1.1 Dynamic integer language

2. Poetic language

2.1 Interpretation of the poetic function of language by R. Jacobson

2.2 The poetic function of language is not the same as functional style

2.3 Poetic (aesthetic) speech activity

2.4 Language of literary text

2.5 theory of violations and deviations

3. Language personality

1. Language and its poetic function

The concept of language is both the final horizon and the starting point of any linguistic research. The ambiguity and polysemy of the very term "language" is connected with this. Philosopher Martin Heidegger (1889-1976) in his "Letter on Humanism" (1947) writes about language: "Language is the house of the truth of being"; "Man dwells in the dwelling of language"; "Language is an illuminating-concealing phenomenon of being itself"; "Language is the language of being, as clouds are clouds in the sky"; "We see in the sound and written image the body of the word, in melody and rhythm - the soul, in semantics - the spirit of the language" (Heidegger 1993: 203). Thus, language appears as a measure of truth, a measure of the being of all things and the embodiment of the ontological levels of the human whole.

The founder of linguistics, Ferdinand de Saussure (1857-1913), reduced the subject of linguistics to language as an immovable closed system of relations between elements (langue), but he was the first to separate it into a separate scientific subject speech (parole) as an actualization of the language system and language ability as an activity (langage).

The direct object of our study is the linguistic text. The text is a space of linguistic activity, the goals of which are not limited to the framework of the language system, but extend far into the area of ​​subjective human interests. Language is the most important means of organizing the processes of distinction and generalization, cognition and communication, understanding and influence, and human activity in general. At the same time, language outside of a specific actor, a person, cannot act as a factor of activity. Language acts as a factor of activity in the form of a text.

Below we will talk mainly not about language in the narrow linguistic sense as a system of relations (langue) - in the interpretation of Ferdinand de Saussure, but about the language ability of a person - language in action (langage) (see: Saussure 1977: 47-49, 52 -53). The fact of a purposeful and consciously directed communicative activity of a person is a text that acts as a "language in action" (Hallyday, 1978). It is in the text, and not in the language system, that the concrete spiritual is objectified - a certain human activity. At the same time, consideration of the issues of communication of artistic meanings by language texts will be conducted in the means of language and from the point of view of language. Language will be understood as going beyond the narrow framework of the system of language outlined by Saussure. This kind of ability to exit and transition from one form of organization to another is consistent with the notion of the dynamic whole of the language prevailing in the Russian tradition.

1.1 Dynamic integer language

In defining the concepts of human language in general and poetic language, we will proceed from the domestic linguistic tradition of recognizing the language system, speech activity and speech as linguistic material as aspects language as a dynamic whole(cf.: Shcherba 1974: 24-38). According to the aspects identified by Lev Vladimirovich, we can talk about language in three forms - a language system, language activity and language material, or, about language-activity, language-material and language-system, which are included in the scope of the concept of language as a dynamic whole.

The speech activity of L.V. Shcherba (1974: 25) names the processes of speaking and understanding (including interpretation here!). The totality of everything directly spoken and understood, including not necessarily recorded in the form of written texts, is interpreted by the scientist as linguistic material. The concept of "language-system" is defined as "the dictionary and grammar of a given language" (ibid.: 26). The language system is objectively embedded in the language material. Both the language system and the language material are conceived as different aspects of the only speech activity given in the experience (ibid.: 25-28). Text activity can be included on the rights of a written source (textual material) type into a broader, generic concept of speech activity.

1.2 The special relation of the poetic function to the dynamic whole of language

We do not share W. von Humboldt's idea of ​​the origin of language exclusively from the spirit of poetry, but we cannot but agree with the words of Schalda quoted by Jan Mukařowski (1976: 426): "Everywhere, where language is not also and above all a means of expression, where language are not treated primarily as an instrument of monumentality, as the material from which religious and public sacred masterpieces are created, the language quickly falls into decay and degenerates.

The essence of the special relationship of artistic (synonymous with poetic) practice is that, according to the representatives of the Prague Linguistic Circle, it "increases and makes more refined the ability to handle language in general, enables the language to more flexibly adapt to new tasks and more richly differentiate means of expression"(Mukarzhovsky 1967: 426). Thus, the language in its poetic function cultivates itself, including as a language system, in the aspects of the linguistic material objectively fixed in the artistic text and the linguistic activity of understanding and interpretation carried out in the process of reading.

The poetic function of language as a development resource is directed to the absolute - the ideal perfect language. As V. von Humboldt wrote in this regard, "the linguistic force in humanity will operate until - whether in general, whether in particular - it creates such forms that can more fully and perfectly satisfy the requirements" (Humboldt 1984: 52). O. Walzel, based on the idea of ​​language in its poetic function as a measure of the perfection of the national language, draws attention to the fact historical fact, What German The 14th century did not yet possess the means of expression that Shakespeare's language had in England. Friedrich Gundolf, in his book on Shakespeare, showed that it took the Germans over two hundred years to "achieve the degree of expressiveness necessary for a completely consonant translation of Shakespeare into German" (Walzel 1928: 6).

