iecb — η β c t h x o TBopeHHH 1918 r o a a " H a c r p a i i m o ñ BbicoTe ßjiyacflaioiUHH oroHb", jieKCHKa κ ο τ ο ρ ο τ ο OTiacTH nepeKjiHKaeTca c jickchkoh flaHHoro {3ee3da, cmpauiHbiü, cMepmb, uepHbiü, eoda), r^e, oflHaxo, 3ββ30α — He maem β 6ome, ho, HanpoTHB, npo3pawax

He zpyôan,

η Mepifaem. BnponeM, h y

paHHero MaHfleJibiiiTaMa (ycjioBHo 6yaeM Ha3biBaTb nepiiofl 1908-1920 rr. paHHHM, 1921-1926 — HaÖJiKiAiiTb

oTHioflb

cpeflHHM, 1930-1937 —

He TpaflHitHOHHo

π ο 3 Λ η η μ ) MOMO

nosTHHecKoe

oTHomeHHe

κ

268

Κ). Η. JIEBHH

3Be3aaM. TaK, 3ββ30α nacTO accouHMpyercH c neM-το

urojibHarbiM,

k o j i k j h h m : " m h c β cepaue a j i h h h o h 6yjiaBKOK> onycTH icn Bapyr 3Be3Aa", "MepqaioT 3Be3a 6yjiaBKH 30Ji0Tbie", "nocjieaHeii 3Be3au 6e36ojie3HeHHo racHeT yKOJi" (cp. β cpeflHeM nepnofle : " b njieTeHKy porosen rjiHflejiH KOJiK)Hne 3Ββ3βί>ι", " β 3Be3^HOH KOJiioHeH HenpaBAe") h Booôiue HHor^a xapaKTepH3yioTca oflHoo6pa3Hbix nepHOfle:

sMouHOHaJibHo oTpnaaTejibHo : " a neHaBn>Ky CBer

3Be3fl", "6e3yMHhix

"acecTOKHx

3Be3fl pa36er"

3Be3fl cojieHbie

β

(cp. "h

npHKa3bi",

cpe^neM

Abiiuaji 3Be3/i

MJieHHOH Tpyxofi", "TBepflb KHUIHT lepBHMH, Η HH OflHa 3Be3fla He roBopHT").

TaKHM

06pa30M,

y

paHHero

MaHflejibiuxaMa

3Be3flbi

BocnpHHHMaiOTCH He TOJibKo KaK 'BbicoKoe' h 'npeKpacHoe', HO H KaK HTo-To Meuiaiomee, paHamee, npHHHHHiomee 6ojib; 3/iecb >κε — KaK ΗβΗτο rpyôoe h npniacTHoe oóbmeHHOMy, HH3KOMy. CoCeflCTBO 'HH3KHX' CJIOB CHHHCaeT H eAHHCTBeHHblÍÍ Β CTHXOTBOpeHHM Π03ΤΗ3Μ

meepdb:

h3

ceMH

3τογο

ynoTpeÖJieHHH

cjioea

β

cTHxax

MaiwejibiiiTaMa TOJibKo 3Aecb η ocoöenno β "KoHuepTe Ha BOK3ajre" (... "TBepflb KHüIHT HepBHMH") OHO CHHHCeHO KOHTeKCTOM. 2.

JleKCHHeCKHM

IXeHTpOM

CTHXOTBOpeHHfl

M0>KH0

CMHTaTb,

ΠΟ-

BHflHMOMy, CJtOBO COJlb (MOKfly ΠρΟΗΗΜ, 3fleCb OHO BnepBbie BCTpeMaeTCÄ β Π033ΗΗ M a H A e J T b u i T a M a ) : cooTBcrcTByiomaH Mopιή Jiyn, KaK cojib Ha Tonope ... TaeT β 6θΜκβ, c j i o b h o coiib, 3Be3fla ... CeMaHTHHecKHH Bec 3 τ ο γ ο xapaKTepoM

(coöctbchho o

cjxoBa noBbiuiaeTC» ero COAU

3flecb p e n « Ηβτ):

BHe(J)a6y.iibHbiM

oho bxoaht KaK

ΒτοροΗ HJieH cpaBHeHHH, HJXH »ce KaK HeoôbiHHbiH 3ΠΗτετ (eoAenee 6eda). Cp. x o t h 6bi co c j i o b o m δοΗκα, BCTpenaiomHMCs aeaacflbi, h o φa6yJIbHO, Η He HMeiomHM TaKoro ceMaHTHHecKoro

Beca. CoAb,

η πρκτοΜ

β

ocoöeHHOCTH β coHeTaHHH co 3ee3ÒaMu, öeccnopHo, npeacTaßjiaeT coöoii CJIOBO-CHMBOJX, HTo noaTBep>K£aeTCii H AaJibHeHuiHM ynoTpeÔJieHHeM 3τογο

cjioBa ( h j i h npHJiaraTejibHoro coAemtü)

β cpe^HeM

nepHo^e,

0C06eHH0 BMecTe co 3ee3ÒaMU {McecmoKux 3ββ30 coAenbie npuKü3bi, ummu nod coAbH) 3ee3Ö). ΟτΜετΗΜ xaKxce CBH3b COAU c öedoü (coAenee coAb na monope)

τεκχε

noAKpenjiaeMyio Gojiee π ο 3 λ η η μ η

(KpymaH coAb mopMcecmeennux

oöud, McecmoKux

6eda,

cTHxaMH

3ββ30 coAenbie npu-

KÜ3bl), H c HpaBCTBeHHbIM MHpOM HeJIOBeKa, npOHBJIHIOmyiOCH 3fleCb jiHuib β KOHTeKCTe Beerò c t h x o t b o p c h h s , h o HCHO BbipaaceHHyio no3ace

269

PA3E0P ΟΑΗΟΓΟ CTHXOTBOPEHHH MAHflEJIbUlTAMA (M, CAOSHO

cutiAiom

COM

Monfemto dopoeoü, ôeneem coeecmb npedo

MHOÜ).

X o T H CBH3H CJIOBa CO Ab, TaKHM 0 6 p a 3 0 M , flOCTETOHHO JICHbl, OflHaKO

TOHHO

ceMaHTHKy βτογο 3aTpyflHHTejibHbiM : β n p 0 3 a n n e c K 0 M Bbipa3HTb

CHMBOjia H3biice Ηβτ

npeacTaBjiaeTca

cjiob,

HaM

n03B0jm0mnx

OÔbeflHHHTb Bee 3TH 3blÖKHe H HeyCTOHHHBbie 3HaHeHH», B03HHKaK>mHe Β n03THHeCKHX KOHTeKCTaX, Β eflHHOM TepMHHe. 3.

BepHeMCH κ cpaBHeHHio 3ee3Òbi-coAb.

H a p s f l y c conocTaBjiemieM n o

BHeiiiHeMy c x o a c T B y , 3 a e c b , Kaic HaM KaaceTC», HMeeT MecTO π ρ ο τ Η Β Ο -

(h

nocTaBJieHHe

oflHOBpeMeHHO

'bmcokoio',

CMemeHHe)

'He3eMHoro'

(KOTOpOe, ΒΠρΟΗβΜ, c p a 3 y CHHJKeHO 3ΠΗΤβΤ0Μ ZpyÔblMu) — h ' 3 e M H o r o ' ,

(coAb TyT, kohchho, r p y ô o r o noMOJia), a TaKSce (coAenee 6eda, COAÒ = zopeub). Π ρ κ Η β Μ Β oTjiHHHe OT öojibuiHHCTBa 6 o j i e e paHHHX cthxob (Hanp., HenocpeflCBeHHO npeflUieCTByiOmHX 3TOMy CTHXOTBOpeHHIO 'sjijihhckhx' CTHXOB 1917'npocToro', 'rpyöoro'

CTpaiiiHoro h T p a r a n e c K o r o

1 9 2 0 ΓΤ.), r a e a o M H H H p o B a j i o 'He3eMHoe', 'HexcHoe' — 3/iecb

flOMHHaffra

»BHO naziaeT Ha '3eMHoe h ' r p y ô o e ' .

'ΗΗ3Κ0Γ0' OTHIOflb He HOBOCTb flJIH Π033ΗΗ oho oneHb xapaKTepHO flJiH Hero : c p . xoth 6bi — β paHHeM n e p H o ^ e — c r p o K H o côhthc h c a n x a x hjih o " l y ^ a K e Εβιέηηη" h 6eH3HHe β TopacecTBeHHbix " I l e T e p ô y p r c K H X οτροφαχ", hjih " H a C B a f l b ó y B c e x nepeayiHHJiH K y p " β cTHxoTBopeHHH o My3ax, hjih C M e m e H H e 'BhICOKOro' Η

MaHflejibuiTaMa, HanporaB,

" 6 e a c e H K y " β " K o r f l a r i c H x e s scH3Hb" η μ η . Λ ρ . H o 3 f l e c b n p n o ô p e T a i O T HOBoe KaHecTBO h x a p a K T e p ' B b i c o K o r o ' , h x a p a K T e p ' η η 3 κ ο γ ο ' , η

hx

OTHomeHHfl. XapaKTep

'BbicoKoro',

MaHfleJibuiTaMa

'TopacecTBeHHoro'

aocTaTOHHo

ace η

cooTBeTCTByjomHX ceMaHTHiecKHX X I I , 1969). 3aMeTHM, η τ ο β cboíí

β

(MaTepnaji

noJieË

paHHeM no

TBopiecTBe

npHJiaraTejibHbiM

cm. β Hauieñ CTaTbe β h eme

aKMeHCTCKHH nepHOfl,

IJSLP jiojiro

n o c j i e , M a H f l e j i b m T a M BocnpnHHMajicH n p e x y j e B e e r ò KaK π ο 3 Τ stoh οφερΜ. 3 f l e c b ace ' B b i c o K o e ' npH3eMJiHeTca, .nejiaeTca cypoeee, o r p y ô J i a e T c a , h, r j i a B H o e , n p H o ô p e T a e T HpaBCTBeHHbiñ ottchok, — n e T e p a x π ρ κ 3ΤΟΜ CBOeft TOpXCeCTBeHHOCTH H BbICOTbI. XapaKTep BaeT

'ηη3κογο', 6μτοβογο

ocoôoro

BbiCTynaeT

paccMOTpeHHa.

hjih KaK

AOMauiHee,

y paHHero MaH^ejibmTaMa 3acjiy»H-

mh otmcthm j i m i i b , hto oho hhthmhoc, bhê bchkoh cbh3h c 'Topxce3aecb

CTBeHHbiM' (Hanp., " η τ η nhiTaeuibCH acejiTOK B3ÔHBaTb paccepxceHHOio

JIOXCKOH" H T.fl.) ; HJIH KaK OÖblfleHHOe Η π ρ κ 3TOM He HHTHMHOe, HO, HanpoTHB, nyMcoe, p a c c M a T p H B a e M o e c πο3ηηηη C T o p o H H e r o H a ö j n o aaTejia

("xyflbie

MyacHKH

h

3Jibie

6a6bi

nepeMHHajiHCb

y

βοροτ",

270

Κ). Η. JIEBHH

"noHeMHory nejiaflb pa36npaer iiiyG MeflBeacbHx Bopoxa ... Kynepa H3MaHJIHCb OT KpHKa" H T.A·); HJIH 3CTeTH3Hp0BaHH0IO HJIH aaxce pOMaHTH3HpOBaHHOrO, HO C JierKOH HpOHHeH ("OeOflOCHH", "MopoaceHHo!"), hjih, HaKOHeu, β KanecTBe '3jijiHHH3HpoBaHHoro' 6biTa, Taicace BOCnpHHHMaeMOrO BO ΜΗΟΓΟΜ C SCTeTHHeCKHX (XOTH TaKace Η c HpaBCTBeHHbix h oômeKyjibTypHbix) πο3ηιιηη — yace 6e30 bchkoh hpohhh, ho, HanpoTHB, c TOCKOH no HeB03BpaTHM0 yuieflineMy, — 3aecb 6 h t BbicTynaeT KaK miHJiJiHHecKHH flaxce β cBoeñ 'rpyôoc™' (cm. ocoöchho "Ha KaMeHHbix oTporax Πη3ρηη"). Β paccMaTpHBaeMOM craxoTBopeHHH MaHflejibiiiTaM, KaaceTcn, enepBbie CMOTpHT Ha 'HH3Koe' He co CTopoHbi h ne nepe3 npH3My jiHTepaTypbi hjih hctophh, ho KaK ynacTHHK, aeiicTByiomee jihuo (b caMOM npHMOM CMbicjie: "YMbiBajica ηοή>κ> Ha ABope"); He cmotpht flaace, a jkhbct β hcm; sto 'HH3Koe' nepe»CHTO η nponyBCTBOBaHO, m m npHoöuiHjica κ HeMy. Πρκ stom oho npHoöpejio — οτ 'BbicoKoro' — TopacecTBeHHocTb, oTaae eMy cboio rpyöocTb, '3eMHOCTb'. H3 CKa3aHHoro BbiTeKaeT h xapaKTep οτηοηιθηηη 'BbicoKoro' η 'ηη3κογο' — ropa3flo öojiee recHbiii, neM npeac^e: He προτΗΒοnocTaBJieHHe hjih conoJioaceHHe (cp. "h yöororo pbiHKa Jianyrn, η MoryHHH AopHHecKHH cTBOJi"), a cjiHHHHe hjih opraHiinecKoe BbipacTaHHe ΟΛΗΟΓΟ H3 apyroro, Η 3ΤΟ CJIHHHHe npOHCXOflHT He Β nOJTyMI^HHeCKOÍÍ Sjijia^e BpeMeH TepnaHApa hjih θ3φο, a β Hauieñ coBpeMeHHOCTH. 4. OcTaHOBHMCH eme Ha Ηβκοτορωχ MOMeHTax, othochiiíhxch κ cyôcTaHUHH co^epacaHHH cthxotbopchhh. 'fleñCTBHe' 3/jeCb npOHCXOflHT HOHblO; Β CTHXOTBOpeHHH rOBOpHTCH o 'cTpauiHOM' ( m o n o p , Seda, 3CMAH ... cmpaiuHee) ; oAnaKo oöman TOHajibHOCTb CTHXOTBOpeHHH, XOTH H CypOBaH, HO He 'CTpaiUHan' (cp. XOTH 6bl C aeHCTBHTeJIbHO 'CTpaiHHblM' H Toace 'HOHHLIM' CTHXOTBOpeHHeM "CeroflHH HOHbK), He cojiry ..."): annrpacj) epo/ie " B o t oTHero HaM ho Hb CTpauiHa" croaa, kohchho, He πολχολητ. OflHaKo, ecjiH yxc npoAOJiacaTb ccbijiKH Ha TiOTieBa (nrpaiomne 3flecb hhcto BcnoMoraTejibHyio pojib h hh Ha HTo He npeTeHflyiomHe), το MOHCHO ynoMHHyTb o φγΗΚϋΜΗ ΗΟΗΗ β CTHXOTBOpeHHH "CßHTaH HO Hb Ha He60CKJI0H B30UIJia" — φγΗΚίΙΗΗ KaK 6bi KaTajiH3aTopa, noMoraiomero 'oÔHaHCHTbCH 6c3flHe', ciaeamero nejioBeKa jihuom κ jiHuy c 'nponacTHio tcmhoh' (y MaHflejihiiiTaMa — "h 3eMJiH npaBflHBeH h CTpauiHee", h Toace, KaK y TioTHeBa, omymeHHe Toro, HTo "Ηβτ nperpaa mok Heß h HaMH"). Ho '6e3/iHa' πρκ stom OTKpbiBaeTCH, kohchho, y TioTneea h MaHítejibuiTaMa coBepmeHHo pa3Han, a a « e npoTHBonojiOHCHaa : y TioTHeea — "hct H3BHe onopbi, hh

PA3E0P OflHOrO CTHXOTBOPEHHH MAHflEJIbUITAMA

271

npeflejia", y MaHflejn.uiTaMa 3Ta o n o p a ecTb — "HHme npaBflbi ceeacero xoJicTa Bp»A JiH rae oTMUieTca ocHOBa", H 3eMjw He TOJihKo HO H 5.

cmpaumee,

npaedueeü.

Β CBH3H C 3THM OÖpaTHM BHHMäHHe eme Ha OFLHH CJIOÍÍ JIÊKCHKH

3ΤΟΓΟ CTHXOTBopeHHH, npeflCTaBJieHHbiíí cjioBaMH npaeòa, ceeMCuú, Huufe (2), no coeecmu,

npaeduebiü,

ocnoea, OTHOCÄIUHMHCH npeHMymecTBeHHO

κ HpaBCTBeHHOMy MHpy HejxoBeKa. 3aMeTHM, HTO cjioßa coeecmb npaeda

Η

BCTpenaioTCJi Β 3TOM CTHXOTBopeHHH BnepBfcie, a CJIOBO

npaeduebiü

ynoTpeöJiaeTCH paHbme

Bcero

OJIHH pa3

(B

"fleKa6pHCTe").

HaJIHHHe Β CTHXOTBOpeHHH 3TOH rpynnbi CJXOB Η HX ÓOJIILIIOH CeMaHTHnecKHH

Bec

M05KH0

cHHTaTL·,

πο-BHflHMOMy,

cHrHajxoM

cepbe3Horo

CflBHra Β MHp0C03epUaHHH n03Ta. HMeHHO, Β 3TOM CTHXOTBOpeHHH ecTb omymeHHe HaiífleHHOH οπορΜ, H o n o p a 3Ta — β n p o c r a x HpaBcTBeHHbix Hanajiax Η β cBjnaHHOM c ΗΗΜΗ ΠΡΗΗΗΤΗΗ npocToro, ' r p y ö o r o ' H flaxce 'cTpamHoro' KaK HOCHTCJIH npaB^w Η HHCTOTM. O c o ô y i o poJib Β STOM njiacre craxoTBopeHH« HrpaeT CJIOBO 3ΒΜΛΗ. ynoTpeÔJiemie sToro cjioßa (KCTara cKa3aTb, Hanôojiee n a c r o r o H3 Bcex n0JiH03HaHHbix cjioB Β Π033ΗΗ MaHflejibiirraMa : 65 ynoTpeÖJieHHii) Β CTHxax MaHAeJibiHTaMa TpeöyeT oxaejibHoro paccMOTpeHH». OTMCTHM TOJibKO, HTO 3aecb 3eMjw xapaKTepH3yeTca, Bo-nepBbix, KaK cypoean cmpaiuHax,

Η,

Βο-Βτορωχ,

KAK

npaeduean.

TyT

Η

npeaBocxHmaeTC»

ynoTpeöJieHHe s T o r o cjioea Β "BopoHexccKHX TeTpaflax" —

cp. TaKHe

KOHTeKCTbi, KaK : "H Bce-TaKH seMJia n p o p y x a H o6yx — He yMOJiHTb ee", " a a e CTone y n o p HacHjibCTBeHHOH 3eMJiH", "nyfleH »cap npHKpenjieHHoñ 3eMJin", "Η Β rojxoce MoeM ... 3ByHHT 3eMjiH —

nocjieflHee opyacbe",

"HepHopa6o4eñ BcnbixHyT 3eMjiH OHH", "sTy KJiHTBonpecTynHyio 3eMjuo". OTMeTHM, HTO MOTHB '3CMJIH' KaK HpaBCTBeHHOH OCHOBbl ΠρΟΧΟΛΗΤ Hepe3 Bce TBopnecTBo MaHßejibiiiTaMa. H o ecjiH β 1908 r. HcnoeeflaHHe JIK)6BH Κ 3eMJie CONPOBO^KFLAETCAFLOBOJIBHOFLBYCMBICJIEHHOÑΜΟΤΗΒΗΡΟΒKoií ("HO JHOÖJIK) MÜH) ÔeflHyiO 3eMJIK), ΟΤΤΟΓΟ HTO HHOH He BHflaJl"), TO 3flecb HHKaKHe MOTHBHPOBKH yace He HyjKHbi: no3T omymaeT e^HHCTBO c 3TOÍÍ 3eMJieft (a β 1937 r. .aaxce KAnmeonpecmyrman

CBoe

3ÉMAH

NPHHHMAETCH Π03Τ0Μ). 3HaHHM0 Η CJIOBO ocnoea,

npnoöpeTaiomee ocoöyio pojib ÖJiaroaap«

CBoeñ ABy3HaHH0CTH Β KOHTeKCTe craxoTBopeHH« (TKauKaa ocHoea — β CBH3H C XOACmOM, Η HpaBCTBeHHajl, 5KH3HeHHaa OCHOBa — npaedoü

Η coeecmbw). FL,BY3HAHHO Η CJIOBO nuufe

TAKACE CBH3AHHOE H C xoAcmoM, H C npaedoü.

Β CBH3H C

(βο 2-OH οτροφε),

OYHKUHH 3TOH ^BY3HAN-

HOCTH Β TOM, HTO ÔJIaTOflapH eft TeCHO ΛΟ Hepa3JIHHHMOCTH CJIHBaiOTCH

Κ). Η. JIEBHH

272 'SwTOBOH'

Η 'HpaBCTBeHHHÌl'

CJIOH CTHXOTBOpeHHH,

TaK

MTO

*HpaB-

CTBeHHoe' e c T e c T B e H H o B b i p a c T a e r h 3 ' 6 b i T a ' .

EahhCTBeHHoe UBeToo6o3HaHeHHe 3flecb — uepuee ; kocbchho cbh33ho c H e p H b l M H CJIOBO HOHbW, CJIOBa 5«e CURACI, 3ee30HblÜ, COAb ( 2 ) , HUU{e ceeoKezo xoAcma, 3ee3da ( 2 ) , c B H 3 a H w c 6ejn>iM, CBeTjibiM. T a K H M 0 6 p a 3 0 M U B e T O B a a r a M M a 3Aecb — n e p H O - ô e j i a a (hto B n o j i H e ' p e a j i H cthmho', h6o a e ñ c T B H e n p o H c x o f l H T HOHbio), CBeTJioe B M C T y n a e T H a 6.

O ô p a T H M BHHMUHHe H a UBeTOByK) n a J i H T p y C T H x o T B o p e H M a .

MepHOM φ θ Η ε . C K y n O C T b H aCKCTH3M TaKOH T a M M b l , ΒΗΛΗΜΟ, 3HaHHMbl H

Β CBH3H C ÖOJiee

TJiyÔOKHMH, HOKeJIH

φ3βγΛ3>ΗΗΗ, CJI05IMH CTHXO-

TBOpeHHH.

7. ΟτΜετΗΜ, H a x o H e u , m ' T e M n e p a T y p H b i e ' x a p a K T e p H C T H K H , B b i p a aceHHbie cjioBaMH cmbmem, cmydenan, othocsiuhmhck φa6yJIbHO κ Boae, HO CBH3aHHbie

(xaK

H HBeTOBbie

CJIOHMH CTHXOTBOpeHHfl.

XapaKTepHCTHKH)

H C rJlyÖHHHMMH

H m C H H O , MOXHO CHHTaTb, HTO

Β 'ΚΟΟΜΟΛΟΓΗ-

HecKOM' c j i o e s t h c j i o B a x a p a K T e p H 3 y i O T t o t c y p o B b i ñ η c x y a H b i i i MMp, κ K O T o p o M y π ο 3 τ 3 f l e c b n p n o ö m a e T c a ; β n c H x o j i o r H H e c K O M ace c j i o e o h h

Cjiobo cmbinem B b i p a a c a e T ho h 3 a c T b i J i o c T b , oueneHeHHe, HenoflBHXcHOCTb (ßo^a

CBH3aHbi C BHyTpeHHHM c o c T o ü H H e M n o s T a .

He

TOJibKo x o j i o f l ,

KaK ö y a T o r o T O B a n o ^ e p H y T b c a J i b ß O M ) . 3 H a i H M a β 3TOM KOHTCKCTC η

noAHoma 6omkh : 3 , n e c b T o x c e e c T b ottchok 3 a B e p u i e H H 0 C T H h H e n o A B u « : HOCTH. Η t o t ace ceMaHTHHecKHH n p H 3 B y K n o j i B j i a e T c a β ε τ ρ ο κ ε " H a 3aMOK 3 a K p b i T b i B o p o T a " , r ^ e HenoABHHCHOCTb B 0 3 H H K a e T h 3 3 a M K H y -

TOCTH (hto6m

npOCTpaHCTBa, yôeflHTca

3aMeHHTb cTpoKy, BnponeM,

KaK

HCB03M03KH0CTH

β ηβλημηη 3τογο Hanp.,

oöhhho

TaKoñ:

BbIXOfla,

oTTeHica,

ABHXCeHHM

aoctätomho

nonpoöoßaTb

"HacTexcb pacnaxHyjiHCb

y MaHflejibixiTaMa, ceMaHTHKa 3flecb

n j i a H O B a : 3aMKHyTocTH npOCTpaHCTBa 5 - o h ε τ ρ ο κ κ

BOBHe 1

BopoTa"). HeoAHo-

npoTHBonocraBjieH

o T K p b i T b i H n p o c T o p 3eMJiH β 6 - ο ί ι η n o c j i e f l H e i í C T p o K a x , h 3 T a ABynJiaHOBOCTb n p o e U H p y e T C H Η H a nCHXOJIOrHHeCKHH CJIOH CTHXOTBOpeHHH ( a y r n a 3 a c T b i J i a , H e n o f l B H S c H a , 3 a M K H y T a — η β t o îkc e p e M «

oTKpwTa

BceMy, Aaace CTpauiHOMy, Ha 3eMJie).

8.

Ο τ cyöcTäHUHH coflepxcaHHH (paccMOTpeHHe κ ο τ ο ρ ο ϋ o i m p a j i o c b Ha

a H a j i H 3 JteKCHKH) n e p e w a e M κ φ ο ρ Μ ε c o f l e p a c a H H H . 3 τ ο τ mothb KOMyeT n o μηογημ cthxotbopchhäm ManaejibuiTaMa, ο τ " Φ ε ο , α ο ο ί Η " 1920 r. ("ho TpyflHO njibiTb, a 3Be3flbi BCK>,ny Te * e " ) äo "η okojio K o j i b u o e a , KaK COKOJI 3aK0JiMi0BaH" 1937 r . 1

(2),

PA3B0P OflHOrO CTHXOTBOPEHHfl MAHAEJIblUTAMA

CTHXOTBOpeHHe, ΠΟΗΤΗ nOJIHOCTbK) 3ΜβΤ&φθρΗΜΗθε MeTaKHaaeT Bonpoc o JIO ΓΗ KO -CHHTaKCH-

MeCKOH H CeMaHTHHeCKOH CBa3HOCTH CTHXOTBOpeHHa. OHO oTJiHHaeTca, eooöme roBopa, öojibineH CBa3H0CTbK>, neM STO xapaKTepHO AIIX CTHXOB npefluiecTByiomero nepno/ia; o^HaKO H 3flecb Μ03ΚΗ0

HaöJiroaaTb

cneuH Η Β πβτβΚοκοή CTy*e, Η τ ο flecflTH Heôec HaM CTOHJia seMJiH.

As we see, cKpunynuü is already here, in this earlier poem (as is neyKJUooKuü, used as a rhymeword in the second stanza of "Na kamennyx otrogax"). Furthermore, the consonant orchestration of the first two lines is also based on [r] or consonant clusters with [r]: np-zp-ctcp-p-p, combined with a vowel scheme dominated entirely by [o] and [u] : o-o-o-y-y-o-y. The meaning of this sound orchestration is obvious: to stress the difficult change of course, the tremendous effort needed to turn the helm (the three successive adjectives contribute, of course, very much to this impression). It is not difficult to find a connective line between the two poems. The earlier describes the present situation, the latter a past one, gone forever. The earlier has a note of stoicism (which fits in well with the ship metaphor), the latter ends in a nostalgic call, contrasting past and present: honey, wine, milk and the easily moving wheel belong to a past world; the broken bread, the hard work, the noise and smoke are part of our modern civilization. It is a contrast between the "blessed islands" of Greece and the chaotic Russia after 1917. Do these observations solve the problem posed by Terapiano's statement? If Makkavejskij actually suggested these lines on the spot, as Terapiano wants us to believe, he must, as we see, have possessed a remarkable intuitive feeling for the structure and music of Mandel'stam's poems. He must also have had a good knowledge of his earlier poetry. It seems, however, more plausible to assume that even if a certain solution close to the final text was suggested to Mandel'stam, he and nobody else gave it the final touch and fitted it into the sophisticated sound structure of the poem.

T H E ISOCOLIC P R I N C I P L E I N O L D R U S S I A N P R O S E

RICCARDO PICCHIO

The paper delivered by Kiril Taranovsky at the Sixth International Congress of Slavists in Prague, on "The forms of C o m m o n Slavic and Church Slavic verse in Old Russian literature of the 11th through the 13th century", 1 is an illuminating contribution to the appreciation of the poetic heritage of medieval Russia. Very much remains to be done in this field, despite some pathbreaking studies already carried out by a handful of enlightened scholars, among w h o m K. Taranovsky, together with R. Jakobson, 2 fills a leading part. A s a matter of fact, various stylistic complexities of Old Russian works did not pass unnoticed by sophisticated critics, 3 but we are still not in a condition to allocate many formal devices to any concrete rhetorical background. 1

Recently, D. S. Lixacev has

K . TapaHOBCKnü, "ΦΟΡΜΒΙ oömecnaBHHCKoro H qepKOBHocjiaBsmcKoro craxa Β ApeBHepyccKOÄ JiHTepaType XI-XIII BB.", American Contributions to the Sixth International Congress of Slavists, Prague, 1968, August 7-13; I: Linguistic Contributions (ed.) Η. Kuöera (The Hague, 1968), p. 377-394. 2 Among R. Jakobson's many contributions to the study of our problem, "The Slavic response to Byzantine poetry" (Actes du XII Congrès international des études byzantines [Belgrade-Ohrid, 1963]) is of specific importance because of the author's considerations regarding the whole of "Church Slavonic Literature" (cf. o.e., p. 264). 3 According to D. Cyzevskyj, "Zur Stilistik der altrussischen Literatur. Topik", in Festschrift für Max Vasmer (Wiesbaden, 1956), p. 105, "Über die Stilistik der altrussischen Literatur ist bis jetzt nicht viel geschrieben. Einige wenige Arbeiten aus der Schule V. N. Perete' und die Aufsätze von A. Orlov und A. Nikol'skaja scheinen den Stoff zu erschöpfen". Among the contributions which appeared later on, the study by D. S. Worth, "Lexico-grammatical parallelism as a stylistic feature of the Zadonsâina", in Orbis scriptus. Dmitrij Tschizewskij zum 70. Geburtstag (München, 1966), pp. 953-961, deserves a special mention because of the author's rigorous observance of the methods of internal analysis, which leads him to conclude that "... such oppositional pairs, on the phonological, morphological, word, syntagmatic and verse levels, represent the organizing principle which takes the ZadonScina from the realm of ordinary description and transports it into the realm of poetry" (p. 961). As to the historical implications of stylistic analysis, cf. also my article, "Osservazioni sulla tradizione stilistica nella letteratura russa antica", in Rivista di letterature moderne e comparate XI, 2 (Firenze, 1958), pp. 101-130. The book by J. Besharov, Imagery of the Igor' Tale in the light of Byzantino-Slavic poetic theory (Leiden, 1956), contains many useful data concerning the rhetorical background of Old Russian literary tradition.

300

RICCARDO PICCHIO

devoted a significant chapter of his book, Poetics of Old Russian literature, to the problem of "stylistic symmetry", 4 and the late V. V. Vinogradov, in his last article, "Fundamental questions and tasks of the study of the history of the Russian language until the 18th century", 5 once again called the attention of the historians of both language and literature to the crucial matter of the heterogeneity of Old Russian poetic language. One of Vinogradov's main points of departure was precisely the abovementioned paper by Taranovsky, where two basic Old Russian versification patterns, the Church Slavic 'prayer verse' (molitvoslovnyj stix) and the Common Slavic 'narrative verse' (skazovyj stix)6 are singled out to represent a large section of neglected Old Russian poetry. Apparently, in Taranovsky's opinion, as well as in that of other scholars, there is a considerable number of genuine poems, i.e. of literary works written in verse, still hiding behind the prosaic façade of a but superficially explored edifice of Old Russian literature. It is not my purpose to challenge the validity of this assumption. On the contrary, I think that further research in this direction would lead to the solution of one of the most entangled problems concerning the heritage of medieval Russia. In fact, we have good reasons to believe that one could answer the question : "Why was there no poetry in Russia until the 17th century?", by saying that such a question is not correctly formulated; instead, one ought to inquire what the special peculiarities of Old Russian 'poetry' are and, eventually, from what historical factors these peculiarities do actually spring. This means that, while the existence of a prosodie tradition in Russia, and more generally in the whole of the OrthodoxSlavic area, 7 in the Middle Ages, could hardly be denied by any heedful reader of medieval Slavic texts, the fact remains that this poetic patrimony is still neither simple to detect nor easy to define. 4

C. JlHxaneB, íTojmuKa dpeeHepyccKoü Aumepamypbi (jleHHHrpau, 1967), pp. 168-175. 5 B. B. BHHorpaflOB, "OcHOBHbie Bonpocbi H 3a/jactbo / μ η ο γ ο . /

3+ 1 3+ 1 3 2

Í 12 i 2 }2

309

/ η He 6 t / J13Ì / BojioflHMepy / π ο μ ο η η , /

/ He 6 t 60 / Boft / y Hero, / / M yflOJDKHC» / OCTOH I β ropofl-fe, / / η 6 t / r j i a f l t / BeJiHKi». /

/ M CTBopmua / Bine / β ropo^t // h ptina: / / ce yace / xoneMt / noMepeTH // οτ rnaaa, / / a ΟΤ KHH3H / ΠΟΜΟΗΗ / H-feTy, /

/ aa Jiyne jih bm / noMepera? // BviaflHMca / neiefffcroMT. / / fla Koro / ÄHBHTb, // Koro jih / yMepTBHTb; /

3 3 3 3

/ / / /

y » e / noMHpaeM / οτ rjiajia : / Η Taxo / COBÍTÍ. / CTBOpHUia. / B t 3Ke / eflHHt / CTapeqb / He 6biJi-b / Ha bìhh / TOMb, /

4 4 4 4

/ h BT>npamanie : / hto pa/in / eine / 6biJio? / / H Jiioflbe / noetflama / eMy, / afeo yTpo /

5 5

/ h pene hmt>: // cnbiuiaxi / hko χοιετβ ca / nepeaaTH / nenentroM. / / Ohh ace 1 ptuia: // He CTepnaTb / jiioflbe / maaa. /

3 3 3

/ M pene hmt>: 11 nocnyuiaHTe / MeHe: / / He nepeaaiiTeca / 3a 3 / ληη / / n a Bbi, / 4το eeJiio, / CTBopHTe. /

4 4 4 4 4

/ Ohh ace / paan / oötmamaca / nocjiyuia™. / / M pene ημτ> : // cöepfrre / a i e / η no ropcTn / / OBca, I η jih 1 nmeHHirt / jih 0Tpy6i>. / / Ohh »ce / medine / paflH / cHHCKauia. / / M noBejit / »ceHaMT. / ctbophth / urfeacb, /

3 3 3 3

/β / η / H / h

/ x o t « t c a / JiMflbe / n e p e a a T H / n e i e n b r o M . /

/ C e cjibimaBi, / nocjra / no CTaptftuiHHM / rpaUbCKbia, /

HeMb »ce / BapaTb / KHcejib, / noBeJit / HCKonaTH / K0Ji0fla3b, / BCTaBHTH / TaMo / Raab, / HaJibaTH / utxca / Kazib ... / 23

T h e division of sentences into a given number o f stressed segments is sometime dubious.

This means that the text could be performed in

different ways, but the bi- or poly-valence o f the rhythmical structure does not seem to alter the effectiveness of the isocolic principle.

In

Nestor's Life of Theodosius, for example, we can start our reading either by following the rhythm o f a five-stress dicolon : 23

M360PHUK, pp. 76-78.

310

RICCARDO PICCHIO

5 S

/ rpafli. ecTb / OTCTOH / OTB Kbieea / rpa«a / CTOJibHaaro / / n«Tb / flecHTi / nonbpHmb / HMGHCMI» / BacHJibeBb. /M

or by adopting the cadence of an even-stressed isocolic series: 2 2 2 2 2

/ rpa/Tb / ecTb I OTCTOH I ΟΤΙ> Kbieea / / rpaaa / CTOJibHaaro / I nHTbflecMTb / nonbpmub / / ΗΜβΗβΜΙ / BaCHJIbeBl). /

A s a matter of fact, whether a form of the verb 6HTH should be pronounced as a clitic, or whether a compound numeral as naTbflecHTb had one or two stresses, could depend on the individual choice or on the linguistic habit of the reader. The same sentence could also be divided as follows: 3 2 3 2

Kbieea / / rpaaa / CTOJibHaaro / / mm» I flecHTi. / nonbpmub / / HMeneMi / BacHUbeBb /

I

Tpaffb ecTb

/ OTCTOH / o r b

In this case, the whole sentence would show an isocolic pair, represented by the two appositions rpa^a CTOJibHaaro and HMeHeMi. Bacnjibeei, whereas the other two cola would hint at a prosodie motif, based on the alternance of even- and/or odd-stressed cola. In fact, the text, afterward, develops precisely this even-odd structural opposition : 4 (3+1) 3 3 4 (3 + 1) 3 3 3 3 3 3 4 (2+2) 3 3 3 3 or 4 (3 + 1) 3 5 (2+3) 3 5 (2+3)

B-b TOMb / 6tcTa / poAHTejia // cBjrraro / Bl B i p t / KpbCTHHHbCrtH / 5KHByma I H BCHHbCKbiHMb / 6jiaroMbCTHeMb I yicpameHa. / PoflHCTa ace / 6 j i a » c e H a r o / a t rama // c e r o /

Taie / B1> OCMMH /flbHb/ npHHecocTa Η / ΚΊ> CBHTHTejuo / ôoauuo, / Ηκο »ce / oÖHiaH ecTb / KphCTUHHOMi, / fla HM« I fltTHimo / HapeicyTh. / Πρθ3Βγτβρτ. ace / ΒΗΛ^ΒΪ. / flirama / H cbpbflbHbHbiMa / OHHMa / npo3bpa I eace / o HeMb 11 «KO / xomeTb / H3MJiaAa / 6ory / paraca / OeoflocaeMb / ΤΟΓΟ / HapnuaeTb. / Tane »ce / ΗΚΟ Η / MHHynia / HeTbipe /flecHTe/ ΛΜΙΗΗ // AÍTHIUK) / (neTbipbflecarb) KPBIYEHHEMB / ΤΟΓΟ / o c B a r a m a . / O T p o i a »ce / p o c r a m e // ΚΪ>ΡΜΗΜΊ> / p o f l i r r e J i e M a / CBOHMa /

H 6jiaroflaTb / ôoacna / e t HiiMb / H flyxi. / CBHTBM // H3MJiafla / Bicejraca /

** H3Ô0PHUK, p. 92. 26

H3Ô0PHUK,

p. 92.

BI>

Hb. /2δ

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

311

The switch to the even/odd prosodie motif is well indicated in the first cola of this passage, thanks to the appositional ending of the first colon : I ΒΊ> TOMb / 6tcTa I poflHTettH II cenmazo /; which makes this colon a compound accentual unit, consisting of a three-stress prosodie segment, plus the apposition. The second, three-stress colon, / BI> e t p t / I KpbCTHHHbCTiH / KHByma /, repeats, and melodically emphasizes, the three-stress intonation of the first section of the preceding, four-stress colon. The colon, which then follows, resumes the compound, three-plusapposition, scheme: / PoflHCTa »ce / ÔJiaaceHaro / ai-ruma // cezo /, (alliterating and almost rhyming cross-signals help the reader, or the performer, to detect this prosodie structure: HCHByiya ... jxkmuufa, and Po duerna) and open the regular series of three/four isocolic alternances. If we consider the sophisticated complexity of the whole construction, we will not be disturbed by the fact that some cola seem to waver between the three- and the four-stress intonation: / HKO »ce / oÔHHan / ecTb / I KpbCTH«HOMi> / or / HKO » e / O6HM3H ecTb / KpbCTHHHOMT. / and also / HeThipe I necsiTb / φ η η η // A Ì T H I U I O or neTbipbaecaTi / ,ZU>HHH / fl%THimo /. Whichever way we divide the dubious cola, we eventually come out to a quite harmonic isocolic texture: 55 (or 22222, or 3-2, 3/2-2), 4, 3, 4, 3, 4, 3 (or 4), 333, 4, 444, 4 (or 3), 3, 5 (or 2, 3), 3, 5 (or 2, 3). The prosodie structure of Ilarion's Sermon on Law and Grace26 has already drawn the attention of some critics, including K. Taranovsky. Further research might prove that various rhetorical devices are extant in this text, including syllabic structures which create rhythmical suites almost identifiable with genuine poetic fragments. One should not forget, however, that the limits between poetry and prose are often oscillating, and depending on individual interpretations, not only in Slavic or Old Russian or Byzantine art prose, but in any kind of rhetorically organized speech. As a matter of fact, there is always the possibility of ranging a number of phenomena, which seem to pertain to the 'objective' structure of the text, according to different patterns of performance. As R. Jakobson points out, when dealing with the subtle relationship between 'poetry of grammar' and 'grammar of poetry',27 the basic question consists in how not to strain the structural dichotomy of both lexical and grammatical aspects of language, while translating actual grammatical concepts into the metalanguage of our exegesis: i.e., in the matter here under considera"

H360PHUK, p. 92. Cf. R. Jakobson, "Grammar of Poetry and Poetry of Grammar", Lingua (1968), pp. 597-609. 27

312

RICCARDO PICCHIO

tion, our performance of the text. Even if we are able to detect 'poetic' fragments concealed by the prevalent prose make-up of the work, this would not necessarily imply that the two rhetorical devices, the 'poetic* and the 'prosaic', cannot coexist. Since what I call the isocolic principle works chiefly as a prosodie subsidiary to the reading aloud of a text, the possibility should always be considered of performing the text in different ways, according to the conditioning impact of prosodie contextuality. And this is, I think, a consideration of crucial relevance, as far as the problem of contextual 'annexation' of a piece of poetry by a prose work is concerned. The whole of the Sermon on Law and Grace seems to comply with the isocolic principle, on a basis of two, three, or five accentual units or of their combination. Isocolic sequences are not protracted by setting in a row a large number of equal units. Alternant dicola, or tricóla, create a rhetorical architecture whose emotive symmetry is logically stressed by appositional caudae, as in this example : 5 5 2 4 2 4 2 5 5

I 3aKOH~b 6 0 / npeflTeiH 6 t / h cnyra 11 ônaroflara / η η ο τ η η ϊ ; / I McTHHa « e / η ÖJiaroaaTb / cjiyra 11 öyaymeMy / eiicy, / / 2KH3HH I HeTJltHHtfl. / I Λ ko / 3aKOHi> / npHBOxmaauie / BMaKOHeHbia / / κ ônaroflaTHOMy / KpemeHiio, / / Kpememe « e / n p e n y m a e T t / cbiHbi / cboh / / Ha B-feHHyiO I >KH3Hb. I / MoHcift 60 / h n p o p o i w I o XpHCTOßt / npHinecTBÌH I n o e t f l a x y , / I XpHCTocT. » e / h anocTOJiH e r o / o BicKpeceHin / η ο ö y a y m e M i / e t u t . / 2 8

Isocolism, which is a prose device imitating the poetic line, 29 is combined here with parallelism, so that, once more, "we must consistently draw all inferences from the obvious fact" — as R. Jakobson states — "that on every level of language the essence of poetic artifice consists in recurrent returns." 30 Almost automatically to arrange our rhetorical constructions, in the category of'prose' or in that of'poetry', only on the basis of a quite formal recognition of prosodically organized or recurrent verbal units, would however be a doubtful venture, especially in the case of Old Russian literature. As I warned before, any research on the relationship 28

ΓγΛ3ΗΗ, p. 30. For this text, cf. also Des Metropoliten Ilarion Lobrede auf Vladimir den Heiligen und Glaubensbekenntnis, (ed.) L. Müller (Wiesbaden, 1962). 29 F. Blass, Die attische Beredsamkeit I (Leipzig, 1878), p. 67 (cf. G. Barabino, o.e., Ρ- 17). 30 Cf. R. Jakobson, "Grammatical parallelism and its Russian facet", Language 42, 2 (April-June, 1966), pp. 399-429, p. 399.

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

313

between prose and poetry in the Old Russian tradition requires a preliminary definition of both terms of what seems to be a dialectic opposition. At this point, one can say that, in various contexts, the notion of both poetry and prose seems to refer more to a function than to a steady peculiarity. 'Poetic', i.e., metrical constructions, on the other hand, are not rare in the prose of many literatures and ages.31 Jakobson's very precise reference to "the essence of poetic artifice", in the above quoted statement, implies a mature distinction between 'poetry', as a specific technique opposed by certain rhetoricians to 'prose', and the 'poetic artifice', which refers to a wider range offigurae. While inquiring what the special peculiarities of Old Russian poetry are, the contextual function of metrical devices should never escape our notice. As I have already pointed out, there are cases when different isocolic performances of the same text are possible. One could read, for example, this passage from the Sermon on Law and Grace, following a five-stress intonation : 5

/ Λ κ ο I A e p a a i v r b / y 6 o / οτί> yHOCTH / C B o e a /

5

I C a p p y / H M Ì / HceHy CH / c e o ö o Ä H y / a H e p a 6 y /

5

/ η 6 ο γ ι I y 6 o / n p e a c f l e / β^κί> / H3BOJIH /

5

/ h yMbicJiH / CMHa / C B o e r o / bi> mí p i / n o c n a r a . . . / 3 î

But another reader, considering the presence of compound cola and considering also the further rhythmical development of the theme, might also organize the symmetry of the pauses in this way: 3

31

I Λ κ ο / AepaaM-b / y 6 o /

2

/ οττ> yHOCTH I c e o e x /

3

I C a p p y / H M Í / xceHy CH, /

2

/ c B o 6 o f l H y , I a He p a 6 y , /

2

I h 6ori. I y6o /

2

/ npexcfle / etici. /

2

/ H3BOJIH / H yMblCJlH /

2

I cwHa / CBoero /

2 3

I BT> Mipi> / nocjiaTH / / Η TÌMÌ / ÔJiaroaaTH / HBHTHCH. /

2

/ C a p p a ace / He p a r a m e ,

3 2 3

/ noHe»e / 6 i / Henjioflw : / I He 6 t / Henjioabi, / / HO / 3aKJHOHeHa / 6 t /

/

Regular prosodie trends are characteristic of the highly sophisticated prose of Boccaccio, so that M. Simonelh had recourse to this aspect of Boccaccio's prosetechnique also, when considering the possibility of Boccaccio's authorship of the "Novella anonima". Cf. M. S. Simonelli, "La novella anonima del MediceoLaurenziano" 42,4, Cultura Neolatina XVIII, 2-3 (1958), pp. 151-187. ,s ryjBHH, p. 31.

314

RICCARDO PICCHIO

2 2

/ 603KHÌMT> / npOMblCJIOMt / / Ha CTapocTb / poflHTH /

This way, we can better follow what seems to be a 'conceptual scansion'. I think, however, that it does not really make sense to try to find out which reading is 'correct'. What counts is the workability of a principle which implies the performance of the text following a rhythmic sequence. Sometimes the accentual units are exactly indicated by univocal logical pauses, corresponding to the end of each isocolic segment. When this does not occur, however, and the principle is still confirmed by two or more 'scannings', we must accept the prosodie polivalence as a peculiarity of the text, considering furthermore any possible affecting by the factors, pertaining to the textual genesis of our work, on the verbal texture which we are examining. One could hardly deny that what 1 call isocolic construction is easily recognizable, for example, in this passage from the Sermon on Law and Grace : 5 4

5

/ Λκο I oT.aoHCH / OTpoMa / Mcaatct // h yicpini, / ciTBopH I AepaaM-b / rocTHBCTBy / BeJimcy, / / er.ua / o t a o h c h / McaaKt // cbiHi» / ero. /

/h

4

I E r f l a I 6 t / XpHCTOci. / Ha 3eMJiH, /

4

I h eme / önaroflaTb / He yxpinijia / 6iame, /

4

/ ho AOflauiecH / e m e , / 3a τρΗβΛβαιτε / j i ì t t . , /

3 3 3

/ βέ. HflMce / XpHCTOCi / Taaineca : / / erfla »ce / o t a o h c s / h yicpini, / / HBHCH / ÖJiaroflaTb / 6o*ia /

4 4

/ / / /

5 5

cnaceHHaa / HejiOBtKOMT. // bi. I e p f l a H c r i f i / p i n t ; / ciTBopH / 6ΟΓΊ. / rocTHBCTBy / BejiHKy / η ΠΗρ-b / Be/iHKi» // TeubueMi. / ynHTaHHbiMi. / o t í etxa, / Bi.3JiK)6neHHbmM-b / cmhomï. / cbohmt. / Icycrt / XpHCTOMt, /

5

/ cï>3BaBt / Ha eflHHO / eecenie / HeôecbHbia / h 3eMjieHbia, /

4

/ ciBiKynHBTb / Bi. eflHHO / aHrejibi / h iejiOBÍia>i. / 3 3

Taranovsky's reading of Ilarion's eulogy (poxvala) of prince Vladimir, according to the metrical patterns of the 'prayer verse' (molitvoslovnyj stix)3i is quite plausible and attractive. But, as a matter of fact, the same text can also be read in a different way, if we follow the general isocolic tendency of the whole composition. Here, again, we could start our performance by recognizing an initial five-stress dicolon: 5

/ BcTaHH, I o necTHaa / rjiaeo, // οττ» rpoöa / TBoero, /

5

/ BCTaHH, / oTpacH / c o H i ! // HÍCH 6 0 / yMepjn., /

"

ryfl3HH, p. 31.

94

TapaHOBCKHH, o . e .

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

315

This reading would be supported by parallelistic cross signals such as: Bcmanu ... ecmanu, o n e c T H a a . . . o T p a c H ... rpoöa ... 60. If we consider,

however, that both these cola are compound accentual units (3+2) and that both two-stress endings sound like explanatory clauses, we would rather opt for the three-stress/two-stress interpretation, which, apparently, fits better the further rhythmical movement: 3 2 3 2 (3?) 4 3 3 2 3 2 2 3 3 2 3 2 3 3 3 3 3 2 3 2 3 3 3 3 3 3 2 4 3 4 4 3 3 5 3 5

/ BcTaHH / 0 MecTHaa / rjiaeo / / o n . rpoôa / TBoero / / BCTaHH / OTpacH / COHI; /

/ HtcH 60 / yMepjrb / / h o cnHuiH / AO oômaro // / BcTaHH / HÍCH / yMepjTt /

ecnMb

/ BcraHia. /

/ HtCTh 60 / TH Jltno / yMpt™ / / BtpoeaBiiiy / bi. XpncTa / / HCHBOTa / BceMy / Mipy. / / OTpHCH / COHT> I 1 B3BeAH / OMH / / a a b h a h i i i h / xaxofl τ « / i b e r a /

/ / / / / / / /

rocnoflb / TaMO / cnoflOÖHBi / η Ha 3eMJiH / He 6e3naM«THa / OCTaBHJTb / CbIH0M1> / TBOHMl. / BcTaHH / BHXCflb / laflo / CBoe / Teopria / BHKflb / yTpo6y / cboio / BHKAb / MHJiaaro / CBoero / BHxcflb : / eroace / rocnoflb /

/ H3Befle / ό τ ι . Mpecjii. / t b o h x t . /

/ Baacflb / Kpacniiiaaro / / CTOJiT. / 3eMJifl / TBoeñ /

/ / / / / / / / / / / / / / /

η B03paflyñca / BMBeceJiHCH. / Ki> ceMy »ce / BH»cab / h ônaroetpHyio / cHoxy / ΤΒΟΚ) / EpHHy / Bn5Kflb / BtHyKbl / TBOa / m npaBHyKbi / Kaico / »HByTb / KaKO / xpaHHMH cyTb // rocnoaeMt / KaKO / ôjiaroBipie / aepacaTb / no npeflaHÌM / TBoeMy; / KaKO / βί> CBHTbia / nepKBH / MacT»TT> / KaKO / cjiaBHTb / XpHCTa / KaKO / noiüiOHJuoTca / hmchh / ero / Bn)Kflb / h rpafli / BejiHHbCTBOMi / cifliomb / Bw»cab / nepKBH / uBtTymn / BHJKflb / xpHCTÏHHCTBo / pacTyiue / BHHCflb / rpaflTj // HKOHaMH / CBiITbIHXTj / OCBtmaeMT. /

/ öüHCTaromeca / h τ η μ ϊ 3 η ο μ ι > / o ö i y x a e M b /

1 h xBajiaMH / öoacecTBeHaMH // η π%ηϊη / cbstwmh / ornamaeMb. /

316

RICCARDO PICCHIO 4 3 3

/ M cu Bea I BHfltBi // BMpaayftc« / h BseeceiiHCJi / / h noxBajiH I önararo / 6ora / / BCtMT. / CHMt I CTpOHTeJIH. /34··

It is beyond question that some of these accentual units can also be ranged into different combinations. This is true especially as to the two-three (or two/three) and two-two (or two/two) accentual units. The reason why I have chosen longer, i.e., compound units, in the last part of the eulogy is that there seems to be a switch in the rhetorical pathos. My graphic representation is, in any case, a merely conventional one, since it does not suggest any 'poetic' scansion of the prose work, and is intended to show the actual function of isocolic units within the limits of an isocolic structure, which leaves, in many instances, various choices to the performer: but these choices are limited by the structural fitness of each isocolic unit to become a part of an isocolic construction. The isocolic regularity of the Legend, Passion and Eulogy of the S.S. martyrs Boris and Glëb can also be demonstrated. The prevailing prosodie elements are, once again, the two- and three-stress units and their combinations. At the beginning, a biblical quotation is skilfully rendered in a three-stress dicolon, which contains a rhythmical announcement of both the essential tuneful motifs and the possible isocolic alternances, and also of the 'equivocalities' : 3 3

I Pozrb^npaBbiHXl· / ônarocjiOBHTbCH / peie^npopoKt / I w ctMH^HXT. / bt> ojiarocnoBeHiH / öyxieTb /

The compound structure of both cola, the sophisticated prosodical complexity of which becomes even more evident if we consider the function of signals as npaßbiwjca ... / uxb / and ÔAaeocAoeviThcn ... ÓAaeocAoeeum ..., introduces at the same time rhythmical themes based on isocolic combinations of five-, three-, four- and two-stressed units. The first section of the exposition develops the three/five motif by laying the melodic stress first on plain sequences and then on alternances : 3 4 5 5 4

35

/ CHue / y6o / ômctb / / MaJitMb / npeace / chxi / jiítí, / / Cyuiio I caMOflpbHCbUK) / Bboen / Pycbcrtu / 3βΜΛΗ / / BojioflHMepy / cbmy / CeiiTOcnaBJiio / BtHyicy xce / Mropeey / I Hace I h CBHTbiHMb / KpemeHieMb / npocetru /

3

/ bck> / 3eMJiio I PycbCKy. /

5 3

/ liponas »e / ero / aoôpoxitTejiH / HH/ie / cbKaaceMi, / / H brut 3Ke / Hterb / BptMH. /35

ryfl3HM, p. 31. Punctuation mine (R.P.). Γ>Ά3ΗΗ, pp. 40-41. Punctuation mine (R. P.).

