Means of artistic expression. Reveal the role of poetic means in the artistic structure of the word

Full text of the dissertation abstract on the topic "Poetics of folklore in the artistic system of "The Lay of Igor's Campaign""

As a manuscript

POETICS OF FOLKLORE IN FICTION “WORDS ABOUT IGOR'S CAMPAIGN”

Specialty 10.01.01. - Russian literature

Vladivostok - 2007

The work was carried out at the Department of History of Russian Literature

State Educational Institution of Higher Professional Education "Far Eastern State University" (Vladivostok)

Scientific supervisor:

Candidate of Philological Sciences, Associate Professor Lyubov Mikhailovna Sviridova

Official opponents:

Doctor of Philology, Professor Larisa Ivanovna Rubleva

Candidate of Philological Sciences, senior researcher Tatyana Vladimirovna Krayushkina

Leading organization: Far Eastern State

liberal arts university

The defense will take place on November 8, 2007 at 14:00 at a meeting of the dissertation council DM 212.056.04 at the Far Eastern State University at the address: 690600, Vladivostok, st. Aleutskaya, 56, room. 422.

The dissertation can be found in the Zonal Scientific Library of the Far Eastern State University at the address: Vladivostok, st. Mordovtseva, 12.

General characteristics of work

The dissertation research is devoted to the consideration of the features of the poetics of “The Tale of Igor’s Campaign” in the light of folklore tradition

“The Tale of Igor’s Campaign” is an outstanding literary work of a secular nature, based on historical material, written by an unknown author of the 12th century. The study of “The Lay” revealed its important artistic feature: being an original work of authorship, focused on the genre and stylistic literary traditions of its time, it at the same time reveals a close connection with folklore. This is manifested at different levels of poetics, in composition, in plotting, in depiction of artistic time and space, in the stylistic features of the text. One of characteristic features medieval literature, which had common traditions with folklore, had anonymity Author ancient Russian work did not seek to glorify his name.

History of the issue. The study of the relationship between the “Word” and folklore was developed in two main directions - “descriptive”, expressed in the search and analysis of folklore parallels to the “Word”, and “problematic”, the adherents of which aimed to find out the nature of the monument - oral-poetic or book and literary

For the first time, the most vivid and complete embodiment of the idea of the connection between the “Word” and folk poetry was found in the works of M. A. Maksimovich. However, in the works of Vs. F Miller, the parallels between the “Word” and the Byzantine novel were considered. Polar points of view - about the folklore or bookish nature of the “Word” - were subsequently combined into a hypothesis about the dual nature of the monument. Some results of the development of the problem “The Word” and folklore were summed up in the article by V. P. Adrianova-Peretz “The Tale of Igor’s Campaign” and Russian folk poetry,” where it was pointed out that supporters of the idea of the “folk poetic” origin of the “Tale” often lose sight of the fact that “in oral folk poetry, lyricism and epic each have their own artistic system.” , while in the author’s integral organic poetic system “inextricably fused best sides lyrical and epic style". DS. Likhachev also justifiably pointed out the closeness of the “Lay” to folklore, especially to folk laments and glories, in ideological content and form. Thus, an unresolved problem in literary criticism was stated about the relationship between folklore and literary elements in the text of the most famous monument of ancient Russian literature

A number of works expressed ideas about the relationship of the “Word” with separate genres folklore Various aspects of the problem of the relationship between the monument and folklore were covered in the works of I. P Eremin, L. A Dmitriev, L. I Emelyanov, B. A Rybakov, S. P Pinchuk, A A Zimin, S N Azbelev, R. Mann These and many close by the type of work they are united by a common attitude, according to their authors, “The Word” is genetically and in form connected with folk poetic creativity, to which it has its roots

At one time, a very accurate thought, from our point of view, was expressed by Academician M. N. Speransky, who wrote: “In The Lay we see constant echoes of those elements and motives with which we deal in oral folk poetry. This shows that “The Tale is a monument that combines two areas - oral and written.” This attitude became the impetus for us to turn to the comparative study of “The Tale of Igor’s Campaign” and folklore tradition and the need to raise the question of the origin and connection of mythological images with the author's worldview.

Scientific novelty - Despite the scientific searches of the researchers mentioned above, the questions of the formation of the author’s artistic skill in the early Middle Ages, reliance on folklore tradition have not yet received an exhaustive answer in literary criticism D. S. Likhachev wrote* “A complex and important question about the relationship of the system literary genres of ancient Rus' and the system of folklore genres. Without a number of large preliminary studies, this question not only cannot be resolved, but even correctly posed.

This work is an attempt to resolve the question of why “The Tale of Igor’s Campaign” is so rich in folklore, as well as the key question of the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. The work is carried out comprehensive analysis folklore tradition in “The Tale of Igor’s Campaign” reveals how the worldview influenced the design and implementation of the idea of the work, clarifications were made to the problem of studying the system of folklore genre forms used by the author, the connection between the elements of the folklore chronotope, folklore images and poetic techniques that are found in the text of the literary monument of the 12th century, with images and tropes of “The Tale of Igor’s Campaign.”

The study proves that the poetic system that was formed in oral folk art undoubtedly influenced the poetics of the emerging medieval Russian literature, including the artistic structure of “The Tale of Igor’s Campaign” because during the period of artistic searches, during the period of the formation of written literature The culture of oral poetic creativity, developed over centuries, influenced the formation of literature in that there were already ready-made genre forms and artistic poetic techniques that were used by ancient Russian writers, including the author of “The Tale of Igor’s Campaign.”

The “Word” is usually published in parallel: in the original language and in translation, or separately in each of these two versions. For our analysis of “The Lay of Igor’s Campaign,” it was necessary to turn to the ancient Russian text, since the original text allows us to better understand the artistic specifics of the work.

The object of the study is the text of “The Tale of Igor’s Host” in Old Russian, as well as folklore texts of different genres in the records of the 19th-20th centuries, necessary for comparative analysis.

Relevance of the work. An appeal in the dissertation research to the relationship between oral (folklore) and written (Old Russian literary) traditions is very relevant, as it reveals the relationship between the poetics of a literary work and the poetics of folklore, as well as the process of influence of one artistic system on another in the early period of the formation of Russian literature.

The purpose of the dissertation research is a comprehensive study of the features of the poetics of folklore in artistic structure"Tales about Igor's Campaign"

Based on the general goal, the following specific tasks are formulated.

To identify the basis of the author’s artistic worldview, to determine the role of its various structural elements in the poetics of “The Lay”, to consider the elements of animist and pagan beliefs reflected in the work.

Consider in the “Word” elements of folklore genres, general genre models, elements of composition, features of the chronotope, common with folklore, folklore images

Determine in the “Word” the specifics of the image of a person, the type of hero, its connection with the folklore system of images

Identify artistic features, general stylistic patterns in the creation of the text of the monument and folklore works.

The methodological basis of the dissertation was the fundamental works of Academician DS Likhachev “Man in Culture Ancient Rus'”, “Development of Russian literature of the 11th - 17th centuries - eras and styles”, “Poetics of Old Russian literature”, “The Lay of Igor’s Campaign Collection of studies and articles (Oral origins of the artistic system “The Lay of Igor’s Campaign”. As well as the works of VP Adrianova- Peretz “The Tale of Igor’s Campaign and Russian Folk Poetry”, “The Tale of Igor’s Campaign and Monuments of Russian Literature of the 11th - 12th Centuries” Collection of studies These works allowed us to consider the following aspects of the poetics of the “Tale”, the categories of artistic time and space, the system of artistic means in context of folklore

The theoretical significance of the study lies in the comprehensive study of the features of the poetics of folklore in the artistic system of “The Tale of Igor’s Campaign,” which is important for understanding the aesthetic values of ancient Russian literature as a whole. Identification of folklore traditions at different levels of the poetics of the text presupposes further development of the problem in literary criticism.

The practical significance of the research, the materials of the dissertation research can be used when giving lectures in university courses on the history of Russian literature, in the special course “Literature and Folklore”, for compiling educational and methodological manuals By

ancient Russian literature, as well as in school courses in literature, history, courses “World artistic culture" Provisions for defense

1 The poetics of the “Word” reflects the worldview ancient Russian man, which has absorbed the most ancient mythological ideas of the Slavs about the world, but already perceives them at the level of aesthetic categories. Mythological characters associated with ancient ideas about the world around us penetrate into literature, but they are no longer perceived as divine beings, but as some kind of mythological magical characters

2 In “The Tale of Igor’s Campaign,” elements of numerous folklore genres are identified. From ritual folklore, traces of wedding and funeral rites are noted, and there are elements of conspiracy and spells.

In the artistic structure of the monument, the influence of epic genres is noticeable, in particular, fairy tales and epics in the elements of composition, in plot construction, in the chronotope. The system of images is close fairy tale, although types of heroes are found that are similar to epics Folklore images-symbols of lyrical songs influenced the poetics of the “Word” Small genre forms - proverbs, sayings, parables are a means of characterizing and enhancing emotionality

3 “The Lay” uses the inseparability of tropes and symbols characteristic of folklore, with the help of which the author gives a vivid and imaginative description of the characters, finds out the reasons for their actions. The syntax of the monument is archaic (the influence of oral tradition) and is largely related to the poetic syntax of the folk lyrical song. Rhythmic structure “ Words" creates an artistic context correlated with the epic tradition of reproducing text

4. Folklore was the “nutrient medium” that influenced the formation of the artistic system of Old Russian literature in the early period of its formation, which is clear from the analysis of the outstanding work of the 16th century, permeated with folklore traditions. During the creation of “The Tale of Igor’s Campaign,” the process of formation of literary poetics deepened influenced by folklore

The structure of the dissertation, determined by the goals and objectives of the study, includes an introduction, three chapters (the first and second chapters consist of four paragraphs, the third contains three paragraphs), a conclusion and a bibliography of used literature, including 237 titles. The total volume of the dissertation is 189 pages.

artistic structure of the text

The first paragraph, “Features of the worldview of the author of the Lay,” analyzes the views of researchers on the author’s worldview, who note that the relationship between the Christian and pagan worldviews has been noticeable for many centuries. The paragraph suggests that the author’s worldview is undoubtedly Christian, and the pagan and animistic ideas that permeate the entire text of the monument originate in traditional folk culture and are perceived as aesthetic categories. The author’s worldview is based on the well-known, “absorbed” "system of images, many of which have been preserved since the times of paganism. Many animistic ideas were also characteristic of the mentality of ancient Russian people, as well as of modern

Instead of pagan naturalistic balance, the author introduces a tense confrontation between spirit and matter. Both in the world and in man, an irreconcilable struggle of two principles is seen, identified with God and the devil, soul and flesh. Instead of the idea of an eternal cycle, the idea of vector development from the creation of the world to its end is developed. A person calls for moral responsibility, he must make a conscious choice between two world forces, his life is connected to the world universe, his fate becomes part of the world's destiny. That is why the author of the Lay calls on the princes to unite - the fate of the country depends on them

In the second paragraph, pagan images and their functions in the “Word” are analyzed. In the structure of poetic images of the “Word” three rows can be distinguished artistic images associated with pagan views

1) Images recreated on the basis of a powerful cultural layer of pagan Rus' (Stribog, Veles, Dazhdbog, Khore as one of its incarnations)

2) Personified mythological images and characters (Virgo-Resentment, Karna, Zhlya, Div, Troyan).

3) Poeticized images of real animals and birds (nightingale, ermine, falcon, swan, raven, jackdaw, eagle, wolf, fox)

Dana brief description image or group of images

The analysis allowed us to come to the following conclusions. The anonymity of the text is a striking feature that characterizes the author’s worldview and makes it similar to folklore. Signs of a pagan worldview such as anthropomorphism and pantheism return readers to mythological times. Images of the gods (Stribog, Veles, Dazhdbog, Khors) emphasize the connection between times and generations. and the power of natural vultures. The images of the Virgin-Resentment, Karna, Zhli, Diva are personified images-symbols associated with the theme of grief, sadness, sorrow, death

The images of animals, poeticized in the Lay, perform a symbolic function and at the same time complement the realistic picture of nature, abundantly presented in the work. It is important to note that in the author’s view, the wolf, fox, and ermine symbolize strength

earth, swan - the power of the water element, its connection with the air element. And crows, jackdaws, falcons, nightingales, and an eagle are symbols of the sky. Such a trinity of natural forces is associated with the image of the World Tree

The author uses mythologized images of long-gone people, artistic images associated with pagan views, personified images to understand the historical significance of what is happening and modernity as an aesthetically valuable phenomenon worthy of glorification.

The third paragraph - “Animistic ideas of the author and their functions” - examines in detail the images of nature and their role in the “Word”. The worship of nature deities lasted longer than others. That is why ancient Russian people lost the old religious forms of paganism, but retained it on a spiritual level With the loss of mythological perception the world still has the same view of nature

According to ideas, a person could change the future with the power of words, dominated the fate of other people and commanded the forces of nature. The conspiracy as an “ancient pagan prayer” played a major role. Popular understanding attributed power not to the things and natural phenomena themselves, but to the word that imparted this power to them. It came from not from nature, but from man, from his soul. This was spiritual power, which had roots in mythological ideas. Therefore, Yaroslavna performs the ritual. She “transmits” her spiritual power in a proven way - by appealing to the main natural forces - wind, sun, water (Dnieper) .

The inextricability of the connection between the natural world and man is ensured by the richness of the poetic style Brightness color symbols monument (bloody dawns, black clouds, muddy rivers, etc.) - direct borrowing from the pagan vision of the world, although we note that Christian art actively included the symbolism of color

The functions of nature in the Lay are varied, emphasizing the tragedy of the situation, the joy at the release of Prince Igor, bringing military pictures closer to the reader, presenting them in the images of arable land, harvesting, and threshing. Pictures of nature have and symbolic meaning, although fundamentally realistic. The author does not say what surrounds the heroes, he draws attention to what is happening around him, talks about the action. Nature also serves as a means of expressing the author's assessment. This is the difference between “The Word” and folklore

The fourth paragraph, “Mythological symbols and motifs in the artistic structure of the Lay,” identifies the main mythological oppositions that are important for understanding the artistic structure of the text. The figurative model of the world - the World Tree - and its manifestation in folklore tradition, the motive of the struggle between light and darkness and the role of solar symbols are considered. in the text An analysis of the mythological model of the chronotope and its transformation in the “Word” is presented

As a result, patterns emerged: the mythological motif of the struggle between light and darkness is the most important plot-forming element and

one of the mythological oppositions in the text of the monument, the identification of the princes in the “Lay” with the sun goes back to mythology (like Vladimir Krasno Solnyshko in the epics of the Kyiv cycle), the motif of werewolf is used in the work as a means of characterizing the heroes (Boyan, Igor, Vseslav of Polotsk)

The space of the “Word” is heterogeneous, inextricably linked with time, their characteristic feature is qualitative heterogeneity. The cult of ancestors underlies the awareness of the concepts of “Russian land” and “unknown field.” For ancient Russian people, time is a sequence of stages, each of which has its own value and importance The author twisted “both sexes of his time” in the same way as in folklore “tops with tops twined, streams with streams grew together.” Thus, creating an image of time, the author uses both artistically meaningful mythological ideas and folklore images

The author of “The Lay” rethinks the poetic tradition, which is based on mythological ideas. For him, “blasphemy” and “glory” are only poetic devices with the help of which he evaluates reality. The primary ones were, apparently, mythological ideas about the mystical path to the other world, embodied in the initiation rite, and then in the genre of a fairy tale. It captures the features of ancient mythological ideas

Thus, comparing Igor’s path to the “unknown land” and back, we can say that the basis of the narrative plot is similar to an ancient myth. This means that behind each symbol in the work there is not just reality; it is reinterpreted by the author in accordance with the artistic concept

The Russian perception of Christianity is characterized by a feeling of inseparability and non-merging of the divine world and the human world. Mythological subtext is the background on which the content of the work as a whole and its individual details are superimposed. The author’s artistic worldview has absorbed pagan traditions, so the fate of a person becomes part of the world’s fate. Such a worldview. clearly points to the roots of Russian spirituality, people are called to moral responsibility

The second chapter, “Elements of folklore genres in the artistic structure of the “Word,” examines folklore genre models and images reflected in the monument. The first paragraph, “Ritual folklore in the artistic structure of the monument,” reveals in the text elements of wedding and funeral rites, as well as traces of conspiracy practice