Based on the foregoing, we can also conclude that the measure of mastering the practice of communication with an artistic text by an individual can be considered as a measure of mastering a national language, or as a measure of the development of an individual's linguistic personality.

2. Poetic language

Already Aristotle in "Rhetoric" and "Poetics" approaches the definition of oratorical actor's speech from the point of view of calculating the formal features of both types of speech. According to Aristotle (Poetics, XXII), poetic speech differs from ordinary speech by a special word usage and pronunciation: in the composition of a poetic statement, along with the general language vocabulary, there are certainly glots (or glosses, that is, dialect words or used in dialect meanings) and metaphors, and they are pronounced in a singsong voice and with a different intonation than in ordinary speech. At the same time, special attention should be paid to the proportions in the ratio between glots (the excess of which results in barbarism), metaphors (which give the text a mystery), embellishments of speech, and generally accessible words bordering on low speech. To avoid falling into extremes, one should observe the measure (Poetics, XXII, see: Aristotle 1998: 1098-2001). More detailed diagram concepts measures Aristotle does not directly suggest. Apparently, it is assumed that what has been said is quite enough to describe the contemporary poetic speech of the author.

Even further in the thesis about foreign language poetic speech is Viktor Shklovsky, pointing out that the poetic language not only seems strange and wonderful, but in fact "is often alien: Sumerian among the Assyrians, Latin among medieval Europe, Arabisms among the Persians, Old Bulgarian as the basis of Russian literary ... "(Shklovsky 1983: 24). Here We We believe it is important to note that present stage in developed languages, this phenomenon is not observed, which could serve as a conclusion about the well-known comparability of the expressive power of modern European languages ​​with Latin and Old Bulgarian. Obviously, the modern idea of ​​the poetic function of language in this respect differs significantly from the idea of ​​it among the ancients. Jacques Dubois and the collective of general rhetoricians, who formed the m group engaged in the study of the rhetorical and poetic function of language, specifically emphasize that in modern conditions literary activity is primarily " special use of language, which applies specifically to poetry in the modern sense of the word"(General rhetoric 1986: 37). The study of historically existing poetry that differed in phonetic, lexical and grammatical features from the national language is the subject history of the literary language(Stepanov 1998: 608).

The language of fiction, in other words, poetic language, is the form in which the art form of the word, verbal art, is materialized, objectified, in contrast to other types of art, such as music or painting, where sound, paint, color serve as means of materialization.

Each people has its own language, which is the most important feature of the national specificity of the people. Possessing its vocabulary and grammatical norms, the national language performs mainly a communicative function, serves as a means of communication. Russian national language in his modern form basically completed its formation during the time of A.S. Pushkin and in his work. On the basis of the national language, a literary language is formed - the language of the educated part of the nation.

The language of fiction is the national language, processed by the masters of the artistic word, subject to the same grammatical norms as the national language. The specificity of poetic language is only its function: it expresses the content of fiction, verbal art. Poetic language performs this special function of its own at the level of living language usage, at the level of speech, which in turn forms the artistic style.

Of course, the speech forms of the national language presuppose their own specifics: dialogical, monologue, skaz features of written and oral speech. However, in fiction, these means should be considered in the general structure of the ideological-thematic, genre-compositional and linguistic originality of the work.

An important role in the implementation of these functions is played by the visual and expressive means of the language. The role of these means is that they give speech a special flavor.

Flowers nod to me, tilting their heads,

And beckons the bush with a fragrant branch;

Why are you the only one following me

With your silk net?

(A. Fet. “A moth to a boy”)

In addition to the fact that this line is from a poem with its rhythm, its size, rhyme, a certain syntactic organization, it contains a number of additional pictorial and means of expression. Firstly, this is the speech of a moth addressed to a boy, a meek plea for the preservation of life. In addition to the image of a moth, created by means of personification, flowers are personified here, which “nod” their heads to the moth, a bush that “beckons” it with its branches. Here we find a metonymically depicted image of a net (“silk net”), an epithet (“a fragrant branch”), etc. On the whole, the stanza recreates a picture of nature, images of a moth and a boy in certain respects.

By means of language, typification and individualization of characters' characters, peculiar application, use of speech forms are carried out, which, outside of this use, may not be special means. So, the word "brother", characteristic of Davydov ("Virgin Soil Upturned" by M. Sholokhov), includes him among the people who served in the navy. And the words “fact”, “actual” that he constantly uses distinguish him from everyone around him and are a means of individualization.

There are no areas in the language where the possibility of the artist's activity, the possibility of creating poetic pictorial and expressive means would be excluded. In this sense, one can conditionally speak of "poetic syntax", "poetic morphology", "poetic phonetics". We are not talking here about the special laws of the language, but, according to the correct remark of Professor G. Vinokur, about "a special tradition of linguistic use" (G. O. Vinokur. Selected works on the Russian language. 1959.).

Thus, expressiveness in itself, special figurative and expressive means are not a monopoly of the language of fiction and do not serve as the only form-building material of a verbal and artistic work. In the vast majority of cases, the words used in a work of art are taken from the general arsenal of the national language.

“He dealt with peasants and courtyards strictly and waywardly,” says A. S. Pushkin about Troekurov (“Dubrovsky”).

