Folklore images in the lyrics of the block. Folk (folklore) motifs in Russian poetry

Nekrasov "Green Noise"(a poem written under the influence of Ukrainian songs. A similar colorful epithet in Ukraine was often given to spring, which brought with it the transformation and renewal of nature. Such a figurative expression impressed the poet so much that he made it the key in his poem, using it as a kind of refrain. " Green Noise is coming,

Green Noise, spring noise!")

Zhukovsky "Svetlana" ( From the very beginning, the author plunges us into the fabulous world of divination, divination, and the very rhythm of the poem corresponds to the given theme.)

Lermontov "Song ... about the merchant Kalashnikov" ( The poet tried to bring it closer to epic folklore tales. Guslyays, on behalf of whom the narration is being conducted (there is no author, i.e. close to UNT), i.e. moral positions from which the heroes of the work are evaluated are not personally authorial, but generalized folk)

Folk motifs can manifest themselves in the presence of archaisms, repetitions, the use of plots from pagan mythology, song motifs, melodic turns.

THEME OF LOVE FOR A MOTHER

Yesenin "Letter to mother"(This is a confession of the prodigal son, full of tenderness and repentance, in which, meanwhile, the author directly declares that he is not going to change his life, which he considers ruined by that time. Despite his fame in literary circles, the poet realizes that he could not live up to the expectations of his mother, who, first of all, dreamed of seeing her son as a good and decent person.Repenting of his misdeeds before the closest person, the poet, however, refuses to help and ask his mother for only one thing - "do not wake up what dreamed". The author feels that he is moving away from his family, but he is ready to accept this blow of fate with his characteristic fatalism. He worries not so much for himself as for his mother, who worries about her son, so he asks her: "Do not be so sad about to me".)

Tvardovsky "In memory of mother"(In the fourth part of the work, Tvardovsky refers to his childhood and cites in full the old song that he heard from his mother. It contains a deep philosophical meaning, which remains unchanged today: a child who left his father's house is a cut off slice, and from now on his life has nothing to do with the fate of the parents.The author regrets that he could not get to know the one that life gave him better.)

Tsvetaeva "Mame" ("in the old waltz ...")(Tsvetaeva’s childhood passed in a very special atmosphere, she had her own world of fairy tales and illusions, which she had to part with in her youth. Therefore, the poetess, in an appeal to her mother, emphasizes that “you led your little ones past the bitter life of thoughts and deeds.” Already being a schoolgirl ", Tsvetaeva realized how cruel and merciless the world around her could be. On the one hand, she was shocked by this discovery, and on the other, she was grateful to her mother, who was able, albeit for a short time, to protect her from life's hardships.)

BIBLICAL MOTIVES

Block "Twelve"(The most obvious example is the image of twelve. The poem is called “Twelve” for a reason. This number is one of its largest symbols. The poem has 12 chapters, the twelve apostles can be included in the value of this number, and the dashing robbery beginning - 12 robbers. For reader of Blok's times, the very title of the poem "The Twelve" could suggest the presence of the image of Christ, because the number 12 is the number of the apostles, disciples of Christ.)

Pasternak "Hamlet"(The protagonist of the poem, turning to a crowded hall, asks: “If possible, Abba Father, take this cup past.” This means that as an actor he is afraid to play his role not well enough and cause condemnation of the public.)

Pushkin "The Prophet"(The poem "Prophet" was based on an excerpt from the Bible, from the sixth chapter of the Book of the Prophet Isaiah. According to legend, Seraphim cleanses the prophet from sin and, obeying the will of the Lord, he must fulfill the mission of correcting people. Pushkin's poem echoes the biblical text. We we see that the poet knew perfectly well the story of Isaiah's calling to the prophetic ministry, and pondered over it. Pushkin often turned to the Bible, drawing inspiration and plots from it for his writings. In the "Prophet" we find Pushkin's interpretation of this biblical legend.)

VILLAGE THEME

Yesenin "Goy you, my dear Russia ..."(The poem “Goy you, Russia, my dear ...” is saturated with precisely these feelings of the author. “Huts are in the robes of the image ...” Yesenin writes. He compares all the houses of the village with something sublime, divine, because the robe is a church attire, beautiful, iridescent gold.)

Pushkin "Village"(in the first part of the work, the poet confesses his love for his homeland, emphasizing that it was in Mikhailovsky that he was once serenely happy: the silence of the fields, / To free idleness, a friend of reflection.)

Lermontov "Motherland"(The solemn introduction, in which the author confesses his love for the Fatherland, is replaced by stanzas that describe the beauty of Russian nature: But I love - for what, I don’t know myself - / Her steppes are cold silence, / Her boundless forests sway, / The floods of her rivers like seas)

THE THEME OF LOVE FOR THE HOMELAND

1) Patriotism despite difficulties
Akhmatova "I had a voice"(There was a voice for me. He called consolingly, / He said: “Come here, / Leave your land deaf and sinful, / Leave Russia forever. / I will wash the blood from your hands, / I will take out black shame from my heart, / I will cover with a new name / Pain of defeats and insults. / But indifferently and calmly / With my hands I blocked my hearing, / So that this unworthy speech / The mournful spirit would not be defiled.)

Yesenin "Goy you, Russia, my dear"(If the holy army shouts: / “Throw Russia, live in paradise!” / I will say: “Don’t need paradise, / Give me my homeland.”)

Block "Russia"(“poor Russia”, “gray huts”, “beautiful features”)
2) Reflections on the fate of your generation
Lermontov "Duma"(completely built on the author’s reflection on the characteristics of his contemporary generation. The generation of the lost, whose future is “either empty or dark.” He, like Blok, looks at his contemporaries “sadly.” And, if we talk about the historical context, then Lermontov’s generation - a generation of people who were quite noticeably pressed down by the regime of Nicholas I, people who were horrified by the execution of the Decembrists. Like Blok, the poet's contemporaries are children of the rather terrible years of Russia, those years that they do not choose.)
Tyutchev "Our Century"(A little later, F.I. Tyutchev wrote about his generation. In the poem "Our Century", the reader is again presented with a picture of an unfortunate generation that "craves faith ... but does not ask for it ..." Tyutchev writes about a man constantly being between shadow and light, finding which "murmurs and rebels", which is very similar to a man of the Blok generation, who is forced to live from war to freedom and from freedom to war. He talks about the morality of modern society. A mature 48-year-old man who has passed through many trials of life, he comes to the conclusion that "not the flesh, but the spirit has become corrupted in our days. " Modern man, according to the poet, "thirsts for faith ... but he does not ask for it." And this is due not to natural stubbornness, but to misunderstanding of the simple truth that any of us should believe in at least something.Unbelief, according to Tyutchev, creates chaos in thoughts and souls, makes a person doubt his abilities and often pushes him onto the wrong path, which sometimes sometimes impossible, but in order to to avoid such internal contradictions, it is enough just to let God into your heart, to feel his care and love, which, according to the poet, are the guiding stars in the life of every person.)

Block "Born in deaf years"(Dedicated to the First World War. The author admits that quite recently he himself advocated a change in the social system by force. But the revolution of 1905 showed how merciless people can be in relation to each other. Therefore, the author emphasizes that “now in the hearts, enthusiastic when There is a fatal emptiness." Blok had not yet forgotten the church postulates, in which the murder of one's neighbor is one of the mortal sins.)

MILITARY THEME

Akhmatova "Courage"(Akhmatova addresses the destitute, hungry and tired people, who, nevertheless, did not break under the weight of the military burden. “The hour of courage has struck on our watch, and courage will not leave us,” the poetess claims.)

Tvardovsky - poem "Vasily Terkin"("The battle is on - holy and right, / Mortal combat is not for the sake of glory - / For the sake of life on earth")

Simonov "Wait for me"(In the poem, he asks Valentina Serova, and with her thousands of other wives and mothers, not to despair and not lose hope for the return of their loved ones, even when it seems that they will never be destined to meet)

1.2 Folklore traditions in the poet's lyrics

“The poetics of the early Yesenin is connected, first of all, with the traditions of folk art. The poet began his career by imitating folklore. In his autobiography, he recalled: “He began to write poetry, imitating ditties. Songs that I heard all around me were placed to the verses ... ".?

The deep connection of the poet with folklore was not interrupted throughout his life. He collected ditties, of which he had about four thousand. S. Yesenin's mother was considered the best songwriter in the village, and her father also sang well. Grandfather Titov, who raised Yesenin, knew many songs by heart. Yesenin was familiar with the work of many Russian poets: Pushkin, Lermontov, Koltsov, Yazykov, Nikitin and others.

From childhood, the poet absorbed the everyday life of his native village: with songs, beliefs, ditties that he heard and which became the source of his work.

Already in his early poetry, S. A. Yesenin uses song and ditty motifs, images of oral lyrics, which changed somewhat under the poet's pen: new meaningful details appeared in the text, new image techniques appeared. Naturally, in his work, S. Yesenin was able to combine high poetry and living reality, the folklore-song beginning and individuality.

Yesenin usually set himself two tasks: firstly, he sought to preserve his original traditional spirit in the plot, and secondly, he made every effort to ensure that his composition sounded more original.

Yesenin uses elements of folklore poetics when revealing the characters of the hero, when depicting various moods, external details of the portrait, when describing nature and for conveying "color". His poetry has a folk-song character. What can the name of the first poetic collection of the poet "Radunitsa" speak about. The name and content of the collection is associated with a cycle of spring folk songs, which were called "Radovitsky" or "Radonitsky springs". They show the spring mischievous joy of young awakening life.

Studying the work of S. Yesenin, one can notice that the poet was also attracted by various love situations: inviting the bride for a date, betrayal of a sweet young man and the feelings of a young man caused by this event, reflections of a young girl about her unhappy fate, which signs of nature predict for her, and so on.

