Elements of folklore in modern poetry. "I am a folklore element, I have a document"

The story with the creative from Volgograd, where the Pz.Kpfw.Panther Ausf.F was depicted on a poster dedicated to the 75th anniversary of the victory in the Battle of Stalingrad, was continued. Local" TVNZ"produced beautiful in every sense, you can directly read and enjoy. I especially liked this:

“In general, there were network commentators who are very knowledgeable about tanks, because they reached level 8.”

Thanks for the World of Tanks advertisement, I see that one of the two authors of the note is clearly playing. True, another vehicle is presented in WoT - Panther mit 8.8 cm L/71. Actually a Panther Ausf.F with a design turret.
It's more fun.

- In general, I am not a supporter of mixing painting with documentary things, but in in this case“This is an image,” says the head of the exhibition and exhibition work State Historical and Memorial Museum-Reserve Battle of Stalingrad Svetlana Argastseva. - The painting by Gleb Vasiliev depicts a broken German tank, with a Russian soldier standing on it and looking at the Reichstag. And the signature: “I am satisfied with the ruins of the Reichstag.” The victory in 1945 was portrayed this way.

Svetlana Anatolyevna, did I understand you correctly that with your comment you sign that it is now possible to put Maus, E-100, Sturmtiger and other creations of the gloomy German genius in front of the Reichstag? Well, what an image!
This is not to mention that another awkward question arises. Even if this were a historically verified picture about the storming of Berlin, what is it doing on a poster dedicated to the 75th anniversary of the victory in the Battle of Stalingrad?

Well, what I liked most was this:

Svetlana Anatolyevna probably means this?


I hasten to disappoint you - this is box art of a plastic model. And in life, not a single “Panther” of the Ausf.F modification not only did not fight, nor was it even built. There was only some groundwork for the hulls.

By the way, one of the authors came running to me on FB. True, telling a lie is not nice: I comment on FB very rarely, usually together with the owners who behave inappropriately. There have been 5 such people in 5 years.

Komarova A.

ON LITERATURE

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Introduction.

The better we know the past, the easier it will be
the more deeply and joyfully
let's understand the great meaning
the present we create.
A. M. Gorky

“Tell me how the people lived, and I will tell you how they wrote” - these wonderful words of the great Russian scientist academician L.N. Veslovsky can also be attributed to oral creativity: as the people lived, so they sang and told stories. Therefore, folklore reveals folk philosophy, ethics and aesthetics. M. Gorky could say with full good humor that “ true story you cannot know the working people without knowing the oral folk art". The song serves as a source for studying the history, life and customs of the people, their spiritual make-up and character. The texts of songs from each era contain regional, historical, cultural, everyday, spiritual, value, and political information. The song reflects the lexical-semantic, morphological, word-formation and syntactic features of language development.

Everyone knows the captivating power of Russian folk songs. They have the ability not only to penetrate deeply into the soul, but also to evoke empathy.

This wonderful genre of folklore has become an integral part of our lives; it has confirmed its right to exist, having passed the long test of time. The sociocultural changes taking place in Russia in recent decades have a significant impact on speech and language processes and cannot but affect the song creativity of domestic authors, since song is one of the most dynamic genres of mass culture.

Topic: folklore elements in modern art songs.

Relevance of the topic: Russian art song as a phenomenon that combines poetry, music and performance, and as a unique social movement of the Russian intelligentsia, belongs primarily to the world of folk culture.

Purpose of the study: to identify folk elements in modern art songs.

Object of study - modern art song.

Subject of study– text of a modern art song.

The practical significance of the work lies in the fact that this research can be used in further studying the phenomenon of the author's song, in the practice of school and university teaching of folklore and other disciplines studying ethnicity and folk culture.

In accordance with the purpose and hypothesis of the study, the following tasks were set:

Analyze the poetics of the texts of Russian folk songs;

Establish the degree of influence of folklore on modern art song.

Research materialThe texts of popular art songs from the last 20 years and Russian folk songs were used. The main criteria for selecting the material were the presence of song lyrics in modern collections and periodicals of the last 20 years, repeated playing of songs in music radio and television programs, publication of song lyrics on Internet sites.

Material selection made subject to certain restrictions. The objects of study were not: 1) songs, the verbal part of which represents exemplary texts of classical and modern literature(songs based on poems by S. Yesenin, M. Tsvetaeva, B. Pasternak, E. Yevtushenko, A. Voznesensky, B. Akhmadullina and other poets); 2) “secondary works”, i.e. songs written and performed earlier and now presented in a new musical arrangement, in a new performance; 3) texts of thieves, half-thieves, and yard songs; 4) lyrics of songs of modern informal groups containing profanity.

Main part.

1. Poetics of the texts of Russian folk songs.

Fairy tales, songs, epics, street performances - all this different genres folklore, folk oral and poetic creativity. You can’t confuse them, they differ in their specific characteristics, their role in people’s life is different, they live differently in modern times. No people in Europe have such a wealth of songs and tunes, beautiful and original, as the Russian people. From the 18th century we have evidence of how our songs surprised foreign musicians with their freshness and musical beauties. For example, the composer Paisiello, having heard Russian songs, could not believe “that they were an accidental creation of ordinary people, but believed them to be the work of skilled musical writers.”

Folk song- a musical and poetic work, the most common type of vocal folk music. Folk song is one of the oldest forms of musical and verbal creativity. In some ancient and partly modern types of folk music, it exists in unity with dance, playing, instrumental music, verbal and visual folklore. Its isolation is the result of a long historical development folklore

The famous expert and collector of Russian songs P.V. Shein divided his multi-volume collection of Great Russian songs (up to 3 thousand) into two main categories, on two sides of the life of a peasant - personal and public: a) songs reflecting the main moments of a person’s life - birth , marriage, death - but within one’s family, one’s own volost, and b) songs that express the transition to social, state life. Lopatin, excluding epics from them, divides all Russian songs into two categories: 1) lyrical songs, including most historical songs, and 2) ritual songs - weddings, round dances and games. This classification holds up less to criticism because the lyrical and personal element is to a certain extent inherent in ritual songs.

Folk song is distinguished by a wealth of genres, different in origin, character and function in folk life. An essential feature of most traditional genres is the direct connection of folk songs with everyday life, labor activity(for example, labor songs accompanying different kinds labor - barge hauling, mowing, weeding, reaping, threshing and others, rituals accompanying agricultural and family rites and celebrations - carols, Maslenitsa, vesnyanka, Kupala, wedding, funeral, game calendar, etc.). Historical folk songs are valuable because they reflect real events of past years. Passed from generation to generation without significant changes, they preserved their plots and characters, forms and means of expression for many centuries.