There is no expression, no special expressive means. Nevertheless, this phrase is a phenomenon of art, since it serves as one of the means of depicting the character of the landowner Troekurov.

The possibility of creating an artistic image by means of language is based on the general laws inherent in the language. The fact is that the word carries not just elements of a sign, a symbol of a phenomenon, but is its image. When we say “table” or “house,” we imagine the phenomena denoted by these words. However, this image does not yet have elements of artistry. One can speak about the artistic function of a word only when, in the system of other methods of representation, it serves as a means of creating an artistic image. This, in fact, is the special function of poetic language and its sections: “poetic phonetics”, “poetic syntax”, etc. This is not a language with special grammatical principles, but a special function, a special use of forms of the national language. Even the so-called words-images receive an aesthetic load only in a certain structure. So, in the well-known line from M. Gorky: “Over the gray plain of the sea, the wind collects clouds” - the word “gray-haired” in itself does not have an aesthetic function. It acquires it only in combination with the words "plain of the sea." "The gray plain of the sea" is a complex verbal image, in the system of which the word "gray" begins to have an aesthetic function of the path. But this trope itself becomes aesthetically significant in the integral structure of the work. So, the main thing that characterizes the poetic LANGUAGE is not saturation with special means, but an aesthetic function. Unlike any other use of them in a work of art, all linguistic means are, so to speak, aesthetically charged. “Any linguistic phenomenon under special functional and creative conditions can become poetic,” Acad. V. Vinogradov.

But the internal process of "poeticization" of language, however, is portrayed by scientists in different ways.

Some scholars believe that the core of an image is a representation, a picture fixed in the forms of a language, while other researchers, developing the position on the linguistic core of an image, consider the process of “poeticization of speech as an act of increment” to the word extra quality or meaning. In accordance with this point of view, the word becomes a phenomenon of art (figurative) not because it expresses an image, but because, due to its inherent immanent properties, it changes quality.

In one case, the primacy of the image is affirmed, in the other, the primacy and primacy of the word.

There is no doubt, however, that the artistic image in its verbal expression is an integral unity.

And if there is no doubt that the language of a work of art should be studied, like any phenomenon, on the basis of mastering the general laws of language development, that, without special linguistic knowledge, one cannot deal with the problems of poetic language, then at the same time it is quite obvious that, as a phenomenon of verbal art, language cannot be excluded from the sphere of literary sciences that study verbal art at the figurative-psychological, social and other levels.

Poetic language is studied in connection with the ideological-thematic and genre-compositional specificity of a work of art.

The language is organized in accordance with certain tasks that a person sets for himself in the course of his activity. Thus, the organization of language in a scientific treatise and in a lyrical poem are different, although in both cases forms of the literary language are used.

The language of a work of art has two main types of organization - poetic and prose (the language of dramaturgy is close in its organization to the language of prose). The forms and means of organizing types of speech are at the same time speech means (rhythm, meter, ways of personification, etc.).

The source of poetic language is the national language. However, the norms and level of development of the language at a given historical stage do not in themselves determine the quality of verbal art, the quality of the image, just as they do not determine the specifics of the artistic method. In the same periods of history, works were created that differed in artistic method and in their poetic significance. The process of selecting language means is subordinated to the artistic concept of a work or image. Only in the hands of the artist does language acquire high aesthetic qualities.

Poetic language recreates life in its movement and in its possibilities with great fullness. With the help of a verbal image, one can “draw” a picture of nature, show the history of the formation of a human character, depict the movement of the masses. Finally, the verbal image can be close to the musical one, as is observed in the verse. The word is firmly connected with thought, with the concept, and therefore, in comparison with other means of creating an image, it is more capacious and more active. A verbal image, which has a number of advantages, can be characterized as a "synthetic" artistic image. But all these qualities of a verbal image can be revealed and realized only by an artist.

The process of artistic creation or the process of poetic processing of speech is deeply individual. If in everyday communication it is possible to distinguish a person by the manner of his speech, then in artistic creativity it is possible to determine the author by the method of artistic language processing peculiar only to him. In other words, the artistic style of a writer is refracted in the speech forms of his works, and so on. This peculiarity of the poetic language underlies the entire infinite variety of forms of verbal art. In the process of creativity, the artist does not passively apply the treasures of the language already mined by the people - a great master with his creativity influences the development of the national language, improving its forms. At the same time, it relies on the general laws of the development of the language, its folk basis.

Journalism (from lat. publicus - public) is a type of literature, the content of which is mainly modern issues of interest to the general reader: politics, philosophy, economics, morality, law, etc. The closest in terms of the specifics of creativity to journalism are journalism and criticism.

The genres of journalism, journalism, criticism are often identical. This is an article, a series of articles, a note, an essay.

A journalist, critic, and publicist often act in one person, and the boundaries between these types of literature are quite fluid: for example, a journal article can be critical and journalistic. It is quite common for writers to act as publicists, although often a publicistic work is not fiction: it is based on real facts of reality. The goals of a writer and a publicist are often close (both can contribute to the solution of similar political and moral problems), but the means are different.