Before all the changes in Yesenin's creative practice, a method was developed associated with the introduction of his own lyrical hero into the traditional plot scheme. This can be seen in the example of the poem "Under the wreath of forest chamomile ..." (1911). The material for it was a folk song, which speaks of a girl who lost her ring and with it the hope of happiness:

I lost my ring

I lost love.

And for this ring

I will cry day and night.

Yesenin described this event as follows: he did not make the main character a girl who dreams of marriage, but a village carpenter who repairs a boat on the river bank and accidentally drops "a cutie's ring in a jet of foamy wave." The ring is carried away by a pike, and after this incident it is learned that the girl she loves has found a new friend. The poet, retelling the folklore plot, concretizes it, as a result of which new, author's images arise:

My ring was not found

I went from longing to the meadow,

The river laughed after me:

The cutie has a new friend.

New images "revived" the lyrical action, thus giving it a "shade of reality". This corresponded to the task of the poet at the first stage of his work with folklore. In the future, Yesenin began to adhere to other rules, creating works with an oral artistic basis. He began to strive to ensure that, without losing touch with the traditional text in its key moments, "depart from it" in the selection of poetic images and details. In this case, new verses appeared, only vaguely resembling the original. An example is the poem "The reeds rustled over the backwater ..." (1914). It echoes the well-known folk song "I remember, I was still a young woman."

On the basis of folklore, S. Yesenin also created a panoramic lyrical sketch, filling it with various figurative details collected from many folklore texts:

And at our gates

The girls are dancing.

Oh, bathed, oh, bathed,

The girls are dancing.

To whom is grief, to whom is sin,

And we are happy, and we are laughing.

Oh, bathed, oh, bathed,

And we are happy, and we are laughing.

("Lights burn beyond the river", 1914-1916)

Enthusiastic intonation is characteristic of many Yesenin works of folklore origin. In such a lyrical manner are written "Dark night, can't sleep...", "Play, play, talyanochka, raspberry furs...", "The scarlet color of dawn wove itself on the lake...". The special nature of the attitude of the young poet, brought up in a family where fun, a joke, a saying, a ditty were commonplace, played an influencing role in his work.

A new round of development in the folklore work of S. Yesenin dates back to 1915-1916. The poet turns to new genres in his creative practice: family, comic, calendar, ritual songs, trying to convey their genre features. S. Yesenin knew ritual poetry well. Both calendar and family rituals are reflected in his work. Broadly showing folk life, the poet could not pass by this form of folk culture that exists in Russian society. These are Shrovetide rites, Fomin's week, the magic of Ivan Kupala - they have firmly entered the poetic world of S. Yesenin:

Mother went to the Bathhouse through the forest,

Barefoot, with podtyki, wandered through the dew

I was born with songs in a grassy blanket

Spring dawns twisted me into a rainbow.

I grew up to maturity, the grandson of the Kupala night,

Witchcraft turmoil predicts happiness for me.

("Mother", 1912)

In 1918, a book of ditties collected by Yesenin was published, where he cites several works of his own composition. For example:

I was sitting on the sand

At the high bridge.

There is no better verse

Alexander Blok.

Bryusov is dancing along Tverskaya

Not a mouse, but a rat.

Uncle, uncle, I'm big

I'll be bald soon.

("I was sitting on the sand", 1915-1917)

For some time, S. Yesenin did not write in folk genres, and only in 1924-1925. in his poetry, song and ditty motifs will again “sound” (“Song”, “Oh, you, sleigh ...”, “Talyanka rash is loud ...”).

Often Yesenin, using the rich experience of folk poetry, resorts to the method of personification. Bird cherry "sleeps in a white cape", willows - cry, poplars - whisper, "a blizzard is crying like a gypsy violin", "spruce girls were sad", "like a pine tree tied with a white scarf", etc. But, in contrast from oral folk art, Yesenin "humanizes" the natural world. Sometimes the two descriptions are parallel:

green hair,

girl breast,

O thin birch,

What did you look into the pond?

("Green hairstyle ...", 1918)

This poem shows a young, slender birch tree, which is so likened to a girl that we involuntarily find ourselves "captured by feelings" caused by the separation of lovers. Such "humanization" is not characteristic of folklore.

It is worth noting that S. Yesenin often uses the symbolism of images. Some images are so loved by the author that they go through all his lyrics (birch, maple, bird cherry). Colors are also important in the author's poetry.

The poet's favorite colors are blue and blue. These colors enhance the feeling of the immensity of the expanses of Russia, create an atmosphere of bright joy of being ("blue that fell into the river", "blue evening, moonlit evening").

The most important place in Yesenin's work is occupied by epithets, comparisons and metaphors. They are used as a means of painting, they convey the variety of shades of nature, the richness of its colors, the external portrait features of the characters ("the fragrant bird cherry", "the red moon harnessed to our sleigh as a foal", "in the darkness the damp moon, like a yellow raven ... hovering over the earth " and etc.). An important role in Yesenin's poetry, as in folk songs, is played by repetitions. They are used to express the state of mind of a person, to create a rhythmic pattern. S. Yesenin uses repetitions with a rearrangement of words:

My soul is in trouble,

Trouble has befallen my soul.

("Flowers", 1924)

The poetry of Sergei Yesenin is full of appeals. And often - these are appeals to nature: "Lovely birch thickets!".

In the poem "Rus", in the poems "Patterns", "Mother's Prayer", S. Yesenin spoke with pain about the people's grief, about the sadness of the Russian village. And his feelings, his poems were consonant with ditties about the hated soldiery, about the fate of peasant boys in the war:

Walk warriors,

You last holidays.

The horses are harnessed

Chests are stacked.?

Thus, folklore helped S. Yesenin become a deeply popular poet, reflect the folk character of the worldview, convey the way of thinking of the people, their feelings and moods, and also instill new images of the landscape of Russian nature into literary and song creativity. Folklore for Yesenin was a source of understanding of life, national character, customs and psychology of the Russian people.

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Folklore traditions in the lyrics of A.S. Pushkin

For 19th century literature characterized by a broad appeal to oral folk art. A. S. Pushkin became the first poet of the 19th century, who widely showed all the richness and beauty of Russian folk culture. Songs and sayings, legends and riddles - all the heritage of the Russian people was included in the poet's works. From this poem and story did not lose their sublimity and refinement, on the contrary, they gained a lot from such influence.

Pushkin creates the story "The Captain's Daughter", in which he uses folk songs and proverbs as epigraphs to the chapters ("Take care of honor from a young age"), emphasizing with them the ideological meaning of the work. He creates his wonderful fairy tales, which manifested a deep understanding of the social essence of folklore, in particular, the satire of folk tales. Pushkin translated prose stories into verse and created a lot of originality in this area, for example, a kind of verse of a fairy tale about the priest and worker Balda.

Lermontov wrote a poem about the merchant Kalashnikov, using a song about Kostruk. Gogol achieves great success in creating a heroic, patriotic story using Ukrainian folklore ("Taras Bulba"). Songs were new A. V. Koltsova, which perfectly synthesized the features of the form and style of folk songs and the achievements of book poetry. The work of A. V. Koltsov continued the traditions of A. F. Merzlyakov, A. A. Delvig, N. G. Tsyganov and other poets who created at the beginning of the 19th century. folk songs. But he more organically mastered folklore poetics, and most importantly, the very spirit of folk poetry, as evidenced by such vivid images as the hero of the poem "Mower".
Deeply realistic use of folklore in creativity N. A. Nekrasova. The poet knew folk songs, fairy tales and legends from childhood. As a revolutionary democrat, he subordinated the use of folklore in his writings to the idea of ​​a peasant revolution. The image of Saveliy, the Holy Russian hero, like other characters in the poem "Who Lives Well in Russia", shows the poet's excellent knowledge of folk life and creativity. Folklore helped the poet to truthfully show the plight of the masses, their spiritual world, their high moral qualities. In his poem, Nekrasov created the image of a person who loves the people and their work, Pavlusha Veretennikov, in which the features of the famous folklorist P. I. Yakushkin are recognized:

He sang Russian songs smoothly / And he loved to listen to them ...

Nekrasov also owns such a beautiful song as "Troika" ("What are you greedily looking at the road"), and legends (about Kudeyar). Using folk motifs, the poet creates images of Russian women - Matryona Timofeevna and Daria. He widely refers to various folklore genres; songs, proverbs, riddles.

A vivid example of the use of folklore works is creativity A. N. Ostrovsky. Setting himself the task of creating a national repertoire of the Russian theater, Ostrovsky considered it necessary to write in the folk language. His plays often have proverbs as titles: “We will get along with our people”, “True is good, but happiness is better”; "Sufficient simplicity for every wise man." In a number of plays, such as "Poverty is not a vice," he showed folk customs and rituals. The images and speech of many of his heroes and heroines are imbued with song intonations (Katerina in the play "Thunderstorm"). In the wonderful fairy tale play The Snow Maiden, Ostrovsky used a folk plot familiar to everyone and created a poetic image of the Snow Maiden.
The best achievements of the work of realist writers formed the basis of the progressive traditions of Russian literature. Under their influence, writers of subsequent generations were formed. Song traditions were continued by poets, often not very talented and large, but close to folk art, which allowed them to create works loved by the people. These are I. Z. Surikov, the author of the song “Rowan” (“What are you standing, swinging ...”), D. N. Sadovnikov, a well-known collector of folklore, the author of the song “Because of the island on the rod”.
Each subsequent stage in the history of Russian literature gave a lot of new things in understanding the values ​​of folk art. A new stage in the development of realism in the late XIX - early XX century. introduced originality in the relationship between literature and folklore.
Thus, prose writers often used the form of a folk tale, and its satirical character became more and more intensified. The most striking example is given by "Tales" M. E. Saltykov-Shchedrin. The tales of S. M. Stepnyak-Kravchinsky took on an agitational character (“The Tale of the Penny”). More moralizing were the tales of V. M. Garshin, L. N. Tolstoy, N. S. Leskov. All these works were not intended for children, like the fairy tales of the writers of the first half of the 19th century. (S.T. Aksakov, V.F. Odoevsky and others), but were subordinated to the solution of important social issues.
The writers also used the form of the legend. N. S. Leskov wrote the legend "Non-lethal golovan" - about a person who owns an object with magical powers. V. G. Korolenko in the story "In the desert places" processed the legend of the invisible city of Kitezh.
Many prose writers of the late XIX - early XX century. on the basis of folklore traditions, images and plots, they created works of great ideological and artistic significance. You can call "Lefty" Leskov - an original work, saturated with caustic criticism of the tsarist arbitrariness and ruthless bureaucracy, which killed a talented Russian artisan. Using folklore expressive means, Korolenko creates images of strong, courageous people, such as Tyulin in the story "The River Plays". Often, writers depict the characters of people from the people by folk poetic means (Platov in "Lefty", Platon Karataev and Tikhon Shcherbaty in "War and Peace").
The appeal to folklore was widely manifested among writers who developed the form of the essay. The essay began to be addressed in the sixties by V.A. Sleptsov, F.M. Reshetnikov, A.I. Levitov and others, but it reached its brilliance later in the work of G.I. Drawing pictures of folk life, these writers were forced to turn to folk art both as an element of folk life and as an arsenal of such artistic means that would help depict folk life.