The first paragraph of the first paragraph reveals in the text of the monument of glory, toasts, magnificence, and corrugating songs as elements of the wedding ceremony. The artistic outline of “The Tale of Igor’s Campaign” also organically fits elements of poetic images of marriage - abduction, archaic even for the 19th century. By modeling the ritual situation, the author creates new image, reminiscent of wedding poetry motifs

Marriage motives of kidnapping and motives of hunting preserve the idea of the ancient Slavic custom of “obtaining” a wife as tribute. Folklore images-symbols of the falcon-groom, wedding-death, wedding feast-battle are not simply borrowed, but reinterpreted in the text in relation to a specific situation. Images combine two real and symbolic plan As can be seen from the analysis of the text, in the 12th century folklore genre forms and poetic images of oral culture organically fit into the poetics of written culture

We include in a separate group the princely slavas and toasts used by the author, which, as a genre variety, have long since disappeared from folklore. Genetically, they are close to wedding glorifications, but their function changes. It has been suggested that the genre of “slavas” arose by merging two genre forms of wedding and military glorifications The images of the “prince”, thousand, preserved in folklore records of the 19th century, also suggest that the glory, greatness and toasts of princes and squads existed, since folklore recorded words associated with military squad themes

In the second paragraph of the first paragraph, “Traces of funeral ritual poetry in the Lay,” elements of funeral rituals are revealed in the plot outline of the work, and the author is well aware of two types of funeral rituals: the usual 12th century burial in the ground and the archaic rite of cremation “Muten Son” by Svyatoslav of Kyiv is rich elements of funeral rites traditional for the Middle Ages (black bedspread, yew bed, blue wine, pearls, tower without “yugs”, “Dabry sleigh”) The inclusion of “prophetic” dreams in the artistic outline of the work was characteristic of providentialist ancient Russian literature. The functions of the images of Karna and Zhli were determined as messengers of grief and sadness accompanying the archaic rite of cremation

In addition, the text of the monument reveals elements of crying and lamentation, its traditional structure - the form of a monologue, the stringing of homogeneous structures. As works of ritual folklore, lamentations were associated not only with the real feelings of people, but at the same time formed an obligatory part of the ritual. Grief for the deceased was demonstrated publicly, i.e. did not obey the script of the funeral ritual

The basis of the poetic imagery of crying in folklore is made up of frozen poetic formulas - cliche images of the bird-soul, melancholy, a field sown with sadness and fenced off with melancholy, a sea filled with tears. In the "Word" there is also an example of a military lament, clearly included in the author's, perhaps as a quotation crying Polotsk warrior-poet, who reports the tragic outcome of the battle and the death of Prince Izyaslav Vasilkovich

Analysis of the text leads to the conclusion that the inextricable connection between funeral and wedding rituals was manifested in the “Word” in the image

climactic moments of the narrative - just as in folklore, the ritual accompanies a person at the most significant moments of life

In the third paragraph of the second paragraph, “Elements of the genre of conspiracy and spells in the Lay,” the so-called “Yaroslavna’s lament” is considered, in which we see not lamentation, as researchers traditionally believe, but traces of a conspiracy and spell. The proof is the similarity of structure, images, and rhythmic organization , stylistics of the fragment Yaroslavna’s appeal to the Dnieper in structure corresponds to the conspiracy for water: the naming of a wonderful helper, praise for his power or a gentle reproach, a request for help. The principle of trinity, originating in the Indo-European tradition, also indicates the presence of elements of the conspiracy genre.

The purpose of Yaroslavna’s appeal to the forces of nature - water, sun and wind - is to turn them into Igor’s assistants. Thus, in the worldview of the ancient Russian man, the unity of man and nature, faith in the strength and power of the elements is manifested. And the “crying” itself, according to land, is a stylization created by the author on based on folklore texts. The imagery of the “Word” is rooted in the pagan past, and ancient religious images of paganism are transformed into poetic ones. The author uses archaic genres of conspiracy and spells, the figurative system of ancient rituals, their stylistics in the artistic fabric of the work. The most ancient images-symbols associated with the ritual deepen the emotionality of the narrative, make the reader better feel the depth of the author’s thought

In the second paragraph of the second chapter, “Elements of epic genres in the artistic structure of the Lay,” we examined the features of plot construction, chronotope, system of images, types of heroes, similar to the epic folklore tradition. In paragraph one of this paragraph - “Elements of a fairy-tale epic” - the plot and compositional elements of a folk fairy tale are identified, the role of repetition and fairy-tale motifs is determined, the system of images of the heroes of the work is considered in comparison with the artistic system of a fairy tale

Using a fairy-tale type of plot - getting a bride or treasure, the author freely replaces it with the motive of getting the kingdom. Igor goes to “search for the city of Tmutorokan”, captured by the Polovtsians. The storyline in “The Tale” is correlated with a Russian fairy tale. In the fairy tale, departure - trial - flight and pursuit of enemies - return In the "Word" leaving the earth to gain a kingdom - warning of danger (eclipse of the sun, alarming behavior of birds and animals) - temporary defeat - victory over the enemy with the help of assistants - return

The author creatively transforms fairy tale plot in a fairy tale, the hero wins - and this is the final result. Prince Igor is defeated, but moral victory ultimately turns out to be on his side. The hero of a fairy tale is usually helped by his bride (wife), magical assistants (horse, bird), nature (in the fairy tale “Geese- swans" - this is a river, trees) In “The Lay” Igor is helped by his wife (Yaroslavna), the forces of nature (horse, birds, river, trees, grass) The plot elements are clearly similar

As in a fairy tale, the world of “reality” in “The Lay” is special, conditional, and the convention is manifested in connection with the plot action. Space differs from fairy-tale space in that it is filled with realistic features. Time in “Word” is close to folklore-fairytale, but its difference is The fact that in “The Lay” the author “returns” to the historical past, which not only deepens the lyricism of the narrative, but also enhances the epic nature. artistic time and space, saturated with folklore and fairy-tale images and motifs, largely determined the poetics of “The Lay”

Significant of the day of revealing the ideological content in the epic tradition is the recurring motif, designated in the “Tale” as the thought of the need for the unity of Russian princes in the face of danger. Formulas for the transition from one event to another (“The night has long darkened, the dawn has sunk, the darkness has covered the fields”), designation time period (“the night is fading”, “darkness has covered the fields”) in the text bear the imprint of psychologism

Having singled out the hero at the beginning of the story, as in a fairy tale, the author connects all the action with him, but, combining the epic and lyrical in one work (a feature of the book style), he complicates the unilinearity with retrospective retreats into the past, “twisting together the halves of time.”

The most important in the “Lay” is the motif of tripling. Another motif is the path of the hero - a hero, a warrior, in whose image fairy-tale and epic motifs merge. Folklore fairy-tale techniques when describing Igor’s flight resemble echoes of a chthonic myth, so the image of the kingdom of death is transformed into the image of the “unknown” land of Vodny the path in a fairy tale is the path to another world. You can return back unharmed with the help of magical powers or objects

The horse acts as an intermediary between the world of the living and the dead (main function). Apparently, such frequent (three times in a small fragment of text) mention of the image of a horse was supposed to emphasize the danger that every minute awaits Igor on his way home. From our point of view, here the function of the mediating horse is intertwined with a real fact, creating a complex artistic image of an assistant. The use of fairy tale motifs (violation of the ban, werewolf, living and dead water) made it possible to describe real events, without reducing the level of idealization of the main character.

The “Lay” contains an almost complete system of images of the Russian fairy tale, the lucky hero - Igor, magical assistants - brother Vsevolod and the squad, Yaroslavna, Ovlur, forces of nature summoned by a spell, animals, birds, pests - Polovtsians. Only magical objects are missing - assistants

Prince Igor personifies the type of successful hero who, with the help of magical assistants, returns to that Russian land, deeply repenting of his “sedition.” At the same time, unlike a fairy tale, individual traits are already visible in the images of the heroes of “The Lay” The image of Igor is distinguished by more clearly written features, greater psychologism, and a more detailed author’s description Any quality of the heroes

presented not as an abstract ideal property, but as something he needs in the future. Igor is also endowed with realistic features, individualized in comparison with fairy-tale hero. Thus, using the folklore model, the author creates a literary image

Going beyond the system of fairy-tale images, the author introduces many characters necessary to reveal the idea of the work Positive heroes, embodying the ideals of the past, expand the scope of the narrative, negative ones, embody the “strife” of the past. The process of folklore being incorporated into literature is clearly visible already in the complication of the system of images.

In the second paragraph of the second paragraph “Elements of the epic epic” the compositional and plot elements of the epic genre in the structure of the text, the types of heroes close to the epics are considered. We find similarities in the motif of werewolf, the images of the wolf, Vsevolod’s buoy-tur, the image of the Russian land, in the image of princes Real heroes the author of “The Lay” draws using folklore formulas, the technique of hyperbolization is one of the methods of artistic generalization, typical of oral epic

Drawing images of princes, he depicts them realistically and at the same time uses the poetic idealization characteristic of epics, endows them with a certain set of qualities, creates the ideal of a defender of the homeland, hyperbolically depicts the military valor and political power of those princes from whom he expects real help in the unification of military forces against the advancing Polovtsy The epic hero is endowed with extraordinary military valor, his merits are tested in battle The traits of the ideal epic hero are embodied in the images of Vsevolod Svyatoslavich, Vsevolod Yurievich, Yaroslav Osmomysl

Specific geographical names in the text of the monument also bring it closer to the epic epic. In the epics, the hero combines all the properties of the Russian army, Russian squad or Russian peasantry; in the Lay, the images of heroes - princes are characterized through the exploits of their squad. Before us - reflected in the Lay the initial stage of the process that in the epic at a later time led to the fact that the Russian army was depicted in the collective image of a hero

Similarities with the epic are noted in the "Lay" in the idea of the unity of the Russian land, in the image of the Steppe, in the images of princes, rhythmic structure, the motif of werewolf, the method of hyperbolization. Compositional techniques characteristic of the "Lay" and the epic are a double beginning, the use of tautology and widespread pallilogy, the technique of retardation and compositional slowdown (refrains, triple inversions, repetitions)

Correspondences in the plot reveal the independence of the author’s artistic thinking. He builds his system of artistic means on familiar folklore techniques. The difference is that the author introduces into the plot the lines of other heroes who are not directly involved in the campaign (Svyatoslav, Yaroslavna, Vseslav Polotsky, etc.)

The third paragraph of the second paragraph, “Folk images-symbols of a lyrical song in the artistic structure of the Lay”, examines the elements of the lyrical song genre in the text of the monument, indicates the features of the author’s use of image-symbols of a lyrical song

The bulk of color symbols are shown through the choice of bright colors and a limited number of colors, which is a defining feature of the folklore style, originating from magical symbols. The poetic style of “The Word” is based on a bright combination of contrasting colors - paints (“silver gray hair”, “green papoloma”, “blue haze”, “scarred shields”, “white polecat”, “ gray wolves", "gray eagles"). A characteristic feature of the image-symbols of the “Word” is their two-dimensionality; maximum concreteness and visibility of the artistic image

The author adopted the traditions of folk poetry, using general folk images of the battle-harvest and battle-feast. The realistic picture is superimposed on artistic images, creating a symbolic metaphorical reality. The figurative system of the monument combines the images-symbols of folk poetry: the Polovtsian army - black clouds, “falcon-prince” - the image of the defender of the Russian land, strength, courage, youth. The image of the nest-clan is also symbolic. The raven and the eagle are used as symbols in soldiers’ songs, which allows us to judge their connection with the once-existent druzhina songs, the presence of elements of which we find in the text of the Lay

A comparison of folklore texts with the text of the work allows us to conclude that both compositionally, and by the presence of traditional formulas, and stylistically, the beginning of “Yaroslavna’s cry” corresponds to the poetics of a lyrical song. The features of the soldier’s song (“the earth was black, under the hooves there was a clearing of bones, and a clearing of blood rose tightly across the Russian land”) were reflected in the figurative system of “The Tale of Igor’s Campaign”

We also see elements of the lyrical song genre in the figurative structure and artistic techniques of the fragment “The flowers were drowning with a complaint, and the tree bowed down to the ground,” because the author’s sad thoughts about the death of young Rostislav are conveyed through images characteristic of a folk lyrical song. However, if the need arises, the author combines folk and literary traditions in order to reveal the ideological subtext of the entire work as a whole.

The composition of “Words” is subject to emotional and lyrical requirements and has no relation to historical or other narrative structure. It is this composition that is characteristic of a folk lyrical song.

In the fourth paragraph of the second paragraph, “Proverbs, sayings and other small genre forms,” the functions of these genres in the text of the monument are defined, an analysis of images, structure, and small genre forms is given. Each of the proverbs is a metaphorical generalization of a specific situation. The author gives the characters nicknames that characterize their fate and

character is a manifestation of the broadest horizons and deep erudition of the author. The detailed description of signs and omens reflected the dependence of medieval man on the forces of nature. Therefore, the description of signs in ancient Russian literature was organically included in the plot, helped organize it, gave the story dramatic sharpness and tension, and was a harbinger of psychologism.

The author’s use of proverbs, sayings, omens, and teases as a means of characterizing characters and enhancing the emotionality of the narrative indicates the great influence of oral tradition on the artistic structure of “The Lay.”

Folklore was the breeding ground from which Russian literature “grew.” Actively existing rituals were perceived by the author as an integral part of life, and the elements of pagan culture were so familiar that they were perceived as ordinary. The author uses genre models that are well known to him, thinks in folklore images coming from mythological ideas of pre-Christian Rus'

The content and poetics of the narrative depended on the samples of folklore works, since the artistic system of ancient Russian literature itself had not yet been formed. The author also relied on the traditions of druzhina poetry of the period of Slavic unity. The structure of the ancient Russian monument is so polyphonic that it contains features of almost all genres of folklore. As in folklore, real events undergo a certain artistic transformation.

In the third chapter, “Folk tradition in the poetic style and language of the “Word”,” the main attention is paid to the analysis of the system of artistic techniques, establishing the features of the use of means of artistic expression, their functions, determining the connections between the poetic syntax of the work and folk poetry, identifying the role of sound means and the importance of rhythm for poetic text organization

In the first paragraph " Folklore means artistic representation in the “Word” are considered different types folklore tropes, their characteristics are given, their functions are determined. Means of artistic expression are analyzed in order of their frequency in the text of the monument.

Artistic techniques and images are associated with a special poetic idea of the world. Firstly, the whole world is alive, nature and man are one, therefore the cult of the earth, water, sun, animate and inanimate phenomena in nature are connected. The connection of the figurative meaning of the word with the immediate context is determined by the fact that the imagery of the Old Russian text is connected not with the word, but with formula Paths are fundamentally folklore, like the entire figurative system of the “Word”

Emphasizing the traditional nature of the main poetic tropes in “The Lay,” we note that it is constructed as an individual, unique work, possessing artistic values that cannot be reduced even to the richest traditions. The author demonstrates his artistic abilities

abilities, creating their own means of artistic expression on a folklore basis, or rethinking already known ones.

In the second paragraph, “The poetic syntax of the “Word” and its connection with the folklore tradition,” the connection between the poetic syntax of the monument and folk poetry is revealed, an analysis of the main syntactic devices and their functions is given. The syntax of the “Word” is an example of the synthesis of archaic means and new artistic content. The authenticity of the monument can be confirmed, among other things, by the paratactic organization of the utterance, characteristic of the most ancient linguistic system. The poetic syntax of the work is undoubtedly associated with the oral poetic tradition, especially in terms of the lyrical component literary text Perhaps during this period the development of literature and lyrical folklore genres went in parallel

The third paragraph, “Sound recording of the “Word” and its functions in the context of folklore,” provides an analysis of sound recording as a poetic means of oral work, the basis for the systematic organization of verbal and figurative material in the text. We came to the conclusion that “The Lay” is characterized by “sound poeticization of style,” in which sound writing played not only a poetic, but also a semantic role.

Sound recording in the “Word” is connected with oral forms of poetry and with oratory at the same time, which led to the combination of rhetorical techniques with poetry folk art reflected in a living word. The sound in the “Word” performs compositional, artistic and content-semantic functions. The bulk of color symbols are shown through the choice of bright colors and a limited number of colors, which is a defining feature of folklore style, originating from magical symbols. The poetic style of “The Lay” is based on a bright combination of contrasting colors - paints.