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

317

What is impressive, in this prosodie structures, is the elaborated concordance between logical and rhythmical symmetry; which makes us believe that those who were able to build up such pieces of prose were guided by a considerable rhetorical tradition. 36 If I am allowed to express at this point, in addition to my technical remarks, the sentiment of a lover of Old Russian literature, Τ would like to say that, the more I recognize this inmost prosodie embroidery, the more I think that the secret key, which can open to our eyes the jewel case of Old Russian writing, is represented by the conception of verbal art as the expression of spiritual harmonies. After the conclusion-marking three-stress colon of the above-cited passage (and this is a topical, a well recognizable conclusion mark), 37 the next section of the exposition switches to a two/three stress alternant sequence, the beginning and the end of which are clearly indicated by rhyming signals (cuxi> . . . HXI>): 2

/ a I O CHXI I

2 3

/ n o pafly / c a n e ecTb : / / cb y6o / BojioaHMept / invitarne /

3

/ cbEHOB-b / ABa / Ha flecjrre, /

3 2

/ He / orb e/uiHOJi / »cerní, / / HI I ότι. paon» /

2

/ MATEPT. / HXT>, / 3 Β

As a matter of fact, one could object that this is not an 'alternant' sequence and that, actually, the two, signal marking, two-stress dicola are propping up a three-stress plain isocolic series. This is true as far as the isolated passage is concerned, but the two/three alternance, which lies in the rhythmical background, immediately surfaces if we tune into the isocolic sequences which follow: 36 To speak of "isolated phenomena" whenever we find, in Old Russian literature, a masterpiece of rhetorical art (e.g. the Igor Tale) becomes therefore, from this point of view, nonsense (and this remark of mine is also intended to correct some reservations expressed in my book, La letteratura russa antica [Firenze-Milano, 1968], on p. 84). 37 We read the same formula in the Apology of Slavic Letters, by the "monk Xrabr" :

CAT* ace Η ΜΗ OTBÌTH, »ace mme peieMi. a HMHÍ HÍCTB BPÍMH. Xrabr's critics have

interpreted HicTb epiMa as 'now we don't have the time', i.e., 'our time is limited' (cf. Κ . KyeB, HepH0pu3eij Xpaôbp [COHH, 1967], pp. 24-25 and 45). In my opinion this interpretation is not correct: "HicTb BPÍMH" reproduces the Greek formula άνευ καιροδ, which means 'this is not the convenient time' or 'this is not the right place to treat this subject'. I have discussed this point, in Xrabr's context, in my study "Questione della lingua e Slavia Cirillometodiana", in Studi sulla questione della lingua presso gli Slavi (Rome, 1972), (ed ) R. Picchio, pp. 7-120. 38 ryfl3HH, p. 41.

318

RICCARDO PICCHIO 2

/ b ï . η η χ ί . »ce / ÖHine /

2 2 2

/ CTaptH / BbimecjiaBi, / / a no HeMb / H3HCJiaBi> / / τρβτίή / CeaTonijiKT., /

2

/ Hxce / h y ô i f t c T B O /

2

/ce 3tnoe / H3"bo6pirb. /

2

/ Cero / Mara /

3 2 3 3

/ / / /

2

/ h p o c T p u r t / io /

2

/ K p a c o T b i / flt-fia /

npeace / 6 t / itpHHueio, / rpbKMHH / cyiuH, / h noHjn» / io / 6t / ΛροπΜΚΊ», / 6paTi» / Bono^HMepi, /

2

/ jiHua / e« /

3

/ h 3 a i a / ο τ ί , / He» /

2

/ cero / CeaTonjiiKa. /3®

The division between the two conceptual sections is well marked not only by the switch from a two-stress sequence to an alternant one, but also — as in the preceding example — by signals. Here is the word at the beginning of the first and of the last colon, which acts as a bordermarking signal of the second section. The prosodie structure of the whole text certainly deserves a heedful analysis which, however, exceeds the scope of this general presentation, of the isocolic principle, throughout the stylistic tradition of Old Russian prose. I will limit myself to the production of one more proof of how isocolic constructions, in spite of their rather narrow field of rhythmical combination, can render different rhetorical intonations, from plain narration to seraphic pathos, as the meek declaration of Christian principles by Saint Boris: a m e / Ha yöiiicTBO / Moe / non>mHTbcn, /

4

/ m

4

I

4

/ a3T> 6 o / He n p o T H B J i i o c a , / 3 a H e / i m i u e T b c a : /

3 3

/ Tocnoflb / ΓΪ>ΡΛΜΗΜΪ> / npOTHBHTbCH, / / cbvrkpeHbiMi. ace /flaeTb/ önaroflaTb. /40

My /

6yny

/ r o e n o f l y / Moevry, /

Probably, to consider the isocolic structure of the whole text can also be of some interest as far as the problem of the lacuna at the beginning of Vladimir Monomax's Instruction is concerned. The first lines of this work are characterized by a three-stress tetracolon, the second and the fourth of which show an appositional intonation. The second section of the same sentence, where Vladimir Monomax introduces himself by giving his full particulars as in a notarial act, begins with a four-stress colon. " 40

r y f l 3 H ñ , p . 41. r y a 3 H f i , p. 42.

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

319

Then comes one more word, and then the lacuna*1 which seems to be concluded by the words: "... u xpecmbmux ntoduü 0Π>ΛΛ". After the lacuna, the whole introductory sentence ends in two four-stress cola. If we consider that the lacuna belongs to a compound sentence which, even without counting the missing words, is already rather long, we can reasonably assume that the textual gap corresponds to a three- and/or four-stress isocolic series, traces of which are represented by the words : MbHOMaxbi ... u xpecmbHHbix Moduü dibAH. In favor of a four-stress isocolic series we might advance the argument that there is a four-stress dicolon at the beginning, and a four-stress dicolon at the end, of the damaged passage. One must also take into account, however, the possibility that the words ... u xpecmbHHbix MOÓUÜ 0Π>ΛΗ represent a switch back to the rhythm of the initial tetracolon. The whole passage, in any case, can be read like this : 3 3 3 3 4 ? ?

I A3T. xyflbiH II atflOMi. / CBOHMT. / / ÄpOCJiaBOMt / ÖJiarOCJIOBJieHMMT» / CJiaBHbIMT> / I HapeiHHü / bt> KpemeHHH / BacHJirm / / pyCbCKbIMb I HMeHGMb I BoJlOflHMHpi / / OTqeMb / BMJifoÔjieHbiMb // h MaTepbio / cBoeio / I MbHOMaxbi

? 4 4

/ ? / H XpeCTbÄHMX JIIOflHñ fffcjIH, I I KOJiHKO 6o / cöjnofli. / no m h j i o c t h / CBoeft / / Η n o OTHH / MOJIHTBÍ» / OT Bcfcx / 6tflT. ... / 42

The prosodie structure of Vladimir Monomax's Instruction is certainly worthy of a more thorough investigation, which would probably lead to a revaluation of its literary qualities. By emphasizing the function of pauses according to an alternant isocolic scheme, we can better appreciate, for instance, the chanting of these words by a man who is preparing himself for a Christian death: 5 2 5

I ... Cfeflfl I Ha caHex / π ο μ μ ο π η χ / β ayiiiH / CBoeft / I h noxBajiHx I 6ora / / Hace Ma / CHXT. / ΛΗββι / rpiumaro / aonpoBaa». /

2

I JXa a t r a I Mon I

5 1+4 4 4 41

In the MS the lacuna corresponds to 41 lines. Cf. A. C. OpjioB, B/iaduMup (MocKBa-JIeHHHrpaa, 1946), p. 128. H360PHUK, p. 146.

MOHOMÜX 42

/ HJTH / Hffb KTO I CJlblUiaBT. / CK) / rpaMOTHIUO / / He nocMtòrecH // h o eMy »ce / nroôa / λ ϊ τ η Μ / μ ο η χ τ . / I a npHMeTb / e / β cep/me / cBoe / / h He JiiHHTHca / HaTOeTb / Taico »ce / h Tpy»caTnca. /

320

RICCARDO PICCHIO

5 5 3 3 5 5 5

/ riepBoe / 6ora / flina / h Ayiua / ceoe« / / cTpax / HMiÄTe / 6o»hh / β cepfliw / cBoeMb / I H MHJIOCTMHK» / TBOpfl / HeOCKyflHy, / / το 6o ecTb HaiaTOKi / BCHKOMY / flo6py. / / Ame UH / KOMy / He Jiioöa / rpaMorana / ch, / / a He nooxpHTaioTbCH / ho Taxo / ce peicyTb, / Haflajienu/ nyra, / / aa Ha caHex / età», / òeìJitrmuK) / ch[k>] / μοιιβηιπ> ... /43

As to the Discourse on the ruin of the land of Rus', its poetic peculiarities have been the object of various skilful interpretations by different scholars, up to Taranovsky.44 If we want to consider this fragment a poem, we don't have to read it following the prosodie schemes which I am trying to describe as characterizing a large section of Old Russian prose. I think, however, that we should not underestimate the possibility of also putting this Slovo into a regular isocolic context, in which case, its initial two-stress isocolic structure, with a three-stress colon marking the rhetorical division between the poetic inventory of riches and the delimitation of the political jurisdiction of the "Orthodox Christian Faith" (ο ηραβοβηρηαΗ en>pa xpecmuanbcicax /...), is easily recognizable :46 O cbîtjio / CBtTJiaa / h y i c p a c H o / yicpaiueHa / 3eMJia / PycbKaa! / H MHOrblMH I xpacoTaMH I yflHBJieHa / ecn / 03epbl / MHOrblMH / yflHBJieHa / ecH / pixaMH I H KJiaflíBbMH / MtCTO- / HeCTbHbJMH / r o p a M H / KpyTbiMH /

XOJTMH / BblCOKblMH / ayßpoBaMH / lacThiMH / nOJIbMH /flHBHHMH/ 3BtpbMH I pa3HOJIbIHbHbIMH / nTHIjaMH / 6eiUHCJieHi>IMH I ropoflbl / BeHHKblMH / cejlbl / flHBHHMH / BHHOrpaflbl / OÖHTejIHblMH / flOMbl / n e p K O B b H b l M H / H KHfl3bMH / rp03HbIMH / ôoapti / lecTHbiMH / BeJibMoacaMH / MHOraMH / B e e r ò / e c n / HcnoJibHeHa / 43 H360PHUK, p. 146. My critical reading implies a new punctuation. 44 Cf. ΙΟ. Κ. EeryHOB, "CAOBO O noeuôejiu pyccKoü 3eMAu". üaMnmHUK pyccnoü Aumepamypu XIII βεκα ( MocKBa-JleHHHrpaa, 1965); TapaHOBCKHH, o.í·. 45 Cf. EeryHOB, o.e., p. 154. Punctuation mine (R.P.).

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

2 3 2

I 3eMJin / PycbKaa / I o npaBOBtpHaa / Btpa / xpecrasHbCKaa! / / OTcfene / ao Yropt /

2

/ OT y r o p i / H ÄO JIHXOBI /

2

I στ JIflxoBT> I no HaxoBT> /

2 2 2

I OT H a x o B i / a o ΛΤΒ«3Η / / H OT ΛΤΒ«3Η / a o JIHTBH / / ο τ JIHTBH / a o H t M e u b /

2 2 2 2 2 2 2 2

/ / / / / / / /

2

/ ο τ HepMHCi. / a o Mopi.aBH I

321

οτ HtMeub / ao KopiJiH / οτ Koptjibi / ao YcTbiora / r a t TaMo / ÔHxy / ToÄMHHH / nOraHHH / H 3a ZtbianoiHMi. / MopeMi / οτ Mopa / ao Bojirapb / οτ Bonrapb / ao EypTaci / οτ BypTact / ao HepMHcib /

2

/TO Bee / ποκορβΗο /

2 2

/ 6MJIO I ΒΟΓΟΜΤ. / / KPECTIMHBCKOMY / H3UKY /

2

/ noraHbCKbiH / CTpaHbi: /46a

A three-stress dicolon marks the beginning of a third section, dealing with the lineage of Vladimir Monomax and his fear-rousing power: 3 3

I eejiHKOMy / KHS3IO / B c e e o a o a y / I o r m o / e r o / K)pbK> ... /

The two-stress sequence is then taken up and sustained, until a new three-stress colon marks the conclusion of an historical scene : 2 2

I ... KHH3IO / KbieBbCKOMy / / a t a y / ero /

2 2

/ BoaoaHMepy / H MaHaMaxy / / KOTopbiMi το I IIoaoBbUH /

2

I a i T H / CBOH /

2 2 3

/ nojiomaxy / Β Konbi6tjiH / / a JlHTBa / H3 6ojiOTa / /Ha c e i r b / He / BbnauchiBaxy /

The same happens in the new scene, which comes next (and, again, the border-marking colon gets a third stress from a we) : 2 2 2 2 2 3 453

/ A Yrpbi / TBepaaxy / / KaMem.ru / ropoaw / / aceat3HbiMH / BopoTW / / a6bi / HA HHXT. / / BejiHKbiH / BoaoaHMepi. / / TaMo / He / BMtxajn.. /

Cited according to Begunov's reconstruction, o.e., p. 182ff.

322

RICCARDO PICCHIO

After another similar scene, we find a conclusive three-stress dicolon, symmetrically corresponding to the dicolon which had started the praise of Monomax at the beginning of the section: 2

/ A H t M i m / paflOBaxycH /

2

/ flaneie / óyayie /

2

/3a CHHHMb I MOpeMT. /

2

/ EypTacH / HepeMHCH /

3

/ Befla / h M o p i f l ß a / 6opTbHHiaxy /

3

/ H a KHH3H / BeJiHKoro / BojioflHMepa /

This last three-stress dicolon, at the same time opens another three-stress/ two-stress isocolic series, referring to the Byzantine emperor, which represents the ideological climax of our fragment.

Because of the

obscurity of the textual transmission, there is a resultant yield of prosodie uncertainty. But the following reading seems acceptable: 3

I H Kiopi. / MaHyHJit / qecaperopoacKbiñ /

3

I onact. / h m í h / no He[Mi>] /

2

/ BejiMKMH / flapbi /

2

/ nocMJiame / κ HeMy /

2

/ a6w I n o f l t HHMi /

3

/ BejiHKbifí I KH»3t / BojioflHMept /

3

/ Ltecapa/ropo^a / He b3jutt, /

2

/ A Β TBI I flHH /

2

/ 6OJI%3HL· I KpecTHHHOMT, I

( B e g u n o v : noHe h)

3

/ σ τ BeJiHKaro / Ä p o c j i a e a / Μ λ ο BojioflHMepa /

2

/ M a o η μ η ϊ ι π η η γ ο I ílpocjiaea /

2

/ M a o 6paTa / e r o /

3

I K)pbH I KHH3H I BojiOÄHMepbCKaro. /

The textual emendation, which I propose, is founded on the following consideration: no He[Mi>], if we interpret as 'being afraid of him\46 makes more sense than noHe h ( = at least great gifts, rather great, great enough?) and such a copyist's misreading is quite plausible from the paléographie point of view. The reading no He[Mi>] seems also to be acceptable from the contextual point of view, if we consider the similar signals at the end of two other cola : nocbijiame κ neMy — aöti nofli. humó. I wish to make clear that I don't think that we should incline to 'correct' the text whenever it turns out that a colon does not comply with a given isocolic structure. I f we did so, we would commit a patent error, because the 'principle', which I am trying to detect through the analysis of various 4*

As to the use of no with the locative, to indicate a causal connection, cf., e.g.,

oKOAHxoy no ueMb β Hoeezopode, in the Chronicle of Novgorod, year 1704 (Η. H. Cpe3HeBCKHfi, Mamepuaau II, p. 984).

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

323

examples of Old Russian prose writing, belongs to an intrinsic 'grammar of poetry' (in a rather broad acceptation of the Jakobsonian term) which, as far as I know, is not confirmed by any Old Russian rhetorical normative theory. In the following passage from the Patericon of the Cave Monastery, for example, the isocolic structure is clearly indicated by an initial three-stress dicolon, followed by plain and alternant combinations. The conclusive tricolon sounds like a secondary sequence of explanatory and conclusive caudae. The second colon of the first series, however, seems to be 'anomalous': 3 3 2

/ OibimaxT. / eemb / npeanBHy / / ότι. ÖJiaaceHbixi, / TÌ>XT> / CTapeub / I «ko ptina / cjibiiiiaBiiie /

2

/ OTT> CAMOBNNEUB / T Ì X T . /

3

2

/ TAKOBARO / ÄHBCCH / 6biBinaro. / / Bo HryMeHbCTBO / ITyMHHOBO /

3

/ Β üenepbCKOMb / CBHTÎMb / MaHacTbipH /

3

/ 6bicTb / Myacb / CBepiuem. /

2

/ BO BCHKOH / Λ Ο Β Ρ Ο Α ΐ Τ Β Π Η /

2

/ ΗΜβΗβΜΤ. / OHHCH /

2

/ ΠΟΠΗΗΪ, / CAHOMB

I"

The impression that, in the second colon, the word cmapeifb represents a prosodie 'addition' is confirmed, at first glance, by the fact that it comes after mrbxt, i.e., after a word which is repeated at the end of the fourth colon, and therefore evidently acts as a signal. The prosodie function of cmapeifb, however, can be recognized in its marking of a logical pause, and we are not allowed to consider this word an 'explanatory gloss' from the point of view of textual criticism. Or, to be more precise : we don't have the right to base any textual criticism, concerning the word cmapeifb, simply on an abstract prosodie 'regularity' or 'irregularity'. The whole of the prosodie structure of the Patericon of the Cave Monastery, on the other hand, deserves further study. Also as to the presence in this varied work of clear isocolic cadenzas, it seems to me that the following example is characteristic enough, especially as far as the use of caudae is concerned : 3

/ C h h / npeflnofloÔHbift / MapKO /

3 I HMBIÑ / «arme I Β neiept / 3 + 1 I η MHOKafiuiaH / MtcTa / nciicona // neiepw / cauda / pyicaMa / CBOHMa / 4

I Η HA CBoeio / iuiemy / nepbCTt / H3HOCH /

4

/ n o Bea /

cauda 47 48

ryfl3HH, p. 80. ryfl3Hö, p. 86.

/U>HH / H H O M N

I Tpyacaaca / / o flint / 6o5khh ...

/4β

324

R I C C A R D O PICCHIO

A s a matter o f fact, the actual relevance o f the 'isocolic principle' for the whole of Old Russian prose cannot be determined unless we examine a number o f texts much more extensive than are here submitted. In order to provide the reader o f this paper with a minimum o f evidence, I think however that it will be o f some usefulness to add some more quotations f r o m well-known Old Russian works.

The reader's attention will be

called to isocolic sequences, or to alternances of sequences, only by means o f graphic marking of stressed segments and cola. Here are some passages from the Supplication of Daniil: Bi.CTpy6HMi. / hko / bo 3jraTOKOBaHi>iH / Tpy6w / Β pa3yMi. I yMa / CBoero / h HaiHeMi. I 6hth / β cpeòpeatia / apraubi / B03BHTHe / MyapocTH / cBoea. / BicTaHH I cjiaea / moh / Baciami I bt> ncajiTtipH I HB rycjiex / BocTaHy / paHO / HcnoBtMi t h cλ / fla pa3Bep3y / βί> npHTnax / raaaHHa moa / h npoBtmaro / βϊ> a3i>njfex / cjiaey mow / cepflue 60 I cMwcjieHaro / yxptnuaerca / ΒΊ» TenecH ero / xpacoToio / Η MyapocTiuo ... / " He e i n 60 / Ha 6pa3Hax / «arra / HH My^pocTH / Ha cepÄim / 6e3yMHtmx. / Be3yMHWX 60 / hh ctiOTb / hh opioTt / HH Β 5KHTHHLUO / CÔHpaiOT / Ho caMH / e« ροΛ»τ I x a x t β yrejn. / mìx / jihth / Taxi I/ 6e3yMHaro / yHHTH ... / nCOMl 60 / Η CBHHHaMl / He Hafloöi / 3naTO / hh cpeöpo / hh 6e3yMHOMy / aparan / cnoeeca / h h MepTBeqa / p o c m í h j h t h /

hh 6e3yMHaro / Haxasara ... /60 Mto eCTi. / »ceHa / 3Jia? / rocTHHHHHa / HeynoBaeMa // xouiyHHHua / 6icoBcxaa / Ητο ecTb / »eHa / 3Jia? / Mhpcxhh / MHTeacb // ocninjieHHe / y My / HaiajiHHua / BcaxoH / 3Jio6i. / ΒΊ> UepXBH / ÖicOBCXaH / MHTHHIia / noôopHHua / rptxy // 3aca.ua / οτ cnaceHHa ... /" Eme / B03BpaTHMca / Ha npeflHaa / cJioBeca / A3i> 60 / KHflace / hh 3a Mopa / xoflHJn> / 4*

" "

H360PHUK, p. 224. H360PHUK, p. 230. H360PHUK, p. 232.

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE 2 2 3 3 4 4 2 2

IHH OT φκποοοφι. / HayHHxca / / h o 6hx I aKH niejia / / na«aa / no po3HbiM / U B Î T O M / / coBOKymiKH / MefleeiaiH / con. / / Taxo I H a3i. / no ΜΗΟΓΗΜ / KHHraMb / I HCbÖHpaa / cnaaocTb / cnoeecHyio / H pa3yM / I H CBBOKynHX I aKH Β MÌX / I BOflbi I MopcKHa ... /62

4

I ΓΟΟΠΟΛΗ I « a a ace / KHH3K> / HarneMy /

4

/ CaMCOHOBy / cnny // xpaGpocTi. / AiieKcaHflpoey /

4

/ pa3yMT> // MyapocTi» / / h xHTpocTb IflaBH^OBy/ / H yMHOJKH I ROCRIOÄH I / BCH I HejIOBtKbl / I ΠΟΛ H03H / ero. / / Eory / HameMy / cxiaea / / H HblHt / Η npHCHO / Η Β β4κ. /63

2 2 2 2 3 3

/ ΗΟΟΗΦΛΒ

COJIOMOHIO /

This is the 'overture' to the Li/e o / Aleksandr

Nevskij:

4

/ O rocnoat / HarneMb // Hcyct / XpHCTt /

2

/ cbrne I 6O>KHH. / / A3 xyflbift / h MHororptuiHbift // Mano / CbMbicjia /

4 2 4 2 2 4

2 2 3 3 2 4

4 3 3 3 4 4 4 2

325

/ noKyiiiaioca / nncaTH / / )KHTHe / CBHToro I KH«3« / OjiexcaHflpa / / cbraa / ilpocjiaBjTK / / a BHyKa / BceeonosKa. / / ΓΤΟ Hexe / cjibiuiax / ΟΤ OTeqb / CBOHX / /flOMOHafleub/ H caMOBHAeqb / / ecMb Bb3pacTa / ero / / pafl / 6bix / HcnoBtaan / / CBHToe / Η lecTHoe / H cjiaBHoe / / ÄHTHe / ero. / / Ho / «Ko ace / ΠρΗτοΗΗΗκ / pene: / I Β 3JioxbiTpy / ayuno / He BHwaeTb / nptMyapocTb / /Ha BbicoKbix 6o / icpanx / ecTb / / nocpeflH » e / CTe3b / CToaiue / I npH Bpartx » e / cHJiHbix / npHctflHT. / I Ame / H rpy6 / ecMb / yMOM / / HO / MOJIHTBOK) / CBHTbia / öoropoamja / / h nocntmeHHeMb / cB»Toro / KHH3H / OjieKcaHflpa / / HanaTOK / ποπο>κκ>. /'*

I would like to call the reader's attention to the specific function of the 62

" "

H360PHUK, p. 234. H360PHUK, p. 234. H360PHUK, p. 328.

326

RICCARDO PICCHIO

caudae in this hagiographie text. Apparently, each of them acts as a kind of responsio to the leading motif of the lectio, or as a rhythmico-logical response. This is a rather frequent expedient in a number of works of the same genre. I think that we can call these prosodie units antiphonal caudae. It seems difficult to draw any conclusion, on the basis of these examples only, as to the relationship between isocolic structures and stylistic levels, or as to the stylistic function of prosodie themes in connection with literary genres. The limited material which I have examined so far seems to indicate that the basic isocolic sequences, which characterize lofty style works, are extant also in certain translated texts as well as in apocryphal literature. We find, for example, these isocolic combinations in the Physiologus: 4 3 3 4 4 4 3 4 4 3 2 3 3 2 3 3 2 3 3 2 3 2 3 2 3 3 3 2 3 65

/ Tpu 1 ecmecmea / UMamb / λeeb. / / Eraa 6 o / paamaeTb / jiBHua / / ΜβρτΒΟ / h cjieno / paac/jaeTb / / ce^HTb »ce / η ÖJiioaeTb / j¡o Tpertero / ahm / / n o τρβχι» ace / ÄHext / πρίκΑβΉ. / j i e e i / / H ayHeTb / Β HOSAPH / eMy // Η 05ΚΗΒβΤΙ>. / / TaKO Η / 0 BtpHMXb / JObllffcXT» / / n p e a w e 6 o / KpemeHia // ΜβρτβΜ / cyn» / 1 n o KpemeHM « e / npocetmaioTbc» // οττ, cBSTaro / ayxa. /

/ Bmopoe / eemeemeo / Λβοβο: / / erfla / cnHTb / / a o í a / e r o H 6flHTa, / / TaKO / η rocnoflb / Haiirb / / pene / KO HioaeoM-b : / / AKoace / a3"b / cnnio / / a OHH / ΜΟΗ / 6o»cecTBeHbia / / h cepue II 6«HTa. / / mpembee / eemeemeo / Λβοβο: / 1 erfla / OTÖeraerb / Jienua / / XBOCTOMi / CBOHMb / / noKpbiBaerb / CTonbi / cBoa / / « a He MOÄerb / JioBeub / / o c o h h t h / c u i f l a / ero, / / TaKO η τ η 1 neJioBtne / / eraa / TBOpHuiH / m h j i o c t m h i o / / « a He HKDerb / jieeaa / pyKa / / HTO TBopHTb / flecHHqa / TBOH / / « a He B036paHHTb / λ β η β ο λ ι / / atjioMî> / noMHCJia / TBoero ... / "

ry«3HH, pp. 134-135. Italics and punctuation mine (R.P.).

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE

327

And in the Life of Saint Alexis: 5 5 5 5 4 3 3 3 4 3 3 3 3 3 3

/ E i / HeJioBÎKi / β P h m ì / MyjKb / ÖJiaroiecTHBTb /

/ ΗΜβΗβΜΐ / E([)nMbflHT> // η ïKCHa / ero / ArjiaHfla / / πρκ Ο η ο ρ η η / η ApKaflHH I cjiaBHbiMa / uecapewa / pHMbCKHMa / / BeJiHKb / 6biBi> / β 6oapex / Goran. / 3tno. / 1 Eaxy ace / y Hero / rpHCTa / οτροκι / / a BCH / Cb 3JiaTbIMH / noacbl / / h aparbi / pH3bi / Hocame / / η He 6 t ace / eMy / iaaa / / saHeace / 6 t aceHa / ero / Henjioflbi. / / Chh ace / ÓJiaroiecTbeMb / acbiBbm / / η sanoBtflH / 6oaciia / TBopame / / ajixame ace / TaKOBbiH / Myacb / / no BeaflHH/ ΛΟ aeBHTaro / naca / / η τρπ 1 Tpane3bi / nocTaejianie / / Β ZIOMy / CBOeMT. / ΠΟ BCaflbHH... / "

In the second of these isocolic constructions the logical parallelism, linking the two four-stress cola could hardly pass unnoticed. Regarding the apocryphal literature, the presence of analogous prosodie tendencies can be seen, e.g., in these passages from Our Lady's Trip to Hell: 5 3

I H B i i a t / H a flpystMt / m ì c t ì / I h pene / ceaTaa / öoropoflHqa /

TMy /

Bejnncy /

5

/ i t o ecTb / TMa cìh / h k t o cyTi> / n p e ó t r e a i o n m / bi» Heß? /

3

/ h pene / apxH/cTpaTHn. /

5

/ μ η ο γ η / flyiiia / npeöwBaiorb / bt> m ì c t ì / ceMi ... / "

5

/ H BHflt / apyria / aceHw / bo ογηη / jieacama /

4 5

/ Η pa3JIHHHHH / 3MÌH / «flaXy / ΗΧΊ» / / η pene / cBHTaa : / h t o / corpiineHie / h x ì ? /

4

/ h OTBtiua / MaxanjiT. : / το cyn> MOHacTwpa / lepHHUbi / / aace / Tijieca / c b o h / npo^ama / na ßjiyflb / / fla Toro / pa«H / / MyiaTca ... / 68

5

4

My impression that isocolic structures can be found on different stylistic levels comes from the observation that the same basic prosodie units are extant in works of different origins and times. Epifanij the Wise's Life of Stefan of Perm is generally considered a model of the new stylistic technique, which spread over Old Russian literature between the end of the 14th and the beginning of the 15th century. Also in this text, how" " "

rya3HÉ, p. 99. ryfl3Hä, p. 92. TyffìHfi, p. 95.

328

RICCARDO PICCHIO

e v e r , w e can ascertain that the c a r r y i n g p r o s o d i e structure consists o f i t e r a t e d i s o c o l i c units.

E p i f a n i j ' s use o f v a r i o u s signals, pauses, allitera-

tions and etymological

figurae,

musical

flavor,

leading

rôle.

g i v e s the Life

of Stefan

of Perm

a special

b u t the i s o c o l i c p r i n c i p l e still seems t o b e p e r f o r m i n g a Here

is an

example

of

how

an

even-stressed

isocolic

s e q u e n c e is s k i l f u l l y d e v e l o p e d , n o t w i t h s t a n d i n g the presence o f w o r d s w h i c h , w h i l e m a r k i n g e m p h a t i c a l pauses in c o n n e c t i o n w i t h k e y - c o n c e p t s

(II

EAAUHCMUU,

intonation.

// CAOMCUAÌ, And

// Boza), f o r m a l l y interrupt the even-stressed

the allusiveness

of

the r h y t h m i c

contrast

becomes

e x p l i c i t t o the r e a d e r t h a n k s t o the insertion o f a three-stress d i c o l o n , the first c o l o n o f w h i c h is f o r m a l l y b i v a l e n t ( n p u c m - n o M H U M b w 4+1

I CbÔHpaJTH I h cocTaejiHBaJiH / rpaMOTy / rpenecKyio /

4

/ h eflBa I ycTaBHjiH / mho3ìmh / x p y a w /

4

/ Η ΜΗΟΓΜΜΗ / ΒρβΜβΗΜ / CUBÜ / CJI05KHJ1H / / nepMbCKyio »ce / rpaMOTy / e^tra-b / ipbHeiib // CAOMCUAÒ /

4

I eflHHT> I cocTaBHJTh / emm,

4

/ CffHHi> / Kajiorepi. / epurai / μηηχί> /

4

/ eflHHi I HHOKT. / (ΖτεφαΗΐ, / maroJito /

3

/ npHCHO/nOMHHMblft / βΠΗΟΚΟΠΐ /

3

/ eflHHT. / Bi. e^HHO / BPÌMH /

4

/ CMHHHJTT. /

/ a He / no MHora / epeineHa / h u t T a /

4

I aKoxce / η ohh / h o eaHHt / ηηοκί> /

4

/ e f l H f f i / BbeflHHeHbiH / η yeflHHaac« / efliHi. /

2

/ yeAHHeHbiH / e/iHHt /

2

/ y eflHHoro / B o r a /

2

I ΠΟΜΟΙΙίΗ / npoca /

2+ 1

/ eflHHT) / βΛΗΗΟΓΟ //

2 In

/ K o Jib μ η ο γ ο / J i t T i / MH03H / φΗ^οοοφκ // eAAUHCmìU I

4

4+1

ΓΛε

...):

/

/Ha noMomb / npH3biBaa ... / " Γα/β o / í/ie Taking

of

Constantinople,

by

Nestor-Iskander,

c o n s i d e r a b l e v a r i e t y o f i s o c o l i c c o n s t r u c t i o n s can be r e c o g n i z e d . are some examples:

69

3

/ uapcTBytomy / bi. PHMy / öorocofltTenbHOMy /

3

/ BeJiHKOMy / KoHCTaHTHHy / OjiaBHK) /

3

/ c o TmaHieMi / βθτιηκημί» / oTBcioay /

3

/ Co6paXT> / OT3eMCTBOBaHHbIXT> / XpHCTiaHh /

5

/ Haia / yKptnuHTH / h pa3iHHpnTH // e i p y / xpHCTbHHCKyio /

3

I uepKBH / 6o3Kna / yicpama™ /

5

/ a HHbi / npecnaBHbr / BT>3flBH3aTH //a haojim / coKpyuiHTH /

5

/ η ÄOMbi / Ηχτ> I B i c/iaey / 6 o r y / npeepamaTH ...

ryfl3«a, p. 190. Italics and punctuation mine (R.P.). ΓγΛ3Ηά, p. 196.

a

Here

THE ISOCOUC PRINCIPLE IN OLD RUSSIAN PROSE 2 2 2 2 2 2 2 2 3 3 2 2 3+ 2 3 4 4 4 2 4 3 3 4 3 4 3 4 4 2 3 3

329

... M ce 3MÌ0 / BHe3aany / BblUiefli / H3T> HOpbl / noTeie / no Mtcry / h aóie / CBbiine / opejTb / c n a f l t / 3MÌH / nOXBaTH / h n o j i e r t / Ha BbicoTy / a 3MÌft / HanaTT) / yKptnnaracb / BbKpyrb / opjia. / Iiecapb « e / h bch / jnoaie / 6«xy / 3p«me / Ha opjia / h Ha 3mìio / opejii. »ce / Bi>3JieTtB-b / h31. o i b i o // Ha λ ο π γ ι / l a c b / H naKH / flBHCH / HH3JieTaiOmb / u nade j cb 3MÌeMb / Ha to»ci. / m ì c t o / noHe»ce / oflOJiiHb / öbicTb / ο τ ί . 3Mìh / Jlioflie »ce / τβκιιιβ / 3Mia / y ö n m a / η opjia / H3biMaine. / h 6bicTb 1 iiecapb / β ο yacact / eejiHueMb / Η C03BaBl) / KHHÄHHKH / Η MyUpeUH / cKa3a / HMT» / 3HaMeHÌe. / O h h »ce / nopa3cyflHBi> / cKa3auia / uecapio : / ce m ì c t o / ce/jMoxojiMhiH / HapeieTc» / Η npOCJiaBHTCfl / H B03BeiIHHHTCH / B"b Bcew / BCejieHH%Ü / n a i e / HHbix-b / rpa^OBi / h o noHe»ce / CTaHeTb / Me»cn / ^rey Mopb / Η 6beHl> / 6yaeTb / BOJIHaMH / MOpbCKHMH / noKOJieÖHMt / 6yAeTb. / A Opern. / 3HaMeHÌe / KpecTbeHCKoe / a 3MÜÍ / 3HaMeHie / 6ecepMeHCKoe ... / β 1

At this point of my survey, I would say that it is hard to believe that such a persistent prosodie device did not become, in Old Russian prose writing, a rhetorical rule. The conscious effort to comply with rhythmic rules is evident, for instance, in this passage from a Letter to Ivan the Terrible, by Prince Kurbskij : 3

/ IJapK) / στ 6ora / npenpocnaBJieHHOMy /

I nane otee / 3

/ b o npaBocnaBHH / npeceeTJiOMy / HBUBiuycx /

/ mine otee / 3 3 5 4 5 4 81

/ rpex / paflH / HauiHx / / conpoTHB / CHM / oöpeTiueMycH. / / Pa3yMeBa«H / aa pa3yMeeT / coeecTb / npoKa»ceHHy / HMymHii / / HKOBa »ce / h h b o 6e36oxcHMX / H3bmex / oôpeTaexua. / / H ôo/ibiue / cero / o ceM / Bcex / no paay / / rjiarojiara / He nonycTHX / MoeMy / «3WKy /

ryfl3Hö, p. 197.

330

RICCARDO PICCHIO 5 3

/ ΓΟΗβΗΗΗ ace / pawn / nperopiaämaro / οτ flepacaBbi / Tfloea. / / Ο τ ΜΗΟΓΗΗ I ropecTH I cepflqa /

3

/ noTmycH I Mano / rapenti t h . /

5 3

/ Π ρ ο i t o I itapio / c h u m m x / b o H3paHJiH / π ο 6 η π ecH / / H BoeBOfl / οτ 6ora / aaHHHx t h /

3

/ pa3JiH«iHMM / cMepTeM / npe^aji ecn? /

5 3

/ h no6e,ziOHOCHyio / c e a T y i o / κροβι. h x / b o iiepxeax / ô o x c h h x / / b o BJiaabiHecKHx / TopacecTBax / npojinan ecn? /

5

/ h MyieHiwecKHMH / h x KpoBbMH / n p a r a / uepKOBHbie / I oôarpHJi ecn? ... /e2

The same rhetorical effort, on the other hand, is clearly recognizable in the epistolary style of Ivan the Terrible. As in Kurbskij's letter, we find, in the first lines of Ivan's Epistle to the Father-Superior

Kozma of S. Cyril's

Monastery in Beloozero 'extraprosodic' words, which indicate the name of the Monastery, the name and the titles of the addressee. This seems to reflect a new stylistic trend within the still solid isocolic structure of the text: 4 4 4

/ Β npenecTHyio / oôirrejib / npeMHCTbi» / ß o r o p o f l H u a / / HecTHaro / h cnaBHaro / e a / ycneHHa / / h n p e n o f l o Ö H a r o / h öoroHOCHaro / onta / Hainero /

/ Kupu/ia / uiodomeopifa, / 4

/ nace / o XpHCTe / öoacecTBeHaro / noiuca /

/ Hacmaeumy / 4

/ h BOEcy / h pyKOBOflHTejiK) / κ npeHeöecHOMy / c e n e H w o /

/ üpenodoÖHOMy / HzyMeny / KocMe, / 4 4

/ «asce / o X p n c r e / c óparaeio / u a p b / / Η ΒβπΗΚΗή / KHSBb / MBaH I BacHJibeBHHb / / Bcea / PycHH // nenoM 6beT. /

The isocolic 'scansion' of the letter is thereafter connected with the specific kind of pathos, which characterizes Ivan's lofty irony. In fact, if we put three stresses, for example, on the third colon (/kwo / ecm& / a3¡) we probably reach the right rhythm of Ivan's 'spiritual scansion', which is intended to underline, word by word, each verbal expression of his own majesty:

M

3 3 3 3 3 4

I Y b h I MHe / rpenmoMy! / / rope I MHe / 0ica»HH0My! / / ox / MHe / CKBepHOMy! / / Κ τ ο / ecMb / a3 / I Ha TaKOByio / BbicoTy / Aep3aTH? / / B o r a / p a n n 11 r o c n o i m e / h o t u w /

4 3 3

I M o j i i o Bac / / npecraHHTe / οτ TaKOBaro / HanmaHHH / / A 3 / 6 p a T / Bam / / HeflocTOHH I ecMb / H a p e u m c a /

3

I h o I no eyaHreJibCKOMy / cjioeecH /

ryfl3Hñ, p. 287. Italics and punctuation mine (R.P.).

THE ISOCOLIC PRINCIPLE IN OLD RUSSIAN PROSE 3

/ coTBopHTe I Μ» / ακο /

3

/ EFLHHARO / ΟΤ HAEMHHK / CBOHX /

2

/ τ β Μ ca / npunaaaio /

3

/ HecTHwx I H o r I eaiiinx /

2

/ Η MHJI CA / AERO /

2

I B o r a I paflH /

3

I NPECTANHTE / ΟΤ taKoearo / HAINHAHNA. /

2

I IlHcaHO 6o / ecTb : /

3

I CBCT / ΗΗΟΚΟΜ I a H r e n H /

3

/ ceeT ace / MHP«HOM / HHOKH ... / 6 3

331

If these remarks of mine concerning the isocolic principle in Old Russian prose are sufficiently grounded, and the examples which I have given so far can be considered of some import for the interpretation of Old Russian literary heritage (I think, however, that analogous phenomena can also be singled out in other monuments of Church Slavic literature, outside Russia, commencing with the earliest period), the thesis of a poetic treasury which still hides in many medieval Slavic works is, once again, confirmed by facts. My research is being undertaken in the firm belief that, some decades after Roman Jakobson's first sowing in this field, and thanks to a number of valuable contributions, up to the most recent by Kiril Taranovsky, the harvest time should be near at hand. Tn my opinion, the basic question still consists in how to reach a right definition of the poetic forms peculiar to Old Russian literature. What I call the 'isocolic principle' seems to pertain to a large section of Old Russian prose. In fact, I don't see how one could qualify as 'poems' the examples of rhythmically organized prose which I have cited in this paper. This does not mean, however, that specimens of genuine poetry are not to be found in the rhetorical context of some prose writings. To tell the truth, the prosodie devices which I have tried to describe seem to entangle our problem even more, since the limits between prose and poetry very often are failing, because of the persistent prosodie structure of prose writing. One should also consider, on the other hand, that precisely this characterizing feature of Old Russian literature can give an answer to the question why a good deal of Old Russian poetry, apparently, was absorbed in the prose writing. Therefore, one should not limit himself to attempting to extract neglected poems from prose, but should rather try to recognize the system of mutual prose-poetry 64 relations conditioning the various poetic forms of Old Russian literature. Y A L E UNIVERSITY 93

ryÄ3M», p. 300. "Sit igitur h o c c o g n i t u m in solutis e t i a m verbis inesse n ú m e r o s e o s d e m q u e esse o r a t o r i o s qui sint poetici." (Cicero, Orator, LVI-190). 94

MUSIC AS THEME A N D CONSTITUENT O F PASTERNAK'S POEMS

KRYSTYNA POMORSKA

In the volume Vtoroe rozdenie (1931-1932) we find a cycle of poems devoted to music. 1 Two of them describe the music of Chopin : "Bailada" ("Drozat garazi avtobazy ..."), and a poem without a title, "Opjat' Sopen ne iscet vygod ..." The third is devoted to the music of Brahms. To show that these three poems can be treated as a cycle is one of the purposes of this study. The two poems on Chopin are written in the same metrical pattern, iambic tetrameter, and both locate their action in Kiev, where Pasternak heard Chopin's music performed by the famous pianist Genrik Nejgauz, to whom the first poem is devoted. (I) .UpoacaT rapaxcH aBTo6a3i>i. Η ε τ - Η β τ , KaK KOCTI>, B36NECHET KOCTCJI.

Hafl napKOM naaaioT Tona3w. O i e n w x 3apHnu öypjiHT κοτen. Β cany — T a 6 a K , Ha TpoTyape — Tonna, Β TOJine — ryaeHbe nnen. Pa3pbiBH Tyn, O6PHBKH a p M ,

HeABHXHblH ffHenp, HOMHOH IIOAOJT.

(II) "npHuxeji", — JieTHT ο τ B»3a κ B»3y, M Bflpyr cxaHOBHTca TflHceJi KaK 6bi /loCTHriiiHM Bbicmeü i BeccoHHbiíí 3anax MaTHOn. "IIpHinen", — JieTHT ο τ napbi κ nape, "npHiuen", — cTBOJiy JieneieT CTBOJI. Π ο τ ο π 3apHHu, rpo3a Β pa3rape, HeflBHHCHbiH flHenp, HOHHOH ΠΟΑΟΠ. 1

Professor Taranovsky in one of his seminars at Harvard discussed this cycle, and I owe a number of observations and suggestions to these truly inspiring meetings.

334

KRYSTYNA POMORSKA

(HD y aap, flpyroH, naccaxc — h cpa3y Β rnapoB M0J10HHHË opeoji IüoneHa TpaypHa« pa3a BcnjiLiBaeT, KaK öojtbhoö opeji.

Πολ HHM — yrap apayicapHH, H o rjiyx, KaK öy^TO h t o oôpeji, OöpwBbi j(OHH3y oömapa, HejiBH)KHi>iH flHenp, HOHHOH rioaoji. (IV) IIojieT opjia, KaK x o ä paccKa3a.

Β HeM Bce co6jia3Hbi k»khi>ix cmoji Η Bce MOJTHTBtl H 3KCTa3bI 3a CHJibHbitt η 3a cjia6i>m non.

Ποπετ — cxa3aHbe o6 HKape. H o ΤΗΧΟ C Kpyi ΠΟΠ3βΤ Π0Λ30Λ, 1Λ rjiyx, KaK KaTopxcHHK Ha Kape,

He/IBH»CHHH ^Henp, HOHHOii Ποαοπ. (V) BaM β aap öajijiaaa 3Ta, TappH. Boo6pa%eHbfl np0H3B0Ji H e TpOHyji ςτροκ o BaiiieM ziape: Ά BnaeJi Bcë, η τ ο β hhx npHBeji.

3anoMHK> η He pa36a3apio : MeTeJib iiojihohhhx MaTHOJi.

KoHuepT h napK Ha KpyTOxpe. HeÄBHKHbiä ,φιβπρ, ηοηηοΑ Π ο λ ο λ .

T h e compositional principle, manifested in each stanza, is the double contrast', dynamic vs. static and top vs. bottom. The dynamic element is represented by the turmoil in town, expressed by things, people and nature. In stanza I : " D r o z a t garagi avtobazy ...", "Slepyx zarnic burlit kotel", " . . . ν tolpe gudenie peel", " R a z r y v y tue, obryvki arij . . . " In the next stanza all nature is moved by the approaching music : "Prisel — letit ot vjaza k v j a z u " , etc., where "prisel" is repeated 3 times in different variations. " P o t o p zarnic, groza ν razgare" — is but another variation o f the penultimate line o f stanza I. In stanza I I the representation o f nature is the richest in quantity (nature is the only acting subject) and quality. Here it achieves 'the highest phase' : " I vdrug stanovitsja tjazel / Kak by dostigsij vyssej fazy j Bessonyj zapax matiol".

This important

notion f r o m Hegelian dialectics will have further implications in the poem. Stanza I I I shows the music itself in terms o f movement and feelings:

MUSIC IN PASTERNAK'S POEMS

335

"Udar, drugoj, passaz ..." and "Sopeña traurnaja fraza / Vsplyvaet, kak bol'noj orel." In this and in the next stanza music only is represented by various symbols. All of them carry the significance of great dynamism. Each stanza is ended with a refrain. The refrain carries the idea of statics, immobility, indifference: "Nedviinyj Dnepr, nocnoj Podol". In stanzas III and IV this opposition is expressed directly, that is grammatically, by the adversative conjunction no. The idea has additional support in the preceding phrases: " N o glux, kak budto cto obrel, / Obryvy donizu obsarja, / Nedviznyj Dnepr, nocnoj Podol" (III), and " N o tixo s kruc polzet podzol, /1 glux, kak katorznik na Kare ..." In the second opposition, bottom vs. top, one pair is represented by two different categories: by the river Dnepr, whose mere topographic situation is the bottom, and — metaphorically — by the name of the Kiev section Podol, semantically connected with the word dol ('bottom'). Characteristically enough, two elements of the double opposition, the adjective nedviznyj and proper name Podol, are distributed in a reverse symmetry in the refrain, and thus create a semantic framework for each stanza. The idea of height is carried by the images of trees ("Nad parkom padajut topazy" — I; "Prisel" — letit ot vjaza ka vjazu ...", "Prisel" — stvolu lepecet stvol" — II), and by the church tower, merging with the trees in the landscape ("Net-net, kak kost' vzblesnet kostel"), by elemental phenomena in the sky ("... slepyx zarnic burlit kotel", "Razryvy tue ..." — I; "Potop zarnic, groza ν razgare ..." — II), and by such symbols as the eagle ('orel'), used consecutively in stanzas III and IV, and Icarus ("skazanje ob Ikare"). Music is connected with height and dynamism, but it finds no reaction, no answer from the bottom, from the low phenomena, which remain immobile or merely creeping ("... tixo s kruc polzet podzol"), dead, nocturnally dark and deaf (glux is repeated twice). All the symbols used in the poem are highly interesting for their specific connotation and contextual interconnections. The eagle represents loftiness and daring, both qualities being connected with music in general and with the specifically heroic tonality of Chopin's works. But it refers also to its national character where the eagle is an emblem of Poland. The adjective boFnoj, together with the modifier from the preceding line, traurnaja fraza, refers to the funeral motifs, motifs in minor of Chopin's music. But it also refers to the national mourning of partitioned Poland, expressed in his music. In this connection it is important to recall such expressions as 'Poland in mourning', 'wounded',

336

KRYSTYNA POMORSKA

'bleeding' or 'sick country', which became constant epithets in the Polish national tradition. "Katorznik na Kare", which forms a simile to the refrain, embodies the idea of someone spiritually dead, tied down, immobile, pushed to the very bottom of life. On the other hand, similarly to the symbol of the eagle, it evokes a national motif, where the Kara region stands for a notorious deportation area for the participants of Polish uprisings.2 Icarus stands near to the eagle, in both material and emotional aspects. But the particular interest of this image lies in the fact that it carries one of the genre characteristics of the poem. "Ballad" as a genre contains elements of tragedy and horror. "Skazan'e ob Ikare" is the tragic story of daring and death caused by too high strivings. Another important aspect of this image is that it corresponds to the opposition between high and low which proved to be the principle of the poem's composition. Like the eagle, music operates on high, where it finds an immediate and vivid reaction from the sky and nature. But down on the earth the elements are deaf and insensitive to it. So at this point, while unable to penetrate "Nedviznyj Dnepr, nocnoj Podol" — music finds its end. Similarly Icarus lived his lofty life in the sky but was smashed against the earth. There is one more dimension in the symbol of Icarus. Chopin's ballad is first presented as "polet orla" (stanza IV) and compared to a story: "Polet orla, kak xod rasskaza". The next simile, parallel to the first brings the modification of the word 'story' : now it is "skazan'e ob Ikare", a parable, a symbolic story. The parable tells about heroic daring, sacrifice and tragedy of the creative innovator. Such is the content of Chopin's music, and such is also its fate. The second poem about Chopin continues the same theme and repeats some of the symbols in a new variant. (I) OnHTL· UIoneH He HmeT β η γ ο α , H o , OKpturaacb Ha JieTy, OflHH npoKJiaabiBaeT BMXOA M3 BepoHTbH β npaBOTy.

(II) 3aflBOpKH C BMJIOMaHHMM Jia30M, XHÔapxH c naKJieft n o ôopraM. flea KJieHa β p a a , 3a TpeTbHM, pa30M — CoceflHeft PeÄTapcKoft KBapTaji. s Cf. words from the well-known mazurka of Polish political prisoners: "... sun wesolo, dalej wkolo, / Warszawo ι Karo."