At the beginning XX century interest in "people's life, in Russian folk art, which characterized Russian culture at all stages of its development, has acquired special significance and relevance. Plots and images of Slavic mythology and folklore, folk popular prints and theater, songwriting of the people are comprehended in a new way by artists, composers, poets of various social and creative orientations.

Yesenin was associated with Russian nature, with the countryside, with the people. He called himself "the poet of the golden log cabin." Therefore, it is natural that folk art influenced Yesenin's work.

The very theme of Yesenin's poems suggested this. Most often he wrote about rural nature, which always looked simple and uncomplicated to him. This happened because Yesenin found epithets, comparisons, metaphors in folk speech:

Behind the smooth surface of the shuddering sky

Brings the cloud out of the stall by the bridle.

Sparrows are playful

Like orphan children.

Yesenin often used folklore expressions: “silk carpet”, “curly head”, “beauty girl”, etc. The plots of Yesenin’s poems are also similar to folk ones: unhappy love, fortune-telling, religious rites (“Easter Annunciation”, “Commemoration” ), historical events ("Marfa Posadnitsa").

Just like for the people, Yesenin is characterized by the animation of nature, the attribution of human feelings to it:

You are my fallen maple, icy maple,

Why are you standing, bending down, under a white blizzard?

Or what did you see? Or what did you hear?

As if you went out for a walk in the village.

Many of Yesenin's poems are similar to folklore in form. These are poems-songs: “Tanyusha was good”, “Play, play, talyanochka ...”, etc. Such poems are characterized by the repetition of the first and last lines. And the very structure of the line is taken from folklore:

Then do not dawn in the streams of the lake weaved your pattern, Your scarf, adorned with embroidery, flashed over the slope.

Sometimes the poem begins like a fairy tale:

On the edge of the village

old hut,

There in front of the icon

The old woman is praying.

Yesenin often uses words with diminutive suffixes. He also uses old Russian words, fabulous names: howl, gamayun, svei, etc.

Yesenin's poetry is figurative. But his images are also simple: "Autumn is a red mare." These images are again borrowed from folklore, for example, a lamb is an image of an innocent victim.

Yesenin's color scheme is also interesting. He most often uses three colors: blue, gold and red. And these colors are also symbolic.

Blue - the desire for the sky, for the impossible, for the beautiful:

Blue evening, moonlit evening

I used to be handsome and young.

Gold is the original color from which everything appeared and in which everything disappears: "Ring, ring, golden Russia."

Red is the color of love, passion:

Oh, I believe, I believe, there is happiness!

The sun hasn't gone out yet.

Dawn prayer book red

Prophecy good news...

Thus, we can say that Yesenin used many features of folklore, which for the poet was a conscious artistic method.

Poetry Akhmatova is an unusually complex and original fusion of the traditions of Russian and world literature. Researchers saw in Akhmatova the successor of Russian classical poetry (Pushkin, Baratynsky, Tyutchev, Nekrasov) and the recipient of the experience of older contemporaries (Blok, Annensky), put her lyrics in direct connection with the achievements of psychological prose of the 19th century (Tolstoy, Dostoevsky, Leskov)7. But there was another, no less important for Akhmatova, source of her poetic inspiration - Russian folk art. Akhmatova's early work is, first of all, the lyrics of a love feeling, often unrequited. The semantic accents that appear in Akhmatova's interpretation of the love theme are in many ways close to the traditional lyrical song, in the center of which is a failed female fate.

For example, in Akhmatova's poem "My husband whipped me with a patterned ...", the general lyrical situation of the poem is typologically correlated with a folk song: both the bitter fate of a woman given for an unloved one, and the folklore image of a "prisoner" wife waiting by the window his betrothed.

Husband whipped me patterned
Double folded belt.
For you in the casement window
I sit with fire all night.

It's dawning. And above the forge
Smoke rises.
Ah, with me, a sad prisoner,
You couldn't be again.

For you, I'm gloomy
I took my share...

The folklore tradition - especially the song tradition - largely influenced the poetic language and imagery of Akhmatov's lyrics. Folk poetic vocabulary and colloquial syntax, vernacular and folk proverbs are here an organic element of the language system.

Grief suffocates - does not suffocate,
Free wind dries tears
And fun, a little stroke,
Immediately cope with a poor heart.

From folklore, from folk beliefs and the image of flying cranes, carrying away the souls of the dead ("Garden", "Ah! It's you again ...", "So wounded crane ..."). It often appears in Akhmatova's work, carries an important semantic load and is associated either with the theme of departing love, or with a premonition of one's own death:

So wounded crane
Others are calling: kurly, kurly!
And I, sick, hear the call,

The sound of golden wings...
. . . . . . . . . . . . . . . . . .
"It's time to fly, it's time to fly
Over the field and the river.
'Cause you can't sing anymore
And wipe the tears off your cheeks
With a weakened hand."

The nature of metaphorization in Akhmatova's lyrics is connected with the poetic structure of folk songs.

That snake, curled up in a ball,
At the very heart conjures
That whole days like a dove
Cooing on the white window.

I'll jump on an alder tree like a gray squirrel.
I will run like a timid dove,
I will call you swan
So that the groom was not afraid
In the blue swirling snow
Wait for the dead bride26

Characteristic of Akhmatova's poetry are elements of ditty poetics:

I didn't close the window
Look straight into the chamber.
That's why I'm having fun today
That you can't leave.

INTRODUCTION

CHAPTER II. Folklore motifs in the lyrics of M.I. Tsvetaeva

Folklore motifs by Tsvetaeva

CONCLUSION

Bibliographic list

INTRODUCTION

Interest in the work of M.I. Tsvetaeva has not ceased for many years, not only literary critics, but also philosophers, art critics, and culturologists are studying her works. In this regard, the topic of our study remains relevant.

There are many publications related to the study of the life and work of M.I. Tsvetaeva, which experts divide into several approaches: - historical and biographical (worked in this direction: Saakyants A., 1997; Razumoovskaya M., 1983, Karlinsky S., 1966, 1985; Polyakova S., 1983; Pavlovsky A., 1989 ; Taubman D., 1989; Belkina M., Kudrova I., 1991, 1995; Schweitzer V., 1992; Losskaya V., 1992; Feiler L., 1998 and others); - linguistic (Lotman Yu., 1972; Zubova L., 1989; Revzina O., 1981, 1991; Makhalevich L., 1985; Simchenko O., 1985, etc.); - literary criticism (Faryno E., 1985; Elnitskaya S., 1990; Gasparov M., 1995; Korkina E., 1987, 1988; Etkind E., 1992, 1998; Kling O., 1992; Osipova N., 1995, 1997 ; Meykin M., 1997 and others); - translation (V. Ivanov, V. Levik, G. Mryanashvili, A. Lominadze, etc.)

However, the theme of folklore in the lyrics of M.I. Tsvetaeva remains popular, and the relevance of folklore trends in recent years is difficult to overestimate, folklore is considered as a source of education and human development, a way to transfer cultural foundations from generation to generation.

The purpose of our work is to study folklore motifs in the work of M.I. Tsvetaeva.

This goal determines the following tasks: to analyze the lyrics of M.I. Tsvetaeva 1910-1922; generalize the results obtained and identify folklore motifs in the texts of her works.

The object of the study is the work of M.I. Tsvetaeva 1910-1922

The subject of the study is folklore motifs in the lyrics of M.I. Tsvetaeva.

The main research method was the analysis of the works of M.I. Tsvetaeva, generalization and structuring of the obtained material.

The research material is collections of poems by M.I. Tsvetaeva, the work of researchers of her work.

Theoretical significance is the analysis of the works of researchers of M.I. Tsvetaeva, processing of the received material.

Practical significance - the materials of this work can be used in seminars.

The structure of the work reflects its main content and includes an introduction, two chapters of the main part, a conclusion, and a bibliographic list of references.

CHAPTER I. Creative biography of M.I. Tsvetaeva

Marina Ivanovna Tsvetaeva was born in Moscow on September 26, 1892. Father, Ivan Vladimirovich Tsvetaev, professor at Moscow University, who worked at the Department of Art Theory and World History, a well-known philologist and art critic, served as director of the Rumyantsev Museum. Mother - Maria Alexandrovna Mein, she came from a Russified Polish-German family, was a talented pianist.

