Sonnets of the end of the 19th century: on the question of the genre canon. Arthur Rimbaud (1854-1891)

perceives the personality, unraveling its genius ", - and love, indeed, shows the true "faces" of Yuri and Lara. In The Green Tent, Pasternak's idea is rethought: none of loving heroes not able to fully "see" the face of a loved one. On the contrary, love blinds, clouding the true faces. So, Olga, who selflessly loved Ilya and sincerely admired him, is not able to believe in his betrayal; Marlene leaves Tamara, who has been devoted to him for many years, and at the moment of parting, without regret, gave him priceless paintings by Korovin, Borisov-Musatov and a sketch by Vrubel.

As well as Pasternak's epic canvas, where the "resurrection" of Zhivago in memory and poetry symbolizes the birth of a new nation and new Russia and the restoration of the "connection of times", Ulitskaya's novel also realizes in the finale the idea of ​​reconciliation with the past, when, after a difficult historical stage, the idea of ​​the indestructibility of being, faith in the immortality of the individual, the country and the value of culture as such, becomes apparent, which is discussed in the finale by one of the main Heroes of the "Green Tent": "It seems that nothing of value ever becomes obsolete. Because in the world there are a great many and there are a great many worlds<...>» .

Thus, it can be confidently stated that the "Green Tent" within the framework of the movement genre forms on the present stage in terms of the scale of the narrative, the reflection of the national worldview and the installation of epicness, he continues to master and rethink the artistic experience of B. Pasternak in Doctor Zhivago. And this is an expression of the reflective attitude of the writer, who comprehends the past era not only in its historical development, but also in the literary movement, embodied in specific artistic practices.

Bibliography

1. Berdyaev N. A. The meaning of creativity // Berdyaev N. A. Philosophy of creativity, culture, art: in 2 volumes - M., 1994. - V.1.

2. Sedykh M. The Younger Sixties. - [Electronic resource]: //

http://www.sem40.ru/famous2/m956. shtml.

3. Osmukhina O. Yu. Modest charm of the Epoch. "Green Tent" by L. Ulitskaya // Questions of Literature. - 2012. - No. 3. - S. 202-215.

4. Ulitskaya L. Green tent. - M.: Eksmo, 2011.

L. M. Buranbaeva

Sonnet A. Rimbaud "Vowels": a test of the genre

The centuries-old history of the sonnet suggests sufficient specificity in determining the formal and meaningful dominants of this variety of lyrics. But the question of whether a sonnet is a genre variety or a special poetic form has not yet had an exact answer. Before turning to this question, let us consider the question of the genre as such. Stating that the issue of literary genres is still the least studied in literary science, N.L. Leiderman

systematizes many approaches in defining the genre category: genre is a canon, a “fixed form” (J.-M. Schaeffer and others); Bakhtin's concept of the genre, in particular the proposition about the "memory of the genre, etc.; the researcher also points to terminological confusion, in particular, to the indistinguishability between the categories of genre and style, presented in the textbook on literary theory by V.E. Khalizeva (1999).

Further N.L. Leiderman writes: “Back in the mid-70s, I put forward the idea that the genre provides the constructive unity of the work, it is “responsible” for organizing all its “building” elements into a model of the world. Hence the wording: a genre is a system of principles and methods of artistic completeness, that is, the organization of a work into a holistic image of the world (a model of the world, a "reduced Universe"), embodying the aesthetic concept of man and the world.

We emphasize that it is the genre that is the creative “mechanism” through which a fragment, episode, individual case directly fixed by the text is transformed into a holistic image of the world (maybe even more specifically - the image of the world order), embodying the aesthetic meaning human life. The studies carried out over the next thirty years by scientists who share this concept confirmed us in this idea of ​​the function of the genre in the creative act.

Each genre represents a certain type of model of the world. There is a fairy-tale model of the world (according to Propp), an epic model (developed by Neklyudov), there is a novelistic model, “tale” models of the world, there is a whole bunch of novelistic models of the world, and dramatic genres are also different types models of the world, each of the lyrical genres is also a “reduced Universe” (the model of world experience - as S.I. Ermolenko defines the genres of confession, elegy, message, ballad in his monograph on lyrical genres by Lermontov).