The figurative expression of the content in a work of art corresponds to the direct, conceptual expression of the problematics in journalistic work, which in this respect is closer in form to scientific knowledge.

Artistic and journalistic literature includes works in which specific life facts are clothed in a figurative form. In this case, elements of creative imagination are used. The most common genre is the artistic essay.

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

Creative operations with language tools aimed at creating an aesthetic impression should be distinguished from the automatic selection and implementation of language tools that support the stereotype of speech. The opposition of creativity (creativity) and automatism (stereotyping) is significant both for the generation and perception of speech. When the speech producer asks how to say, the automaticity of perception is disturbed, which is accompanied by the emotional and aesthetic reaction of the addressee; when he asks what to say, perception tends to automatize: in a linear sequence of verbal signs, none of them stimulates the aesthetic response of the addressee.

The presence or absence of automatism in the processes of production and perception of speech makes it possible to distinguish between poetic language and practical language. In the domestic scientific tradition, such a distinction is substantiated in the works of representatives of the OPOYAZ (20s of the XX century) and developed in the works of Yu. N. Tynyanov, R. Yakobson, L. P. Yakubinsky. A narrow, extended and broad understanding of poetic language has been formed. In a narrow sense, poetic language is the language of poetry; in the extended - the language of fiction; in a broader sense, language "with a focus on aesthetically significant creativity, at least the most minimal, limited by the framework of a single word" .

V. P. Grigoriev proposed to designate the unit of poetic language with the term kreatema. So, in the statement of M. Tsvetaeva Life later, warmly welcome such silence of the mother kreatema is a transformed standard combination (cf .: week/year later). In V. Khlebnikov's poem "The Spell of Laughter", a derivational bush is formed, the branches of which are chains of neoplasms, such as, for example, a branch with a root word laughter: laugher, laugher, laugher, laugher, laugher, laugh, laugh. Createmes of the same type form an occasional intratext subsystem.

Poetic language is the language of the creator of creations. But is it only the artist of the word who creates the creator? The answer to this question can be found in research on children's speech. The period of the highest creative activity associated with the development of the native language, the age of "from two to five" (K. Chukovsky) is characterized by numerous innovations, the generation of which reveals their common nature with creations in a literary text. Based on the material systematized by specialists in children's speech, we characterize the specifics of the results of children's speech creativity.

Grammatical innovations in children's speech are based on the language system, understood as a system of possibilities. In the normative speech of adults, the generation of a speech fact occurs along the chain: system - norm - speech; in the speech practice of children, the second link in the chain is absent. The analysis of grammatical creations allows us to talk about their predictability, because all grammatical neoplasms are potentially possible, corresponding to language models. Being incorrect from the point of view of the codified norm, these creations are distinguished by "systemic correctness": they arise under the influence of analogy, i.e. assimilation of some forms of linguistic expression to others on the basis of similarity. Wed: tables and chairs; eyes, pencils And foreheads, noses; kiss / kiss(mother), peck / peck (grains) and blow / blew, blow out / blew out. A grammatical creation often fills a lacuna (an empty cell) in a section of a grammatical system: I don’t want to drink yet, but I’m already zahachiva (want to - zahachiva). The mechanisms of the language system make it possible to construct this and similar species bunks, but they are absent in the codified literary language. It is known, for example, that not all qualitative adjectives can be used to form a synthetic form of a comparative degree, but the mechanism of the grammatical system provides such a potential opportunity (forms like better, farther, prouder). The speech producer in the process of form creation does not carry out any planned super-task, therefore such formations are called unintentional. The perception of grammatical creations by adults, as a rule, is accompanied by stereotypical remarks: Not tables, but tables; It is necessary to say pours, not pours and so on. Typical orthological reactions are aimed at fixing in the child's linguistic consciousness the grammatical standards that are necessary in literary speech and form the basis of the practical language. The regulative and didactic strategy of an adult mentor is obvious: to form an idea of ​​grammatical norms in a child. At the same time, one cannot fail to notice the charm of grammatical irregularities that evoke feelings of tenderness, surprise, and pleasure in parents. These emotional and aesthetic effects are explained by the difference in the set of language competencies of a child and an adult. An adult involuntarily perceives a grammatical anomaly as a creation.

Children's word creation, carried out on the basis of productive word-formation models, also demonstrates the influence of the language system. The novelty of the plan of expression of new formations is created due to the free combination of word-building morphemes at the base of the word. An objective contradiction arises between the system and the norm: the system mechanism allows creating a new figurative word, and the norm "does not accept" because of the presence of a codified sample in the language. For example: companion (cf. companion); mocker(mockery); gymnast(gymnast); little king(prince); fat(thick); brainy(brainy); dandelion(dandelion) and others. Imagery is felt in creations that have a lexical synonym in the language system: rezhik- a knife; villagers- peasants; cow- calf; pimples feathers; perforated, perforated- break; (you me) burst out laughing- laughed. In all cases, the child is aware of both the linguistic meaning of the root and the meaning of the derivational affix. Neoplasms often fill the lexical gap: Dad, let me play the guitar (play the guitar) I watched the movie. There robot baby (small robot) so fought! Non-standard figurativeness is typical for creations created on the basis of combining two roots: I quick-toothed (quickly chew); And I deaf (deaf when eating); grains in coffee pot (coffee grinder) put; I need earcap (pipette). The figurative impression is conveyed by the creation, included in the boundaries of the logical-evaluative opposition: it is forbidden - lying; scoundrel - yearling and so on. Lexical innovations show how the child "sees ... his own thought" (A. A. Potebnya) and, therefore, have an individual psychological originality.