Phonetic techniques also play a big role in creating the rhythm of the monument. With the help of assonance and alliteration, the lines are tied to each other, creating a separate integral unit of rhythm. The rhythmic organization of the text is associated with the folklore poetic tradition

The Conclusion summarizes the results of the study. The author created his work based on the poetics of folklore that was well known to him. His task was, by combining all known artistic forms and techniques, to create an image that would make the reader imbued with the ideas of patriotism and unity in the face of the approaching danger, which the author, as a person close to the feudal military elite and thinking strategically and tactically, was well aware of. Therefore, it was so important not to record actual events, but to show their inner essence, drawing the reader’s attention to the key ideas of the work and using an accessible and well-known artistic system of folklore to both the author and readers

the artistic system of ancient Russian literature itself was formed.

The structure of the ancient Russian monument is so polyphonic that it contains features of almost all genres of folklore. This convinces that the author was as close as possible to the people's environment. In folklore, ready-made artistic forms were developed (compositional, figurative-poetic, semantic, etc.), which the author organically introduced into the artistic outline of his work, but did not remain within the framework of the previous genre and folklore forms, but, changing them and subordinating them to his artistic task, thus developed the literature of the 12th century. As in folklore, real events undergo a certain artistic transformation. Creatively rethinking tradition, the author creates an independent work with a strong personal beginning

The bibliography contains a list of sources, reference and encyclopedic publications, studies, monographs, articles devoted to the poetics of “The Tale of Igor’s Campaign.” The bibliography also contains those works that determined the methodological apparatus of the study

Promising areas of research could be those that examine various aspects of the relationship between pagan and Christian components in the author’s worldview. It is necessary to identify in the future the preserved elements of folklore genres, in particular, proverbs, to trace the organizing function of folklore symbols in the artistic structure of the text

Approbation of the research and bibliographic description of publications on the topic of the dissertation research

During 2005-2006, the main provisions of this study were tested in the course of lectures “Old Russian Literature” at the college of the Far Eastern State University branch in Artem, in the course of lectures “Old Russian Literature and Orthodoxy” for teachers-philologists of Artem in 2005, in speeches at international, all-Russian and regional conferences.

"Progressive development technologies." International scientific and practical conference, December 2005

“The quality of science is the quality of life” International scientific and practical conference, February 2006.

"Fundamental and applied research in the education system." International 4th scientific and practical conference (correspondence), February 2006

“Components of scientific and technological progress.” 2nd international scientific and practical conference, April 2006

Report “Elements of folklore genres in the artistic structure of “The Lay of Igor’s Campaign” at a literary seminar in the specialty 10 01 01 - October 2006

3. On the issue of Yaroslavna’s lament in “The Tale of Igor’s Campaign” // Progressive technologies of development: collection of materials of the international scientific and practical conference, December 10-11, 2005 - Tambov Pershina, 2005. - pp. 195-202

4 On the issue of poetics “The Tale of Igor’s Campaign” // Fundamental and applied research in the education system, materials of the 4th International. scientific conference / edited by N. N. Boldyrev - Tambov Pershina, 2006 - P 147-148

5. Features of the use of elements of druzhina poetry in “The Tale of Igor’s Campaign” // Progressive technologies for the development of collected materials of the international. scientific and practical conference, December 10-11, 2005 - Tambov Pershina, 2005 - P 189-195

6 Peculiarities of the worldview of the Russian person // Primorsky educational readings, in memory of Saints Cyril and Methodius, theses and reports - Vladivostok * Far Eastern State University Publishing House, 2007. - Vol. 5 - From 96-98.

7 Landscape in “The Tale of Igor’s Campaign” and its connection with folklore // Quality of science - quality of life: collection of materials of international scientific and practical work. Conf., Feb. 24-25. 2006 - Tambov: Pershina, 2006 - P. 119-124

8 Poetics of folklore in the artistic system “The Lay of Igor’s Campaign” // Vestn. Pomor University. Ser Humanig and Social Sciences 2007 - No. 3 - P.83-87. 9. Elements of a fairy tale in “The Tale of Igor’s Campaign” // Components of scientific and technological progress: collection of materials. - Tambov Pershina, 2006. - P. 240-247.

10 Elements of the folk song genre in “The Tale of the Campaign and Igor” // New technologies in education - Voronezh Scientific book, 2006 - No. 1. - pp. 81-83 11.Elements of funeral and wedding ritual poetry in “The Tale of Igor’s Campaign” // Components of scientific and technological progress, collection of materials. - Tambov: Pershina, 2006 - P. 247-258.

Novoselova Antonina Nikolaevna

POETICS OF FOLKLORE IN THE ART SYSTEM “WORDS ABOUT IGOR’S CAMPAIGN”

Signed for publication on September 21, 2007 Format 60x84/16. Conditional oven l. 1.16. Academic ed. l. 1.26. Circulation 100 copies.

Far Eastern University Publishing House 690950, Vladivostok, st. Oktyabrskaya, 27

Printed in the printing complex of the OU FEGU 690950, Vladivostok, st. Oktyabrskaya, 27

1.2. Pagan images and their functions in the “Word”.

1.3 Elements of the author’s animistic ideas in the “Word”.

1.4. Mythological symbols and motifs in the Lay.

CHAPTER 2. ELEMENTS OF FOLK GENRES IN FICTION

STRUCTURE OF THE "WORD".

2.1.Features of ritual folklore in the artistic structure of the genres of the monument.

2.1.1. Glory (toasts, majesty), corrugating songs as elements of the wedding ceremony in the Lay.

2.1.2. Traces of funeral ritual poetry in the Lay.

2.1.3. Elements of the genre of conspiracy and spells in The Word.

2.2. The influence of epic genres on the artistic structure of the Lay.

2.2.1. Features of the fairy tale epic in the Lay.

2.2.2 Features of epic poetics in the Lay.

2.3. Folklore images-symbols of lyrical songs in the artistic structure of “The Lay”.

2.4. Proverbs, sayings and other small genre forms in the “Word”.

CHAPTER 3. FOLK TRADITION IN POETIC STYLE AND LANGUAGE

3.1. Folklore means of artistic representation in the Lay.

3.2. Poetic syntax of the “Word” and its connection with folklore tradition.

3.3. Sound recording in the “Word” and its functions in the context of folklore.

Introduction of the dissertation 2007, abstract on philology, Novoselova, Antonina Nikolaevna

The dissertation research is devoted to the consideration of the features of the poetics of “The Tale of Igor’s Campaign” in the context of folklore tradition.

The Lay of Igor's Campaign" is a medieval literary work of a secular nature, based on historical material, which determines a multi-level approach to its study. It can be studied as a literary monument, as a linguistic phenomenon. It gives an idea of the art of war, battle tactics, and weapons of the Middle Ages. “The Word” attracted the attention of archaeographers, historians, biologists, geographers, and folklorists.

The study of “The Lay” revealed its important artistic feature: being an author’s work with a vivid originality of expressive means, it is at the same time in many ways close to folklore works. The connection with folklore is manifested in composition, plot construction, depiction of artistic time and space, and stylistic features of the text. One of the characteristic features of Old Russian literature, which has common traditions with folklore, was anonymity. The author of the ancient Russian work did not seek to glorify his name. Therefore, we do not know who the author of literary works was, especially of the early medieval period, just as we do not know the creators of fairy tales, epics, and songs.

Selection principles art material. Usually, when publishing the Lay, publishers provide it in the original language or in translation, sometimes in parallel, citing both versions. In our analysis of “The Tale of Igor’s Campaign,” we turn to the ancient Russian text, since the original text allows us to better understand the artistic specifics of the work.

Relevance of the work: The dissertation research’s appeal to the relationship between oral (folklore) and written (Old Russian literary) traditions is very relevant, because reveals the relationship between the poetics of a literary work and the poetics of folklore, as well as the process of influence of one artistic system on another in the early period of the formation of Russian literature.

The subject of the study is the implementation of folk poetics in the text of an ancient Russian literary monument.

The purpose of the dissertation research is a comprehensive study of the features of the poetics of folklore in the artistic structure of “The Lay of Igor’s Campaign.

Based on the general goal, the following specific tasks are formulated:

1. Identify the basis of the author’s artistic worldview, determine the role of various structural elements of the worldview in the poetics of “The Lay,” and consider the elements of animist and pagan beliefs reflected in the work.

2. Consider in the “Word” elements of folklore genres, general genre models, elements of composition, features of the chronotope, common with folklore, folklore images.

3. Determine in the “Word” the specifics of the image of a person, the type of hero, its connection with the folklore system of images.

4. Identify artistic features, general stylistic patterns in the creation of the text of the monument and folklore works.

The methodological basis of the dissertation was the fundamental works of Academician D.S. Likhachev “Man in the culture of Ancient Rus'”, “Development of Russian literature of the 11th - 17th centuries: eras and styles”, “Poetics of Old Russian literature”, “The Tale of Igor’s Campaign. Sat. research and articles (Oral origins of the artistic system “The Lay of Igor’s Campaign”), as well as the works of V.P. Adrianova-Peretz “The Tale of Igor’s Campaign and Russian Folk Poetry”, “The Tale of Igor’s Campaign and Monuments of Russian Literature of the 11th - 13th Centuries” Collection. research. These works made it possible to consider the following aspects of the poetics of the “Word”: the categories of artistic time and space, the system of artistic means in the context of folklore.

The research methodology includes a comprehensive analysis of the text, combining historical, literary, comparative and typological methods.

History of the issue. The study of the relationship between the “Word” and folklore was developed in two main directions: “descriptive”, expressed in the search and analysis of folklore parallels to the “Word”, and “problematic”, the adherents of which aimed to find out the nature of the monument - oral-poetic or book and literary.

In the works of N.D. Tseretelev was the first to express the idea of the “nationality” of the style of “The Lay” (close to the style of “heroic tales”). The researcher defined the language of the monument as “common” and pointed out the presence in it of constant epithets - the most characteristic of works of folklore. Author of “History of the Russian People” N.A. Polevoy defined “The Word” as “ the oldest monument poetry", combining the features of folk lyrics and epic works[cit. according to 47, 304].

For the first time, the most vivid and complete embodiment of the idea of the connection between “The Lay” and folk poetry was found in the works of M.A. Maksimovich, who saw in the monument “the beginning of that southern Russian epic, which later sounded in the thoughts of bandura players and in many Ukrainian songs.” Analyzing the rhythm of the Old Russian text, the researcher found in it signs of the size of Ukrainian thoughts; considering the features of the poetics of the monument, he cited folklore parallels to the epithets, images and metaphors characteristic of the “Word”.

However, Sun. F. Miller, whose work examined the parallels between the Lay and the Byzantine novel, pointed out that one of the main proofs of the bookishness of the Lay should be seen in its beginning, in the author’s address to the readers, in the memory of the ancient singer Boyan, ornate style , in the author’s dedication to the relationship of princes, the edifying nature of the monument, alien to folklore works, since, in his opinion, “morality in all forms, . in lives, in parables, in sayings - is a characteristic feature of book literature."

Polar points of view - about the folklore or bookishness of the “Word” - were subsequently united in a hypothesis about the dual nature of the monument. So, according to the author of the “Course on the History of Russian Literature” V.A. Keltuyaly, the “Word” is associated with oral works of patriarchal-tribal and princely-squad origin, on the one hand, and with Byzantine and Russian literature, on the other.

Some results of the development of the problem “Word” and folklore” were summed up in the article by V.P. Adrianova-Peretz “The Tale of Igor’s Campaign” and Russian folk poetry.” She pointed out the one-sidedness of the method of accumulating parallels to individual episodes and phrases, to the phraseology and rhythm of “The Lay” - a method of analysis in which the question of the artistic method of the work is replaced by a comparison of stylistic means.

At the same time, noted V.P. Adrianova-Peretz, supporters of the idea of the “folk poetic” origin of the “Lay” often lose sight of the fact that “in oral folk poetry, lyric poetry and epic each have their own artistic system, while in the author’s integral organic poetic system “the best aspects of the lyrical and epic style are inextricably fused ". “The reason for such a coincidence of the Lay with the folk epic, according to the researcher, in the very method of reflecting reality is not the influence of folklore, not the subordination of the writer to it, but the fact that this writer set himself a task similar to the goal of the heroic oral songs of his time.” .

So, V.P. Adrianova-Peretz considers the problem of the relationship between literature and folklore in Ancient Rus' “a problem of two worldviews and two artistic methods, sometimes drawing closer together to the point of complete coincidence, sometimes diverging due to their fundamental irreconcilability.” Using a number of specific examples, the researcher showed that the closeness of the “Word” with folk poetry is not limited to the similarity of elements of the artistic form, believing that the commonality of ideas, events, and worldview in general is paramount.

D.S. Likhachev justifiably pointed out the proximity of “The Lay” to folklore, especially to folk laments and glories, in ideological content and form: “The folk song principle is expressed in the “Lay” strongly and deeply. The “Word” combines both the oral folk element and the written one. The written origin of the “Word” is reflected in the mixture of various techniques of oral folk art. In the “Word” one can find closeness to oral tales, and to epics, and to glories. and to lyrical folk songs." .

It was D.S. Likhachev noted that the artistic system of “The Lay” is entirely built on contrasts and that “one of the sharpest contrasts that permeates the entire “Lay” is the contrast between book style elements and folk poetic ones.” According to him, the folk element in “The Lay” is expressed in negative metaphors, beloved by folk poetry, as well as in folk epithets, in some hyperboles, and comparisons. It is remarkable that the emotional opposition of these genres allows the author to create “that vast range of feelings and changes of mood that is so characteristic of The Lay and which separates it from works of oral folk literature, where each work is subordinated mainly to one genre and one mood.” . Thus, the problem of the relationship between folklore and literary elements in the text of the most famous monument of ancient Russian literature, which had not yet been resolved in literary criticism, was stated.

A number of works expressed ideas about the relationship of the “Word” with certain genres of folklore. So, the thought of M.A. Maksimovich about the closeness of the “Lay” to Ukrainian thoughts and southern Russian poetry was supplemented by another point of view - about the relationship of the “Lay” with northern Russian epic poetry. For the first time, epic parallels were given by N.S. Tikhonravov, and then the topic was developed in the works of F.I. Buslaev, who defended in polemics with V.V. Stasov, the national originality of Russian epics and, in connection with this, focused attention on the connections of the folk epic with the artistic system of “The Lay”.

The position of E.V. Barsova was ambiguous about the relationship between “The Lay” and epics. The scientist emphasized that, given the similarity of artistic means, these works have a different nature: the epic is a work of the entire people, while “The Word” is “purely a druzhina’s work.” The researcher also found parallels to the “Lay” in the images of funeral and recruit laments. In a number of works - P.A. Bessonova, E.F. Karsky, V.N. Peretz, V.F. Mochulsky and others - parallels from Belarusian folklore are given. Various aspects of the problem of the relationship between the monument and folklore were also covered in the works of I.P. Eremin, L.A. Dmitrieva, L.I. Emelyanova,

B.A. Rybakova, S.P. Pinchuk, A.A. Zimina, S.N. Azbeleva, N.A. Meshchersky, R. Mann.

These and many works similar in type are united by a common attitude: according to their authors, “The Lay” is genetically and in form connected with folk poetic creativity, to which it has its roots.

V.N. Peretz, highlighting aspects of the relationship between “The Lay” and folklore in “Notes to the text of “The Tale of Igor’s Campaign,” in contrast to what has existed since the time of M.A. Maksimovich and F.I. Buslaev’s opinion about the influence of folk poetry on the author of the Lay, put forward a hypothesis about the reverse influence of the Lay and similar monuments of ancient Russian literature on folk singers. The scientist argued this position with materials from recordings of songs, medical books, as well as data from folk superstitions and everyday life. In the monograph “The Lay of the 1gorev1m regiment - a feudal memorial! Ukraine - Rus' XII Vzhu” both sides of the issue under consideration were developed: “The Lay” and folklore, on the one hand (epithets in the “Word” and in oral tradition, etc.); “The Word” and written monuments - on the other (“The Word” and the Bible, “The Word” and “The Tale of the Ruin of Jerusalem” by Josephus).

A.I. Nikiforov put forward an original assumption that “The Tale of Igor’s Campaign” is an epic of the 12th century. As a result of some tendentious interpretation, the scientist came to the conclusion that “The Lay” is in full compliance with the epic genre and that it lacks any characteristics of a written work. This view and similar positions have received critical assessment in science. For example, I.P. Eremin rightly objected: “To deny now the literary nature of “The Tale of Igor’s Campaign” would mean to deny a fact, the establishment of which is one of the most lasting achievements of our science. At the very lately Some people have noticed a tendency to derive the entire “Word” only from folklore. This trend must be certainly condemned, for it is... contradicts everything that we know about the “Word”, is dictated by the false idea that only “folklore” is folk.”