1922 - Tsvetaeva in Russia

During this period, 4 collections were published: "Evening Album", "Magic Lantern", "From Two Books", "Versts". "Evening Album" - the world of first impressions, the world of first love. Happy and harmonious acceptance of the world in all its richness. The collection was not lost among the many works produced at that time. He was noticed by V. Bryusov, N. Gumilyov, M. Voloshin. These first verses may have been still immature, but many noted the sincerity and talent of the young poet. In the collection "Youthful Poems" Tsvetaeva quite consciously writes about herself as a poet. Gradually, the range of topics becomes wider: the theme of poetry, the theme of war, the theme of love. Often sharp, defiant intonations. These are no longer monologues of the poet, but an attempt to start a dialogue with the reader. In the collection Versta, Tsvetaeva recognizes herself as a Moscow poet. The theme of Moscow breaks in with the noise of the streets, with the voice of history. In the pre-revolutionary lyrics of M. Tsvetaeva, the inevitability of change is felt, but the changes that have come are painfully hitting Tsvetaeva: separation from her husband, death from starvation of her youngest daughter Irina, domestic disorder. In the new name of the country - the RSFSR - she heard something terrible, terrible and cruel, and declared that she could not live in a country consisting of only consonants.

1939 - Tsvetaeva in exile

In 1922, Marina Ivanovna left her homeland, already an established poet. The fundamental principles of Tsvetaev's poetics become: special lyrical expression; the detachment of the poetic "I" from the elements of everyday life; classifying themselves as "poets without history".

In emigration, Tsvetaeva did not take root, there were significant differences between her and influential emigrant circles. "I did not belong to any poetic or political direction and do not belong." Increasingly, her poems were rejected by Russian newspapers and magazines. “In the order of things here, I am not the order of things. They wouldn’t print me there - and read me, here they print me and don’t read me. The poem "Longing for the Motherland" has become a classic expression of Tsvetaeva's emigrant nostalgia.

1941 - Tsvetaeva in the USSR - tragic silence

In 1939, M. Tsvetaeva returned to her homeland, after 2 months her daughter Alya (Ariadna) was arrested, after some time S. Efron. Tsvetaeva and her minor son are left without a livelihood.

In connection with the beginning of the Great Patriotic War, Tsvetaeva and her son were evacuated to the small town of Yelabuga. For the last two years he has been writing almost nothing, he is engaged in translations. In 1941. S. Efron was shot, she did not know about the fate of her daughter, a strip of alienation grew between Marina Ivanovna and her son. The meeting with reading Russia did not take place...

In August 1941, she hanged herself, leaving three notes: to her comrades, the poet Aseev and his family with requests to take care of her son and Moore: “Purlyga! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Ala - if you see - that you loved them until the last minute, and explain that you are in a dead end.

The theme of our work correlates with the first stage of Marina Ivanovna's work, we will explore it in more detail.

In 1909, sixteen-year-old Tsvetaeva went to Paris on her own, where she attended a course in Old French literature. In 1910, with his sister Asya and his father, they settled in Germany, not far from Dresden, in the town of Weiser Hirsch. In the autumn of the same year, Marina Tsvetaeva released a collection of poems "Evening Album".

Despite the romantic mood of Tsvetaeva’s first book, her still quite childlike fairy tale, the main motives of Marina Ivanovna’s future work are already visible in it: life, death, love, friendship ... She sends her first collection to Bryusov, Voloshin, to the Musaget publishing house with "Please take a look." Favorable reviews of Bryusov, Gumilyov, Voloshin and others follow the collection. Voloshin is so amazed by the young talent that he decides to pay her a visit, and after a long and meaningful conversation about poetry, their long-term friendship begins.

In the spring of 1911, Tsvetaeva, without graduating from high school, went to Koktebel to Voloshin, where she met her future husband Sergei Efron. In 1912, she dedicates her second collection of poems, The Magic Lantern, to Efron. This collection was a continuation of the first, which caused disapproving reviews from critics. Hurt by critical reviews, Tsvetaeva wrote: "if I were in the shop, they would not swear, but I will not be in the shop." Marina Ivanovna, throughout her creative life, did not associate herself with any literary group, did not become an adherent of any literary movement. In her understanding, the poet should be alone. “I don’t know literary influences, I know human ones,” she claimed, and answered Bryusov’s review with the following lines:

I forgot that the heart in you is only a night light,

Not a star! I forgot about it!

What is your poetry from books

And out of envy of criticism. Early old man

You again to me for a moment

Seemed like a great poet...

(“V.Ya. Bryusov”, 1912)

Such a diary nature is inherent in all of Tsvetaeva's work, this property of her poetry is noted by almost all those who write about her. And Tsvetaeva herself, in the preface to the collection “From Two Books”, declares this feature of her poems as follows: “It was all. My poems are a diary, my poetry is the poetry of proper names.

In September 1912, Tsvetaeva had a daughter, Ariadna, to whom many of her poems are addressed.

In August 1913, the father of Marina Tsvetaeva died. Despite the loss, these years will be the happiest in her life. Under the pressure of negative criticism of her second collection, Tsvetaeva reflects on her poetic individuality. The ability to express in words the fullness of feelings, emotional pressure, inner spiritual burning, along with diary, become the defining features of Tsvetaeva's work. During this period of time, she writes poems inspired by people close to her in spirit: Sergei Efron, his brother, who died early from tuberculosis, Peter Efron. He turns to his literary idols Pushkin and Byron. The cycle of poems "Girlfriend" Tsvetaeva dedicates to the poetess Sofya Parnok, whom she admires.

The struggle between life and death, faith and unbelief constantly torments the restless soul of Tsvetaeva. She is happy, she loves and is loved, but she is tirelessly tormented by thoughts of the inevitable end of her life, and this causes a rebellion in her, a protest:

I won't accept eternity!

Why was I buried?

I did not want to land

From your beloved land.

After a trip to Petrograd, Tsvetaeva realizes herself as a Moscow poet and seeks to embody her capital in poetry and present it to her favorite Petersburg poets: Blok, Akhmatova, Mendelstam. Cycles appear: "Poems about Moscow"; "Akhmatova"; “Poems to Blok”, at the same time, folklore motifs, chanting and prowess of Russian songs, conspiracies, ditties appear in Tsvetaeva’s poems.

Since the spring of 1917, a difficult period has begun in the life of the poetess, Tsvetaeva is trying to hide from external problems in poetry. The period from 1917 to 1920 became incredibly fruitful in her life (she wrote more than three hundred poems, six romantic plays and a fairy tale poem "The Tsar Maiden").

In April 1917, Tsvetaeva gave birth to a second daughter. Marina Ivanovna wanted to name her Anna, in honor of Akhmatova, but changed her mind and called her Irina: "after all, fate does not repeat itself."

In September 1917, Tsvetaeva leaves for the Crimea to Voloshin, returns to Moscow in October and, together with Efron, leaving the children in Moscow, goes to Koktebel. Returning for the children, Tsvetaeva is forced to stay, returning to the Crimea is not possible. Thus began her long separation from her husband.

Tsvetaeva courageously endured separation and the most difficult living conditions. In the most difficult time, in the fall of 1919, in order to feed her daughters, she gave them to the Kuntsevsky orphanage. Soon Alya became seriously ill and had to be taken home, and on February 20, little Irina died of starvation.

Two hands, lightly lowered

On a baby's head!

There were - one for each -

I have been given two heads.

But both - clamped -

Furious - as she could! -

Snatching the elder from the darkness -

Didn't save the little one.

(“two hands, lightly lowered”, 1920)

The poems of 1916-1920 were combined in the book "Milestones" (1921).

The lyrics of these years are saturated with the confession of the heart, love, suffering, but the hope of meeting her husband begins to break through. For almost four years, Tsvetaeva had no news from him, and finally, in July 1921, she received a letter from him. In May 1922, Tsvetaeva sought to travel abroad. The emigrant period of her work begins.

Having studied the work of M.I. Tsvetaeva 1910-1922 we came to the conclusion that deprived of a Russian fairy tale in childhood, who did not have a nanny, traditional for a Russian poet (instead of her, bonnes and a governess), Tsvetaeva greedily made up for lost time. A fairy tale, an epic, spells, slander, a huge number of pagan deities, poured into her mind, poetic speech. Russian folklore did not need, difficult and long, to settle down in her soul: he simply woke up in her.

Marina Ivanovna owes her wealth of linguistic culture, first of all, to Moscow, since she did not know the village at all. The Tsvetaevs' house was surrounded by many Moscow people, whose dialect was mixed with the dialect speech of visiting peasants, wanderers, pilgrims, holy fools, artisans. Tsvetaeva, leaving the threshold of her father's house, from the German Bonn and the French governess, plunged headlong into this native linguistic font.

CHAPTER II. Folklore motifs in the lyrics of M.I. Tsvetaeva

Features of folklore texts

The term "folklore" was first introduced into scientific use in 1846 by the English scientist William Thoms. In a literal translation, Folk-lore means: folk wisdom, folk knowledge.

Initially, this term covered the entire spiritual culture of the people (dances, beliefs, music, woodcarving, etc.), and sometimes material (clothing, housing), i.e. folklore was treated as a part of folk life.

Researchers note several features inherent in folklore: collectivity, general distribution, following patterns (traditionality), functionality.

With the accumulation of more and more significant life experience in humanity, which had to be passed on to the next generations, the role of verbal information increased, as a result of which verbal creativity became an independent form.

Verbal folklore was inherent in folk life. The different purpose of the works gave rise to genres, with their various themes, images, and style. Most peoples had their own patrimonial gifts, labor and ritual songs, mythological stories, conspiracies. The line between mythology and folklore was laid by a fairy tale, its plot was perceived as fiction.

Literature appeared much later than folklore, and always, to one degree or another, used its experience: themes, genres, techniques. Folklore tradition is kept not only in folklore - it has been absorbed by literature for centuries. Folk tales, songs, beliefs, customs, games passed from generation to generation, and thus, the echoes of ancient mythology preserved in folklore have survived to this day.

