An example of a semantic-stylistic analysis of an artistic text - Stylistics of the Russian language and the culture of speech

An example of a semantic-stylistic analysis of an artistic text

As it is known, FI Tyutchev is a representative of poetry philosophical, but the latter does not mean that the language structure of his poems is full of philosophical aphorisms or traditional for philosophy terminology. Philosophical his poetry is recognized precisely because Tyutchev in his poems gave his own unique artistic solution to the philosophical problems of life and its flow in time. Philosophical content plan in Tyutchev's poems can be presented:

a) as expressed through the philosophical content of the syntactic constructions built on the A model, there is In & quot; in which the author's definition is realized:

Separation is high:

No matter how much you love, even though it's day one, even a century,

Love is a dream, and a dream is one moment ...

( There is a high value in separation ... ) ;

Civilization - for them a fetish,

But her idea is not available to them.

( Wrong work ... ) ;

What we each day is clearer,

What to survive - does not mean to live ...

( Count A. Bludova ) ;

b) as explicated through syncretic syntactic constructions resulting from the interaction of figurative-aesthetic and philosophical content plans built on the A model, as In & quot; author's definition:

Here the smoke is one, as the fifth element,

Smoke - dreary, endless smoke!

( Smoke ) ;

c) as a deep meaning, revealed by the reader through analysis of the composition of the poem as a whole, but a meaning that is only implied and directly, i.e. language means, is not expressed (the implied meaning). To show this, we will analyze the poem "As above the hot ash ...":

As above the hot ash

The scroll is consumed and burned,

And the fire is hidden and deaf,

Words and strings devour,

So my life is sadly corrupted And every day it goes away with smoke;

So gradually I go out

In monotony unbearable! ..

Oh heaven, if only once This flame developed at will,

And, do not languish, do not suffer from a share,

I would brighten up - and go out!

In the above poem, two compositional parts are clearly distinguished: the first narrates about the objective world, the second is directly about the feelings and experiences of the lyric hero. As EA Nekrasova points out, this construction of the poem, as it were, returns the reader back to the lines already read, in order to re-read them again, but from a different point of view, in comparison with purely individual associations and reflections. The poet does not suggest a concrete analogue in the spiritual world of man, but provides each one with a mapping, filling with the poet's similarity of the objective and subjective world with his content. " It is obvious that with this construction of the poem the meaning is born from the interaction of parts: "The third part is the desired. Life is likened to a scroll that burns on fire, so that fire becomes a symbol of the environment, the realm of existence. "

A compositionally defined, matching of this type, called, as is known, psychological parallelism, on the language level is supported by the verbal series mentioned above. As such, we recognize, on the one hand, the symbolic parallel the scroll - life and the system of linguistic units that realizes its compatibility ( the scroll is scrolled - life burns,/i>), & quot; crossed & quot; in the metaphor goes away with smoke; on the other hand, the place-ally parallel as ... and ...; so ..., so ..., forming a comparison at the syntactic level by means of a compound sentence.

In addition, the linguistic verbal series fire - flame is of special compositional significance, upon reading the poem returning the reader to its beginning. The named language synonymy in the context implements the following associations: fire ... devours; the flame ... developed at will.

It is the implicit way of representing the philosophical content plan in Tyutchev's poems and is the most productive. It should, however, be noted that presented in the poem & quot; As above the hot ash ... & quot; the so-called third part ( desired ) in other poems is usually not expressed by language means. For example, in the poem & quot; Fountain & quot; the basis of the composition is the verbal series fountain - the water cannon thought, nevertheless, the awareness of the inevitability of frustration in dreams is hidden by subtext.

You can name a few of the most well-known poems that implement this method: "Look, as in the river open space ...", "How unexpected and bright ...", "As a summer sometimes ..." ;, "I met you - and everything was ...", "There is no day so that the soul does not ache ..." and others

Thus, the basic way of expressing the content plan (in this case, the philosophical one) in the artistic style (including in the poetic text) is the verbal-composition series, which is, on the one hand, the addition of the linguistic and contextual meaning of its constituent units , and on the other - the deep subtextual meaning of the semantic accretions, decoded by means of analysis of the composition of the text itself, the individual style of the author as a whole, the totality of extralinguistic (non-linguistic) factors.

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