In the article by N.L. Leiderman, the work of S.S. Averintseva. Moving away from the scientific controversy stated here regarding the violation of the logic of reasoning by the author (a departure from the question of the variability of the very essence of the genre as an artistic law to the study of the evolution of ideas about the genre in literary science), we point to the judgments of S.S. Averintsev about the genre canon: each literary genre is a historical phenomenon, gradually acquiring and accumulating its features - “necessary and sufficient conditions for its identity”, functioning as a living organism, that is, changing itself and experiencing a change in the attitude of the reading and writing public towards itself. An interesting remark by S.S. Averintsev and about the "breaking of the canons", associated primarily with the work of "geniuses".

The idea of ​​the obligatory variability (dynamism) of the genre is presented in the study of Pushkin's elegy by O.V. Zyryanova: “In its most general form, a genre is a value type of a person’s relationship to the world that has become established in culture.” So, probably, no one will confuse the elegiac state with the pathos of an angry invective, the features of an idyllic world with the tragedy of a ballad situation. The cultural picture of the world (of course, its separate fragment or ka-

some essential aspect) is pressed and polished in the philosophy of the genre, imprinted forever in its aesthetic structure.

Meanwhile, we must not forget that the concept of the genre is far from exhausted by the aspect of normative poetics. In the literature of modern times, the artist no longer thinks in terms of genre canons, more precisely, not within the strictly defined boundaries of certain canonical models, but in the free cultural-historical space of the generic “memory of genres” (the concept of M. M. Bakhtin), a wide field of aesthetic experiments on genre is open before him. synthesis."

It also indicates one of the directions of changes in the genre canon - genre synthesis and emphasizes the axiological component of modeling the world in a literary text: a model of the world recreated in work of art, value-colored (by both the author/creator and the reader/co-creator of the text).

Each of the researchers noted by us, when analyzing the category of genre, turned to the issues of the semantic dominant of the genre canon: the genre creates a value-colored holistic image of the world, its model. These semantic dominants are ontologically changeable. But a holistic image of the world presupposes the presence of external dominants (forms, structures) in the genre canon. Genre, following the words of N.L. Leiderman, “ensures the transformation of the text into a “figurative model of the world” (abbreviated Universe)” by organizing all its “building” elements. Genre - "a historically recurring type of unity of artistic content and form."

What is the sonnet canon in connection with those indicated in the theory literary genre basic provisions? The definition of a sonnet as a poetic form chosen to more accurately express "internal composition" is presented in the "Dictionary of Poetic Terms"

A.P. Kwiatkovsky. Z.I. Plavskin classifies the sonnet, along with the Franco-Italian triolet, virilé and sextina, Iranian gazelle and tanka in Japanese poetry, into the category of poetic works of those genres that correspond to the so-called "solid forms, strictly canonized and stable strophic combinations", and, characterizing sonnet canon, names first of all stable structural features. Defining the history of a sonnet as a search for a form that is most adequate to the content, the idea of ​​the work, the researcher states that it is the content side in the sonnet that is so diverse that it is difficult to define it as specifically as, for example, when determining the plot dominant of an ode or satire. We will note the idea that we need in the further analysis of the selected text: "the content of the sonnet is specific: it is a poetic form, primarily adapted to convey a sense of the dialectic of being." The form and content in the sonnet are absolutely merged. And the analysis of the form in a sonnet is certainly an analysis of the content. Here the researcher recalls the textbook work of I. Becher "The Philosophy of the Sonnet, or Little Instructions on the Sonnet", who noted that the sonnet reflects the main stages

the dialectical movement of life, feeling or thought from a thesis, i.e., some position, through antithesis, i.e., opposition, to synthesis, i.e., the removal of opposites. “It is precisely the presence of three phases of dialectical development,” notes Z.I. Plavskin, - and, in particular, the division of the sonnet into two quatrains and tercetes is determined. In the classical form of a sonnet, the first quatrain contains the thesis, the second - the antithesis, the tercetes (sextet) - the synthesis. At the same time, however, Becher rightly stipulates that "in pure form this scheme is rarely found in the sonnet. It varies endlessly…” .

So, M.L. Gasparov identifies sonnets of the French, English and Italian types, the so-called inverted sonnet, defining them as "solid forms". According to M.L. Gasparov, the French sonnet is canonical. In his studies of the sonnet invariant, the researcher primarily emphasizes the structural dominants (14 lines, changing 2 quatrains into 2 rhymes by 2 terts into 2-3 rhymes, etc.). But we remember that this alignment of stanzas and rhymes is aimed at creating a model of the world. According to V. Rogov, “sonnet is not only complex shape, but also an intellectual poetic genre<...>To write good sonnets, it is not enough to master the form with virtuosity, it is also necessary to think virtuoso.