We can judge the intentions of the speech producer by verbal identification marks. For example, a number of children's statements contain the adjective Beautiful and at the same time - forms of inducing the addressee to an aesthetic reaction. The aesthetic intention of the author of the statement is organically combined with the communicative-pragmatic one. For example: - You know, I have a doll - so beautiful, round-browed (1); Listen, what a beautiful music, only parting (2); Let's see, let's go quietly: a beautiful butterfly with her grandmothers(3). Feeling into the observed situation is accompanied by an aesthetic experience, which, as the child hopes, should be transferred to a friend (1), mother (2), grandmother (3). Neoplasms are created unintentionally, but under the influence of an aesthetic impression. In the aesthetic center of statements - the word Beautiful, which is often involved in constructions built on the basis of non-standard figurative analogies: Mom, you are as beautiful as a cow; Is it true that I wrote the letter "o" beautifully? She is not like a barrel, but like a cucumber. The means of intentionally creating a figurative-aesthetic impression in children's speech is a comparison constructed on the basis of a figurative analogy "man" - "animal": John's(about a puppy) the tongue is soft as a rag, and the tooth is small, like rice; Him(poodle) nose like dandelion fluff. Comparisons built on subject analogies accurately depict momentary personal feelings: I don't like being under my neck like a fist(of a knotted scarf). Individual comparisons are the result of the process of empathizing with the cognizable. In all cases, individual comparison can be referred to figurative creations.

Another variety of figurative creations is an individual metaphor that arose in the process of direct observation: Aunt has a scarf with hair(about the fringe); What ball(about the moon) in the sky! Individual personifications are frequent in children's speech: Oh, scary! Grass bites; A whole herd of trucks are roaring; Hear the river talking. In the picture of the world of a child, an animal and a person naturally approach each other. (The viper bit the dog in the face; Sharik is crying: he misses Masha), the role functions of man and animal converge: Grandma, talk to Booty(cat) purr at her like a grandmother cat. Figurative analogies of the type I am a dog, I am a bird, I am a fish: If I were a fish, I would never swallow a hook. Createmes in the given examples can be characterized as the result of verbal-figurative reflection. In a word, like with a brush, a child draws from life, reproduces the world on the basis of sensory sensations and ideas.

The production of impactful texts requires independent solution integral creative task. The planning of the aesthetic effect can be traced in polylogue texts, for example, in a conversation between six-year-old Katya and her parents:

Kate: Listen, what a riddle I composed, like a poem: Not buttons, but eyes, not a button, but a nose. This is our... Well, guess quickly! Mother: This is our barbos!

Kate: And that's wrong! We don't have barbos! Dad: It's a steam locomotive!

Kate: No! The locomotive has fake eyes and no nose. Wrong!

(Mom and dad shrug their shoulders.) Katya: Well? Give up? Mom and Dad: Let's give up!

Kate: Not buttons, but eyes, not a button, but a nose. This is our Dimos! Got it, right? Mother: Who-o-o?

Kate: Dimos, our Dimka(Katya's younger brother). I came up with this so that it was funny: the nose is Dimos!

Mother: Hey Katya! Youth! Dad: Katyukha is our composition!

Kate: Don't tease, dad! Composition is an ugly word! Mother: Kat is our poet. So beautiful?(Everyone laughs.)

Kate: Yes, it's beautiful. I'm going to write more.

Katya's speech party makes it possible to identify the components of the creative idea: the text should be organized according to the type of riddle - a genre task; the text is addressed to the parents, i.e. the riddle is intended for the family circle and therefore must contain meanings understandable within this circle (pronoun our) - communicative-pragmatic task; the riddle should please the parents, give them pleasure, make them laugh - actually an aesthetic task. To implement the idea, the technique of negative comparison is used in combination with syntactic parallelism (this technique is found in fairy tales and riddles that the girl knows from early childhood). The stylistic center of the text is the transformed name of the one-year-old brother. In the family they call him Dima, Dimka, Dimochka, Dymko. Createma Dimos - individual result of speech creation. unexpected rhyme nose - Dimos should be called, and causes laughter.

Thus, the plan includes planning the production of speech in a certain genre form, the intention to convey a specific meaning (what?) with the help of influencing language means (how?). The communicative-pragmatic effect planned by the author of the riddle has been realized. I will reach! and aesthetic effect: the entire text is covered by a given jokingly intimate tone. The colloquial polylogue cited as an example can also be considered as an example of a collective gaming creative activity, the result of which goes beyond the language game - into the realm of feelings.

Although speech innovations in children's speech in most cases are unintentional, these "precious dissimilarity" (I. A. Ilyin) prove the objectivity of the inseparable connection between the aesthetics of language and the aesthetics of speech, reveal the nature of aesthetic creative speech activity and the nature of poetic language. The holistic result of the child's intentional creative activity is a text that has a planned aesthetic function.