The themes of historical songs are varied and multifaceted: wars, campaigns, popular uprisings, incidents from the lives of kings, statesmen, and riot leaders. From them one can judge the people’s attitude to what is happening, their priorities and moral values.

Dance folk songs are inseparable from various folk dances. Lyrical songs received the greatest musical development in the folklore of all nations. They are sung solo, ensemble, choir. It was in this genre that they appeared higher forms polyphony, complex melodic and musical-poetic compositional structures. The diversity of the content of lyrical folk songs is primarily due to the diversity of social groups that create and perform them (farmers, artisans, workers and others). Each social group society has its own song lyrics.

In folk songs, the strophic and verse forms predominate, often with a compositionally distinguished chorus. The poetic stanzas (verses) of each folk song, which differ in content, usually correspond to one tune, which varies with repeated repetition (throughout the entire song).

“WE SOWED MILLET”

And we hired the land, hired it.

Oh did-lado hired, hired.

And we sowed millet, sowed,

Oh dil-lado, they sowed, they sowed.

And we will trample down the millet, trample it down.

Oh dil-lado, let's trample, trample.

What should you use to trample, trample?

Oh dil-lado, trample, trample?

And we are her horses, horses,

Oh dil-lado, horses, horses,

And we will take the horses captive, we will take them captive,

Oh dil-lado, we’ll take you prisoner, we’ll take you prisoner.

1. Genre – work, round dance, dance.

3. Verse form: strophic with repetition of one of the syllabic groups.

And we millet / sowed, sowed.

Oh, dil-ladoo, / sowed, sowed.

4. The key of the song is G major.

5. Rhythm – smooth, with a chant of each syllable.

6. A tune consists of a musical phrase repeated many times. Each syllable in the song is sung, this gives it a playful, dance-like character.

1. Features of the author's song.

The author's song is a multifaceted, living, constantly evolving phenomenon. In the beginning, original songs were not called that way. It was called amateur until such people became involved in the process of understanding their role in culture famous artists words like B. Okudzhava, V. Vysotsky, A. Galich, N. Matveeva are true professionals.

The author's (bardic) song is an original cultural phenomenon of our country. Its origins lie in oral folk art. The author's song is modern folklore, a mirror of the life of Russia at different historical stages. Author's song- modern genre oral poetry (“singing poetry”), formed at the turn of the 50s - 60s. in the informal culture of students and young intellectuals. “Singing poetry” itself is the oldest form of creativity, known to cultures of almost all nations, and it is no coincidence that representatives of art songs are often called “bards”, compared with ancient Greek lyricists, Russian guslars, Ukrainian kobzars, etc., based primarily on the fact that the modern “bard”, like the ancient poet , usually sings his own poems to his own accompaniment on string instrument(most often - guitar). However, these are still external, and, moreover, not always obligatory, signs of the genre. The term “author’s song” was introduced (according to legend, by V.S. Vysotsky) in order to emphasize its personal character, in order to separate it, on the one hand, from the songs supplied by the professional stage, and on the other, from the urban folklore that gave birth to it and unpretentious “homemade” songs, composed, on occasion, for “their company”, “their institute”, and of little interest to anyone outside this narrow circle.The soil on which the author's song grew is, first of all, our Russian folklore: a ditty, laconic, metaphorical, witty; urban romance, soldiers' songs.

The author's song as a part of modern folklore in our country developed rapidly during the Khrushchev “thaw”. But against the backdrop of the general confusion, young people noticed and picked up the first songs of Yuri Vizbor, Ada Yakusheva, Mikhail Ancharov, Alexander Gorodnitsky, Yuli Kim...

In the traditional transmission of an author's song orally, it manifests itself important feature, characteristic of oral colloquial speech, – the ability of a person, within one text, to manifest himself as a subject of speech, action, to realize evaluative and emotional plans, which psychologically enriches the text. However, the absence of important components characteristic of oral conversational speech - unpreparedness, spontaneity, dependence on the situation - does not allow us to identify it with an original song. Consequently, these texts are at the junction of oral (in form) and book (in content) speech.

The personal element permeates the author's song and determines everything in it - from the content to the manner of presentation, from the stage appearance of the author to the character of the lyrical hero. And in this sense, modern “sung poetry” is a deeply intimate, even confessional art. The level of trust and openness here significantly exceeds the norms acceptable in professional creativity.

It goes without saying that such a song, unlike mass pop production, is not addressed to everyone. It is addressed only to those whom the author trusts, who are in tune with him, are ready to share his thoughts and feelings, or, at least, are mentally disposed towards him. Therefore, the audience, its composition, its mood, even its size are an important component of the art song genre.

Musically, the author's song relied on that layer of common, easily recognizable and beloved intonations that existed in her environment and was formed from a wide variety of sources. Among them are everyday romance, student and courtyard folklore (including the thieves' song), folk song, popular dance music, songs Soviet composers and so on. Special role Wartime lyrics played a role in preparing the intonation ground for the author's song.
The favorite heroes of their songs are climbers, geologists, sailors, pilots, soldiers, athletes, circus performers, troubled “kings” of city yards and their girlfriends - people are not just courageous and risky, but, above all, individuals.
Several stages can be distinguished in the development of an author's song. The first, the undisputed leader of which was the singer of the “Children of Arbat” B. Okudzhava, lasted until approximately the mid-60s. and was colored with genuine romanticism, in tune not only with the age of the audience, but also with the prevailing mood in society. Its content has not yet bothered the authorities, and they paid almost no attention to it, considering it a harmless manifestation of amateur creativity, an element of intellectual life. Nostalgia for the past, the bitterness of losses and betrayals, the desire to preserve oneself, one’s ideals, and a thinning circle of friends sounded more and more clearly in her. This lyrical-romantic line was continued in the works of S. Nikitin, A. Rosenbaum, V. Dolina, A. Dolsky, bard rockers (A. Makarevich, B. Grebenshchikov) and many others, but it did not determine the face of the author's song of her period heyday And if at the previous stage the leading role was played by the “song of wanderings,” then here the “song of protest” became such, the undisputed leader of which was V.S. Vysotsky, behind whom can be seen figures of varying importance: A. Galich, Y. Aleshkovsky, A. Bashlachev, V. Tsoi, Y. Shevchuk, K. Kinchev and many others. The aesthetics of a “protest song” - a protest against the absurdity of “Soviet” existence, against this sick society itself.