At one time, a very accurate, from our point of view, idea was expressed by Academician M.N. Speransky: “In The Lay we see constant echoes of those elements and motives with which we deal in oral folk poetry. This shows that the “Word” is a monument that combines two areas: oral and written. These areas are so closely intertwined in it that we did not understand much in the “Word” until we turned to study it. to the comparative study of written literature, and traditional, oral or “folk” literature. This attitude became the impetus for us to turn to a comparative study of “The Tale of Igor’s Campaign” and folklore tradition and the need to raise the question of the origin and connection of mythological images with the author’s worldview.

Scientific novelty: Despite the scientific searches of the researchers mentioned above, the questions of the formation of the author’s artistic skill in the early Middle Ages and reliance on folklore tradition have not yet received a comprehensive answer in literary criticism. D.S. Likhachev wrote: “A complex and responsible question is the question of the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. Without a series of extensive preliminary studies, this question not only cannot be resolved, but even more or less correctly posed.

This work is an attempt to resolve the question of why “The Tale of Igor’s Campaign” is so rich in folklore, as well as the key question of the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. The work provides a comprehensive analysis of the folklore tradition in “The Tale of Igor’s Campaign”: it reveals how the worldview influenced the design and implementation of the idea of the work, clarifications are made to the problem of studying the system of folklore genre forms used by the author, the connection between the elements of the folklore chronotope, folklore images and poetic techniques that are found in the text of a literary monument of the 12th century, with images and tropes of “The Tale of Igor’s Campaign”.

The theoretical significance of the study lies in the comprehensive study of the features of the poetics of folklore in the artistic system of “The Tale of Igor’s Campaign,” which is important for understanding the aesthetic values of Old Russian literature in general. Identification of folklore traditions at different levels of text poetics presupposes further development of the problem in literary criticism.

Practical significance of the research: the materials of the dissertation research can be used when giving lectures in university courses on the history of Russian literature, in the special course “Literature and Folklore”, for compiling educational and methodological manuals on ancient Russian literature, as well as in school courses in literature, history, courses “ World artistic culture".

The main provisions of the dissertation were tested in the course of lectures “Old Russian Literature” at the college of the Far Eastern State University branch in Artem, “Old Russian Literature and Orthodoxy” for teachers-philologists of Artem in 2005, in speeches at international and regional conferences:

Fifth Primorsky educational readings, in memory of Saints Equal-to-the-Apostles Cyril and Methodius.

Sixth Primorsky educational readings, in memory of Saints Equal-to-the-Apostles Cyril and Methodius.

"Progressive development technologies." International scientific and practical conference - December 2005

“The quality of science is the quality of life.” International scientific and practical conference - February 2006

"Fundamental and applied research in the education system." International 4th scientific and practical conference (correspondence) - February 2006

“Components of scientific and technological progress.” 2nd international scientific and practical conference - April 2006

1. Poetics of folklore in the artistic system “Tales about the Regiment”

Igor” // Bulletin of the Pomor University. - Arkhangelsk: Series “Humanities and Social Sciences”: 2007. - No. 3 - P.83-87 (0.3 pp).

2. On the issue of Yaroslavna’s lament in “The Tale of Igor’s Campaign” // Progressive development technologies: Collection. materials of the international scientific and practical conference: December 10-11, 2005 - Tambov: Pershina, 2005. -S. 195-202 (0.3 p.l.).

3. Features of the use of elements of squad poetry in “The Tale of Igor’s Campaign” // Progressive development technologies: Collection. materials of the international scientific and practical conference: December 10-11, 2005 - Tambov: Pershina, 2005. - P. 189-195 (0.3 pp.).

4. On the question of the poetics of “The Tale of Igor’s Campaign” // Fundamental and applied research in the education system: materials of the 4th International Scientific Conference / resp. ed. N.N. Boldyrev. - Tambov: Pershina, 2006. - P. 147-148 (0.2 p.p.).

5. Elements of a fairy tale in “The Tale of Igor’s Campaign” // Components of scientific and technological progress: Sat. materials. - Tambov: Pershina, 2006. - P. 240-247 (0.2 pp.).

6. Elements of funeral and wedding ritual poetry in “The Tale of Igor’s Campaign” // Components of scientific and technological progress: Collection. materials. - Tambov: Pershina, 2006. - P. 247-258 (0.4 pp.).

8. Elements of the folk song genre in “The Tale of the Campaign and Igor” // New technologies in education. - Voronezh: Science book, 2006. - No. 1. - pp. 81-83 (0.3 pp.).

10. Landscape in “The Tale of Igor’s Campaign” and its connection with folklore //

The quality of science is the quality of life: Sat. materials of the international scientific and practical conference: February 24-25, 2006 - Tambov: Pershina, 2006. -S. 119-124 (0.3 p.l.).

Conclusion of scientific work dissertation on the topic "Poetics of folklore in the artistic system "The Lay of Igor's Campaign""

Thus, the author’s depiction of reality and his use of artistic means of expression indicate an undoubted connection with works of oral folk art, with tropes characteristic of oral poetics. The “word” does not introduce artistry into the life it depicts, but “extracts artistry from life itself,” which explains the fact that only aesthetically significant phenomena in life itself become the property of the artistry of a work.

It is precisely folklore that is characterized by the inseparability of tropes and symbols, used in order to give a vivid and imaginative description of the heroes and to find out the reasons for their actions. The use of a set of artistic means creates a special technique, which will later be called “psychologism.” The author of “The Lay” tries to convey the inner state of the heroes, using folklore techniques, not just motivating the actions and emotional impulses of his heroes, but expressing the author’s idea, his political views. This is the exclusivity of the monument: for the first time in ancient Russian literature, it shows historical events reflecting the people's point of view, and this was done with the help of poetics characteristic of oral folk art.

The poetic features of the monument allow us to note folklore parallels to epithets, images, metaphors, metonymies, synecdoches, and periphrases. All these are not metaphorical synonyms, but a method of “renaming”, a common method for medieval literature of expanding a symbol into an image. The folk basis of the “Lay” is also expressed in such tropes characteristic of oral poetry as hyperbole and comparisons. Repetitions play a big role in the ideological, semantic and compositional organization of the text. An element of the poetics of repetition are also constant epithets used by the author in cases where they are interpreted in relation to the content of a given fragment. Artistic parallelism, that is, a comparison of images of the natural world and the psychological experiences of the author or hero, is characteristic of “The Lay,” as well as of a lyrical song.

The imagery of the “Word” is directly related to the system of figurative means (figures and tropes), with the figurative meaning of words that reflect the characteristics of text forms. Imagery is perceived as metaphorical in a broad sense. The term “image” was used in the medieval scope of the concept: an image is broader than a trope or figure and connects linguistic imagery with mythological symbols inherent in a culture. Many artistic techniques and the images are associated with a special poetic idea of the world.

Emphasizing the traditional nature of the main poetic tropes in the Lay, let us clarify that it is constructed as an individual work, unique in its general basis, possessing artistic values that cannot be reduced even to the richest traditions. A symbol as a category is revealed only in a systematic correlation with parallel or opposed means of language, if there is a need to reveal the ideological subtext of the entire work as a whole.

The choice of poetic means is determined by the fact that they do not go beyond the limits of what is permissible in ancient Russian literature and correspond to ideas about the real world. The syntax is associated with folk poetic sources, the origin of the monument and its place in the history of Russian culture clearly indicate its folklore basis. The formulaic nature of the text suggests its close connection with the poetics of the lyrical song. Both chiasmus and syntactic parallelism are borrowed from the poetic syntax of folk lyrical song. Catachresis leads to a shortening of the text, giving the description laconicism, such a feature is inherent in folk lyrical songs. Catachresis and metalepsis are an artistic means of oral folk poetry, creating an artistic text based on traditional and very stable speech formulas.

One of the methods of rhythmic design and semantic highlighting in “The Lay” is the inversion of word order, characteristic of oral folk art. The connection with folk songs is reflected not only in the richness of semantic, verbal methods of artistic expression, but also in the rich melodic sound. Semantic expressions are confirmed at the level of the sound of the word, which is closely related to the entire emotional mood of the work.

Sound recording in “The Lay” is connected with oral forms of poetry and with oratory at the same time, which led to the combination of purely rhetorical techniques with the poetics of folk art reflected in the living word. Like color, sound in “The Word” performs compositional, artistic and content-semantic functions. Phonetic devices also play a big role in creating the rhythm of the monument. With the help of assonance and alliteration, the lines are tied to each other, creating a separate, integral unit of rhythm.

The rhythmic contour created an artistic context, since without it such a text simply could not exist in time: a large text cannot be remembered and reproduced without knowledge of the rhythm that holds it together. Thus, the rhythmic structure of the Lay as a whole is correlated with the epic tradition of reproduction and performance of a canonically important text. The entire rhythmic structure of the Lay is based on a complex interweaving of techniques: lexical and syntactic repetitions, inversions, parallelisms, anaphors and antitheses.

The “Word” is characterized by “sound poeticization of style”, in which sound writing played not only a poetic, but also a semantic role. The rhythmic organization of the text is associated with the folk poetic tradition. The rhythm of the text becomes an artistic means. All rhythmic units of the monument are organized according to the type of folklore texts. Undoubtedly, “The Tale of Igor’s Campaign” was intended for the listener and was pronounced orally. It is no coincidence that the techniques of oral folk art are so obvious in it.

CONCLUSION

Analyzing the poetics of folklore in the artistic system of “The Tale of Igor’s Campaign,” we took into account the following:

1.Old Russian literature was formed under the influence of various factors, the determining one of which was the artistic system of folklore.

2. “The Tale of Igor’s Campaign” reflected the era in which the author lived.

3. The time when “The Lay of Igor’s Campaign” was written is a decisive factor for the peculiarities of the poetics of this work.

4. The reflection of the era in the work determines its historicism.

Folklore, having originated as one of the components of Old Russian literature, determined the specificity of Old Russian works. The heroes of ancient Russian literature are bright, unique personalities. Created as heroes of literary works and existing only on the pages of these works, they bear the features real personality. In “The Tale of Igor’s Campaign,” the reader is presented with character types that are in many ways similar to folklore traits epic heroes, but at the same time they are individualized. The author uses the character model known to him and creatively transforms it, using the entire range of folklore techniques.

The author created his work based on the poetics of folklore that was well known to him. His task was, by combining all known artistic forms and techniques, to create an image that would make the reader imbued with the ideas of patriotism and unity in the face of the approaching danger, which the author, as a person close to the feudal military elite and thinking strategically and tactically, was well aware of. Therefore, it was so important not to record actual events, but to show their inner essence, drawing the reader’s attention to the key ideas of the work and using an artistic system of folklore that is accessible and well known to both the author and readers.

The selection of the necessary artistic techniques and forms required from the author not only the broadest erudition and excellent knowledge of folklore, but also the ability to creatively transform this knowledge in order to more fully and vividly embody the idea on the pages of the work. All this contributed to the formation of a special literary genre"Words". Despite the obvious features of a written literary language, it was designed primarily for oral reproduction, as evidenced by the special phonetic, lexical, and syntactic techniques found on the pages of the work. The masterful combination of folklore and book elements within the framework of the creation allows us to classify “The Tale of Igor’s Campaign” as the pinnacle of works of ancient Russian literature.

Having examined the poetics of folklore in the artistic system of “The Tale of Igor’s Campaign,” we determined that the author of the “Tale” absorbed the spiritual culture of the people. Through folklore forms, on which the author relied, he goes on to create new literary images, his own artistic means. The author's artistic worldview has absorbed many pagan traditions. His worldview clearly points to the roots of Russian spirituality. There is no doubt that they go back to the pre-Christian era, but pagan symbols already in the era of the “Word” were perceived by the author as aesthetic categories.

The mythological worldview system left the stage of beliefs and moved into the stage of artistic thinking. The traditional model of the world, the system of space-time coordinates and ideas about the heterogeneity and sacredness of space-time were stable features of the worldview of a person of the 12th century. The life of the world is presented in the “Word” in oppositions. The metaphorical connection between the images of “light” and “darkness” in the plot of “The Lay” is not only the most important plot-forming element, but also one of the most important mythological binary oppositions. The folklore image of the World Tree acts as a figurative model of the world and man and underlies the symbolic expression of the most diverse manifestations of human life. Behind the mythological symbols in “The Lay” there is always a reality artistically rethought by the author, where the mythological subtext acts as a background that allows one to compare the past and the present.

Animistic ideas manifest themselves in the spiritualization of nature. Based on the natural world, the author created an entire artistic system. The peculiarity of its functioning in “The Lay” is that nature is a means of poetic expression of the author’s assessment, which emphasizes its dynamism, close connection with the fate of the heroes, influence on fate, direct participation in events. The difference between the “Word” and folklore genres is manifested in the multifunctionality of natural images. In the structure of the poetic images of the Lay, one can distinguish three rows of artistic images associated with pagan views: images known in pagan Rus', personified images and characters with mythological roots, poeticized images of real animals and birds. Indissolubility with the world of the eternal circulation of nature, inclusion in the eternal movement of the world, the interconnection of all living things - these ideas, originating in paganism, are embodied in artistic form by the author on the pages of the work.

The folklore nutrient medium “nourished” ancient Russian literature. The actively existing rituals were perceived by the author as an integral part of life, and the elements of pagan culture were familiar and perceived as ordinary. The author uses genre models that are well known to him, and thinks in folklore images coming from the mythological ideas of pre-Christian Rus'. The content and poetics of the narrative depended on the examples of folklore works, since the artistic system of ancient Russian literature itself had not yet been fully formed.

The structure of the ancient Russian monument is so polyphonic that it contains features of almost all genres of folklore. This convinces us that the author was as close as possible to the people. In folklore, ready-made artistic forms were developed (compositional, figurative-poetic, semantic, etc.), which the author organically introduced into the artistic outline of his work, but did not remain within the framework of the previous genre and folklore forms, but, changing them and subordinating them to his artistic task , thus developed the literature of the 12th century. As in folklore, real events undergo a certain artistic transformation.

Folklore traditions that developed back in the era of Kievan Rus played a major role in the formation of the genres of ritual poetry. That is why in the poetic system of the Lay there is such frequent use of images associated with funeral and wedding rites, images associated with the agricultural cycle, traces of conspiracy practice are noticeable.

The poetics of “The Tale of Igor’s Campaign” is rich in elements characteristic of a Russian fairy tale: there is a fairy-tale plot, fairy-tale motifs, and a system of images that is in many ways similar to a fairy tale. Drawing images of princes, the author depicts them realistically and at the same time uses poetic idealization characteristic of epics. However, in the image of Igor there is already some psychologism, which undoubtedly testifies to the literary nature of the monument. The dynamism of the image of the main character, as well as the nature that surrounds him, reminds us of this. The folk idea of the “Word” is embodied by means inherent in oral epic. The compositional means of “The Lay” make it similar to the epic genre. The difference is that the author introduces into the plot the lines of other heroes who are not directly involved in the campaign (Svyatoslav, Yaroslavna, Vseslav of Polotsk, etc.). The genre features of a military story are superimposed on the poetics of the epic epic, which still prevails in The Lay.

The composition of “The Lay” is subject to emotional and lyrical requirements and has no relation to a historical or other narrative structure in which the chronological sequence of the events described would be observed. This is precisely the composition that is characteristic of Russian lyrical songs. The lyrical thread of the narrative is also reinforced by symbolic images. Images-symbols characteristic of the poetics of folk lyrical songs, symbolic-metaphorical images-pictures of agricultural labor are used by the author in accordance with the artistic intention.

Proverbs, sayings, signs, teases as a means of characterizing characters and enhancing the emotionality of the narrative also indicate the influence of oral tradition on the artistic structure of “The Lay”. It is “The Tale of Igor’s Campaign” that gives us an idea of what folklore was like during the period of creation of the work, what genres existed, what the plowman’s poetry that existed at that time was like. However, the artistic structure of the monument allows us to speak about the author’s good knowledge not only of peasant folklore, but also of such a social group as the squad. The author has preserved for us the features of contemporary folklore in some fragments of the text, as discussed in detail above. The question of druzhina folklore has further scientific perspective.