MUSIC IN PASTERNAK'S POEMS (III) B e e t . fleHb BHHMaioT KjieHw ä c t h m . K o m a HC MW HOHbfO JiaMny ΗΟΚβΜ,

H JiHCTba, Kan αυιφβτκιι, MCTHM, KpomaTca ΟΓΗ6ΗΗΙ>ΙΜ AOACAEM. (IV) T o r f l a , HaCKB03b IipOKOJIOÔpOflHB

IÜTtncaMH 5ejiwx impaMHA, Β u i a T p a x KaiiiTaHOBtix HanpoTHB H 3 OKOH My3bnca rpeMHT. (V) ΓρβΜΗΤ n i o n e H , H3 OKOH rpjfflyB, A cHH3y, ΠΟΛ e r o 3 φ φ β κ τ Π ρ « Μ Η ΠΟΛΟΒΒΗΗΗΚΗ KAILITAHOB, H a 3Be3ÄM CMOTpHT IipOIIIJIblfi ΒΒΚ. (VI) K a K 6BIOT T o r A a Β e r o c o H a T e , K a i a a MaaTHHK r p o M a a , M a c w pa3T>e3flOB η 3aH»THñ H CHOB 6 e 3 CMepTH Η φ ε ρ Λ ω τ ! (VII) MTAK, oriHTb Η3-ΠΟΛ AXAUHÄ ΠΟΑ sKHnaxH napHacaH?

OiwTb 6excaTb H cnoTbiKaTbca, K a K 5KH3HH TpaCKHH AHJIHXCaHC? (VIII) O r m T b TpyÔHTb H raaTb, H 3B«KaTb, H , MHKOTb Β KpOBb ΠΟρΛ, — OIMTb

PoacaaTb PBWAHBE, HO He njiaKaTb, H e yMHpaTb, He yMHpaTb? (IX)

OnaTb Β cbipyK) H o i b Β M a j i b n o c T e Πρ0β3Α0Μ Β rocTH H3 rocTefl IloÄCJiyuiaTb neHbe Ha norocTe KoJiec H jTHCTbeB, η KOCTCH. (X) Β KOHue »c, KaK »ceHmHHa, o T n p a H y e H nyflOM c a e p a c H B a a n p b i T b B n o T b M a x npHCTaBüjHx r o p j i o n a H o e ,

PacnaTbeM φορτειπ»«Η 3acTbiTb?

338

KRYSTYNA POMORSKA

(XI) A BCK cnycT», Β caM03aiiwTe 3aaeB 3a öenbie uBeTbi, Pa3ÔHTb O IIJIHTbl 06me»CHTHH rijiHTy icpbrnaToft npaeoTW.

(XII) OlWTb? M, nOCBHTHB COUBeTbHM POHJIH ryjiKHH pHTyaji, BceM aeeaTHafluaTbiM cToneTbeM YnacTb Ha CTapwH TpoTyap.

In a contradistinction to the first poem, which was composed as a ballad, with repetitions and a refrain, containing only 5 stanzas, this one has a touch of the epic. Twelve stanzas of iambic tetrameter unfold the story of Chopin's life. While "Bailada" contained music symbolism, the second poem reveals the symbolic content of the artist's biography. It has a binary composition: the first 6 stanzas are devoted to music and its environment, the next — to the biography. Here again music is connected with trees : kleny (stanza III), satry kastannye (IN),podsvecniki kastanov (V) are the witnesses and perceivers of music. And again music is tied to flight and wings: the first and penultimate stanzas carry the expressions "okryljajas' na letu" and "krylataja pravota", referring to Chopin's art. Stanza VI forms a center where the first theme switches to the second. The content of the sonata being heard is described in terms of time in its various manifestations. The central metaphor is a clock : "Kak b'jut togda ν jego sonate, / Kacaja majatnik gromad, / Casy ..." But easy is at the same time used in its second meaning, as 'hours', which is obtained by adding to it several genitives as modifiers: "... easy razjezdov i zanjatij, / I snov bez smerti ..." Thus the first aspect of the metaphor refers to musical tones and/or chords, as measured by time in music, whereas the second one points to biographical events, measured by time in life. The last of the 4 modifiers — "easy . . fermât" — is of particular interest. Fermata is a specific time marker in music, which permits one to prolong and thus regulate a note value individually, according to the composer's or pianist's will. In this way the tempo rubato is created in a musical composition — a feature particularly characteristic for Chopin's works. On a figurative level fermata introduces the idea of the artist's individual time or, in other words, of his own control over time, in this particular context — both in music and life. Such is a basic idea expressed in Safe Conduct, a biography of an artist, in which time and events are to be

MUSIC IN PASTERNAK'S POEMS

339

measured by a specific measure, which has little to do with our common notion of it. The next 6 stanzas, which unfold events of Chopin's life, are marked by a consistent usage of the infinitive, whereas the first part had only present tense verbal forms. The infinitive in such a usage ("Itak ... opjat' ... bezaf i spotykat'sja ...") signifies both repetitiveness and the imperative character of the action. Each event of the artist's biography is thus endowed with an imperative character and a sense of reoccurrence — referring to Chopin's own life as well as to the lives of others similar to himself. By virtue of these features it already acquires its symbolic meaning. This repetitive character is further emphasized by the adverb opjat\ used twice in stanzas VIT and Vili, once in IX and once in the closing stanza. Furthermore, in stanza VII, which opens the biographical part, opjat'' is accompanied by the modal particle itak which suggests that such a repetition was expected. The adverb opjat' also opens the initial stanza, whose content is the meaning of art: disinterested sacrifice, discovery, the search for truth, lonely struggle: Onamb IUoneH He HmeT Bbirofl, Ho, OKpbiJiflflCb Ha jieTy, 0«HH npoKJiaflbieaeT β μ χ ο λ Hb BepoflTb« β npaBOTy.

All these elements are repeated, under various images, in the second part of the poem, and thus the parallel between Chopin's art and his biography is strongly emphasized, on both the grammatical and the lexical-symbolic level. The present tense of the first 6 stanzas shows the effect of his life hie et nunc. The infinitive of the second part accelerates its effect by projecting it into always and giving it the function of a categorical imperative. The first event of Chopin's life presented in the poem is his parting with his own country and going to Paris ("... iz-pod akacij / Pod èkipazi Parrêan ..."). The expression "pod èkipazi Parizan", being effective paronomastically, for it connects the city with its whole turbulent life, also carries a purely biographical reference: Chopin's real accident in Paris. But it is immediately switched into its larger meaning by the parallel phrase which contains the generalization of an event, thanks to a characteristic simile : ... OiMTb 6e»caTb h cnoTbncaTbca, KaK 3KH3HH TpaCKHH flHJIHHCaHC?

340

KRYSTYNA POMORSKA

Here we are already dealing with a symbolic meaning: a martyrology of the artist's everyday life. This aspect is further developed in the next stanza, where at the same time the idea of a sacrifice obviously appears: OraiTJb TpyÖHTh, h man», η 3βηκ&ή>, H, MHKOmb β Κροβb nopΛ, — OIMTb

PoMcdamb pudame, ho He nnaKaTb, He yMHpaTb ... Stanza X concludes this motif with the image of a crucifix: "raspjat'em fortep'jan zastyt'". To endow an image of the artist with Chrystological features, whose blood and suffering create immortal values, was very much in the style of the epoch, and especially widespread among the Russian Futurists. It is enough to recall Majakovskij who explicitly compared a lyrical hero of his poems "Oblako ν stanax" and "Pro èto" — to Christ. We find it also in Aseev's and Xlebnikov's writings. Pasternak yielded fully to this concept in Doctor ¿ivago, where a parallel between the life of an artist and Jesus is not only expressed symbolically but is given a direct and profound intellectual interpretation. The last two stanzas retain the same basic double meaning of their metaphors: one aspect referring to the real fact of life, the other containing a larger, figurative, interpretation. In stanza IX the expression "... razbit' o plity obscezitij / Plitu krylatoj pravoty" — refers to the musical sounds falling down from the windows (cf. "Gremii Sopen iz okon grjanuv, / A snizu pod jego effect ... / Na zvezdy smotrit proslyj vek.") and echoing between the walls of Kiev's poor housing section (cf. stanza II where the section is described as "zadvorki s vylomannym lazom ..." etc.). For this reason the houses are called obscezitija, that is large and dull apartment houses. On the figurative level, however, this expression carries the idea of a struggle between art, which equals truth and to which the poet referred in stanza I ("... Sopen ... odin prokladyvaet vyxod / Iz verojat'ja ν pravotu), — and everyday life, dull and tough, which does not accept and does not even perceive art. Here "obscezitie" acquires its particular, one can almost say etymological meaning: 'common life' (or places where common people live the common life). Music is the artist's self-defense ("samozascita") from this kind of life, as is the case of every artist. Such is the meaning of the title Pasternak gave to his autobiography, Oxrannaja gramota, the content of which is: 'life as art'. The last stanza offers a variation of the same idea with similar means of expression. The music with its sacred meaning is offered to Nature

MUSIC IN PASTERNAK'S POEMS

341

herself: "... posvjativ socvet'jam / Rojalja gulkij ritual ...". Otherwise it is smashed against the pavement — a continuation of the same struggle mentioned in a previous stanza. The image of downfall from a window onto the pavement echoes a real event: the destruction of Chopin's grand piano which was thrown down from the window of his apartment in Warsaw during the uprising of 1831. The first version of a poem (printed in Krasnaja Nov\ 1931) confirms such an interpretation. Its last stanza, later omitted, reads as follows: Bceii lepHoK κρΜπικοή bhh3 C ruioma/iKH, BceM 3THM TpeTbHM 3Ta>KOM — Bo λβορ, jionaTKaMH Β Hana/ncH, Korjja MM Β aoMe jiaMny acaceM! This same fact was interpreted as a symbolic gesture by C. K. Norwid, in his famous poem "Fortepian Chopina". For a Polish poet this fatal event signifies that any ideal must "reach the pavement" ("Ideal siçgn^l bruku") — in accordance with the spirit of Hegel's dialectics. Pasternak's poem provides a similar idea, though without the Hegelian scheme. In this stanza the artist's life, his music and the piano — the instrument of art and the tool of life — merge together. The two poems develop basically the same idea : the opposition between art and commonness. In "Bailada" commonness was represented by a lower part of the universe and by its static elements. The second poem accelerates the idea, offering not just an opposition of the two, but a conflict between them. Furthermore, it shows art as sacrifice and the artist's life as an ordeal. Such an idea seems to permeate the whole volume Vtoroe rozdenie. It is expressed explicitly in the well-known poem without a title : O, 3Han 6BI a, HTO TaK ÔBieaeT, Korfla nycKaJica Ha Λβ6κ>τ Hto CTpoiKH c κροΒί,κ) — yÖHBaioT, HaxJiMHyT ropjiOM H yôbioT! Οτ uiyTOK c 3TOH noflomieKOií Λ 6 OTKa3ajicH HaoTpe3. Habano 6BIJIO TAK AAJIEKO, Tax ρο6οκ nepBbift Hirrepec. Ho CTAPOCTB — STO ΡΗΜ, κοτορΒίή B3aMeH TypycoB Η KOJiec He HHTKH TpeöyeT c aKTepa, A nojiHoä rHÔeJiH Bcepbe3.

342

KRYSTYNA POMORSKA

Korfla CTHXH flHKTyeT nyBCTBO, OHO Ha CUEHY inner paöa, M TyT KOHHaeTca HCKyccTBO, M flBimaT noκετ KOJie-

ö a T b c a β oHeHb ι π π ρ ο κ Η χ n p e A e j i a x . Ü3

npHMepHO

jiHineHbi

700

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CTHXOTBOpeHHH h

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npeACTaBjiaiOT

co6oh

OKOJIO

CBoero

400

pofla

BOBCe 'cthxh-

ε τ ρ ο φ ο Κ Α Η ' CaMOH pa3JIHMHOH AJIHHbl, ΠρΗΜβΜ 9 0 H3 HHX COßepHCaT MeHbiue mecTH ο τ ρ ο κ . H 3 o c T a B u i H x c a 3 0 0 c r a x o T B o p e H H H o k o j i o «BJIHÏOTCa

ςΤροφΗΗεΟΚΗΜΗ,

a

OKOJIO

80

T.H.

220

'HHTepBaJIbHblMH'.

H 3 B e c T H o , MTo ο τ ρ ο φ Η Η Η ο ο τ Β CTHxa n o f l p a 3 y M e B a e T He TOJibKo p e r y j i a p Hoe Γρ3φΗΜεοκοε XapaKTepHO,

μτο

MjieHeHHe, h o h p e r y j i a p H y i o β

ôojibiiiHHCTBe

CHCTeMy

HHTepBajibHbix

ρηΦμοβκη.2

cthxob

cHCTeMa

Ρ η Φ μ ο β κ η H e p e r y j i a p H a a , n e p e M e H H a a ( j i n u i b o k o j i o 2 0 HHTepBajibHbix CTHXOTBOpeHHH HMejOT CTaÔHJIbHyiO CHCTeMy ρΗφΜΟΒΚΗ —

napHyio;

JHOÔOnblTHO, MTO ΠΟΜΤΗ BCe OHH HanHCaHbl UieCTHCTOnHblM

hm6om).

Ee3HHTepBajibHbie c t h x h , o6i>eM κ ο τ ο ρ κ χ npeBbiuiaeT HeTBepocTHiime, TaKxce ΗΜβιοτ, β o c h o b h o m , n e p e M e H H y i o CHCTeMy ρ η Φ μ ο β κ η . M b i HauiJiH o k o j i o 2 9 0 H e p e r y j i a p H b i x H H T e p e a j i o B β C T H X o T B o p e H H a x cτpoφy'. Ύ 3 ο ρ ' xapaxTepeH jimuh. a n a cthxob, coctohluhx h3 pa3H0CT0nm.ix οτροκ' η »BJiseTca CTporo k^hohm3hpob3hhum * neM Mem>ine CTon β ετροκβ, τεΜ 'npaeee' oHa HaiHHaeTC«; Haiana paBHOCTomaix c t h x o b jieacaT Ha ο λ η ο μ ypoBHe (cm· HanpHMep, "BocnoMHHaHHa β UapcKOM cejie"). 8 Π ο npH3HaKy peryjwpHOCTH CHCTCMBI ρ η Φ μ ο β κ η HexoTopwe 6e3HHTepBajibHbie CTHXH MoryT 6biTb HHTcpnpeTHpoBaHL·! KaK οτροφΗΗβοκκβ (KaK 3TO flejiaeT Ε. M. Äpxo). Β τ ο ace BpeMfl MOÎKHO yica3aTb CTHXH, npHHHCJiaeMBie κ οτροφϋπεοκΜΜ, χοτη, πρΗ nOCTOHHHOM θ6τ.βΜβ paCHJieHeHHblX HHTCpBaJiaMH OTpe3KOB, BHyTpH HHX He COÖJIIOAaeTC« nocToaHCTBo cHcreMbi ρ η Φ μ ο β κ η (Taxoro p o a a CTHXOTBOPCHHH μ η ο γ ο y JlepMOHTOBa).

OCOBEHHOCTH nyiHKHHCKHX CTHXOB

353

(cpeflH npHMepHO 80 ΗεετροφΗΗεΟΚΗΧ 'nHT8pBajIbHblx' TeKCTOB) Η OKOJIO 4 0 0 HHTepeajioB cpeflH 14 πο3Μ h cicasoK (ecero πο3Μ h CKa30K 22, h3 HHX 4 — ",ΖΙ,ΟΜΗΚ Β KojIOMHe", "E3epCKHÍÍ", "ΕΒΓβΗΗΗ OHerHH" Η "ÎKeHHx" — HanHcaHbi cτpoφaMH, "CKa3Ka o MeflBeflHxe" h "CKa3Ka o ptiöaKe h pbiÔKe" — ΗερΗφΜ0Β3ΗΜ ; "UbiraHbi", BBH^y cjioxcHoro AHajiorHMecKoro HjieHeHH«, MM He paccMaTpHBaeM). 3 ECJIH Β CTHXOTBOpHOM TeKCTe C nepeMeHHOH CHCTeMOH ρπφΜΟΒΚΗ HMeeTCfl Γρ3φπΗεοκοε

HHTepBajibHoe

HjieHemie,

το

MOXCHO

npea-

nojioacHTb, HTo Β KaKHX-To ynacTicax HHTepeajiM 6yflyT pa3pbiBaTb CHCTEMY ρΗφΜΟΒΚΗ. Β caMOM AEJIE, y llyiiiKHHa MM CRAJIKHBAEMCA C »BJieHHeM 'pHφM0BaHH0Γ0 HHTepeajia' ( P H ) .

4.

ΡΗΦΜΟΒΑΗΗΜΜ HHTEPBAJI

HaHÔojiee aeMOHCTpaTHBHo »BjieHHe P H ΒΜΠΜ,ΖΙΗΤ Ha npHMepe CTHXOB He c nepeMeHHOH, a co CTaÖHJibHOH CHCTCMOH ΡΗΦΜΟΒΚΗ —

TaM

HHTepBaji KaK 6bi l pa3pbiBaeT' pHφMy : ... M be cepflue xnaaHoe, npe3peBiiiee xapwT, Teoe yHbrnne H cjie3bi yicopHT? Κ τ ο β rpyöofi ropaocTH προπτβτ 6e3 yMHJieHba Chh 3JierHH, nocjieflHHe TBopeHbH, Tfle ΤΗ CBOH TiueTHbiñ CTOH noTOMCTBy nepeda.il CypoBbiii cJiaBSHHH, a cjie3 He npoAueaA, H o nOHHMaiO HX. H3rHaHHHK CaMOBOJlbHblH, H CBeTOM, Η Co6oñ, Η 5KH3HbK> HeAOBOJIbHblH, C flymoñ 3aayMMHBOñ, Λ rnrae noceTHJi CTpaHy, r a e rpycTHbrft Ββκ ΤΗ HeKor^a BJiasHJi ... (T. 2, CTp. 68-69, H3 CTHXOTBOpeHHH " K ΟΒΗΛΗΙΟ" — "ΟΒΗΛΗΗ, λ acHBy 6JIH3 ΤΗΧΗΧ 6eperoB".) 4 Β CTHXoTBopeHHax c nepeMeHHOH CHCTCMOH ρ η Φ μ ο β κ η yaajieHHe oßHoro H3 pasAeJieHHbix p p j οτρε3κοΒ TeKCTa HapymaeT pHφMy β

flpyroM

oTpe3Ke : * Πρκ oTbicxaHHH HHTepeajioB ΜΗ noJiHOCTbK) floeepajiH TeKCTOJioraM Η He cBepaJlHCb C pa3JIH coöpauuio cotunenuH A. C. ITyinKHHa Β ΙΟ-M TOMax, H3flaHHe 2-oe, H3flaTeJibCTBo AKaaeMHH HayK CCCP.

354

Α. Β. ΠΡΟΧΟΡΟΒ Η Κ). JI. ΦΡΕΗ^ΗΗ . . . H o Μ03ΚΗ0 Jib p e 3 B O M y n 0 3 T y

HeBOJu>HHKy Meubi Mua^oii, Β KapTMHKe òbicrpoH H » H B O H M3o6pa3HTi> Β nopaflKe CBeTy B e e ΤΟ, ΗΤΟ Β IOHOCTH 3 J i a T O f t B o o ö p a a c e H H e ΜΗβ

καοκεηΡ.

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CTHxoTBopeHHHx nyuiKHHa

MM

oÖHapyxcHJiH

(cpeflH npHMepHO 30 np0H3Be,aeHHH, OKOJIO

OKOJIO

4 5 cjiynaee P H

ocHOBHaa nacTb κ ο τ ο ρ ω χ

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KOJIHHCCTBO

—

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HHTEPBAJIOB)

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4 4 (H3

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17 β "PycjiaHe

Η

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355

OCOEEHHOCTH n y i I I K H H C K H X C T H X O B KaK

B H f l H O H3 y a c e n p H B e ^ e H H t i x a a H H b i x , ö o j i b u i a a

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Ha

paHHHH

περκο,α

TBopnecTBa

IlyiiiKHHa

P H

πρκ-

(1813-1821

lacTb

it.).

Β Ο 3 Μ 0 5 Κ Η Ο , 3 T O CBH3aHO C T e M , HTO Β Ô O J i e e n 0 3 f l H H e n e p H O A M TejibHO

B03pacTaex

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"Α,ΟΜΗΚ

pojib Β

CTHxoTBopeHHax). 3 τ ο O

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CO

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h y

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CBOerO

TCKCTOB

("ΕΒΓΒΗΗΗ

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ranoTe3bi,

Η Β

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flejie,

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Mbi

HaxoflHM

JlepMOHTOBa,

y

'οτροφκ-

.HepxcaBHHa,

3a6ojiouKoro.

ΠΟ-ΒΗΑΗ-

M O M y , c n w c o K 3 T H M He H c i e p r i b i B a e T C H .

5.

Πο

rany

(1)

ΤΗΠΜ

Η ΦΥΗΚΙ^ΜΛ

pa3pbiBa ρ κ φ Μ Μ P H

PH,

pa3pbiBaK>mnH

ΡΗΦΜΟΒΑΗΗΜΧ

MHTEPBAJI08

m o h c h o p a 3 A e j i H T b Ha :

napuyio

pHφMy

β

AByHjienHoft

CHCTeMe

β HeTbipexMjieHHOH

onoacbi-

ρπφΜΟΒΚΗ :

a-a (2)

PH,

pa3pbiBaK>mHH

B a i o m e ñ CHCTeMe

napHyio

ρκφλ^

ρηΦμοβκη: αβ-βα

(3)

PH,

pa3pbiBaK>mnH

nonojiaM

ρκφΜΜ

β

neTbipexHJieHHOH

nepe-

KpecTHOH CHCTeMe: αβ-αβ (4)

PH,

HepaBHOMepHo

pa3pbiBaiomHH

CHCTeMy

leTbipexHjieHHOH

ρκφΜΗ : α-ββα,

α-βαβ,

βαα-β,

αβα-β

M M He ö y a e M o c T a H a B J i H B a T b c a 3 f l e c b H a a p y r a x T H n a x p a 3 p b i B a ρ κ φ Μ Μ , T e M 6 o J i e e m t o öoJibiHHHCTBo Hx JierKO CBecTH κ y a c e O c o 6 o BbiflejiHM c j i y n a w (5)

Kor/ia

nepeHHCJieHHbiM.

Tuna

oiptiBaeMaa

pHφMa

sBJiaeTCH

KaK 6 b i

bomhoh' : α-αβαβ,

αββα-α

HanpHMcp: ... Ä » c e n a n 6 b i . . . a a ΗΟΓΟΙΟ M o p a He n e p e i n a r a y T b ,

'jiMumeS',

'floôa-

Α. Β. ΠΡΟΧΟΡΟΒ Η Κ). J1. ΦΡΕΗ^ΗΗ

356

Η , XOTb ΠΟ yillH BJIfOÖJieHHtlH, H o c T060KJ pa3JiyHeHHbiií, Beeil Hafleacflbi a jiuiueu. H o , HaTajibJi! t m He 3Haeiiib, KTO TBoft HeìKHiift CeAadoH, T u eme He noHHMaeim>, O n e r o He CMeeT OH M Haae«Tbca? — H a T a j i b » ! Bbicjiymañ eme MCHH : H e BJiaaeTejib a Cepa na, H e apan, He TypoK Λ ... ( τ . 1, CTp. 13, H3 CTHxoTBopeHHH " K H a T a n b e " — " T a x H MHe y3HaTb c j i y u i j i o c b . . . " ; BCJiea 3a P H rana

5 Β 3ΤΟΜ »ce npaMepe cneayeT P H rana 3)

CjioacHee OÖCTOHT a e j i o C pemeHHeM B o n p o c a Ο ΦΥΗΚΙΪΗΗ ΡΗΦΜΟΒΗΗΗΜΧ HHTepBajioB. C ο λ η ο η CTopoHbi, oMeBHflHo, Η τ ο ριιφΜ& 'npeoflOJieBaeT' HHTepBaJi, cBH3biBafl, coeflHHaa Mepe3 n p o ö e j i .gee pasaejieHHbie HHTepB a j i o M n a c r a TeKCTa. C a p y r o ñ cTopoHbi, ΟΤΗΙΟΛΒ He acHa p o j i b T a K o r o 'coeflHHeHHa i e p e 3 HHTepBaJi'. H a M noKa He y a a j i o c b ΒΗΗΒΗΤΙ> ΟΠΕΙΊΗΦΗHeCKyiO CK)5KeTH0-K0Mn03HUH0HHyK> p o j i b P H . K a K Η ΗερΗφΜΟΒΕΗΗΜΗ HHTepBaJi, P H

n a c T o noHBJiaeTca π ρ κ

nepexoae

οτ

npaMoñ

penn

κ

aBTopcKOH, Β flHajiore, π ρ κ nepeMeHe TeMbi HJIH njiaHa noBecTBOBaHHa. P H nacTo

flHHaMH3HpyeT

CMemeHHe, ycwjiHBaeT e r o 3 φ φ ε κ τ . H a

B3rjiHA, P H MoaceT 6BITB cpaBHeH n o STO MY npH3Haicy C

Ham

enjambements,

'TOHKaMH BHyTpH CTHXa'. 5

6.

Ρ Μ Φ Μ Ε Η Η Ο - C M H T A K C H H E C K O E HJIEHEHME n y n i K H H C K H X CTHXOB

Β caMOM a e j i e , ecjiH e n j a m b e m e n t s o 6 p a m a i o T Ha ce6a BHHMaHHe, KaK ynacTKH HecoBna^eHHa CTpoMHoro ( Μ ε τ ρ Μ Η ε ο κ ο Γ ο ) Η CHHTaxcHHecKoro HJieHeHHa CTHxa, τ ο ρκφΜΟΒΒΗΗΗε HHTepBajibi HBJiaiOTca pe3yjibTaTOM HeCOBnaaeHHH τ ρ ε χ 'ceTOK' — MecKOH. 3 τ ο

CHHTaKCHHeCKOH, ρκφΜεΗΗΟΗ Η Γ ρ α φ Η -

CBoero p o n a ρ κ φ Μ ε Η Η Μ ε e n j a m b e m e n t s , npwHeM

ι^φκ-

HecKHH HHTepBaJi HrpaeT 3flecb BTopocTeneHHyio p o j i b , xaK n r p a j i a 6 w ee 'jieceHKa' Β c j i y i a e ΗΟΤΗΗΗΟΓΟ e n j a m b e m e n t . 6 Ha enjambements y riymKHHa oöparaji BHHMAHHE C. SFIAEHIUTEFIH. CM. ero CTATBIO " O CTpoeHHH eemeñ" — C. M . 3ñ3eHiHTefiH, Coôpanue u3ÖpaHHbix npouieedeuuü β 6-u mo Max, "HcKyccTBo" (Mocxea, 1964), τ. 3, crp. 54-55. • Ocoöo cJiejiyeT paccMarpHBaTb cjiyiaH, Koraa MHCJIO 'neceHox' npeetimaeT HHCJIO enjambements, KaK STO ΗΜββτ Meere y MarntOBCKoro, rae 'JieceHKa' BbinoJiHsieT 6

OCOBEHHOCTH fiyUiKHHCKHX CTHXOB

357

ΗΕΟΤΡΟΦΗΜΕΟΚΗΒ CTHXH r i y u i K H H a o n e H b n a c T o C T p o a T c a HMCHHO Ha HECOBNAAEHHH CHHTAKCHIECKORO Η Ρ Κ Φ Μ Ε Η Η Ο Γ Ο 4JIEHEHH», Β PE3YJN>TATE nero

B03HHKaeT

6jiaro/iaTHaa

nonea

λjih

n p H B e f l e M nojiHbiH TeKCT c T n x o T B o p e H n a

PH. "Β

Β

KanecTBe

npHMepa

a j i b ô o M MjiJiHHeBCKOMy"

( τ . 1 , CTp. 2 6 3 ) :

M O H Ä P Y R ! HecjiaBHbiìi H ΠΟ3Τ, X o T b xpHCTHaHHH npaBOcnaBHbift. / l y i i i a 6eccMepTHa, cjioBa Ηβτ, M O H M cTHxaM YFLEJI HepaBHbiä

—

H necHH My3bi cBoeHpaeHoö, 3a6aBbi pesBbix, IOHHX jieT, IlorHÔHyT CMEPTHK) 3a6aBHOË,

H Hac He τροΗβτ 3fleuiHnñ ceer! Α Χ , BeaaeT MOÍÍ FLOßPWÄ retrae, Η τ ο n p e f l n o i e n 6bi β cKOpeft

BeccMepTHK) aymu Moeñ BeccMepTHe CBOHX τ Β ο ρ ε κ Η ϋ . H e BJiacTHH M M Β c y f l b ö e CBoeñ, Π ο KpañHeñ Mepe, Ηετ coMHeHb«, C e f t n j i o f l Heöpe»cHbiH BfloxHOBeHb«, Be3 noflnHCH, Β TBOHX p y x a x , H a cKpoMHbix a p y » e c T B a jincTicax Y Ä f l e T OT o ô m e r o 3a6eeHbsi ... H o n y c T b HanpaceH δγ/ιετ T p y « , TBOeiO flpyÄÖOÜ OHCHBJieHHblH M O H CTHXH nycKaË y M p y T

—

—

F j i a c c e p f l u a , nyBCTBa ΗβΗ3ΜβΗΗΗ H a e e p H o HX π β ρ ε « Η Β Γ Τ !

I l e p B o e BocbMHCTHiime /lejiMTca ρ κ φ Μ Ο Η Ha a e e 3 e p K a j i b H o οΗΜΜετρΗΗHbie HaCTH ( Μ Η

ΠΡΗΒΟΛΗΜ

HX CO 3 H 3 K A M H npeilHHaHHH, CTOHlilHMH

Β

KOHiie K a » f l o í i H3 ο τ ρ ο κ ) :

α,Α,.α,Α-Α,α,Α,α! CHHTaKCHHeCKM 3TO BOCbMHCTHIHHe AejTHTCH Ha a B e φ ρ Η 3 Η ( 2 CTpOKH Η 6 c T p o K ) , npHweM B T o p a a φ p a 3 a C O C T O H T H3 ß ß y x l a c T e ñ ( 2 ο τ ρ ο κ » 4

cTpoKH).

TaKHM

06pa30M,

Ha p H φ M e H H y κ )

c e T K y (4 + 4 )

+

HaKJiaAbi-

B a e T c a ö o j i e e tviejiKaa CHHTaKCHHecKaa ( 2 -h 2 - f 4 ) , β CHJiy n e r o ρκφινιεΗφ>ΉκυΜΐο aBTopcKoro HHTOHauHOHHoro HJieHeHHH, pe3KO He coena^aiomero c o6menpHHHTblM. CxOÄHblM ΙφΗΜβρΟΜ HBJIHeTCa Tupe y I^BeTaeBOit. JIlOÔOtliJTHO, ΤΓΟ o6a no3Ta oco3HaBajra STOT aKT.

358

Α . Β. ΠΡΟΧΟΡΟΒ Μ Κ). JI. ΦΡΕΗ/ΙΗΗ

H o e Η CMHTaKCHHecKoe HjieHeHH» c o B n a a a i o T He n o j m o c T b i o . ECJIH 6 H Ha 3TO

BOCtMHCTHIHHe

HajIOXCHJIC« Γρ2φΗΗεθΚΗΗ

HHTepBaJl

(ero

M03KH0

n p e a n o j i o a c H T b n o c j i e Β τ ο ρ ο ί ί σ τ ρ ο κ π ) , τ ο STO 6HJI 6bi P H . H o rpa ρ P. O . ÜKOÖCOH, yica3aB, HTO BO 2-H σ τ ρ ο φ έ e r o , noBHflHMOMy, 331ΙΙΗφρ0Β3Η0 HM»

XapOH

(yCJIblXflTb, MeXiï, CT/JßXa). CnpaBeflJIHBOCTb

3 Τ Ο Γ Ο 3aMenaHna noaTBepjKaaeTC« H C T O H H H K O M o 6 p a 3 a

AOÒKU: ... mihi

cumba

volenti /

solvitur

(Prop.

Eleg.

HenpuKpenAemoü

L i b . I V . xi. 69-70).

MaHflejibuiTaM B o o ô m e o i e H b nacTo HacbimaeT CBOH TCKCTH aHarpaMM3MH KJiioMeBoro no CMbicjiy c j i o B a : Β CHJiy CBoeñ B03BpaTH0cra T a x a » aHarpaMMa HecëT /

CTaHOBHTCfl 3ByKOBbIM ΠΟΒΤΟρΟΜ ( " H

Γορκαχναι

Aieji H

zpvifytiib κορΜκτ")

H0Hb-/C0/»IXiyHHHUa

HJIH napoHOMa3Heñ ( " H e e a

—

jiencan naymuna pe3b6w, onyThieaiomafl ero CBoeñ ceTbio, o6ßHBaioiiian ero ο τ noAHOXcHH A O KOHiia iiimiua η yjieTaiomaH c HHM H a He6o ... T«»ecTb h jiencocTt ..." (ΠΟΛΗ. co6p. con. VIII [MocKBa, 1952], 57). O KeJibHCKOM coôope: "... HTOÖH ryiue, KaK cmpeAbi, KaK ΤΟΠΟΠΗ, KaK COCHM ... ôecHHCneHHtie yroJibHwe CTOJIÔH" (maM otee, 65). Haaaaee: "... roTHiecKaa 6 a i m w ... 3 τ ο , MHHTCH, — cHJibHae η npexpacBan MfaicJTb, ΟΑΗΗΟΚΟ peyiuanc» κ HeôecaM, He o ö t w e H H a H 3 e M H a a Hfle», a HyaecHoe OTKpoBeHHe, 6e3 ΠΡΗΗΗΗΜ h saaaTKOB H a 3eMJie, yenexaromee eac h3 3ΤΟΓΟ MHpa η nepeHOCHmee β n y m i H ü Μ κ ρ " ( M . T e p m e H a o H , 77. H. Vaaàaee [CamcTneTepôypr, 1908], 276). O "cTpejibMaTbix ô a m H d x " "roranecKoa MbicjiH" MaHflenbiiiTaM ΓΟΒΟΡΗΤ h Β cTaTbe " Π β τ ρ Maa^aee". üyMaeTca, HMCHHO H a a ^ a e e h Torojib noBJiminH H a apxHTeKTypHyio TeMaTHKy ManaenbiiiTaMa h H a ero TpaxTOBicy cpeAHeeeKOBoro HcxyccTBa. • 3 t o CTHxoTBopeHHe h KOHMI 4-8 rnaebi " Y T p a aKineasMa" ( " X o p o m a » CTpejia roTHiecKOH KOJIOKOJIBHH — 3Jia», — n o T O M y MTo Becb ee CMMCJI yxonoTb He6o, nanpeKHyTb ero τβΜ, mto ο η ο nycTo") — KJHOI κ ρ 3 « ι ™ φ ρ ο Β κ β jio3AHeämero (1933) BocbMHCTHiuHH MaHAeJibtuTaMa "KorAa, yHHMToacHB Haöpocox".

370

OMPH POHEH

Kan B3/iy Bina »est OaHaKo,

eena").7

s t o jiHuib o/iHa p a 3 H 0 B H ^ H 0 C T b noBTopa β apceHajie M a H -

aejibiuTaMa. OnepHpya ceMaHTHKoft cjioea β ee n03THHecK0H φγΗκιΐΗΗ, MaHflejibiiiTaM noJib3yeTC« npneMaMH B03epaTH0CTH

β c a M O M πικροκοΜ

3ΤΟΓΟ ΠΟΗΛΤΗ». Yxce ThIHHHOB (1929, 572) OTMeTHJI B 0 3 B p a -

3HaHeHHH

meHHe onpe/iejieHHbix ' K J i r o n e B b i x ' cjiob y MaimeJibiirraMa β npeaejiax oflHoro CTHxoTBopeHHH, conpoBOHcaaiomeecfl tohkhmh ceMaHTHHecKHMH xoflaMH h

'npHBoaamee β ko H u e kohuob κ HOBOMy c M b i c j i y ' . Hhhmh

CJTOB3MH,

pacmHφpOBKa

HeKOTOpblX

B03BpaTHbIX

JieKCHKO-CeMaHTH-

n e c K H x e^HHHU y M a H f l e j i b i n T a M a 3aBHCHT ο τ h x M e c T a η φ y H κ ^ m ^ β

CHCTeMe nOBTOpOB, Η OT CaMOH CHCTeMbI, B3HTOH Β UejIOM, npHMeM oco6yio p o j i b H r p a e T , c oahoh C T o p o H b i , 'πο33ηη r p a M M a T H K n ' , 8

c

ApyroH,

noflTeKCT (cm.: TapaHOBCKHÌi, 1967, 1990). JleKCHKo-ceMaHTH-

necKHH

noBTop, p a 3 y M e e T c a , ιιικροκο p a c n p o c T p a H e H H o e HBJieHHe, ho

e r o HCKjiioHHTejibHO

ôojibuioH B e c β πο33ηη M a H / i e j i b u i T a M a c j i e f l C T B H e ,

β n e p B y i o o w e p e / i b , hoboíí cthjihcthhcckoh η c e M a H T H i e c K O H φyHK^HH npHeMa, npHHUHniiajibHo otjihhhoh o t ero φyHκ^nn y chmbojihctob 9 h npHÓJiHXcaiomeiícfl, TaM rae HMeeT MecTo naponoMa3HH, κ ero φyHK^Hn y φyτypHcτoB: cm. npHMepw oSbirpbiBamiH ομοηημοβ β "1 »HBapa 1924" (nô/ioKo), opraHHHecKoíí napoHoMa3HH β "Γριιφε.τπ>Η0Η (cMHeif,

c/ioeHbe,

noflKOBy" {3pa,

npocAoüxa Heepa,

oae"

h t . a . ) , HeopraHHHecKoñ β "HaiiieauieM

ccßepa.

—

HaÔjnoaeHHe C. Bpoñaa) h " H a

KaMeHHbix oTporax ΠπερΗκ" ( C a ç f i o , cano)κοκ). B03BpaTH0CTb οπορΗΜχ cjiob, CHHTarM, a HHoraa m uejibix npezuioÎKeHHH He OrpaHHHHBaeTCH OTfleJIbHblMH CTHXOTBOpeHHHMH HJIH OHeHb xapaKTepHbiMH

juin

MaH^ejibiirraMa

npoH3BeaeHHHMH-6jiH3HeuaMn

(TapaHOBCKHH, 1969, 167; 'BapwaHTaMH' hx h h or/ia Ha3biBaeT caM πο3τ). OÔHJiHe TaKHX eapnaHTOB β TBopnecTBe MaH/iejiburraMa CBHflexeJibCTByeT, μ.π., o tom, mto nosT nepeHocHT npHHUHn noBTopa h β oÔJiacTb cTHxoTBopHoro 'ciosceTa'. Bee TBopiecTBo MaH/iejibuiTaMa npoHH3aHo ' Cp. KOMMCHTcipHH Bhh. Bc. HeaHoea κ KHure Jl. C. BwroTCKoro, JIcuxoAoeun ucKyccmea (MocKea, 1968), 513-514, β κ ο τ ο ρ ο Μ uHTHpyeTca cthxotbopchhc Maiwejn.IUTaMa "BopOHeXc", KaK ΠρΗΜβρ 3ByKOBOH HHCTpyMeHTOBKH, 3ajjaHHOH KJlIOHCBblM CJIOBOM, Ha3BaHHblM Β CaMOM T6KCTC. ΠρΗΒβΛβΜ CTpOy H3 CTHXOTBOpCHHH MaHHeJIbuiTaMa "riocox", β κοτοροΜ KJiroieBoe cjiobo ("nuAuepuM") He Ha3Bauo ; "CHer pacTaeT Ha yrecax, / CojiHijeM hcthhm najiHM, / npaB Hapofl, BpyHHBiuHft nocox, / MHe, yBHfleeiueMy PHM!" ' Cm. ocHOBonoJioxuibie paöoTbi P. O. ^Koöcoaa β stoh oÔJiac™, κοτορΜβ ôyayT co6paHbi β 3-m τοΜβ ero Selected Writings (Mouton, The Hague). " Cp. : TapaHOBCKHfi (1967), 1990, h JleBHH (1969), 118. Ann jieKCHKoceMaHTHnecKHX noBTopoB y chmbojihctob xapaKTepHa 0aH03Ha™0CTL·: cm., Hanp., nocTpoeHHoe Ha TaKHX noBTopax cthx. EjiOKa "IlnaieT ρεδβΗοκ".

371

Π03ΤΗΚΑ OCHIÏA MAHflEJIbUITAMA

IienOHKaMH JI8KCHKO-CeMaHTHH8CKHX ΠΟΒΤΟρΟΒ, 10 CBH3i>IBai01HHMH npOH3Be/jeHH« p a 3 H W X

HCaHpOB H ΠερΗΟΛΟΒ, CTHXH H n p 0 3 y ,

coHHHeHHH H περεΒΟΑΜ,

H co3flaiomHMH T a K y i o ceTb

OpHrHHaJIbHbie ΜοκτεκοτοΒΜχ

cBH3eíí, Ητο npeACTaBjiaeTCH ΒΟ3ΜΟ)ΚΗΙ>ΙΜ h u e j i e c o o 6 p a 3 H b i M p a c c M a TpHBaTb

HacjieflHe

MaH^ejibiiiTaMa

KaK

eflHHyio

CTpyKTypy.

Pac-

1ΙΙΗφρθΒΚ3 CMbICJia ΜΗΟΓΗΧ 'KJIIOHeBblx' JI8KCHK0-C8MaHTHH8CKHX ejIHHHU Β

cocTaBHbix

MacTHX 3TOH CTpyKTypbi

noAHOZo KonmeKcma,

T.e.

HeB03M0>KHa

coBoicynHOCTH

cjiynaeB

6e3

aHajiH3a HX

aaHHoro

CJIOBO-

ynoTpeÔJieHH» y M a H ^ e j i b u i T a M a . Β n p o u e c c e ρ 3 0 ΐ π κ φ ρ ο Β Κ Η κ ο Η τ ε κ ε τ , Β TaKOM e r o ΠΟΗΗΜ3ΗΗΗ, MONCHO οτονκ/iecTBjiHTb c napaanrMaTHHecKHM njiaHOM, a BbiôupaeMoe Β HCM πο3ΤΗΗεοκοε BhicKa3biBaHHe, oÔHapyxcHBaiomee

HaH6ojibiiiyio

aBTOpeMHHHCUeHUHH xpoHOJTorHHecKoro

oSmHocTb

c

HCCJie/iyeMbiM

HJ1H CaM03aHMCTB0BaHHe OTHOIIKHHA

Meatfly

—

Β3ΗΤΗΜΗ

('CBOÍÍ

πο,ατεκοτ',

Β 3aBHCHMOCTH TeKCTaMH),

—

OT c

njiaHOM cHHTarMaTHiecKHM ( c p . : JTeBHH, 1969, 107, 1 1 5 CJI.). K p o M e BHyTpHTeKCTOBoro Η MOKTCKCTOBOro n o B T o p a , M a n a e a b i i i T a w y n o T p e ö j r a e T e m e ΟΛΗΗ, 6 o j i e e CJIOJKHMH n p n e M BOBJieHeHHH ceMaHTHKH CJIOBa Β n03THHeCKHH pWnpjIMblX Η 3aUJ^pOBaHHbíX

3 Τ 0 Τ n p a e M nOCTpoeH Ha HCn0JIb30BaHHH UHTaT, peMHHHCUeHUHH Η Τ. Π. H3 HyHCHX

npoH3BeaeHHH (TapaHOBCKHií, 1 9 6 7 , 1 9 7 3 CJI.), κ ο τ ο ρ ο ε BocnpHHHMaeTcst H CaMHM Π03Τ0Μ H 'n03THHeCKH rpâMOTHblM HHTaTejieM' KaK ΠΟΒΤΟρ, KaK

ycTaHOBKa

Ha

B03BpaTH0CTb

onpe/ieJieHHbix

JieKCHKo-ceMaHTH-

HeCKHX Κ 0 Η Φ Η ^ Ρ 3 Η Η Η n03THieCK0H TpaflHUHH : Bcë ôbijio BCTapb, ecë ΠΟΒΤΟΡΗΤΟ« CHoea, M cxraflOK HAM JIHIIIB Y3HAEAHBH ΜΗΓ. H a r j i a f l H b i M npHMepoM 3 T o r o n p n ë M a y M a H Ä e j i b i i r r a M a cjiyacHT KaK p a 3 τ ο CTHxoTBopeHHe, Β κ ο τ ο ρ ο Μ OH BnepBbie Φ O P M Y J I H P Y Ε Τ ΠΡΗΗΙΙΗΠ B03BpaTH0CTH Π03ΤΗΗΒΕΚ0Γ0 CJIOBa, np80fl0JIeBaK>mer0

pa3HOBpeMeH-

HOCTb Η pa3H0H3bIHH0CTb : Ά He cjibixan paccKa30B OccaaHa, H e npoöoBan cTapHHHoro BHHB

—

3aneM » e MHÔ MepeiimTca n o j i r a a , IIIoTJiaH^HH KpoBaea« JiyHa? H nepeKJiHiKa BopoHa η 3ρφΜ M H E LY^HTCA Β 3JiOBemeft THUIHHC, Η βετροΜ PA3BEBAEMWE πκψφι>Ι flpyacHHHHKOB MenbKaioT π ρ κ JiyHe! 10

C M . 3aMeiaHHji Κ ) . H . JleBHHa o poJiH n p m i a r a T e j i i H H x Β "eapHaHTax H caMO-

3aHMCTBOBaHH»x", a Taiotce ero cTaTHcraiecKHe ÄaHHbie o noBTopaeMOCTH npmiaraTejibHbix y MaHaejibiirraMa (JICBHH [1969], 122-124, 156 CJI.)·

372

OMPH POHEH Ä n o n y i n n ÖJiaaceHHoe HacjieacTBO —

HyxcHx neeuoB öjiyacflaiomHe c h h ; C e o e poflCTBo h cKyHHoe coceacTBO

Mbi npe3Hparb 3aBeaoMo bojibhw. M He oflHO coKpoBHiiie, 6biTb MoaceT, MHHy« BHyKOB, κ npaBHyKaM yñ^eT,

M CHOBa cxajiba nyxyio necmo cjtokht H KaK CBOK) ee npoH3HeceT. ΠρεΑΜετοΜ noBTopa β s t o m cthxotbopchhm «BjiaeTca, KaK Hepe/ικο ôbiBaeT y MaHAejibiiiTaMa ( " O CBo6o,ne HeóbiBajioñ ...", "KoHuepT Ha BOK3ajie", "Γριιφει^ΗΕΗ o/ia" η t./j.), jiepMOHTOBCKHH TeKCT ("ÎKejiaHHe"). PeHb HfleT He TOJibKo o xapaKTepHoñ TeMe, β κ ο τ ο ρ ο ϋ oTpa3HJiacb βιιοΓραφΗΗεο^Η nepTa JlepMOHTOBa (npespeHHe κ ceoeMy podcmey

u

cKyvHOMy cocedcmey h iiohckh uyxcoeo podcmea — τ ο iuoTJiaHflCKHx, τ ο HCnaHCKHX npe^KOB),11 HO Η O JiaKOHHHeCKH 33ΙΙΙΗφρ0Β3ΗΗ0Μ Β CTpOKaX "M nepeKJiHHKa BopoHa η 3ρφΜ / MHe HyflHTC« β 3JioBemeií t h u i h h c " KOHKpeTHOM JiepMOHTOBCKOM o6pa3e CTpyHy uioTjiaH/iCKOH

apφbI. 12

sopona

cmetiHoeo,

3aaeBiiiero

TeMa nyacoíi, hhoh3whhoh necHH pa3-

paôoTaHa η β npo3e MaHfleJibiirraMa ("CepeöpaHan Tpyöa KaTyjijia ... MynHT h TpeBO/KMT cHjibHee, nein jiK)6aa φyτypHCTHMecκas^ 3arajiKa.

3 τ ο γ ο HeT no-pyccKH. Ho Be^b 3το

ÒOAMCHO

6biTb no-pyccKH." — "Cjiobo

h KyjibTypa"), η β ero no3üHeHmefi πο33ηη ( " Κ HeMeuKoñ penn", " H e HCKyiuañ HyxcHx HapeMHÖ", TBopnecTBe

MaHaejibiuTaMa,

"ApHocT").

TeMa

o3a6oMeHHoro

nyacoro CBoeñ

poacTBa

β

jiHTepaTypHoñ

reHeajiorHeií, — 3το noncKn npeamecTBeHHHKOB β pyccKoñ, HeMeuKoíí, HTajibHHCKOH, φραΗΐ^οκοίί Π033ΗΗ. ílpHpofla ero nosTHMecKoro MeToaa TaKOBa, MTo .gaHHbie o Kpyre mtchhh MaH^ejibuiTaMa λ λ η HccjrefloBaTeJiH ero TBopnecTBa BaxcHee 6 η ο γ ρ 3 Φ η η 6 0 κ η χ ^ η η η χ . ManaejibiuTaM η caM roBopHT 06 3 t o m : "üaMHTb Moa BpaacaeÔHa BceMy JiHHHOMy ... HHKor^a s He μ ο γ noHHTb T o j i c t h x h AKcaKOBbix, EarpoBbix BHyKOB, 11 HepTa, BnpoieM, cBoücTBeHHa» He oflHOMy m i h i . JlepMOHToey, weä c t h x " B ropax DIoTJiaimHH Moeft" ( " Γ ρ ο δ OccHaHa") — axo nyiuKHHCKoro " Π ο λ hcöom ΑφρΗΚΗ MOeä". BoHKHM JIHTepaTypHO-KpHTHHeCKHM ÄaMaM, HHKpHMHHHpywmHM MaimejibniTaMy Ha 0CH0BaHHH npHBeaeHHoro cthxotbopchhh "onacHoe paBHOflyuiHe κ HCTopHH CBoero Hapcwa" (M. PoataecTBeHCKa», IÌ033UH 3. Εαιριιμκοιο [JleHHHrpaa, 1967], 241) cjieaoeajio 6ω no floury cJiyîKÔbi HHorjia -jarjiswbiBaTb β pyccKHx KJiaccHKOB: HeßencecTBO onacHee paBHOflymiiH. 12 CHMBojiHCTHHecKyio TpaKTOBKy τογο xce jiepMOHTOBCKoro o6pa3a HaxoijHM y BjioKa: "BopoH KaHyji Ha coCHy, / TpOHyn coHHyio CTpyHy". Οτροκκ Γ. IleaHOBa "M BcnoMHHJi cyMepeiHyw CTpaHy, / Tae KJiHieT BopoH — apKyKOBCKoro)

... κακ ocAa xpeöem,

/ 3apociiiKä AHKHM

λecoM, OH B3awMaeTCn. / Hee3pmHbiù κραίι, nemtAbiü M nepadocmHbiü (ApxHJiox Β nep. Bepecaeea)

OBHAHH neji ap6y eo.noebw Β noxofle eapeapcKux

ducunt Sarmatici barbara

plaustro

(Ovid. Tristia

meœee

boves III.x.34)

( " O BpeMeHax npocTbix H r p y ß b i x " ) 13

C p . 3aMeiaHne Γ. A . ryxoBCKoro ( " O pyccKOM KJiaccnmi3Me", UojmuKa,

5-hi0 [JleHHHrpaa, 1929], 22): "3aHMCTBoeaTb y

flpyroro

ΒΜΠ.

nosTa Bce το, HTO eMy

yaajiocb CAEJIATB no flaHHOMy 3aflaHHio i i a m o r o xcaiipa, npHÖaBHTb HOBwe ÄOCTHîKeHJia κ MyjKHM, —

3Ha«FFLT oxa3aTb ycnyry

HCKyccTBy, ΠΟΠΟΛΗΗΉ. caenaHHoe

Π03Τ0Μ — 06pa3U0M, a BOBCe He 6bITb OTrOJlOCKOM HyiKOä HHflHBHflyanbHOCTH, KaK flyMaJiH BnocjieacTBHH".

374

O M P H POHEH

... xopoeod τβΗβϋ, monmaemux HeMCHbiü ... amoena virecta .. /...pedibusplaudunl Aye1* choreas et carmina dicunt (Verg. Aen. VI.638, 644) Κ mpy6aMxs cepeöpjiHbiM Aíuu BeiHO ΛβηΐΛίμαΛ ("ApMeHHfl" VII)

ad claras Asiae volemus urbes (Catullus, XLVI.6)

LjHTaTM H3 IlyuiKHHa O6HHHO npHcyrcTByioT y MAHFLEJIBIIITAMA Β rJiyÔOKO 3^ΙΙ1ίίφρ0ΒΗΗΗ0Μ BH/ie, HO HeMajIO H HBHblX : Η Mope HepHoe, BHTHHCTByn, myMum ("BeccoHHHua. ΓοΜβρ")16

Jlmiib Mope lepnoe luyuum ("IlyTemecTBHe OHerHHa")

BH3amb ero, ufeuKa IleTpoBa! ("Koma oKTHÓpbCKHñ")

Bmamh EopHCoea ufemal (Bopuc rodynoe); cp.: ... nTemibi THe3fla IleTpoBa ("noJiTaea")

H Mbi öbieajiH

TAM.