In the work of V. Vysotsky, the author's song has reached a level that remains the standard today. Since the mid-80s, after a short surge of general interest in the original song as something that had recently been prohibited, its development has moved into a calm, now legal, professional direction. The number of “singing poets” and their performing arts, the number of their organizations, concerts, festivals is multiplying, numerous collections, cassettes and CDs are being published, but nothing fundamentally new is happening creatively. Both “veterans” and younger “bards”, among whom A. Sukhanov, K. Tarasov, G. Khomchik, L. Sergeev, duets of A. Ivashchenko and G. Vasiliev, Vadim and Valeria Mishukov, etc., gained popularity, exploit in their work, they once found techniques, increasingly turning into ordinary pop performers. Creative crisis the author's song has become a fait accompli today.

1. The influence of folklore on modern art song

The author's song is an independent direction in art, which arose at the junction of two of its movements: folklore and the song direction of modern pop music. Distinctive features of the original song as a genre: a) a special trusting attitude towards the listener, b) personal coloring of the songs, c) the presence of social and civic motives. Folk poetic traditions are very strong in the original song.

In this work, we tried to analyze the songs of A. Rosenbaum and I. Talkov, from the point of view of the use of folk poetic means.

1. Creativity of A. Rosembaum

Rosenbaum actively invades life with his creativity, acting boldly, talentedly, and brightly. He helps people. He strives to educate them, appeals to their hearts, to the best that no system can kill. As an interpreter, he can be said to create an image of a song that penetrates the soul - and in this he is Vysotsky’s associate and heir.

The very names of the songs speak for themselves: “Kuban Cossack”, “Shackled”, “Oh, Dudari, Dudari” (“Scene at the Fair”), “On the Don, on the Don” and others. It should be noted

The girl went crazy and went into the chest:

He's dragging a white dress - maybe suddenly?

If we don't wash, we'll just ride

She'll be lucky with the soldier.

Maybe he's wooing

Dear friend…

Elements corresponding to folk poetry:

1) doubled words (these elements are characteristic of skaz):

Far, far away, they go and go, they run and run;

2) connected words:

She screamed and began to fight, with fences and tines, mockingbirds, ladies and nobles;

3) epithets:

Black thought, good horses, daring riders, evil sadness, mind-mind, path-path, dog-soldier, girls-maidens.

However, the opposite is often observedword order (inversion), for example, the song “0y, dudari, dudari” full It was built using folk elements:

Oh dudari, dudari, lapotniks, guslars.

Mockingbirds!

Blessed heads, ring the Tsar Bell,

Have fun, ladies and gentlemen!...

4) The use of the conjunction “yes” in the meaning of “and” is typical:

Rus' is baggy, barefoot,

With towers and forts.

And in the steppe there is freedom...

5) Using magic numbers:

- “thirty-three fulfilled wishes”, “far away lands”;

6) use of folk signs. For example, in the same song “Oh, Dudari, Dudari” whole line signs indicating that there is trouble:

...If you don’t give birth in winter, they will take you away.

The turtledove screamed and started screaming

Yes, the horseshoe fell in the upper room.

An eagle owl flew into a clearing and sat down,

Voronoi crashed down from the cliff.

3.2. Creativity of I. Talkov.

Igor Talkoy occupies a special place among representatives of the art song, because. he is the author of social, journalistic, civil songs that are distinguished by their genre diversity; These are songs-screams, songs-protests, songs-confession, songs-ballads.

1. It should be noteda large number of elements characteristic of colloquial speech:

I don't dare to prophesy
But I know for sure that I will return
Even after a hundred centuries
To the country not of fools, but of geniuses

1. In paragraph 1 of the work, we noted that historical folk songs reflected real events of past years. I. Talkov reacted very sharply to the events taking place in Russia and reflected this in his work (“Mr. President” (1991), related to the political realities of August 1991, “I’ll be back”, etc.).

3)Use of epithets, metaphors,comparisons and especially repetitions:

The memory no longer stings,
Thoughts don't hit hands
I'll see you off
To other shores.
You are a migratory bird,
You look for happiness on the way,
You come to say goodbye
And leave again.

Summer rain, summer rain
Started early today.

Conclusion.

1. Folk song is distinguished by a wealth of genres, different in origin, character and function in folk life.
2. The author's song, being a sociocultural phenomenon of the 50s -70s of the XX century, expressed ideas and images that were different from the official culture of the “Khrushchev era”. This movement of youth and urban intelligentsia was characterized by individual self-expression, freedom of speech
3. A modern art song combines elements of folklore.
4. Widespread use of traditional folklore folk poetic artistic and visual means in modern art song

1. Introduction………………………………………………………………………………3

2. Poetics of the texts of Russian folk songs…………………………6

4. The influence of folklore on modern art song………..13

5. Conclusion………………………………………………………17

6. Literature……………………………………………………….18

MBOU secondary school in the village of Bolshoye Popovo

RESEARCH WORK

ON LITERATURE

“FOLK ELEMENTS IN A MODERN AUTHOR’S SONG”

Prepared

7th grade student

Komarova A.

Supervisor:

teacher of Russian language and literature

Konstantinova G.S.

2012

Literature

1. Literary encyclopedic Dictionary. – M., Soviet encyclopedia, 1987..
2. N.I. Kravtsov. Poetics of Russian folk lyrical songs. - M., 1974.
3. S.G. Lazutin. Russian folk lyrical songs, ditties and proverbs. - M., 1990.
4. T.V. Popova. About the songs of our days. - M., 1969.
5. Anthology of original songs. // Russian speech. - No. 1-12. – 1990.

Internet resources:

1. grushin. samara. ru - all about the Grushinsky Art Song Festival

2. www. bards. ru - all about bards, biographies, lyrics, audio recordings.

3. lib. ru/KSP/ - lyrics with chords, audio recordings

6. bardz. by. ru – all about bards, biographies, lyrics, audio recordings.

7. http://www. bardic. ru/ - history, biographies, PCB and much more

8. www. mityaev. ru – Oleg Mityaev’s website.

Folklore is a type of reflection of popular consciousness. And this distinguishes it from other forms of linguistic art, including literature, in which the lonely personality of the author is expressed. can also reflect a purely personal perception of the environment, while folklore unites a collective, social vision. Modern literary criticism is increasingly turning to the phenomenon of mass literature and the peculiarities of its functioning within Russia. Authors of the 21st century Lately tend to actively interpret the extraction of traditional culture. The growth in the popularity of mass literature is ensured by writers using the reader’s ability to reproduce on a subconscious level the images and plots already known to him, presented in the work. Very often this “base” is folklore.