Creatively rethinking tradition, the author creates an independent work with a strong personal beginning. Before us is a literary work of a transitional era, in which elements of various folklore genres are used to solve an important artistic task for the author: to force the princes to gather together all their forces in the face of an external threat that comes from the steppe, and to spend their energy not on internecine feuds, but on creative ones. creative goals.

The author's depiction of reality and his use of artistic means of expression indicate an undoubted connection with works of oral folk art, with tropes characteristic of oral poetics. It is impossible to break the living connections of figurative and linguistic correspondences in “The Tale of Igor’s Campaign,” which together create the symbolic picture of the work. It is precisely folklore that is characterized by the inseparability of tropes and symbols, used in order to give a vivid and imaginative description of the heroes. The use of a set of artistic means creates a special technique, which will later be called “psychologism.” The author tries to convey the inner state of the characters using folklore techniques; he not only motivates the actions and emotional impulses of his characters, but expresses the author’s idea. This is the exclusivity of the monument: for the first time in ancient Russian literature, it shows the folk point of view on historical events, and this was done with the help of poetics characteristic of oral folk art.

The poetic features of the monument allow us to note folklore parallels to epithets, images, metaphors, metonymies, synecdoches, periphrases, hyperboles, and comparisons. Repetitions play a big role in the ideological, semantic and compositional organization of the text. Artistic parallelism, that is, a comparison of images of the natural world and the psychological experiences of the author or hero, is characteristic of “The Lay,” as well as of a lyrical song. Emphasizing the traditional nature of the main poetic tropes in the Lay, let us clarify that it is constructed as an individual work, unique in its general basis, possessing artistic values that cannot be reduced even to the richest traditions. The choice of poetic means is determined by the fact that they do not go beyond the limits of what is permissible in ancient Russian literature and correspond to ideas about the real world.

The syntax is associated with folk poetic sources, the origin of the monument and its place in the history of Russian culture clearly indicate its folklore basis. The formulaic nature of the text suggests its close connection with the poetics of the lyrical song. Chiasmus, syntactic parallelism, catachresis, metalepsis, and inversion word order are borrowed from the poetic syntax of folk lyrical song.

One of the methods of rhythmic design and semantic highlighting in the “Word” is sound writing, associated with oral forms of poetry and with oratory at the same time, which led to the combination of purely rhetorical techniques with the poetics of folk art reflected in the living word. Phonetic techniques of assonance and alliteration play a large role in creating the rhythm of the monument. The rhythmic contour created an artistic context, since a large text cannot be remembered and reproduced without knowledge of the rhythm that holds it together. Thus, the rhythmic structure of the Lay as a whole is correlated with the epic tradition of reproduction and performance of a canonically important text. The “Word” is characterized by “sound poeticization of style”, in which sound writing played not only a poetic, but also a semantic role. The rhythmic organization of the text is associated with the folk poetic tradition.

So, folklore had a huge influence on the formation of literature of the early Middle Ages. He already had a clear system of genres and poetic means. The author of the pinnacle work of ancient Russian literature, “The Tale of Igor’s Campaign,” creatively used the poetic system of folklore that was well known to him, transformed the techniques known to him in accordance with artistic goals, and created an original, talented work on their basis. “The Tale of Igor’s Campaign” is full of folklore at all levels, because the author himself absorbed the already established artistic system of folklore at the subconscious level, he lived in it, he created in it.

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As you know, the word is the basic unit of any language, as well as the most important component of its artistic means. The correct use of vocabulary largely determines the expressiveness of speech.

In context, a word is a special world, a mirror of the author’s perception and attitude to reality. It has its own metaphorical precision, its own special truths, called artistic revelations; the functions of vocabulary depend on the context.

Individual perception of the world around us is reflected in such a text with the help of metaphorical statements. After all, art is, first of all, the self-expression of an individual. The literary fabric is woven from metaphors that create an exciting and emotionally affecting image of a particular work of art. Additional meanings appear in words, a special stylistic coloring, creating a unique world that we discover for ourselves while reading the text.

Not only in literary, but also in oral, we use, without thinking, various techniques of artistic expression to give it emotionality, persuasiveness, and imagery. Let's figure out what artistic techniques there are in the Russian language.

The use of metaphors especially contributes to the creation of expressiveness, so let's start with them.

Metaphor

It is impossible to imagine artistic techniques in literature without mentioning the most important of them - the way of creating a linguistic picture of the world based on meanings already existing in the language itself.

The types of metaphors can be distinguished as follows:

Fossilized, worn out, dry or historical (bow of a boat, eye of a needle).
Phraseologisms are stable figurative combinations of words that are emotional, metaphorical, reproducible in the memory of many native speakers, expressive (death grip, vicious circle, etc.).
Single metaphor (eg homeless heart).
Unfolded (heart - “porcelain bell in yellow China” - Nikolay Gumilyov).
Traditionally poetic (morning of life, fire of love).
Individually-authored (sidewalk hump).

In addition, a metaphor can simultaneously be an allegory, personification, hyperbole, periphrasis, meiosis, litotes and other tropes.

The word “metaphor” itself means “transfer” in translation from Greek. In this case, we are dealing with the transfer of a name from one object to another. For it to become possible, they must certainly have some similarity, they must be adjacent in some way. A metaphor is a word or expression used in a figurative meaning due to the similarity of two phenomena or objects in some way.

As a result of this transfer, an image is created. Therefore, metaphor is one of the most striking means of expressiveness of artistic, poetic speech. However, the absence of this trope does not mean the lack of expressiveness of the work.

A metaphor can be either simple or extensive. In the twentieth century, the use of expanded ones in poetry is being revived, and the nature of simple ones is changing significantly.

Metonymy

Metonymy is a type of metaphor. Translated from Greek, this word means “renaming,” that is, it is the transfer of the name of one object to another. Metonymy is the replacement of a certain word with another based on the existing contiguity of two concepts, objects, etc. This is the imposition of a figurative word on the direct meaning. For example: “I ate two plates.” Mixing of meanings and their transfer are possible because objects are adjacent, and the contiguity can be in time, space, etc.

Synecdoche

Synecdoche is a type of metonymy. Translated from Greek, this word means “correlation.” This transfer of meaning occurs when the smaller is called instead of the larger, or vice versa; instead of a part - a whole, and vice versa. For example: “According to Moscow reports.”

Epithet

It is impossible to imagine the artistic techniques in literature, the list of which we are now compiling, without an epithet. This is a figure, trope, figurative definition, phrase or word denoting a person, phenomenon, object or action with a subjective

Translated from Greek, this term means “attached, application,” that is, in our case, one word is attached to some other.

The epithet differs from a simple definition in its artistic expressiveness.

Constant epithets are used in folklore as a means of typification, and also as one of the most important means of artistic expression. In the strict sense of the term, only those whose function are words in a figurative meaning, in contrast to the so-called exact epithets, which are expressed in words in a literal meaning (red berries, beautiful flowers), belong to tropes. Figurative ones are created when words are used in a figurative meaning. Such epithets are usually called metaphorical. Metonymic transfer of name may also underlie this trope.

An oxymoron is a type of epithet, the so-called contrasting epithets, forming combinations with defined nouns of words that are opposite in meaning (hateful love, joyful sadness).

Comparison

Simile is a trope in which one object is characterized through comparison with another. That is, this is a comparison of different objects by similarity, which can be both obvious and unexpected, distant. It is usually expressed using certain words: “exactly”, “as if”, “similar”, “as if”. Comparisons can also take the form of the instrumental case.

Personification

When describing artistic techniques in literature, it is necessary to mention personification. This is a type of metaphor that represents the assignment of properties of living beings to objects of inanimate nature. It is often created by referring to such natural phenomena as conscious living beings. Personification is also the transference of human properties to animals.

Hyperbole and litotes

Let us note such techniques of artistic expression in literature as hyperbole and litotes.

Hyperbole (translated as “exaggeration”) is one of the expressive means of speech, which is a figure with the meaning of exaggerating what is being discussed.

Litota (translated as “simplicity”) is the opposite of hyperbole - an excessive understatement of what is being discussed (a boy the size of a finger, a man the size of a fingernail).

Sarcasm, irony and humor

We continue to describe artistic techniques in literature. Our list will be complemented by sarcasm, irony and humor.

Sarcasm means "tearing meat" in Greek. This is evil irony, caustic mockery, caustic remark. When using sarcasm, a comic effect is created, but at the same time there is a clear ideological and emotional assessment.
Irony in translation means “pretense”, “mockery”. It occurs when one thing is said in words, but something completely different, the opposite, is meant.
Humor is one of the lexical means of expressiveness, translated meaning “mood”, “disposition”. Sometimes entire works can be written in a comic, allegorical vein, in which one can feel a mocking, good-natured attitude towards something. For example, the story “Chameleon” by A.P. Chekhov, as well as many fables by I.A. Krylov.

The types of artistic techniques in literature do not end there. We present to your attention the following.

Grotesque

The most important artistic techniques in literature include the grotesque. The word "grotesque" means "intricate", "bizarre". This artistic technique represents a violation of the proportions of phenomena, objects, events depicted in the work. It is widely used in the works of, for example, M. E. Saltykov-Shchedrin (“The Golovlevs,” “The History of a City,” fairy tales). This is an artistic technique based on exaggeration. However, its degree is much greater than that of a hyperbole.

Sarcasm, irony, humor and grotesque are popular artistic techniques in literature. Examples of the first three are the stories of A.P. Chekhov and N.N. Gogol. The work of J. Swift is grotesque (for example, Gulliver's Travels).

What artistic technique does the author (Saltykov-Shchedrin) use to create the image of Judas in the novel “Lord Golovlevs”? Of course it's grotesque. Irony and sarcasm are present in the poems of V. Mayakovsky. The works of Zoshchenko, Shukshin, and Kozma Prutkov are filled with humor. These artistic techniques in literature, examples of which we have just given, as you can see, are very often used by Russian writers.

Pun

A pun is a figure of speech that represents an involuntary or deliberate ambiguity that arises when used in the context of two or more meanings of a word or when their sound is similar. Its varieties are paronomasia, false etymologization, zeugma and concretization.

In puns, the play on words is based on homonymy and polysemy. Anecdotes arise from them. These artistic techniques in literature can be found in the works of V. Mayakovsky, Omar Khayyam, Kozma Prutkov, A. P. Chekhov.

Figure of speech - what is it?

The word "figure" itself is translated from Latin as " appearance, outline, image." This word is polysemantic. What does this term mean in relation to artistic speech? Syntactic means of expressiveness related to figures: questions, appeals.

What is a "trope"?

“What is the name of an artistic technique that uses a word in a figurative sense?” - you ask. The term “trope” combines various techniques: epithet, metaphor, metonymy, comparison, synecdoche, litotes, hyperbole, personification and others. Translated, the word "trope" means "turnover". Literary speech differs from ordinary speech in that it uses special expressions that embellish the speech and make it more expressive. Different styles use different means of expression. The most important thing in the concept of “expressiveness” for artistic speech is the ability of a text or a work of art to have an aesthetic, emotional impact on the reader, to create poetic pictures and vivid images.

We all live in a world of sounds. Some of them evoke positive emotions in us, others, on the contrary, excite, alarm, cause anxiety, calm or induce sleep. Different sounds evoke different images. Using their combination, you can emotionally influence a person. Reading works of art literature and Russian folk art, we are especially sensitive to their sound.

Basic techniques for creating sound expressiveness

Alliteration is the repetition of similar or identical consonants.
Assonance is the deliberate harmonious repetition of vowels.

Alliteration and assonance are often used simultaneously in works. These techniques are aimed at evoking various associations in the reader.

Technique of sound recording in fiction

Sound recording is an artistic technique that is the use of certain sounds in a specific order to create a certain image, that is, the selection of words that imitate sounds real world. This reception in fiction used in both poetry and prose.

Types of sound recording:

Assonance means “consonance” in French. Assonance is the repetition of the same or similar vowel sounds in a text to create a specific sound image. It promotes expressiveness of speech, it is used by poets in the rhythm and rhyme of poems.
Alliteration - from This technique is the repetition of consonants in literary text to create some sound image, in order to make poetic speech more expressive.
Onomatopoeia is the transmission of auditory impressions in special words reminiscent of the sounds of phenomena in the surrounding world.

These artistic techniques in poetry are very common; without them, poetic speech would not be so melodic.

1. The originality of the “Words...” genre.
2. Features of the composition.
3. Language features of the work.

Is it not appropriate for us, brothers, to begin with the old words of the military tales about the campaign of Igor, Igor Svyatoslavich? This song should begin according to the stories of our time, and not according to Boyanov’s custom.

“The Tale of Igor’s Campaign” Literary scholars have long recognized the undoubted artistic value this work of ancient Russian literature - “The Lay of Igor’s Campaign”. Most researchers of this literary monument agree that the “Word...” was created in the 12th century, that is, shortly after the events discussed in it. The work tells the story of a real historical event - the unsuccessful campaign of Prince Igor of Novgorod-Seversky against the steppe Polovtsians, which ended in the complete defeat of the princely squad and the capture of Igor himself. Mentions of this campaign were also found in a number of other written sources. As for the “Word...”, researchers primarily consider it as a work of art, and not as historical evidence.

What are the features of this work? Even with a superficial acquaintance with the text of the work, it is easy to notice its emotional richness, which, as a rule, the dry lines of annals and chronicles lack. The author praises the valor of the princes, laments the dead soldiers, points out the reasons for the defeats that the Russians suffered from the Polovtsians... So active author's position, atypical for a simple statement of facts, which is what chronicles are, is quite natural for an artistic literary work.

Speaking about the emotional mood of “The Lay...”, it is necessary to say about the genre of this work, an indication of which is already contained in its very title. “The Word...” is also an appeal to the princes with a call for unification, that is, speech, narration and song. Researchers believe that its genre is best defined as a heroic poem. Indeed, this work possesses the main features that characterize a heroic poem. The “Word...” tells about events, the consequences of which were significant for the entire country, and also praises military valor.

So, one of the means of artistic expression of “The Word...” is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved thanks to compositional features. What is the composition of the monument to Ancient Rus'? IN storyline In this work, one can notice three main parts: this is the actual story about Igor’s campaign, the ominous dream of the Kyiv prince Svyatoslav and the “golden word” addressed to the princes; Yaroslavna's cry and Igor's escape from Polovtsian captivity. In addition, “The Word...” consists of thematically integral picture-songs, which often end with phrases that play the role of a chorus: “seeking honor for yourself, and glory for the prince,” “O Russian land! You’re already over the hill!”, “for the Russian land, for the wounds of Igor, dear Svyatoslavich.”

Nature paintings play a major role in enhancing the artistic expressiveness of “The Word...”. Nature in the work is by no means a passive background historical events;. She acts as a living being, endowed with reason and feelings. A solar eclipse before a hike portends trouble:

“The sun blocked his path with darkness, the night awakened the birds with the groans of menacing animals, an animal whistle rose, Div perked up, called out on the top of a tree, commanding him to listen to a foreign land: the Volga, and Pomorie, and Posulia, and Surozh, and Korsun, and you, Tmutorokan idol.” .

The image of the sun, the shadow of which covered Igor’s entire army, is very symbolic. IN literary works princes and rulers were sometimes compared to the sun (remember the epics about Ilya Muromets, where the Kyiv prince Vladimir is called the Red Sun). And in the “Word...” itself, Igor and his princely relatives are compared to four suns. But not light, but darkness falls on the warriors. The shadow, the darkness that enveloped Igor’s squad is a harbinger of imminent death.

Igor's reckless determination, which is not stopped by an omen, makes him similar to the mythical heroes-demigods, fearlessly ready to meet their fate. The prince’s desire for glory, his reluctance to turn back, fascinates with its epic scope, probably also because we know that this campaign is already doomed: “Brothers and squad! It is better to be killed than to be captured; So, brothers, let’s sit on our greyhound horses and look at the blue Don.” It should be noted that in this case, the author of “The Lay...”, wanting to enhance the artistic expressiveness of the work, even “moved” the eclipse several days earlier. It is known from the chronicles that it happened when the Russians had already reached the borders of the Polovtsian steppe and turning back was tantamount to a shameful flight.