M

M U TAM ΠΗΛΗ MEA

M

TAM

a 6wji,

χ MM (PycMH u JhoÒMUAa)

Η MEA

("ApHOCT")

P A C C M A T P H B A A 3 T H π ο β τ ο ρ ε Η Η » c TOHKH 3 P E H H A CHHXPOHHH H FLHAXPOHHH Β

Π03ΤΗΚε,17

MOMO

OTMeTHTb,

φpaΓMeHTbl

ITO

Π033ΗΗ

ΠρΟΙΠϋΟΓΟ,

B x o f l f l Β H O B W H T C K C T 'icaic τ ο , H T o A O J I Ä H O 6 b i T b , a H e K a K τ ο , H T o 6biJio\

noflBepraioTCfl

CHHxpoHinauHH

H ceMaHTHHecKOMy

HHK), a n03THHeCKHH TeKCT, OITHpalOmHHCfl H a TaKHe φ ρ & Γ Μ ε Η Τ Η , C K O J i b K y n e p B O H a n a j i b H W H HX CMHCJI H e o T M e H x e T c a , a K a i e 6 b i CTByeT c npejioMJieHHbiM, CßoepoflHyio ΟΤΤΟΓΟ, Η τ ο

cmee

flHaxpoHHHecKH

OTaxpoHHiecKyio MaHflejibuiTaM

( C M . CTATBK) " O

npeflHa3HanaeT

ero

npwoôpeTaeT mimameAW

β

τεκοτ

Η

nomoM-

H H O R ^ A E^HHCTBEHHOII ΦΓΗΚΑΚΕΫ

ΠΟΛΟ6ΗΜΧ n p n e M O B » B J i a e T c a o c y m e c T B J i e H H e A B y c T o p o H H e ñ 14

ΠΟ-

cocyme-

c o o T H e c e H c HX ΗΟΤΟΗΗΗΚΕΜΗ.

HanpaBJieHHOCTb

co6ecejiHHKe").

y»e

npejioMJie-

(npoiiijioe

TaK Ha3. "JleTeüCKHe CTHXH" ("Koraa ncnxeH-5KH3Hb", " Λ CJIOBO ncaaöbui" Η "Ά Β XOPOBOÄ τβΗβΚ"), Β KOTopwx pa3BepTbmaeTCn MeTa(J)opa CAoeo-IJcuxen, coflepjKaT MOHTaac TCKCTOB ToMepa, Bepnuimi, Anynea Η ΛΡ· — c BKJitoieHHeM Ηβκοτορωχ MOTHBOB BasoBoft pocnHCH (cp. ynoTpeSjiemie TaKoro MOHTaaca KJiaccHHecKHx TeKCTOB Β "Ha KaMeHHbix oTporax ΠπερπΗ", onncanHoe Κ. Φ. TapaHOBCKHM [1967]). HeKOTopbie apyrae KJiaccHiecKHe HCTOHHHKH MaHaejibnrraMOBCKHX o6pa30B nepeiHCJieHbi Β cTaTbe B. M. Teppaca (SEEJ X, No. 3 [1966], 251-267). 16 ΠρΗΜβρ "flBy«3biMHoro aHarpaMMHpoBaHH«": urbes-Tpyôbi. Cp.: "CepeöpjmaH Tpy6a KaTyjma : Ad claras Asiae volemus urbes" ("CJIOBO H KyjibTypa"). 16 H. A. HmibccoH (IJSLP X [1966], 152) OTMeran Β 3TOM CTuxoTBopeHHH lacTHHHyio aHarpaMMy 'ToMep-Mope". JIJOÖOIIMTHO, ΗΤΟ H OHa ΒΒΛΒΤ cBoe Haïajio οτ IlyniKHHa: "KaKOBO Mope ÎKyKOBCKoro — H KEKOB ero ΓοΜβρ" (riHCbMO κ BœeMCKOMy, οκ. 25 HHB. 1829 r.). 17 CM. : R. Jakobson, "Linguistics and Poetics", Style in Language (New York, 1962), 352.

Π03ΤΗΚΑ OCHÜA

—

MAHflEJIbUITAMA

375

ö y A y m e e ) AHaxpoHHHecKoñ HanpaBJieHHOcTH, o K p a u i H B a f o m e i i Becb

TeKCT18

HaoôopoT,

H JIM,

co3aaiomeH

pe3KHH

KOHTpacT,

KaK

Hanp.

peMHHHCueHHUHa H3 EapaTbiHCKoro β CTHXOTBOPCHHH " E m e a a j i e K o MHe ΛΟ

naTpnapxa",

MEACFLY

BWCOKHM

CJIOTOM

ijumamu

Η

CHHÄCHHO-

ö b i T O B b i M T O H O M o c T a j i b H o r o TeKCTa.

Γ ο Β ο ρ » o n o B T O p a x oMeBHflHoro, U M T a r a o r o T u n a , Mbi e r u i o T H y i o nOflOIUJIH Κ OFLHOH H3 OCHOBHblX npOÔjieM Π03ΤΗΚΗ MaHfleJXbIIITaMa — κ npoÖJieMe nodmeKcma.

3 τ ο τ τερΜΗΗ y n o T p e ß j i a e T c a Κ . Φ . TapaHOB-

CKHM ( 1 9 6 7 ) h yneHHKaMH (ΡοΗβΗ, 1 9 6 8 ; Εροίί,α, Β H a c r . c 6 . ) Β 3HaHeHHn, oTJiHHaiomeMCfl ο τ o ô m e n p i i H i i T o r o β jiHTepaTypoBeaeHH m . 1 9 C t o h k h 3peHHH B03BpaTH0CTH, IlOflTeKCT, Β IIOHHMaHHH Κ . Φ . TapaHOBCKOrO, MOXCHO o n p e a e j i H T b KaK HCTOHHHK n o B T o p a e M o r o s j i e M e H T a , KaK TCKCT,

^HaxpoHHHecKH cooTHeceHHHH c HCCjieüyeMbiM. O i o a c H e e OÔCTOHT ,nejio C TOHKH 3peHHH CeMaHTHHeCKOH.

Β

CBOeñ CTaTbe

"CTHXOTBOpeHH»

paHHero I l a c T e p H a K a H HeKOTopbie B o n p o c b i CTpyKTypHoro HsyneHHH TeKCTa" K>. paôoTbi

3.

M. Γ.

JIoTMaH, MHHU,

Ha ocHOBaHHH

npeanaraeT

eme

cjieayiomHe

He

onyôJiHKOBaHHOH

ΤΗΠΗ CHCTCM, ΠΟΛ

BjiH«HHeM KOTopbix n e p e c T p a H B a e T c a ceMaHTHKa e c r e c T B e H H o r o H3biKa Β n03THHeCKHX TeKCTax:

ΤΗΠ n03THieCK0r0 TeKCTa

CeMaHTHHecKaH OCHOBa

CHCTEMA, ΠΟΛ BJIHHHHCM κ ο τ ο ρ ο ϋ npOHCXOflflT CflBHrH 3HaHeHHfi

CHMB0JIH3M

eCTeCTBeHHLIH H3MK

n3biK OTHoraeHHÄ (My3biKa, MaTeMaTHKa)

(J>yTypn3M

eCTeCTBeHHblH H3bIK

H3bIK

aKMeH3M

ecTecTBeHHbiü H3MK

H3biK KyjibTypbi (yace cymecTeyiomae flpyrae TeKCTbi Ha ecTecTBeHHOM a3biKe)20

Beilieü (spHMblW o6pa3 MHpa, JKMBOnHCb)

18 ΓΙο BbipaaceHHio Β. M. 3äxeH6ayMa ("O MaHflenbuiTaMe", fleHb no33uu [JleHMHrpafl, 1967], 168), "cjioea 3ByiaT HenpHBwmo-TopHcecTBeHHO — KaK UHTaTbi". noKa3aTejibHo Β STOH CB«3H HeTBepocTHnme AxMaTOBOö: "He noBTopañ — flyma TBoa 6oraTa — / Toro, HTO 6buio CXA3AHO Korga-το, / Ho, MOKCT 6wTb, no33Hjj caMa / OflHa BeuHKOJienHa» UHTaTa" ; 3aeeT AxMaTOBOH coflepacHT τοΗκγκι HPOHHIO, H6O caMa OHa 3AECI> ποβτορΛβτ EapaTbiHCKoro : " H e noapaacaö : cBoeo6pa3eH reHHii ..." 19 BecKyro apryMeHTaumo προτΗΒ TpaammoHHoro ynoTpeöJieHH» SToro TepMHHa HaxoflHM y JI. I~nH36ypr (O Aupime [MocKBa-JTeHUHrpa«, 1964], 365). [Koraa HacTonmafl pa6oTa 6bijia y » e noAroTOBJieHa κ n e r a r a , ΜΗ 03HaK0MHJiHCb c HoeeäiuHM, BecbMa BaxHbiM BKJiaflOM Β τβορΗΜ noflTeKCTa — CTaTbeiî T. H . CwibMaH "ΠοΑτβκοτ Kax JiHHTBHCTHHecKoe «BJieHHe", Hayumie àoKAaôbt ebiciueü ΜΚΟΛΝ. "0UAOAoemecKue ηαγκιι" 1 (1969), 84-90. H a OcHOBaHHH HaömofleHHä Ha« npo30ñ

376

OMPH POHEH

3 T y ipe3Bbi a TaKxce τβκστΜnocpeflHHKH, npe/icTaBJTHwmHe c o 6 o ñ HHTepceMHOTHHecKyio TpaHcno3Hipno 2 1 ΜΛβΟΓραφϋΗβΟΚΜΧ 3ΛβΜβΗΤΟΒ flpyrHX, HeaSWKOBblX CHCTeM (XHBOnHCH, apXHTeKTypbl Η τ.a.). K p o M e ΤΟΓΟ, cymecTByioT aKMewcTHHecKHe TCKCTM, Β x o T o p w x ceMauTHHeCKHÈ CÄBHT npOHCXOflHT KaK HenOCpCACTBeHHblH pe3yJIbTaT HHTepCeMHOTHHeCKOH TpaHCn03HIIHH. Μ τ ε κ , e c j i H C M W C J i o B b i e ΟΑΒΗΓΗ Β τ ε κ ε τ ε M a H A e J i b i n T a M a

προΗεχοΛ»τ

ΠΟΑ BiiHHHHeM ' y a r e c y m e c T B y i o m u x a p y r n x τ ε κ ε τ ο Β ' , κ ο τ ο ρ ω ε BaeM noATexcTaMH, τ ο a / i e x e a T H o e n o H H M a m i e no3TMHecKoñ MaH38JibuiTâMOBCKoro BOflT8KCTa

η

T e K C T a AOJIHCHO 6 h m >

onpejiejieHHH

εΓο

ocHOBaHo

ceMaHTHHecKoft

Ha

Ha3bi-

IIOCMJIKH BCKPMTHH

Φυηκιιηη.

CHanajia

n o c T a p a e M c a B b i a c H H T b , K a K H M 0 6 p a 3 0 M o c y m e c T B J i H e T c a CBH3b

mok^y

TeKCTOM η π ο Λ τ ε κ ε τ ο Μ , τ . ε . HTO B o o ô m e 3 a c T a B j i a e T i H T a T e j i a

acicaTb

ποΛτεκετ. K a K Η3ΒεετΗθ, MaHZ^JibiiiTaM — no3T 'rpyaHbiH' BOCNPHSTHH.

ΜΗΟΓΗ8 εοβρεΜεΗΗΗΚΗ

fljia

MAAAEJIBIIRRAMA

HHTaT8JibCKoro PACCWATPHBAJIH

ε ε Μ 3 Η Τ Η π ε ο κ γ ι ο 3 a T p y A H e H H 0 C T b ε Γ ο n p o H 3 B e A e H H H KaK

'3araawBaHne

3 a r a ^ o K ' . 2 2 / Ι , ε ϋ ε τ Β Η τ ε ^ Η Ο , Β ΠΟ33ηη MaHAejibiiiTaMa κ ε τ κ ο Bwpa»c8Ha yετaHOBκa

Ηε cTOJibKo H a ' K a j i c y m y i o c a ,

HeKOMMyHHKaTHBHyio

c8MaH-

T H K y ' ( τ ε ρ Μ Η Η Ο Λ Ο Γ Η Η T b I H H H O B a ) , CKOJIbKO ΗΜεΗΗΟ H a 3 a r a A K y , aKTHBW3 n p y i o m y K ) HHxaTejiH h T p e ô y i o m y i o ο τ Η ε Γ ο o c o 6 o ñ κ ο Μ π ε τ ε Η Τ Η ο ε τ Η . 2 3 Τ . M a m a Η Γ β τ β T . H . G u i b M a H r i p m u n a κ ΤΒΜ ace BbiBOflaM, HTO H MM, oTHocHTejibHO CBH3H Meamy nOflTeKCTOM H JieKCHKO-CeMaHTHMeCKOÄ B03BpaTH0CTbK): " . . . ΠΟΛTeKCT ecTb He HTO i m o e , KaK paccpeflOTOHeHHbm, AHCTaHUHpoBaHHbiii π ο Β τ ο ρ . . . . Β ocHOBe B c s K o r o noÄTeKCTHoro 3HaieHHH Bcerfla jieiKHT H e i T o yace oflHaxcaw ÔbIBmee H Β TOH HJIH HHOH φορΜβ BOCnpOH3BefleHHOe 3 a H 0 B 0 " . Pa3HHUa ΜβΧΜΥ TpaKTOBKOH T . M. CHjibMaH H H a m e ü 3aKJnonaeTca jiHim. β TOM, HTO MM Ha3biBaeM NOATEKCTOM H e c a M π ο Β τ ο ρ , a τ ο , HTO CJIYACHT π ρ β Α Μ β τ ο Μ n o B T o p a HJIH HCTOHHHKOM

n o B T o p a e M o r o sneMeHTa.] Tpydbi no 3κακοβϋΜ cucmeMaM 4 ( T a p T y , 1969), 229. C M . : R . J a k o b s o n , " O n linguistic a s p e c t s o f t r a n s l a t i o n " , Selected Writings I I , 261, 2 6 6 ; " L a n g u a g e in relation t o other c o m m u n i c a t i o n s y s t e m s " , ibid., 703. 22 C M . , H a n p . : A . JlexcHeB, Uetamb u ρεβοΛίομαχ 4 (1925), 151-152; Β . KaeepHH, Hoebiü Mup 11 (1966), 133-134. ΤΜΗΗΗΟΒ ( 1 9 2 9 , 571-572) n o c y r a Aejia Γ ο β ο ρ κ τ o 3araflKax, KJIIOH Κ KOTOPBIM HaxoAHTca Β κοΗτβκστε (CM. HHace), HO, Β c w i y c B o e ü o ô m e n KOHiieniniH ( Π ρ ο ό Λ β Μ α cmuxomeopuozo Λ3Ηκα [ M o c K B a , 1965], 117-127), BHflHT Β n03THHecK0M cJioBe ManneJibniTaMa jiHiiib " ο τ τ β Η κ κ , eeKceirn, nepea a t o m n e c H H3 CTPOKH Β c T p o K y " . 20

21

2Ï C p . : Κ ) . M . JIoTMaH, Jleicifuu no cmpyKmypanbHOÜ noimuKe (= cucmeMaM 1) ( T a p T y , 1964), 180-181.

Tpydta no 3ΗακοβΜΜ

Π03ΤΗΚΑ OCHIIA MAHAEJIbWTAMA

377

3Ta ycTaHOBKa y MaH/iejibniTaivra nacTo oTpaacaeTca h β rpaMMaraHecKOH CTpyKType. Tax, Hanp., yjKe ynoMflHyTaa οτροφ8 " H e OTBS3aTb HcnpHKpenjicHHOH JioflKH, / He ycjibixaTb β Mexa o6yTo« τεΗΗ, / H e npeB03M0Mb Β ΛρβΜ^βΗ 5KH3HH CTpaXa" OÔHapyXCHBaeT CXOßCTBO c TpexHJieHHbiMH 3araAKaMH THna: "OTUoea cyHayica He noflHHTb, / CecTpHHa TOHHBa He coöpaTb, / BpaTHHHa kohh He noHMaTb" (Ca^oBHHKOB, 1-e Η3Λ., .Ne 1988). KaK h (j)OJibKJiopHbie 3ara^Kn, 3araAKH MaaaejibniTaivia pa3raflbiBaioTCH no cxoflCTBy hjih no cmokhocth. O 3araflKax nepeoro THna, MeTa4>opHHecKHX, nncaji β cbohx paöoTax no CTpyKType pyccKoñ MeτaφopbI Κ ) . H . JleBHH.24 IlpHBefleHHbie hm hhcto Μετ3φορΗΗεεκκε 3araflKH MaHaejibuiTaMa peuiaioTca, KaK npaBHjio, Ha MaTepHajre y3Koro HJIH UIHpOKOrO KOHTeKCTa Ι ΟΗΗ OTpaHCaiOT 'οηεηΗφΗΗβΟΚΗβ ilJI» MaHaejibniTaMa' (JleBHH, 1969) 3HaneHHa onpeflejieHHbix jieKCHnecKHX eflHHHn. TaK Meτaφopa nmmuü κΛίοβ β " Γ ρ π φ ε ^ Η Ο Η oae" ("Epocaa ΓρκφεϋΗ jiecaM, / Η 3 riTHHbHx kjiiobob Bbipbieaa") pacin^poBbmaeTca KaK Kapandaiu Ha ocHOBaHHH Beerò KOHTeKCTa 3τογο cjioBoynoTpeôJieHHa y MaHaejibuiTaMa : "P030B0nepcTaa Aepopa oôJioMajia cboh ueeTHbie Kapandamu. Tenepb ohh BajiaiOTCH KaK nmemuKU, c nycmbiMU pa3unymbiMu KAioeaMu ("EraneTCKaa MapKa") ; "Ax, 3pHBaHb, 3pHBaHb, hjih nTHua Te6a pHCOBajta" ("ApMeHHa") η τ.λ. XapaKTepHo, ητο β το » e BpeMH nmuija KaK TpaflHUHOHHbrä chmboji nosTHnecKoro TBOpnecTBa MeTOHHMHHecKH pacmcnjia8Tca y MaH^eJiboiTaMa Ha ¿OAOC h nepo ("Περο — KycoHeK nTHHbeH π,ίοτη" — Paszoeop o ffanme). BnojiHe ecTecTBeHHo, ητο Μετ3φορΗΗεεκκε sara^KH y MaHaejibuiTaMa pemaioTca kohtckctom : ee^b η β φο^κπορε 3araflKH hhcto MeτaφopHnccKHe (Hanp. : "Eji, eji KOHb, â î h b acjiH ynaji" [Mecau] hjih " P o h ropy noBajiHJi" [CßHHba c nopocaTaMH]) Booôme ycjioBHbi h cemh no ce6e sanacTyK) Ηε no/iaaK)Tca pa3ra,abiBaHHK) : οτΒετ Ha hhx jih6o 3apaHee H3BecTeH pa3raahiBaiomeMy, jih6o noACKa3aH kohtckctom, nopa^KOM 3araabiBanHa, ocHOBaHHOM Ha TeMaranecKHx Kpyrax.25 OflHaKo, MHorne H3 npHBeaeHHbix JleBHHbiM 3araaoK BOBce He Μβτ3φορΜ, a mctohhmhh, hjih CKpemeHbi c MeTOHHMHaMH. Το >κε cjie^yeT cKa3aTb η o ero 'cy6i»eKTHBHbix ^^eτaφopax': κοΗτεκετ cthxotbop8hhh "EcTb ueHHocTeñ He3bi6jieMaa cKajia" h ero jiHTepaTypHo-HCTopHnecKHH ηοΛτεκοτ Ηε n03B0JiaK>T BHAeTb β cJioBax mopztcecmeeHHafl ôo/ib Meτaφopy. 3το HHCTeHixiaa MeTOHHMHa, 3aMCHaioinaa Ha3BaHHε >KaHpa (mpaaedun) 24

Tpydu no ΊΗοκοβωΜ cucmeiaaM 2 (1965), 293-299; 4 (1969), 290-305. Cm. : Β. Π. Ahhkhh, BCTyn. CTaThs κ c6. 3a¿aóxu pyccKOio uapoda A- H. CaÄOBHMKOBa, 3-e m a. (MocKea, 1959), 27-28. 25

OMPH POHEH

378 npH3HaicaMH

ero

CTHJM

apHCTOTejieBCKoe Pa3JiHHHWM AaeM

06pa30M

Β TaKHx

noAomm,

CKpemeHHHe

nocTpoeHHax

dyiua,

3AacmuHHbiü

(mopotcecmeeHHan)

H

MaTepwajia

(6oAb

—

cmpadame).26

enuMameAbHbie

cyMpaK

Meτaφopw/MeτoHHMHn

Kaic cydbôa-tfbieama, 3ciKambi, Η τ.ρ,.27

mpembi

Ha6jnoκακ

6e3ÒbixaHHaH,

3ampaeneHHoe

tfiopmenbMHo,

H3oÔHJiyeT cicpemeHHbiMH πριι-

eMaMH n p o 3 a M a H ^ e j i b i i i T a M a , npHHeM, ôyayHH nocTpoeHbi n o π ρ κ Η UHny napoHOMa3nn, 3araflKH c M e m a H H o r o T u n a Hepe/yco HOCHT xapaKTep mapa^bi:

Β "ErnneTCKOH M a p x e " , Hanp., HMH r e p O A ( I l a p H O K ) Η e r o

KJIHHKH (oeifa,

AüKupoeaHHoe

Konbimo)

NPEACTABJIAIOT CO6OH MCTOHHMH-

MecKoe pacmenjieHHe c j i o e a napnoKomimme "il

(cp. Β " Μ ε τ Β ε ρ τ ο ϋ n p o 3 e " :

n p a m e j i κ BaM, MOH napH0K0m.ITHI.1e flpy3ba . . . " ) . Kypbe3Hbie realia

MOTHBHpyioT

flBe

Β TOM, 1906 r r .

zipyrae

ezunemcKan Μαρκα Η

KJTHMKH ITapHOKa —

— η o n p e a e j i a i o T MeTOHHMHHecKyio CB«3b Meatfly HHMH.

nnmHoebieoduuK

Ητο ernneTCKHe MapKH Hanajia BeKa (BbinycKH

c H3o6pa3KeHHeM cφHHKca),

BO H 3 0 e » a H n e

1902 m

ΒΤΟΡΗΗΗΟΓΟ

Hcnojib3oBaHHa, nenaTajiHCb Ha OCO6OH 6 y M a r e , π ο κ ρ ω τ ο κ

hx

pacTBopn-

MbiM cocTaBOM, TaK ITO, npH nonbiTKe CMbiTb nrreMnejib HJiH aaace π ρ κ oTnapHBaHHH c KOHBepTa, CXOAHJI h Becb pwcyHOK MapKH. 2 8 OTMCTHM, MTO noHBjiaioiuHHCH flajiee β "ΕΓΗΠΟΤΟΚΟΗ M a p K e " κοΜαριικ eeunmHHUH

("A

MajieHbKHÍi

KH%3b-pacKopxKa

—

A

—

nocAedmü

HHUIHH

Pawiec-

if/joBonHHiia — a Ha ceeepe CTaji HHTCM — ο τ MeHa TaK M a j i o o c T a j i o c b — H3BHHaiocb! Μαρκα HocTH

...")

—

3TO MeTaTe3a:

κοΜαρ-Μαρκα.

T.o.

eeunemcxan

BKjiiOHaeTca β ceprno MaHflejiburraMOBCKHx 0 6 p a 3 0 B 3φεΜβρΗΗnejioBeKa

η

öpeHHOCTH

xyjibTypbi — MUAOZO Eeunma

pa3BonjiomaK>mefica

MaTepHajibHoií

eeu/eü.

Β CHJiy n p H c y m e ñ Η ΠΟ33ΗΗ Η n p o 3 e MaH/jejitiiiTaMa 3ΛΠΜΠΤΗ"-]ΗΟKyKOBCKOMy, no3ace nepeuieji Β pyKH T y p r e H e e a ,

a nocjie e r o

CMepTH 6biJi n e p e ^ a H Β ITyiiiKHHCKHH My38H. X o p o r n o H3BecTHa c y f l b ö a apyroro

nepcTHa IlyuiKHHa, 3aB8maHHoro HM KaK 6bi c a M o ñ CTHXHH

p y c c K o r o H3biKa Β j i m j e Β . H . ^ a j i a . T a x H nepcTeHb Β cTHxoTBopeHHH MaH^EJIBNITAMA HEFLOCTAETCAHHKOMY H3 ΠΟ3ΤΟΒ, HO cjiyacHT HanoMHHaHHeM 0 6 oTcyTCTByiomeM. CKp8UlHBaHH8 ΠΟβΤεκεΤΟΒ (ΒεΗεΒΗΤΗΗΟΒ-nyiIIKHH)

MOTHBHpOBaHO

3,necb Η Β jiHTepaTypH0-ncT0pn4ecK0M njiaHe: Ha npeeMCTBeHHyio CB»3b Meac^y CTHx. BεHεBHTHHOBa

"K

MoeMy n e p c r a i o "

Η

"TanHCMaHOM"

IlyiHKHHa (KaK Η Me>Kfly " Τ ρ ε Μ Η p 0 3 a M H " H nyUIKHHCKHMH CTHXaMH "EcTb

po3a

flHBHan"

Η "Τρκ

Kjnona")

HeoAHOKpaTHo

yKa3biBajin

JTHTEPATYPOB8FLBI. B o 2-M ε τ ρ ο φ ε M a H ^ j i b i u T a M o 6 p a m a 8 T c a κ CBoeií — cKoro —

H EapaTbiH-

H3jiK)6jieHHOH τ ε Μ ε ΠΟ33ΗΗ KaK HpaBCTBeHHoií CHJibi, n p e o a o -

JI8BaiOm8H ΒρεΜΗ Η OCTaBJIHIOmeil Ha HeM CBOH H8H3rjiaAHMbIH CJteA· Π ο Λ τ ε κ ε τ ο Μ ε τ ρ ο κ 5-6 ejiyacHT MaJI0H3BεετH0ε ετΗχοτβορβΗΗε, nHeaHH08 ΠΟΛΗΟΜ "BbiTb

BapaTbiHCKOMy

coopanuu

M . Jl. Γοφιν^ΗΟΜ

h

HanenaTaHHoe

πρκhm

β

COHUMHUÜ n o s T a ( τ . 1, CaHKTneTepßypr, 1914, 2 0 4 ) :

Mo>KCT, MHJibiH

flpyr,

no

BOJie riapKH

T3HHOH,

p a c n p o m y c b a c >KH3HHK> cuynaifflOH, — / H ceeem

/

BHe3anHo

JiezKuü eemp

cAedbi

CM. CTaTbK) M. K>. EapaHOBCKofl, "Cyfltöa ΜΟΓΗΛΜ BeHeBHTHHOBa" Β ΠΟΛΗΟΜ coópamm comme HUÜ (MocKBa-JIeHHHrpafl, 1934), 422-423. 31

382

OMPH POHEH

Moux uiaaoe; / Ε Μ Ώ , MoaceT, ηη ΟΛΗΗ η3 lOHoniecKHX CHOB / H e côyfleTcx co MHOH, 6biTb MoaceT, Β oTflajieHbe, / KaK acepTBy ac,neT Mera xojioaHoe 3a6ßeHbe: / IlycTb CBHTOK ceñ xpaHHT ρ γ κ κ Moeft nepTM, — / H côyaeTca co MHoìi xoTb nacTb Moeìi MeHTbi ! / C ÖJiaroroBeHHeM ΠΟΤΟΜΟΚ προCBemeHHoií / HaHHeT paccMaTpneaTb t b o h CBHTOK aparouenHOH / H , jnoöonbiTCTBya n o i μ ε η ε τ κ η

HecnacTHbie Beuin moh (XoflaceBHi, "Bajijia.na")

A cTeHbi npoKJMTwe tohkh, M Heicyaa ö o n w u e 6e3KaTb

Bce c r e m i nponHTaHbi smoM, H Herne riiaey npHKJioHHTb ! (Bjiok, "Apy3bHM")

KaKOH-HHÔyflb lecTHbiä npeaaTeub

KaKOH-HHÖyflb Π03ΛΗΗΚ HCTOpHK ... npeflaTeJiH β xch3hh H apyacöe ... (maM

Mee)

naËKOBbie κηηγη w r a i o , neubKOBbie pe KyjiauKOMy naio n o w .

Β τ ο BpeMH KaK β poflHOM Kpaio ΟτκρΜτο 3JIO TopacecTBOBajio, EMy Jirnub "6aK>uiKH-6aio" JlHTepaTypa pacneeajia. (HexpacoB, "Β. Γ. EenHHCKHfi")

M CTOJIbKO MyTOTejlbHOH 3JIOCTW TaHT β ce6e Kaacflbiii HaMeK, Kan 6yflTo BKOJiaiHBan γβο3λη Hexpacoea 3/iecb mojiotok.

Kaxmuíí 3«ecb γβο3ληκ bkojiotch c HafleÄflow ... I Hy a Tenept τ η c o i a a H t e 6e3fl0MH0e, / IIopaöoiueHHoe rpyôbiM HeeeacíiOK) ("/^eineeaa noKyiuca") H e HHTañ Tbl ryMaHHbix khhmcohok, H o He cTaBb 3a KapeToä ΓΒ03Λββ, Ητο6, bckohhb, HaKOJioJica ρεδβΗΟκ! ("O norofle")

M BMCCTO KJirona HnoKpeubi /laBHHiuHero CTpaxa crpya BopeeTca β xajrrypHbie CTeHbi MoCKOBCKOrO 3ΠΟΓΟ XCHJIbfl.

Μ Ηβτ iHTyKaTypHoro He6a M c o m m a b mecTHaauaTb cBeneft: H a TJiaflKHe lepHwe cKaJibi CTonbi oimpaeT — ΟρφβΜ. (XoflaceBHi, "Bajuiafla")

TaKHM o6pa30M, m o k h o

yKa3aTb Ha T p e T b i o φγΗκι^Ηΐο noATeiccTa β

no3THKe

MaHaejibiiiTaMa,

ycjioBHo

Ha30BeM

np0H3B0AHyi0

ποπκφοΗΗΗεοκοΗ.

nOHHMaeMa» 'UHTaTHOCTb', —

οτ

a e y x , KOTopyio iirapoKOM CMbicjie

nepBbix

IloflTeKCT,

β

BaaCHeÜIIIHH ΠΟ,ΊΗφοΗΗΗεΟΚΗΗ ΠρΗβΜ Β

3IIHHCCKOM Π033ΗΗ 20-ΓΟ Β. (XjieÖHHKOB, MaHKOBCKHH, 3a60JI0UKHH, Β nocjieflHee

BpeMa

—

He-np03aH30BaHH0r0 COMHeHH«, O c n n

Η.

BpoacKHä).

Ho

co3AaTejieM

jinpniecKoro

Ä B y r O J I O C O r O CJIOBa Β p y C C K O H Π 0 3 3 Η Η 6bIJI, 6 e 3

MaHAejIblUTaM.

JIHTEPATyPA Broyde, S. J. "Mandel'stam's Nasedsij podkovu", Slavic Poetics. Essays in Honor of Kiril Taranovsky (The Hague, 1973), 49-66. JleBHH, Κ). H. 1966. "Ο Ηβκοτορκχ nepTax iuiaHa coflepacaHM β πο3τηηοοκηχ TeKCTax", CmpyKmypmn munoAOZun η3Ηκοβ (MocKBa, 199-215).

Π03ΤΗΚΑ OCHIIA MAHflEJlbWTAMA

387

JleBHH, Κ). H. 1969. "O HeKOTopbix nepTax iuiaHa coAepxaHtM β nosTHiecKHX TeKCTax. MaTepnajiw κ Myiemno ποβτηκη O. MaanejibiiiTaMa", IJSLP X I I , 106-164. Ronen, O. 1968. "Mandel'stam's Kascej", Studies Presented to Professor Roman Jakobson by His Students (Cambridge, Mass.), 252-264. Ceraji, fl. M. 1968. "Ha6jiiofleHHH Ha« ceMaHTHHeocoü CTpyKTypoH nosTiwecKoro npoH3BefleHHa", IJSLP

XI,

159-171.

TapaHOBCKHÄ, Κ. Φ. 1967. "üiejiti h ocm β πο33ηη MaH^ejibmraMa: κ Bonpocy o BJiHHHHH BflHecjiaea HBaHOBa Ha Manaejibirrraivia", To Honor Roman Jakobson (The Hague), 1973-1995. TapaHOBCKHH, Κ. Φ. 1969. "Tpw 3aMeTKH ο πο33ηη MaHaentniTaMa", IJSLP XII, 165-170.

Taranovsky, K. F. 1971. "Mandel'Stam's Monument Not Wrought by Human Hands", California Slavic Studies, 6 ( = Festschrift for G. Struve), 43-48. Thhhhob, ΙΟ. H. 1929. "ΠροΜβίκγτοκ", γλ. 10, Apxaucmbi u Hoeamopu (JleHHHrpafl), 568-573.

M3 H A B J I I O A E H M Í Í

HA/J C T H X O M

A. Ε/ΙΟΚΑ

Π. A. ΡΥΒΗΕΒ

I J e j i b n p e j u i a r a e M b i x 3aMeTOK 6 o j i e e i e M cicpoMHaH. O H a COCTOHT Β c j i e z i y i o m e M : Ha MaTepwajie, KOTopbiñ Β ¿XEHHOM acneKTe e m e He BXO/IHJI Β opÖHTy HCCJieflOBaTejieñ, caejiaTt ποπΗτκγ eme pa3 noaTBepAHTb ôeccnopHyio, Ha B3rjiaa aBTopa STHX οτροκ, ranoTesy Κ . Φ. TapaHOB-

cKoro 06 3KcnpeccHBHoM opeojie pyccKoro ΠΗΤΗΟΤΟΠΗΟΓΟ xopea.1 Β *iacTHocTH, 3TO cBH3aHo Η c TeM, HTo Β CTHxoBeaHecKOH jiHTepaType MoacHo BcxpeTHTb nopoH HeoaoôpHTejibHyio oueHKy KOHueniiHH, pa3BHTOH H OÔOCHOBaHHOH Κ. Φ. TapaHOBCKHM Β ero Hpe3BbIHaHHO co^ep>KaTejibHo{í H y6e/inrejTbHOH no MaTepwajiy H apryMeHTauHH CTaTbe.2 H 3 y n a a MCTPMCY A . B j i o K a — Β OCO6CHHOCTH nepHOBbie pe/jaKUHH Tex

ero CTHxoTBopeHHH, Β npouecce cTaHOBJieHHH oKOHHaTejibHoro TeKCTa KOTOpbix MeHaeTca HX pa3Mep,3 — HaM npHiujiocb CTOJiKHyTbca c aeyMH, BecbMa npHMeHaTejibHbiMH Β yKa3aHHOM OTHOuieHHH npeueaeHTaMH. OFLHH H3 HHX — CTHXOTBOpeHHe "HHOK Iiiejl H Hec CBHTbie 3HaKH ..." (I, 513); apyroíí — "3a r p o ô o M " (III, 123).4 0 6 a CTHXOTBOPCHHH — Β

oKOHHaTejibHOH peaaKUHH — HanHcaHW ΠΗΤΙΚΠΌΠΗΜΜ xopeeM (TOHHee

CM. : K. TapaHOBCKHil, "O B3ANM00TH0MEHHH CTHXOTBOPHOTO PHTMA Η TeMaTHKH", Β ΚΗ. : American Contribution to the Fifth International Congress of Slavists (Sofia, 1963). 2 C p . : "K. TapaHOBCKHü < . . . ) MCxaHHCTHHecKH-npsiM0nnHeitH0 CBJOBIBAET ΠΟ3ΤΗnecKHe MOTHBbi nyTH, flopora c xopemecKHM pa3MepoM. ΠοίΜΤΗβ nyTH paccMarpH1

BaeTca BHCHCTOPHMHO, 6e3 yneTa KOHKpeTHoro coaepiKaHna aHajiH3npyeMi>ix CTHXOTBopeHHfi < ..> aKifeumnan ocHoea cmuxa (TpaKTyeMaa κ TOMy »ce OAHOCTopoHHe) coomHOcumcH c codepotcauueM noMUMO ceManmuKU cjtoea u UHmonaifuoHHO-cuHtnaKcu•iecKOù cucmeMbr. (Β. Π . ToHiapoB, " Κ npoöneMe CMMCJIOBOÍÍ Bbipa3HTejii.HOCTH CTHxa", — MleecmuR AH CCCP, cepun Aumepamypu u nibiKa X X I X [1970], β. I,

CTp. 26. KypcHB aBTopa — Π.Ρ.). 3 CM. 06 3TOM noflpoÔHee: Π. A. PyflHee, "K npoÔJieMe: Μβτρ u CMMCJI", Β KH. : Metryka SlowiaAska (Warszawa, 1971).

4 TeKCTM A. EjioKa uHTHpywTCH no H3,gaHHK>: AjieiccaHAp BJIOK, Coôp. cot. β eocbMu moMax (MocKBa-JIeHHHrpaa, THXJ1, 1960-1963) (c yxa3aHneM Β CKoÖKax ocHOBHoro TeKCTa TOMa H CTpaïufUbi).

390

Π. Α. PyflHEB

rOBOpa — ΟΛΗ HM Η3 BHflOB nepeXOflHblX MeTpHHeCKHX φ ο ρ Μ —

ΠΜΦ,5

— h 6 o β nepBOM HMeioTCH flBa MeTbipexcronHbix c i H x a , B o c b M o ñ

η

u i e c T H a f l u a T b i ñ ; BO BTOPOM — a e a iiiecTucTonHbix, n e p e b i ñ η π ε τ Β β ρ τ Η Η , Η oflHH —

H3yHHTb

M e T b i p e x c T o n H b i H , H e T b i p H a a u a T b i H C T H X ) . B M E C T E C T C M , ÊCJTH

HX

paHHHe PE/iaKUHH

H

BapHaHTbi,

CTAHET OHCBMAHMM, ΗΤΟ

Μετρ,

afleKBaTHbiH B o n j i o m e H H o ñ Β cTHxoTBopeHHsx 3KcnpeccHH, 6bíJi H a ñ ^ e H ΠΟ3ΤΟΜ AajieKo He c p a 3 y . OôpaTMMCH κ nepBOMy TeKCTy. npiiBe,NEM ΠΟΛΗΟΟΤΜΟ e r o peflaicuHH H BAPHAHTBI :

nepeoHawAbHbie (1)

HaôpocKu:

B o r 3 H A K H Λ Η Η , KOREA BOCCTAHY H :

(2)

XojioflHHHBeTepocTaHOBHTTyHH. H x c e p a s H ôejia» ceMbH C T O J I U H T C » BÄpyr Β Ο Λ Η Ο Η Tonne Moryieft.

JlpHTaHJiHCb Β flyniHOH MTJie. (3) Illen ΠΗΙΓΗΓΡΗΜ H Hec BOccTaHbH 3HaKH. Cefloft CTapHK ra ... (4) MHOK ΜΒΛ H HeC BOCCTaHbfl 3HaKH. OH c r o p e n ... (1,676)®

OKomameAbHbw

3HAICH A H H M O H X B O C C T A H H Ë

mejccm:

Mhok Μβ/ι H Hec CB»Tbie 3HaKH H a nyTH, Β »cenTeroiUHx nojiax, Pa3ropejiHCb orHeHHbie MaKH, OTpa3HJiHCb Β nacMypHbix 04ax. OH y3Haji, o TCM ayiiia c r o p a j i a , 3arn«Hyn Β ÖJieflHeiomyio Bbicb. TaM npHCHHJiocb, ΒβτροΜ HanienTajio : " Ο τ ρ ο κ , Β He6o nOJIHHMHCb. — MH/IMÍÍ, MHJibiñ, Be4Hbie HaaeJKflbi Mbi jieneeM nocpeflH Heôec . . . " OH noKHHyji TeMHbie ΟΛΟΚΑΜ, 3aropencH, BOcnapHJi, HCTC3. A 3a HUM — pocjiH BOCCTaHba 3HaxH, KpacHofi BecTbio ΒΟΗΟΓΟ o r a a . Pa3ropejiHCb aep30CTHbie MaKH no6e>Kziajio ConHiie ,Ζ^ηη. (I, 513) Be3

ocoôoro

ypyaa

MOXHO

BimeTb

Taicyio

nocjieaoBarcjibHocTb

noHCKax HyjKHoro noDTy p a 3 M e p a : Í15 ->X4-*R5 5

Ο

Π Μ Φ

CM.:

Π.

Α.

ΡΓΛΗΒΒ,

"ΜΒΤΡΗΗΒΟΚΗΗ

-+Χ5.7

penepTyap

Α.

ΠρΗ

EjiOKa",

Β

3τομ Β

ΚΗ.:

EdOKoecKuü côopHUK, Il (TapTy, 1972), cTp. 226-227. 6

K y p c H B Β UHTATAX B e 3 « E MOM —

Π.Ρ.

' YcjioBHbie o6o3HaHeHMH : il = «M6, Χ =• xopeií, /IK = /lojibHHK. Iin(J)pa, CToama« nocjie öyKBbi, o6o3Ha4aeT CTOUHOCTL· (B jiMÔe H xopee), y,aapHOCTb (B flOJlbHHKe).

H3 HAEJIIOAEHHH H A f l CTMXOM A . EJIOKA

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M . JI. T a c n a p o B , "PyccKHÍí Tpexy,aapHbift λ ο λ β η η κ X X β.", β k h . : Teopun (H3Ä. H a y n a ) (JleHHHrpafl, 1 9 6 8 ) .

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H3 HAEJIIOflEHHH HAfl CTHXOM A. EJIOKA

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MaTepHaji HMeeT η Ηεκοτοροβ öojiee o6mee 3HaHeHne. Kor^a CTaBHTCH cjioxcHaa, TOHKaa η Kpaìme oTBeTCTBeHHaa MeT0fl0Ji0rn4ecKH npoÖJieMa 'CTHX H CMblCJl', TO, ΗβΟΟΜΗβΗΗΟ, B03HHKaeT H3BeCTHaH OIiaCHOCTb ByjibraproaTopcKoro noaxofla κ ee HCTOJiKoeaHHio. TpyflHO, k o h c i h o , corjiacHTbCH c TeMH HCCjieflOBaTejiHMH, KOTopbie XOTHT oÔH3ameAbHo H npHMOAuwÜHO CBJBbiBaTb c coflepacameM ece, e3nmbie β omdeAbHocmu KOMnoHeHTbi cjioacHoro KOMnjieKca xy/jo^cecTBeHHoñ CTpyKTypbi craxa. H o Hejib3H He B03pa3HTb h apyrHM, KOTopwe HeoôocHOBaHHo onacaioTCH MUKpoceMmmu3Ma npHMCH.

2

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OCHOBHASI NPEANOCBIJIKA CMBICJIOBORO AHAJIH3A CRAXA 3AHMCTBOBAHA HAMH Y KD. H . TBIHHHOBA H COCTOHT Β NOCTYJIATE E/IHHCTBA H TECHOTBI CTHXOBORO PA/IA, KOTOPBIFT ONPEAEJIAET B3ANMOAEÑCTBNE OCHOBHORO H 'K0JIE6JII0MNXCA' (NO K ) . H . TBIHHHOBY) NPH3HAKOB 3HANEHHH CJIOBA. C'JlOBa OKa3bIBaiOTC« B H y T p H CTHXOBblX p f l f l O B H eflHHCTB H 6 o j i e e CHJIbHblX H 6jIH3KHX COOTHOnieHHH H CBH3H, ΗΟΚβΙΙΗ Β O Ô b P f f l O Ë p C f f l ; 3 T a

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NPH3HAKAM 3HAHEHHH. BMECTE C ΤΒΜ HHTEHCHBHPYIOTCH KOJIEÒJNOMNEC« npH3HaKH, K O T O p b i e , OflHaKO, He Ä 0 KOHLia 3aTeMHHK>T OCHOBHOÜ n p H 3 H a X . 2 CecTpw —

THHcecTb Η HOKHOCTB —

Ο/INHAKOBM e a i i i H ΠΡΚΜΒΤΜ.

Η OCH TAACENYIO p o 3 y c o c y T . H e n o B e K YMHPAET. I l e c o K o c T b i e a e T c o r p e T b i â , H BIEPAUIHEE c o m m e HA MEPHWX HOCHJixax HECYT. MeayHHUbi

AX, THBCEJIBIE COTBI H HEACHBIE CE™, JLERIE KAMEHB NOFLH«Tb, TCM HMH TBOE NOBTOPHTB! Y MEHA OCRAETCFL OFLHA 3A6OTA HA CEETE: 3OJIOTAS 3A6OTA, XAIC BPEMEMI 6PEMH H36HTL·. ΙΟ. H. TTIHHHOB, ΠροθΛβΜα cmuxomeopuozo nibiKa (MOCXEA, COBCTCKHH ÜHCATEJIB, 1965), CTp. 121. 1 ΠροβΛβΜα cmuxomeopHoeo HibiKa, CTp. 124. 1

396

A. M. CETAJI CnOBHO TCMHyfO BOfly, Ά IlbfO nOMyTHBIIJHHCH B03flyx. B p e v w BcnaxaHO n j i y r o M , h p o 3 a 3eMJieio 6biJia. Β MeflJieHHOM Β Ο Λ Ο β ο ρ ο τ β Tsacejibie HeacHbie po3bi, P o 3 b i T H » e c T b h HC5KHOCTb β flBOHHbie BCHKH 3ariJieJia.

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onpeAe-

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c j i o e a , BepHee o T O M , n o n e M y OHH c o n o c T a B j i e H b i a p y r c j p y r o M .

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0 6 p a 3 0 M , c j i o e a A e ö c T B H T e j i b H o n p o T H B o n o c T a B J i e H b i , h o He n p a M b i M , a

' Cm. nocjiecjioBHe JI. Πηηοκογο κ Paízoeopy o JJanme. Ραίζοβορ offanme(MocKBa, HcKyccTBO, 1967), CTp. 64.

—

O. 3 .

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397

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,κβοακημ 06pa30M. Pa3yMeeTca, aKneHrapyioTca npn3HaKn,

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β

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προτηΒο-

s t h x cjiob. TaKHM 06pa30M, KOHCTpyKUHH n p H o 6 p e T a e T

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c j i h t h m h β e ^ H H o e >KHBoe T e j i o aMÖH-

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Β tom, h t o no3T OTOK/iecTBHji maMcecmb h HeMCHocmb ecTb h apyrne pe30Hbi noMHMo ceMaHTHHecKHx. Β nacTHocTH, s t o —

φοΗετΗπεοκοε

cxo^cTBo 060HX cjiob; o6a cjioBa aeycjioacHbie c yaapeHHeM Ha nepeoM 1 O6 aMÖHBajieHTHOM aHTHTe3e CM. JJ. M. Ceraji, "Ha6jiKweHHH na.a ceMaHTHiecKoii CTpyKTypofl noaranecKoro npoHìBefleHHji", IJSLP XI (1968).

398

Λ. M. CErAJI

c j i o r e , β o 6 o h x c j i o B a x nepexi yflapHbiM m a c η m m c t o h t BaHHbiH c o r j i a c H b i i i ( [ t ' ] - [ h ' ] ) ,

a cpa3y

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c y φ φ H K C -cmb ΚΟρΗβΒΒΙΜ

COrjiaCHBIM :

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peHb

yKHBHT

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acneynecTH.

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a

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T p H CTpOKH n e p B O H

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corpeTbiñ,

/

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Ha

H e c y T " ) BOcnpHHHMaioTCH KaK p a 3 B e p T b i B a H H e h

nepHbix

HOCHJiKax

flajibHefiiiiee

pa3BHTHe

OAHHaKOBblX (npOTHBOnOCTaBJieHHblx) n p H M e T T H » e C T H H HeXCHOCTH.

Β

KaKOM-TO C M b i c j i e 3 t h φ p a 3 b I m o x h o p a c c M a T p H B a T b KaK o n p e A e j i a e M b i e

ποη»τη»ΜΗ mHMcecmb h ueMCHOcmb h, cjieflOBaTejibHo, npHpaBHeHHbie n o KaKOMy-TO n p n 3 H a K y ( h j i h n p H 3 H a K a M ) 3 H a 4 e H n a a p y r κ ,D,Be n o c j i e A H H e ο τ ρ ο κ κ n e p B o ñ σ τ ρ ο φ κ —

riocKOJibKy oTAejibHbie flpyry,

φρ33Μ

flpyry.

B a p n a u H H Ha T e M y

cMepmu.

mm CHHTaeM npHpaBHeHHbiMH apyr

κ

K o p o T K o e h n p a M o e " ι β Λ Ο Β β κ y M H p a e T " n e p e ^ a e T CBoe 3naiieHHe

cjieayiomHM

φpa3aM

—

"IlecoK

n o T e p a Teruia n p n o ô p e T a i o T Ha

cojiHue

πομημο

BKJïioHeHHOCTH n p e f l J i o a c e H H a

HOCHJiKax

HecyT":

β οβπΐΗΗ

( y a c e He c y m e c T B y i o m e e

iipoHijioMy, yMepmee),

na nepubix

corpeTbiö"

(ocTbiBaHHe,

ocTbiBaHHa y M e p u i e r o ) , / " M

paiiiHee

c j i o B a M H enepaumee

nepHbix

ocTbiBaeT

ιερτω

3,aecb

CMepTH,

KOHTeKCT, n e p e f l a e T C H

cero^Ha, OTHocaiueeca

necym

HOCUAKCIX

naea

ene-

(nepHbrn —

KaK

κ

ubct

T p a y p a β c o n e T â H H H c KapTHHOH B b i H o c a Ha HOCHJiKax π ο / ι ο 6 η ο T e j i y ) . B o o 6 m e 3 T a n o c j i e f l H a a φ p a 3 a n o c T p o e n a 4 p e 3 B b i H a Ö H o aHTHTeTHHHo h aMÔHBajieHTHO. C o n e T a H H e c j i o B a co/mife

c o c j i o b o m nepnbie,

Booöme

x a p a K T e p H o e AJia M a H a e j i b i i i T a M a ( c p . " Υ Β ο ρ ο τ E p y c a j i H M a / C o j i H u e nepHoe

b3oihjio"

TojibKo

AJia

nojiaraTb,

Toro,

ιτο

β

β CTHXoTBopcHHH mto6h TaKoro

nepeaaTb poaa

1916

rofla),

naeio

coneTaHHax

KOHeHHo c j i y j K H T He

Tpaypa,

cMepra.

He p a G o r a i o T

Hejib3a

ocHOBHbie

n p H 3 H a K H 3 H a i e H n a c j i o b . K a K p a 3 H a o ô o p o T . K o H e i H O , T a K o e jieKCH-

coAHifa KaK enepatunee hjih nepnbie HOCUAKU cMepmu, yeacmun, mbMbi, ho, c A p y r o H

n e c K o e OKpy>KeHHe eMy

npH3HaKH

nepe^atOT CTopoHbi,

O . MangenbiuTaM, "3aMeTKn ο n c m t n i " β kh. O no33uu (JleHHHrpafl, A c a d e m i a , 1928), CTp. 47-48.

6

MHKPOCEMAHTHKA OflHOTO CTHXOTBOPEHHJI

399

coceflCTBo paflOM c amuMu cjioeaMH cjioea coAHife npn/iaeT hm KanecTBa ocAenumeAbHocmu,

npnocmu,

ee.nmun,

mopoicecmeenmcmu.

Ecjih noAbiTOÄHTb HaHÔojiee o6mee 'rjiyÔHHHoe' 3HaneHne, BCTaiomee 3a BTopbiM flBycTHumeM nepBOH οτροφΜ, το M03KH0 ero οφορΜγπΗροBaTb, ocHOBbiBaacb Ha Tex JieKCHHecKHX npH3HaKax, κοτορωε coaep>KaTca, rjiaBHbiM 06pa30M, β rjiarojiax η oraocaiuHxca κ h h m cjioeax (yMupaem,

ocmbieaem,

a He npoHocxr),

enepautnee

cojimxe ... necym — hmchho ewHocaT,

KaK 'MeaneHHoe HCTeneHHe >KH3HeHHoii cyöcTaHUHH h3

Ηεκοεκ HyBCTBeHHOH oôojiomkh'.

OôpaTHMca Tenepb Ha3aa, κ nepeoMy flBycTHuiHio. OcHOBHbie KjHoneBbie ποηητηη mHMcecmu h ueMcnocmu Bee BpeMfl npHcyTCTByioT bo Bcex rrpeo6pa30Bamiflx 3HaHeHHÍí cjiob, BxoaauiHX β nepByio οτροφγ, h caMH H3MeH5HOTca npH 3THX npeo6pa30BaHHax. BTopaa CTpoKa ("Me/iyHHUbi η o c h Taxœjiyio po3y cocyT") κοπωτωBaeTflBOHHoeHanpaaceHHe : c ο λ η ο η CTopoHbi, 3Toh οτροκβ nepeaaeTca cMbicji CMepmu, HarHeTaioiUHHca β nocjie,ayioinnx flByx CTpoKax. KpoMe Toro, ocbi 3,aecb conocTaBJieHbi c me.wMu,

κοτορωε β πο33ηη MaH^ejib-

llITaMa H8COMH8HHO CBa3aHbI C 06pa30M CMepTH.6 Ho, ΟΛΗΟβρβΜβΗΗΟ, BTopaa CTpoKa nepBoñ οτροφω ottctjimbo nepeaaeT h o6pa3 mch3hh. Po3a,

ee HeKTap aaiOT HCH3Hb MedymifaM

η

OCÜM.