Folklore motives

Folklore motifs are used sooner or later by all writers of both mass and elite literature; the difference lies in their function at a given level. In mass literature, folklore is, first of all, a “factor in the formation of national literature,” that is, a guarantor of the correlation of the text with generally accepted standards of literature that the reader is ready to consume. Under such circumstances, literary scholars are trying to determine: what folklore is in literature, how folklore motifs interact with works of mass literature and what are the features of their influence on the author’s text, as well as the transformations that a folklore text experiences as it is included in the modern literary work and changes in its traditional meanings. Researchers establish the limits of the inclusion of a folklore text into a literary text and trace the transformations of universal folklore archetypes. One of the main tasks will be to find out what folklore is in literature, to explore their mutual influence and connections in works of mass literature.

Traditional folklore

Authors of popular literature set the main task when writing a work to interest the reader. To do this, first of all, they strive for a masterful depiction of intrigue. Zofia Mitosek, in her article “The End of Mimesis,” writes that “building suspense is a game of tradition and innovation.” And if by the concept of tradition we mean “the transmission from one generation to another of traditional forms of activity and communication, as well as accompanying customs, rules, ideas, and values,” then for the reader folklore is a worthy representative of tradition in literature. In modern society, it is necessary to instill in the younger generation the need to study traditional folklore.

School curriculum: literature (5th grade) - folklore genres

Fifth grade is an important phase in the development of language education of schoolchildren. The appeal to works using folklore materials is due to the need for self-affirmation, the significant receptivity of fifth grade students to folk art, and the correspondence of folklore as an oral word to the active speech of a child at the stage of constant development. A literature lesson gives a student such education in high school.

Genres of folklore that should be studied in modern schools:

Ritual creativity

• Calendar-ritual poetry.
• Folk drama.
• Heroic epic.
• Duma.

Ballads and lyrical songs

• Ballads.
• Family and everyday songs.
• Social and everyday songs.
• Gunfighter and rebel songs.
• Ditties.
• Songs of literary origin.

Fairytale and non-fairytale historical prose

• Folk tales.
• Legends and traditions.

Folk paremiography

• Proverbs and sayings.
• Puzzles.
• Popular beliefs.
• Fables.

Folklore is a “genetic” element of worldview

The artistic action in the plot of works of literature is most often simple and understandable, designed to correspond to the everyday consciousness of the reader. Folklore is a “genetic” element of the worldview and, as a rule, is embedded in the consciousness with the first songs, fairy tales, and riddles from childhood. So, the school features folklore works gives a student a literature lesson (5th grade). Folklore makes the world clearer and tries to explain the unknown. Therefore, with the interaction of the functions of folklore and literature, a powerful resource is created to influence the consciousness of the recipient, in which the text is able to mythologize human consciousness and even cause a transformation in the rational sphere of human thinking. The answer to the question “what is folklore in literature” is determined by a whole area of ​​integral creative understanding and use. In works of folklore, ideas of creativity are often revealed on the verge of intersection with literature. Perhaps this is also influenced by the primordial ritual folklore. Literature (5th grade) in modern schools is increasingly returning to the current topic of spiritual and cultural revival, to the fundamental basis of the existence of our people, one of the main carriers of information about which is folklore.

Tradition of analysis

In our time, there has already emerged a certain tradition of analyzing what folklore is in literature, according to which equating creativity with standards is considered inappropriate: despite the label of “mass production” of novels, they have their own style, creative manner and, most importantly, the themes of the works. They "regenerated" from the depths of the soul eternal themes, the reader’s interest in which has been dormant since the beginning of the new era. The favorite themes of ancient authors are the village and the city, the historical connection of generations, mystical stories with a love and erotic overtones. On established historical images a modern style of “direct” description of events is being built, traditional culture served in a modified version. The heroes of the works are characterized by a breadth of comprehension of life and psychological experience; descriptions of their characters are emphasized by reminiscences of the history and culture of our people, which most often appear in the author’s digressions and remarks.

Desacralization of folklore

Emphasis is placed on the visualization of paintings, which is carried out using increased dynamism in the presentation of events and the effect of understatement, which stimulates the reader to creative “collaboration”. In every novel, the hero exists in a world created by the author himself, with its own geography, history, and mythology. But when reading, the recipient perceives this space as already known, that is, he penetrates the atmosphere of the work from the first pages. The authors achieve this effect through the inclusion of various folklore schemes; that is, we are talking about “imitation of myth by non-mythological consciousness,” according to which folklore elements appear under their traditional context and acquire a different semantic meaning, but at the same time perform the function of identification by the reader of ancient meanings already known to him. Thus, in the texts of mass literature there is a desacralization of traditions and folklore.

The phenomenon of modification of the past and present

The phenomenon of modification of the past and present can be traced even in the nature of the construction of almost all works. The texts are replete with proverbs and sayings, which makes it possible to convey the centuries-old experience of the people in a condensed, condensed form. The main thing in the works is that they act as elements of the hero’s monologues and dialogues - most often in this, characters are used as bearers of wisdom and morality. Signs and sayings also perform the function of hinting at tragic fate heroes of that time. They carry a deep meaning; one sign can tell the hero everything.

Folklore is the harmony of the inner world

So, a certain mythologization and reference to folklore in works is a natural and as integral part of the created world as the specificity of the peasantry, ethnic flavor and live, real broadcasting. Mass literature is built on the “basic models” of the consciousness of the reader of a given nation (which are based on “initial intentions”). In works, such “original intentions” are precisely folklore elements. By using folklore motifs there is a closeness to nature, harmony of the inner world, and other functions of folklore fade into the background, a simplification of sacredness occurs.

A. N. Ostrovsky’s play “The Snow Maiden” and N. A. Rimsky-Korsakov’s opera of the same name created on its basis are a kind of hymn to Russian folklore, a tribute of respect and admiration for the rich heritage pagan Rus', its beliefs, traditions, rituals and wise attitude towards life in harmony with nature.

Talking about the folklorism of these works is both easy and difficult. It’s easy because folklore and ethnography constitute the essence, content, language of both plays and operas. Many facts lie on the surface here, so it is not difficult to find the original sources of images, storylines, episodes in fairy tales, songs, ritual material. We are amazed and delighted by the author’s penetration into the world of Russian archaism and modern playwright and composer of folk art, the surprisingly careful and at the same time brightly individual, bold treatment of this layer national culture and the creation, based on his greatest beauty and depth of thought, of works that are in tune with the past and present.

The difficulty, and not a small one, is that the folklorism of “The Snow Maiden” is fraught with many mysteries and hidden meaning. This always puzzles and enchants, this is the enduring value and power of art, its eternal relevance and novelty. Let's take the accepted genre definition of "The Snow Maiden" - a spring fairy tale. It seems that everything is clear, but, strictly speaking, it is incorrect: what is unfolding before us is by no means a fairy-tale action, if only because it ends with the death of the main characters, which is in no way typical of a classical fairy tale. This clean water mythology, seen through the thickness of centuries, understood and processed artists of the 19th century centuries. Even more precisely, the plot of “The Snow Maiden” could be described as an ancient calendar myth, replete with later texts of ritual, song, and epic content, which preserved, if not entirely, then partially the features of an archaic view of the world, the place and role of man in the cosmic-natural universe.