How is the train of thought built in A. Rimbaud's sonnet "The Vowels"?

It is “in the sonnet, as in no other genre of lyrics, that algebra and harmony merged together”, it is in the sonnet that we can see “the world in miniature”. What is the world represented by A. Rimbaud? Let us describe it without touching upon the question of the presence of meaning in the order of choice and arrangement of vowel images in this “colored” sonnet (here it is possible to logically explain only the primacy of A - the first letter in all alphabets, and the location of O - omega, the final symbol, looks quite logical).

We analyzed, in addition to the original sonnet, translations into Russian by A.A. Kublitsky-Piottukh (hereinafter - K.-P.), M.P. Kudinov (Kud.), N. Gumilyov (G.), V. Mikushkevich (Mik.), I.I. Tkhorzhevsky (T.), M. Mirimskaya (M.), V. Dmitriev (D.) and V. Kalitin (K.). Let us express our point of view that the translation by V. Mikushevich is closest to the original, while the translations of I.I. Tkhorzhevsky and V. Kalitin.

Here is the original text.

A noir, E blanc, I rouge, U vert, 0 bleu: voyelles,

Je dirai quelque jour vos naissances latentes.

A noir corset velu des mouches eclatantes

Qui bombinent autour des puanteurs cruelles,

Golfes d "ombre; E, candeurs des vapeurs et des tentes,

Lances des glaciers fiers, rois blancs, frissons d "ombelles;

I, pourpres, sang crache, rire des levres belles

Dans la colere ou les ivresses penitentes;

U, cycles, vibrements divins des mers virides,

Paix des patis semes d "animaux, paix des rides

Que l "alchimie imprime aux grands fronts studieux;

0, supreme Clairon plein de strideurs etranges,

Silences traverses des Mondes et des Anges:

Oh l "Omega, rayon violet de Ses Yeux!

The color associations of vowel images should look the same in translations: black A, white E, red (purple) I, green U and blue (violet-violet in the final) O. But “the blue ray and the light of Her eyes” (Kud.) and “blue light” (K.) is also transformed into more romantic “lilac eyes” (G.), mysteriously enveloping “purple rays” (K.-P.), the unity of “blue distance” and “violet eyes” (D. ), more calm "blue" (T.) and truly feminine "pale blue" (M.).

And these overflows of color would have looked like a bizarre game, which many (especially contemporaries) saw in A. Rimbaud's sonnet, if each color in each image had not been expanded by the paradigm of associations (but now not of sound, but of color), allowing the author to reveal the secret of the origin Sounds, and the sonnet was not a model of the world in miniature.

In the paradigm of image A, the author included images of flies in black corsets, buzzing around a cruel (cruel) stench. These images are present in translations with some variations: the image of darkness (Kud., T.) and darkness (G.) appears; mourning, carrion and mud (G.), “the stench of sewage” (K.-P.); flies become "pesky and voluptuous" (D.) and "terrible" (M.); “corpse miasma” “inflames” the air with a “black canopy of flies” (Mik.). We read: “Circles over hell A, that is, a fetid demon” in the “bay of shadows” (K.). A number of images-symbols of Rimbaud - black, buzzing, stench - are supplemented with images of Darkness, Bottom, Earth, Mud, Hell. The work of the translator allows this, but, from our point of view, the through image of the vowel A is the Beginning. It must be emphasized that in addition to color, images-smells are strong in this quatrain (similar images are significant in the art world M. Proust, their significance will increase in postmodern literature, for example, in the work of P. Suskind).

White color in optics is a mixture of all colors, the world is painted white, in which the separation of the earthly firmament from the heavenly vault begins, where everything gets its name and place, where, according to Maeterlinck, the kingdom of unborn souls is located. The image of E in Rimbaud's sonnet grows through the transformation of the gulf in the mist (golfes d "ombre) into the purity of snows and "foggy" (mysterious) tents. in translations, but the E paradigm is supplemented with images of icy cold (K.-P.. G., D., Mik., T.) and peace of “trembling” colors (Kud., G., Mir.). , but we, following Rimbaud, are watching his birth.

The next step is red I. The symbolism of this color is indisputable: red is the color of Life, Passion, Energy. In Rimbaud's second quatrain, it is initially red and becomes royally purple.

In some translations, the image of victory, royalty, the crown was realized in relation to the white / cold E (Kud., T., K.).