Cjiobo po3a, KaK 6bi

CHMBOJiH3npyeT co6oíí, coneTaeT β ce6e Bee o t t c h k h CMbicjia, pacTBopeHHbie β nepBoñ ετροφε : maMcenan

po3a,

'SepeMeHHaa' jkhbotbophwm

HeKTapoM, — 3το h HeMcuan po3a. OHa oôpeMeHeHa 6yaymeií CMepTbio

h HeceT β ce6e xcH3Hb. Η stot cboíí cmucji BTopaa CTpoKa nepe^aeT KaK nepBoií, TaK η nocjie/iyfoiiiHM cTpoKaM. CMepmb npnoGpeTaeT npn3HaKH mfutcecmu

η nexcHocmu,

a mnxcecmb

h HeotcHocmb npno6peTaK>T npH-

3naKH CMepmu, noKoa, ymyÖJieHHoro cnoKoiicTBna. TaK

npocTynaeT

tot oöiiihh npH3HaK 3HaieHHa, no KOTopoMy

OTOKflecTBJiaKJTca CTOjib pa3JiHHHbie noHaTHa KaK mnxcecmb iiocmb.

Ά

n.iommcmb,

η

tienc-

6bi Ha3Baji ero 'ncTOMa'. 3 τ ο cjiobo npH3BaHo nepeaaTb eycmomy

e^HHoro noTOKa hœ3hh h CMepra.

Bo3HHKaiouiHH β pe3yjibTaTe cnjieTeHna mnwcecmu coce^CTBa c MCUKHbw h

CMepmbw

hobhh

η ueMciwcmu,

hx

ceMaHTHHecKHH npH3HaK

(ucmoMa) KOHueHTpHpyeT β ce6e h 3HaHeHna, CBa3aHHbie c τβΜ, h t o mm Bbiuie Ha3BajiH MeaneHHbiM HCTeneHHeM acH3HeHHoñ cyöcTaHUHH. Πρκ 3T0M, ecjiH bo ΒτοροΜ nojiycTHiiiHH 3Ta rjiyÔHHHaa ceMa B03HHKajia KaK npoeKuna CMepTH h HMejia, TaK CKa3aTb, naccHBHbiH xapaKTep ("necoK 6 Cp. N. Â. Nilsson, "Osip Mandel'stam anu''s poetry", Scando-Slavica IX (1963); Κ. Φ. TapaHOBCKHM, "rinejibi h ocbi β πομμιι MannejibWTaivia", To Honor Roman Jakobson III (1967), "Τρκ 3aMetKH ο πο33ηη MaHflejibiirraMa", IJSLP XII (1969).

400

a . M. CErAJl

COM o c T B i B a e T c o r p e T b i ñ " ) , ΤΟ Β n e p B O M n o j i y c T H i i i H H Μ Η H a ô j n o a a e M το

»ce MeflJieHHoe HCTeneHHe ( c o c y m ) ,

HO y a c e ,

Bo-nepBbix,

Β njiaHe

JKH3HH, a B O - B T o p t i x KaK π ρ ο η ε α ; He OTflaMH K y f l a - T O , a , e c j i n y r o j i H O , B3HTHH O T K y f l a - T O . T a K H M o 6 p a 3 0 M ucmoMa

CB»3biBaeTCH 3 f l e c b c MeAJieHHbiM

HCTene-

HHeM, C KaKHM-TO npOUeCCOM OÔMeHa )KH3HeHHbIMH HanaJiaMH. Π ρ Η Η β Μ CymeCTBeHHO, ΗΧΟ Β flaHHOM CTHXOTBOpeHHH 3ΤΟ —

HMeHHO AJIHmHHCH

n p o u e c c ( H e c o B e p u i e H H W H BHA r j i a r o J i o B Β n e p B o í í σ τ ρ ο φ έ ! ) .

HcTOMa

KaK MeflJieHHoe nepeìKHBaHHe e r o . B T o p a j i ΰ τ ρ ο φ 3 n o j i x B a T b i B a e T MOTHBH n e p B o ñ ε τ ρ ο φ ω . r i e p B b i e CTpoKH B T o p o i î ε τ ρ ο φ κ — HeoKHocmb.

3πκτετΗ

06me«3biK0BbiM BHyTpeHHHe

B a p n a u H H Ha T e M y cecmpbi

mn&ceAbie

Η wMCHbie

ynoTpeôJieHHeM,

npH3HaKH

HO

3HaMeHHa

—

flee

mHMcecmb

u

CMemeHhi n o cpaBHeHHio c

STO

CMemeHHe

onpeflejiaeMbix

onHpaeTCH

CJIOB,

HTO

Ha

CHOBa

c o 3 A a e T 3 φ φ ε κ τ ΒΟ3ΗΗΚΗΟΒ6ΗΗΗ ΗΟΒΟΓΟ 3HaHeHH», H p p a f l H a u H H C M b i c j i a . H e x o A » H3 n e p B H M H o r o n p H 3 H a K a c j i o B a msiMcecmb c n e a y e T o n p e a e J i H T b KaK jieeKue, nnemMu, eocKa.

MZKUMU,

cymecTBaMH Cemu

HemsixceAbie H3 B e c b M a

Β ΠΟΑΟ6ΗΟΜ NOHHMAHHH —

—

— ' e e c ' , com w CKOpee B e f l b OHH M a c T e p j r r c a

MOKHOZO

maotceAbi,

MaTepuajia

—

JIK>6OH, ΒΗΒΒΗΒΙΗΗΗ

Β c B o e M B o o ô p a x c e H H H KapTHHy p b i ô a K O B , c T p y a o M B b i Ô H p a i o m H X c e T H , c o m a c H T c a c 3THM. O f l H a K o , o ^ H O B p e M e H H o comvi c e ô e H KaK mnotceAbie,

MOHCHO n p e f l C T a B H T b

e c j i H n o a n e p K H y T b Β HHX HanoJiHeHHocTb MÊAOM,

B e c 3ΤΟΓΟ MEFLA, 6 e p e M e H H 0 C T b COT MEAOM. Β 3TOH TJUK8CTH — r j i y 6 0 K 0 NOJIOHCHTEJIBHORO H3O6HJIHH. Cemu CTBeHHbi Β 3ΤΟΜ C M b i c j i e comaM, aMcypHa,

iieMCHa.

npH3HaK

COCTOHT H3 HueeK

o f l H a K o TOHKaa

H ρο,ζι-

HX njieTeHHH

—

T a K a B T o p yflHBHTejibHo y M e j i o H c n o j i b 3 y e T BHyTpeH-

HHe ΠρΗ3Η3ΚΗ 3HaHeHHH H φοΗβΤΗΗεεΚΟε CXOFLCTBO CJIOB cornu

H

cemu,

HTo6bI OÖbeflHHHTb, CJIHTb BMeCTe KJIIOHeBbie ΠΟΗΗΤΗΗ CTHXa. T O T »ce π ρ κ ε Μ n p n n n c b i B a H H H c j i o B a M c o n p e a e j i e H H W M H ceMaHTHMecKHMH npH3HaKaMH, x a p a K T e p H 3 y i o m H M H HX mnoteeemb TaKHX

CMbicjioBbix

onpeAeJieHHH,

n o j i o î K H o e 3HaMeHne mxMcecmu CTpoKe C

ΒτοροΗ

TOHKH

κοτορωε

HJIH

nexcnocmb,

noflnepKHBaiOT

προτΗΒο-

HJIH ueMcnocmu,

NPHMEHEH BO

3peHHa

npOCTOro

φΗ3ΗΟΛΟΓΗΗεεΚΟΓΟ

yCHJIH»

KdMeHb NO-BHFLHMOMY TPYAHEE, π ε Μ NOBTOPHTB HMH — 6 b i jiHUJaeT

KAMEHB mnMcecmu,

HCKOHH n p H c y m e ñ

nOAHSTb

H BOT a B T o p KaK eMy,

H ΓΟΒΟΡΗΤ:

" . . . ΛεΓΗε K a M e H b n o f l H H T b " . I l p o T H B o n o c T a B j i e H H e 3CIMHW — —

Βτοροή

οτροφΗ.

UMH

meoe

η ε ρ ε Β Ο Λ Η Τ CTHXH Β JÍHHHblH, 'cOÔCTBeHHblH' p u a , KOTOpblH 3 a T e M Η

ο π ρ ε Λ ε Λ Η ε τ ABHaceHHe c r a x a ( " y Menn

o c T a e T c a . . . " , " Λ m>io . . . " ) .

« ε n p o T H B o r r o c T a ß j i e H H e CHOBa H a ô p a c b i B a e T Ha

3το

mnotcecmb-HeoKHocmb

MHKPOCEMAHTHKA OflHOIO CTHXOTBOPEHHH

401

3MOTHOHajlbHbIH OTCBeT, KOTOpblìÌ M b l BblUJe OnpefleJIHJIH KaK UCmOMd. 3 t o t ceMaHTHHecKHH npH3HaK, o ô i h h h flJia π ο η α τ η η nwotcecmb ìwcmb

η neMC-

Ha MrHOBeHHe n p n o ö p c T a e T j i h h h m h , η η τ η μ η η η x a p a K T e p (He

3aBHcaiiiHH OT T o r o , Hbe » e h m « c K p b i B a j i o c b n o a c j i o b o m meoe — x a p a K T e p MecTOHMeHHa y T e n j w e T ,

npHÒJiH^aeT

cthxh

κ

caM

MHTaTejiK»),

H T o ö b i 3aTeM n p n o G p e c r i i HOBoe KanecTBo. KanecTBo

3το

CBa3aHo

c

BTopaceHHeM

β CTHX epeMenu.

craHOBHTCH CBOHCTBOM epeMeHu η npocmaHcmea

HcTOMa

(eo3dyx) m npnoöpeTaeT

BeJIHHeCTBeHHbie, KOCMHHeCKIie HCpTbl. B b o a h t c h β c t h x epeMM CTpoMKOH, o ó p a m a i o m e ñ Ha c e ö a BHHMaHHe φΟΗΗΜεΟΚΟΗ 0praHH30BaHH0CTbK) : 30Ji0/wa« sagoma

KaK

eptMehh

Hjóbimb.

6pcMf¡

CTOJiKHOBeHHe oflHuaKOBbix r p y n n c o n i a c H b i x c6jin>KaeT c T o a w n e p a ^ o M CJIOBa Η HX 3HaHeHMH HaHHHaiOT B3aHMOnpOHHKaTb, 30Aomoü

y

MaHflejibiiiTaMa

cBH3aHo

c

HrpaTb.

Cjiobo

TjiyôoKo-nojioacHTCjibHbiM,

CnOKOHHbIM H flOÖpblM MHpOM aHTHHHOCTH.7 3 τ θ CJIOBO HMeeT CTOJIb CHjibHyK) 3M0UH0HajibHyK) H a r p y 3 K y , CToamee

paaoM

c

hhm

cjiobo

ητο

He MoaceT He BjinaTb

—

3aóoma

β π HCbiBaeTca β n o j i e mnMcecmb-neMCHoctrtb

pe3yjibTaT

Ha

npeBocxoano

h MoaceT 6biTb B o c n p n H a T

KaK e m e o^Ha BapnaiiHa Ha 3Ty TeMy, h o h m c h h o KaK BapwaiiHa, a He noBTopeHHe. 3oAoman c

3a6oma

3a6oma

Μο>κετ

(cpaBHH mxMceAax

xaôoma),

mnoKecmbto-MDKHocmbio.

BapHaHT mnytcecmu

HeceT β c e 6 e h Ηεπτο HOBoe n o cpaBHeHHio paccMaTpwBaTbca 3a6oma

wHTepnpeTHpoBaTbca KaK npoaBJieHHe neotcnocmu, norpaHHHHocTH, x p y n K o c T H , lejIbHblH

3MOUHOHajTbHbIM

β c j i o e e 30A0man

ne3fleiiiH0CTH, HeacHocTH : e e c b 3apafl

OCHOBHOJÍ

πpHcyTCTByeT KaK 6bi β m h c t o m BHfle. 3 τ ο τ

TeMbI cmkhh

yxoaiiT,

OTOABHraeTca

Ha

3aOTHÍí

Ηετ

nojioacH-

CTHXOTBOpCHH» noJioacHTejibHbiii

o 6 p a 3 HacTOJibKo CHJibHo aeñcTByeT Ha 3HaHeHHe c j i o e a 3a6oma, oTpHiiaTejibHoe

KaK

MoaceT TaKHce

njiaH,

a,

h t o Bce TOHHee

r o B o p a , c a M o CTaHOBHTca nojioacnTejibHMM. O ö n i H o c T b p a f l O M CToainHx c j i o b epeMenu

ôpeMH oneBH/iHa. O H a yace

iiaBHO 33φ«ΚεΗρθΒ3Η3 06lUea3bIK0BbIM C03HaHHeM H nOJIOHCHJia HanajIO i p o n y , o ö m e M y MecTy. Β KOHTeKCTe flaHHoro CTHxa ôpeMM epeMenu TOJibKO TaxcecTb, necnocnoe 3oAomoú

UBeT 3a6omu

He

ô p e M a , a Μ ο » ε τ 6biTb η He CTOJibKO o h h .

OKpaiiiHBaeT η δρβΜη

epeMenu

τεΜ öojiee,

hto

o 6 a BbipaaceHHa napajiJiejibHbi a p y r a p y r y π ο φ ο ρ Μ ε cnHTaKCnHecKOH CBA3H (aTTpHÖyTHBHaa), npHJiaraTejibHoe 30A0man

— napajijiejib cjioey

7 CM. JX. M. Ceran, "HaÔJiiofleHHJi Ha« ceMaHTHiecKOH CTpyKTypoö no3THieCKoro npoH3BefleHHn", IJSLP X I (1968).

402

Λ h,

epeMem

pa^ytvieeTca,

Μ. CEfAJT

npopbiBaeTca

Mepe3

hx

paccTOHHHe

pa3#e-

jiaiomee. BpeMß,

TEKHM 0 6 p a 3 0 M , n p e f l C T a e T KaK Η ε π τ ο , B x o a a m e e β c e M a H T H -

n e c K o e n o j i e mnwcecmu-neMcnocmu T e j i b H o , epeMx -niMMce.io, H 3 6 b i B a H H e BpeMeHH — TOMHTeJIbHblH

h n p i i M a c T H o e ucmoMe.

H,

deûcmeu-

oho bccht, oho — ôpeMH, ho oho h 30.iomoe. s t o He c ô p a c b i B a H H e e r o c n j i e n , a Me^JieHHbiH,

(npHMaCTHblii

HCTOMe)

npouecc,

OaHOBpeMeHHO

\iy4H-

TeJibHbiii h r j r y ô o K O n o j i o x c H T e j i b H O O K p a m e H H b i ñ . Β

3TOÍÍ

ε τ ρ ο φ ε c a M n o s T Ha3biBaeT o T f l e j i b H b i M

ceMaHTHHecKoe 3HaneHHe Mednemoeo

cjiobom το

rjtyÖHHuoe

ucmeueHun MCU3MHHOÜ cyßcmaHt/uu,

K O T o p o e B03HHKJI0 β π ε ρ Β ο ϊ ί ε τ ρ ο φ ε .

FTpaB/ia 3 f l e c b B b i c T y n a e T

jiHiiib

u3Ôbimb öpeMx epeMeftu; hccomhchho, hto CBH3aHO c nepeacHBaHHeM ucmoMbi KaK TaK η β C M b i c j i e ο ό ρ ε τ β Η Η Η , nepe,aaeTCH cjiobom U30bimb. H a x o Ä f l e H H e 'τογο c a M o r o ' c j i o B a juin o 6 o 3 H a H e H H « c j i o x c H o r o r j i y Ö H H H o r o C M b i c j i a , K O T o p b r ä Medile h ho, KaK n o K p y r i H u e , 8 c o G n p a e T c a aKTHBHaa C T o p o H a n p o u e c c a —

oflHaKo, HTo Bee το β CMbicjie π ο τ ε ρ Η ,

o6mee,

n o x o a y pa3BepTbiBaHHH ε τ ρ ο φ ω , η o x K p b i B a e T K a T a p r a n e c K y i o C B o ô o f l y

c ycKOJib3aHHeM cmwcjioβογο npH3HaKa CHHMaeTCH — U36bieaemcn ! — H B03HHKaeT onnmeHHe. n p o c T p a H e T B a CTHxa. T p y a H o c T b , C B j n a H H a a

3 τ ο h e c T b τ ο c a M o e HCKyccTBO, ο κ ο τ ο ρ ο Μ B . JI. ü a c T e p H a K r o B o p n j i : "ripoH3BeAeHHH roBopaT

μηογημ:

T e M a M H , noJioxceHHHMH, c i o x c e T a M H ,

repoHMH. H o öojibine Beerò o h h roBopKT n p ^ y T C T B H 8 M c o f l e p a c a m e r o c » β h h x HCKyccTBa. ü p H c y T C T B H e HCKyccTBa Ha c T p a H i m a x u HaK.a3a.HUH n o T p a c a e T

ö o j i b i n e , neM π ρ ε ε τ ν π π ε Η κ ε

TIpecmymeHUH

PacKojibHHKOBa".

0flH0BpeM8HH0 ΒΒεΛεΗΗβ u3ÓbieaHun ββολητ β TeMy ucmoMbi epeMeiiu οτηοιικηηα. C a M Π03Τ π0Μ03κετ H a M n o H H T b , n o n e M y B p e M H THJKejio, n o n e M y oho β ε ε κ τ h n o ne m y s t o t Bec 6 j i a r o , a a T e H .

3JieMeHT u e H H o c T H o r o

Β

CBoeü CTaTbe " C j i o b o

h

KyjibTypa" O.

MaH/iejiburraM η κ α ι ε τ

o

CBOeM nOHHMaHHH HCTOpHH, BpeMeHH HejIOBCHeCTBa :

HacTO

npHxoflHTCH

cubmiaTb: 3 τ ο χ ο ρ ο ι π ο ,

ho sto

BiepauiHHñ

aeHb. A h

r o B o p i o : BiepaiiiHHH aeHb e m e He poflHíica. E r o e m e He 6 w j i o n o H a c T o a m e M y .

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WARTOSC NARODOWO-KULTUROWA PRZEKLADU LITERACKIEGO (NA PRZYKLADZIE HAMLETA SHAKESPEARE'A W UJÇCIU J. PASZKOWSKIEGO) STEFANIA SKWARCZYÑSKA

Ζ jednej strony przeklad utworu literackiego jest wspólczynnikiem ksztaltowania siç i konsolidowania ogólno-ludzkiej wspólnoty kulturowej, st^d wspólczesnie opieka nad nim miçdzynarodowej instytucji UNESCO, a takze wzmozone zainteresowanie nim nauki, która kladzie pod dawn^, szczyc^c^ siç antycznym rodowodem, normatywnq poetykç przekladu solidny fundament nowoczesnej lingwistyki i antropologii kulturowej. Ζ drugiej jednak strony przeklad to takze wewnçtrzna sprawa poszczególnych kultur narodowych i zachodz^cych w nich procesów historycznych, stqd przeklad — wobec wzmozonej obecnie troski o Charakter i drogi rozwojowe tych kultur — znalazl siç ze tego wzglçdu w osrodku zywej problematyki kulturoznawstwa. Centralne w niej miejsce zajçlo zagadnienie sytuacji utworu obcego wobec tej kultury narodowej, ζ ktôrç go zetkn^l jçzyk przekladu: czy pozostaje on, mimo przekladu, poza jej granicami, czy tez, dziçki przekladowi, uzyskuje w niej naturalne prawo obywatelstwa. Rozwi^zanie skrajne tej drugiej alternatywy widzi przeklad w obrçbie literatury narodowej. 1 Podzielaj^c ogóln^ orientacjç takiego rozwi^zania, sqdzimy jednak, ze nalezy je obwarowac powaznymi zastrzezeniami. Wyplywaj^ one ζ zalozenia, iz literatura narodowa to nie suma utworów literackich, lecz calosc o swoistej strukturze otwartej, ζ zarazem wyktadnik swoistego procesu historycznoliterackiego, który tocz^c siç w obrçbie kultury narodowej wchodzi ζ wszystkimi jej dementami i aspektami w róznorakie zwi^zki. Ζ tymi samymi dementami i aspektami — w planie tradycji i tendencji rozwojowych kultury — wchodzi w zywy kontakt kazdy utwór literatury narodowej, wl^czaj^c siç aktywnie w jej krwioobieg poprzez swoje tresci myslowe, ksztalt artystyczny i dynamizm spoleczny. Stanowi to o jego swoistej wartosci, wlasnie wartosci narodowo-kulturowej. Oczywiscie, wartosc ta bywa rozna w swej jakosci i stopniu, w zaleznosci 1

M.i. K. Horálek, "Rodzaje literackie ζ punktu widzenia problematyki przekladowej", w: Zagadnienia Rodzajow Literackich VII, ζ. 1 (12), s. 12.

408

STEFANIA SKWARCZYNSKA

od jakosci, ilosci i zasiçgu funkcji które pelni utwór w calosci literatury 1 kultury. Przy takim zalozeniu utwór stac siç moze skladnikiem obcej literatury narodowej tylko wówczas, gdy na równi ζ jej rodzimymi skladnikami osi^gnie ow^ wartosc narodowo-kulturow^, czyli jesli podejmie róznorakie funkcje w obrçbie tej literatury. Ulatwi mu to, lub stawi temu opór, sam jego charakter, ale zadecyduje o tym — jego przeklad, a to przez ksztalt jçzykowo-artystyczny, który mu nada. Mowa tutaj, oczywiscie, nie o zabiegu deformuj^cym ad hoc utwór obey — np. o tzw. polonizacji utworu, praktykowanej w dawniejszych wiekach, a której rezultaty mozna dzisiaj ocenic tylko na mocy historycznych kryteriów przekladu —, lecz o 'urodzimieniu' 2 go jçzykowo-artystycznym. Polega ono na odpowiednim czerpaniu ζ zasobów rodzimego jçzyka i ich stosowaniu do wymogów tekstu, na nawi^zywaniu — przy ksztaltowaniu tekstu w przekladzie — do tradycji narodowej literatury, na przerzucaniu walorów oryginatu w operowaniu jçzykiem w skarb rodzimej wspólnoty mowy potoeznej oraz jezyka pózniejszej literatury. Takie 'urodzimienie' nie stoi w sprzecznosci ζ zasad^ wiernosci przekladu wobec oryginatu, a decyduje o jego dhigotrwatej zywotnosci w kulturze narodowej, broni^c go przed sytuacja martwego zabytku jçzykowoliterackiego. A oto garsc przykladów ilustruj^cych rozmaite arkana kunsztu 'urodzimiania' utworu obcego, zaczerpniçta ζ przekladu J. Paszkowskiego Hamleta, ζ przekladu który swiadczy swg. przeszlo stuletniq zywotnosci^— zreszt^ nie kompetuj^c o rangç przekladu klasycznego — o przynaleznosci arcydziela Shakespeare'a w tej wersji jçzykowej do polskiej literatury, przy naszym, oczywiscie, rozumieniu literatury narodowej. Parç uwag wstçpnych. Ogloszony w 1862 r. J. Paszkowskiego przeklad Hamleta stai siç zdarzeniem w dziejach tego utworu w polskiej kulturze, mimo ze miata juz ona za sob^ jego recepcjç w twórczosci Mickiewicza, Slowackiego, Norwida wprost ζ oryginalu, i mimo ze o jego przeklad pokusilo siç wczesniej az czterech tlumaczy, w tym jako pierwszy — za posrednictwem transpozycji niemieckiej — 'ojciec polskiego teatru', W. Boguslawski, który w 1798 r. wprowadzil go na scenç. Przeklad Paszkowskiego uzyskal szerokie rozpowszechnienie poprzez liezne, siçgaj^ce ostatnich lat, edycje popularnonaukowe i szkolne, poprzez teatr i mistrzostwo wielkich aktorów, zaangazowanych w inscenizacjç, co odbilo siç bujnie w krytyce teatralnej. I co dziwniejsze: wytrzymywal, i dot^d 2

Por. Z. Szmydtowa, "Czynniki rodzime i obee w przekladzie literackim", w: zb. O sztuce tlumaczenia (Wroclaw, 1955), s. 111-126.

PASZKOWSKIEGO PRZEKLAD "HAMLETA"

409

jeszcze wytrzymuje konkurencjç ζ pózniejszymi przekladanii, ζ których niejeden sygnowany jest nazwiskiem wybitnego poety lub znanego filologa.3 A wytrzymuje tç konkurencjç pomimo, iz szekspirologia dokonala od stu lat lwiego skoku, a Paszkowski nie byl i na swój czas wybitnym anglista, i pomimo, iz niejeden ζ tych pózniejszych przekladów odznacza siç wiçkszq. wiernosci^ wobec oryginalu i wiçkszym poetyckim polotem, a pochlubic siç moze takze okresowq zywotnosci^ na scenie. Nie zahamowaty równiez spolecznej zywotnosci przekladu Paszkowskiego pewne pod jego adresem zastrzezenia krytyki, w tym takze wyrazone w trzech naukowych pracach o przekladach Shakespeare'a (W. Tarnawski, 1914, W. Borowy, 1947, S. Helsztyñski, 1954), zastrzezenia które zresztq. nie podwazyty ogólnie dodatniej o nim opinii krytyków, chociaz nie przykladali oni miernika wartosci narodowo-kulturowej. Dwa glównie aspekty przekladu Paszkowskiego zadecydowaly o wrosniçciu Hamleta w tej wersji w polsk% kulturç: jego stosunek do frazeologii, owego najbardziej intymnego, bo doslownie nieprzekladalnego, skarbu kazdego jçzyka, i do polskiego obyczaju jçzykowego, oraz jego stosunek do tradycji literackiej, zwlaszcza romantycznej ; a romantyzm w swiadomosci polskiej to wiçcej niz szczyt polskiej poezji, bo polska racja stanu i motor poczynañ narodu w dobie rozbiorów, podloze jego idealów, orientacji, uczuc, postaw i historycznych decyzji. Przeklad czerpat ζ obu tych zródel, twórczo aktualizuj^c ich wartosci, i wzbogaciwszy te wartosci o stycznosc ζ Shakespearem — przekazywal je polskiej mowie i pózniejszej literaturze. Na ogól przestrzegaj^c ówczesnych 'bienséances' jçzyka literatury, Paszkowski nie waha siç jednak przed siçgniçciem po zwrot jçzykowy do mowy potocznej, jesli odpowiada on swoim charakterem srodowisku ukazanemu w dramacie. Slowa Franciska: "And I am sick at heart" (I, 1, 8)4 przektada zwrotem nieco 'gminnym': i ghtpio mi na sercu (23),5 czego nie powtarza zaden ζ pózniejszych tlumaczy, nawet J. Kasprowicz, który pierwszy odwazyl siç na wulgaryzacjç jçzyka. Podobnie slowa Hamleta: "I am too much in the sun" (I, 2, 67) przekazuje Paszkowski * Po J. Paszkowski m dokonali przekladu Hamleta nastçpuj4cy pisarze: K. Ostrowski 1870, J. Kasprowicz 1890, L. Ulrich 1894, W. Matlakowski 1894, Z. Sklodowski 1935 (thimaczenie ζ r. 1908), R. Brandstaetter 1952, W. Tarnawski 1953, J. Iwaszkiewicz 1954, W. Chwalewik 1963, J. S. Sito 1968; nie wydany zostalprzeklad K. Puslowskiego. 4 Akt, scenç, wiersz cytatu podaje siç wedlug: William Shakespeare, The Complete Works, A new edition, edited with an introduction and glossary by Peter Alexander, (London and Glasgow, 1968). 5 Cytaty ζ podaniem strony podaje siç wedhig: W. Szekspir, Hamlet, Krölewicz duñski, Przeklad Józefa Paszkowskiego, opracowat Dr. P. Chmielowski (Brody, 1909) (Arcydziela polskich i obcych pisarzy, tomik 11-12).

410

STEFANIA SKWARCZYrtSKA

odpowiednikiem : jest em wystawiony bardzo na slonce (31), a wiçc wykorzystuj^c zwrot jçzykowy wystawiac cos na slonce (np. rosliny doniczkowe). Stylistycznie brzmi to nieco niezgrabnie, ale pózniejsi tlumacze likwiduj^c tç niezgrabnosc, usunçli ζ przekladu wlasciwg. temu zwrotowi atmosferç domowo-rodzinn^, czyli atmosferç któr^ w tym dialogu usiluje wniesc Król w swoje stosunki ζ Hamletem. O swobodzie Paszkowskiego w posiugiwaniu siç zartobliwo-pospolitym zwrotem jçzykowym swiadczy przeklad tego fragmentu wypowiedzi Poloniusa, w którym poucza on rozmôwcç, jak przez prowokacjç wzmiankami o nie przynosz^cych ujmy honorowi wybrykach syna, ma wydobyc od interIokutora prawdç o jego zachowaniu; powiada m.i. : "There was'a gaming; there o'ertook in's rouse" (II, 1, 57-58). Paszkowski, siçgn^wszy po zwrot potoczny o poblazliwo-zartobliwej nucie, przelozy : ten poklócil siç; albo: miai w czubku (52). Inni tlumacze zrezygnowawszy ze zwrotu miec w czubku, zrezygnowali tym samym ζ automatycznego przekazu poblazliwosci doswiadczonego ojea dia 'grzeszków' mlodosci. — Trudne do zinterpretowania i przekladu wyrazenie: "Ay, Springes to catch woodcocks!" równowazy Paszkowski porzekadlem: Plewy na mlode wróble! (40), podezas gdy inni tlumacze sil^ siç — ζ rozmaitym skutkiem — na doslownosc, rezygnuj^c ζ jçzykowego zwrotu, a niekiedy i ζ eksklamacyjnosci wyrazenia. Panowanie nad skarbem frazeologicznym polszczyzny wykazuje Paszkowski w swobodzie ζ jakq igrq ζ sensem i formq przyslów i porzekadel, inkrustuj^c je rozmaicie w tekst Shakespeare'a. Przy zachowaniu ich rozpoznawalnosci zaciera pozornie ichcharakter skamielin, przywraca im swiezosc. 1 tak np. przeci^l wpól znane porzekadlo starosc nie radosc, mlodosc nie wesele, aby winkrustowac pierwsz^ polowç w swobodny przeklad piosenki Grabarza: "But age, with his stealing steps, / Hath claved me in his clutch" (V, 1, 171-172); co wiçcej: pozbawil tç polôwkç porzekadla jej charakteru zdaniowego, czyni^c podmiotem zdania: Lecz starosc nie radosc, napadlszy znienacka, / Zwalila mnie swoim obuchem (123). — Kiedyindziej urywa Paszkowski porzekadlo do polowy, domagaj^c siç od odbiorcy dopowiedzenia sobie reszty, o co latwo ze wzglçdu na jej odnosnosc do ukazanej sytuacji w dramacie. 1 tak: wykorzystuje porzekadlo: Boze! Ty patrzysz, a nie grzmisz? dia przekladu slow Laertesa: "Do you see this, O God?" (V, 1, 197). Zgodne ζ oryginalem przestawienie slowa : Boze ! na koniec zdania, jak ma siç rzecz we wszystkich innych przekladach, niweczy obecnosc porzekadla, a wiçc i nutkç grozy jego drugiej polowy, tak odpowiadaj^c^ doznaniom Laertesa.

PASZKOWSKIEGO PRZEKLAD ''ΜΑΝΣΕΤΑ"

411

Tç sam^ metodç igrania ζ formq przyslowia doprowadza Paszkowski do wysokiego kunsztu, gdy w obrçbie jednego wypowiedzenia kontrastuje rubasznosc jego elementów ζ podnioslosci^ innych wyrazen. Klasycznym jego okazem jest przeklad wypowiedzi Hamleta : "Rashly, And prais'd by rashness for it — let us know, Our indiscretion sometime serves us well, When our deep plots do pall"; (V, 2, 6-9). Angazuje tu Paszkowski popúlame, a rubaszne przyslowie: Co nagle, to po dyahle, swobodnie je rozbijajqc i przeczqc niejako jego sensowi ; równoczeánie zestawia jego elementy ζ dostojnym, zlekka juz archaicznym wyrazem 'swiçcic siç', glçboko wroslym w polskq. kulturç uczuc, ζ jednej strony dlatego, ze uswiçcilo go uczestnictwo w pacierzu (swiçc siç imiç Twoje), ζ drugiej dlatego, ze upowszechnila je poezja romantyczna i jej poglos w poezji pózniejszej, chocby slynne ζ "Rusalek" J. B. Zaleskiego: swiçc siç, swiçc siç, wieku mlody.. , odbite w poezji G. Zieliñskiego, przytaczane w "Pogance" ¿michowskiej i w jej wierszu "Do moich dziewczynek". Pol^czenie rubasznego diabla ζ przyslowia ζ owym religijno-poetyckim wyrazem swiçcic siç daje w przekladzie efekt groteskowego kontrastu: Nagle, i niech siç swiçci owa nagloscl Trzeba ci bowiem wiedziec, ze nie wszystko Bywa po dyable, co czynimy nagle (129-130). Pózniejsi tlumacze zrezygnowali ζ tego efektu. Jeden Wyspiañski umial ocenic urok tej jçzykowo-stylistycznej konstrukcji. W swoim Studium inscenizatorskim 0 Hamlecie, gdzie parafrazowal nie tylko sam utwór Shakespeare'a, aie 1 przeklad Paszkowskiego, daje wyraz fascynacji ow^ konstrukcji; powtarza jej glówny trzon parokrotnie, w tym w didaskaliach do ostatniej sceny Hamleta: Hamlet (nagle) (i niech siç swiçci owa naglosc).e Polskiemu obyczajowi jçzykowemu, za którym kryje siç znamienna dia polskiej kultury czesc dia zmarlych, daje wyraz Paszkowski dorzucaj^c w przekladzie do tekstu Shakespeare'a wyrazenie : swiçtej pamiçci, gdy mowa o zmarlym ; dzis obyczaj ten pozostal tylko w relikcie skrótu : sp. na klepsydrach osób wierz^cych, aie byl zywo kultywowany w poezji romantycznej (por. zakoiíczenie Pana Tadeusza, gdzie szlachta wiwaty wznosi Wszystkich przyjaciól których kto zywych spamiçta, I których zmarlych pamiçc pozostala swiçta). Horacy powiada po prostu: "A figure like your father" (I, 2, 199), natomiast Paszkowski: Postac podobna do swiçtej pamiçci Ojea twojego (35). Wrazaj^c w przekladzie tekstowi Shakespeare'a bogactwo polskiej frazeologii i polski obyczaj jçzykowy, Paszkowski wzbogacil równoczeánie zasób tej frazeologii o nowe sentencje, przyslowia, zwroty, a to przez e

S. Wyspiañski, Dziela zebrane 13, Hamlet (Kraków, 1961), s. 137; do tego wydania odnosza siç wszystkie cytaty ζ Wyspiañskiego.

412

STEFANIA SKWARCZYÑSKA

nadanie ich formy wypowiedziom w oryginale, nawet wówczas, gdy nie mialy w nim takiego zakroju. W rezultacie poczçly fungowac w mowie potocznej i w jçzyku literatury 'wyimki' ζ Hamleta w przekladzie Paszkowskiego, pocz^tkowo w charakterze literackich cytatów, potem coraz czçsciej anonimowo w charakterze okolicznosciowych powiedzeñ sentencjonalnych i zwrotów przystowiowych. Dotqd kr^zq. w charakterze cytatów takie sformulowania Shakespeare'a w przekladzie Paszkowskiego, jak: Biada podrzçdnym istotom, gdy wchodzq Pomiçdzy ostrze potçznych szermierzy (132), Wiçcej jest rzeczy na ziemi i niebie, Niz siç ich snilo waszym filozofom (49), swiat wyszedl ζ formy (50), nie mówiac juz o: Bye albo nie bye (73) i Reszta jest milezeniem (141). Wypowiedz Shakespeare'a o teatrze (I, 2, 17-27) w przekladzie Paszkowskiego nie tylko sluzy jako cytat lieznym pracom naukowym i publicystycznym ; dala takze pohop Wyspiañskiemu do uksztaltowania — poprzez graficzny rozklad na frazowe segmenty — malego dzielka plastyczno-literackiego : dedykaeji w stylu antycznego napisu w kamieniu (dedykaeja 'aktorom polskim' w Studium o Hamlecie).7 — Podobnie jak doslowny, powtarzaj^cy siç we wszystkich przekladach, przeklad wyrazenia Hamleta, ze cos szpilki zlamanej nie warte (43), i slawne : idz do klasztoru (65), tak przeklad —• tym razem tylko Paszkowskiego — slow Hamleta: "Hide fox, and all after" (IV, 2, 30) w postaci : Lis do nory, wszyscy za nim (102) stai siç polskim zwrotem przystowiowym. Aie zupelnie wyj^tkow^ karierç osi^gn^l jako cytat, okolicznosciowe porzekadlo, senteneja, jako literackie motto i motyw liryczny — fragment ζ przekladu-parafrazy piosenki Hamleta : Ktos nie spi, aby spaé mògi ktos (85), odpowiednik w oryginale slow: "For some must watch, while some must sleep" (ΙΙΓ, 2, 267). W ogóle przeklad Paszkowskiego tej piosenki, ζ którym zaden pózniejszy nie mògi rywalizowac, uzyskal rangç klasycznego ; ζ tego tytulu znalazl siç w przekladzie J. S. Sity. Paszkowski nie tylko eksploatuje dia przekladu Hamleta polskq frazeologiç i pomnaza jej zasób mysl^ Shakespeare'a. Postçpuje podobnie ζ tradyejq literack^. Przybliza niejednokrotnie Hamleta przekladaj^c go bqdz jçzykowo-stylistycznymi i obrazowymi aluzjami do dziel wroslych w swiadomosc i umilowanie polskiego spoleczenstwa, b^dz nawet powtórzeniem drobnych ich fragmentów. Stowa ζ listu Hamleta : "They have dealt with me like thieves of mercy : but they knew what did : I am to do a good turn for them" (ÍV, 6, 13-17) stylizuje Paszkowski nastçpuj^co : Obeszli siç ze mnq, jak poczciwym lotrom przystoi; ale wiedzieli, co czyniq (114). Jest tu oczywiste odniesienie do Nowego Testamentu w 7

T a m z e , t. 13, s. 7.

PASZKOWSKIEGO PRZEKLAD " H A M L E T A "

413

czcigodnym przekladzie ks. J. Wujka — odniesienie, a równoczesnie igranie ζ sensem dwóch momentów w opisie Ukrzyzowania: Wtedy ukrzyzowano ζ nim dwóch lotrów (Mat. 27, 38), ζ których jeden okazal siç dobrym lotrem, i: A Jezus mówil: Ojcze! Odpusc im, bo nie wiedzq, co czyniq (-buk. 23,33). Slowo: lotr nie powrócilo juz w zadnym pózniejszym przekladzie, a wraz ζ nim przepadla aluzja ewangeliczna. — Doszlo w przekladzie Paszkowskiego jakby do ewokacji powszechnie znanej w Polsce piesni J. Kochanowskiego "Czego chcesz od nas, Panie ..." Pytanie Hamleta, zwrócone do Ducha : "What should we do?" (I, 3, 57) brzmi w przekladzie : Czego chcesz od nas? (40), co tym bardziej polski odbiorca skojarzy ζ utworem Kochanowskiego, ze oczekuj^c na zasadzie toku tej frazy slowa: Panie, uslyszy je w bezposrednio nastçpuj^cej wypowiedzi Horacego (Daje ci znak, Panie). Najwiçcej jednak jest takich odniesieñ i aluzji do twórczosci romantyków, szczególnie Mickiewicza. A ze Hamlet w oryginale stai siç dia mlodego Mickiewicza inspiracjq na wielu polach — teraz, w przekladzie Paszkowskiego, powraca on niejako do swojego dobra. Ζ licznych przykladów wybierzmy tylko kilka. Paszkowski uszanowal mickiewiczowski przeklad tych wierszy ζ Hamleta, które wraz ζ ich odpowiednikiem w oryginale, znalazly siç w motto Romantycznosci: Zdaje mi siç, ze widzç ... gdzie?Przedoczymaduszy mojej; zreszt^ stai siç on klasyczny. — Polskiemu odbiorcy trudno nie pomyslec o slowach Ksiçdza ζ Dziadów cz. IV : Przeciwko swiatu i przeciwko sobie Ciçzsze twoje, nizli przeciw Bogu grzechy,6 gdy uslyszy stowa Króla zwrócone do Hamleta (I, 2, 101103) : Wsty dz siç, jest to grzechem Przeciw naturze, przeciw niebu, przeciw zmarlemu nawet; jest to naostatek Wbrew rozumowi (32). Przy pewnej zmianie w ukierunkowaniu sensu powtarza siç we wszystkich trzech tekstach mentorski w funkcji chwyt enumeratio w odniesieniu do odpowiadaj^cych w nich sobie semantycznie rzeczowników: heaven niebo - Bóg, nature - natura - swiat, reason - rozum - ja. Najsilniej jednak wi^ze przeklad Paszkowskiego ζ Mickiewiczem uzycie slowa: grzech jako odpowiednika : "fault", co nie powtórzy siç w zadnym ζ pózniejszych przekladów. — Inwektywa Hamleta przeciw kobietom: "Frailty, thy name is woman!" (I, 2, 146) nie byla obojçtna dia analogicznej inwektywy Mickiewicza w Dziadów cz. IV: Kobieto! puchu marny / ty wietrzna istoto ! To tez musial potrqcic o Mickiewicza Paszkowski swoim przekladem: Slaboici! nazwisko twoje: kobieta (33). Ζ tego potr^cenia wyci^gn^l najdalej idqce konsekwencje Wyspianski, zast^8

A. Mickiewicz, Dziela III, Dziela dramatyczne (Warszawa, Í 955), s. 61; do tego wydania odnoszq siç wszystkie cytaty ζ Mickiewicza.

414

STEFANIA SKWARCZYÑSKA

piwszy w swojej parafrazie przekladu Paszkowskiego jego wersjç slowami Mickiewicza: Kobieto, puchu marny — ty wietrzna ìstoto Ρ Paszkowski przywoluje Mickiewicza zestawami dwóch czy kilku wyrazów, znanymi dobrze ζ jego utworów. Slowa umieraj^cego Hamleta zwrócone do Horacego: "If thou didst ever hold me in thy heart /.../" (V, 2, 338) przeklada nastçpuj^co: O, mój Horacy ! jesli kiedykolwiek W poczciwym sercu twoim mialem miejsce /.../ (140). Idzie tu o poczciwe serce, które musi narzucic mysl o stowach umieraj^cego ks. Robaka w Panu Tadeuszu: /.../ twoje serce poczciwe nie umie Uczuc ile jest piekla w obrazonej dumie.10 — Wiersz Shakespeare'a : "But even then the morning cock crew loud" (I, 2, 218) oddaje Paszkowski nastçpujqco: Ale w tej chwili zapial kur poranny (35), co odczuwamy jako przeniesienie — ζ dopowiedzeniem slowa poranny — frazy ζ "To lubiç" Mickiewicza: Wtem na nieszczçscie zapial kur,11 a sklania do tego podobna, tu i tarn, funkcja sytuacyjna tej frazy. Najsubtelniejsze efekty urodzimienia Hamleta poprzez Mickiewicza wtedy osi^ga Paszkowski, gdy w kontur metaforycznego obrazu w swym przekladzie wpisze slownymi potr^ceniami którys ζ emocjonalnie nasyconych obrazów Mickiewicza. Slowa Króla-aktora do Królowej-aktorki : "and happly one as kind For husband shalt thou —" (III, 2, 171-172) równowazy Paszkowski parafraz^: i moze ci splecie Wieniec drugi malzonek (86); stanowi ona niew^tpliwy refleks przewodniego w "Dudarzu" motywu niewiernej dziewczyny, która nie kochanemu spiata wieniec, symbol oddania malzeñskiego. Gorzka tonacja mickiewiczowskiego obrazu odpowiada tonacji w Hamlecie stosunków pomiçdzy Królowq. a jej obu mçzami. Na podobnej zasadzie wl^cza siç w przeklad Paszkowskiego nie tylko groza panuj^ca w arcyballadzie Mickiewicza "Lilie", ale takze pewne o ni^ potr^cenia slowne, apelujqce do podobnego tu i tam fabularnego schematu. Odpowiedz Królowej-aktorki: Zbrodniqby w moim Ionie byla mysl takowa /.../ Taka tylko drugiego moze zostaé zonq, Co zabila pierwszego (83) narzuca skojarzenie ζ pocz^tkiem ballady "Lilie" : Zbrodnia to nieslychana, Pani zabila pana. Decyduj^ o tym slowa zbrodnia i zabic, w odniesieniu do pani, co zabila pierwszego mçza. Jçzykowo-obrazowe sformulowania Paszkowskiego przerzucaj^ ζ kolei myslowe ujçcia w Hamlecie w pózniejsze utwory literackie, które — zwlaszcza gdy zapadly glçboko w swiadomosc spoteczn^ — wl^czajq. je • 10 11

Op. cit., 1.13, s. 175. Op. cit., t. IV Pan Tadeusz, s. 290. Op. cit., 1.1 Wiersze, s. 139.

PASZKOWSKIEGO PRZEKLAD "HAMLETA"

415

w krwioobieg narodowej kultury. I tak: postawç patriotyczn^ ¿eromskiego zwyklo siç charakteryzowac stowami Sulkowskiego, tytulowego bohatera jego dramatu: Trzeba rozrywac rany polskie, zeby siç nie zabliznily blonq podlosci.12 Obraz tu zawarty, wypunktowany stowami rana, zablizniac, blona, podlosc, jest niew^tpliwym poglosem obrazu o podobnym charakterze i funkcji ζ Hamleta (III, 4, 146-147) w przekladzie Paszkowskiego. Idzie tu o ranç w duszy, ktôrç by pochlebna masé tylko zaciqgnçla blonq I zabliznila miejsce owrzodzone. (97) Zaden inny przeklad nie posluguje siç tym samym, co Paszkowski i ¿eromski, zestawem leksykalnym. Peln^ interakcjç przekladu Paszkowskiego pomiçdzy tradycjq literack^ a pózniejsz^ literatura mozna zaobserwowac w twórczosci Wyspiañskiego; przedstawia siç ona najciekawiej wtedy, gdy sformulowania Paszkowskiego przypadaj^ na sytuacje dramatyczne u Wyspiañskiego zwi^zane ζ Hamletem poprzez Mickiewicza. I tak: wspomnienia Ducha w Hamlecie o jego wiernej milosci niegdys dia zony, splataj^ce w upiornq. atmosfere motywy szczçscia, mitosci, zdrady i smierci, odbily siç — wraz ze swoim odbiciem w Dziadôw CL. IV — w scenie "Wesela" pomiçdzy Marysiq a Widmem jej narzeczonego. Interferowal tu Paszkowski, który ¿ale Ducha, iz umilowana odeszla "From me, whose love was of that dignity That it went hand in hand when the vow I made to her in marriage" (I, 5, 47-50) przekazal w slowach: Odemnie, którego milosc statecznie chodzila dlon w dloni, ζ slubnq przysiçgq /.../ (45). ¿alose wspomnienia o czystym niegdys szczçsciu, zdradzonym dzis przez zwiqzek ζ innym, koncentruje siç tu w wyrazeniach : dlon w dloni, slubna przysiçga. Otóz te wlasnie pojçcia i wyrazenia staly siç lirycznymi motywami owej balladowej sceny w " Weselu" : Míalas bye mi poslubiona, moja slubna ty, przy mnie stalas! w dloni dlon, i, refrenowo: Hansmy stoli w dloni dlon.13 — Pozostawmy na boku znamienn^ w Hamlecie technikç lirycznego konturowania wewnçtrznych calostek w dramacie, co Wyspiañskiemu wiernie przekazal Paszkowski, a co nie jest obojçtne dia lirycznej droznosci spolecznej utworu. Na dwóch tylko wybranych aspektach poetyki przekladu Paszkowskiego — a jest ich wiçcej — zaobserwowalismy warunki, którym musi uczynic zadosc przeklad, aby wprowadzic utwór w obe^ mu literaturç i kulturç narodowq. Zapewnic mu musi fungowanie w niej twórcze—od jej wnçtrza, wzbogacaj^ce glebç narodow^. Oznacza to takze narzucenie mu roli 12 18

S. Zeromski, Pisma XXI, Dramaty 2 (Kraków, 1950), s. 113. Op. cit., t. 4 Wesele (Kraków 1958), s. 86, s. 87, s. 88, s. 89.

416

STEFANIA SKWARCZYÑSKA

ogniwa pomiçdzy tradycjq jego nowej 'ojczyzny kulturowej' a jej tendencjami rozwojowymi, co równoczesnie zapewnia obcemu utworowi skutecznosc promieniowania wlasnymi walorami.

THE RHYMING FORMULA IN

SERBO-CROATIAN

HEROIC POETRY

EDWARD STANKIEWICZ

1.

The verse structure of Serbo-Croatian heroic poetry (the so-called

junacke pesme

or deseterac)

is defined by several metrical constants and

rhythmic tendencies, such as the ten-syllable line, an obligatory break (caesura) after the fourth syllable, the absence of stress on the last syllable of either hemistich, on the one hand, and a trochaic cadence and quantitative clausula on the other. Syntactic parallelism of the lines is a dominant tendency, which entails, in turn, relatively rare use of enjambement. 1 Like all Slavic oral poetry, the deseterac

is saturated by various

kinds of sound-repetition. Rhyme in this verse serves no metrical function, which is apparently the reason why it has been explored far less than the other features of the deseterac.

Maretic, who provided the fullest study of the verse of Serbo-

Croatian oral poetry, has devoted to rhyme the last and shortest chapter 1 The use of enjambement in the heroic songs is by no means a rarity or anomaly, as claimed by some scholars. According to M. Braun (Das serbo-kroatische Heldenlied, 1961) "Versbrechungen (enjambements) sind dem Heldenlied unbekannt; die wenigen überhaupt feststellbaren Beispiele dürfen als ungewollte Verlegenheitstellungen gelten (p. 53).... Es ist auch fraglich, ob es sich in allen Fällen tatsächlich um echte Versbrechungen handelt" (p. 53, ftn. 10). In his study, "Homer and Huso III : Enjambement in Greek and Southslavic Heroic Song" (Transactions and Proceedings of the American Philological Association 79 [1948], pp. 113-124), Albert Β. Lord indicates that enjambement is not at all uncommon in the Serbo-Croatian epic songs, though his explanation why it is rarer in the South Slavic songs than in the Homeric hexameter misses the point. According to Lord, the more frequent use of enjambement in the Greek epic is due to the greater flexibility and richness of the Greek language and the greater formula variation in the hexameter. But the different possibilities of enjambement in the one and other type of poetry are, in fact, closely related to their different metrical structures: the meter of the hexameter which is based on an equal number of moras per line is free to release enjambement, together with syntactic phrasing, as an element of rhythmic variation, whereas the line of the deseterac is largely founded on syntactic parallelism which inhibits the use of enjambement. It should, nevertheless, be pointed out that enjambement is often employed at the beginning of songs (that begin with a reference to place names) and especially for expressive purposes; cf. for example the end of the Hasanaginica (lines 92-93): uput se je s dusom rastavila / od zalosti, gledajuc sirote.

418

EDWARD STANKIEWICZ

of his book. 2 Although Maretic notes the frequent use of rhyme in Serbo-Croatian heroic poetry (or, as he puts it, srok je narodnim nasim pjevacima mio), he considers it 'unnecessary', 'unsystematic', and an 'accidental ornament' (slucajan nakit) of its verse.3 He also claims that rhyme causes the singers the greatest pain (najvise muke), and attempts to explain why this should be so. Epic poetry, he argues, is primarily oriented towards the content (sadrzaj je glavna stvar), and rhyme would simply distract from the easy flow of the narrative. 4 This viewpoint has recently been rectified to some extent by M. Braun, who states that the use of rhyme is by no means without rules (nicht regellos), and that it tends to be "concentrated in semantically and stylistically important places". 5 Braun supports this statement with no evidence, although Maretic himself had already adduced numerous examples of what he called 'fixed rhymes' (stajaci srokovi),® failing, however, to point out that the use of 'fixed rhymes' is not independent of the content, but is inseparably linked with the use of fixed and recurrent semantic expressions, that is with the formula. According to Braun, most rhymes are grammatical, and a corollary of the syntactic parallelism of the lines; the regular use of rhyme has, in his opinion (which he shares with Murko), been established in Serbo-Croatian heroic poetry only in modern times, especially since World War I.7 But as some recent investigations have shown, 8 rhymes make their appearance in Serbo-Croatian epic songs beginning with the oldest collections (e.g. of Hektorovic), and while grammatical rhymes are indeed preponderant, lexical rhymes are by no means infrequent either at the end of the first and second hemistiches (the so-called leonine rhymes) or at the end of lines. The major shortcoming of the older, albeit scanty research on rhyme in Serbo-Croatian heroic poetry has been its one-sided concern with 2 Tomislav Maretic, "Metrika narodnih nasih pesama", Rad J AZU 170 (1907), Ch. V (Srok. Asonancija), pp. 165-181. (Hereafter cited as Maretic, "Metrika ...".) A shorter treatment of rhyme, without any new observations, is given by Maretic in his "Metrika muslimanske narodne epike", Rad J AZU 225, 1936, Ch. VI (Slik i asonancija), pp. 71-75. 3 Maretic, "Metrika ...", p. 166. 4 Maretic, "Metrika ...", p. 167. 6 Maretic, "Metrika ...", p. 55-56. • Maretic, "Metrika ...", p. 177-178. 7 Maretic, "Metrika ...", p. 55. 8 See especially S. Banovic, Tri priloga za proucavanje hrvatske narodne i umjetne poezije I, "O naravi, starini i omiljenosti 'slaganja' (sroka) u hrvatskoj narodnoj poeziji", Rad J AZU 3, 1952, pp. 197-212. Some of Banovic's conclusions (e.g. on the sacrifice of content for the sake of rhyme) or his reconstructions of rhymes where there is none cannot, however, be accepted.