Before the decisive battle with the Polovtsians, “the earth is humming, the rivers are flowing muddily, the dust is covering the fields,” that is, nature itself seems to be resisting what is about to happen. At the same time, you should pay attention: the earth, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know that there will be something to profit from: “Igor is leading an army to the Don. Already the birds await his death in the oak groves, the wolves call the thunderstorm by the yarugs, the eagles call the animals on the bones with the squeal, the foxes rush on the scarlet shields.” When Igor’s army fell in battle, “the grass withered with pity, and the tree bowed to the ground with sadness.” The Donets River appears as a living being in “The Lay...”. She speaks to the prince and helps him during his flight.

Speaking about the means of artistic expression in “The Tale of Igor’s Campaign,” of course, one cannot remain silent about the linguistic features of this work. To attract the attention of his audience and create the appropriate mood, the author used questions to which he himself answers (exclamations emphasizing the emotional tone of the narrative, appeals to the heroes of the work): “What is making noise, what is ringing at this hour early before the dawn?”, “Oh Russian land! You’re already over the hill!”, “And Igor’s brave regiment cannot be resurrected!”, “Yar-Tur Vsevolod! You stand in front of everyone, showering the warriors with arrows, rattling their helmets with damask swords.”

The author of “The Lay...” widely uses epithets characteristic of oral folk poetry: “greyhound horse”, “gray eagle”, “open field”. In addition, metaphorical epithets are also common: “iron shelves”, “golden word”.

In the “Word...” we also find the personification of abstract concepts. For example, the author depicts Resentment as a maiden with swan wings. And what does this phrase mean: “... Karna screamed, and Zhlya rushed across the Russian land, sowing grief to people from a fiery horn”? Who are they, Karna and Zhlya? It turns out that Karna is derived from the Slavic word “kariti” - to mourn the dead, and “Zhlya” - from “to regret”.

In “The Word...” we also encounter symbolic paintings. For example, the battle is described sometimes as a sowing, sometimes as a threshing, sometimes as a wedding feast. The skill of the legendary storyteller Boyan is compared with falconry, and the clash between the Polovtsians and the Russians is described as an attempt by “black clouds” to cover the “four suns.” The author also uses symbolic symbols traditional for folk poetry: he calls Russian princes falcons, a raven is a symbol of the Polovtsian, and the yearning Yaroslavna is compared to a cuckoo.

The high poetic merits of this work inspired talented people to create new works of art. The plot of “The Lay...” formed the basis of A. P. Borodin’s opera “Prince Igor,” and the artist V. M. Vasnetsov created a number of paintings based on “The Tale of Igor’s Campaign.”

In the modern world we are faced with a huge variety of movements and trends in art. The 20th century becomes a turning point in the transition from “classical” works to “post-non-classical” ones: for example, free verse appears in poetry - free poems in which both the usual rhyme and metrical rhythm are absent.

The question of the role of poetry in modern society. By giving preference to prose, readers justify this by the fact that prose provides more opportunities for the author to convey his thoughts and ideas. It is more informative, simple and understandable, more plot-driven than poetry, which exists rather to enjoy the beauty of form, conveys an emotional charge and feelings, but the form can obscure the content and complicate the conveyed meaning. Poetry requires a special attitude and often causes misunderstanding. It turns out that poetry, which in the process of development of a work of art seems simpler compared to prose, since it has a poetic rhythm as an expressive means that helps convey meanings (Yu.M. Lotman, A.N. Leontyev), becomes very difficult for readers understanding the text, where rhythm and form can interfere.

In this regard, the main objective of the study was to highlight the internal criteria of readers by which a particular text belongs to the category of prose or poetry, aspects of form that are important for defining a text as poetic, and the significance of these criteria in the perception of works of art.

We identified the following as possible aspects of poetic form: division of the text into lines, metric rhythm, rhyme, as well as the rhythm of end pauses, the presence of caesuras, diversity of feet, similarity of stanzas. The subjects were presented with three tasks. The technique of “experimental deformation” of the text was used (E.P. Krupnik). This technique consists of sequentially “destructing” a work of art in such a way that the magnitude of the destruction is known. At the same time, a change in the possibility of recognizing the text is recorded depending on the degree of destruction (in our study - classifying the text as prose or poetry). The “destruction” in our study affected only the rhythmic pattern, leaving the verbal content intact. In tasks 1 and 2, 2 variables were varied, so 4 texts were presented in each task. In task 1 we compared the influence of the form of text writing and metrical rhythm, in task 2 - the influence of metrical rhythm and rhyme. In task 3, 7 different texts were presented, each of which contained a different intensity of rhythmic components. Subjects placed the presented texts in each task on the “prose - poetry” scale according to the degree of proximity to one or another category (scale gradations were not indicated). It was also suggested to choose the text that best represents the author's intentions and justify your decision. In task 3, it was additionally asked to evaluate each text according to the degree of preference by the reader himself.

When compiling tasks 1 and 2, the possible influence of the sequence of presentation of texts was taken into account, therefore 4 types of tasks were compiled (balanced Latin square scheme).

For each task, a hypothetical sequence of text placement on the scale was compiled, which was then compared with the experimentally obtained sequence.

The study involved 62 people in the age category from 18 to 50 years, 23 men and 39 women, education: technical (17.7%), humanitarian (41.9%) and natural sciences (40.3%). Excerpts from the works were used: A. Blok "Song of Hell", "Night Violet", "When you stand in my way...", M. Lermontov "Demon", "Duma", A. Pushkin "Poltava", M. Tsvetaeva " You, who loved me…”, E. Vinokurov “Through My Eyes”, N. Zabolotsky “Testament”.

Metrical rhythm and form: most subjects consider metrical rhythm to be the most pronounced sign of poetry. A text that has only the form of a poem is more often referred to as prose. But 20% of our subjects, when answering this task, were guided primarily by the form of writing. As a rule, this was due to little experience with poetry (poems are not very popular and are either rarely read or not read at all).

Metrical rhythm and rhyme (all texts are written in prose form, without division into lines). Metrical rhythm was recognized as a more important sign of poetry. Rhyme does not carry an independent poetic load if there are no other rhythms, but it helps to unambiguously classify the text as poetic, even if the metrical meter present is violated or is present only in part of the text. A clear metrical rhythm without rhymes (signs of blank verse) has a more independent meaning.

Saturation with rhythmic components. Among the proposed 7 texts, two groups can be clearly distinguished: free verse (rhythm of terminal pauses, repetition of stressed syllables, which does not create a clear metric rhythm, or the presence of only metric rhythm, which changes from line to line) and more classical examples of poetic texts (metric rhythm, rhyme, number of syllables, caesuras, rhythm of terminal and internal pauses). At the same time, M. Tsvetaeva’s text turned out to be ambiguous when determining its place in the sequence. Some subjects rated it as very poetic, strong, with a clear rhythm, recognizing it as the “standard” of a poem, while others, on the contrary, classified it as more prosaic, justifying this by the fact that the rhythm in it is confused and there are sharp shifts. If you look at this poem, its rhythmic structure, then this inconsistency is inherent in the text itself by the author, which creates a certain tension and sharpness of the text.

The attitude towards free verse, a new direction in the versification of the twentieth century, remains very ambiguous. A reader brought up on rhymes and classical works (the study of poetry only as part of the school curriculum) most often classifies these texts as either prose or an unsuccessful attempt by the author to write a poem. A richer experience of communicating with different poetic works allows us to grasp the rhythmic patterns of a different level, the special poetry of these texts.

When we talk about art, literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. In fiction and poetry, there are special techniques for enhancing expressiveness. A competent presentation, public speaking - they also need ways to construct expressive speech.

For the first time, the concept of rhetorical figures, figures of speech, appeared among speakers ancient Greece. In particular, Aristotle and his followers were engaged in their study and classification. Delving into the details, scientists have identified up to 200 varieties that enrich the language.

Means of expressive speech are divided according to language level into:

phonetic;
lexical;
syntactic.

The use of phonetics is traditional for poetry. Musical sounds often predominate in a poem, giving poetic speech a special melodious quality. In the drawing of a verse, stress, rhythm and rhyme, and combinations of sounds are used for emphasis.

Anaphora– repetition of sounds, words or phrases at the beginning of sentences, poetic lines or stanzas. “The golden stars dozed off...” - repetition of the initial sounds, Yesenin used phonetic anaphora.

And here is an example of lexical anaphora in Pushkin’s poems:

Alone you rush across the clear azure,
You alone cast a dull shadow,
You alone sadden the jubilant day.

Epiphora- a similar technique, but much less common, in which words or phrases are repeated at the end of lines or sentences.

The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax, is considered as a tradition of literary creativity, although it is also widely found in poetry.

Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.

Trails

Tropes are the use of words and phrases in a figurative sense. Paths make speech more figurative, enliven and enrich it. Some tropes and their examples in literary work are listed below.

Epithet- artistic definition. Using it, the author gives the word additional emotional overtones and his own assessment. To understand how an epithet differs from an ordinary definition, you need to understand when reading whether the definition gives a new connotation to the word? Here's a simple test. Compare: late autumn - golden autumn, early spring - young spring, quiet breeze - gentle breeze.

Personification- transferring the signs of living beings to inanimate objects, nature: “The gloomy rocks looked sternly...”.

Comparison– direct comparison of one object or phenomenon with another. “The night is gloomy, like a beast...” (Tyutchev).

Metaphor– transferring the meaning of one word, object, phenomenon to another. Identifying similarities, implicit comparison.

“There is a red rowan fire burning in the garden...” (Yesenin). The rowan brushes remind the poet of the flame of a fire.

Metonymy– renaming. Transferring a property or meaning from one object to another according to the principle of contiguity. “The one in felt, let’s argue” (Vysotsky). In felt (material) - in a felt hat.

Synecdoche- a type of metonymy. Transferring the meaning of one word to another based on a quantitative connection: singular - plural, part - whole. “We all look at Napoleons” (Pushkin).

Irony- the use of a word or expression in an inverted, mocking sense. For example, the appeal to the Donkey in Krylov’s fable: “Are you crazy, smart one?”

Hyperbola- a figurative expression containing exorbitant exaggeration. It may relate to size, meaning, strength, and other qualities. Litota is, on the contrary, an exorbitant understatement. Hyperbole is often used by writers and journalists, and litotes is much less common. Examples. Hyperbole: “The sunset burned with one hundred and forty suns” (V.V. Mayakovsky). Litota: “a little man with a fingernail.”

Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of allegory is to suggest subtext, to force one to search hidden meaning when reading. Widely used in fable.

Alogism– deliberate violation of logical connections for the purpose of irony. “That landowner was stupid, he read the newspaper “Vest” and his body was soft, white and crumbly.” (Saltykov-Shchedrin). The author deliberately mixes logically heterogeneous concepts in the enumeration.

Grotesque– a special technique, a combination of hyperbole and metaphor, a fantastic surreal description. An outstanding master of Russian grotesque was N. Gogol. His story “The Nose” is based on the use of this technique. A special impression when reading this work is made by the combination of the absurd with the ordinary.

Figures of speech

Stylistic figures are also used in literature. Their main types are shown in the table:

Repeat	At the beginning, end, at the junction of sentences	This cry and strings, These flocks, these birds
Antithesis	Opposition. Antonyms are often used.	Long hair, short mind
Gradation	Arrangement of synonyms in increasing or decreasing order	Smolder, burn, glow, explode
Oxymoron	Connecting contradictions	A living corpse, an honest thief.
Inversion	Word order changes	He came late (He came late).
Parallelism	Comparison in the form of juxtaposition	The wind stirred the dark branches. Fear stirred in him again.
Ellipsis	Omitting an implied word	By the hat and out the door (he grabbed it and went out).
Parcellation	Dividing a single sentence into separate ones	And I think again. About you.
Multi-Union	Connecting through repeating conjunctions	And me, and you, and all of us together
Asyndeton	Elimination of unions	You, me, he, she – together the whole country.
Rhetorical exclamation, question, appeal.	Used to enhance feelings	What a summer! Who, if not us? Listen, country!
Default	Interruption of speech based on a guess, to reproduce strong excitement	My poor brother...execution...Tomorrow at dawn!
Emotional-evaluative vocabulary	Words expressing attitude, as well as direct assessment of the author	Henchman, dove, dunce, sycophant.

Test "Means of Artistic Expression"

To test your understanding of the material, take a short test.

Read the following passage:

“There the war smelled of gasoline and soot, burnt iron and gunpowder, it scraped with caterpillar tracks, screeched from machine guns and fell into the snow, and rose again under fire...”

What means of artistic expression are used in the excerpt from K. Simonov’s novel?

Swede, Russian - stabs, chops, cuts.

Drum beat, clicks, grinding,

The thunder of guns, stomping, neighing, groaning,

And death and hell on all sides.

A. Pushkin

The answer to the test is given at the end of the article.

Expressive language is, first of all, an internal image that arises when reading a book, listening to an oral presentation, or a presentation. To manipulate images, visual techniques are needed. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their own image in your speech pattern.

Study expressive language and its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your language will become an obedient tool and your weapon.

Answer to the test

K. Simonov. The personification of war in the passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically connects them into a generalized image of war. The techniques of expressive language used are polyunion, syntactic repetition, parallelism. Through this combination of stylistic techniques when reading, a revived, rich image of war is created.

A. Pushkin. The poem lacks conjunctions in the first lines. In this way the tension and richness of the battle are conveyed. In the phonetic design of the scene, the sound “r” plays a special role in different combinations. When reading, a rumbling, growling background appears, ideologically conveying the noise of battle.

If you were unable to give the correct answers while answering the test, do not be upset. Just re-read the article.

Introduction to the work

The dissertation research is devoted to the consideration of the features of the poetics of “The Tale of Igor’s Campaign” in the light of folklore tradition.

“The Tale of Igor’s Campaign” is an outstanding literary work of a secular nature, based on historical material, written by an unknown author of the 12th century. The study of “The Lay” revealed its important artistic feature: being an original author’s work, focused on the genre and stylistic literary traditions of its time, it at the same time reveals a close connection with folklore. This is manifested at different levels of poetics: in composition, in the construction of the plot, in the depiction of artistic time and space, in the stylistic features of the text. One of the characteristic features of medieval literature, which has common traditions with folklore, was anonymity. The author of the ancient Russian work did not seek to glorify his name.

For the first time, the most vivid and complete embodiment of the idea of the connection between the “Word” and folk poetry was found in the works of M.A. Maksimovich. However, in the works of Vs. F. Miller examined the parallels between the Lay and the Byzantine novel. Polar points of view - about the folklore or bookishness of the “Word” - were subsequently united in a hypothesis about the dual nature of the monument. Some results of the development of the problem “The Word and Folklore” were summed up in the article by V.P. Adrianova-Peretz “The Tale of Igor’s Campaign” and Russian folk poetry,” where it was pointed out that supporters of the idea of the “folk poetic” origin of the “Tale” often lose sight of the fact that “in oral folk poetry, lyricism and epic each have their own artistic system.” , whereas in the author’s integral organic poetic system “the best aspects of the lyrical and epic style are inextricably fused.” D.S. Likhachev also justifiably pointed out the closeness of the Lay to folklore, especially to folk laments and glories, in ideological content and form. Thus, the problem of the relationship between folklore and literary elements in the text of the most famous monument of ancient Russian literature was stated, which had not yet been resolved in literary criticism.

A number of works expressed ideas about the relationship of the “Word” with certain genres of folklore. Various aspects of the problem of the relationship between the monument and folklore were covered in the works of I.P. Eremin, L.A. Dmitrieva, L.I. Emelyanova, B.A. Rybakova, S.P. Pinchuk, A.A. Zimina, S.N. Azbeleva, R. Manna. These and many works similar in type are united by a common attitude: according to their authors, “The Lay” is genetically and in form connected with folk poetry, to which it has its roots.

At one time, a very accurate, from our point of view, idea was expressed by Academician M.N. Speransky, who wrote: “In “The Lay” we see constant echoes of those elements and motives with which we deal in oral folk poetry... This shows that “The Lay” is a monument that combines two areas: oral and written." This attitude became the impetus for us to turn to a comparative study of “The Tale of Igor’s Campaign” and folklore tradition and the need to raise the question of the origin and connection of mythological images with the author’s worldview.

Scientific novelty: Despite the scientific searches of the researchers mentioned above, the questions of the formation of the author’s artistic skill in the early Middle Ages and reliance on folklore tradition have not yet received a comprehensive answer in literary criticism. D.S. Likhachev wrote: “A complex and responsible question... about the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. Without a series of extensive preliminary studies, this question not only cannot be resolved, but even ... correctly posed.