By the way, what we habitually call a folk tale about a girl made of snow who melted under the rays of the summer sun is also not a fairy tale. Let us note in parentheses: the plot of the Snow Maiden stands apart in the traditional fairy-tale repertoire, it has practically no variations and is very short, rather reminiscent of a parable about the natural punishment for neglecting the rules of behavior determined by the laws of nature, and the unviability of the artificial, unnaturally created contrary to the laws of life.

The main thing in the plot of the play and opera is the idea of ​​harmony between man and nature, admiration for the beauty of the surrounding world and the expediency of the laws of natural life. All this, according to many representatives of the Russian intelligentsia of the 19th century, was once characteristic of human society and was lost with the advent of Western European urban civilization. Today it is clear how strong the nostalgia for the “ideal past” was in Russian society and how much this was based on the desire characteristic of Russia to find out its roots, where everything “came from,” to understand and comprehend today’s self through its past - historical and mythological, to improve its health and to correct modern society by turning to the precepts of hoary antiquity.

Without touching on the author's intention and purely professional techniques of composition, I will limit myself to a few comments on the folklore and ethnographic realities reflected in the libretto of the opera by N. A. Rimsky-Korsakov. Individual details, plot twists, motivations, now perceived as secondary, or even simply strange, actually turn out to be extremely important and help to penetrate the depths of the people's worldview, understand the symbolism and logic of actions characters operas.

Red Hill is mentioned several times in the play and libretto. First, Spring appears here, then young Berendeys - girls and boys - come here to dance in circles. On Krasnaya Gorka she meets Kupava Mizgir and falls in love with him. This is, of course, no coincidence. Firstly, for a long time it was on the heights and hills that girls called for spring, going there to sing the stoneflies and greet the arrival of birds. Red Hill was, and in some places is still called, the first spring celebration of young people on the street after the winter hut gatherings. The first Sunday after Easter is also called the Red Hill; it is considered a happy day for marriage. Yarilina Mountain “Snow Maiden”, one might say, takes over the baton of Krasnaya Gorka, realizing its matrimonial, erotic orientation and reinforcing the motives for the flourishing of the productive forces of nature and the productivity of the land.

“The Snow Maiden” brilliantly reflects the mythological idea of ​​the eternal cycle of life and the strict laws of nature: everything has its time, everything is inevitably born, matures, grows old and dies; Winter must be followed by spring, which will certainly be replaced by summer, then, in strict order, autumn and winter. This order is the condition for the eternal existence of the Universe, man and culture. Violation of the order and correct course of things, interference in the once and for all established flow of life is fraught with tragic events - both in the sphere of natural phenomena and in the fate of man. However, centuries-old experience has shown that there is practically no smooth, calm transition from one state to another, breakdowns and disturbances are inevitable, therefore the great mission of man lies not only in strictly following the established order, but also in restoring the lost balance. In pagan times, as well as in those closer to us, rituals and ritual complexes, which necessarily included sacrifices, were a powerful mechanism for regulating life processes.

If you look at “The Snow Maiden” from this position, then it becomes obvious that it is literally permeated with the theme of sacrifice for the sake of the greater good, with motives of purification and transformation through death and destruction. This includes the burning of Maslenitsa with crying and laughter, and the joy of the Berendeys on the occasion of the death of the Snow Maiden and Mizgir. Finally, this is the final apotheosis - the appearance of Yarila the Sun with symbols of life and death, end and beginning - a human head and a sheaf of rye ears. Here it is necessary to once again emphasize the excellent knowledge of Ostrovsky and RimskyKorsakov of the folk traditions, rituals and images that underlie the pre-Christian agricultural picture of the world.

In the Prologue, the Berendeys, exactly in accordance with centuries-old tradition, see off Maslenitsa in the form of a straw effigy dressed in women's clothing. In real ritual practice, Maslenitsa was burned; in “Snegurochka” it is taken (driven away) into the forest. The latter is justified by the circular structure of the play and opera: in the final scene of the 4th act, the straw of Maslenitsa turns into ears of rye filled with grain, which Yarilo holds; the dark, cold forest is replaced by the sun-drenched, open space of the Yarilina Valley; people come out of the forest, from the darkness into the light, and their gaze is turned upward - to the mountain with a sharp peak, where the hot sun god appears. In folk tradition, the connection between Maslenitsa fires and Kupala fires was strengthened by a wheel symbolizing the sun. The effigy of Maslenitsa was placed on a wheel and burned along with it; on Kupala night, burning wheels were rolled down from the heights where bonfires were lit.

Even more striking is the almost quoting of real rituals in The Snow Maiden. The most striking example: the final appearance of Yarila with a human head and a sheaf of grain and the ritual of invoking summer, recorded more than once. The following action was timed for April 27 in Belarus: a young woman was chosen who was supposed to portray a young handsome man (apparently Yarila). Barefoot, she was dressed in a white shirt and had a wreath of wildflowers on her head. The woman held in right hand a symbolic image of a human head, and on the left are rye ears. In other places, a girl dressed in the same way, with the same attributes, was mounted on a white horse tied to a tree. The girls danced around her. Voronezh residents performed a similar ritual on the eve of Peter's Fast and dressed up not a girl, but a young man.

Let us recall that Yarila is a Slavic mythological and ritual character who embodies the idea of ​​fertility, especially spring fertility, as well as sexual power. The name of this deity is derived from the root yar. A wide range of meanings is revealed in words with the same root, for example, spring bread, rage, bright, bright (sheep); in the Russian North there is the term “yarovukha”, which means boys and girls hanging out together and spending the night in a hut during Christmastide.

The images of Bobyl and Bobylikha are given completely in the spirit of folk ideas. In fairy tales, legends, and folk songs, bobyls are outcasts, defective people who were unable or unwilling to fulfill natural social functions- start a family and have children. They were pitied, but also shunned. It’s not for nothing that in folklore texts bobyli live on the outskirts of the village, in last house, and customary peasant law deprived them of a number of privileges and rights, in particular, their participation in rituals associated with the productive principle was prohibited; elderly male bobs were not included in the council of elders. Bobyls, as socially inferior peasants, often became shepherds, the generally accepted disdainful attitude towards which is well known from the mass of ethnographic observations, descriptions, and studies. It is clear why the Snow Maiden, who is half human herself, ends up with such “subhumans”; it is with them that she must go through, in today’s language, a period of adaptation to new conditions. According to the laws of fairy tales and initiation rituals, a house on the outskirts and its owner (owners) must act as a mediator, help the heroine transform, move from one world to another through a system of tests. Berendeyevsky bobyli are clearly a comical, reduced image of the classic “testers” of fairy-tale heroines: Babyyagi, Metelitsa, witches, etc. The bobyli did not have anything for adopted daughter a magic ball or a cherished word that would help a girl from another world turn into a full-fledged member of the human community. But this is not a fairy tale before us...