If we return to the definition of poetic language proposed by V.P. Grigoriev as a language with an orientation towards aesthetic creativity, it should be recognized that only those creations that are intentionally created by the author of the speech, in accordance with the aesthetic intention, belong to the poetic language.

The practical language is the language of the user who applies the locale in the communication process. Automatism practical language is clearly manifested in text genres based on information standards. In business texts, for example, such standards lengthen speech, but contribute to the uniformity of genre patterns. Here is the title of one of the documents: Decree of the government of the Sverdlovsk region of August 24, 2011 No. 731-PP "On the amount of a one-time allowance for the establishment of a household for young professionals who have gone to work in regional state and municipal organizations of the Sverdlovsk region." On the basis of information standards, practically important information for a certain group of young professionals and specific administrative structures is transmitted about the possibility of targeted financial support.

Practical language strives to free the information transmitted by the text from stylistic "additives" that affect emotions and imagination. For example, in an instruction addressed to the user, each element of the text highlighted graphically is constructed in accordance with the scheme: (which) keystroke /(which one) / what it serves for / what exactly it will lead to: 2 ... a single press of the key "is used to transfer the phone to the tone mode of operation (the symbol "I" will be displayed on the indicator); 2 ... a double quick press of the # key will lead to slaughter (deletion) last dialed digit; 2 ...quick successive pressing of the # key will cause the symbol "P" to appear on the indicator.

The same type of syntactic, punctuation, graphic design of sections of the text, paragraph division - all this supports schematism, clichéd expression of thought, provides the instructional function of the text, streamlines the perception of new information for the addressee.

The concept of practical language is loosely tied to the concept of "functional style". Of course, the automatism of language use is manifested to a greater extent in business and scientific styles and to a lesser extent in texts of influencing styles. However, a complete ban on the use of aesthetically significant units in "hard" styles of speech still does not exist.

The task of creative stylistics is to identify aesthetically significant elements in speech works. different styles and genres. At the same time, the presence of figurative word usage in the text does not yet indicate the use of the corresponding means for aesthetic purposes. Let's take a text snippet as an example: Net cash flow is calculated as follows: the value of net profit is adjusted for the amount of accrued depreciation plus the increase in accounts payable or minus its receivables. Let's ask the question: is the adjective used clean in a figurative expressive meaning "morally impeccable, received in an honest way"? Of course, the answer will be negative, both in relation to the combination Net cash flow, as well as in relation to the combination net profit. In both cases, the adjective clean is included in the composition of financial and economic terms (cf. also: net income, net taxes for products). Term cash flow used in the sense of "abstracted from the economic content of a numerical series, consisting of a sequence of payments distributed over time"; net profit - this is "a part of the balance sheet profit of the enterprise, remaining at its disposal after paying taxes, fees, deductions and other obligatory payments to the budget." Special concepts that have arisen on the basis of transference do not receive aesthetic increments.

Antonymic couple plus - minus is used for operational-logical regulation of the transmitted information, and not for emotional-aesthetic enhancement. The selected speeches refer to reproducible terminological standards. The text intended for specialists is perceived automatically and remains in the space of practical language.

Thus, practical language and poetic language are distinguished on the basis of the presence or absence of automatism in the generation of speech and its perception. In the broad sense of the term, poetic language is defined as a language with a focus on aesthetically significant creativity. The units of poetic language are createmes - deliberately selected or transformed means, as well as neoplasms aimed at creating an aesthetic impression.

• Grigoriev V.P. The poetics of the word. M., 1979. S. 77-78.
• Zeitlin S. N. Occasional morphological forms in children's speech. L.. 1987; Kharchenko V.K. Dictionary of modern children's language. M „2005.