In the second half of the second quatrain of the sonnet (the image of I), images of human feelings begin to intensify: laughter, anger and repentance (Kud.), rage and madness (G.), anger and praise (K.-P.), insolence (D.) . Let us pay attention to the possibility of a different sign of the coloring of emotions: And - this is an “evil sting”, “lip smile”, “blood hop”, “scarlet delirium” (T.). It is the feelings that become the image that allowed the translators to emphasize the beginning of a new stage in the history of the world, presented by Rimbaud, - the stage of Human Life.

The symbolism of Life is developed in the next fragment of the poem. The vowel E is green. In the original, it is the color of the cycle in nature and human life, the color of peace and mystery. The tonality of the sound of this fragment and its meaning in translations is rhythmic, which is conveyed in the following images: “surf with its green juice” (Kud.) and “sea breakers” (K.), “circles on the water” (D.). Here the image of the Sea (Freedom, Harmony) is clearly emphasized. Following the author, the translators introduce images of the departing life into the sonnet (gray hair, wrinkles, sigh). This prepares the reader for the perception of the next image - blue O (the color designation of which varies in translations).

In Rimbaud, this image appears as "the highest horn, full of strange / unusual shrillness." The poet diligently emphasizes that the reader has approached Omega, thereby recalling the beginning of the path - "alpha" A (which allowed us to speak so confidently above that the main meaning of this image is the Beginning). The poet leads the reader into the world of silence and angels. And if the beginning of the path is black, earthly A, then the finale becomes heavenly O. We, following the author, moved from bottom to top, from the beginning of being to its peak, from earth to sky, from non-existence to non-existence.

What, unlike the original, appears in translations? Horn “original” (Kud.) and “signal of the incorruptible worlds” (Mik.) - these images emphasize that the movement from A to O does not end, it is cyclical, since from the heavenly O we are returned to the primordial A (Beginning, Darkness, Earth, etc.).

Bibliography

1. Averintsev S. S. Historical mobility of the genre category: the experience of periodization // Historical poetics. Results and prospects of the study. - M.: Nauka, 1986. - S. 104-116.

2. Becher I. R. Philosophy of the sonnet, or a little instruction on the sonnet // Questions of Literature. - 1965. - No. 10. - 194-200.

3. Gasparov M. L. Russian poems of the 1890s - 1925 in the comments: tutorial for universities. - M.: Higher. school, 1993.

4. Zyryanov O. V. Pushkin's phenomenology of the elegiac genre. Izvestia of the Ural State University. university Problems of education, science and culture. Issue. 6. - 1999. - No. 11. - [Electronic resource]: http://proceedings.usu.ru/

5. Leiderman N. L. The problem of the genre in modernism and the avant-garde (Testing the genre or testing the genre?) // Russian literature of the XX-XXI centuries: directions and trends. Issue. 9. - Ekaterinburg, 2006. - [Electronic resource]: http://lit.kkos.ru/articles/01.pdf

6. Literary dictionary. - M.: LUCH (Literary studies), 2007.

7. Plavskin Z. I. Fourteen magic lines // Western European sonnet (XIII-XVII centuries): Poetic anthology / comp. A. A. Chameev and others; ed. intro. Art. Z. I. Plavskin. -L .: Leningrad Publishing House. un-ta, 1988. - S. 3-28.

8. Poetic dictionary. - M.: LUCH (Literary studies), 2008.

9. Pronin V. A. Theory of literary genres: textbook. allowance. - M.: Publishing House of MGUP,

S. A. Gladkov

Ghosts near us:

legacy of the gothic novel in contemporary culture

Interpreting the Gothic tradition is a painstaking and thankless task. Most argue that Gothic aesthetics was a reaction to disappointment in educational ideals (suffice it to recall the first domestic theorist of pre-romanticism V.M. Zhirmunsky), and therefore is part of such an aesthetic trend as "pre-romanticism". According to L. Bayer-Berenbaum, the "Gothic revival" was a reaction to the orderliness and formalism of the early eighteenth century. Against the background of the majority, the theory of J. Habermas stands out, according to which the origins of the Gothic at the end of the 18th century lie in the social processes of society. According to the theory of the German scientist, it was by the second half of the 18th century that the clear division of the spheres of Western bourgeois society into private and public was completed. The first of them, identified with the concepts of “home”, “own”, “local”, “internal”, created a special environment for the manifestation of the unconscious, revealing the mechanisms of the bodily and sexual, which was impossible in the public sphere controlled by discursive practices: “The size of rooms in within urban buildings has been reduced to a minimum, making room for more rooms in which each member of the family could have his or her own "private area", that is, there is an isolation of some individual members of the family from others.