Folklore tradition has been absorbed into literature for centuries. Folklore is an intermediate phenomenon, a link in the cultural space of centuries between mythology and literature. Literature appeared much later than folklore, and always, to one degree or another, used his experience: themes, genres, techniques are different in different eras. Author's fairy tales and songs, ballads appear in European and Russian literature. Due to folklore, the literary language is constantly enriched. .

The folklore of each nation is unique, just like its history, customs, culture. Nevertheless, many motives, images and even plots are similar among different peoples. Thus, a comparative study of the plots of European folklore led scientists to the conclusion that about two-thirds of the plots of fairy tales of each nation have parallels in fairy tales of other nationalities, and such plots began to be called "wandering".

The term "motive" in literary criticism has several interpretations. For the first time this literary concept was described by A.N. Veselovsky in "The Poetics of Plots", who understood the motive as the primary, indecomposable material for constructing the plot. In contrast to him, V.Ya. Propp proves the decomposability of the motive into its constituent elements and considers the primary element of the tale “the functions of the characters, i.e. the actions of the actor, defined in terms of their significance for the course of the action.

The folklore model, perceived as part of the culture of the people, becomes an organic component of the artistic world of the writer, who can consciously or intuitively embody it in his work. The act of implementing a folklore model in literary criticism is called folklore borrowing, among the main types of which are structural, motive borrowing, figurative borrowing, borrowing of artistic techniques and means of oral folk art.

Repeating or memorizing by ear is much more difficult than using paper. In order to memorize and retell or sing the work, the people developed special clues. These artistic techniques, polished over the centuries, create a special style that distinguishes folklore from literary texts.

Folklore texts always contain repetitions: “In a certain kingdom, in a certain state” or “Once upon a time there were.” Each of the genres of folklore has its own set of beginnings. Some genres have repeated endings. For example, epics often end like this: "Here they sing to the mind and glory." In a fairy tale, the case almost always ends with a wedding with a saying: "I was there, I drank honey-beer." In Russian folklore, there are other very diverse repetitions, for example, the same beginning of a line:

At dawn it was at dawn,

At dawn it was morning.

The repetition of the same groups of words in similar metric conditions is one of the fundamental features of oral folk art. These repetitions ensure the stability of folklore genres, thanks to them the text remains itself, regardless of who is performing it at the moment. Different narrators can change the order of the narration (rearrange lines, etc.), make additions or clarifications. Moreover, these changes are inevitable, so one of the most important qualities of folklore is its variability. However, as B.N. Putilov, “the category of variability is connected with the category of stability: something with stable characteristics can vary; variation is unthinkable without stability.” As mentioned above, this stability is created, among other things, due to the formulaic nature of the poetic language. The concept of formality was introduced by the American and English folklorists M. Parry and A. Lord. The theory they developed is also called oral theory , or the Parry-Lord theory . The problem of the authorship of the poems attributed to Homer Iliad And Odyssey prompted Milman Parry to undertake two expeditions to Bosnia in the 1930s, where he studied the functioning of the living epic tradition, and then compared the South Slavic epic with the texts of Homer. In the process of this work, Parry found out that the technique of oral epic storytelling involves the mandatory use of a set of poetic formulas that help the performer to improvise, writing large texts on the go. It is clear that the word compose in this case, it can be used only in quotation marks - the performer of folklore texts is not an author in the traditional sense of the word, he only joins ready-made elements of the text, formulas in his own way. These formulas already exist in culture, the narrator only uses them. The formulaic character is not only distinguished by epic poetry, it is inherent in folk art as a whole.

In all genres of folklore, there are also common (typical) places, faces, characters.

For example, in fairy tales, the fast movement of a horse: “The horse is running - the earth is trembling”; in the epics: “They only saw a good fellow when they went”, the “politeness” (politeness, good breeding) of the hero is always expressed by the formula: “he laid the cross in the written way, but he bowed in a learned way”; the beauty of a hero or heroine is expressed in the following words: “Neither in a fairy tale to say, nor to describe with a pen”; the command formulas are also repeated: “Stand before me, like a leaf before grass!”.

Definitions are repeated in folklore texts - epithets: the field is clean, the grass is green, the sea is blue, the month is clear, the earth is damp, the chambers are white stone, the good fellow, the red maiden. These epithets are inseparably connected with the word being defined, they grow into the noun they characterize.

Other artistic techniques also help with listening comprehension, for example, stepwise narrowing of images. Both the hero and the event are placed, as it were, in the very middle of a brightly lit scene.

A hero can also stand out with the help of opposition. At the feast at Prince Vladimir, all the heroes went wild:

And how they sit here, drink, eat and brag,

But only one sits, does not drink, does not eat, does not eat ...

Folk motifs are found in the work of many great Russian writers and poets: V.A. Zhukovsky in the ballad "Svetlana"; folklore basis of the works of A.S. Pushkin "Ruslan and Lyudmila", "The Captain's Daughter"; M.Yu. Lermontov's fairy tale "Ashik-Kerib", created on the basis of the folklore of Transcaucasia; N.V. Gogol “Evenings on a farm near Dikanka;

ON THE. Nekrasov. “The poem “To whom it is good to live in Russia” is a truly folk work; M.E. Saltykov-Shchedrin Satirical Tales; A.K. Tolstoy's novel "Prince Silver"; in many poems by S. Yesenin there are folklore motifs.

Marina Ivanovna Tsvetaeva also turned to folklore in her work.

Folklore motifs in the work of M.I. Tsvetaeva

Collection of poems "Versta" M.I. Tsvetaeva was published in two books, thus emphasizing the connection between the two creative stages. In one were collected works of 1916 (it was published in Moscow in 1922). The second "Versts" included part of the poems written in 1917-20s (this collection was published in Moscow in 1921).

The poems included in "Versts" largely determined the further development of her talent.

The self-perception and perception of the world by the lyrical heroine Tsvetaeva has changed. She appears in all facets of her rebellious nature, full of love and difficult experiences:

folklore lyrics by Tsvetaev

This happened to me

That thunder rumbled in winter

That the beast felt pity

And that the mute spoke.

Joseph Brodsky defined the lyrical feature of Marina Tsvetaeva's intonation as: "the desire of the voice in the only direction possible for it: up." Brodsky explained the reason for this phenomenon by Tsvetaeva's work with language, her experiments with folklore. Various language formulas inherent in folklore can be traced in many works by M.I. Tsvetaeva, mainly in poems of the second half of the 1910s (collections: "Milestones"; "Poems about Moscow"; "Poems to Blok; "Poems to Akhmatova" and some others). Researchers of Tsvetaeva's work note the closeness of the features of Tsvetaeva's poetics with the genres of oral folk art. Tsvetaeva seeks to dissolve her "I" in various images of the surrounding world, appearing to readers in the form of fairy-tale and historical characters, finding in their destinies a particle of her own destiny. From the poems "Verst" it is clear what a huge intonational variety of folk speech culture has entered Tsvetaeva's poetic ear. Her style becomes focused on the Church Slavonic and folk song layer. In her poems, folklore motifs, melodiousness and prowess of Russian songs, conspiracies, ditties appear that were not characteristic of her before.

Opened the iron chest,

She took out a tearful gift, -

With a large pearl ring,

With large pearls.

The cat crept onto the porch,

She showed her face to the wind.

The winds were blowing, the birds were flying,

Swans on the left, crows on the right...

Our roads are in different directions.

(“Opened the iron chest...”, January 1916)

Orientation to folk divination in the poem “Opened the iron chest...” deprives personal experience of individual psychologism and turns a specific plot into an archetypal one. Separate meetings and partings receive a generalized interpretation in the verses of the collection.

Lyrical heroine, poems by M.I. Tsvetaeva, uses vernacular and dialectisms in her speech:

That is not the wind

Drives me through the city

Oh, it's the third

Evening I smell the enemy.

("Gentle Ghost", 1916)

In addition to the construction typical of folk songs, with negation and the word “that” and the vernacular, creating intonation lament “oh, already”, Tsvetaeva in this stanza also uses a rare form of the word “enemy” - “enemy”, which in Ushakov’s dictionary stands with litter "Region, nar. - poet." Thus, an ordinary, widespread word acquires an unusual, alien sound for the reader's ear. .

Comparing Tsvetaeva’s poems with folklore, one should also note the abundance of traditional poetic vocabulary in her works, including numerous epithets (“with his keen eye - a lad”, “dense eyes”, “golden-eyed bird will stare”, “lovable-lead-speech”, “ steep coast”, “gray waters”, “wonderful city”, “crimson clouds”, etc.)

A strange illness happened to him

And the sweetest one found dumbfounded on him.

Everything stands and looks up,

And sees neither stars nor dawns

With his keen eye - a lad

And doze off - eagles to him

Noisy-winged flock with a scream,

And they have a marvelous argument about it.

And one - the lord of the rock -

He ruffles his curls with his beak.

But dense eyes closed,

But his mouth is half open - he sleeps for himself.

And does not hear the night guests,

And he does not see how the vigilant beak

The golden-eyed bird will wake up.

Even in the descriptions of everyday, everyday situations, Tsvetaeva includes language formulas characteristic of folklore genres. So, in the poem "Gathering loved ones on the road ...", which deals with ordinary farewells on the road, the lyrical heroine conjures natural elements so that they do not harm her loved ones. Turning to external forces, on which a lot depended in a person's life, was completely natural for folk culture. Based on these appeals, a special genre of conspiracy has developed. He assumed the pronunciation of the necessary words in a strictly defined order. Tsvetaeva in her plot uses a form of address typical of this genre - the phenomena of inanimate nature act in her as living beings that can be influenced:

You tirelessly, wind, sing,

You, dear, do not be cruel to them!

Gray cloud, do not shed tears, -

As for the holiday they are shod!

Pinch your sting, snake,

Throw, robber, your fierce knife ...