POETIC LANGUAGE, artistic speech, is the language of poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. Ya., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is language in its aesthetic function.
P. i. closely connected, on the one hand, with the literary language (see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. The poetic word grows out of the real word and in it, becoming motivated in the text and performing a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.
Unlike ordinary language, the primary modeling system (the original "picture of the world"), P. I. is, by its nature, a secondary modeling system, as if built on top of the first one and creatively perceived thanks to the projection onto it.
The aesthetic sign (image) appears as semantically “fluctuating”, multifaceted, and therefore prompting the reader to his creative perception: a troika and a bird troika * Rus. One plan of the image is suddenly replaced by another, not canceling the first, but, on the contrary, expanding and deepening it: “Selifan only waved and shouted: “Eh! eh! eh!” , then rushed in spirit from the hillock (...) -Oh, troika! bird troika, who invented you? to know that you could only be born among a lively people, in that land that does not like to joke, but
spread out with equal smoothness for half the world (...) - Isn't it you, Rus', that a lively, unbeatable troika, rushing about? (...) Rus', where are you going, give me an answer? Doesn't answer*. Artistic image in P. I. does not come down, therefore, to simple visual clarity: it lives in a change in the angles of the image, an “influx” of different meanings, whimsically changing and “appearing” one in the other.
The aesthetic sign (word, phrase, construction, text) as an element of the secondary modeling system in its comparison with the usual sign of the primary modeling system is characterized by a number of specific properties. The aesthetic sign has not a standard (generally accepted), but a special artistic form - unusual compatibility with other words, expressive derivational, morphological structure, inversion, emphasized sound (phonic) organization, etc. This form, being a tangible means of implementing the poetic function of language, correlates with dialectically contradictory "mobile" meaning of the aesthetic sign.
The meaning of the sign P. I. contains an internal contradiction. Poetic reality as a secondary modeling system is a system of artistic quasi-objects (from Latin quasi - supposedly, as if) with their "fluctuating" semantics. In verses from “Eugene Onegin” by A. S. Pushkin * A bee on a field mission Flies from a wax cell "the selected verbal images have conflicting semantics: field tribute = nectar, wax cell" beehive. Recognition of quasi-objects with their "fluctuating", contradictory meaning causes a feeling of aesthetic satisfaction in the reader.
Compared with the words of everyday speech, the aesthetic signs of P. I. have flexible, mobile, often not equal to dictionary and even opposite meanings: “Chichikov, taking a piece of paper [banknote, bribe] out of his pocket, put it in front of Ivan Antonovich, which he did not notice at all and immediately covered it with a book. Chichikov wanted to point it out to him, but Ivan Antonovich made it clear with a movement of his head that it was not necessary to show it * (Gogol). Contextual connections of the word in P.I. lead, therefore, to its semantic and aesthetic transformation, subordinated to the general intent of the text.
The flexibility of the poetic semantics of words causes the mobility of the verbal image itself. The sail in the poem of the same name by M. Yu. Lermontov is perceived both in its objective meaning (“The sail turns white (...) In the blue fog of the sea! ...; And the mast bends and creaks ... *), and as an animated creature (lonely ), and, finally, as a symbol of the eternal search (“What is he looking for in a distant country? What did he throw in his native land? (...) Alas, he does not seek happiness And does not run from happiness! *) And rebellion. a cleansing storm (“He, rebellious, asks for storms, As if there is peace in storms!”.
Compared with ordinary linguistic units that have a normative character, words (verbal images) as aesthetic signs of P. I. are a product of artistic creativity, different from the usual use. Lit. the work bears the imprint of the worldview, poetic vision of reality, language, style of its creator. In a truly artistic work, the word as a material of art and an element of composition is uniquely and aesthetically motivated as a stylistically constructive element of the whole.
P. i. is organically connected with the creative method of the writer, whose personality is dialectically reflected in his works as a category of the author (“the image of the author”, according to V. V. Vinogradov), as their main, organizing principle. The compositional-speech structure of the text is always personal and reflects the creative style of the writer, the originality of his style and language (grammar, dictionary, phonics, etc.). The category of the author as the hierarchically highest poetic category focuses the ideological and aesthetic, compositional and linguistic (stylistic) unity of the artistic text.
The creative nature of the aesthetic signs P. I. lit. the work is embodied in the system of dominants - the main compositional and speech components of the text, which, subordinating, defining and transforming the remaining components, are the main exponents of the author's intention. These are, for example, the key words of the text, to which the "threads" of its various levels stretch and to-rye organize the integral unity of lit. works: its content, composition and language. The adjective miraculous is the semantic and aesthetic center of A. S. Pushkin's poem “I erected a monument to myself miraculous”: in essence, his entire text is a versatile artistic disclosure of the symbolically capacious meaning of this word. A keyword can serve as a compositional and semantic support for the linguistic structure of a work, for example. form of the imperative mood wait for the verb to wait in the poem by K. M. Simonov "Wait for me, and I will return ...". The term "P. I." used both in the meaning of artistic speech, and as the name of the language of poetic works, sometimes - pictorial means of lit. direction, school, writer, as well as the most aesthetic function of the language, etc. The most complete equivalent of P. I. is the language of fiction (see) - the subject of "a special philological science, close to linguistics and literary criticism, but at the same time different from both" (Vinogradov).

Confession, emotional tension, energy of feeling, characteristic of Tsvetaeva's poetry, determined the specifics of the language, marked by the conciseness of thought, the swiftness of the deployment of lyrical action. The most striking features of Tsvetaeva's original poetics were intonational and rhythmic diversity (including the use of raesh verse, the rhythmic pattern of a ditty; folklore origins are most noticeable in the fairy tale poems "The Tsar Maiden", 1922, "Well done", 1924), stylistic and lexical contrasts (from vernacular and grounded everyday realities to elevated high style and biblical imagery), unusual syntax (the dense fabric of the verse is replete with the dash sign, which often replaces omitted words), breaking the traditional metric (mixing classical stops within one line), experiments on sound (including the constant play on paronymic consonances (see Paronyms), which turns the morphological level of the language into poetically significant), etc.