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rhyme as an element of sound-repetition, to the exclusion of its other functions. But the use of rhyme, even when it does not function as a metrical constant, is not a matter of phonetic orchestration alone, since it invariably implies consequences of a semantic and metrical nature. The choice of rhyming partners is always connected with the selection and foregrounding of certain lexical or grammatical elements at the expense of other elements of the one or the other level of language, whereas the very position of the rhyme within the line endows it with the more or less prominent functions of delimiting and integrating the hemistiches and lines into metrical and semantic units of a higher order. In the following remarks I shall restrict myself to the question of the use of rhyme in the formula, as it occurs in the classical edition of Serbo-Croatian heroic songs collected by Vuk. 9 In this connection I shall examine the phonetic nature of the rhyme, the relation between lexical and grammatical rhymes which appear in the formulas, and the types of formulas in which rhyme is used. Indirectly, this study is thus also intended as a contribution to the broader, insufficiently explored question of the interrelation between sound and meaning in SerboCroatian epic poetry, or in oral poetry in general. It should, however, be emphasized that the study of the above questions does not exhaust the various other problems connected with the use of rhyme in SerboCroatian heroic poetry, such as its role in the composition of a poem, in the syntactic phrasing of the lines, or in the presentation of the narrative. Some of these questions I hope to take up in another study. 2. Although the rhyme of the deseterac has been discussed primarily from a phonetic point of view, there is so far no adequate description of its phonetic possibilities and restrictions. No clear definition of this rhyme is to be found in the pioneering study of Maretic, possibly because its author dealt summarily with rhyme of all types of Serbo-Croatian oral poetry, and not only of the deseterac. Maretic divided all rhymes into 'completely pure' (potpuno ciste) and 'incompletely pure' ones (nepotpuno ciste), with the former showing phonetic identity both in their segmental and prosodie features, counting from the first accented syllable. Aside from the implied value judgement, this classification seems of little empirical import, as it relegates the overwhelming majority * In this study, all quotations from Vuk's collection will be based on the second edition of Vuk Stef. Karadzic, Srpske narodne pjesme, Vol. II-IV (ed. Ν. Banaäevic) (Belgrade, 1958). The number of volume and song will be cited (in Roman and Arabic numerals respectively) only in the case of less common rhymes and of entire lines. The end of a line will be indicated by a slant.

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of rhymes occurring both at the end of lines and of hemistiches to the less pure variety. It is actually safe to assume that the prosodie features play no role whatsoever in the choice, quality and frequency of a rhyme. This assumption is otherwise corroborated by the practice of other poetic traditions which ignore the prosodie features in their systems of rhyme, and understandable in the light of the great dialectal diversity of the Serbo-Croatian prosodie features. A strict adherence to the prosodie identity of the rhymes would be in conflict with the national, superdialectal character of the heroic songs which are spread over diverse regions, and which are known to make free use of various interdialectal features.

The rhymes of the Serbo-Croatian deseterac may thus be

prosodically identical, or they may differ in the quantity of their stressed and unstressed vowels, in the place of stress, and in tone. Examples of the first variety are: pâsom / glâsom, kükavica / lästavica, divánu / me/» dánu, dìze / blìze, dèlijo / govòrio, lijèpa / slijèpa, volovä / δνηδνά, zalivèno / zasivèno, dòlamóm / màramom;

examples of the second variety are:

stari / stvâri, bíla / mila, müke / rûke, trgövce / ôvee, strâne / kätane; rûku / jabuku, dao / dòcekao, podlòmiti / òstaviti, dôjke j dèvôjkë, gòvorl / bòri, Dánica / líca; sîjevâ / pròlijevà, mâlà ¡ pòdizala, sècera / bîsërà (g.pl.); tòke / òke, nàsêlje, / vesélje, brata / vráta, grâda / mláda, glâvu / tràvu. All proper internal (leonine) and external rhymes exhibit phonetic identity of the last two syllables, counting from the penultimate vowel. The most general formula for these rhymes is ( C ) V C V , since they terminate in almost all cases in a vowel with a preceding single consonant. There are only a few exceptions to this rule: (1) some rhymes may end in the consonants k (of the suffix -#k),

f o r m (of the gram-

matical endings of the second person singular and instrumental singular respectively) ;10 except for the pairs danak / sastanak (III, 53) and danak / sanak (II, 14, IV, 27), the final consonant of a rhyme is thus always that of a grammatical ending; e.g. presluzujes / pogledujes (II, 31), dolamom / maramom (IV, 5),pasom / glasom (III, 37, IV, 3, 16), rakijom / dakonijom (II, 91); (2) the medial consonant is sometimes preceded by the sonorant j, ν, or by the consonants s, s, k or r. Clusters with j, ν occur in rhymes involving simple stems, i.e. in proper lexical rhymes, whereas clusters of the second type occur only in grammatical rhymes, i.e. in derivational or inflectional suffixes, or at morpheme-boundaries; e.g. dojke / devojke / uvojke (III, 23, 26, 45, IV, 3), majku / babajku (III, 7), ovce / novee (IV, 54), ovce / trgovee (IV, 48), ovce / ljubovce (IV, 10); pjevajte / bacajte (III, 63, 10 The consonant h is generally omitted by Vuk (and m the second edition) and will not be considered as relevant to the rhymes.

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72), fvka / Zivka (II, 35); dorataste / putogonaste (III, 53), seliste / razbojiste (III, 37); nadosmo / odnesosmo (III, 64), nadmudrismo / nadjunacismo (II, 28); viknu / pokliknu (IV, 15), Crnogorce / Primoree (IV, 2). The rhymes containing consonantal clusters are otherwise rare, and only the rhyming sets dojke / devojke / uvojke, pjevajte / bacajte occur more than once, and at that only in formulas. The rhyme of the deseterac thus exhibits a very simple phonemic structure. This greatly restricted and simple structure of rhyme is, however, supported by various types of sound-repetition which appear in the syllable(s) preceding the rhyming syllables, yielding a deeper and richer rhyme. In order of importance and relative frequency, they include the following phenomena: (1) repetition of the vowel (or vowels) preceding the rhyming syllables (which we may call conventionally assonance, though the German Inreim would be a more appropriate term) ; (2) repetition of the consonant preceding the penultimate vowel (the so-called 'consonne d'appui', or consonance), and (3) repetition of the syllable preceding the rhyming syllables, or trisyllabic rhymes. Assonance is by far the most frequent phenomenon employed in support of the regular rhyme. Of over 2200 external rhymes counted in the three volumes of Vuk's Narodne pjesme, over 30% exhibit repetition of the vowels before the last two rhyming syllables of adjacent lines, and an equally high percentage of assonance appears to occur before internal (leonine) rhymes. Many of these assonances are the result of grammatical parallelism, i.e. of the repetition of identical prefixes, or prefixes with the same vowel preceding the verbal stem (such as udariti / uvatiti, posjednite / potecite, narobismo / zadobismo, pogubiti / poturciti, odmicase / obzirase), but there are also many rhymes of nominal and verbal forms which exhibit identical vowels in their stems; e.g. bedara / rebara, Turaka j junaka, hajduka / zajauka, tabana / tavana, rabota / sramota, volove / dvorove, mostove / topove, gradini / davini, punice / zarucnice, mirenje / bratimljenje; udario / ostavio, popalise / pogasise, radimo / ostavimo, izvodili / donosili, pogodio / salomio, pritegose / usjedose, sakupite / ljubite. (In verbal stems the most common vowels before the rhyme are a and o). Assonance may, furthermore, involve more than one syllable preceding the rhyme, extending over words and word-groups alike. This kind of deeper assonance is especially common in verbal rhymes, such as naucio / namucio (II, 13), podlomio / govorio (III, 19), dovatise / tovarise (III, 22), ugledao / susretao (III, 82), whereas assonance in which word-groups are matched with single words or other word-groups may involve all parts of speech; e.g. mudra bila / prevarila (III, 26), vodu pio / sakupio (III, 68),

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EDWARD STANKIEWICZ

sindzirlije / oci dvije (IV, 25), moja muko / jabuko (II, 47), (dva) nejaka brata / tavnicka vrata (II, 87), babo nosio / donosio (III, 55), duzdeva sina / Latina; pieci daju / bjezati staju (IV, 11), oko klada / od obada (III, 27), noi sijeva / prolijeva (IV, 42), ma se bije / ranjen nije (III, 37), noie potegose / (te) je potekose (IV, 54), sreca dade / ne zadade (IV, 31). In a few cases, assonance encompasses almost entire or entire lines ; e.g. i upali dvadeset pusaka / te obali dvadeset Turaka (III, 47), i muskijem ne pasala pasom / i turskijem ne nazvala glasom (III, 35). Consonance is less frequent, and though it is at times due to grammatical parallelism (cf. the use of identical suffixes in the forms prepanuti / podignuti, nebeskome / zemaljskome, tavnica / konjusnica, halvaluka / jagluka), it is as often based on the selection of phonetically similar stems. Examples of nominal and verbal forms with the same supporting consonant are: naselje / veselje, Kosovo / Isusovo, brata / vrata, strane / grane, zavojke / devojke, udovica / kukavica, pojasom / kajasom, gospodaru / dizdaru; sjedi j bjesedi, pustio / povratio, udarase / preturase, podignite / ucinite, odose / zapadose. A frequent, though more relaxed type of consonance, is the use of varying sonorants before the rhyme, e.g. ruke j muke, vrati / piati, ponice / poklice, oblake / junake, smije / grije, delijo j govorio, zaovice / sestrice, vecerase / klanjase. Repetition of identical syllables before the rhyme is the least common device, though it is frequent enough to preclude pure coincidence. It is found in words which make use of identical grammatical suffixes or whose stems end with the same syllables; e.g. osvanuti/ ogranuti, mirovatij vragovati, igrajuci / pjevajuci, Pehovica / Dragovica, pjanadzije / kavgadzije; velimo / veselimo, pregazio / opazio, govorise / otvorise, sijevaju / zijevaju, kamena / ramena, pusaka / krusaka, lijeka / mlijeka, pijavica / lastavica, popove / topove, turskome / kaurskome. 3. The use of rhyme enhances the parallel phrasing of the lines, quickens the flow of the narrative, and tightens the semantic unity of couplets or larger groups of lines. This is particularly transparent in lines with a high degree of syntactic parallelism in which the repetition of the same grammatical endings may yield a variety of rhyming combinations. Thus there are passages in which the same rhyme runs through a number of lines, such as (III, 43): svi zajedno puske izmetnite, a jednoga boga pomenite, i za ostro gvozde privatite, pa ujedno na drum izletite ...

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or with the rhyming combination aabaa, as in (IV, 45): te barjake gore podigose a na svoje konje posjedoSe, srpskoj vojsci aber ucinise, i na noge vojsku podigose u poceru Turcima odose or with alternating rhymes abababb, as in (IV, 45): de zulumi njojzi dosadise a vojvode mloge izgibose, odmah, kado, na noge skocise, i MiloSu knezu otidoSe. Njega Srbi glavom ucinise, i tvrdu mu vjeru zadadoäe, svi ovako pred njime rekose ... The repetitiousness of grammatical rhymes is, on the other hand, often broken up through the use of polyptoton, when the lexical items remain unchanged, but the grammatical endings undergo variation, as in (III, 17) : bijelu mu kulu oborite, i njegovu ljubu zarobite ... pa mu Turci kulu oboriSe, i vjernu mu ljubu zarobise... b'jela ti je kula oborena, tvoja mila snaha zarobljena... Grammatical and lexical variation is thus in constant interplay, and the same applies to the use of grammatical and lexical rhymes. While syntactic parallelism of the lines favors the overall greater frequency of grammatical rhymes, some lexical rhymes are endowed with a singular semantic weight and prominence, because of their association with fixed and recurrent poetic expressions, and their appearance in pivotal positions, such as the beginning or close of a song. The choice of a grammatical rhyme is, furthermore, not without effect on the choice of the lexical items, and vice versa. Although grammatical rhymes could theoretically combine with any number of stems, the number of stems used with grammatical rhymes is actually restricted by the syntactic structure of the line and the very content of the songs. As the above examples indicate, many rhymes consist of verbal endings, and the latter combine in a vast number of cases (one quarter of the total number of such rhymes) with stems referring to speech-events (govoriti, besediti, kazati, reci) or to events of military exploit (the most frequent stems used, with or without prefixes, are uciniti, udariti, fatiti, giibiti, turiti,

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paliti, debiti, skociti, prevariti, vratiti). The lexical rhymes of the deseterac are, on the other hand, never agrammatical. The final vowels of the rhymes, as well as the consonants m and s, always represent overt grammatical endings, and the rhyming partners are almost invariably members of the same parts of speech, which share in most cases the same inflectional endings. The following examples may illustrate the grammatical parallelism of what are primarily lexical rhymes (in which one or more segments of the rhyme are a part of the stem): zlata / dukata (gen.sg.), sv'jete / c\>"jete (voc.sg.), pasom / glasom (instr.sg.), Turaka / pusaka (gen.pl.), divanu / mejdanu (loc.sg.), glavu / travu (acc.sg.), bedara / rebara (gen.pl.), siine / godine (acc.pl.), maca / kovaca (gen.sg.), vezira / obzira (gen.sg.); lijepa / slijepa, veliko / svekoliko, zelena j rodena, pravo / zdravo; opade / ostade, vuce / tuce, rade / dade. Lexical rhymes involving words belonging to different parts of speech are rare. External rhymes matching verbal and nominal (including adjectival) stems are: besedila / vila (II, 10), odgovara / stara (I, 3), progovara / serdara (IV, 53), ugovara / dizdara (III, 68), govorio / delijo (II, 96), besjedio / kadijo (III, 15), piju / rakiju (II, 27), zagraktase / pase (III, 86), lije / Srbije (IV, 29), podizala / mala (III, 23), bila / mila (III, 22). Leonine rhymes with similar stems are : (medu) puca / kuca (III, 26, 36), ostase / súbase (IV, 46), milovase / pase (III, 36), struie / druze (III, 24, 33), cvile / vile (III, 64), opasa / pasa (III, 20, 68), spilla j sila (IV, 55, 56), ode / vojvode, cudi j ljudi. Even less common are lexical rhymes involving other parts of speech: postajalo / malo (IV, 11), polje / dolje (III, 88), (s) njime / pobratime (IV, 41), sindzirlije / dvije (IV, 25); (leonine rhymes): dize / blize (IV, 31), konje / donje (II, 55), boga / jednoga (III, 21), svoga (II, 64), postajalo / malo (IV, 11), lijeka j isprijeka (II, 77). Here also belong the few instances of single words rhyming with word-groups (containing enclitics): obadvije / (kako) tije (II, 43); pogleduje / (mila) mu je (III, 36), (zastó) nije / (testir) ti je (IV, 25). Since the number of non-grammatical rhymes is restricted, it would be easy to compile a dictionary of lexical items which participate in the rhymes of the deseterac. Such a dictionary would not, however, be very revealing unless it indicated the more or less permanent rhyming combinations formed by the rhyming partners. Some of them constitute fixed couples, whereas others consist of one stable (or relatively stable) partner, or key-term, and two or more alternating partners. The most common fixed couples which recur at the end of (1) contiguous lines or (2) hemistichs (i.e., as leonine rhymes) are: (1) ramena / koljena (II, 41, 64, 67, III, 18, 21, 38, 41, 67, IV, 6, 11), uvojke / devojke (III, 23, 26, 45, IV,

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3), na divanu / na mejdanu (II, 33, 80, 88, III, 18), dukata / dorata (or its equivalent dogata), rakiju / dakoniju (II, 11, 24, 41, III, 537), veliko / svekoliko (IV, 6, 10, 18, 31), kukavica / lastavica (ΠΙ, 76, 78, II, 35, IV, 30, 31), naselje / veselje (III, 15, IV, 1, 10, 47); (2) (medu) puca / kuca (III, 26, 36, IV, 43, 51), povije / dvije (III, 38, IV, 25, 57), struze / druze (III, 24, 33), toke / oke, dojke / devojke (III, 23, 26, 45, 65, IV, 3), lakata / nokata (II, 7, III, 48), ruke / muke (II, 64, IV, 25, 45, 55), izusti / (is)pusti (II, 24, 32, 77, 84, 85, 90, III, 31, 32, 68, 75, 77, 78, 79, IV, 1), dade (dase) / stade (stase) (II, 77, 91, IV, 9,10, 31, 48, 62), (knjìgu) uci / ...se muëi (II, 57, 88), mije / brije (II, 66, 87), smije / grije (III, 35, 83), sijeva / prolijeva (IV, 18, 42), svanu(lo) / granu(lo) (III, 22, 49, 51). Some of the fixed couples occur both as external and leonine rhymes, but sometimes with variation in their grammatical endings; e.g. blago / drago (IV, 39, ΠΙ, 83, IV, 25); pasom / glasom (III, 35, 37, IV, 3, 16) and pasa / glasa (III, 3, IV, 1, 47, 53, 54, 60), glavu / travu (III, 56, 76) and glave / trave (II, 30, 43, 51, 91, III, 64, IV, 25). Rhyming couples with one invariant (or relatively stable) partner and two or more alternating partners are: (at the end of lines and/or hemistichs: junaka rhyming with barjaka (III, 27, 47, IV, 44, 46), pusaka (III, 68, IV, 33), Turaka (III, 39, IV, 7, 48); pusaka rhyming primarily with Turaka (III, 47, IV, 6, 24, 33, 53), but also with krusaka (II, 88, III, 36, IV, 18, 42), momaka (IV, 48), junaka (see above); vrata rhyming with brata (II, 30, 87, IV, 24), zlata (III, 15, 45), dukata (II, 99, IV, 34), soldato (III, 38); ovce rhyming with novce (IV, 54), ljubovce (IV, 10), trgovce (IV, 48); danak rhyming with sanak (III, 14, IV, 27) and sastanak (III, 53), ruke rhyming mostly with muke (II, 64, IV, 25, 45, 55), but also with belenzuke (III, 19), and in the (acc.sg.) form ruku with jabuku (II, 90, 94, 47); piju rhyming with the nouns rakiju (II, 27, 68) and amberiju (IV, 57), and in the forms pije or piju with the verbs bije (II, 43) or iju (II, 27; III, 38, 48); strane rhyming with grane (II, 35, 55) and katane (II, 141); dana with (h)rana (II, 25), zemana (III, 53), mejdana (II, 66); veze with reze (III, 78), steze (III, 63), priteze (III, 39); (o)pade with dade (IV 1, 24, 35, 45), ostade (III, 52, IV, 26, 48) and (ne)ustade (IV, 30, III, 86). What accounts for the high degree of codification and recurrence of the above rhymes is, of course, the fact that they occur in formulas, within which they, together with a certain number of derived stems (mostly prefixed verbs) and purely grammatical rhymes, constitute the basic semantic component and most stable formal nucleus. 4.

As pointed out by A. Lord, the formula is not a fixed and rigid group

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of words, but a dynamic, flexible construction containing some more or less fixed elements. 11 Within the system of'unity in variety' which characterizes all poetry, and oral poetry in particular, the formula is a semantic invariant with a limited range of permissible variations. It is the stock in trade of the singer, which provides him with set phrases and sentences which he can use and manipulate in conjunction with certain themes, dialogues, descriptions of heroes and battles, and in the very organization of the song. In the pattern of variations which advance the development of a song, the formula is the point of rest which is anticipated by the audience and interpreted according to its fit within the concrete context in which it occurs. What the formula is to the song, the rhyme is to the formula: an element of invariance which enables the singer to construct a more flexible unit of a higher order. If the formula is the least variable element within the song, the rhyme is the least variable element within the formula. In the heroic songs there are, to be sure, many formulas without rhyme, but those which rhyme are, by definition, the most highly structured and formally integrated. The types of formulas which are built around a rhyme can best be classified thematically, and according to their role within the structure of the song. The semantic domains cannot, of course, be rigidly separated, but we can at least point out those areas that are especially characteristic of the content of the epic. The events of war are a central topic. Portents of war, the heat of the battle, the flight or defeat of the enemy or hero are often encapsulated in rhymed formulas which extend over several lines, a couplet or a single line. Examples of couplets are : kolje ñama krave i volove / i debele ovce i ovnove (IV, 58); ostavise majke i ljubovce / i ovcari u planinam ovce (IV, 10); namah puce stotina pusaka / mrtvih pade stotina Turaka (IV, 34) ; porobicu malo i veliko / izgorjeti ognjem svekoliko (IV, 6) ; kako srpske sablje sijevaju / mrtve turske glave zijevaju (IV, 32) ; koliko je lako udario / sa crnom je zemljom sastavio (II, 82); na prsi mu toke prolomio / i na pieci pendzer otvorio (IV, 16); evo zemlji na koljena pade / dzeverdanu zivu vatru dade (IV, 45). Examples of single lines with leonine rhyme are:prah sijeva, krv seprolijeva (IV, 18); vipjevajte ipuske bacajte, 11 Albert B. Lord, The Singer of Tales (1965), Ch. III, pp. 30-67. Despite the many original and perspicacious remarks on the formula, the author defines the formula both too broadly and too narrowly. Too broadly, when he claims that "there is nothing in the poem that is not formulaic" (p. 47), or when he treats even idioms and plain linguistic expressions (such as zasedose konje or pise knjigu) as formulas; too narrowly, when he restricts the use of the term to "components of a single line". The author admits, otherwise, that the extension of the term to couplets "would be perfectly defensible" (p. 58).

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(III, 72), (te pogodi...) posredpasa, ukide ga s glasa (III, 30), dobro gada, jos bolje pogada (IV, 54), njega svuce, a sebe obuce (IV, 13) ; s ata skoci, pod cador uskoci (IV, 57); aga pade, a kada dopade (III, 28); pieci dade, bijezati stade (IV, 48) ; to izusti, laku dusu pusti (II, 24). These formulas occur over and over in the same or in different songs with major or minor variations, sometimes with a change in grammatical ending or with the substitution of one of the rhyming partners. I shall quote at least one of the variants of each of the above-quoted formulas: dogonjase krave i volove / i debele ovce i ovnove (IV, 58), or odagnase konje i volove, / poharase gospodske dvorove; razbijaju po drumu trgovce, / odjavise iz planine ovce (IV, 48); i upali dvadeset pusaka / te obali dvadeset Turaka (II, 47); porobimo malo i veliko, / izgorimo ognjem svekoliko (IV, 10), or priskociti malo i veliko, / da se bije boja svekoliko (IV, 18); kak' piperske sablje sijevaju, turske jadne glave zijevaju (IV, 6); dok je njega triput udario, / s Tadijom je njega rastavio, / as crnom gazemljom sastavio (III, 24); na prsa mu toke prelomise, ¡ana pieci prozor otvorise (IV, 8); zemlji pade, pusci oganj dade (IV, 4), or zemlji pade, sarci vatru dade (IV, 35); noz sijeva, krv se prolijeva (IV, 42); ni pjevaju, niti puskaraju (III, 72); (te pogodio ...) posred pasa, ne dade mu glasa (IV, 60), or posred pasa, da ne dava glasa (IV, 53); vrag dogodi, te Meha pogodi (IV, 32); pa se svuce, te se preobuce (IV, 54) ; jednom kroci i daleko skoci (II, 39), or triput skoci, do grada doskoci (II, 24); A met pade, a Pero pripade (IV, 12) ; pieci dase, bijegati stase (IV, 10); to izusti, dusicu ispusti (III, 77), or dok se spusti, on dusu ispusti (III, 78). The rhyming couple koljena / ramena figures both in the formulaic description of a dungeon or of a wounded hero on a horse : deno lezi voda do koljena, / a junacke kost i do ramena (III, 21), or krvave mu noge do koljena / a junaku ruke do ramena (III, 38), and with a variant rhyme : desna mu je ruka otsecena / i lijeva noga do kolena (II, 50). Rhyming formulas are introduced to describe the quality of the hero in war and peace, ritual acts (e.g., the initiation into manhood), receptions and feasts, or other formal events, e.g. tvo je lice sVjetlo na divanu / tvoja sablja sjekla na divanu (II, 88) ; i muskijem opasala pasom / i junackim dovikala glasom (IV, 16); da j' naranis leba bijeloga / i napojis vina crvenoga (II, 59) ; a Vuk baña u bijelu ruku / pa mu dade od zlata jabuku (II, 90); u cara je vezir ulazio, / bjelu my je ruku poljubio (II, 94); donesose vino i rakiju / i lijepu svaku dakoniju (II, 11). All of these formulas exhibit several variants, as does, for example, the last one : ugosti ga vinom i rakijom / i gospodskom svakom dakonijom (II, 24), nosi pred njeg' vino i rakiju / i gospodsku svaku dakoniju (III, 53).

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Phenomena of nature are rarely described in the Serbo-Croatian heroic songs, but the formulas dealing with them play an important role, as they serve to signal the beginning of a narrative, or a turning-point in the course of events. Here belongs the couplet: Jos zorica ne zabijelila j ni Danica lica pomolila (Π, 94, III, 10, 39, 47, 57) (which may vary the second line with a leonine rhyme : ni Danica pomolila lica [IV, 38]), and the single line formulas a kad svanu i sunce ogranu (III, 22), danak prode, tama nocca doâe (IV, 33), Ijeto prode, crna zima dode (III, 64), with their many variants. The rhymed formula is eminently suited for sugh highly formalized and ritualized expressions as proverbs, aphorisms, oaths, imprecations, etc., and such formulas abound, indeed, in the deseterac (with or without variants) in the form of rhymed couplets or single lines ; e.g. od boga je velika grijota, ¡ a od ljudi pokor i sramota (II, 88, IV, 10, 34), [blago nije ni srebro ni zlato] / no je blago sto je srcu drago (III, 83, IV, 25) ; teska muka i dusmanska ruka (IV, 25, 55) or teske muke u arapske ruke (II, 64); de je sreca, tu je i nesreca (IV, 26, 44, 56, 60); kazi pravo, tako bio zdravo (III, 1, 73, 87, IV, 53); ala, ala, milom bogu vaia (IV, 32); jer se Marko ne boji nikoga, razma jednog boga istinoga (II, 33) ; od izdaje Brankovica Vuka, / da bi njemu bila vjecna muka! (IV, 10, 11); od zia roda nek nema poroda, / od zia pseta nek nema steneta (II, 96). Like other forms of sound-repetition, rhyme also pervades and heightens the poetic impact of comparisons and metaphors. Within the structure of the deseterac these are understandably no more nor less 'original' than the types of formulas quoted above. What is characteristic of some of them is, however, their cumulative use, i.e. the juxtaposition of one comparison after another, as in : a tonka je kako i sibljika, / visoka je kako omorika (III, 35); kako raste trava na zavojke / kako dojke u mlade (or dobre) devojke (III, 23, 26, 45, IV, 3) ; kuka tuina kako kukavica, / a prevrce kako lastavica (II, 35, III, 76, IV, 30); obrvice s mora pijavice, / trepavice krila lastavice (III, 35, 83) ; usta su joj kutija secern, j b'jeli zubi dva niza bisera (III, 73, 83). Examples of other comparisons and metaphors with rhymes are : pa se Ivo vere oko klada / ko sugava ovca od obada (III, 27), Stada praska u Talu koscina / kano piota od sedam godina (III, 35), marnile bi sa neba oblake, / kamoV ne bi sa zemlje junake (III, 87), kad se smije kanda sunce grije (III, 35, 83), Tade vice, ko kad jelen rice (III, 33), a barjaci, kako i oblad (II, 88, IV, 49), iz pusaka vruéijeh (or crnijeh) krusaka (II, 88, III, 36, IV, 17, 18), laziv svjete, moj lijepi cajete (II, 73). Closely connected with the use of rhyme in comparisons and metaphors

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is their use with epithets, particularly with epithets that accompany proper names and place-names. Some examples of these are : moja ruko, zelena jabuko (II, 47), na kulaSu, konju budalasu (III, 36), vinograde, mili rukosade (III, 78), o kurvicu, Boko Petrovicu (IV, 40), gospodara, slavnog knez-Lazara (II, 43), i Peuka, staroga hajduka (III, 63), pope Luko, moja desna ruko (IV, 36), u Novome, gradu bijelome (III, 33, 34), od cestite Bosne kamenite (IV, 30, 37). 5. In addition to clustering around certain semantic fields, the rhymed formulas fulfill also another, compositional function : by being distributed in certain well-defined positions of the poem, they help to delimit some of its basic components, and to delineate its structure. Particularly relevant in this respect is the use of rhymed formulas at the beginning and at the end of the epic songs. Rhyme is by no means the only device used to signalize the opening or closure of a song, but its frequent occurrence in these positions lends it special importance in this role. Rhyme is found in many initial couplets which cannot be considered formulaic; on the other hand, some of the most characteristic rhyming formulas are closely associated with the opening of songs. Such a typical opening formula is the above-quoted couplet Jos zorica nije zab'jelila / ni Danica lica pomolila, or the various epitheta fixa which occur with proper names and place-names ; e.g. u Novome, gradu bijelome (III, 85), u starome Vlahu junackome (IV, 62). The focal point for the use of rhymed formulas is, however, at the end of the song, for we find here formulas that do not (or cannot) occur anywhere else. In this position the formula is not merely a group of words conveying a given content (or in Milman Parry's terms 'a group of words ... expressing a given essential idea'), but an element of closure. The closural formulas fall basically into two types: (1) formulas which mark the end of a song together with the conclusion of the principal epic event, and (2) formulas which mark the end of a song with an address or exhortation of the singer to the audience. To the first type belong such formulas as pjevajuci i pop'jevajuci (III, 59, II, 61), or ode Marko gorom pjevajuci, / osta dzine nogom kopajuci (II, 86), or moja majka osta kukajuci / a odose Turci pjevajuci (IV, 6), or osta Filip nogom kopajuci, / a ljuba mu miada kukajuci, (II, 58), and some other variants thereof); to govori, a s dusom se bori, / to izusti a dusu ispusti (quoted above) ; Bogu hvala, Srbi zadobise / i postenje divno ucinise (IV, 60); to je bilo kad se i cinilo (II, 26, 94, III, 82, IV, 6, 9, 25); a od jada crnoj zemlji pade, / dolje pade, gore ne ustade (III, 86). These formulas may make up the last line or couplet of a song, or they may, in turn, be

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followed by another unrhymed closural line (such as [to je bilo kad se i ciniló], I vec za slavu boga da molimo (II, 94), or [to je bilo kad se i cinilo] / a soda se tek pripovijeda (II, 26), or by a rhymed formula of the second closural type. Formulas of the second type are: Bog mu dao u raju naselje, / nama, braco, (or a ostalim) zdravlje i veselje (III, 15, 31, IV, 1); sad velimo, da se veselimo (II, 30, IV, 25, 26), kako tade, tako i ostade (II, 25) (An unrhymed variant of the last line is kako tade, tako i danaske (IV, 42)). 6. The significance of rhyme is brought home in the deseterac not only by its frequency and variety of functions, but also by its condensation, i.e. by the use of rhyme in consecutive, shorter or longer sequences of lines or couplets. As pointed out above, the most usual sequences of rhyming lines contain grammatical rhymes (cf. the examples quoted on p. 422 f.), but consecutive lexical rhymes have, by compensation, a stronger expressive force, since they are often used in the most dramatic or lyrical passages of the heroic songs, as, for example, in the conclusion of II, 25 (Zidanje Skadra): Al' detetu onde ide rana: dojise ga za godinu dana. kako tade, tako i ostade da i dañas onde ide rana: zarad cuda i zarad lijeka, koja zena ne ima mlijeka. As we have seen, a similar condensation of rhymes is also found at the end of songs, where formulas of closure follow each other in continuous, or nearly continuous, succession, as for example in IV, 25: To je bilo, kad se je cinilo ni tu bio, nit' okom vidio ... Sad velimo da se veselimo! or in the quoted couplet with leonine rhymes : to govori, a s dusom se bori / to izusti, laku dusu pusti. Clusters of formulas with consecutive rhymes appear no less frequently in other positions of the song. In most cases they consist of couplets with leonine rhymes in their lines, e.g., nek prodaje, nek za dusu daje, / nek se rani i oda zia brani (II, 64) ; zlatne toke pa oddvije oke / dvoje vite, a trece salite (III, 21); Ijetoprode, grozna zima dode, / list opade, a gora ostade (III, 52) ; ni Ijubljena, niti milovana, / ni karana, niti sjetovana (IV, 4). Veritable heights of poetic expression are, however, achieved in those cases where the singer strings together a whole chain of rhyming formulas in order to underscore a dramatic event,

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or when he pauses to dwell on the beauty of a girl. The beginning of an enemy attack is, for example, described in the following lines (IV, 48) : razbijaju po drumu trgovce, odjaviäe iz planine ovce, odagna§e konje i volove, poharase gospodske dvorove..., whereas the beauty of a girl is depicted in the following manner (III, 35): obrvice s mora pijavice, trepavice krila lastavice, b'jeli zubi dva niza bisera; a tanka je kako i sibljika; visoka je kako omorika; kade igra kanda paun §ece; kad govori kâ da golub guce; kad se smije kanda sunce grije..., or with some variations, as follows (III, 78) : Cudo ljudi za devojku kazu : tanka struka, a visoka stasa, kosa joj je kita ibriäima, oci su joj dva draga kamena, obrvice s mora pijavice, sred obraza rumena ruzica, zubi su joj dva niza bisera, usta su joj kutija sedera ; kad govori kâ da golub guce, kad se smije kâ da biser sije, kad pogleda, kako soko sivi... As is apparent from the above examples, other types of sound-repetition, in particular alliteration (e.g. soko s ivi, rumena ruzica, kosa... kita, golub guce), together with the use of metaphors and syntactic phrasing (e.g. tanka struka, a visoka stasa) contribute significantly to the esthetic effect of these passages; but in the overall system of poetic devices, as in the deseterac in general, rhyme is clearly one of the most effective and supple instruments of the singer's craft. YALE UNIVERSITY

CITÂT V POESII DOBY HUSITSKÉ

F. SVEJKOVSKY

Problematika citátu ν literature je ζ hlediska historického i estetického hodnocení rozsáhlá a mnohostranná. Pozornost badatelû se k ni stále a stále vrací, jak svëdci napr. i nëkolik posledních prací : W. Krause, Die Stellung der frühchristlichen Autoren zur heidnischen Literatur (Wien, 1958), H. Meyer, Das Zitat in der Erzählung (Stuttgart, 1961), M. Metschies, Zitat und Zitierkunst in Montaignes Essais (Genève, 1966). Pritom se zároVeñ ukazuje rozmanitost koncepcí této základní otázky — ι rozmanitost pristupû ν jejím resení. Zvlástní úloha citátu se objevuje ν rûznych vyvojovych obdobích literatury a má i rúzná uplatnëni bëhem vyvoje literatur celého svëta. Funkci citátu je ovsem mozno sledovat nejen ν historické vyvojové radè, tedy horizontâlnë, nybrz také ζ hlediska vertikální diferencovanosti nëkterého období, a väimat si, zda je vztah k citaci jevem obecnym — nebo naopak funkcnë omezenym pouze na Urcitou vrstvu literatury. Tento poslední aspekt nás tu zajímá predevSím, a to ve vztahu k ceské literature ζ doby husitské, kde narázíme casto na citât a uvédomujeme si nutné, ze ν té dobë byl jevem zasahujícim hluboko do struktury literární tvorby. Ukazuje se zároveñ, ze jeho funkce nepramenila toliko ze zvlástního postavení citátu a jeho literârnë estetického hodnocení ve stredovéké literární a rétorické praxi, nybrz mêla koreny hlubsí, sahající az do sféry soucasnych ideovych problémû, sporû a do historického dëni oné doby. S tëmito oblastmi byla tehdy literatura úzce spjata — a proto i citât se stai primo strukturující silou ve velké její cásti. Jeho role se projevila ν rûznych plánech latinsky i cesky psané literatury 15. století, jak se pokusíme dolozit predevsím studiem jedné ζ nejcharakteristictëjsich slozek tehdejsí tvorby, poezie a jejích souvislostí s ostatními dily. Samozrejmë, pn úvaze o citátu ν literature 15. století se vynorí nejprve vedomí, ze tento jev souvisí s celkovou tradicí citátu ve stredovëku. Jeho role a jeho závaznost ν nejrûznëjSich projevech byly tehdy jevem obecnym. 1 1

Κ otázkám medievistickym odkazujeme za jiné na úvahy Wilhelma Krause ν

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Staci vzpomenout na vyvoj stredovéké teologie, filosofie, vëdy, na koncepci traktátü s nejrûznëjsim obsahem, na principy disputaci nebo kázání, na autoritativni roli bible a biblického citátu ν dílech ranë krest'anskych autorû i jejich pokracovatelû, na koncepci encyklopedickych dël (Martianus Capeila, Isidor Sevillsky), byzantskych antologií nebo stredovëkych skolskych prirucek, na roli "autorit" (ductores) a rozmanitych florilegii — atd. Zároveñ ovsem obracely pozornost k citátu i zretele estetické. Svédci o tom stredovéké teorie recnictví i kazatelstvi, které byly ν tësnych svazcich s literární teorii a praxi. 2 V tom tedy byla tradice citátu ν husitské dobë zajedno s dosavadními zvyklostmi. Ovsem doba, kdy se ν ceskych zemích dostávaly pri stretání husitskych názorü se stredovëkymi autoritami do popredi stézejní otázky nábozenského i spoleôenského zivota a spolu s tim casto i principy stfedovëkého svëtového názoru, kdy se zaéalo bojovat nejen slovem, ale brzy i na poli váleóném, — tehdy se argumentace citátem, odvalání k autoritám dostaly zvlásf vyraznë do popredi: citát se stával základem nebo primo vychodiskem pro resení zivotních problémû a stejnë tak odvolávání k nejvysäim autoritám jeho prostrednictvím byvalo i poslední instanci. Staëi napr. sledovat jednáni kostnického koncilu, ktery znamená vyvrcholeni prvni fáze ve vyvoji husitské problematiky, a císt ν Hardtovë vydáni akt tohoto koncilu, 3 abychom si uvëdomili, jak rozsáhlá skála citátú a autorit se dostala do hry pri resení mnoíství otázek, pocínaje vztahy mezi cirkvi a svëtskou mocí, autoritou papeze, prijímáním laikû pod oboji a konce teologickymi problémy ocistce, transubstanciace nebo spory o jazyk obradu. V zàsadë tady nebylo rozdilu mezi bëznou praxi a situaci ν dobë husitské. Vztah k citátu na poli spoleôenského zivota, vëdy i nábozenskych problémû byl také shodny u representantü husitského i katolického tábora. Podstatné vsak je, jak pronikavë a dûslednë poëala tato role citátu prostupovat do jinych poloh tehdejsiho zivota a pûsobit tam rûznym úvodní ¿àsti jeho knihy Die Stellung der frühchristlichen Autoren zur heidnischen Literatur (Wien, 1958). 2 Roger P. Parr ríká k této otázce: "Collections of sermons reveal that direct quotation were plentiful. ... The repeated reference to Scriptural authority was, in fact, a rhetorical device which constituted proof. Use of the Word of God removed probability. The Verbum indicated Veritas. Aristotle calls this 'necessary proof'. This rhetorical device influenced the literary habit of reference to authority as substantion of fact : 'As myn auctor sayes' is a recurring phrase in medieval literature." Srov. jeho úvod k prekladu Geoffrey of Vinsauf, Documentum de modo et arte dictandi et versificando (Milwaukee, Wisconsin, 1968), str. 15; tam jsou ι odkazy k starsi literature. 3 Hermann von der Hardt, Magnum oecumenicum Constantinense concilium pro reformatione ecclesiae, Tomus III (Francofurti et Lipsiae, 1698).

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zpûsobem. Pràvë ν torn je podstata specifického postavení citátu ν dobë husitské: presáhne hranice teoretického mysleni a pronikne doslova do celého zivota, stane se oporou, argumentem, ale i heslem, íivotním principem — a zároveñ i sjednocující silou ν jednotlivych polemisujích nebo primo bojujících táborech, které ν nëm nalézaly a zdúrazñovaly jednotnou formulaci nàzorù a stanovisek. Tak se stával citât a spolu s nim i rûzné jeho intepretace spolecnym vyrazem a základní oporou pro vzdëlance i politika, teologa i válecníka, slechtice i prostého clovëka. Samozrejmë ν rüznych polohách se tento spolecny rys projevoval rûznë. Teologové a vzdëlanci vûbec formulovali aktuální názory a stanoviska a otvírali jim pak cestu do ostatní spolecnosti, která se tehdy velmi intensivnë podílela na rozboureném dëni. Právé tato mimorádná situace dávala tradicni stredovëké roli citátu — ve vrejném iivotë i ν literature — specifického odstínu a preklenula ν podstatë rozdíly mezi jeho mimoliterárni a literárni funkcí. Kázání a nábozenské vyklady vûbec, stejnë jako literatura staly se hlavními prostredníky mezi silami urcujícími soudoby spoleëensky vyvoj i soudobé náboíenské mysleni a mezi ostatni spolecnosti. Tudy se dostávaly do sirokého povëdomi i vyhranëné formulace a citáty a ustalovaly se j a k o trvalé konstanty. Nade vsím ovsem dominovalo odvolání k autorité nejvyssi -— k 'zákonu bozímu', k bibli. Jak jsme uz uvedli, byly prirozenë rozdíly. Predevsím ν torn, ze §kála citátü byla daleko bohatsi ν oficiálnich projevech, ν základních traktátech, usnesenich. ZvlàStë teologické polemiky si vynucovaly argumentace co nejobsáhlejsi. Naproti tomu ν populárních projevech zjiSt'ujeme redukci a simplifikaci,

které vznikly na pozadí predcházející vrstvy projevû.

Zretel k jinému spolecenskému urceni projevû se obrázel jednak ve vybëru tëch nejpodstatnëjsich argumentû a citátü, jednak ve zpûsobech, jak byly formulovány, popripadë literârnë zpracovávány. Priznacnë to dokumentuje treba vztah mezi latinskymi traktáty a jejich versovanou podobou ν jazyce ceském (srov. k tomu dále), nebo mezi rùznymi latinskymi a ceskymi usnesenimi, dopisy, proklamacemi a jejich dalsi literárni tradici. Takovéto transponováni a transformování na cestë ζ oblasti mimoliterárni do literatury nebylo tehdy jevem ojedinëlym, nybrz závaínou a specifickou dobovou tendencí sahajici svymi koreny do spolecenskych funkcí literatury nebo umëni vûbec. Pritom, jak jsme uz vyse naznacili, není rozdílu mezi jednotlivymi stretajícími se stranami, predevsim husitskou a katolickou: citáty se vsude stávají essenci soucasného mysleni nebo jednání — nevyjímaje tedy ani tvorbu umëleckou. Zvlástním predmëtem úvahy by ovsem mohly byt zpùsoby interpretace onëch autorit a citátü, a tu nemáme na mysli jen tradicni hierarchické

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pojetí interpretace : literární, alegorické, tropologické a anagogické, 4 nybrz také speciñcká aktuální pojetí sahajicí az na pole linguistickych a filosofickych koncepcí oné doby. 5 Príznacny je postup, s nímz se setkáváme u husitû: navazuje se ν nëm primy vztah mezi slovní formulad nalezenou ν autorité a mezi její 'doslovnou' interpretad. Dosah této koncepce a její aktuálnost dokládá i to, ze se jí nejednou zabykali i úcastníci kostnického koncilu. 6 Jak hluboko zasahovalo takovéto pojetí, toho prikladem müíe byt osud jednoho citátu ζ Cyprianova listu 'ad Tybaritanos', ktery zároveñ naznacuje vyse zminënou souvislost mezi 'teorií a praxi' ν husitském pojetí. Originální znëni bylo : Scire debetis et pro certo credere ac tenere pressure diem super caput cepisse et occasum seculi atque Anticristi tempora appropinquasse, ut parati ad prelium omnes stemus nec quicquam nisi gloriam vite eterne et coronam confessionis dominice cogitemus, nec putemus talia esse, que veniunt, qualia fuerunt ilia, que transierunt. Gravior nunc et ferocior pugna imminet, ad quam fide incorrupta et virtute robusta parare se debeant milites Christi, considerantes idcirco se cottidie calicem sanguinis Cristi bibere, ut possint et ipsi propter Cristum sanguinem fundere.7 Toto stfedovëké znëni nacházíme — vedle jinych — ν rukopisech ceského versovaného traktátu, ktery zacíná slovy Otázka nynie taková bézí a ktery se obírá otázkou prijímání tëla i krve Kristovy vSemi vëncimi. Ceské versované znëni tohoto citátu je : Máte také ovsem vëdëti, dried i jistë vëfiti, ze nesnáze mnohych nátiskóv rozmohly se za nasich dnóv a íe jii svëta ukrácenie a Antikristovo ustavenie pfed naSima ocima stojí; budiz kazdy hotov k boji 4

Vedle dnes uz klasické knihy Ernsta Roberta Curtía Europäische Literatur und lateinisches Mittelalter (Bern, 1948 a dále), odkazujeme ζ bohaté hteratury alespoñ k nékolika pracem, které se soustredily k vykladu tohoto problému a uvàdëji rovnëz dalsi literaturu: Beryl Smalley, The Study of the Bible in the Middle Ages (London, 1951); Henry de Lubac, Exegèse medievale· Les quatre sens de l'écriture (Paris, 19591961); William F. Lynch, Christ and Apollo, The Dimensions of the Literary Imagination (New York, 1960). 6 Specifickych problémû linguistickych se dotkl Roman Jakobson ve stati "Úvahy o básnictví doby husitské", Slovo a slovesnost 2 (1936), str 1-21. • Pripomínáme jen nëkolik pïiznacnych titulü ζ kostnickych traktátu a polemik podle vyse citované edice Hardtovy : "Z)e figuris Veteris Testamenti pro communione laicorum sub una", "De dictis Novi Testamenti quo sensu agant de communione sacra", "De symbolis Veteris Testamenti...", "Decern Regulaegenerales de autoritate Scripturae et illam interpretandi iure", "De figuris et typis ...", "De sensu .." atd. ' Migne, Patrologia Latina 4, 359-360.

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a nechajíce vâelikakého myslenie, chcemy-li dojiti vëcného korunovánie, ustavenie bozie snaànë vyznávajmy a od nëho se odstréiti nedajmy! Nemnëmy, byí nás téz nesnáze potkaly, kteréz jsú se za drevních casóv dály, ale daleko utuznëjSi boj nás bude i tézsí. A rytiefi, kteh'z chtéjí hotovi byti k tomu boji, méjte vieru neporusenú a ctnostmi mnohymi upevnénú, neb to rozváziti mají, kteííz krev bozí casto prijímají, aby mohli hodni b^ti pro Krista svú krev vyliti.8 Soustredme pozornost predevsím k Cyprianovu 'miles Christi' a ke koncepci husitského 'rytííe' nebo 'bozího bojovníka' ν traktátové i jiné literature, kde nacházíme dalsí a dalsí doklady oscilace mezi spirituální a doslovnou interpretaci tohoto pojmu. A nejinak je tomu i s pojetím 'Antikrista'. Vybíráme dva príklady, které mohou ukázat, jak siroká byla skála projevü, kde se uvedená koncepce objevila, — a byla rozmanitë intepretována. Nejprve ν písni "Slyste, rytieri bo2í" : Slyste, rytieri bozí, pripravte se jiz k boji, chvále bozí ku pokoji statecné zpievajte! Antikristus jiz chodí, zapálenú péci vodí, knëzstvo hrdé jií plodí, probuoh znamenajte! Aby ctenie nekázali, pány svéta by byli, apostoly ν smiech mëli, jímz pilnë prikázal Druhy doklad je ζ dopisu husitského válecníka Jana Roháce ζ Dubé, poslaného dn 3. února 1421 Oldíichovi ζ Rozmberka: A ját' skrze to jednak nemohu rozumëti, nez ze nemieniä pravdy bozie a jeho svatého zákona síriti a hájiti mecem, jakoz to na kíest'anského rytieïe sluSí. Neb ka&ty krest'ansky rytír na to jest pás vzal a mecem se opásal, aby pravdu 8 Cituji podle edice Versované skladby doby husitské, vyd. Frantisek Svejkovsky (Praha, 1963); dále uvádim tuto edici jako Versované skladby. * Vydáno ve Vyboru ζ èeské literatury husitské doby I (Praha, 1963), str. 320-321.

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bozie sííil a jeho svaté ctenie velebil a neíády Antikristovy tupil, cot by nejdále mohl... 10

— V takovémto prístupu k interpretaci je i jedno ze základních vychodisek pro kult a vyklad bible jako nejpodstatnëjsi autority, jako 'zákona bozího', k nëmuz není treba nie dodávat — a ktery také neni treba intepretovat slozitë: staci toliko primo (v duchu doslovné a jednoznacné intepretace) pochopit text a realizovat jeho principy ν zivotë. Na to naráíí napr. autor versované protihusitské polemiky zvané Václav, Havel a Tábor, kdyz formuloval ústy husitského reprezentanta Tábora, "co jest bozí zákon" : ... bozí zákon bozie jest prikázanie a k tomu svaté ctenie, jiné: písmo Bohem dañé, ν némá nie zlosti zádné nenie, co jest popsal Mojiieä a jiní proroci svëti; ν knehách biblí plny zákon jest, che§-li za to mieti. 11 (v. 137-140)

Uz predcházejíci úvahy zároven napovëdëly, ze popularizace myslenek privadëla ν literature autory jestë k jinému zpûsobu, jak zobecñovat vyhranovat tradici urcitych formulaci-citátü : vznikaly parafráze, jakési volné varianty. Tedy nikoli uz doslovné citování, ale k jádru vëci smërujici a podstatu interpretující formulace. Priznacné pritom je, ze nejen základní myslenka, ale také urcité slovni formulace uchovávají vëdomë souvislost s vychozimi texty. Tento zpûsob nacházime zvlàstë ν malych literárnich zánrech, jejichz úcelem bylo struenë a srozumitelnë postihovat podstavu zivych problémû, sporû nebo stanovisek. Tak tomu bylo ν rûznych invektivách, ν písních, napr. ν tak zvanych "Zalobách na husity" nebo ν nábozenskych a historickych písních. To, co traktáty a disputace rozvàdëly a dokládaly ν minuciózních analysách podkládanych pràvë citáty, zhust'ovali autori populárních skladeb ν hola fakta. Pritom ov5em zémër za kazdou formulaci tusíme urcitou skálu citátü nebo vyrokü, na nichz je myslenka skladby zalozena. Proto jsou tato díla casto jakymisi vycty problémû nebo tezovitymi souhrny urcovanymi nejsirsím spolecenskym kruhüm. Obdobnë jako ν aforistickych invektivách nebo ν písních je tomu i ν nëkterych jinych typech versovanych dël doby husitské, napr. ve skladbë "Slyste vsichni, stari i vy, dëti". Je ν ni uzito pouze omezeného poctu prímych citátü (prevâznë ζ bible), kdezto jinak autor shrnoval do struenyeh vyrokü základní principy a sporné otázky, jak je vidël ocima príslusníkú katolického tábora. Tak napr. rekne o husitech : ... a fkúc, zeí biskup neb papez nie nenie 10

(72);

Vydala Blazena Rynesová, Listár a lisíinár Oldricha ζ Rozmberka I (Praha, 1929), str. 33. Srov. téz ν ¿izkové listu Domazlickym, Vybor I, str. 449 η. 11 Srov. Versované skladby, sir. 120.

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ôasty predmët sporû, uznávání autorit vedle bible, shrne slovy : ... rkúc: "Ustavenie bozie drzeti mame, ale jinych svatych nie netbáme". (140-141)

a pripojí k tomu citace ζ bible, zatímeo traktáty vënované této otázce obvykle uvàdëji nëkolik rüznych vyrokû ζ církevních autorû. V jiné rozsáhlé skladbë, "Václav, Havel a Tábor", která probírá ζ katolického hlediska znacnou cást spornych otázek a jevû, voli autor opët tento postup. Primo cituje predevsím bibli, kdezto vyroky ζ jinych autorit obvykle resumuje, ale pritom priznacnë uvede, ze jde o formulace zalozené na citátech. Napr. : Na to má¡5 mieti radu doktora mnohého, Tomáse, Bedu, Lyru, Bernarta i mnohého jiného. Chtël-li by tëchto a jinych mnohych písmo mieti, musil by mi mnoho té feci prieti. (616-619)

nebo: Augustin, Jeronym, Ambroz, Rehoï a jini svèti tupie vzdy to s svatú cierkví, — más i ty za to vzéti.