In these lines, the epithets are after the word being defined (“gray cloud”, “your fierce knife”). A similar type of linguistic inversion is found in many of Tsvetaeva’s poems (“gray day”, “radiant peace”, “dark night”, “about a young swan”, “Silver, confused, evening pigeons ...”, etc.), it is characteristic and the genre of folk song - as V.N. Barakov, “Russian song is characterized by post-positive (after defined words) use of epithets”.

The objective world into which Tsvetaeva immerses her reader is also connected with traditional culture - it seems to have “migrated” into her poetry from folk tales, legends and other folklore genres. Here are silver, pearls, rings, divination, canopy, porch; here are wanderers, pilgrims, nuns, holy fools, healers, etc.

In the poems of Marina Tsvetaeva, as well as in folk poetry, there are many references to animals and birds. Note that, as in folklore, the poet speaks of animals, but he means people. In this one can see, on the one hand, the image traditional for folklore of the miraculous wrapping of a person into an animal or bird, and on the other hand, a poetic device, a hidden comparison. As in folk art, Tsvetaeva most often has images of a dove, a swan, an eagle:

I baptize you for a terrible flight:

Fly young eagle

My feeder! Swan

Are you good at flying?

My mother's blessing

Above you, my plaintive

crow

snow swan

Feathers spread under my feet

All these characters seem to have put on masks, the lyrical heroine Tsvetaeva does not lag behind them, she tries on different roles.

In the poem "Over the blue of the groves near Moscow ...", she is a "humble wanderer":

And I think: someday I

I will put a silver cross on my chest,

I will cross myself and quietly set off on my way

On the old road along the Kaluga.

(“Over the blue of the groves near Moscow ...”, Trinity Day 1916)

And in the poem “I go out onto the porch - I listen ...” the heroine is a fortune teller:

I go out onto the porch - I listen,

I tell fortunes on lead - I cry.

In "The Eve of the Annunciation ...", she is a "warlock":

So that she does not come out, like me, - a predator,

Warlock.

In the poem “The day will come - sad, they say!”, The main character takes on the appearance of a Moscow noblewoman:

And nothing is needed from now on

To the newly deceased noblewoman Marina.

Because of this game of dressing up, M.L. Gasparov defined Tsvetaeva's mature poetry as "role-playing" or "playing" lyrics. In this feature of Tsvetaeva's poetics, one can see a relationship with folk culture. MM. Bakhtin noted in his works: "one of the obligatory moments of folk fun was dressing up, that is, updating clothes and one's social image." But Tsvetaeva's characters are not just reincarnated, they literally get used to various images.

Another of Tsvetaeva's tricks is a comparison expressed by a noun in the instrumental case. Using this technique, Tsvetaeva achieves the maximum approximation of the compared objects.

The cat crept onto the porch,

exposed the face to the wind...

In folklore texts, when compared in the instrumental case, as a rule, a person is compared with an animal or plant:

And I'm a street - a gray duck,

Through the black mud - quail,

I'll go under the collar - a white swallow,

I’ll go into a wide yard - an ermine,

I'll fly up on the wing - like a clear falcon,

I will ascend into a high tower - a good fellow.

Thus the world of people is inseparable from the world of nature; this is not just a grammatical device - it reflected the traditional folk culture idea of ​​the unity of these two worlds, according to which what happens in people's lives is similar to what happens in the natural world.

A.N. Veselovsky called such a compositional feature inherent in many folklore works parallelism, and its most common type - two-term parallelism. Its general formula is as follows: “a picture of nature, next to it is the same from human life; they echo each other with a difference in objective content, there are consonances between them, clarifying what they have in common. For example:

A branch broke off

From the garden from the apple tree,

The apple rolled back;

The son leaves the mother

To the far side.

Not a white birch bends down,

Not a staggering aspen made a noise,

A good fellow is killed with a twist.

M.I. Tsvetaeva uses this technique deliberately. From the first issue of Versta:

Planted an apple tree

Little fun

Old - youth,

The gardener is happy.

Lured into the upper room

White dove:

Thief - annoyance,

The hostess is a delight.

She gave birth to a daughter -

The sun is hair.

On top of the girls

On top of the good guys.

The poem consists of three stanzas. In the first two stanzas, the actions of the unnamed heroine of the poem are aimed at the world around her (“I planted an apple tree ...”; “I lured me into the upper room / White turtledove ...”), it also talks about the results of these actions, for third parties (“Small - fun , / For the old - youth, / For the gardener - joy "; "To the thief - annoyance, / To the mistress - delight"). However, the main actions take place in the third, largest, stanza of the poem, thus, the author brings his work closer to folklore, because. “in folklore texts, the predominance is on the side of the motive that is filled with human content” A.N. Veselovsky.

The third stanza describes an action directed at a person, in this case a daughter. As in the first two stanzas, the beginning of the third stanza refers to the action itself ( Gave birth to a daughter - / Blue very women ), and then about how this action will affect others ( On the mountain for the girls, / On the mountain for the good fellows ). The phenomena of the natural world, as in the first two stanzas, do not leave the third stanza: “daughter” is compared with a dove and the sun ( Gorlinka - with voice, / Sunny - with hair).

One of the main features that bring together the work of M. Tsvetaeva with folklore is numerous repetitions, in connection with which M.L. Gasparov wrote about the "refrain" of her poetry.

The researcher noted that “... the principle of repetition is the most important in the composition of a traditional folk lyrical song. This principle is entirely and quite consistent with the peculiarities of its syntax and melodic structure. The compositional principle of repetition is most clearly manifested in round dance songs, where it is supported by the repetition of certain actions, round dance movements. As an example, Lazutin cites the song “The street is narrow, the round dance is big”, it begins with the following stanza:

The street is narrow, the round dance is big,

Move apart when I, young, played out!

I amuse my father,

Angry father-in-law fierce.

Further, this stanza is repeated four more times, but the characters change. In place of the father and father-in-law, there are “dear mother” and “fierce mother-in-law”, “dear brother” and “fierce brother-in-law”, “dear sister” and “fierce sister-in-law” and, finally, “dear friend” and “hateful husband”.

In many poems M.I. Tsvetaeva, such repetitions are one of the main compositional techniques. Here are some examples:

Do not love, rich, - poor,

Do not love, scientist, - stupid,

Do not love, ruddy, - pale,

Do not love, good, - harmful:

Golden - copper half!

Youths are hot

Young men - blush,

Young men shave their beards.

Accustomed to the steppes - eyes,

Accustomed to tears - eyes,

Greens - salty -

Peasant eyes!

In the poem "Eyes" all subsequent stanzas end with the same word, which is placed in the title - thus, the content of the main, for the poem, image is gradually revealed. At the same time, as in the song chorus, Tsvetaeva offers the reader different options: her eyes are either “green” or “peasant”. In the third stanza, there is no definition at all - it ends with the phrase "downcast eyes."

It should be noted that Tsvetaeva's repetitions perform a function that differs from their function in folklore texts. They create the impression of the instability of the poetic word, its variability, the constant search for the right word to express this or that thought, this or that image. As M.L. Gasparov, “... in Tsvetaeva ... the central image or thought of the poem is the repeating formula of the refrain, the stanzas preceding the refrains lead to it each time from a new side and thereby comprehend and deepen it more and more. It turns out trampling in one place, thanks to which the thought does not go forward, but deeper - the same as in later verses with stringing words that clarify the image. In this case, the meaning of the central concept can be clarified:

Sleep, calm down

Sleep, honored

Sleep, crowned

To my hand, which I will not withdraw,

To my hand, from which the ban is lifted,

To my hand that is no more...

Or the idea of ​​the central concept deepens due to the refinement of its sound:

But my river - yes with your river,

But my hand is yes with your hand

They will not converge, my joy, until

Dawn will not catch up - dawn.

I. Brodsky writes about the same feature of Tsvetaeva's poetics, which implies a constant search for the right, more accurate word. Analyzing the dedicated R.M. Rilke's poem "New Year", Brodsky especially highlights the following lines:

First letter to you on a new

Misunderstanding that cereal -

(Green - ruminant) loud place, sonorous place,

Like Aeolian empty tower.

Brodsky calls this passage "a wonderful illustration, characteristic of Tsvetaev's work of multifaceted thinking and the desire to take into account everything." According to him, Tsvetaeva is a poet who "does not allow herself or the reader to take anything on faith." She "has nothing poetically a priori, nothing questioned ... Tsvetaeva all the time, as it were, struggles with the notorious authority of poetic speech."

Thus, we come to the conclusion that Tsvetaeva's adherence to the tradition of folk poetry turns out to be purely formal. The appearance of repetitions is due to the peculiarities of her poetic thinking, meets her own creative tasks, and is not at all only a consequence of external copying. The stylization of other techniques of folk poetry does not prevent the manifestation of a bright author's individuality in Tsvetaeva's poetry, which is basically impossible in folklore. We will never confuse her poems with the works of oral folk art. Rhythmic, thematic, lexical and other distinctive features of folk poetry Tsvetaeva skillfully combines with what distinguishes her poetic language (numerous caesuras, transfers, etc.). Not typical for folklore and themes stylized as folk poems, Tsvetaev's poetry.

We can assume that the appearance of folklore motifs in the work of Marina Ivanovna is due to her interest, her deeply personal attitude to her own and other people's work, to the world around her.

CONCLUSION

After analyzing the work of M.I. Tsvetaeva and the work of researchers of her work, summarizing the results obtained, we have identified folklore motifs in the texts of her works.

Having studied folklore motifs in the work of M.I. Tsvetaeva came to the conclusion that folklore, in the proper sense, did not have a decisive influence on the work of the poetess. She created her poetry including the motifs of the genres of folk poetry. Marina Tsvetaeva - the poet cannot be confused with anyone else. Her poems can be unmistakably recognized - by a special race, unchanging rhythms, different intonation.

Marina Tsvetaeva is a great poet, and her contribution to the culture of Russian verse in the 20th century is very significant. Among the created by Tsvetaeva, in addition to lyrics, there are seventeen poems, eight poetic dramas, autobiographical, memoir, historical-literary and philosophical-critical prose.