This work is an attempt to resolve the question of why “The Tale of Igor’s Campaign” is so rich in folklore, as well as the key question of the relationship between the system of literary genres of ancient Rus' and the system of folklore genres. The work provides a comprehensive analysis of the folklore tradition in “The Tale of Igor’s Campaign”: it reveals how the worldview influenced the design and implementation of the idea of the work, clarifications are made to the problem of studying the system of folklore genre forms used by the author, the connection between the elements of the folklore chronotope, folklore images and poetic techniques that are found in the text of a literary monument of the 12th century, with images and tropes of “The Tale of Igor’s Campaign”.

influenced the formation of literature in that there were already ready-made genre forms and artistic poetic techniques that were used by ancient Russian writers, including the author of “The Tale of Igor’s Campaign.”

Object of study is the text “The Tale of Igor’s Host” in Old Russian, as well as folklore texts of different genres in the records of the 19th-20th centuries, necessary for comparative analysis.

Relevance of the work. An appeal in the dissertation research to the relationship between oral (folklore) and written (Old Russian literary) traditions is very relevant, because reveals the relationship between the poetics of a literary work and the poetics of folklore, as well as the process of influence of one artistic system on another in the early period of the formation of Russian literature.

Subject of research- implementation of folklore poetics in the text of an ancient Russian literary monument.

Purpose dissertation research is a comprehensive study of the features of folklore poetics in the artistic structure of “The Lay of Igor’s Campaign.

Based on the general goal, the following specific ones are formulated: tasks:

Consider in the “Word” elements of folklore genres, general genre models, elements of composition, features of the chronotope, common with folklore, folklore images.

Determine in the “Word” the specifics of the image of a person, the type of hero, its connection with the folklore system of images.

Identify artistic features, general stylistic patterns in the creation of the text of the monument and folklore works.

Methodological basis The dissertation was based on the fundamental works of Academician D.S. Likhachev “Man in the culture of Ancient Rus'”, “Development of Russian literature of the 11th - 17th centuries: eras and styles”, “Poetics of Old Russian literature”, “The Tale of Igor’s Campaign. Sat. research and articles (Oral origins of the artistic system “The Tale of Igor’s Campaign.” As well as the works of V.P. Adrianova-Peretz “The Tale of Igor’s Campaign and Russian folk poetry”, “The Tale of Igor’s Campaign and monuments of Russian literature of the 11th - 13th centuries” Collection of studies. These works made it possible to consider the following aspects of the poetics of the “Word”: the categories of artistic time and space, the system of artistic means in the context of folklore.

Research methodology includes a comprehensive analysis of the text, combining historical, literary, comparative and typological methods.

Theoretical significance of the study consists in a comprehensive study of the features of the poetics of folklore in the artistic system of “The Tale of Igor’s Campaign,” which is important for understanding the aesthetic values of Old Russian literature as a whole. Identification of folklore traditions at different levels of text poetics presupposes further development of the problem in literary criticism.

Practical significance of the study: dissertation research materials can be used when delivering lectures in university courses on the history of Russian literature, in the special course “Literature and Folklore”, for compiling educational and teaching aids on Old Russian literature, as well as in school courses in literature, history, and courses in “World Artistic Culture” .

Provisions for defense:

1. The poetics of “The Lay” reflects the worldview of ancient Russian people, who absorbed the most ancient mythological ideas of the Slavs about the world, but already perceived them at the level of aesthetic categories. Mythological characters associated with ancient ideas about the world around us penetrate into literature, but they are no longer perceived as divine beings, but as some kind of mythological magical characters.

2. “The Tale of Igor’s Campaign” reveals elements of numerous folklore genres. From ritual folklore, traces of wedding and funeral rites are noted, and elements of conspiracy and spells are present.

In the artistic structure of the monument, the influence of epic genres, in particular fairy tales and epics, is noticeable: in the elements of composition, in plot construction, in the chronotope. The system of images is close to a fairy tale, although types of heroes are found that are similar to the epic ones. Folklore images-symbols of the lyrical song influenced the poetics of the Lay. Small genre forms - proverbs, sayings, parables - are a means of characterizing and enhancing emotionality.

3. The “Word” uses the inseparability of tropes and symbols characteristic of folklore, with the help of which the author gives a vivid and imaginative description of the characters and finds out the reasons for their actions. The syntax of the monument is archaic (influence of oral tradition) and is largely related to the poetic syntax of folk lyrical songs. The rhythmic structure of the “Lay” creates an artistic context that is correlated with the epic tradition of reproducing the text.

4. Folklore was the “nutrient medium” that influenced the formation of the artistic system of Old Russian literature in the early period of its formation, which is clear from the analysis of the outstanding work of the 12th century, permeated with folklore traditions. During the period of creation of “The Tale of Igor’s Campaign,” the process of formation of literary poetics, occurring under the influence of folklore, deepened.

Dissertation structure, determined by the goals and objectives of the study, includes an introduction, three chapters (the first and second chapters consist of four paragraphs, the third contains three paragraphs), a conclusion and a bibliographic list of references, including 237 titles. The total volume of the dissertation is 189 pages.

TRAILS AND STYLISTIC FIGURES.

TRAILS(Greek tropos - turn, turn of speech) - words or figures of speech in a figurative, allegorical meaning. Paths are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litotes, etc.

STYLISTIC FIGURES- figures of speech used to enhance the expressiveness of a statement: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.

HYPERBOLA (Greek hyperbole - exaggeration) - a type of trope based on exaggeration (“rivers of blood”, “sea of laughter”). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what he ridicules. Hyperbole is already found in ancient epics among different peoples, in particular in Russian epics.
In the Russian litera, N.V. Gogol, Saltykov-Shchedrin and especially

V. Mayakovsky (“I”, “Napoleon”, “150,000,000”). In poetic speech, hyperbole is often intertwinedwith other artistic means (metaphors, personification, comparisons, etc.). Opposite – litotes.

LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; a figurative expression, a turn of phrase that contains an artistic understatement of the size, strength, or significance of the depicted object or phenomenon. Litotes is in folk tales: “a boy as big as a finger”, “a hut on chicken legs”, “a little man as big as a finger”.
The second name for litotes is meiosis. The opposite of litotes is hyperbola.

N. Gogol often turned to litotes:
“Such a small mouth that it can’t miss more than two pieces” N. Gogol

METAPHOR(Greek metaphora - transfer) - a trope, a hidden figurative comparison, the transfer of the properties of one object or phenomenon to another based on common characteristics (“work is in full swing”, “forest of hands”, “dark personality”, “heart of stone”...). In metaphor, as opposed to

comparisons, the words “as”, “as if”, “as if” are omitted, but are implied.

Nineteenth century, iron,

Truly a cruel age!

By you into the darkness of the night, starless

A careless abandoned man!

A. Blok

Metaphors are formed according to the principle of personification (“water runs”), reification (“nerves of steel”), abstraction (“field of activity”), etc. Various parts of speech can act as a metaphor: verb, noun, adjective. Metaphor gives speech exceptional expressiveness:

In every carnation there is fragrant lilac,
A bee crawls in singing...
You ascended under the blue vault
Above the wandering crowd of clouds...

A. Fet

The metaphor is an undifferentiated comparison, in which, however, both members are easily seen:

With a sheaf of your oat hair
You stuck with me forever...
The dog's eyes rolled
Golden stars in the snow...

S. Yesenin

In addition to verbal metaphor, metaphorical images or extended metaphors are widespread in artistic creativity:

Ah, the bush of my head has withered,
I was sucked into song captivity,
I am condemned to hard labor of feelings
Turning the millstone of poems.

S. Yesenin

Sometimes the entire work represents a broad, expanded metaphorical image.

METONYMY(Greek metonymia - renaming) - trope; replacing one word or expression with another based on similar meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "the forest is noisy" - meaning trees; etc.).

The theater is already full, the boxes are sparkling;

The stalls and the chairs, everything is boiling...

A.S. Pushkin

In metonymy, a phenomenon or object is denoted using other words and concepts. At the same time, the signs or connections that bring these phenomena together are preserved; Thus, when V. Mayakovsky speaks of a “steel orator dozing in a holster,” the reader easily recognizes in this image a metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:

You led swords to a bountiful feast;

Everything fell with a noise before you;
Europe was dying; grave sleep
Hovered over her head...

A. Pushkin

When is the shore of hell
Will take me forever
When he falls asleep forever
Feather, my joy...

A. Pushkin

PERIPHRASE (Greek periphrasis - roundabout turn, allegory) - one of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its signs, as a rule, the most characteristic ones, enhancing the figurativeness of speech. (“king of birds” instead of “eagle”, “king of beasts” - instead of “lion”)

PERSONALIZATION(prosopopoeia, personification) - a type of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays...).

My bells

Steppe flowers!

Why are you looking at me?

Dark blue?

And what are you calling about?

On a merry day in May,

Among the uncut grass

Shaking your head?

A.K. Tolstoy

SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one object to another based on the quantitative relationship between them. Synecdoche is an expressive means of typification. The most common types of synecdoche:
1) A part of a phenomenon is called in the sense of the whole:

And at the door -
pea coats,
overcoats,
sheepskin coats...

V. Mayakovsky

2) The whole in the meaning of the part - Vasily Terkin in a fist fight with a fascist says:

Oh, there you are! Fight with a helmet?
Well, aren't they a vile bunch!

3) Singular number in the meaning of general and even universal:

There a man groans from slavery and chains...

M. Lermontov

And the proud grandson of the Slavs, and the Finn...

A. Pushkin

4) Replacing a number with a set:

Millions of you. We are darkness, and darkness, and darkness.

A. Blok

5) Replacing the generic concept with a specific one:

We beat ourselves with pennies. Very good!

V. Mayakovsky

6) Replacing the specific concept with a generic one:

"Well, sit down, luminary!"

V. Mayakovsky

COMPARISON - a word or expression containing the likening of one object to another, one situation to another. (“Strong as a lion”, “said as he cut”...). The storm covers the sky with darkness,

Whirling snow whirlwinds;

The way the beast will howl,

Then he will cry like a child...

A.S. Pushkin

“Like a steppe scorched by fires, Gregory’s life became black” (M. Sholokhov). The idea of the blackness and gloom of the steppe evokes in the reader that melancholy and painful feeling that corresponds to Gregory’s state. There is a transfer of one of the meanings of the concept - “scorched steppe” to another - the internal state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:

The view of the steppe is sad, where there are no obstacles,
Disturbing only the silver feather grass,
The flying aquilon wanders
And he freely drives dust in front of him;
And where all around, no matter how vigilantly you look,
Meets the gaze of two or three birch trees,
Which are under the bluish haze
They turn black in the empty distance in the evening.
So life is boring when there is no struggle,
Having penetrated into the past, discerned
There are few things we can do in it, in the prime of life
She will not amuse the soul.
I need to act, I do every day
I would like to make him immortal, like a shadow
Great hero, and understand
I can't, what does it mean to rest.

M. Lermontov

Here, with the help of the detailed S. Lermontov conveys a whole range of lyrical experiences and reflections.
Comparisons are usually connected by conjunctions “as”, “as if”, “as if”, “exactly”, etc. Non-union comparisons are also possible:
“Do I have fine curls - combed flax” N. Nekrasov. Here the conjunction is omitted. But sometimes it is not intended:
“The morning of execution, the usual feast for the people” A. Pushkin.
Some forms of comparison are constructed descriptively and therefore are not connected by conjunctions:

And she appears
At the door or at the window
The early star is brighter,
Morning roses are fresh.

A. Pushkin

She's cute - I'll say between us -
Storm of the court knights,
And maybe with the southern stars
Compare, especially in poetry,
Her Circassian eyes.

A. Pushkin

A special type of comparison is the so-called negative:

The red sun does not shine in the sky,
The blue clouds do not admire him:
Then at mealtimes he sits in a golden crown
The formidable Tsar Ivan Vasilyevich is sitting.

M. Lermontov

In this parallel depiction of two phenomena, the form of negation is both a method of comparison and a method of transferring meanings.
A special case is represented by the instrumental case forms used in comparison:

It's time, beauty, wake up!
Open your closed eyes,
Towards northern Aurora
Be the star of the north.

A. Pushkin

I don't soar - I sit like an eagle.

A. Pushkin

Often there are comparisons in the form of the accusative case with the preposition “under”:
“Sergei Platonovich... sat with Atepin in the dining room, covered with expensive oak wallpaper...”

M. Sholokhov.

IMAGE -a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Moroz - commander of the patrol

Walks around his possessions.

N.A. Nekrasov

ALLEGORY(Greek allegoria - allegory) - a specific image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images go back to Greek and Roman mythology. Thus, the image of a blindfolded woman with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential aspects, qualities or functions and belongs to the group of metaphorical tropes.

Unlike a metaphor, in an allegory the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).

GROTESQUE (French grotesque - whimsical, comical) - an image of people and phenomena in a fantastic, ugly-comic form, based on sharp contrasts and exaggerations.

Enraged, I rush into the meeting like an avalanche,

Spewing wild curses on the way.

And I see: half the people are sitting.

Oh devilishness! Where is the other half?

V. Mayakovsky

IRONY (Greek eironeia - pretense) - expression of ridicule or deceit through allegory. A word or statement acquires a meaning in the context of speech that is opposite to the literal meaning or denies it, casting doubt on it.

Servant of powerful masters,

With what noble courage

Thunder with your free speech

All those who have their mouths covered.

F.I. Tyutchev

SARCASM (Greek sarkazo, lit. - tearing meat) - contemptuous, caustic ridicule; the highest degree of irony.

ASSONANCE (French assonance - consonance or response) - repetition of homogeneous vowel sounds in a line, stanza or phrase.

Oh spring without end and without edge -

An endless and endless dream!

A. Blok

ALLITERATION (SOUNDS)(Latin ad - to, with and littera - letter) - repetition of homogeneous consonants, giving the verse a special intonational expressiveness.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

A storm is coming. It hits the shore

A black boat alien to enchantment...

K. Balmont

ALLUSION (from Latin allusio - joke, hint) - a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work (“the glory of Herostratus”).

ANAPHORA(Greek anaphora - carrying out) - repetition of the initial words, line, stanza or phrase.

You're miserable too

You are also abundant

You're downtrodden

You are omnipotent

Mother Rus'!…

N.A. Nekrasov

ANTITHESIS (Greek antithesis - contradiction, opposition) - a sharply expressed opposition of concepts or phenomena.
You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blushing like poppies,

I am like death, skinny and pale.

A.S. Pushkin

You're miserable too
You are also abundant
You are mighty
You are also powerless...

N. Nekrasov

So few roads have been traveled, so many mistakes have been made...

S. Yesenin.

Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the entire work is built on the principle of antithesis

APOCOPE(Greek apokope - cutting off) - artificially shortening a word without losing its meaning.

...When suddenly he came out of the forest

The bear opened its mouth at them...

A.N. Krylov

Barking, laughing, singing, whistling and clapping,

Human rumor and horse top!

A.S. Pushkin

ASYNDETON (asyndeton) - a sentence with the absence of conjunctions between homogeneous words or parts of a whole. A figure that gives speech dynamism and richness.

Night, street, lantern, pharmacy,

Pointless and dim light.

Live for at least another quarter of a century -

Everything will be like this. There is no outcome.

A. Blok

MULTI-UNION(polysyndeton) - excessive repetition of conjunctions, creating additional intonation coloring. The opposite figure isnon-union

Slowing down speech with forced pauses, polyunion emphasizes individual words and enhances its expressiveness:

And the waves crowd and rush back,
And they come again and hit the shore...

M. Lermontov

And it’s boring and sad, and there’s no one to give a hand to...

M.Yu. Lermontov

GRADATION- from lat. gradatio - gradualism) is a stylistic figure in which definitions are grouped in a certain order - increasing or decreasing their emotional and semantic significance. Gradation enhances the emotional sound of the verse:

I don’t regret, I don’t call, I don’t cry,
Everything will pass like smoke from white apple trees.

S. Yesenin

INVERSION(Latin inversio - rearrangement) - a stylistic figure consisting of a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of a phrase gives it a unique expressive tone.

Legends of deep antiquity

A.S. Pushkin

He passes the doorman with an arrow

Flew up the marble steps

A. Pushkin

OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting words with opposite meanings (living corpse, giant dwarf, heat of cold numbers).