(652-653).

Srovnáváme-li s traktátovou literaturou, poznáme, ze tyto vycty jmen nejsou nëjakym náhodnym sledem, nybrz naznacují vztah k traktátúm a nábozenskym polemickym spisüm, k sledûm citátú, které jsou tam uvádëny. Tim jsou i tyto 'volné' citace osobitou variantou zivych problémû doby a jejich konstantních formulaci, které se neustále vracely. V podstatë se tedy i ν tomto zpûsobu projevuje snaha o dûsledné opakování, snaha vyhranit a ustálit ν jednotlivych zápasicich táborech pohled na situaci prostrednictvím konstant, jejichz základem byl právé urcity repertoár citátú. Tento vybër se pak ν podstatë prejímal a opakoval ρο celé 15. století — ba nëkdy i pozdëji, ve sporech mezi reformaeními stranami a církví íímskou — aniz byl dále podstatnë rozsirován. Staci opët nahlédnout do souboru traktátú ν citovaném díle Hardtovë nebo ζ bohatství rukopisného materiálu pripomenout rozsáhly celek nazvany priruckou husitského kazatele, coz neni nie jiného nezli soubor citâtû usporádanych alfabeticky do tematickych celkû jako: papa, purgatorium, aie také cantus, imago atd.12 Pràvë tento zpûsob ustáleni urcitych problémû j a k o projevû dobovych sporû spojovanych s ustálenou

formulad

vytvárela na pûdë literatury podminky pro oscilaci mezi primou citaci a 12

K tomu srov. Frantisele Svejkovsky, "Musejní rukopis XIV E 7 jako pramen k dëjinâm hudby ζ doby husitské", sb. Studie a materiâly k dëjinâm starsi ceské hudby (= Acta Universitatis Carolinae, Philologica et Histórica 2) (Praha, 1965) 45 n.; s odkazy k dalsi literature.

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rozmanitou jejich parafrází, kde ovsem pûvodni citât byl ν pozadí a obvykle i primo ν povëdomi nejen autora, ale i jeho publika. Zvlástním zpûsobem se tento vztah mezi obecnymi koncepcemi a jejich formulaci na strane jedné — a mezi zpracováním historickych událostí na stranë druhé projevil ν pojetí historickych dèi, píedevsím pak zase historickych verSovanych skladeb. V nich se setkáváme s vyrazem napëtx mezi záznamem skuteönych událostí a mezi jejich zàmërnou transformaci provâdënou na pozadí onëch aktuálních a tradicnë formulovanych principû : událostí jsou zpracovávány tak, ze vlastnë 'ilustrují' urcité obecné principy a názory — ba formulaci jsou mnohdy primo uvàdëny ve vztah k nëkterym vyrokûm nebo citátúm. Rovnëz postavy jsou ν tëchto skladbách pojaty tak, aby na nich vynikl píedevsím urcity rys — kladny nebo záporny —, mající vztah k obecnému pozadí dobové ideologie. Ba dokonce ν souladu s tím se ustalují nëkterà konstantní epiteta. V protikatolické literature je císar Zikmund selma rysavá (srov. Apok. 13), knëzi kubënàri; ν protihusitské zase se husitstí kazatelé nazyvají remeslníky, sevci, konstatní je i prídomek kácír, vrah, novovërec apod. Ukazuje se tedy, ze literatura byla vtazena velmi intensivnë a mnohostrannë do problematiky soucasného zivota. Stejnë jako ostatni okruhy umëni (v dnesním pojetí toho slova), tedy hudba, vytvarné projevy a zcásti i divadlo, primo splyvala s verejnym dënim. Stala se jeho nedilnou soucástí, coz lze chápat doslovnë: formulovala bezprostrednë myslenky, reagovala spontânnë na událostí. Pripadla jí — ve srovnání s ostatními oblasti umëlecké tvorby — zvlást' závazná úloha na poli ideovém, nebof dávala moznost tlumocit a sírit dobové názory na nejrûznëjsxch rovinách a rozmanitymi zpûsoby, navazujíc primé vztahy s aktuálními nábozenskymi nebo politickymi událostmi a projevy. To byl tehdy vlastnë její stëzejni raison d'être. Takovéto sblízení mezi sociálním dënim a literaturou se ovsem podstatnë obrázelo ν tehdejsích koncepcích literárního díla. Autori se vëdomë odvraceli od uplatñování vlastních, specificky umëleckych prostredkû a postupû — a naopak hledali také na této rovinë bezprostrední vztahy i podnëty, prizpûsobovali svûj vyraz verejnym projevûm zároveñ s tím, jak prejímaly jejich obsah. Usilovali tedy i ν tomto smyslu o bezprostrední transposici, o primé tlumocení projevû kazatele, politika, theologa nebo válecníka. U nich hledali podnëty pro své postupy. Proto se ve srovnání se star§ím vyvojem literatury jeví tvorba této doby jako vyrazné preskupení ν hierarchii funkcí, zánrú i estetickych hodnot

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literatury. — A pràvë toto zahrnuje ν sobë i podmínky a podnëty pro specifické uplatnëni citátu : citátu-autority, citátu-formulace, citátu-interpretace. Spolu s tësnymi svazky mezi literaturou a projevy na koncilech, pri disputacích, ν politickém zivotë atd. objevil se citát jako závazná base dobovych názorú, aby sehrál stejnë velkou úlohu ν literárních formulacích vseho toho, co se autori snazili ve svych dílech obsáhnout. Na poli básnictví se dosah tëchto svazkû projevil nejvyraznëji, ovsem také cesky psaná próza navazuje obdobnë nebo vzniká paralelnë s latinskymi projevy nejrûznëjsiho obsahu. Na§e pozornost zûstane tady soustredëna k versovanym skladbám, které sledovanou roli citátu a její dosah pro utvárení literârnë estetického kánonu demonstrují velmi bohatë a mnohostrannë. Hranice mezi touto versovanou tvorbou a odbornou prózou nebo verejnym projevem nejrüznejsího druhu byla velmi plynulá a vztah tohoto druhu poznamenal podstatnë i samo pojetí poesie a poeticnosti. Autori ani tady nehledali specifické cesty pro svá zpracování, nybrz naopak vëdomë navazovali na onen typ projevü, jak uz víme a jak se i ν dalsím nejednou presvëdcime: Ζ hlediska estetickych ideálú se to projevilo i tak, ze se ukazuje mnohostranné pfiklânëni k prozaickému projevu a jeho postupum. Nechceme tím ovsem na druhé stranë zastrit pozorování, ze versovaná podoba skladeb mêla svou osobitou funkci a problematiku, ovsem pravda je, ze ν prevázné vëtsinë versovanych skladeb vystupuje snaha uchovávat spolu s tematikou prózy i základní postupy pri formulování názorú a stanovisek. Stejnë jako autori prozaickych dël nejrûznëjsiho rázu meli i básníci tématiku urcenu základní spoleëenskou funkcí literatury. Ostatnë práve oni nejednou spojovali ν sobë a ve své cinnosti literární funkci polemika, teoretika, kazatele — i literáta, ktery hledá cesty jak pûsobit a informovat na rüznych úsecích tehdejsiho zivota, a tedy — jak zainteresovávat rûzné spolecenské slozky a hledat ν nich i oporu pro soucasny zápas idei i zbraní. Tak i prímy zájem autorü vytvárel spojnici mezi stëzejnimi oblastmi spolecenského zivota a literatury — a také mezi soudobymi teologickymi, politickymi, kazatelskymi a jinymi verejnymi projevy a básnictvím. Moznosti psát zvlástní literární díla podílející se na vyvoji a sírení soudobych názorú i událostí se nevzdávali ani autori uzívající latiny, ale hlavní úloha prece jen na úseku poezie pripadala projevüm ceskym. Souvislosti mezi jednotlivymi sférami slovesnych projevü nad jiné dobre ilustruje retëz transformací dolozitelnych od latinského traktátu az k populární ceské písni, které se st'astnou náhodou vsechny dochovaly. Jsou vënovâny jedné ζ nejzàvaznëjsich otázek doby — prijímání pod obojí zpûsobou, a jsou psány ζ posic husitskych. Latinskâ

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traktátová literatura obírající se tímto tématem je velmi bohatá; staci tu za jiné odkázat opët k vytistënym dilûm ν Hardtovë souboru. Hned je treba také upozornit na koncepci tëchto traktátü : jsou to predevsím snû§ky citâtû ζ bible a dalsich autorit, provázenych jen strucnym komentárem ν duchu názorü té ci oné polemizujíci strany. Ohlas tëchto latinskych traktátü a jejich citovanych autorit nalezneme také ν ceské versované skladbë husitského knëze Jana Capka "Otázka nynie taková bëzi". 13 Je velmi názornym dokladem spojnic mezi latinskou odbornou a polemickou literaturou a mezi versovanymi ôeskymi dily, nebot' je koncipována tak, ze po strucném úvodu se strídá pûvodni latinsky citát, známy ζ traktátü a polemik, s ceskym jeho verSovanym znënim. Tak jdou za sebou citace ζ bible, sv. Tomáse, Cypriana, papeze Gelasia ν Dekretech. Pro poznání zpûsobu, jak vypadá originální znëni uvádíme pouze jednu ukázku: ... Et quod durare debeat usque ad diem iudicii, Apostolus dicit: "Quocienscumque enim manducabitis panem hunc et calicem bitetis, mortem Domini annunciabitis, donec veniat." Glossa ordinaria: Donec veniat ad iudicium, quia hoc non mutabitur usque tunc. Et conformiter dicit Lyra: "Donec, inquit, veniat ad iudicium etc." — A zef to má státi a trváti do dne súdného, svëdek jest toho sv. Pavel a Lyra. A najprvé sv. Pavel takto die: Protoz kolikrát kolivëk jiete chléb tento neb kalich piete, smrt Kristovu vyznávajte, donidz nepïijde, a to vazte. Ζ polozenie vyklada íádného mát' to trváti do dne súdného.14 U téhoz autora je mozné odkázat jestë k jiné podobë prechodu mezi latinskymi traktáty a ceskou jejich obdobou — tentokrát ovsem prozaickou. Jan Capek zpracoval nëkteré citáty tykajicí se prijimáni ζ kalicha také ν spisku zvaném Knízky o prijimáni ζ kalicha. Ale vrat'me se zpët k versované skladbë "Otázka nynie taková bëzi": ζ celkového pojeti dila pozorujeme dominantni úlohu citátu, ktery je pouze strucnë uveden, napr. Svatyf Pavel také pise rka ... ; ... o torn pise sv. Tomás a die ... ; Rada sv. Cypriána ... Pritom mnohé ζ tëchto uvozovacích vët jsou spíse prozaickym úvodem, takze netvorí soucást versované cásti skladby, nybrz jakysi prechod mezi latinskym originálem a ceskou versovanou úpravou. Κ predcházejicím textûm müzeme priradit jestë dalsi variantu, pisen 18

Vydání a komentáre ve Versovanych skladbdch.

14

Tamtéz, str. 91.

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"Kristovof jest ustavenie", která doslovnymi shodami svëdci o primém vztahu ke skladbë "Otázka nynie taková bëzi" 15 S touto skladbou poznáváme dalsí typ variacní práce, príznacny pràvë pro písñovou tvorbu. Jako nejcharakteristictëjsi rys zjist'ujeme ve srovnání s Otázkou redukci textu, a tedy i obsahu, na jádro problému. Text pisnë je proto kratsí, a co vie, citáty ζ jednotlivych autorit jsou pozoruhodnë navzájem spojeny, takze základní formulace se uchovávají, ale jsou sjednoceny ν novy celek. Pak je také samozrejmé, ze odpadají zmínky o pramenech, tedy jména autorit. Na této rovinë popularizace uz není cílem rozvádet bohatství argumentû a operovat autoritami, nybrz prostë formulovat. Pouze na pocátku je uvedeno jméno evangelisty Matouse a sv. Pavía, kdezto vyroky dalsích osob uz jsou anonymní a jsou také priznacnë zobecnëny, jak ukazuje zacátek jednoho citátu ζ Cypriana: Protoz Cecili, najmilejsí bratfe, bozie ustavenie i se mnú spätre Pánu se ν torn neprotivmy, ale téz i sami ciñmy! ("Otázka").

Protoz, najmilejsí bratrie, bozie ustavenie plftme, Pánu se ν torn neprotivme, ale téz i my sami ciñme. ("Kristovot' jest ustavenie").

Tak je tato nová verze citátú príznaenym dokladem, jak se diferenciovaly zánry ve vztahu k rûznym spolecenskym funkcím literatury, ale zároveñ, jak silné bylo povedomí jednoty témat a formulad. Kontinuita názoru a kontinuita formulad demonstrovaná na predeházejících dokladech je príznacná i pro dalsí skladby, a je tedy tím spoleenym principem vëtsiny versovanych textü. Zároveñ uvedené príklady ukázaly vsechny základní zpûsoby, jak se citát uplatñoval ve vztahu k tematice a spolecenské funkd versovanych del; objevoval se: (1) ve formulaci usilující o co nejvërnëjsi tlumocení originálu a zároveñ dokládal snahu autorû shromázdit dostateenë rozsáhly pocet citátü ve shodë s praxi latinskych i jinych 'oficiálních' textü, vynosû, projevû; (2) ν poctu redukovaném na stëzejni vyroky autorit; (3) ve volnëjsi upravë rûzného druhu, která ovsem udrzovala vëdomë vztah k urcité formulaci, k citátu. Zpûsoby této úpravy jsou rozmanité. Na jedné stranë se ruznë upravuje primo citât, jak jsme vidëli vyse ν pripadë pisnë "Kristovof jest ustavenie", na druhé stanë vznikaji parafráze, které vsak vycházejí ζ ustálenych problémü a jejich tradicního vyjádrení, opírajícího se pràvë o citáty. Tak je tomu ν tzv. Zalobách na ,s Komentár, vydání a srovnání textû ν Dêjinâch husitského zpëvu za válek husitskych Zdeñka Nejedlého (Praha, poprvé 1913), str. 621 η. a 854 η.; tam si autor také vsiml vztahu mezi obëma skladbami. (2 vyd., sv. 6. str. 258 η.).

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husity16 nebo ν rozsáhlé mluvní skladbë "Slyste vsickni, stari i vy, dëti". 17 V tëchto prípadech autori uplatñují princip koncentrace základní myslenky, ovsem povëdomi o vztahu k dobovym traktátüm, úvahám, usnesením, manifestûm trvá. Sledujme napr. tento sled ve skladbë Slyste vsickni, kde se probírají stëzejni rysy husitskych nàzorû: vers 253 Nemáte nie knézím dávati, 258 Netrebat' jest obrazóv, ani kterych ν kostele mnoho oltáróv ... 265 Dëjit' také, zef nemají putovati, 267 Netfebat' jest zvonóv, ani vysokych kóróv. 275 Netreba svëtiti mazancóv, ani beránkóv, ani slanin, ani syróv. 277 Slozme nëkteré také hody a nebudeme svëtiti ν nedëli soli ani vody. Také slozme nëkteré svátky a nebude se u vigili postiti, ani u pátky. Jinym prikladem takovéto transposice do versované podoby mùze byt také ohlas husitského vojenského rádu ve válecné písni "Ktoz jsú bozí bojovníci". Roman Jakobson si ν rozboru básnické struktury této pisnë vsiml tohoto vztahu mezi verejnym dokumentem a pisní.18 Jak je nyni vidët nejde o jev ojedinëly, nybrz o jeden ζ projevü charakteristického postupu ν tvorbë autorû doby husitské. — Jsou ovsem i prípady jakéhosi mísení obou základních postupü, primé citace a rüznych stupñú parafráze, jak ukazuji napr. versované skladby tzv. Budysínského rukopisu. Priznacné pritom je, ze pisar dochovaného rukopisu pokládal za nutné alespoñ in margine uvést odkaz k originálu, k vychozímu citátu jak byvalo zvyken. 19 Domnivám se, ze toto vsechno znovu potvrdilo tendenci k vskutku pronikavému a zàmërnému sjednocování nejen ν názorech, ale i ve formulacích, coz vtiskovalo projevûm ζ doby husitské ráz vyostrené uniformity a spojovala rûzné slozky tehdejsiho zivota: od theologickych spekulaci a politickych koncepci près slovesny (ale i vytvarny nebo hudebni) projev az k rùznym akcim ve verejném dëni nebo na válecném 16

Pod tímto souhrnnym názvem je vydáno nëkolik skladeb ve Vyboru ζ ¡iteratury ceské Karla Jaromíra Erbena (Praha, 1868), str. 239 η. 17 Viz Versované sklady, str. 102 η. 18 Roman Jakobson, "Ktoz jsù bozí bojovníci", International Journal oj Slavic Linguistics and Poetics, Ί (1963), 108 η. 19 Srov. ν aparátu edice Husitské skladby Budysínského rukopisu, vydal Jirí Dañhelka (Praha, 1952), str. 191 n. — Podobné ν komentári k edici zlomku, ktery vydala Dagmar Marecková ν clánku Leningradsky zlomek staroceské versované skladby husitské (= Sbornik Národního musea ν Praze — Acta Musei nationalis Pragae, Ser. C., Vol. 12 [19671, num. 2, str. 65 η.).

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poli. Toto jednotné pozadí nepochybnë umozñovalo ν rûznych stupních uvëdomovat si pozadí a souvstaznost formulaci, které nabyvaly rázu jakychsi loci comunes. Pritom, jak jsme mèli moznost pozorovat, vztah k autoritë-citâtu se prenesl nëkdy ζ tradicních cirkevních textû i na projevy a vyroky soudobé; ovsem klícové postaveni si nadále uchovávaly bèzné autority, bible a obecnë uznávaní církevní spisovatelé. Podstata funkce, jakou mèlo toto pojetí závaznosti ve vztahu k autoritativním textûm a jakou mèi tedy citát ζ nich ve versované tvorbë, vystoupí teprve tehdy, kdyz si uvëdomime, ze se neprojevila toliko ν tématickém plánu, nybrz i na jinych rovinách versovanych památek. Presvëdcuje nás o tom úvaha vënovanà dobové hierarchii zánrü.w I jejich volba je projevem tendence uchovávat co nejvërnëji dobové polemiky, úvahy, vyklady, manifesty — a tedy, uchovávat i jejich základní koncepci ba dokonce i formulaci prostrednictvim citace. A pak tarn, kde jede autorûm o zvlástní zdûraznëni autority, uplatní se i snaha o co nejvërnëjsi, nejednou doslovnou transposici citátu do versované skladby. Není proto náhodou, ze mezi nejcastëjsimi zánry nalezneme versované protëjsky traktátú vënovanych stëzejnim problémüm (predevsím skladby "Otázka nynie taková béií", "Proti poutím"; koneckoncû skladba Slyste vsickni, stari i vy, dëti není nez obsáhlym souhrnem problémû, jimz jsou vënovâny dobové traktáty). Jinym príznacnym zánrem je versovaná obdoba disputaci, hádání, teologickych polemik ve formé dialogu ("Hádání Prahy s Kutnou Horou" nebo skladba "Václav, Havel a Tábor" jsou nejrozsáhlejsími doklady). Pnznacny je i typ 'zalob', polemik, invektiv uplatñujících nëkdy i prostredky satiry; okruh dochovanych dël tohoto druhu je rozsáhly, zahrnuje stejnë pisnë jako bàsnë urcené pro recitaci, je representován jak díly husitskych, tak katolickych autorü. Konecnë atmosfère a funkci tèchto dèi nejsou vzdáleny ani versované skladby s historickymi nàmëty cerpanymi ze souëasného déni, nebof i do nich se rozmanitë promítá atmosfèra ideovych sporü a nachází zvlástního vyjádreni ν napëti mezi lícenou historickou událostí a obecnymi otázkami — i formulacemi — soudobého svëtového názoru. (Je myslím dûlezité vsimnout si, jak tehdejsí historická díla vübec uplatñovala princip citace, napr. uvádéním celych vyrokû, usnesení nebo zase úryvkú ζ literatury i ζ jinych projevü, aby je bud uchovávala nebo s nimi polemisovala.) Prihlédneme-li blíze k celkové situaci ν stredovëkych evropskych literaturách, zjist'ujeme, ze ani tentokrát neprinásí husitská doba nové 20 Otázce zánru vënoval pozornost Josef Hrabák ve statích Versované "disputy" doby husitské a Poznámky o zanikání a vzmkání zánru doby husitské; otistëno ν knize Ze starsi ceské literatury (Praha, 1964), str. 108 η. a 131 η.

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podstatné prvky do souboru zànrû stredovëku. Spor, zaloba, dialog, versované kázání atd. maji starsi tradici. Nové vsak je opët ono aktuální zhodnoceni dosavadní tradice, a také — vskutku jednostranné vysunuti urcitych typü ve srovnání s predcházejicim vyvojem. Proto stejnë musíme prihlizet k celkové stfedovëké Iiterárni tradici, jako ke specifickym podmínkám ceského literárního vyvoje. Volba zànrû je urcována obëma tëmito souradnicemi. Na jedné stranë je obecná tradice zánru, napr. dialogu, sporu, na druhé ovsem jeho volba ν ceském kontextu 15. stoleti odpovidá Iiterárni konkretisaci dobovych disputaci, polemik a pod. Tak i tady jsme svëdky charakteristického prehodnocování, charakteristického napëti mezi obecnym a tradicnim a mezi konkrétni aktualisací tohoto dëdictvi. Primo ze zámerné volby uvedenych zánrü vyplyvá i zvlástni úloha primé feci. Zatímco autor nebo vypravëc zústával ν pozadi a strucnë komentoval, interpretoval nebo prostë tlumocil fakta, dostávaly se do popredí nëkteré typy mluvcích. Odpovëd' na otázku, které typy to byly, nás privádi opët — k citátu. Autori skladeb hledali moznost nejen, jak co nejvërnëji tlumocit dobovou publicistiku a odborné projevy, nybrz — zároveñ s tím, jak dát co nejvice mista pràvë citaci, autoritativním vyrokûm a formulacim. Není pochyb, ze tou nejprimëjsi cestou je dát promlouvat representantüm urcitych stanovisek nebo církevním autoritám bezprostrednë, ν primé reci. Proto casto mluvi Kristus, evengelista nebo jiny biblicky autor sám; a stejnë tak i církevní spisovatel. Príznacná je frekvence prostych uvozovacích slov die, i vece, pravie, rka a pod. Jindy jsou tëmito mluvcími representanti jednotlivych stran: husité, 'novovërci', Tábor, katolík Václav, nebo alegorické postavy Praha, Kutná Hora, Koruna ceská. Cesty, které nacházeli autori versovanych del, aby dosáhly co nejvëtsich mozností pro transposici citátu, ilustrují i príklady postupû pri charakteristice postav nebo prostredi a pri detailnim rozvàdëni dëje ν tëch skladbách, kde usilo vali o vytvorení epického rámce. V tëchto pripadech sáhli po moznostech, které nabizelo vyprâvëni nëjakého episody — obvykle rozvinuté jen ν nejhrubsich obrysech. — Ovsem individuální rysy pribëhu (nëkdy dokonce historické události) jsou vyraznë urcovány vztahem k dobovym ideàlûm nebo problémûm té ci oné zápasicí strany, takze vlastnosti hrdinû, rysy dëje i situaci konkretizuji nám uz dobre známé obecné pozadí — a proto mûzeme pro në nacházet opët oporu ν nëjaké tezi, proklamaci, polemice. Tak doslo opët ke konfrontaci, ν niz se obejevila i role citátu : individuální dëje, vlastnosti a jednání postav dostávaly se do specifickych souvislostí s aktuálními událostmi i s

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principy pokládanymi za vëcné, za nejvyssí a nejzàvaznëjsi hodnoty. Ani tento postup není sám o sobë jevem ojedinëlym ν praxi stredovëkych autorû, ale ve strukture, kde citace a s ni i konfrontace skutecnosti se 'zákonem', s nejvysäi autoritou mají zvlástní funkci, dotvárí i tyto dílcí prvky celkovou koncepci díla a jeho zvlástní vyznamovou atmosféru. Je príznacné, ze taková mista se rovnëz pocit'ovala jako citát nebo byla uvàdëna ve vztah s obecnë známymi autoritami. Prvnim dokladem müze byt citát ζ nedávno publikovaného zlomku husitské skladby proti kostnickému koncilu. 21 Vybër a formulace charakteristickych rysü se opírá o biblické texty, jak ukazují okrajové prípisky ν rukopisu: Ktoz tu druha mohl súditi, jeho hriechóv rozhresiti, k jeho knézství navrátiti a poskvrny ocistiti, poñadz jeden svazek zlostí byl je skrútil ν zúfalosti. A tak vsickni ν jednom dolu ν kalu hfiesném jsúce spolu, pásíc k tomu zrejmé zlosti, svatokupstvie i vilnosti ... (v.

Romanorum, II o

Ecclesiastici XXXIII. Ozee IIII. et V. Proverbiorum V. Math. XV. II. Petri II o . 34-43).

Na malé pióse nëkolika versû se tu shromázdil vskutku bohaty sled formulaci spjatych s biblí, které nemëly toliko literârnë estetickou funkci. V souladu s celkovou koncepci polemické skladby sledoval ν nich autor zároveñ konfrontaci ν rovinë nábozenské a etické. Tato konfrontace mêla za cil predevsím aktuální vyznamy a nikoli jen obecné srovnáni konkrétniho jevu s vëcnymi, ν bibli kodifikovanymi principy nebo jevy. Neni tedy tento postup odlisny od casté praxe autorû doby husitské, kde prejímání formulace, popí, primo citátu, slouzi k postizeni nebo vyjádíení aktuální problematiky a kde se zároveñ touto cestou jednotlivy jev uvádí ve vztah s obecnymi principy. Jak je vidët i na uvedeném pnkladu, nëkdy se tento postup zdúrazñuje natolik, ze dojde k vytvoreni celé rady, vzniklé prirazováním a kumulací citátü nebo jejich parafrází. Tak jako autori listü, manifestû, polemik nebo kronik, nábozenskych vykladû nebo traktâtû — i básníci vybírali tendencnë "urcité rysy nebo jevy", aby tak dosáhli polemického vyhrocení. Detailnx rozbory versovanych skladeb nebo písní by rovnëz ukázaly, ze zàmërnà uniformità témat má obdobu i ν detailech, ve vybëru prostredkû charakterisujících situace nebo osoby. A spolu s timto vybërem sia i stálá konfrontace, snaha obrázet prostrednictvxm shodnych formulaci individuální jev s obecnym pozadim, coz vytváíelo ono silnë aktualisující zabarvení 21 Viz vyse poznámku 19.

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literárních del doby husitské. Zvlásí názornym príkladem pro uplatnëni tohoto typu citace ν detailu jsou postupy katolického autora obsáhlé polemické skladby Václav, Havel a Tábór. Tento básník se nespokojil pouze s nëkolika základními prvky, které mély charakterizovat postavy sporu (jako tomu bylo napr. ν obsáhlé husitské polemice Hádání Prahy s Kutnou Horou), nybrz stále a stále dotvárí rûznymi detaily predevSím charakteristiku Tábora, jeho osobních vlastností, jeho rysû a názoru. Tento postup je tím ùcinnëjsi, ze autor nevolí zpûsob nëjakého souhrnného popisu postavy a jejích vlastností, nybrz dává rûznym stránkám vystoupit teprve bëhem lícené polemiky Tábora s katolíkem Václavem. Pritom nëkolik podrobností nás brzy upozorní, ze ani ν tomto prípade není volba detailü náhodná, nybrz pevnë se váze k celkové koncepci polemické skladby a i ν torn se opírá o tradici. Napr. vychozí situaci popisuje autor takto : U vypáleném se snidechu kostele ...

(33)

a Tábor ihned navrhl, ze nejprve sní peceni : Bratïie, jáí mám vepíovú peceni, ν této peleäi sediece snieme ji. (35-36). Uz tyto tri verse osvëtluji základní postup, ktery tu máme na mysli. Vytka 'vypalují kostely' je castym prvkem ν protihusitskych kritikách a polemikách, ovsem autor nasi skladby ji necituje ν této formé, nybrz promítne ji do popisu situace. Stejnë tak slovo 'peles' zahrnuje podstatu husitskych kritik obracejících se proti katolickym chrámüm a obradûm. S jídlem je pak spojen dalsí motiv: Tábor chce jíst peceni, ackoli je pátek; tretí úcastník schûzky, Havel Vrto§, totiz upozorñuje : Snad jest hfiech u pátek maso jiesti.

(39).

Rovnëz ν torn se husité rozcházejí s rímskou církví a otázka postû byla castym predmëtem sporû. Autor tedy na tëchto místech nevolil prímou polemiku s urcitymi názory, nybrá pojal tyto prvky jako charakterizující detaily — které ovsem implikují ζ jeho hlediska jedin^ závér : Tábor se ve svëtle tëchto rysû jeví jako kacif,22 Takováto signa nebo errores haereticorum primo se uvàdëji ν inkvisicních priruëkuch stredovëku. 23 Práve ν 22

Rovnëz vyroky "Kazdy kacief písmem se chce brániti" (364) nebo "... ktoz poznav cestu kacieïskù, od nie se jest odvrátil?" (1157) a "Tak nám radi jinde svaty Pavel: 'Po druhém napomenutí i tretím/má se vërny kaciere vystriehati ...' (1161-1162) pripomínají tradicni formulace ζ protikacírskych projevû." Sám Tábor ν zàvërecné cásti skladby narází na tendence Václavovy a na cíl, ke kterému Václavovy projevy smëruji: "Tvé reci, protivníce, jiz rozumiem, / bychme byli kacéri, rád to na të viem ..." (910-911). 23 Pro úcely naseho srovnání uzijeme dvou textû, jednoho, ktery souvisí primo s

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souvislosti s nimi je treba vënovat pozornost i dvëma dalsim detailûm, které se rovnëz objevují na pocátku skladby. Tam kde se seznamujeme s postavami, predevsim pak s Táboremm, ctee vers : ... i vece Tábor bledy, hledë jako tele:

(34)

Tábor s palici stoje velmi krice, maje na sobe potvorné a zbledëlé lice:

(51-52)24

a o nëco dále:

Prihlédneme-li k spisûm o kacírích, nacházíme primo vysvëtleni: "Et ut frequenter sunt pallidi", uvádí autor anonymního kostnického traktátu ν popisu "Wiclefistarum et Bohemorum illius temporis ex Reinheri, ordinis predicatorum Celebris theologi, libro D e erroribus haereticorum." A stejnë tak se ν rüznych protikacírskych textech traduje i oznacování tëchto lidi idiote et laici, stultì, non intelligentes, stulti et ceci apod. 8 5 Nejsou tedy uvedené prívlastky náhodné, nejsou to ani vseobecné nadávky, nybrz jsou to — signa. Ukazuje se, ze tedy i ν tëchto detailech se uplatnuje osobitë princip citace, princip volby vyrazu podle autoritati vniho textu, autoritativni formulace. A tak popi s a Charakteristika postav je vlastnë realizad toho, co inkvisiöni pfírucka oznacuje slovy : "quomodo haeteticus cognoscatur per signa". V konfrontaci s tëmito protikacírskymi texty by bylo mozné dlouho pokracovat, ohlasy jejich formulaci nalezneme i ν polemikách a vykladech Václava nebo Tábora, treba o vztahu k papeíi, o prijímání pod obojí, o interpretaci bible, ale uvedeme uz jen jedno misto : Tot' na në mnohy krestan dobïe vie, ze pëknë pocnúc, avsak zie konají, kostnickymi jednáními o husitské problematice a tvorí 3. kapitolu rozsáhlejsiho traktátu, nadepsaného ν Hardtovë edici Anonymi theologi tractatus ζ roku 1415 (srov. vyse poznámku 3) — a druhého, ktery byl velmi populární a byl pripisován Davidu Augsburskému : tento druhy text byl vydán Wilhelmem Pregerem pod titulem Der Tractat des David von Augsburg über die Waldensier ( = Abhandlungen der hist. Klasse der k. bayerischen Akademie der Wissenschaften, Bd. 14, zweite Abt., München, 1878), str. 181 n. — Κ celkové problematice srov. H. C. Lea, History of the Inquisition in the Middle Ages (New York, 1888); P. Frédéricq, Geschiedenis der Inquisitie in de Nederlanden (Gent, 1892-1898); J. Guiraud, L'inquisition médiévale (Paris, 1928) a Histoire de l'inquisition au moyen âge (Paris, 1935-1938); C. Deila Veneria, L'inquisizione medievale e il processo inquisitorio (Milano, 1939). 24 Také zminka o "palici" není náhodná. Souvisí s castymi vytkami husitúm, ze obvykle ïesi situace a problémy nikoli jednáním nebo rozborem otázek, nybrz násilím. Symbolem toho se stala a zároveft hrubost naznacovala "palice". 25 Srov. s tím jestë Václavúv vyrok "Sílenie, Tábore, jizí jsem tvój taras porazil, ..." (1113); ve svëtle inkvisicních projevû je mozné intepretovat ho nikoli jen jako bëznou nadávku, nybrz i ve vztahu k uvedenym protikacírskym textûm.

450

F. SVEJKOVSKY pravdu povëdûc, mnohé bludy kovají. Najprvé sú bozie prikázanie kázali, ale jiz sú je svymi skutky zlámali a zmazali. Duchem pocavse, tëlem konají ... (158-163).

Srovnejme je s témito 'znaky' : Et semper per eorum praedicationes populus scinditur, unus ab alio. De charitate praedicant, et totum odium in populo generatur. Multa falsa circa vera immiscent. Sic populum seducunt.26 Není treba tvrdit, 2e vsechny formulace nebo motivy shodné mezi ceskymi skladbou a témito texty jsou závislé pràvë na nich. Mnohé mohly uz byt prejaty ζ jinych polemik, traktátú apod., reagujících na konkrétní situaci ν ceskych zemích. Ale zdá se, ze i jiní autori své formulace opírali pràvë 0 tyto autoritativní texty, takze i ν torn nachází nase úvaha o cirkulaci konstant, o roli citátu, o závaznosti ustálenych formulaci potvrzení. I ν tomto smyslu je konkrétní a jednotlivy jev uvàdën ve vztah s obecnymi principy, poznatky, kodifikovanymi ν církevních dílech. Skladby, které mnohostrannë dosvëdcovaly svazky s verejnymi projevy a jejich prozaickymi literárními zpracováními, které ukázaly, ze nejde jen o souvislosti ν plánu tématickém, ν uchovávání jakéhosi kánonu myslenek, nybrz stejnë tak o souvislosti formulaci, zpûsobû, jak byly projevy zpracovávány, — vybízejí k zamyslení jestë nad jednou stránkou versovanych dël doby husitské — nad jejich versem. Prave ν tomto okruhu tvorby se setkáváme s protikladnymi typy versû: verse rozmerného, osmislabicného, a verse bezrozmërného, asylabického, jehoz kvality jej odlisují od starsího typu asylabického verse, jaky se objevoval ν staroceské poezii od 14. století. Jiz drive zjist'ovali badatelé urcité osobité rysy, kterymi se tento vers odlisoval od starsi tradice. Pozornost tomu vënoval R. Jakobson 27 a na jeho zàvëry navázal predevsím J. Hrabák, ktery podal tento základní zàvër o versi skladeb ζ doby husitské: ... vers bezrozmërny se ostfe odlisil od bezrozmërného verse 14. století tím, ze se odpoutal od osmislabicného oscilacního bodu. Jako jeho sylabické jádro se uplatftuji rûzny sylabické rozmëry: sedmislabicny (Zbarveni mnichové), tïinâctislabicny az ctrnáctislabicny (Václav, Havel a Tábor), ba máme doloren 1 vers oscilující mezi nëkolika gravitacními body bez zretelné diferenciace mezi nimi (ve skladbë Pocátkové husitství je nejvíc versû ν rozmezí od osmi do jedenácti slabik, ale zádny rozmër zïetelnë neprevazuje). 2β

Cituji ζ anonymniho traktátu ν edici Hardtovë, Tomus III, sloupec 666 (srov. vyse poznámku 3). 27 Srov. stat' citovanou vy$e ν poznámce 5.

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O nëco dále vajadruje tyz badatel toto pozorování jestë vyraznëji: "[Tento vers] ... opoustí smerování k urcitému sylabickému schématu jako ke gravitacnímu bodu." 28 Tedy, starsi zkoumání uz sdostatek dûraznë upozornilo pri popisu dáného verse na znacnou uvolnënost jeho vnitrní rytmické stavby, 29 která, jak se ukazuje, je ν podstatë zalozena na pojetí nazyvaném Jakobsonem sentential vers (podle polského wiersz zdaniowy). Jakobson jej charakterisoval ve studiích o slovanském epickém versi jako typ zalozeny "on syntactic prosody rather than on word prosody". 30 Vyse vzpomenuté práce uz prinesly podrobnou analysu základních slozek tohoto verse. Otevrena vsak züstává otázka jeho genese. Odpovëdët se na ni pokousel J. Hrabák, ale jiz sama formulace odpovëdi svëdci, ze autor si byl vëdom hypoteticnosti svych poznámek : Podle toho se zdá, ze se mluvní skladby slozené bezrozmërnym versem nechtëly odrázet od soudobého verse 'rozmérného', ktery byl osmislabicny; dûvod lze hledat ν torn, ze bezrozmérny vers chtël byt protikladem verse písñového. V písni totiz nebylo monopolní postavení jednoho sylabického rozmëru, a proto nebylo nutno postavit proti sylabicky nejednotnému versi pisnë jako protiklad mluvní vers smërujici k jedinému slabicnému rozmëru. Vztahem k versi nejlépe vylozíme, proc opoustëly nëkteré skladby slozené veräem bezrozmërnym dëleni na dvojversí a ν souvislosti s tím sdruzené rymování: pisen byla strofická a strofika husitské pisnë byla stejnë rozmanitá jako sylabismus jejího verse.31 Zdá se, ze kvality tohoto verse nevysvëtlime jen protikladem verse mluvnxho a písñového ; bude treba prihlédnout k slozitëjsim souvislostem. Po predcházejících rozborech bych chtël pràvë upozornit na nëkteré ζ nich; vyplyvají ze spolecenské funkce versovanych dël a také ze vztahû k ostatni literature. Zdá se, ze ν zàvërech o specifické situaci versované tvorby, o jejího prilnutí k prozaickym textûm nalézáme nëkteré moznosti pro vyklad urcitych kvalit asylabického verse. Predevsím je treba rozsírit úhel pohledu ζ protikladu 'vers pisnë a vers recitativní poesie' na protiklad 'próza a poesie'. Klícová role prózy nám totiz mnohostrannë 28

Josef Hrabák, Studie o ceském versi (Praha, 1959), str. 103 η. a 109. Starsi stav bádání shrnul Karel Horálek ve studii Zarys dziejów czeskiego wiersza (Wroclaw, 1957), str. 23 n. — V dobè, kdy byla tato staf dokoncena, vysla jestë práce Zdeñky Tiché Staroceské bàsnë 14. a 15. stoleti, slozené bezrozmërnym versem, Rozpravy ceskoslovenské akademie vëd, rada SV, se§. 14; autorka ν ni navázala na starsi bádání a shrnula své vysledky statistického popisu verse. Závéry tykajici se obccnych a historickych otázek verse doby husitské oväem trpí tím, ze Tichá pojednává o materiálu, ktery zcásti pHmo nestudovala. Tak se stalo, ze citát ζ prozaického spisu Jana Capka, prejaty ζ mé starsi práce, povazuje za báseñ tohoto autora (str. 47). 30 Roman Jakobson, Selected Writings IV (The Hague-Paris, 1966), str. 455. 51 Josef Hrabák, Studie o ceském versi (Praha, 1959), str. 109. 29

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vystupovala ν predcházejícim do popredi a poesie vedle ni — nebo lépe : spolu s ni — osvëdcovala tendenci primknout se k ni, plnit na jiné rovine jeji funkci, jit jejimi cestami. Zretel k této orientaci básníkü, k roli prózy a prozaické formulace prenásené bezprostrednë do poesie ukazuje i moznosti pro vyklad geneze asylabického verse. Ostatnë primo ν dochovanych památkách nacházime nëkteré signály upozorñujíci na tento vztah próza-versovaná skladba: Tak Capkova skladba "Otázka nynie taková bëii" strida prozaicky latinsky citât a jeho versovany cesky prevod, takze primo upozorñuje na tento vztah. A pràvë ν díle Capkovë mûieme i jinde pozorovat, jak autor postupoval : zvoleny citát prekládal nejprve do prózy, a pak jej ζ tohoto prozaického ceského zneni upravoval do versové podoby. — Jinym príkladem mohou byt husitské lekce. Tyto liturgické texty, urcené k zvlástnímu — tzv. zalmovému — prednesu, jsou zpracovány vëtsinou ν prozaické versi, ale misty — a to hlavnë ν citátech — objeví se stopy rymû a shod s versovanou skladbou "Otázka nynie taková bëzi". Na stupñovitost rozmanitych úprav tychz citátú ν lekcích, ve skadbë Otázka nynie taková bëzi a Knízek oprijímáníz kalicha jsem podrobnë upozornil ν clánku Ζ básnické cinnosti Jana Capka. 32 — Zústañme vsak jestë chvíli ν okruhu versovanych traktátü. Jeden ζ rukopisû uchovávající záznam skladby "Otázka nynie taková bëzi" a stejnou technikou upraveny druhy versovany traktát Proti poutím, pripojuje bezprostrednë za tëmito dvëma texty jestë dalsi, zpracovávajici rovnëz aktuální téma : polemiku proti kultu obrazû a ostatkû ν rimské cirkvi. 33 Zpracování svëdci o stejném principu jako u obou predcházejících versovanych traktátü, nebof se strídá latinsky citât ζ autorit s ceskym prevodem — ale ten je tentokrát jen prozaicky. Zdá se, ze to svëdci o stupñovitosti práce pri zpracováváni ceskych verzi a o cestách od prózy k versi.34 32

Podrobnëji k tomu ν mé stati "Ζ básnické cinnosti Jana Capka", Listy filologické 85 (1962), str. 282 η. 33 Srov. podrobnosti ve Versovanych skladbàch, str. 174. 34 Κ tomu ve stati citované vyse, poznámka 32, a ν jiném mém prispëvku : "Κ otázkám bezrozmërného verse ν ceské literatuïe husitské doby", sb. Theory of Verse — Teorie verSe I (= Acta Universitatis Purcinianae 105) (1966), str. 219 η. — Za zvlástní upozornéní snad stojí, ze ν jednom ζ dochovanych rukopisû skladby Otázka nynie taková bëzi je jestë pfeklad dalsího, ζ polemické literatury rovnëz známého citátu ζ projevu papeze Lva; citát je prozaicky, misty (hlavnë ν citaci ζ Pavlovy epistoly) s gramatickymi rymy, které posiluji rytmické frázování textu. Srov. Versované skladby, str. 173. — ZvláStním pïïpadem je ζ hlediska typu verSe skladba Otázka nynie taková bëzi jestë tim, ze ve zpracování jednotlivych citátu se objeví rozdily svëdëici o napëti mezi versem osmislabiinym a asylabickym. Pri úvaze o tëchto zvlástnostech, kdy nëkteré citáty jsou zpracovány ν osmislabicném versi, zatímco vétsma je druhého typu, je treba vzít ν úvahu zvlástní ráz tvorby Jana Capka. Tento autor zpracovával, jak se

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Konecnë na tomto miste stojí za upozornëni i jiny kontext, ν kterém se versované cásti objevují. Nesetkáváme se toliko s paralelismem próza — vers nebo s versovanym citátem ν próze, ale primo zaclenováním versovanych partii do prozaického textu. Tak je tomu ν pripadë historickych versovanych skladeb, známych nëkdy pod tituly Pocátkové husitství, O sektë táborské, O nahácích; jsou soucástí Starych letopisû, zapsanych ν tzv. Vysehradském sborniku právnim. V jiném ζ rukopisû Starych letopisû ceskych eterne zase pocátecni verse (v. 7-16) ze skladby "Václav, Havel a Tábor". 3 5 — Predpokladem vsech tëchto vztahu mezi prózou a poezii bylo nepochybnë vnimání tohoto verse a jeho kvalit ν tësné blízkosti s prózou. Zatímco na jedné stranë nëkteri autori versovanych skladeb sahali k tradienímu typu osmislabicného verse, jiní naopak i ν této rovine uplatñovali souvislosti s prózou a hledali ekvivalent ν typu verse umozñujícího co nejbezprostrednëjsi transposici prozaickych textû. Tento prístup patrnë urcoval minimální míru prostredkü odlisujícich vers od prózy. Zdá se tedy, ze i ν rytmickém plánu vyznamnych skladeb doby husitské nacházíme projev základního gesta autorü doby husitské: snahu uchovat jednotu názurü i jejich fomulací, která nalezla nejpriznacnëjsi vyraz ν 'kultu' citátii. UNIVERSITY OF C H I C A G O

zdá, paralelnë vedle sebe rúzná díla spjatá s vyhranënym okruhem problému a uzíval tychz citaci ζ autorit ν prozaickych ι versovanych projevech. Tim patrnë docházelo k úpravám téhoz základního prekladu citaci — nebo k pfejímání. Je príznacné, ze napr, sklon k osmislabicnému versi nacházíme pràvë ν téch cástech Otázky, které jsou zároveft ν písni Kristovot'jest ustavenie. 35 Srov. Versované skladby, str. 181.

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πΗΐιιετ

MAH/JEJIBIUTAM,

"MONCHO

paCCMarpHBalb He TOJIbKO KaK OÖteKTHBHyiO .HaHHOCTb C03HaHHH, HO Η KaK opraHbi nejioeeKa, coBepuieHHo TaK ace ΤΟΗΗΟ, KaK neneHb, c e p a u e " , 7 3 4

CoópaHue covunenuíi II, 288 CoôpaHtie commemù II, 297-298.

HanpHMep, " Λ CJIOBO no3a6uji, HTO Η χοτβΛ CKa3aTb", (BauxHHrTOH, 1964), 81. 6 "CJIOBO M Ky/itTypa" II, 268. 7 " O npupouc cjioea" II, 298. 5

Coôpanue couwienuü

I

457

O C H Ü M A H A E J l b U I T A M Η ΕΓΟ Φ Η Λ Ο Ο Ο Φ Η Η CJIOBA

η T a M « e npefljiaraeT " M e M T a r t o c o 3 a a H H H o p r a H H H e c K o ñ π ο β τ η κ η , H e saKOHO/iaTejibHoro,

a

ÖHOJiorHHecKoro

xapaKTepa,

yHHHToacaiomeH

K a H O H b o h m » B H y T p e H H e r o cöJiHxceHH« o p r a H H 3 M a , o Ö J i a a a i o m e H b c ê m h M e p T a M H Ö H O J i o r H H e c K O H H a y K H " . Β n a c T H o c T H , MaHflejibuiTaM H e p a 3 Bbipaacaji Mbicjib o t o m , h t o cjioeecHbie npeacTaBjieHHa, a β o c o 6 e H H O C T H n o 3 T H H e c K H e o6pa3bi, β ο 3 η η κ 3 ι ο τ He H C T o p H H e c K H , T.e. cjiynaiiHo, a H T O O H H , H a o Ö O p O T , HBJIHIOTCH O p r a H H H e C K H M

flOCTOSHHeM

MejIOBeKa,

p a 3 y M e e T c a , nocKOJibKy o h coxpaHHji c b o h , H3BecTHbiñ H a M , nejioBeM e C K H H OÖJIHK. Ilo MaHflejibiiiTaMy, 5i3biK0TB0pHecK0e Hanajio HejioBenecicoH

πρκ-

poflbi He noflJieacHT nocTynaTejibHOMy abh/Kchmio hctophh: bchkoê Hoeoe

cAoeo,

bchkhh

cMbicjie y3Haeame

ηοβμη

nosTHHecKHÖ

h noemopeme.

ecTb Β

ΗεκοτοροΜ

3,necb MaHflejibiirraM —

npaBfla, a

CKJioHeH CMHTaTb, TOJibKo Μ ε τ 3 φ ο ρ Η Η ε ο κ Η —

o6pa3

nopoft y A a p a e T C H π ρ π Μ Ο β

HeonjiaTo H H 3 M . O h He p a 3 yTBepacaajr, h t o EbiTb MoaceT, npexcae ry6 yace p o a h j i c h π ι ο π ο τ H Β 6e3flpeBecHOCTH KpyHCHJiHCH JIHCTM, Μ τε, K O M y mm nocBHmaeM οπμτ, J\o ontiTa npaoôpeJiH ι ε ρ τ Η . 8

Hjih, ¡ta φκΛοοοφοκοΜ jBbiice: C r a x o T B o p e H H e hchbo B H y T p e H H H M 0 6 p a 3 0 M , τ β Μ 3 B y i a m H M cjienKOM φ ο ρ Μ Μ , κ ο τ ο ρ ω ϋ npeflBapaeT H a n H c a H H o e CraxoTBopeHHe. H h ο λ η ο γ ο cjioBa e m e Ηβτ, a CraxoTBopeHHe yace 3ByHMT. 3 τ ο 3ByHHT B H y T p e H H H H o6pa3, s t o ero oc«3aeT onyx no3Ta. M cjiaflOK H a M j i H i i i b y3HaBaat>H μ η γ ! "

Snympemiuii

o6pa3

rijioTHHa, a yzmeanbe

MaHflejiburraMa,

rijiaTOHa. OflHaico, η τ ο 8

•

kohêhho,

h

c j i h i i i k o m y)K H a n o M H H a e T h apyroe

noHHTHe

ecTb

ένδον

άνάμνησις

moxcho

είδος caMoro

ποηϊγπ» η

KaK

" H Dly6epT Ha BOfle, h M o u a p T β nTHMbew r a M e " I , 187. "Cjiobo h KyjibTypa" I I , 268-269. C p . H3 toK »ce CTaTtn:

MTaK, hh οληογο n o 3 T a eme He 6biJio. Mbi cboôoahh ot r p y 3 a BoenoMHHaHHñ. 3aTO CKOJibKo peaKocTHbix npeAiyBCTBHä: IlyniKHH, Οβηληη, ΓοΜβρ. Korfla jiio6obhhk β THxuHHe nyTaeTCH β hokhbix HMeHax η B«pyr BcnoMiiHaeT, hto 3to y »re 6bmo : h cnoBa h Bojiocbi, h neTyx, KOTopbiH npoKpiwaJi 3a okhom, K p n i a j i yace β OBHflHeBwx

TpHCTHax, myôoKan paaocxb noBTopeHba oxeaTweaeT ero, roJioBOKpyatHTejibHa«

paaocTb :

C n o B H O TeMHyio eofly, h nbio noMyTHBinnäCH B03flyx, B p e M H BcnaxaHO nnyroM h po3a 3eMJieio 6buia. Tan

η πο3τ

He

6ohtch noBTopcHnii η nerico

nbjraeet KJiaccHiecKHM

βηηομ. ( I I ,

266-267)

458

V I C T O R TERRAS

MeTaopy crpyKTypajibHOH K O H u e n u H H o reneTHnecKH 3 a n e H a T j i e H H o ñ H3bIKOTBOpHeCKOH CnOCOÖHOCTH, n o K o i o m e i i c a Β HejIOBeKe. Bo BcsKOM c j r y n a e , fljia M a H a e J i b i i r r a M a acHBoe cjiobo — a6coJiiOT. B o t noneMy oho He ôoHTca h Bcenoxcnpaiomero BpeMeHH, a HaoôopoT, nHTaeTca HM: M x n H m a — BpeMa, M e a y m m a ,

TaKoii

B3rjiaa Ha n p H p o ^ y

cjioea

M»Ta.10

enojiHe pauHOHajieH

η β

cymHocra

He

HOBHH.