The work of Marina Ivanovna is difficult to fit into the framework of the literary current, the boundaries of the historical period. It is unusually original and always stands apart. Some are close to her early lyrics, others - lyrical poems; someone will prefer poems - fairy tales with their mighty folklore overflow; some become fans of tragedies imbued with modern sounding on ancient subjects; some people think the philosophical lyrics of the 1920s are closer, others prefer prose or literary writings, which have absorbed the uniqueness of Tsvetaeva's artistic worldview. However, everything written by her is united by the powerful force of the spirit that permeates every word.

REFERENCES

Brodsky I. "About one poem". // Works of Joseph Brodsky in 4 vols. St. Petersburg: Pushkin Fund Publishing House, 1995. Vol. 4. P. 88; 89; 90.

Veselovsky A.N. Historical poetics. M., 1989.

Gasparov M.L. Marina Tsvetaeva: from the poetics of everyday life to the poetics of the word. // About Russian poetry: Analyzes: Interpretations. Characteristics. SPb., 2001. p. 136-149.

Gusev V. E. A. N. Veselovsky and problems of folklore. - Proceedings of the Academy of Sciences of the USSR. LA. M., 1957, v. 16, no. 2, p. 114-128.

Zhizhyna A.D. The secret of the poem: To the 100th anniversary of the birth of M.I. Tsvetaeva // Russian language in the CIS. - No. 7-8-9 (1992). - from. 30-32

Korkina E.B. Lyrical plot in the folklore poems of Marina Tsvetaeva // Russian Literature. - No. 4 (1987). - from. 161-168.

Lazutin S. G. Poetics of Russian folklore. Moscow: Higher school, 1981.

Lazutin S. G. Questions of folk poetic symbolism in the interpretation of A. A. Potebnya. - Tr. Voronezh, Mrs. university Voronezh, 1958, v. 51, p. 99-110.

Lvova S.I. The originality of repetition in the poetry of M. Tsvetaeva // Russian speech. - No. 4 (1987). - from. 74-79.

The main problems of the epic of the Eastern Slavs. M., 1958.

Poetics of the Art of the Word. Sat. Voronezh, 1978.

Russian folklore. M.-L., 1974, issue. fourteen.

Russian folklore / Comp. and note. V. Anikina. M.: Artist. lit., 1986. p. 113; 115-116.

Saakyants A., Gonchar N.A. "The Poet and the World": About Marina Tsvetaeva // Literary Armenia. - No. 1 (1989). - from. 87-96.

Folklore as the art of the word. M., 1969, no. 2.

Tsvetkova N.E. Lexical repetition in poetic speech // Russian language at school. - No. 1 (1986). - from. 63-68.

Chervinsky P.P. Semantic language of folklore tradition / Ed. ed. T.V. Tsivyan. - Rostov: Ed. Rostov. un-ta, 1989. - p. 192-215

Etkind E. About M. Tsvetaeva's poems "Your name is a bird in your hand ..." and "Who is created from stone, who is created from clay ..." // Silver Age. Poetry: A book for student and teacher. - M.: AST Olympus, 1996. - p. 656-659. - (Series "School of the Classics").

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UDC 821.161.1 E. A. ZHIRKOVA

THE IMAGE OF THE MOTHERLAND IN THE EARLY LYRICS OF ALEXANDER BLOK: LINGUOPOETICAL ASPECT

The author refers to the theme of the Motherland in the works of A. A. Blok, compares the embodiment of this image in early and late lyrics, reveals Pushkin's traditions in the interpretation of the theme. The analysis of poems allows revealing the peculiarities of the author's poetic perception. Key words: early lyrics by A. Blok, the image of the Motherland, Pushkin's traditions.

UDK 821.161.1 E. A. ZHIRKOVA

MOTHERLAND IMAGE AT ALEXANDER BLOK EARLY LYRIC POETRY:

LINGVOPOETICAL ASPECT

Author addresses the theme of Motherland in the works of A. Blok, maps the embodiment of that image in the early and late lyrics, reveals the Pushkin tradition in the interpretation of the theme. Analysis of poems to reveal the features of poetic perception of the author.

Keywords: A. Blok's early poetry, Motherland image, Pushkin tradition.

The poet’s own numerous statements serve as a kind of key to revealing the unique Blok approach in creating the image of the Motherland: “The Motherland is a huge, dear, breathing creature, similar to a person, but infinitely more comfortable, affectionate, helpless than an individual person ... The Motherland is ancient, infinitely ancient being, large; therefore clumsy, and he himself will never count his strength, his capabilities, since they are scattered over mother earth ”; “We were bequeathed in fragments of Russian literature from Pushkin and Gogol to Tolstoy, in the sighs of exhausted Russian public figures of the 19th century<...>a huge concept of a living, powerful and new Russia” (vol. 8, p. 277); “Twilight, the extreme village hut goes into the ground with one rotten corner; on the crumpled stubble - a thin horse, the tail fluttering in the wind; the end of a pole protrudes high from the spindle; and all this is majestic and solemn to tears; this is ours, Russian” (5, 519); “Here is Russian reality - everywhere you look - the distance, blue and aching longing of unfulfilled desires” (vol. 5, p. 74).

The quoted words of Blok refer to the late period of his work (1906-1915), but the poetic image of the Motherland appears already in the earliest poems. This image absorbed features that would later develop and become stronger in the poems "Rus", "Russia", the cycle "On the Kulikovo Field".

In the 1898 poem "I strive for a luxurious will," Blok draws a space that is very similar to the vast expanses of Russia:

I aspire to luxurious will,

Rushing to the beautiful side

Where in a wide open field

Well, like in a wonderful dream. (vol. 1, p. 9).

The signs of this space are devoid of mystical content, it is characterized by emphasized earthly features, and we unmistakably recognize that this space is typically Russian, national. This impression is reinforced by Blok's use of folk poetic definitions traditional for Russian folklore: "in a wide open field", "toward the beautiful side", etc. Not only visual, but also sound images are clearly specific, and Blok finds a way to enhance it: " Forever a light rustle is heard: The ear is tending. The noun "rustle", due to its semantics and phonetic design, in itself evokes sound associations. But it seems to Blok that this is not enough, and after the first sentence he puts a colon, thereby explaining

where does this rustle come from, what creates it. The visual image helps to see a picture of a ripening grain field, heavy ears full of grain, swaying under a light, warm breeze. This visual-sound image was so dear to Blok, was, according to the poet, so characteristic of the image of Russia that 16 years later, in the poem “The Last Parting Word”, Blok will carefully preserve it, filling it with new, even more expressive colors:

No ... more forests, glades,

And lanes, and highways,

Our Russian road

Our Russian fogs

Our rustlings in the oats... (vol. 3, p. 280).

Returning to the poem “I strive for a luxurious will”, we note that the verbs of movement, bright, expressive, are used by Blok only in the first two lines (“I strive for a luxurious will, I rush to the beautiful side”). However, the whole described picture is perceived as an image full of internal dynamism. This effect of continuous movement arises due to the semantically peculiar ring composition of the poem: at the beginning - impetuous verbs of movement, at the end - emotionally colored, semantically absorbing the idea of ​​movement "The way is far!". So there is a feeling of openness of space, its infinity.

The poetic syntax of the poems that depict pictures of native spaces is distinguished by clarity and simplicity. Almost completely absent are complex syntactic constructions designed to convey a multifaceted complex of authorial, often conflicting impressions and associations. V. V. Vinogradov wrote about the stylistic significance of the “refusal” of certain means of linguistic expression. It is obvious that in Blok's poetry, where everything is important, down to punctuation marks, such refusals are extremely significant. Drawing the image of the Motherland dear to him, Blok chooses simple, slightly complicated structures that create an atmosphere of harmony and peace:

Still pale dawns in the sky, A rooster crows far away. In the fields in the ripening bread, the worm lit up and went out.

The alder branches darkened, A light flickered across the river. Through the fog, a magical and rare Invisible herd galloped (vol. 1, p. 241).

The poem draws attention to the special nature of metaphor: the metaphors used are distinguished by some ingenuity. Created on the basis of a direct meaning, they are characterized by a traditional, familiar meaning transfer scheme: “the light blinked”, “the worm lit up and went out”. The use of nouns with diminutive suffixes gives even more warmth to the images that have arisen from these living, “material” metaphors. The general subject orientation of the metaphors of this poem is determined not only by the materiality of the specific meaning underlying them, but also by the general subject background, which is created, first of all, by the abundant use of words in the main, direct nominative meaning in the context of the entire work (dawns, sky, shepherd, sing, fields, bread, darken, alder branches, etc.). Simplicity in this case is evidence of the highest poetic skill of Blok, this is the classical simplicity that we find in the best poems of Pushkin, Lermontov, Tyutchev, Yesenin.

An unusual, extremely expressive path is an amazingly beautiful comparison: “Through the mist, enchanting and rare / Invisible herd galloped.” The comparison of the "invisible" in the reader's imagination has something in common with something fabulous, ghostly, fantastic. If we consider this comparison in the system of figurative means of the Block, it will be associated with them, supplemented by them and enriched. In the context of the poem, the figurative representation expressed by this comparison is supported by the content of the previous metaphorical epithets: enchanting and rare, which are also associated with magic, enchanting vision. The comparison considered does not so much convey a logically complete thought, but rather complements the author's feeling through a figurative representation - a joyful feeling of the wisdom and beauty of native nature, embodied in the living beginning of Russian folk life.

In the description of the semantic field "Motherland", one of the key lexemes throughout the entire work of Blok is the word "song". Already in the early verses, a song, a drawn-out melody, is an invariable poetic attribute of the image of the Motherland: “The clouds opened up, the moon rose, // A song sounded from afar” (vol. 1, p. 54), a symbol of spiritual enlightenment, a beacon on the path to truth. It is no coincidence that the song melody appears as the last link in the synonymic chain of images that paint a picture of calm and tranquility in nature (“the clouds have opened”, “the moon has risen”). The tonality of the image created by Blok is close to Pushkin's perception of a folk song:

Sing me a song like a titmouse

Lived quietly by the sea.