Another factor that links the emergence of the Gothic novel to the separation of the private and public sphere, according to Habermas, is the transformation of the private sphere and the isolation in it of women who "were excluded, not only in fact, but also legally, from the political public sphere." Hence the development of the epistolary genre, and private correspondence within the family, and female prose, which at the end of the 18th century was transformed into “sentimental”, “female” Gothic (novels by S. Lee, K. Reeve, A. Radcliffe, etc.) with a strong melodramatic emotional element.

It has been repeatedly suggested that late 18th-century Gothic was an unusually early anticipation of artistic style CAMP, which was very accurately described by S. Sontag in her Notes on Camp (1964).

The most accurate description of Arthur Rimbaud as an extraordinary colorist is the sonnet “The Vowels” composed by him in the summer of 1871. In this sonnet, for which the name “color” was fixed in Russian literary usage, the sound writing inherent in the verses is completed with a kind of color writing. Indeed: the seventeen-year-old poet declared that he “owns the secret” of the sounds of speech - he knows their correspondence to the colors and pictures of the world.

A - black; white - E; I - red; U is green.

O - blue; I will tell their secret in my turn.

A - a velvet corset on the body of insects,

Which buzz over the stench of sewage.

E is the whiteness of canvases, tents and fog,

Shine of mountain glaciers and fragile fans.

And - purple blood, oozing wound

Or scarlet lips amid anger and praise.

U - quivering ripples of wide green waters,

Calm meadows, peace of deep wrinkles

On the working forehead of gray-haired alchemists.

Oh - the ringing roar of the trumpet, piercing and strange,

Flights of angels in the silence of the vast heavens,

Oh - her lilac rays of wondrous eyes.

This “extremely mysterious and since then at random, in a thousand ways, unraveled sonnet” (Velikovskiy, 1994) to this day excites the minds of many researchers. However, they still fail to reliably explain to whom Rimbaud owes the starting guess about sound-color similarities. Some researchers believe that Rimbaud's sonnet "vowels" will forever remain a mystery (Etiemble, 1961). In the sonnet "The Vowels" Arthur Rimbaud discovers the secret of speech sounds. He declares that he knows their correspondence to colors and pictures of the world. So, the vowels y Rimbaud are represented in the following way: A black, E white, I red, U green, O blue. At the beginning, it may seem that the connection between a particular vowel and the color it represents is occasional, of a variable, random nature. Therefore, in order to explain their relationship, Rimbaud first names a specific vowel and the color that corresponds to it, and then a whole series of pictures of the world that characterize this vowel. Repeatability legitimizes, strengthens a random connection, the similarity of a number of pictures assigns a special meaning to the vowel.

The vowel A is fixed in Rimbaud's sonnet as a symbol of darkness and impurity. Her first characteristic is in close proximity - Rimbaud says that A is black. The black color already gives the vowel A a special mood. This is followed by a description of it by means of pictures of the world that correspond to it ("noir corset velu des mouches éclatantes qui bombinent autour puanteurs cruelles, golfes d'ombres" - "black velor corset of shiny flies that buzz around a malicious stench, bays of shadows"). The repetition of the mood, set in black, and then contained in the pictures of the world, highlights the meaning of the vowel A: "darkness, impurity." Thus, the vowel-symbol requires an initial explication of its connection with color and is formed into a symbol as a result of listing the pictures of the world that characterize it. Rimbaud's symbol also becomes all subsequent vowels, for example, the vowel E is colored in White color: .. . E, candeurs des vapeurs et des tentes,

Lances des glaciers fiers, rois blancs, frissons d'ombelles.

Rimbaud associates it with "the purity of vapors and tents, the peaks of mountain glaciers, white kings, the trembling of fans." Rimbaud's mI is red. It is a symbol of passion, blood. In the sonnet "Vowels" the following pictures correspond to her:

I, pourpres, sang crache, rire des levres belles

Dans la colère ou les ivresses penitentes...

(...I, purple colors, hemoptysis, laughter of beautiful lips in penitent anger or intoxication...) Green U becomes a symbol of nature and scientific research:

U, cycles, vibrements divins des mers virides,

Paix des patis semes d'animaux, paix des rides

Que l'alchimie imprime aux grands fronts studieux.