C OflHOH C T O p O H b J , K O H I j e n U H H C J I O B a - a 6 c O J I K » T a , n p f l M O HJIH nepe3 n o c p e f l C T B o enympemteu φ opMM, ho bo bc«kom c j i y n a e e c T e c T B e H H o η HeoôxoflHMo B b i T e K a e T h3 οοηοβηογο n o j i o x c e H H a φιυιοοοφοκοΓο H f l e a j i H S M a . 1 1 H o c a p y r o f i C T o p o H b i , o H a ohcbhaho c o B M e c T H M a h c TeMH

aHTponojiorHHecKHMH

5I3bIKOTBOpHeCTBy

(KaK

H

CHCTeMaMH,

pOflCTBeHHOMy

KOTopbie eMy

noJiaraiOT,

3CTeTHlieCKOMy

hto TBOp-

necTBy) nocTaBJieHbi

β tom hjih η η ο μ C M h i c j i e a ô c o j i i O T H b i e n p e a e j i b i , neM oho h npHoôpeTaeT 3btohomhio η aöcojnoTHyio ueHHocTb β Ηβκοτοροϋ o r p a H H H e H H O H oßjiacTH: H a n p H M e p , e c j i H a 3 b i K O T B o p n e c T B o (h C B a 3 a H H o e c hhm, ecjiH H e Toac^ecTBeHHoe e M y , 3CTeTniiecKoe T B o p HeCTBO) HBJI5HOTCH OnpeflejieHHOH, HCTOpHHeCKH OrpaHHHeHHOH CTaaHeä β 3BOJHOUHH HejioBenecTBa;12 hjih e c j i H ohh n p e a c T a B J i a i o T co6ok> 6 H 0 J i 0 r H H e c K H hjih n c H x o j i o r H i e c K H o n p e a e j i H M b i e , sui generis φyHκ^nH H e j i o B e n e c K o r o o p r a m o M a ; 1 3 hjih ace e c j i H hx p a c c M a T p H B a T b icaK CTpyKTypajibHO 3aMKHyTyio cncTeMy

TaBTOJiorHH.14

KyjibT cjioea KaK aöcojiioTa npoHBJiaeTca y MaHflejibiirraMa bo Bcex ero rjiaBHbix a c n e K T a x : pejiHrH03H0M, sctcthhcckom h φHJIocoφcκoM. O TecHOH cBa3H HCHBoro cjioea c pejiHrneH MaHfleJibuiTaM τοΒορκτ c noJiHOH acHOCTbK) h flOBOJibHo M a c r o . 1 5 DcmemunecKoe cocmonnue, o κοτοροΜ n n c a j i IIlHjijiep, eMy xopouio H3BecTHo: oômeHHe c khbmm C J I O B O M — O f l H a H 3 e r o p a 3 H O B H f l H O C T e H . K a K H p e J I H r H 0 3 H 0 e HyBCTBO, »CHBoe cjiobo n p e o f l O J i e B a e T B c a K y i o TaacecTb, a β nacTHocTH TaacecTb 10

"Bo3bMH Ha paflocTb H3 mohx jiaflOHeit" I, 84. Π neAbi, β 3tom CTHxoTBopeHHH, pa3yMeeTCfl, — Μεταφορα no3THHecKoro cJioBa. 11

Ha Bonpoc, oóbeKmueHbiù hjih cyöbeKmueHuü HfleauHCT MaH/ieJibuiTaM (hhwmh cjioeaMH, HconjiaTOHHK hjih HeoKaHTHaHeu) — TpyjiHO οτΒβτκτι.. MHCTHiecKHe o6pa3w, β KOToptix cJiOBecHoe npeacTaBJieHHe npeepamaeTC» β cnoBO-ncHxeio η flajKe β 3Bynamyio, BHÄHMyio η ocjaaeMyio nJiOTb, pa3yMeerc», mojkho noHHTb KaK Μθτ&φορι»ι MHpa HCJioBCHCCKoro co3HaHH«. T.e., oöbeKmueubiü HfleajiH3M ecTb β ΗβκοτοροΜ CMbicjie nosTHHecKa« φορΜα cyôheKmueHoeo HfleaJiH3Ma. 12 HanpHMep, y Tereji» hjih y Kpoie. 13 HanpHMep, y HeoKaHraaimeB. 14 HanpHMep, Β Ηβ0Π03ΗΤΗΒΗ3Με. 15 Cm. cTHxoTBopeHHH "H noHbme Ha ΑφοΗβ" (I, 47) η "Bot aapoHOCima, KaK cojimie 30Ji0T0e" (I, 85).

459

OCHIl MA HflEJlb HIT A M H ΕΓΟ ΦΗΛΟΟΟΦΗΑ CJTOBA BpeMeHH. >KnBoe cjiobo

ecTb CHJia, noTeHUHpoBaHHbiH

>kh3H8hhmh

nopbiB — τ ο ace, h t o h HCKyccTBo. HaKoneu, β aHTponojionra MaHjiejibiiiTaMa, cjiobo

(h

ero

λβοηηηκ,

ncKyccTBo)

npejiCTaBjiHioT

co6ok>

rjiaBHoe, ecjin ne eflHHCTBeHHoe, aôcojiiOTHoe flocToaHHc HejioBenecTBa. y pyccKoro Hapoaa, β lacTHocTH, ecTb TojibKo o a h o , no 3a τ ο öecueHHoe coKpoBHme: ero H3biK.16 H

b o t , KaK πο3τ h KaK φιυιοοοφ,

MaHflejibiiiTaM BocnpHHHMaeT

cyabôy HejioBenecTBa, Hapo^a, nejioBeKa, h x π ο α β η γ η h noôeflbi, h o h h x HeyaaMH, ποτεριι h nopaaceHHa, xaK β cymHOCTH CAoeecubie. H ero coôcTBeHHaa 6noΓpaφ^i5^ c b o a h t c h κ TOMy ace. CjioBecHbie 3aBoeBaHHH h TopacecTBa paHHHx jieT: pa^ocTHbie BCTpeHH CO CJIOBOM Π03Τ0Β jAJiitHucmuuecKoü

Η Π033ΗΗ

BCerO

npHpoflbi pyccKoro

3anaflHOrO iBbiica.

Οτ

MHpa,

OTKpHTHe

cthxob

Mojiofloro

MaHflejibiiiTaMa TaK η Βεετ TenjioM, paflocTbio h ropaocTbio o6jiaflaHHfl, OÔmeHH», nOHHMaHHH. H o TO, HTO Μ05ΚΗ0 HaÖTH, OTKpblTb, 3aBOeBaTb, MOaCHO H nOTepHTb.

Bojiee no3flHne c t h x h MaH^eJibiiiTaMa Bee name roBopaT ο π ό τ ε ρ ε , ο pa3JiyKe η o^HHOMecTBe, o xojio/ie oTiyacjieHHH η nenoHHMaHiifl. M onflTb ποτερΗ, yxoflbi η TynmcH npeaczie Beerò — cjioBecHhie : Ce6a ry6a, ce6e npoTHBopena, K a x MOJib jieTHT Ha ΟΓΟΗβκ ικηιηοηημΑ, M He xoMeTca yñTH h3 Hainen penn 3a Bee, nein « o6»3aH eñ 6eccpoΗΗ, " Κ HccjieaoBaHHio Ηεκοτορωχ CCMHOTHHÇCKHX BonpocoB 'ΠΟ3ΜΜ 6e3 repos' Α . AxMaTOBofi", Te3ucbi doKAadoe βο 2-oü JlemHeü ΙΙΙκοΛβ no emopmnbiM ModeAupyiouiuM cucmeMüM (TapTy, 1966), CTp. 3 0 - 3 1 ; ee » e , " K npo6jieMe ΛΒΠΐΗΦΡΟΒΚΗ 'ΠΟ3ΜΜ 6e3 repoa'", Tpydbi no 3Hanoebm cucmeMaM, 5 (TapTy, 1 9 7 1 ) ; P . ft THMCHIHK, " Κ aHajiH3y 'ΠΟ3ΜΗ 6e3 repos' Α . AxMaTOBOÄ", MamepuaAbi XXII Haymioü cmydemecKoü KOH Γρβκο, Kajmocrpo ; Μαηφρβόοβbi eAu, 3.ibcuHopcxux meppac napanem, Η ece acaeopoHKu ecezo Mupa, C H H M ΠΤΗΙΜ, Knapa Ta3yjib h nofl. * O. ManaenbiiiTaM, Ραίζοβορ o ffaume (MocKBa, 1967) (lepHOBOÍi τεκςτ, CM. KOMMeHTapnìj, ςτρ. 76).

3AIIAflH0EBP0IIEHCKAS Π033ΗΑ Y ΑΧΜΑΤΟΒΟΗ

471

flaHTe — "Tbi Jib flamy duKmoeana / CTpaHHUbi Afla? OTBenaeT: 'Λ'" HaxoflHT npsMyio napajijiejib (pa3BHBaeMyio He pa3 Η eme aa JIB me) y MaHflejibiirraMa: CeKpeT ero CMKOCTH Β T O M , HTO HH e^jiHoro cjiOBenica OH He npnBH0CHT οτ ceÔH. H M ^BHxceT Bee HTO yroflHo, TOJibKO He BbwyMica, TOUMCO He H3o6peTaTejibCTBo. flaHT H 4>aHTa3HH — aa eeab S T O HCCOBMCCTHMO ! ... Kaica» y Hero 4iaHTa3HH? O H irameT ΠΟΛ duKmoeny, OH nepeimcHHK, OH nepeBOflHHK ... E C J I H B3HTB 3TO H3yMHTeHbHOe ΠρθΗ3ΒβΛβΗΗε ΠΟΑ yrjIOM IfflCbMeHHOCTH ..., TO KO BceM yace npHJioaceHHbiM aHajioraaM npHÔaBHTca eme Hoeaa — imcbMo ΠΟΛ duKtnoeKy, cnHCbiBaraie, KoimpoBaHHe ... TyT Majio cKa3aTb cimcbiBaHbe — TyT HHCTOimcaHbe ΠΟΛ άιικηιοβκγ caMtix rpo3Hbix H ΗβτερπειίΗΒΗΧ dmmopoe. ffmmop — yKa3HHK ropasao BaxcHee Tax Ha3biBaeMoro nosTa. (Paszoeop o ffaiime, CTp. 50-51) H τ ο H Apyroe yTBepacfleHHe C O O T H O C H M H CflaHTOBCKoñφορνψιπφοΒκοΜ ncHxojiorHHecKHX OCHOB ero TBopnecTBa, KaK H Booßme dolce stiì nuovo: Ed io a lui : Io mi son un che quando Amore spira, noto; ed a quel modo Ch'ei detta dentro, vo significando. ("Purgatorio" XXIV, 52-54)10 h ocoöeHHo (β neperiane penaflaceHTyKKH): Io veggio ben, come le vostre penne Diretro al dit ta tor sen vanno strette; Che delle nostre certo non avvenne. ("Purgatorio" XXIV, 58-61)11 Β 3TOM » e CTHXOTBopeHHH AxMaTOBOH ("My3a") noflBJiaeTCH TeMa zocmbu c dydoHKoù ("Ητό nonecra, HTÓ lOHocTb, MTÓ CBo6o.ua / Ilpefl M H J I O H rocTbeñ c dydoHKOü Β pyKe"), nepeKJimcaiomaflCJi co C X O O T O H TeMOH H3 Ρα3ζοβορα o ffanme: CaMhie cjioatHeflniHe KOHCTpyKTHBHbie lacra nosMbi BbinonHflioTC» Ha dydowe, Ha npHMaHKe. Cnjionib Η paflOM dydoma npeAnocbinaeTca Bnepea (cTp. 56); Η B O T "yjiHHHaa" necHb "HncTHJinma" c ee TOJIKOTHCM Ha30ñJiHBbix 10

Cp. Β nepeeofle M. JI. JIo3HHCKoro: H a: "Korfla ΛΚ)6ΟΒΙ.Κ) a flamy, To « BHHMATEJIEH; eft TOJIBKO Haflo MHe noflCKasaTb cnoea, Η a immy".

Cp. flanee O pa3JiHHnax Meacfly dolce stil nuovo H cnuHnnaHCKoiï ΗΛΗ TaK Ha3biBaeMOH 'yseHOH' inKOJiaMM. 11 Ά BH3Ky, KAK nocjiymHO HA JIHCTKH HaHOCHT Baimi nepbs CMMCJI BHymeHHbiñ, Μτο HaM, ΚΟΗβΗΗΟ, ÔfclJlO He c pyKH. (Β nepeBOfle Μ. JI. JIo3HHCKoro)

472

Β. Η. ΤΟΠΟΡΟΒ

φπορβΗΤΗϋοκΗΧ a y n i . . . ΗΛβτ Ha npHMaHKe xcaHpa, Ha τ η π η η η ο η (JwiaMaKacKoft òyòoHKe TaK

β

... ( c T p . 5 7 ) . oöohx

TeKCTax

CKJiaflbiBaeTCH

H3

flpyrwx

ripoTHBonocTaBJieHne

cboôoam

ÒMmOSKa).

MHHMOH H HCTHHHOH (ÒyÒOMKa,

nepeKJiHHeK AxMaTOBOH c ManaejibiUTaMOM Ha n o n e e

"BoacecTBeHHOH K o m c o t h "

cp.:

y OcHna 6biJio ana Benepa. O h tojimco hto BbiyiHJi HTajib«HCKHH η3μκ h öpeaHJi flaHTOM, Mirra« HaroycTb CTpaHHuaMH. Mbi cTajiH roeopHTb o "HHCTHJiHine". Λ npoHJia xycoK H3 X X X necHH (»eneroie EeaTpnwe) : Sopra candido vel cinta d'uliva Donna m'apparve sotto verde manto Vestita di color di fiamme viva. ... OcHn 3anjiaKaji. Λ Hcnyrajiacb — " H t o Taicoe?" — " H e T , HHsero, TOJibKO 3TH CJlOBa Η BaUIHM rOJIOCOM" (iConimemin 2, CTp. 179-180) A36yKa ero — aji" TaK Ha3HBaeMoíí ' a a M t i 3amHTbi' KaK ayôjiepa EeaTpaie c λβοηκοη bo3mo5khoctbio OTHeceHHH nepBoro ποοβλιικηηα κ "Πο3Μβ 6e3 r e p o a " ( K H j n e e — MannenbiuraM). " Cp.: "HanpauiHBaeTCH eme oiiho π κ ι δ ο π Μ τ κ ο ε cooöpaaceHHe: KOMMeHTapHñ (pa3T>acHHTe/ii.HMH) — HeoTieMJieMan crpyKTypHaa nacTb caMoñ 'KoMe«««' .. " (Pa3coeop o Jlanme, ςτρ. 57). Πρκ stom cymeerBeHHO, mto stot KOMMeHTapwä oönaflaeT onpenejieHHofi χydoMcecmeemoù φγΗκυκβΗ β OTJiHHHe, HanpHMep, οτ 14

TpaÄHIJHOHHOrO ΛΛΗ TOH

3Π0ΧΗ

aBTOKOMMeHTapHH

Β "ΗΟΒΟΗ )Κη3Ηη".

Cp. Helen Flanders Dunbar, Symbolism m Mediaeval Thought and Its Consummation in the Divine Comedy (New Haven, 1929), η up. 19 Cp. : "CoeflHHHB HecoeanHHMoe, flaHT H3MeHHji cmpynmypy epeMetm, a Moncet 18

474

Β. Η. ΤΟΠΟΡΟΒ

Ο flpyrux napajiJiejiHX — Β apyroM MecTe.20 Eme offHH npHMep nepeKjiHiKH. HeaaBHO ycraHOBJieHO (Κ. Φ. TapaHOBCKHH, "TpH 3aMeTKH Ο Π033ΗΗ MaH/iejibiUTaMa", IJSLP, vol. 1 2 [ 1 9 6 9 ] , CTp. 1 6 9 - 1 7 0 ) , HTO MaHflejiburraMOBCKHe o6pa3bi PaxwiH H JIHH Β BOCbMHCTHuiHH Ha CMepTb A. Eejioro (PaxtiAb ε ande Λα β 3ερκαΛ0 MAetmü, / A JIuñ η e Λα u ηΛβΑα β e HO κ) BoexoflST He Henocpe^CTBeHHO κ BHÖJIHH, a κ o6pa3aM aaHTOBCKoro "^Hcrajinma" : Sappia qualunque il mio nome dimanda, Ch'io mi son Lia, e vo movendo intorno Le belle mani a farmi una ghirlanda. Per piacermi allo specchio qui m'adorno; Ma mia suora Rachel mai non si smaga Dal suo miraglio, e siede tutto giorno. ("Purgatorio" XXVII, 100-105) (cp. TaKxce 1 0 6 - 1 0 8 ) . MHTepecHO, HTO TeMa PaxHJiH Η JIHH BOSHHKÜCT y AxMaTOBOH Β CTHXOTBOpeHHH "PaXHJIb" H3 UHKJia "BHÓJieñCKHe CTHXH". Β cjieayiomeM CTHXOTBOpeHHH ΤΟΓΟ ace miKJia — "JIoTOBa aceHa" (1922-1924) — NOHBJIAIOTCFL CTHXH: He ηο30ηο, mbi MOMceuib eufe nocMompemb / Ha KpacHbie ôatunu podmzo Codo Ma, / Ha nAoufadb, zde neAa, HO deop, zde npnAa ... c o6pa3aMH, npeaBOCxHiuaiomHMH MaH^ejibiiiTaMOBCKHe. MOCKBA

ÔMTb H HaoöopoT: BWHyac/ieH 6biji ΠΟΑΤΗ HA rjioccojiajimo ΦΒΚΤΟΒ, Ha CHHXPOHH3M pa30BaHHbix BexaMH COÖLITHB, HMCH Η npedanuü uMetmo nomoMy, ντο cm>iman oôepTOHa ΒρβΜβΗΗ" (cTp. 54). 20 Β KOHue "HOBOÔ )KH3HH" (XLII) flame oöemaeT BHOBL· npocAaeumb J\oHHy (TOT ace MOTHB He pa3 BCTpeiaeTCH η β "EoacecTBeHHoñ KoMe^HH"), leMy oôpameHHo cooTBeTCTByeT: "Te6a, τβ6« β MOHX craxax npocjiaeAIO, / Kaie acemmuia npoc/iaeumb He Moma (TBO2 ôejibiû ÄOM ...)" ("Bejiaa CTa»"); cp. h «pyrae MecTa, rae oôemaime eoenemb, npoc/iaeumb «aHO xaïc rjiaBHMÏîflournosTa; ciofla ace OTHOCATCH nepeKjmiKH MOTHBOB xBajibi H xyjibi y AxMaTOBoft H y /Jame (cp. senza infamia e senza lodo, Inf. III, 36) HJiH CJiaBbi HflWMa(cp.: 3eMHaA cjiaea, κακ àbiM ... πρκ: Non è il mondan romore altro ch'un fiato / Di vento ..., Purg. XI, 100-101), cp. xeana-xym H famafummo. B03M05KHM, BHflHMO, H .apyrae nepeiomiKH β TBopiecTBe AxMaToeoñ co CTapoií HTaJibHHCKoii no33Heií. He HcxmoieHO, ITO οτρωΒοκ : Η BKpyr ΜβΗ« sanejia muwurn, M iHCTbiM coJiHijeM cyMpax o3apnjiCH, H Mup Ha ΜΗΓ oflHH npeo6pa3HJica, H cmpaHHO H3MCHHJICH Bxyc Biraa. (HS "ΠΟΛΗΟΊΗΗΧ CTHXOB"

3AnAflHOEBPOnEHCKA5I Π033ΗΗ y

475

AXMATOBOÍÍ

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armonia

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assorda

("Gerusalemme liberata" VII, H KAK K O H T p a c T c j i e f l y i o m H e

flanee

122)

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G i à cheti e r a n o i t u o n i e le t e m p e s t e e c e s s a t o il s o f f i a r d ' A u s t r o e d i C o r o , e l'alba uscia d e la m a g i o n celeste c o n la f r o n t e di r o s e e c o ' piè d ' o r o (Vili, Cp.

π β ρ β Β Ο Λ n o c j i e a H H x a e y x CTHXOB h 3 V I I ,

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122 C.

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1831

r.).

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(cp.

ocoôeHHyio

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zapMOHbeü

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e in f o c o ,

i n riso e i n p i a n t o , e f r a p a u r a e s p e n e . . . (IV, 93 H a p . ) n p H : ",H,HeM n e p e f l HaMH jiacTOMKofi x p y a c H J i a , / VAUÖKOÜ HOHbJO Aedmioù AeÒHHOù

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p y K o K A y u i H J i a / 0 6 O H X p a 3 0 M . . . " β t o m »ce u m c j i e ( c p . T a M »ce β ; TaKHe »ce n e p e M e H b i

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METRE A N D L A N G U A G E : VASILIJ MAJKOV'S

ARKAS

B. O. UNBEGAUNf

Vasilij Majkov's (1728-1778) eclogue Arkas was first published in the review Vecera in 1773. Its hundred and six lines describe a trivial love idyll between the shepherd Arkas and the shepherdess Ineta — a typical pastoral in the eighteenth-century manner. The setting is meant to be classical with the inevitable reference to nymphs and dryads, to Pan and to Aphrodite (here called citerska boginja). As to the Greek-sounding names of the shepherds — Arkas, Atis, Damon, Daphnis, and Tirsis (i.e. Thyrsis) — as well as the names of the shepherdesses — Delphira, Ineta, Klarissa, Klimena, and Nisa — all these are borrowed from Sumarokov's eclogues, but ultimately, of course, derive from the French literary tradition. In other directions, too, Arkas is reminiscent of the style of Sumarokov whose great admirer Majkov had always been. 1 N o one could claim that Majkov's Arkas is of great literary value. None the less, it is not without interest for two reasons. The first reason is that the eclogue is composed in four-foot dactylic lines with alternating masculine and feminine rhymes. Ternary metres were extremely rare at the time when Majkov composed his Arkas. It is true that Sumarokov inserted a few dactylic lines into his operas and allegoric scenes. Dactylic lines were in practice used exclusively as Russian equivalents for classical hexameters, and then never in their pure form : usually, they were interspersed with trochees. Eclogues, moreover, were generally written in six-foot iambic lines — all of Sumarokov's are in this metre — and Majkov himself used it in an earlier pastoral eclogue CitemeV published in 1762. The pattern of Majkov's dactylic verse is rather regular — as one would expect in the eighteenth century. The omission of initial stress, common in modern times, occurs on seven occasions only, when the stress would otherwise have fallen on a 1 Majkov's poem, it should be noted, bears no relation to Sumarokov's eclogue of the same name (ΠοΛΗοβ coöpauue conunenuii, n3íjaHne BTopoe, Hacn> IX [Mocroa, 1787], pp. 18-22).

478

Β. O. UNBEGAUN

conjunction, namely um (50, 74), uau (80), imo (59, 69), ecAu mc (81), and u (101).2 It is, however, difficult to say whether in these cases the stress was really omitted or only weakened, since we are so ill-informed about verse-reading habits in the 1770's. The compound adjective 6ucepoeúdmi, which begins at line 8, probably carried a secondary stress on the first syllable. As regards stresses falling on personal and other pronouns forming the first syllable of the line, or on the same pronouns or even conjunctions in the middle of the line, these were probably fully stressed, in accordance with the eighteenth-century tendency to subordinate rhythm to metre. Consequently, apart from the remarkable fact of its being composed in a rare and unusual ternary metre, the eclogue does not offer any interesting rhythmic peculiarities. The second reason why Majkov's eclogue deserves our attention is of a philological nature. The language of Majkov's poetry was the conventional post-Lomonosov Russianized Church Slavonic. It was capable of absorbing a certain amount of colloquial, and even vulgar, Russian vocabulary, if the genre required it, as for example in Elìsej, ili razdrazennyj Vakx (1771), a comic parody of a heroic poem. In another poem in the same genre, Igrok lombera (1763), the non-Church Slavonic vocabulary element was a gambler's jargon, which, incidentally, has made the poem a unique source of eighteenth-century card-playing terminology. Another genre in which colloquial Russian might be admitted to a certain extent was the fable, and Majkov's fables follow this tradition. All other poems by Majkov, both longer and shorter, as well as his plays, are written in a remarkably uniform literary language, whose Church Slavonic basis normally admits only such Russian words as are shared with Church Slavonic, but in other directions successfully resists any conspicuous Russianization. Almost the whole of his poetic oeuvre is composed in iambic lines, the most popular eighteenth-century metre. The only short poem by Majkov which differs from all the others in having an unusually high proportion of purely Russian words, i.e. those not shared by Church Slavonic, and also includes a few popular syntactic constructions, is precisely the eclogue Arkas. The examples which follow will suffice to illustrate this point and will convey an idea of the poem's rhythm. First, an example of a neutral style and neutral vocabulary composed * All quotations are taken from Vasilij Majkov, MiöpaHHbie npomeedenun; ecmynumeAbHOH cmambn, nodzomoem menoma u npuMeiaHUs A. B. 3anadoea ( = EuÔAuomeKa no3ma, EoAbuian cepun [BTopoe raaaHHe]) (MocKBa-JIemmrpaA, 1966), pp. 300-302. Figures in parentheses refer to the lines of the eclogue Arkas.

VASILIJ M A J K O V ' S

479

"ARRAS"

(with two exceptions) of words common to both Church Slavonic and Russian, the recenija slavenorossijskaja, as Lomonosov has called them : BCHK, BECENHCH, OBEQ CBOHX nac, TojibKO Heeeceji ΟΛΗΗ 6TM Apnac : C r a s o Apicacy ica3ajiocb HeMHJio, XO«HT Β nenaJDi n o pomaM yHbuio, IITHU He CTpenaeT, oeeii He naceT, PH6H HE YAHT, UBCTOHKOB HE ρΒβτ.

(37-42)

The two exceptions are, of course, odm and tfeemotKu; the deprefixed peamb 'to pluck' seems to have existed in Church Slavonic. The last two lines in particular, which describe the rather surprising variety of a shepherd's occupations, 3 give a fair idea of the eclogue's predominant type of vocabulary. Ineta, however, who tries to find out why Arkas should be so strangely lethargic, introduces a few colloquial elements into her questions : HTO TM 3aayMiHB H CMyTeH y Hac, ByflTO TM HeHTO yrpaTHJi, Apicac? r i c t i Jin στ cTaaa TBOH oTÖexcajiH, BOJTKH JIT oeeieK 6e3 HHX pacnyscajra, TOJIOC JIH HettCHblft CBHpejIKH 3arJiox, Hjib oropofl TBoñ ο τ « a p a 3acox? (45-50)

Arkas's answer is even more colloquial: IJejio, — CKa3aji OH, — e c e β ΛΟΜΒ MoeM, LJejio, Η Her MHe y m e p ö a HH β πβΜ : Po3bi, TiojibnaHbi ueeTyT Mexe rpaaaMH, rpyiira Η ΒΗΙΠΗΗ OÖHJIbHbl nJIOflaMH, OBUbl 3flOpOBbI Η KyiKO CO ΜΗΟΗ. (61-65)

The occurrence of the dog's name zucko, in a masculine -o form, instead of in the now familiar feminine form zucka (normal since the end of the eighteenth century) seems to reflect an older usage.4 The same name is put once again into Arkas's mouth: IlycTb oropofl Moñ ο τ »capa 3acoxHeT, IlycTb Moe CTaao H Kyuco Η3Λ0ΧΗΒΤ. 3

(83-84)

Cf. the following lines from Sumarokov's eclogue Amaranta·. Λ 6pocHJi HbiHe nyK, a öpocan m>rae yay: HH pbi6bi Y» jioBHTb, HH ΠΤΗΙΙ cTpejiHTb He 6yay. (ΠοΛΗοε coßpame conuHemü, H3flaHHe BTopoe, LACTB V I I I [MOCKBE, 1787], p. 2 8 )

4

Lomonosov used the same form zucko twice in 1748, in the fable JTuiub mo/tbxo dueeHbiü LUYM ÍOMOAK (ΠΟΛΗΟΕ coôpanue conunemü VII [MocKBa-Hemmrpafl, 1952], p. 364). See also M. Woltner, "Hundenamen in der russischen Literatur", Université Libre de Bruxelles: Annuaire de l'Institut de Philologie et d'Histoire Orientales et Slaves XVIII (1966-1967) (Bruxelles, 1968), p. 479.

480

Β. O. UNBEGAUN

Two further lines in Arkas's reply should be noted, namely Uenoe πέτο

TOÖOIO H TJieio

(67)

where the verb mnemb is used in the specifically Russian sense of 'to smoulder', and Tbl Β MOHX MblCJIHX, XOTb CILilfO, XOTb Ηβ CnHK)

(70)

where the subordinate clause shows a typically popular syntactic construction. It is not surprising that colloquial Russian should have crept into the shepherds' dialogue. But even the mood and vocabulary of the description of the arrival of Aphrodite and Eros at the end of the poem are surprisingly popular in tone : MaTepb JIK>6OBH, iwTepcica 6ΟΓΗΗΗ, Bee noneieHbe o cBeTe ΠΟΚΗΗΗ M He HMea ero HH O KOM, C pe3BbiM CBOHM npHJieTena CWHKOM, Β τβχ ace KycTOHKax οτ HHX coKpbiBajiacb, 3pa Ha nacTyinHìi BOCTopr, jnoöoBajiacb. (99-104) These examples suffice to indicate that there is a problem here : how can we explain the popular character of the vocabulary and some of the syntactic constructions of Arkas, which single it out from the rest of Majkov's poetical output? The answer seems to lie neither in its literary genre (another pastoral eclogue, CitemeV, has no popular colouring), nor in its chronology (other shorter poems, written by Majkov at the same time as Arkas, use a somewhat neutral vocabulary). The only plausible explanation must therefore surely be sought in a possible connection between metre and language. Iambic verse was the traditional metre used in eighteenth-century poetry and was consequently linked with the traditional, neutral, literary language. Ternary metres, and especially dactylic lines, were exceptional, and could therefore be associated with a less conventional literary language; this, in the second half of the eighteenth century, could only be a language which inclined towards popular usage. This, of course, is only a hypothesis. It is connected, however, with an important and neglected problem in the history of Russian versification, namely the possible relationship between metre and language, or metre and vocabulary. To air this problem is the only aim of the present paper. N E W YORK UNIVERSITY

G O G O L ' AND THE ROMANTICS

C. H. VAN SCHOONEVELD

Even a cursory analysis of a few of the greatest Russian authors of the Romantic movement suffices to establish certain common denominators in the architecture of their works, especially regarding the relationship of the main hero to the other persons appearing in the narrative, and of the relationship of the hero and these personalities to the author. The relationship on the first level is developed in the story almost the way a bowling game evolves : one after the other, the hero eliminates the other persons from the scene in that he destroys their ability to influence actively the course of events. Thus, we see Onegin eliminating Lenskij ; and Pecorin, in Geroj nasego vremeni, Bela, Grusnickij and Mary. Puskin's Tales of Belkin abound in the motif in diverse variations; for instance, in Vystrel, the hero, Sylvio, has at the decisive moment his adversary, the count, in his power, but is satisfied by humiliating him in front of his newly-wedded bride. The second level, that of the relationship between the author and his hero, is motivated by romantic irony. Just as the hero destroys his adversaries, finally the author, in an epilogue or by more subtle means, removes the hero of the story from the stage of action. The simplest type is found in Vystrel, written in 1830. The last paragraph of the story mentions that Sylvio was killed in the battle of Skuljany, between the hetaerists of Alexander Ypsilanti and the Turks (1821), a possible allusion to Byron's death in 1824 in Missolonghi during the Greek war of independence. In Onegin, it is, as Cizevskij has pointed out, fate that eventually defeats the hero in his love for Tat'jana; Puskin, promptly bidding farewell to the reader, at the same time discards 'his' Onegin (... kak ja s Oneginym moim; italics mine). In Geroj nasego vremeni the elimination of the hero is presented by mere allusion. After the Caucasian episode in part I, which by itself serves as an introduction to the main narrative in part II taking place in Kislovodsk, Lermontov inserts a segment from Pecorin's diary dealing

482

C. H. VAN SCHOONEVELD

with his Taman' adventure, another episode in the wilds of the Russian empire in which one Romantic hero eliminates his adversary and at the same time an allusion on the part of the author to the final fate of the protagonist of the entire work, Pecorin. The concluding story, Fatalist, seemingly unconnected with the main plot of Geroj nasego vremeni, summarizes as it were the quintessential qualities of the Romantic plot in general: the hero, Vulic, a Serbian, wins against all odds a game of Russian roulette only to be killed accidentally by a drunken cossack : the generalization of how a Romantic author manipulates his hero. Far from being an unconnected element in the novel, Fatalist on the contrary draws up the balance not only of the work itself, but of Romantic works by other authors, Puskin included. Not only, it seems to me, does the choice of the protagonist's personality and even nationality lend an abstracting quality to the novel's concluding episode, but also the very title of the entire novel could be understood in the technical literary sense of the word geroj 'hero'. The novel summarizes the Romantic plot in general, with the initial victories of the hero and his eventual downfall. This basically two-layered system undergoes a radical metamorphosis in Gogol' 's work. Presently I shall briefly quote The Overcoat as an example. What Gogol' essentially does is to fuse the first layer into the second; that is, he, the author, applies his ironic destruction of the hero from the very outset of the narrative. This procedure has its repercussions on the relationship of the main hero to the other persons figuring in the narration, and also on the ending of the story. Finally, also the very choice of personalities fulfilling the various rôles in the narrative undergoes change under the influence of the transmutation enacted by Gogol'. Gogol' destroys his hero from the outset. The device is well-known and does not have to be elaborated on; he will introduce his hero with hyperbolic praise in the first sentence only to deflate him in the phrases following. However, in order to be able to do so, the author has to choose a type of personality fit to undergo such treatment, different from that of the normal Romantic hero : Gogol' selects protagonists who lead a routine existence, persons who are not distinguishable from their peers — exactly the opposite of the quintessential Romantic hero. Thus we can term Gogol' 's protagonists inverted Romantic heroes. The author, instead of destroying the hero only at the end of the narrative, lifts him with one sentence to be distinguished from his peers, but only to let him immediately slide back into insignificance. As far as such a hero still must play a rôle in the development of the plot, this rôle is negative in

GOGOL' AND THE ROMANTICS

483

that this hero, instead of eliminating adversaries, is in the course of the narrative attacked and tortured. Directly eliminating the hero, on the other hand, would put a premature end to the story. Thus, also the relation of the hero to his coactors is inverted : instead of persecuting he becomes the persecuted. The coactors, however, do not become Romantic heroes. They remain anonymous and colorless, distinct from the hero as well as from each other by an individual caricatural quality at most, and from the former moreover by their aggressiveness towards him. Thus, on balance, the wide discrepancy in character between the Romantic hero and his cofigurants in the story is considerably narrowed in Gogol' 's works. All these characteristics are found in The Overcoat, which may be considered as a prime example of an inverted Romantic story. Guided by the inversion formula, we can predict the basic mechanism of the plot as it unfolds, including the ending. Akakij Akakievic's ghost haunting St. Petersburg and robbing his former torturers of their overcoats emerges as the victor. That he does so only after his death makes him the more invincible, just as the elimination by death in Vystrel makes the downfall of the hero the more irrevocable from the point of view of the narrated events: the final verdict is by the author and by him alone. In this way, the conclusion of The Overcoat makes the inversion by Gogol' of the normal Romantic plot complete. A plot like that of the Dead Souls represents a further development of Gogol' 's inversion technique. It can be considered to be the result of the molding of an inverted Romantic plot back into the shape of a normal Romantic plot. Both the hero, Cicikov, and his cofigures differ from the standard Romantic hero or Gogol' 's inversion of this figure in that neither side persecutes the other. The setting is changed : whereas in The Overcoat the hero and the cofigurants are exposed to each other in the framework of a government office, their relationship in the Dead Souls becomes geographical. The motif of direct persecution of the regular or inverted Romantic plot is suppressed. In order to expose the hero or his torturers morally, condemnation is achieved by two methods. As far as the cofigurants are concerned, it is done by the author explicitly by means of caricature, and regarding Cicikov himself, he assumes some qualities of the standard Romantic hero in that he has victims — and is therefore to a certain extent condemned implicitly by the author by means of the plot. However, Cicikov's persecution relationship to these victims is metaphysical since the persecuted are not of this earth. Inasmuch as Cicikov's cofigurants are also involved in the trading of dead souls, they,

484

C. H. VAN SCHOONEVELD

too, are condemned implicitly. What sets them off most starkly from Cicikov, however, prohibits them from being Romantic heroes, and approaches their status to the rôle the victims play in the regular Romantic plot, is the explicit caricature, by means of hyperbola, to which the author subjects them. On the other hand, some characteristics of the Romantic hero are returned to them: they represent a mirror image of Cicikov rather than being his direct victims. The caricature is more elaborate than in The Overcoat ·, each of them is elevated to the stature of the main personage of a particular chapter. Thus the Dead Souls represent a partial return to the standard Romantic plot: only Cicikov merely persecutes metaphysical victims, which moves the author's implicit irony to the fore, and his cofigurants, while also being persecutors of metaphysical victims, remain in a secondary position in respect to Cicikov by means of explicit irony devices introduced from the very beginning of the narration. Finally, since the direct persecution relationship between main protagonist and cofigurants is suppressed, there is no Romantic conclusion (either standard, or inverted — as in The Overcoat —) in the Dead Souls. But then, with his inversion technique in general, Gogol' leads Romanticism to a conclusion.

BOCnOMHHAHHfl "ΠΑΜΛΤΗΗΚ":

Β L J A P C K O M CEJIE" (1814) Κ BOIIPOCy O

Η

CTPOOMKE

WALTER Ν. VICKERY

Β HcnepnbiBaiomeM anajin3e nyuiKHHCKoro " Π η μ η τ η η κ η " Μ . Π . AjieKceeB

y6eflHxejibHo aoKasajT,

mto

bo

epe mh

nnoaHna

"Πϊμητημκε"

(3aKOHHeHHoro κ 21-My a e r y c T a 1836 r o f l a ) η, β o ô m e M β 1836 roAy π ο 3 τ Bo3Bpamajica Mbicjibio κ jiHueìtcKHM r o a a M , κ j i h u c h c k h m TOBapnmaM M, Β OCOÔeHHOCTH, Κ CHOUieHHHM C ^ejïbBHrOM, TOBapHmeCKHMH yeemaHHaMH

KOTOpblH CBOHMH

H rT03THHeCKHMH nOCJiaHHHMH ΠΟΜΟΓ

riyiiiKHHy npeofloJieTb HenpoflOjiacHTejibHbiñ .ayxoBHbiñ k p h 3 h c , 3BaHHbiH Β 1816 r o a y c o m h c h h h m h β coöcTBeHHOM no'JTHHecKOM

bhflape.1

M . Π . AjieKceeB n p m i i e j i κ 3aKJHOHeHHK>, MTO MHorne Ba»CHwe mwcjih nyuiKHHCKoro "riaMJiTHHKa" 1836 ro^a h CBH3aHHbie c HHM npeaCTaBJieHHH ... nOHBHJIHCb y IlyinKHHa 3aflOHTO a o ΤΟΓΟ ΒρβΜβΗΗ, KaK c03flaH0 ôbino s t o cTHxoTBopeHHe. CTapaacb npocjieflHTb nocTeneHHoe pa3BHTHe 3THX npeflCTaBJieHHH h n e p e o e h x no3THiecKoe BonnomeHHe, mm nocjreflOBaTeJTbHO h HeoflHOKpaTHO B03BpamajiHCb κ jihiichckhm r o a a M jkh3hh nyniKHHa, KaK κ h x HCTOKy. 3 τ ο BnoJiHe 3aKOHOMcpHO. Bcio nepBOHaianbHyio KOHeuenuHK) "riaMflTHHKa" HeoôxoaHMO HCKaTb β ero JiHqeñcKOM TBopnecTBe. MfleñHO, CTHJiHCTHiecKH h aa»ce MeTpniecKH " Π 3 μ η τ η η κ " , n o HaineMy MHeHHK), npeacTaBJiaeT co6oro BHaoH3MeHeHne h j i h npHMeHeHHe ο λ η ο γ ο h j i h HeCKOJlbKHX JlHIjeHCKHX BOCnOMHHaHHH, CIIJiaBHBIIIHXCH BMeCTC H HaBeflHHblX n03Ty ero HaBH3HHBOñ MblCJIblO O ÔJIH3KOH CMepTH.2 flambine

OH n m u e T :

Mbi noiiaraeM, β nacTHOCTH, h t o ujiesi "riaMHTHHKa" B03HHKJia y IlyiuKHHa β t o BpeM», Korfla o h nepeMHTbieaji cboio cTHxoTBopHyio nepeimcKy c flejibβ η γ ο μ , a y M a a o caMOM H a i a n e cBoeñ jiHTepaTypHoñflejrreJihHOCTHη o CBoeft CJiaee, npeflCKasaHHOñ eMy e r o π ο κ ο η η μ μ flpyroM. OTCioaa bo3hhk TaK»ce Becb ropauHaHCKo-flepacaBHHCKHH cTpofi "riaMflTHHKa", ero cnoBecHLie (cTHJiHCTHiecKHe η jieKCHiecKHe) c o o t b c t c t b h h oAHiecKoft ϋκρκκβ jiHueñcKHX flpy3eñ-n03T0B.3 1

Μ. Π. AjieKceee, Cmuxomeopeuue (JleHHHrpafl, 1967). 2 Tom Mce, C T p . 140. a TaM 3Ke, C T p . 173.

IJyuiKUHa " f i naMRtnHUK ceôe eoiàeu!

..."

486

WALTER Ν. VICKERY

O r M e n a a apxaHHecKHM CTHJib " I l a M a T H H K a " , Μ . Π . A j i e i c c e e B o c T a H a e j i H BaeTCH, M e x c f l y n p o H H M , Ha ο λ η ο μ Ha6jiK>,aeHHn Β . B . T o M a m e e c K o r o : CymecTBeHHo η o n e m . mrrepecHO a j i h Hac T a i r a e yKa3aHHe Β . B . T o M a m e B CKoro Ha τ ο , npHMeHeHa

HTO c τ p o φ a

Πυιηκηημμ

"ITaMaTHHKa" B n e p e u e ,

β

aeyx

h o eflHHCTBeHHbiñ pa3

3aKJH0iHTejibHHx

ΗβτΒβροοτκΗΐΗΛΧ

ero

paHHero j i H q e f t c K o r o c t h x o t b o p c h h h " H a n o j i e o H Ha 3 j i b 6 e " (1815). 4 B

CBH3H c B o n p o c o M

ο

οτροφκκε

He 6 e c n o j i e 3 H o , KaK HaM

o ô p a T H T b BHHMaHMC h Ha " B o c n o M H H a H H H HaM

npeflCTaBJiaeTCH

oTMacTH

no

βο3μοϊκηημ

TeMaTHKe

η

no

β IJapcKOM C e j i e "

noKasaTb,

JieKcmce s t o

Kaacerca,

ητο

η

no

(1814).

στροφηκε

CTHXOTBopeHHe

η

npoaBjiaeT

CBOHCTBa, KOTOpbie, XOTH 6bl B H3MeHeHH0M BHfle H B HHOM KOHTeKCTe, HaxoaaT

ce6e

οτ3Βγκ

β cTpoKax

"IlaMaTHHKa".

ΚοΗεπΗο,

6biJio

6bi

c M e n i H o r o B o p H T b o c x o f l C T B e n p o H 3 B e a e H H H . H o He h c k j u o m c h o , b b h a y HacTpoeHHH

riyuiKHHa

β

aBrycTe

1836

rofla,

το,

ητο

Ηεκοτορωε

pHTMHHeCKH-HHTOHaiXHOHHbie M JICKCHHeCKHe peMHHHCUeHHHH H3 " B o C noMHHaHHÍi" —

Μ0>κετ 6biTb, h 6ecc03HaTejibH0 —

w r p a j i H p o J i b β co3,naHHH

"FlaMflTHMKa"

hjih, n o

BcnjibijiH BBepx η KpañHeíí

Mepe,

το,

η τ ο CTHXOTBopeHHe " B o c n o M H H a H H a " ( 1 8 1 4 ) n p e f l C T a B j i a e T c o 6 o k > e a i e OflHO

CBHfleTejlbCTBO

O CB83H

"IlaMaTHHKa"

C JIHUeñCKHMH

roflaMH

nyuiKHHa. C T H x o T B o p e u H e " B o c n o M H H a H H a β LJapcKOM C e j i e " H M e e T c τ p o φ y nepBWH

B3rjia/i a a j i e i c o

He n o x o a c y i o

Ha c τ p o φ y

"IlaMaTHHKa".

na

KaK

o T M e n a e T Β . B . T o M a u i e B C K H Ü , " o c o ô e H H o c T b nyiincHHCKOH ο τ ρ ο φ ω

β

T O M , HTO OHa COCTOHT H3 flByX HeTBepOCTHLUHH, Ka»CÄOe H3 COeflHHeHHa n e T b i p e x h i n e c T H C T o n H b i x h m ö o b , pa3JiHHHbiM 0 6 p a 3 0 M n o c T a ß j i e H H b i x . Β n e p B O M H e T B e p o c T H i i i H H uiecTHCTonHbiH c t h x 3aHHMaeT Ί p e T b e M e c T o , a bo Β τ ο ρ ο Μ —

τ ρ Η nepBbix".5

HanpHMep:

H a e n c π ο κ ρ ο Β y r p i o M o f t HOIUH H a cBOfle apeMJiiomHx Heôec ; Β 6e3M0JlBH0ft ΤΗΠΙΗΗβ nOMHJIH flOJl H pOIUH, Β ceflOM TyMaHe flajibHHÄ Jiec; H y T b CJIMLUHTC« pyneñ, ö e r y n n u i b ceHb

flyöpaBbi,

H y T b flbiniHT Ββτβροκ, ycHyBuiHÄ Ha jiHcrax, H THxaa jiyHa, KaK j i e ö e f l b BejiHHaBbiü, IljibiBeT b cpeÖHCTbix o ö n a K a x . HTaK,

KaK y K a 3 b i e a e T

Β. B. ToMauieBCKHH,

BocbMHCTHUiHyio

cτpoφy

M02KH0 CHHTaTb c o c T o a u ^ M H3 flByx caMOCTOarejTbHbix π ε τ Β ε ρ ο ε τ Η ΐ Η Η Η . TOM nee, CTp. 122. Cm.: Β. B. ToMameBCKHii, "CTpoHKa IlyiuKMHa", β c6.: IJyiuKUH. MccAeôoeaHun u Mamepua/iw I I (MocKBa-JIemiHrpafl, 1958), CTp. 76.

4

*

E. B. ToMauieBCKHÄ, IlyiUKUH I (MocKBa-JIeimHrpafl, 1956), CTp. 57.

487

Κ B o n p o c y Ο ΟΓΡΟΦΗΚΕ

Π ρ κ 3ΤΟΜ ο τ ρ ο φ α oôbiHHo pacna,aaeTCfl Ha niaBHbie CMUTaKCHiecKHe rpynni.i, cocToflinne h 3 /iBycTuiiiHH ( 2 + 2 + 2 + 2 ) . T a K o e nocTpoeHHe ϋ Τ ρ ο φ Η n03B0JiaeT HaM IOBOpHTb OTjeJIbHO Ο BTOpOM HeTBepOCTHIIIHH, KOTopoe, KOHeHHO, Toac/iecTBeHHo ς τ ρ ο φ ε "IlaMSTHHKa". BaacHa T Y T , n o HauieMy MHCHHK), HE TOJIBKO C T p c ^ w c a caMa no c e 6 e , HO H cBoeo6pa3Haa 3aKjnoHHTejibHoro

HHTOHAUHH, H BJI A io m a n c a pe3yjibTaTOM yceieHH» CTHxa,

cjieayiomero

3a

mecTHCTon HLIM

HM6OM.

OcoôeHHo 3aMeTHa nHTOHaunsi, ο κ ο τ ο ρ ο κ TyT Η,αετ penb, ecjiH HMeeTca CHHTaKCHHecKaa

3aKJnoHHTejibHbiM

HeTbipexcTonHbiM

HM6OM Η NPEFLBIFLYUXHM MECTHCTONHBIM CTHXOM. Β

CBH3b

Meac^y

3TOM OTHOMEHHH

HMeeT 3HaMeHHe OTCYTCTBHE HJIH c j i a ô o c T b Β A^HHOM CTHXOTBOPCHHH CHHTaKCHHecKHx nay3 Β KOHue TpeTbero c r a x a Β HeTBepocTHUiHH.

22

ο τ ρ ο φ HMeiOTCa TOJIbKO

6

C CHJIbHbIMH CHHTaKCHHeCKHMH

H3

nay3aMH

n o c j i e TpeTbero c r a x a BToporo MeTBepocTHuina. H a n p u M e p : H e 3FLECB JIH MHPHM ÄHH BCJIH 3EMHBIE 6ΟΓΗ? H e ce Hb MHHepBbi poccKoft xpaM? r o p a 3 f l O THnHMHee 3aKJIK)HHTeJlbHbIH CTHX, KOTOpblH HJIH npe/ICTaBJIfle'r co6oii

napajijiejib

(NPH

NOMOMH

HMCHH

cymecTBHTejibHoro

HJIH

r j i a r o j i a ) n p e f l b i a y m e M y (C κ ο τ ο ρ Μ Μ OH cB»3aH CJIOBOM U HJIH a,

c

3ANHTOH HJIH 6e3 3ANFLTOÑ) HJIH n p s M o CHHTAICCHHECKH CB»3AH C npeflbiAymHM. H T O 6 W y6eflHTbc» Β 3TOM, paccMOTpHM ocTajibHbie 16 flBycTHLUHH, 3aKaHHHBaK>mHX ε τ ρ ο φ Μ CTHXOTBOpeHHH : H THxaa JiyHa, KaK jieôeflb BejiHiaBMH, IljibiBeT Β cpeßpHCTwx oôjiaicax. UapHueñ cpeflb noneft JÏHJiea ropaeJiHBO Β pocKOiiiHOH KpacoTe ιΐΒβτβτ. BEHHAJIACB cnaeoío CNACTNNBAA POCCHH, ΙΙ,Ββτ« nofl KPOBOM THIUHHM! ΠροτβκιιΐΗβ jieTa MeJibKaioT npea oiaMH, Η Β THXOM BOCXHIIieHbH jiyx. KpyroM noflHWKH«, iiiyM«, Bajibi ce/iwe Β öjiecTameft neHe yjierjiHCb. O Bac nOABHXCHHKH, flpy3b» EKaTepHHbl, ΠροϋΛβτ MOJTBa H3 poAa Β poa. flepacaBHH Η Π β τ ρ ο Β repoHM necHb ö p a u a j i H CTpyHâMH rp0M03ByiHbIX JIHp.

488

WALTER Ν. VICKERY BoccTaJi BcejieHHOtt 6hh — h BCKope hoboh 6paHn 3apaeJiacb rpo3Haa saps. Jleca apeMyiHe ôerymHX yicpbreaioT, H npa3AHbm β none p»aBHT njiyr. Μ χ uejib » j i b noöeaHTb, HJib nacTb β m>iJiy cpaxceHbH 3a Pych, 3a cbhtoctL· anTapa. Β crymeHHOM B03flyxe c MeiaMH cTpejiM CBHmyT M 6pw3»ceT KpoBb Ha muT. Bee njiaMeHb HCTpeÔHJi. BeHuw 3aTMHJiHCb 6auieH HepTora n a ™ Soraneìi. EeryT — η β TbMe hohhoíí hx rjia,a h CMepTb cpeTaeT, A c Tbina γ ο η η τ pyccKHH Men. A oh — HeceT Bpary He rn6ejib, ho cnaceHbe H ÔJiaroTBopHbiK MHp 3eMJie. H a nape 6 B03rpeMeji rapMOHHeft HeôecHoft M BOCCHHJI BO TbMe BpeMeH. M paTHHK MOJIOflOH BCKHIIHT H COflpOrHeTCH ITpH 3ByKax öpaHHoro neeua.

OTMenaa

icpaiiHioio p e ^ K o c T b

ετροφκΗεεκοίί

CTpyKTypw

"BOCITOMH-

HaHHÌi β I^apcKOM C e j i e " , Β . Β. T o M a i u e e c K H i i npoziojiacaeT: BjiH3Kyio φopMy ε τ ρ ο φ κ μ η HaxoflHM y BaTiouiKoea β craxoTBopemtH " H a pa3BajiHHax 3aMKa β m e e i w H " (1814): Yxce ceeTHJio λ η η Ha 3anaae ropnT H THXO nOrpy3HJIOCb Β BOJIHbl! ... 3aayMHHBO jiyHa cKB03b t o h k h ä nap ruauHT H a xjiflÔH h 6pera 6e3MOJiBHbi. H Bce Β rjiyôoKOM CHe noMopHe KpyroM. JlHoib H3peflKa pbiôapb κ TOBapHmaM B3bieaeT, JlHuib 3X0 m a c e r o πρ0τ«5ΚΗ0 noBTopaeT Β 6e3MOJIBHH ΗΟΗΗΟΜ. Ms ε τ ρ ο φ Μ EaTioiuKOBa nerico nojiynHTb c τ p o φ y "BocnoMHHaHHñ". 6 yica3aHHe T o M a m e e c K o r o Ha 6jin3ocTb nyuiKHHCKoft ε τ ρ ο φ κ κ ε τ ρ ο φ ε BaTiouiKOßa TOJibKO πο/ικρειυΐΗετ MMCJib o 3HaTCHHn y œ i e H H o r o

πο-

c j i e f l H e r o CTHxa a j i h HHTOHaunoHHoro xapaKTepa k o h u o b k h ε τ ρ ο φ ω . M 6 o y EaTioiiiKOBa 3aKJiK>HHTejibHbiH c t h x HBJiaeTC« Ηε

TCTbipexcTonHbiM,

a

TpexeTonHbiM hmöom. 3 t h m , KaaœTca, o t m ü c t h o ö i a c H j r e T c a cpaBHH8

nyiUKUH I, CTp. 57.

κ Bonpocy ο γτροφηκε

489

T e j i b H O T e c H a a CHHTaKCHnecKaa CBH3b c n p e ß M A y m H M CTHXOM. Β OAHOM TOjibKo c j i y n a e β CTHxoTBopeHHH

BaTioniKOBa

laKjnoiHTeJibHbiñ

cthx

OÖJiaflaeT CHHTaKCHHeCKOH CaMOCTOHTeJIbHOCTbIO. Π ρ Η Β ε Λ β Μ 3aiUIIOHH-

TejibHwe CTHXH β 14 CTpo