Sing me a song like a damsel

She followed the water in the morning.

And we were captivated in the distance

The horn and the song are remote.

Blok associates the character of Russian life with the special sound of Russian folk songs, more often sad and lingering:

I ride sad fields

I repeat the sad tune (vol. 1, p. 241).

The motif of the road Russian melancholy is enhanced by Blok due to the adjective “sad”, repeated twice, which is used both in direct and figurative meaning: “sad tune” - sad, full of sadness, defiant, evoking sadness; “sad fields” - fields that evoke sad thoughts with their scarcity, poor, barren fields as a symbol of poor Russian life (cf .: Lermontov’s “barren fields”, “trembling lights of sad villages”). The block recreates all possible meanings of the word "sad", causing a chain of associative images. The variability is enhanced due to the possibility of a double interpretation of the verb "I repeat". “I repeat the sad tune”, i.e. I repeat the same melody “I perform the same thing again”, and then “repeat” refers only to the concept of “chant”. But, given the variety of semantic content of the adjective "sad", the reader can perceive the verb "repeat" as "reflect, reproduce" in the song what I see and feel. The sadness of the fields gives rise to song sadness. In this case, the verb “repeat” brings the song and life even closer, making them identical to each other in a certain sense.

The Russian song evokes a double feeling in Blok: it torments the soul with its melancholy and hopelessness, but it is also a moral guide on the way, a source of strength and hope:

But sorrow was filled in response

Soul tormented by song (vol. 1, p. 54).

And there, far away, from behind the thicket of the forest Some song is being sung. And it seems: if the voice was silent, It would be difficult for me to breathe, And the horse, snoring, would fall on the road, And I would not be able to gallop (vol. 1, p. 37).

The verb "full" in this case is contextually close to the lexeme "I repeat" ("I repeat the sad tune") in the second meaning - "I reflect, reproduce". The soul is filled with grief, which sounds in the song, which, in turn, repeats the sadness of the Russian fields. Thus, the song for Blok is one of the main links between folk life and soul. Key words expressing the essence of this interaction: life - song - soul.

The feeling of the duality of the perception of a folk song (torments the soul and inspires hope) will be preserved in the late Blok and will be expressed by the textbook:

And the impossible is possible, The road is long and easy... When the dull song of the coachman rings with melancholy! .. (vol. 3, p. 84).

The best poetic colors of Blok are given to the song, with the song of which the warmest and purest associations are associated. But even to express his loneliness, constant, tormenting the soul, the poet turns to this image:

But to say - you will not hear the answer. Like a song, having flown around the whole world, Returned, not warmed by anything (vol. 1, p. 466).

A song that reflects the soul of the people is always close to Blok. Even if the attributes of such a song are very prosaic, Blok knows how to fill them with real poetry:

Rest under the roof of a tavern.

Will I sing about my luck

How I ruined my youth in hops ...

I will cry over the sadness of your fields,

I will love your space forever... (vol. 2, p. 75).

“The Voice of Drunk Russia” is a metaphorical image of folk reckless fun, desperate drunken prowess (cf .: Lermontov’s “Ready to watch until midnight // At the dance with stomping and whistling // To the voice of drunken peasants”). Noteworthy is the verb "to have a rest" next to "tavern" in the sense of "an institution of the lowest category". The aesthetic sense of the author is not only not offended by the surrounding atmosphere, but, on the contrary, only here the poet can "rest", that is, he feels free and easy, listening to the sound of the people's soul, accepting this sound, finding in it a close, native beginning.

For Blok, as for any truly Russian poet, the external poverty, even the wretchedness of Russian life, and its spiritual purity are sweet:

Russia, impoverished Russia,

I have your gray huts,

Your songs are windy for me -

Like the first tears of love! (vol. 3, p. 84).

Along with the song, the cranes become a symbol of Russia both in the early and late works of Blok: “The cranes took off to the south // With a long weeping village” (1, 54). The comparison of a “drawn-out weeping village” due to the use of the noun “village” in one of its main meanings - a flock of birds (usually migratory), draws a visible and very concrete image. At the same time, the dominant feature in this comparison is the complex definition of “long crying”, which creates the effect of space receding into the distance, the effect of our holistic perception of the image of the Motherland, with its endless expanses, transparent autumn sky and, of course, the sad wedge of cranes:

And for a long time under the barn

We are watching closely

Behind the summer of cranes ...

Flies, flies at an oblique angle,

The leader rings and cries...

What does it ring about, about what, about what?

What does autumn crying mean? (vol. 3, p. 120).

The epithet “native”, its folk-poetic variant “dear” is one of the most common in Blok’s early poetry when defining concepts corresponding to the semantic field “Motherland”: Oh, my friend, do not run away from your native land (vol. 1, p. 458); native villages (vol. 1, p. 96); Wilderness of the native forest (vol. 1, p. 477); Azure of the native side (vol. 1, p. 522); Below - the native valley (vol. 1, p. 122); When is the birthplace?.. (vol. 1, p. 37).

The image of the Motherland already in the early poems of Blok acquires specific material characteristics:

The wind bends the elastic bushes,

The broken stone lay down on the slopes,

There are meager layers of yellow clay... (vol. 2, p. 75).

The perception of Russia, which arose in early poems, is preserved and repeated in later works, moreover, it is preserved using almost the same lexical means: “Over the meager clay of the yellow cliff, Haystacks are sad in the steppe” (vol. 3, p. 90). The definitions of "yellow", "meager" are perceived as synonymous. The intersection of lexical meanings is based on the author's subjective associations, but it is quite possible for the reader to trace their course. "Scanty" - stunted, miserable, poor, emaciated. “Yellow” is the traditional designation of a color associated with illness, ill health (cf. Dostoevsky: a St. Petersburg street covered with yellow dust, yellow buildings, yellow wallpaper in Raskolnikov’s apartment, yellowish hair of an old pawnbroker, Marmeladov’s yellow face, etc. .). And if the definitions "yellow" and "meager" can be perceived as synonyms only contextually, then "sickly" and "exhausted" as their semantic equivalents are clearly close concepts.

No matter how lyrical, even sad, the Russian landscape is depicted, the overall author's assessment in the poems dedicated to Russia is distinguished by optimism:

But thick mountain ash in passing villages

The red color will dawn from afar.

Here it is, my fun is dancing

And ringing, ringing, missing in the bushes!

And far, far away waving invitingly

Your patterned, your colored sleeve (vol. 2, p. 75).

So, already in the earliest poems, Blok begins to create an amazing, unique image of the Motherland, which appears as something “great, boundless, spacious, dreary and promised” (vol. 5, p. 102).

Russia is not a state<...>but a certain connection, constantly changing its external image, fluid<...>and yet not changing in something very basic. This concept is most closely defined by the words: “people”, “folk soul”” (vol. 6, p. 453).

Literature

1. Blok A. Collected works: in 8 vols. T. 5. M.; L., 1960-1963. P. 443. Here and below the poems are quoted from this source, the volume and page numbers are indicated in parentheses.

2. Vinogradov VV The language of a work of art // Questions of linguistics. 1954. No. 5. S. 13.

3. Pushkin A. S. Collected works: in 10 volumes. T. 1. M., 1974. S. 148.

4. Pushkin A. S. Collected Works... T. 4. S. 85.

1. Blok A. Sobranie sochineniy: 8 v 8 t. T. 5. M.; L., 1960-1963. S. 443. Here and onwards poems cited by this source, in parentheses indicate the volume number and page.

2. Vinogradov V. V. Yazyk hudozhestvennogo proizvedeniya // Voprosy yazykoznaniya. 1954. No. 5. S. 13.

3. Pushkin A. S. Sobranie sochineniy : v 10 t. T. 1. M., 1974. S. 148.

4. Pushkin A. S. Sobranie sochineniy ... T. 4. S. 85.

UDC 811.352.3 S. H. ANCHEK

METAPHOR AS A LANGUAGE MEANS OF DEFORMATION OF THE NAME OF DENOTATE

(On the example of Adyghe riddles)

The article deals with the texts of the Adyghe riddles in order to identify metaphors that transfer the properties of the denotation to other objects or phenomena on the basis of a feature that is common or similar for both compared members. As a language tool, metaphor deforms the primary nomination of an object (a name in its literal sense) and selects a secondary nomination (a name in a figurative sense). Key words: Adyghe folklore, means of language expressiveness, metaphor, denotation nomination.

UDK 811.352.3 S.KH. ANCHEK

METAPHOR AS A LANGUAGE FEATURE STRAIN NAME DENOTATION

(On Adyghe mysteries example)

This article examines the texts of Adyghe mysteries with a view to identifying metaphors, porting to other denotation properties of objects or phenomena on the basis of the element, general or similar for both matched members. As a language feature metaphor deforms primary nomination facility (the name of the live value) and selects a secondary nomination (the name of the figurative meaning).

Key words: Circassian folklore, means a language expressiveness, metaphor, nominated denotation.

Each language is exceptional, has its own characteristics, the external manifestation of which is folklore: it is in it that all the charms of the language and the wisdom of the people are revealed. And we consider it legitimate to say that “genetically, folklore should be closer not to literature, but to a language that is also not invented by anyone and has neither an author nor authors. It arises and changes naturally and independently of the will of people, wherever appropriate conditions were created for this in the historical development of peoples.

The language of folklore works is interesting and multifaceted. It has attracted the attention of researchers since the birth of philological science. The verbal world of oral folk art is of particular interest for its sensitivity and mobility: the more a person knows the outside world and himself, the more he discovers new things in it, and everything new is reflected in his vocabulary.