Bobyl and Bobylikha are deprived of the Shepherd's trumpets and horn of vitality, the heat of love, and therefore are greedy for imaginary, deceptive values ​​(Mizgir's wealth) and are cold towards the Snow Maiden. In outline image Bobylikha has one significant detail that today escapes attention, but which was well understood by our compatriots in the 19th century and was used as a bright additional touch that makes Bobylikha funny and pathetic in her claims. It's about about the horny kitty, which Bobyli-kha finally found after betrothing her adopted daughter and receiving a ransom. The fact is that kitschka is not just a traditional women's headdress. A horned kitty (with elevations on the front in the form of a horse’s hoof, a shovel, or horns pointing up and back) could be worn by women who had children, and the height of the “horns” usually directly depended on the number of children. So, having acquired a kitty, Bobylikha, as it were, equated herself with other Berendey women - “boyars” and could claim a different attitude towards herself. By the way, the same technique in the same laughter function was used by A.S. Pushkin in “The Tale of the Fisherman and the Fish,” where the Old Woman, having acquired a new status, sits in a decorated horned kitty.

The image of Mizgir is mysterious in its own way. His role in the plot, the attitude of the Berendeys towards him, the motivation for his behavior and the tragic, from our point of view, death become more understandable when turning to beliefs and ideas, some of which survived almost until the beginning of the 20th century.

Mizgir is one of the names of a spider. In traditional culture, a spider is a creature close to a host of evil spirits, insidious, evil, aggressive. There are strong beliefs that whoever kills a spider is forgiven seven sins. On the other hand, misgir is also perceived as one of the hypostases of a brownie; it is believed that a spider in the house cannot be killed, since it brings wealth and prosperity. In a surprising way both relationships converge in the image of Mizgir the merchant. Merchants have long been respected in Rus', endowed with special qualities and knowledge, almost magical, and even magical, thanks to their stay in distant countries, at the ends of the earth, which means proximity to the unknown, otherworldly and dangerous. (Remember the Novgorod epic Sadko, the merchant from “The Scarlet Flower”, etc.) Money, gold, wealth were usually perceived as a sign of either a miraculous gift or chance, or as a consequence of robbery, an unclean and dishonest deal.

Among the people, the spider is associated with marriage and love themes. In the wedding rituals of Belarusians and residents of Western Russian provinces, complex figures woven from straw are used - symbols of happiness and a strong union. Such an object was called a spider; it was attached to the ceiling of the hut, often above the table where the wedding feast took place. Mizgir is an overseas merchant - although from the Berendey family, he is a stranger, cut off from his roots. In this sense, he is a real fairy-tale groom - unknown and rich, giving happiness to the heroine, but also a wedding “stranger” - a groom who arrived from overseas, “from beyond the forest, from beyond the mountains” and is associated primarily with the - statements about separation and captivity. Mizgir’s ardor, selfishness, and aggressiveness are akin to the exact opposite pole - the coldness and passivity of the Snow Maiden. Both in their extreme manifestations are alien to ordinary Berendeys and dangerous for the community of people.

Let us add that there is a well-known ritual dedicated to the end of summer - the expulsion of insects from the house through the ears of the new harvest. Cockroaches, spiders, and bedbugs are collected in boxes and buried (buried) in the ground with the words: “A sheaf of rye is in the house, cockroaches are out!”

Thus, the very topic of getting rid of insects, taking the guise of a nursery rhyme, and once, perhaps, a serious ritual, was relevant for traditional society. And in certain situations, expelling and killing the spider (mizgir) was considered a good and necessary thing. Another addition - magical rituals of causing rain with the help of spiders are known, which emphasizes the original, mythological involvement of the spider in the water element, in the non-human world. In the context of “The Snow Maiden”, all popular ideas about the spider seem to converge, which justifies the expulsion of Mizgir from the borders of Berendey’s kingdom and forces us to consider his death as a return to his native (non-human) element, to another world, which, Naturally, it was understood as the restoration of lost order and justice and contributed to the return normal life, the arrival of the Yari-ly Sun and summer. Water turns out to be the Snow Maiden’s native element, her essence and normal natural existence in the spring and summer, so the death of lovers is a return to nature. Merging in one element unites them - different, but identical in their alienness towards people and in the doom of death for the sake of eliminating disharmony in the world.

There are many similar examples of a subtle, precise, deeply meaningful approach to traditional Russian culture in The Snow Maiden.

The opera, created by Rimsky-Korsakov, at the libretto level retained both the plot and poetic basis of Ostrovsky’s work.

Of course, the folklorism of the opera is more obvious and vivid due to the inclusion of genuine folk songs and tunes, folklore techniques of onomatopoeia, folk cries and laments, thanks to the musical imagery, an amazing system of leitmotifs, rich and lush instrumentation.

N.A. Rimsky-Korsakov repaid a hundredfold to the people who generously revealed to him the thousand-year-old spiritual wealth, presenting his brilliant creative fantasy on the themes of Ancient Rus' in a new, modern form.

We noted above that mythology (and especially Scandinavian) is reflected in modern poetry very clearly, as evidenced by numerous contexts that include appropriate borrowings.

However, not only mythology is of interest to modern authors, but also all folklore, incl. in its inextricable connection with mythology. We consider the contexts in which folklore elements appear most clearly. These elements can be scraps of plots, individual characters or objects, syntactic structures characteristic, for example, of fairy tale beginnings, etc. Each of these elements forces the reader to turn to knowledge folklore traditions, fairy tales, rituals, signs. Let us consider the contexts for the implementation of these allusive elements, using to describe them the typology of fairy tale functions proposed by V.Ya. Proppom.

(1) “There used to be rumors among shamans that one night timber wolves, howling at the twinkling fragments of the stars, agreed with the sky on a strange deal. It’s as if they, longing for shelter with warmth, suddenly wanted to put on human skin<...>

Only one thing forever shackled souls - each of those who once violates the agreement, turning into a wolf even for a moment, will remain a furious gray beast<...>

How long has gray-haired Uri been awake? Uri walks around the house and smokes a lot. The West is getting dark - there will be a big storm, the steppe outside the window seems to have been crushed with a sickle. The wind is noisy, the trees are swaying, the enemy is on the doorstep, the village is surrounded. Somewhere in the distance stands the commander Remu, a brave heart, his young nephew<...>

Remu fights with the wild demeanor of a tiger, the fight is hopeless, scary, almost lost<...>

The blood on the blade, frozen, casts copper. Eh, the wind howls.