Prose

Unlike poetry, which did not receive recognition in the emigrant environment (Tsvetaeva's innovative poetic technique was seen as an end in itself), her prose was a success, willingly accepted by publishers and took the main place in her work of the 1930s. ("Emigration makes me a prose writer..."). "My Pushkin" (1937), "Mother and Music" (1935), "The House at the Old Pimen" (1934), "The Tale of Sonechka" (1938), memories of M. A. Voloshin ("Living about the living", 1933), M. A. Kuzmine ("The Otherworldly Wind", 1936), A. Belom ("The Captive Spirit", 1934) and others, combining the features of artistic memoirs, lyrical prose and philosophical essays, recreate the spiritual biography of Tsvetaeva. Letters of the poetess to B. L. Pasternak (1922-36) and R. M. Rilke (1926) adjoin prose - a kind of epistolary novel.

Themes of the lyrics

Tsvetaeva often addresses topics:

love

Motherland i.e. Moscow

There is a theme of childhood

Same with loneliness

Since Marina Tsvetaeva belongs to the romantics, her lyrical heroine always wonders about the meaning of life, she is looking for her own world of happiness and goodness, protesting against the world of everyday vices and evil

Life sends some poets such a fate that, from the very first steps of conscious being, puts them in the most favorable conditions for the development of a natural gift. Such a bright and tragic was the fate of Marina Tsvetaeva, a major and significant poet of the first half of our century. Everything in her personality and in her poetry (for her this is an indissoluble unity) sharply went beyond the traditional ideas, the prevailing literary tastes. This was both the strength and originality of her poetic word. With passionate conviction, she affirmed the life principle proclaimed by her in her early youth: to be only herself, not to depend on time or environment in anything, and it was this principle that later turned into insoluble contradictions in her tragic personal fate.

red brush

The rowan lit up.

Leaves were falling.

I was born.

The mountain ash became a symbol of fate, which also flared in scarlet for a short time and was bitter. Throughout her life, M. Tsvetaeva carried her love for Moscow, her father's home. She absorbed the rebellious nature of her mother. No wonder the most heartfelt lines in her prose are about Pugachev, and in verse - about the Motherland.

Her poetry entered the cultural life, became an integral part of our spiritual life. How many Tsvetaeva's lines, recently unknown and, it would seem, forever extinguished, instantly became winged!

For M. Tsvetaeva, poetry was almost the only means of self-expression. She believed them all.

Our hall yearns for you, -

You barely saw her in the shadows -

Those words yearn for you

What in the shadow I did not tell you.

Glory covered Tsvetaeva like a flurry. If Anna Akhmatova was compared with Sappho, then Tsvetaeva was Nika of Samothrace. But at the same time, from her very first steps in literature, the tragedy of M. Tsvetaeva began. The tragedy of loneliness and unrecognized. Already in 1912, her collection of poems "The Magic Lantern" was published. The appeal to the reader who opened this collection is characteristic:

Dear reader! Laughing like a child

Have fun meet my magic lantern

Your sincere laughter, let it be a call

And unaccountable, as of old.

In “The Magic Lantern” by Marina Tsvetaeva, we see sketches of family life, sketches of the lovely faces of mothers, sisters, acquaintances, there are landscapes of Moscow and Tarusa:

In the sky - evening, in the sky - clouds,

Boulevard in the winter twilight.

Our girl is tired

She stopped smiling.

Small hands are holding a blue ball.

In this book, Marina Tsvetaeva first introduced the theme of love. In 1913-1915, Tsvetaeva created her "Youth Poems", which were never published. Now most of the works are printed, but the poems are scattered in various collections. It must be said that "Youthful Poems" are full of vitality and strong moral health. They have a lot of sun, air, sea and young happiness.

As for the revolution of 1917, its understanding was complex and contradictory. The blood shed abundantly in the civil war rejected, repelled M. Tsvetaeva from the revolution:

White was - became red:

Blood stained.

Was red - became white:

Death has won.

It was a cry, a cry from the soul of a poetess. In 1922, her first book "Milestones" was published, consisting of poems written in 1916. In Versts, love for the city on the Neva is sung, they have a lot of space, space, roads, wind, fast-running clouds, sun, moonlit nights.

In the same year, Marina moved to Berlin, where she wrote about thirty poems in two and a half months. In November 1925, M. Tsvetaeva was already in Paris, where she lived for 14 years. In France, she writes her "Poem of the Stairs" - one of the sharpest, anti-bourgeois works. It can be said with certainty that the "Poem of the Stairs" is the pinnacle of the epic work of the poetess in the Parisian period. In 1939, Tsvetaeva returned to Russia, as she knew well that she would only find true admirers of her great talent here. But in her homeland, poverty and non-printing awaited her, her daughter Ariadne and her husband Sergei Efron, whom she dearly loved, were arrested.

One of the last works of M. I. Tsvetaeva was the poem “You won’t die, people,” which adequately completed her career. It sounds like a curse to fascism, glorifies the immortality of peoples fighting for their independence.

The poetry of Marina Tsvetaeva has entered, burst into our days. Finally, she found a reader - huge as an ocean: a popular reader, which she lacked so much during her lifetime. Got it forever.

In the history of Russian poetry, Marina Tsvetaeva will always occupy a worthy place. And at the same time its - a special place. The real innovation of poetic speech was the natural embodiment in the word of the restless spirit of this green-eyed proud woman, “a laborer and a white hand”, restless in the eternal search for truth.