These are "cycles, divine vibrations of green seas, peaceful pastures of animals, calm wrinkles that alchemy imposes on great foreheads." certain (including color associations) and participate in the creation of meanings. Each vowel is a special mood, a certain symbol, each vowel has its own color. Rimbaud creates a harmonious chain of vowel sounds, where such a minimal unit as a sound will acquire its own semantic content, this helps to strengthen the coherence and systemic nature of the images of the sonnet "Vowels". Rimbaud is characterized by a special adjectivity of style. In Rimbaud we find "black velor corset of shiny flies" (noir corset velu des mouches éclatantes) and "proud glaciers" ("glaciers fiers"), "beautiful lips" ("lèvres belles") and "divine vibrations of the green seas" ( "vibrements divins des mers virides"), "strange noises" ("rideurs étranges"), "repentant anger or intoxication" ("la colère ou les ivresses pénitentes") and "violet ray" ("rayon violet")... The saturation of the text with adjectives indicates the details of the author's qualifications and ratings. Rimbaud not only describes the phenomena of the world around him, but also characterizes them. He wants to show the reader that objects and phenomena in this world are unusual and unique. He seems to be telling the reader: “I don't just listen, I hear; I don't just look, I see. This is how I see the world and I write about it.” Sometimes Rimbaud deliberately surprises the reader. Glaciers appear to the poet as “proud” (“glaciers fiers”). Maybe Rimbaud sees them like this because they stand alone. Rimbaud calls the stink over which shiny flies swirl “cruel” (“puanteurs cruelles”), and then smoothly proceeds to describe the “cleanliness of tents and fumes” (“candeurs des vapeurs et des tentes”). Rimbaud plays with every word. It may shock, but should not leave the reader indifferent.

A - black, white - E, I - red, Y - green,

Oh - blue ... Vowels, your date of birth

I'll open it again... A - black and shaggy

A corset of buzzing flies over a fetid heap.

E - whiteness of tents and in flakes of snow wool

The top, the trembling of a flower, laughter, lit up with anger

Or drunk with repentance at the hour of reckoning.

U - cycle, sea surf with its green juice,

The world of pastures, the world of wrinkles that are on a high forehead

Alchemy imprinted in the silence of the nights.

Oh - the original Horn, piercing and strange.

Silence, where the worlds, and angels, and countries,

– Omega, the blue ray and the light of Her Eyes.

Materials for etudes of an increased level of complexity

This section will present texts that are more complex in content, rhythmic structure, and form. Therefore, the techniques and methods for solving such polyphonic texts are extremely complicated. Etudes based on them, more than all the previously described versions of texts and exercises for them, are close to artistic reading material. Such speech etudes are an intermediate link that connects training and artistic reading from the stage, helping to transfer the acquired technical skills to the creative sphere. The range of training items when creating such studies is expanding and is no longer limited to canes, balls, jump ropes. Depending on the sound image, these can be scarves, shawls, umbrellas, ribbons, raincoats, etc. It is permissible to combine sound with a "non-objective" action.

I. Annensky. bells 

ding ding ding

Dini-dini...

Dido Lado, Dido Lado,

They got along well with Lida Didu,

Dida Lida got along

Got along, didn't get along

Dida was fed up.

The day was made

Yes, they didn’t make a day

Things have not been completed

Are the heads intact?

Does Lyad Dida need to -

They gave Dida a bath.

Ding-ding-ding, ding-ding-ding...

Koloko "ly-balabo" ly,

balabol bells,

They pricked, they pricked,

Far more, far more...

They pricked, they pricked,

Bells-balabols.

The spatters flew

Bolmotals imposed,

They babbled - they hustled

They chattered, they chattered,

The blades were broken.

You would, did, not zonka,

Would you, Didu, money ...

De "ngami, money ...

Is it long, isn't it long

Lida got a fur coat ...

Holili - not holili,

Willed - unwilling

They drank a little, poured more,

Dida Lada was gilded.

Uncles, not uncles,

Got it right - got it right...

Oh, saw, saw, saw,

Didn't give Dida a beer:

Dida Lida needs,

I need Lyad Dida.

Oh, ding, ding, ding - ding, ding, ding, ding,

Dida money is cute

And the mustache is gray ...

Give you a day...

How long are you there?

Was it not enough for you?

By the lips.

Over the heads

Bubi-bubi-bells-whether,

Did we whine, did you whine,

Is it bells, is it bells...

Day, at home would be a day,

Day one...

balabol bells,

Lili a little, drank more,

Balabols lowered ...

bells bells,

little babies,

Bolmotals were taken out,

Lopotal gave out

They babbled, they babbled...

Bells-balaboli...

Bells-balaboli...