Only... is it really the wind?

Someone is rushing with gray fanged death.

There is confusion in the enemy camp and cries of “Wolves!”<...>

Remu, what are you, don’t be sad, don’t be, Remu, you feel - I will be somewhere nearby, I will follow with a flickering wolf’s gaze somewhere on the starry edge of the steel sky.”.

In this context, we see a typical plot of a fairy tale, unfolding, according to V.Ya. Propp, on the functions: changing the appearance of the hero => ban => trouble/shortage => violation of the ban => the enemy is punished. But the hero is also punished - having violated the ban, he forever turns into a wolf...

(2) “The old rules whisper - don’t leave the circle,

that is outlined with chalk,

there, beyond the line - witches, mermaids, goblins,

in a word, all kinds of evil spirits.

If you leave, you will never return alive.

So you came out. Gloomy, gray-haired, like smoke.

He went out, he went out into the very

long

never.

And trouble came...".

In this context, a popular belief is played out: a circle outlined in chalk protects against dark forces. Such plot elements can be considered as functions of a fairy tale - prohibition and violation of the prohibition, which naturally follows disaster/shortage.

But in the next context we also see a ban, but when it is violated, no trouble occurs, but a rapprochement with another, beautiful, world occurs. And violation of the ban is prerequisite this rapprochement.

(3) “So tender are the eyes of the tree maidens,

Don't follow someone else's tune, son,

Don't look into their cold eyes"<...>

"There is no evil or lies in blue eyes

Ice lakes, deep rivers.

If it's dark, mom, you'll forget fear

I will show you the hearts of the earth".

A similar motive can be seen in the following context:

(4) “There are rules for the living so as not to invite trouble: do not pick flowers of dream grass, do not cut down an old oak tree, do not call strangers in a dream, hide your names. But there is a more correct rule: do not remember the dead<...>

“Alira,” I whisper, then it becomes easy for me, as if my sister - my saving fire - stretches out her palm, takes me out of the darkness<...>

Let everyone tell me, “Forget it, she’s dead, a cold corpse!”

I remember my sister, and at night my path is bright.".

At the beginning of the text there are listed folk signs, following which is designed to protect a person from evil forces. Among them is “not to remember the dead.” In fact, we did not find any mention of such a sign, and perhaps the author modeled it on the principle of signs that actually exist in order to “give impetus” to the development of the theme of the poem. In this case, this sign can be considered as a prohibition: “there will be trouble if you remember the dead.” However, the prohibition is violated, and no trouble occurs; on the contrary, the darkness clears, the night becomes brighter, and nightmares recede.

(5) “Any of the laughing monkeys of the forest

It is forbidden to talk to people:

You put loach and cumin in their hair,

And the day after tomorrow you will be hanged...".

In this context we also see the functions “prohibition” and “violation of prohibition”. But here they seem to “turn” in the other direction: after all, Mavkas (in Ukrainian beliefs, mermaids are forbidden to speak with people; there is an assumption that the word goes back to the most ancient root * nau-"corpse"), and the one with whom they spoke will be punished.

(6) “Horses, horses, stop!

The night has curled up - black as a scab.

You went to the wrong place, knight,

I turned it to the wrong fire!<...>

Instead of a heart there is a continuous wound.

Howling like a dog, rushing about and raving:

You spent your night with Morana -

It's worse than dying".

Morana (also Mara, Marena) is a character who came into folklore from Slavic mythology. Responsible for the seasonal “dying” and “resurrection” of nature. The Western Slavs have a widespread ritual of burning an effigy of Morana (carried out at the end of Lent) - it is believed that this will ensure the speedy arrival of summer. Morana is identified with Persephone (the wife of Hades), and in modern neo-paganism she acts exclusively as the goddess of death, which is what we see in this context. This poem is not broken down into functions as easily and clearly as the previous ones, but elements of the functions “prohibition”, “violation of prohibition”, “trouble/shortage” can still be detected. Here we can trace a motive similar to the one that sounded in the poem about the forest mavki: to speak to dark forces It’s impossible, otherwise there will be trouble. Although the knight does not know who exactly he met on his way, the ban is still violated, which leads to misfortune, and not just misfortune, but one that is “worse than dying.”

(7) “Like in a distant land, in a deserted, foreign land

Rising on an iron pillar cat Baiyun.

A quiet wind in the forest does not rustle a leaf.

The traveler wanders along the edge, he is so tired.<…>

Only the Cat purrs, and the soul sings along to the beat.

“Good wanderer, I see you have been on the road for a long time.

You are tired and weak, you still have a long way to go.

You hear a stream babbling steadily in the ravine.

You lie down, and I will treat your wounds"<…>

The cat Bayun is approaching, his circles are getting tighter,

Already visible is the grin and the predatory arch of the back.

Soft moss and grass look like a bed.

Just don’t sleep, just don’t sleep, don’t sleep...".

In this context, in addition to the functions of prohibition and its violation, a new one appears that we have not yet encountered - sabotage (the antagonist causes harm or damage to the hero), in particular, bewitchment and deception. In addition, the Bayun cat himself is a character in fairy tales, a huge cannibal cat who, with his wonderful voice and fairy tales, puts tired travelers to sleep and then kills them. Those who are weak and unprepared for the meeting cannot resist the power of Bayun. The heroes are usually given the task of catching a wonderful cat (his tales can serve as a means of healing). In the fairy tale “Go there - I don’t know where,” the hero had to put on an iron cap and iron gloves to resist Bayun’s spell. In the poem by a modern author, the meeting with a magical animal ended in tears for the hero.

(8) “Here is a princess in a mysterious tower, wandering alone in her dreams for a couple of millennia, in these dreams there is a prince, a carnival and spring, which means there is no need for her to wake up. The uninvented prince timidly huddles near the walls, he is afraid of being captured by dreams, he repeats: “There is only ashes and decay in this tower, why should I climb there?”.

Traditional fairy tale plot about an enchanted princess locked in a magic tower and the savior prince transforms into this text: the princess “has no need to wake up”, and the prince is completely unable to climb to the very top of the tower - it’s long and difficult, and it’s not a fact that there will be something necessary and useful there... and if it turns out to be, who knows, it won’t ruin is it the prince himself? The fairy tale tradition does not work here, and the usual “lived happily ever after” will not exist, which is confirmed by the ring composition of the poem: “Legends do not have happy endings...”