PARALLELISM(from the Greek parallelos - walking next to) - identical or similar arrangement of speech elements in adjacent parts of the text, creating a single poetic image.

The waves splash in the blue sea.

The stars shine in the blue sky.

A. S. Pushkin

Your mind is as deep as the sea.

Your spirit is as high as the mountains.

V. Bryusov

Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and those close to them in their artistic features literary works (“Song about the merchant Kalashnikov” by M. Yu. Lermontov, “Who Lives Well in Rus'” by N. A. Nekrasov, “Vasily Terkin” by A. T, Tvardovsky).

Parallelism can have a broader thematic nature in content, for example, in the poem by M. Yu. Lermontov “Heavenly clouds are eternal wanderers.”

Parallelism can be either verbal or figurative, or rhythmic or compositional.

PARCELLATION- an expressive syntactic technique of intonation division of a sentence into independent segments, graphically highlighted as independent sentences. (“And again. Gulliver. Standing. Slouching.” P. G. Antokolsky. “How courteous! Kind! Sweet! Simple!” Griboedov. “Mitrofanov grinned, stirred the coffee. He narrowed his eyes.”

N. Ilyina. “He soon quarreled with the girl. And that’s why.” G. Uspensky.)

TRANSFER (French enjambement - stepping over) - a discrepancy between the syntactic division of speech and the division into poetry. When transferring, the syntactic pause inside a verse or hemistich is stronger than at the end.

Peter comes out. His eyes

Shining. His face is terrible.

The movements are fast. He's beautiful

He's like God's thunderstorm.

A. S. Pushkin

RHYME(Greek “rhythmos” - harmony, proportionality) - a variety epiphora ; the consonance of the ends of poetic lines, creating a feeling of their unity and kinship. Rhyme emphasizes the boundary between verses and links verses into stanzas.

ELLIPSIS (Greek elleipsis - deletion, omission) - a figure of poetic syntax based on the omission of one of the members of a sentence, easily restored in meaning (most often the predicate). This achieves dynamism and conciseness of speech and conveys a tense change of action. Ellipsis is one of the types of default. In artistic speech, it conveys the speaker’s excitement or the tension of the action:

We sat down in ashes, cities in dust,
Swords include sickles and plows.

1. The originality of the “Words...” genre.
2. Features of the composition.
3. Language features of the work.

“The Tale of Igor’s Campaign” Literary scholars have long recognized the undoubted artistic value of this work of ancient Russian literature - “The Tale of Igor’s Campaign.” Most researchers of this literary monument agree that the “Word...” was created in the 12th century, that is, shortly after the events discussed in it. The work tells the story of a real historical event - the unsuccessful campaign of Prince Igor of Novgorod-Seversky against the steppe Polovtsians, which ended in the complete defeat of the princely squad and the capture of Igor himself. Mentions of this campaign were also found in a number of other written sources. As for the “Word...”, researchers primarily consider it as a work of art, and not as historical evidence.

What are the features of this work? Even with a superficial acquaintance with the text of the work, it is easy to notice its emotional richness, which, as a rule, the dry lines of annals and chronicles lack. The author praises the valor of the princes, laments the deaths of the soldiers, points out the reasons for the defeats that the Russians suffered from the Polovtsians... Such an active author’s position, atypical for a simple statement of facts, which chronicles are, is quite natural for an artistic literary work.

So, one of the means of artistic expression of “The Word...” is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved thanks to compositional features. What is the composition of the monument to Ancient Rus'? In the storyline of this work, one can notice three main parts: this is the actual story about Igor’s campaign, the ominous dream of the Kyiv prince Svyatoslav and the “golden word” addressed to the princes; Yaroslavna's cry and Igor's escape from Polovtsian captivity. In addition, “The Word...” consists of thematically integral picture-songs, which often end with phrases that play the role of a chorus: “seeking honor for yourself, and glory for the prince,” “O Russian land! You’re already over the hill!”, “for the Russian land, for the wounds of Igor, dear Svyatoslavich.”

Nature paintings play a major role in enhancing the artistic expressiveness of “The Word...”. Nature in the work is by no means a passive background of historical events; She acts as a living being, endowed with reason and feelings. A solar eclipse before a hike portends trouble:

The image of the sun, the shadow of which covered Igor’s entire army, is very symbolic. In literary works, princes and rulers were sometimes compared to the sun (remember the epics about Ilya Muromets, where the Kyiv prince Vladimir is called the Red Sun). And in the “Word...” itself, Igor and his princely relatives are compared to four suns. But not light, but darkness falls on the warriors. The shadow, the darkness that enveloped Igor’s squad is a harbinger of imminent death.

Before the decisive battle with the Polovtsians, “the earth is humming, the rivers are flowing muddily, the dust is covering the fields,” that is, nature itself seems to be resisting what is about to happen. At the same time, you should pay attention: the earth, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know there will be something to profit from: “Igor is leading an army to the Don. Already the birds await his death in the oak groves, the wolves call the thunderstorm by the yarugs, the eagles call the animals on the bones with the squeal, the foxes rush on the scarlet shields.” When Igor’s army fell in battle, “the grass withered with pity, and the tree bowed to the ground with sadness.” The Donets River appears as a living being in “The Lay...”. She speaks to the prince and helps him during his flight.

AESOP'S LANGUAGE

(Aesopian language) - (on behalf of the ancient Greek fabulist Aesop, a slave who lived in the 6th century BC) - a type of allegory: the language of hints, omissions, used primarily in satirical works (fables, satires, epigrams, feuilletons, etc.). etc.) and allows you to veil, disguise the true essence of a statement in cases where it cannot be expressed directly (for example, for censorship reasons). The term was introduced into literary use by M.E. Saltykov-Shchedrin, calling E. I. a special (“rabya”) manner of allegorical presentation, which writers had to resort to in order to deceive the tsarist censorship (see censorship). In the works of M.E. Saltykov-Shchedrin, for example, a spy, an informer is called a “heart expert”, “collector of statistics”; slaps - "applause". N.G. Chernyshevsky in the novel "What to do?" calls the narrow-minded man in the street, alien to public interests, a “discerning reader.” Possibilities E. I. as a satirical allegory, M. Zoshchenko, M. Bulgakov, V. Vysotsky and others were widely used, in foreign literature- J. Swift, A. France et al.

Dictionary of literary terms. 2012

Metaphor

The types of metaphors can be distinguished as follows:

Fossilized, worn out, dry or historical (bow of a boat, eye of a needle).
Phraseologisms are stable figurative combinations of words that are emotional, metaphorical, reproducible in the memory of many native speakers, expressive (death grip, vicious circle, etc.).
Single metaphor (eg homeless heart).
Unfolded (heart - “porcelain bell in yellow China” - Nikolay Gumilyov).
Traditionally poetic (morning of life, fire of love).
Individually-authored (sidewalk hump).

In addition, a metaphor can simultaneously be an allegory, personification, hyperbole, periphrasis, meiosis, litotes and other tropes.

A metaphor can be either simple or extensive. In the twentieth century, the use of expanded ones in poetry is being revived, and the nature of simple ones is changing significantly.

Metonymy

Synecdoche

Epithet

Translated from Greek, this term means “attached, application,” that is, in our case, one word is attached to some other.

The epithet differs from a simple definition in its artistic expressiveness.

An oxymoron is a type of epithet, the so-called contrasting epithets, forming combinations with defined nouns of words that are opposite in meaning (hateful love, joyful sadness).

Comparison

Personification

Hyperbole and litotes

Let us note such techniques of artistic expression in literature as hyperbole and litotes.

Hyperbole (translated as “exaggeration”) is one of the expressive means of speech, which is a figure with the meaning of exaggerating what is being discussed.

Litota (translated as “simplicity”) is the opposite of hyperbole - an excessive understatement of what is being discussed (a boy the size of a finger, a man the size of a fingernail).

Sarcasm, irony and humor

We continue to describe artistic techniques in literature. Our list will be complemented by sarcasm, irony and humor.

Sarcasm means "tearing meat" in Greek. This is evil irony, caustic mockery, caustic remark. When using sarcasm, a comic effect is created, but at the same time there is a clear ideological and emotional assessment.
Irony in translation means “pretense”, “mockery”. It occurs when one thing is said in words, but something completely different, the opposite, is meant.
Humor is one of the lexical means of expressiveness, translated meaning “mood”, “disposition”. Sometimes entire works can be written in a comic, allegorical vein, in which one can feel a mocking, good-natured attitude towards something. For example, the story “Chameleon” by A.P. Chekhov, as well as many fables by I.A. Krylov.

The types of artistic techniques in literature do not end there. We present to your attention the following.

Grotesque

Pun

Figure of speech - what is it?

The word “figure” itself is translated from Latin as “appearance, outline, image.” This word has many meanings. What does this term mean in relation to artistic speech? Syntactic means of expression related to figures: questions, appeals.

What is a "trope"?

We all live in a world of sounds. Some of them evoke positive emotions in us, others, on the contrary, excite, alarm, cause anxiety, calm or induce sleep. Different sounds evoke different images. Using their combination, you can emotionally influence a person. Reading works of literature and Russian folk art, we perceive their sound especially keenly.

Basic techniques for creating sound expressiveness

Alliteration is the repetition of similar or identical consonants.
Assonance is the deliberate harmonious repetition of vowels.

Alliteration and assonance are often used simultaneously in works. These techniques are aimed at evoking various associations in the reader.

Technique of sound recording in fiction

Sound painting is an artistic technique that is the use of certain sounds in a specific order to create a certain image, that is, a selection of words that imitate the sounds of the real world. This technique in fiction is used both in poetry and prose.

Types of sound recording:

Assonance means “consonance” in French. Assonance is the repetition of the same or similar vowel sounds in a text to create a specific sound image. It promotes expressiveness of speech, it is used by poets in the rhythm and rhyme of poems.
Alliteration - from This technique is the repetition of consonants in a literary text to create some sound image, in order to make poetic speech more expressive.
Onomatopoeia is the transmission of auditory impressions in special words reminiscent of the sounds of phenomena in the surrounding world.

These artistic techniques in poetry are very common; without them, poetic speech would not be so melodic.

Expressive means of vocabulary and phraseology
In vocabulary and phraseology, the main means of expressiveness are trails(in translation from Greek - turn, image).
The main types of tropes include: epithet, comparison, metaphor, personification, metonymy, synecdoche, periphrasis, hyperbole, litotes, irony, sarcasm.
Epithet- a figurative definition that marks an essential feature for a given context in the depicted phenomenon. An epithet differs from a simple definition in its artistic expressiveness and imagery. Epithets include all colorful definitions, which are most often expressed by adjectives.

Epithets are divided into general language (coffin silence), individual-author's (dumb peace (I.A. Bunin), touching charm (S.A. Yesenin)) and folk-poetic(permanent) ( red Sun, Kind Well done) .

The role of epithets in the text

Epithets are aimed at enhancing the expressiveness of the images of depicted objects, at highlighting their most significant features. They convey the author’s attitude towards what is depicted, express the author’s assessment and perception of the phenomenon, create a mood, give a characterization to the lyrical hero. (“...Dead words smell bad” (N.S. Gumilyov); “...foggy and quiet azure over the sadly orphaned earth” (F.I. Tyutchev))

Comparison is a visual technique based on the comparison of one phenomenon or concept with another.

Ways to express comparison:

Instrumental case form of nouns:

Migratory nightingale

Youth flew by... (A.V. Koltsov)

Comparative form of an adjective or adverb:

These eyes greener sea and cypress trees darker. (A. Akhmatova)

Comparative turnover with unions as if, as if, as if etc.:

Like a predatory beast to the humble abode

The winner breaks in with bayonets... (M.Yu. Lermontov)

With words similar, similar:

On the eyes of a cautious cat

Similar your eyes (A. Akhmatova)

Using comparative subordinate clauses:

Golden leaves swirled

In the pinkish water of the pond,

Like a light flock of butterflies

Flies breathlessly towards a star. (S. Yesenin)

The role of comparisons in the text.

Comparisons are used in the text in order to enhance its imagery and imagery, create more vivid, expressive images and highlighting, emphasizing any significant features of the depicted objects or phenomena, as well as for the purpose of expressing the author’s assessments and emotions.

Metaphor is a word or expression that is used in a figurative meaning based on the similarity of two objects or phenomena on some basis.

A metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief etc.

The role of metaphors in the text

Metaphor is one of the most striking and powerful means of creating expressiveness and imagery in a text.

Through the metaphorical meaning of words and phrases, the author of the text not only enhances the visibility and clarity of what is depicted, but also conveys the uniqueness and individuality of objects or phenomena. Metaphors serve as an important means of expressing the author's assessments and emotions.

Personification is a type of metaphor based on the transfer of the characteristics of a living being to natural phenomena, objects and concepts.

The wind sleeps and everything goes numb

Just to fall asleep;

The clear air itself becomes timid
To breathe in the cold. (A.A. Fet)

The role of personifications in the text

Personifications serve to create bright, expressive and imaginative pictures of something; they enliven nature and enhance conveyed thoughts and feelings.

Metonymy- this is the transfer of a name from one object to another based on their contiguity. Adjacency can be a manifestation of connection:

I three plates ate (I.A. Krylov)

Scolded Homer, Theocritus,

But read Adam Smith(A.S. Pushkin)

Between action and instrument of action:

Their villages and fields for a violent raid

He doomed swords and fires(A.S. Pushkin)

Between an object and the material from which the object is made:

…not on silver, but on gold ate (A.S. Griboyedov)

Between a place and the people in that place:

The city was noisy, the flags were crackling... (Y.K. Olesha)

The role of metonymy in the text

The use of metonymy makes it possible to make a thought more vivid, concise, expressive, and gives the depicted object-like clarity.

Synecdoche is a type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them.

Most often, transfer occurs:

From less to more:

To him and bird doesn't fly

AND tiger not coming... (A.S. Pushkin)

From part to whole:

Beard Why are you still silent?

The role of synecdoche in the text

Synecdoche enhances the expressiveness and expression of speech.

Periphrase, or paraphrase– (in translation from Greek – a descriptive expression) is a phrase that is used instead of any word or phrase.

Petersburg – Peter's creation, city of Petrov(A.S. Pushkin)

The role of paraphrases in the text

Paraphrases allow you to:

Highlight and emphasize the most significant features of what is being depicted;

Avoid unjustified tautology;

Paraphrases (especially expanded ones) allow you to give the text a solemn, sublime, pathetic sound:

O sovereign city,

Stronghold of the northern seas,

Orthodox crown of the Fatherland,

The magnificent dwelling of kings,

Petra is a great creation!(P. Ershov)

Hyperbola- (translated from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any attribute of an object, phenomenon, action:

A rare bird will fly to the middle of the Dnieper (N.V. Gogol)

Litotes- (translated from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any attribute of an object, phenomenon, action:

What tiny cows!

There's less than a pinhead right. (I.A. Krylov)

The role of hyperbole and litotes in the text The use of hyperbole and litotes allows the authors of texts to sharply enhance the expressiveness of what is depicted, to give thoughts an unusual form and a bright emotional coloring, evaluativeness, and emotional persuasiveness. Soviet naval commando Viktor Nikolaevich Leonov

Means of artistic expression. Reveal the role of poetic means in the artistic structure of the word

Full text of the dissertation abstract on the topic "Poetics of folklore in the artistic system of "The Lay of Igor's Campaign""

Introduction of the dissertation 2007, abstract on philology, Novoselova, Antonina Nikolaevna

Conclusion of scientific work dissertation on the topic "Poetics of folklore in the artistic system "The Lay of Igor's Campaign""

List of scientific literature Novoselova, Antonina Nikolaevna, dissertation on the topic "Russian literature"

Metaphor

Metonymy

Synecdoche

Epithet

Comparison

Personification

Hyperbole and litotes

Sarcasm, irony and humor

Grotesque

Pun

Figure of speech - what is it?

What is a "trope"?

Basic techniques for creating sound expressiveness

Technique of sound recording in fiction

Trails

Figures of speech

Test "Means of Artistic Expression"

Answer to the test

See also interpretations, synonyms, meanings of the word and what is AESOPIC LANGUAGE in Russian in dictionaries, encyclopedias and reference books:

Metaphor

Metonymy

Synecdoche

Epithet

Comparison

Personification

Hyperbole and litotes

Sarcasm, irony and humor

Grotesque

Pun

Figure of speech - what is it?

What is a "trope"?

Basic techniques for creating sound expressiveness

Technique of sound recording in fiction