K. Balmont. Bells

Trembling, splashing with a friendly sound, With a bell inflated, With a dove, a stuffed cabbage, A bell and a bell

They fall on the neck of a horse, They shine with ringing hops, Fly out, sink, Again louder, melt again, Grow up in a crumbly sleep, In the harness the sound and the sight of the rings, And weep sobbing loudly, They run from end to end, And they laugh loudly, loudly, Heart of the heart They read in a singsong voice, They say, With a combined flash, a sound-sigh, Like spilled peas, They hardly tambourine, Shot apart and scattered, They get along with a harness like a snake ringer, Silver, I, they say, you, they say, we, they say, bye, We understand beads, It’s nice to jab puffy edge, - They can’t be silenced, They don’t want, They don’t want, They will ring out bye-bye, Lighter than little kittens, They will shift the sound and look, They will claw their hearts at the heart, You won’t go get drunk, The bells won’t tell you. Hey, darlings, rather, Spin more cheerfully, The horses have a soapy neck, To the feast of a tambourine bell, Why not, why not kiss it right on the lips, Well, tell me, why not finally be together? This glorious undertaking - Well done to the girl, You are a commodity, and I am a merchant, You are my field, I am your reaper, You are a bird, and I am a catcher. Or were We in vain for a long hour? Listen to the story, listen to us. Rhea, winding, melting, glowing, This is a glorious undertaking, The bell is your messenger, With him - and not shy in the storm - A bell and a bell. Eh, from Valdai itself, the ringing is pouring, growing, From Altai to Moscow Foam splashes to the grass, The tie-downs are twisted, The root does not bend the neck, And they have two rings like curled necks Down, Friendly in a troika, a mane to the mane, You have fun to live, happily, The bell loquaciously Promises without end, Wants to win the bell, And prophesies in his own way. Will the bell win? The bell builds for a long time, He sings and does not rest, Crying with tears, whining with a song, Do not see his face. Will the bell win? In the dance, it chirps merrily, Sharpens, sharpens, happiness reads In the transfer of a bell. Knock - to wheels, shine - to horseshoes, Bell - to be a dream of honey, Matchmaker, brother of all hearts, Two hearts - with one to be shelter. Two from two different porches, In a new light, in a new face, To the joy of all and to the envy of widows, Straight to the church down the aisle.

A - black, white - E, U - green, O - blue,
And - red: I want to open the birth of vowels.

A - a mourning corset under a flock of terrible flies,
Swarming around like in carrion or in mud,

The world of darkness; E - peace of fog over the desert,
The trembling of flowers, the rise of dangerous glaciers.

And - purple, a clot of blood, a smile of beautiful lips
In their fury or in their madness before the shrine.

U - marvelous circles of greenish seas,
Meadow, mottled with beasts, peace of wrinkles, crumpled
Alchemy on the foreheads of thoughtful people.

Oh - the ringing of a copper deaf ending,
A comet, an angel pierced by silence,
Omega, the ray of Her lilac eyes.

“... himself matured Rimbaud confessed in his essay with the remarkable title "Alchemy of the Word": "The story of one of my follies ... I invented the color of vowels ... I established the movement and shape of each consonant and flattered myself with the hope that with the help of instinctive rhythms I invented such poetry, which will someday be accessible to all five senses. I left the solution behind me ... ".

But the trigger mechanism has already worked irrevocably. Scientists have joined in the explanation of the nature of "color hearing", and most actively - representatives of the positive sciences. It is quite reasonable to disagree with the pompous hints of supporters of the occult teachings - that, they say, not everyone should understand such a miracle, but only those who are attached to the "secret knowledge" (the poets could not but like this approach, because this emphasized their exclusivity), these scientists, in their desire to disrupt the veil of mystics, often reduced “color hearing” to a certain resonance of wave phenomena (which sound and color are), a whim of anatomy (the intersection of auditory and visual “wires” in the brain), a mental anomaly (some special, exclusive disease geniuses, just as, for example, migraine and gout were considered the property of the aristocracy). But for some reason, no one noticed that the most reliable estimates were given back in 1886 by the young A. Peshkov in his article "Paul Verlaine and the Decadents". Note - he was also an artist of the word, but "from the outside", which allowed him, in our opinion, to ensure this authenticity. Not excluding a possible “psychiatric” background, Peshkov admits that for the poet himself, his sonnet “Vowels” is just a “joke”, “ beautiful game words." But, most importantly, he wrote, “we must also not forget the boundlessness of human imagination, which has created many things much stranger than this “colored sonnet”. It would seem that everything is clear, especially if we compare these conclusions with the confessions Verlaine and Rimbaud himself.