In addition, here the princess is not only locked in a high tower, but also sleeps in eternal sleep - this is an allusion to European fairy tale about sleeping beauty. This tale is also a very popular precedent text, for example, in the following context we see:

(9) "the elder fairy brings her gifts

to the young princess: “be more silent than the fish”<…>

the middle fairy looks at the cradle:

"tender girl, listen: I give you

the youngest fairy silently carries gifts:

strength, health - they overshadow everything<…>

the witch came uninvited<…>

“Well, since I’ve come, I’ll bring gifts too:

you, maiden, should be more insidious than a snake,

so that make decisions,

even when there is icy darkness in my chest."

the witch leaves. the hall covers the night.

fairies sigh:

"It would be better if there was a spindle".

Three donors - three invited fairies - present the princess with magical gifts: a gentle disposition, beautiful voice, health and beauty. The fourth, the witch who was not invited to the holiday, is uninvited and also brings a gift. Until this moment, everything went in strict accordance with the well-known fairy tale about the sleeping beauty (the most popular version of which belongs to Charles Perrault). But we listen to the words of the witch and observe how the usual plot is transformed in accordance with the realities of the modern world:

“...may you, maiden, be more insidious than a snake,

cats are more cunning, wiser than owls, my light,

you will be strong in intrigue and witchcraft,

to make the decision myself...".

And at the end we again see a return to traditional element fairy tales - a spindle on which the princess must prick her finger in order to fall into eternal sleep. But this will not happen - the princess received another gift, and it, according to the world in which she is destined to live, is much worse than eternal sleep.

(10) "The month has emerged from the fog , exposing for the harvest sickle< …>

Mouse-mouse-moon-out, shows me the way<…>

The mystery, like temptation, is close -

I'm going to look for myself» .

Context (10) contains an allusion (direct quotation) to the element children's folklore- a counting rhyme that begins with the words: “The month has emerged from the fog, / He took a knife out of his pocket...” (a variation of the so-called “knockout counting rhyme”, which was already mentioned above). With the help of this technique, an element of game is introduced into the work, but not a child’s game, where the whole point is only to find an opponent, but a serious, “adult” one: in order to survive, you must first find myself.

For a long time, folklore texts have served as a source of ideas and images for poets and writers. Modern authors- not an exception. However, modern poetry often borrows folklore elements not in a “pure” form, but transforming them in accordance with the era and the goals it sets for itself.

Chapter 2 Conclusions

While conducting our research, we were faced with the need to distinguish two backgrounds against which the “figure of the game” appears. Firstly, this is usus as a tradition of using linguistic elements in general ( Uzus 1) and, secondly, as a poetic tradition ( Uzus 2). Given these two backgrounds, we introduce the concept poetic game and among the forms of its expression we distinguish graphic, actually linguistic And text game.

Addressing text game, i.e. game based on Uzuse 2, we highlight: refusal to divide the poetic text into stanzas and verses (verses in a line); graphic highlighting of the strong positions of the text - the beginning and end; "excessive" division of the text into segments in combination with a refusal to divide; refusal to use capital letters and punctuation marks (and a combination of these techniques). Non-punctuation texts are also considered as a type of language.

Another type of language, frequent in modern poetry, is the actual language game, which is expressed not only in traditional forms, but also in forms characteristic only of modern poetic texts. We include here the author’s individual neologisms (occasionalisms), puns, the phenomenon of transposition of grammatical forms and the play on their semantics, expansion of lexical and syntactic compatibility, macaroni speech. ON THE. Nikolina describes this phenomenon as “an expansion of the range of normative forms and structures” [Nikolina, 2009; 155], noting that the growth of hybrid forms is progressing in fiction and in language/speech.

Based on our observations, we note that in modern poetry, along with textual and linguistic play, graphic game. Among the forms of its expression, the following are popular: dividing words into syllables using a hyphen, replacing spaces between words with a hyphen or slash, highlighting individual words with hyphens or underscores, “hanging” hyphens, using quotation marks, periods and ellipses. The method of punctuation play is actively used, along with the refusal of punctuation marks. “The spread of non-punctuation texts is combined in modern poetic speech with a wide variety of punctuation marks used and an increase in their expressiveness and semantization” [Nikolina, 2009; 292], - this is how Nikolina characterizes this phenomenon.

It should be noted that different ways language games easily coexist within the same work, and authors of poetic texts very often use a combination of several techniques. For example, in the following fragment, the author’s punctuation is observed, creating an unusual enumerative series, where words of different part-sentences are occasionally combined as members of the series:

“But it’s time. Further, back, run, quickly. Cross, gallop! I tear off the stirrup and slow down at the door.
Ring! I'm back! Ding-ding! Answer!
I have no keys and my cell phone is dead.
Ring! Three seconds before death!.

Here there is a dismemberment of the statement (which is also emphasized graphically - by punctuation marks), as well as a violation of syntactic connections. Anomalous syntax, in turn, leads to a violation of lexical compatibility and, as a consequence, a semantic anomaly: if a phrase separated by commas and at the same time, as it were, folded, or “rudimentary,” - given as a mental image, without formal, syntactic “packaging” - is expanded , then we get something like: *Run back as quickly as possible. Units “further” and “back” cannot be combined with each other. Such techniques serve to convey the momentary state of the hero of the work (in this case, uncontrollable panic).

About constructions of this kind N.A. Nikolina writes the following: “Fragments appear in which the connections of the sentences included in them are extremely weakened. They are supported in STS mainly on the basis of updating potential and associative semes, taking into account the motivic structure of the text as a whole” [Nikolina, 2009; 174]. Despite the fact that in the context we have given, a fragment containing components with weakened connections between them does not represent a STS, but only one sentence, when describing it, you can also turn to N.A. Nikolina. Indeed, the fragment containing the anomaly is maintained within the text solely on the basis of the general text structure and general meanings(“potential and associative” [Nikolina, 2009; 174]). For example, from the components of the “nearest” context one can make the following combinations: “time to run”, “to gallop”, etc. And then the contextual antonym “slowing down” appears. Thus, although linguistic anomalies may be characterized by weakened connections between the components included in them, they still remain firmly woven into the basic fabric of the text.

In addition to the linguistic techniques described above, in modern poetry a special place is occupied by the phenomenon of intertextuality, which in the framework of this study we describe as one of the forms of manifestation of language play. At the same time, the allusion is like private view intertextuality is especially widespread in the texts of modern authors.

So, we see how diverse the techniques of language games are and how strongly they can influence the reader’s perception of the text. Modern authors “play” with the entire text, using completely different means, sometimes the most unexpected, “play” with the form of the text, with lexical compatibility, with graphic and syntactic means, create neologisms and actively use the technique of allusion.