But it is striking that even after all this, over the past century, many dozens articles, dissertations, voluminous monographs, including those belonging to philologists. There are no explanations, the most fashionable is psychoanalytic, with an appeal to Freud, and one of the latest domestic articles, for example, connects the birth of "Vowels" ... with Rimbaud's inherent gift of clairvoyance. Esoteric rituals around the fire of poetry continue.

Galeev B.M., Artists of the word about poetic synesthesia, in Sat: Synthesis in Russian and world artistic culture: Materials V-th scientific and practical conference dedicated to the memory of A.F. Loseva, M., 2005, p. 15-16.

I note that in his youth, Arthur Rimbaud took an initial course in playing the piano, where, to facilitate the development of the course, his keys were painted in the colors of notes (the teaching system of the 17th-century monk Castel).

We will begin the description of the method of astrological analysis of the name with a psycholinguistic description of the alphabet, correlating the sound parallels of the letters with the images of the signs of the Zodiac. This approach includes the analysis of phonetics and its combination with color psychology.

The color definition of sounds was based on statistical data and physical properties sound.

According to the physical perception of a person, there are three primary colors: red, blue, yellow (this principle was discovered by Lomonosov) - on the basis of which ...

Energy weight of letters
1. Letters Light
2. Letters Medium
3. Letters Heavy

A, the first letter of the Greek and Latin alphabets, which comes from the ancient Greek "alpha" and the Phoenician "aleph". The vowel has the maximum set of Live Time. The Russian letter "a" goes back to the Cyrillic letter ("az"), meaning the pronoun "ya".

In addition to the sound letter "a" had a digital value of 1.

Az - Angel3 = Angel in 3 Dimensions, triune + I in the Past Russia.

Numerology and old...

The VEDAS are the oldest source of information known to mankind. The time of the emergence of information about the VEDAS dates back to the times almost forgotten by Humanity, twelve or more thousand years ago from TODAY or NOW. Proto-carriers of the VED: KHARIA - ARIA - DARIA - TAROTARIAN - HAKHALY (UKRAINIAN) - RUSSIANS (RUSSIAN). The first VEDAS were first written with the symbols HA - RA. The symbols XA - RA come from the division of SOUNDS into LETTER - IMAGES according to hexadecimal matrices, which

They are called SIMPLE (According to...

About four thousand years ago, the semi-legendary prophet Zarathustra compiled a calendar of partner compatibility. It was based on the 32-year cycle of Saturn around the Sun. According to this calendar, good, bad and relatively neutral years alternate in a person's life.

First life cycle lasts 32 years, then comes the second cycle up to 64 years, and then, perhaps, the third. Moreover, the years from the 1st to the 16th go in ascending order, and from the 17th to the 32nd - in descending order, being, as it were ...

Since ancient times, there have been systems linking the symbols of the alphabet and numbers with astrological symbols. In this regard, the astrological idea is reflected that not only natural phenomena and manifestations of the human psyche, but also names bear a certain cosmic imprint and are under the influence of certain cosmic forces. This, to a certain extent, speaks of the connection between name and fate.

Such systems exist for many ancient alphabets (Hebrew, Greek...

A name, like any word of a language, is an image based both on its meaning and on its sound. And that vibration of the rhythms of the cosmos, which is schematically represented by a person's personal horoscope, can also be expressed through a sound image.

If the sound of the name resonates with the internal (astrological) predestination of a person, it contributes to the maximum disclosure of his potential. The name, which does not have such a resonance, on the contrary, dims the brightness of the personality. And then it happens that...

The necessary union of ideas and signs, the consecration of the depths of reality with primitive letters, the Trinity of Words, Letters and Numbers, a philosophy as simple as the alphabet, deep and infinite as the Word, the Divine World that fits in the palm of your hand: ten numbers and twenty-two letters, a triangle, a square and circle - that's all the components of Kabbalah.

They are initial principles the written Word, reflections of the Word that created the world."

However, despite the seeming simplicity of this doctrine,...

Each name has a unique energy. It is this aura that determines your luck, abilities, as well as your better mascots. Numerology will help you determine the talisman plant.

Numerology is an ancient science that dates back more than 3000 years.

Figures have always been the object of study not only for scientists in white coats familiar to everyone, but also for esotericists. These studies help to connect the nature of the universe with the luck of man, with his fate, karma, future and past in general.