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The division of literature in poetry and prose began with the appearance of prose, for it is only in prose and could be produced. Since then, poetry and prose is usually regarded as independent, completely independent of each other area — it is better: spheres — References. Во всяком случае, “prose poem”, “rhythmic prose” and so on. P. show more about the psychology of borrowing, t. it is. polarization, rather than the holistic perception of literature as a phenomenon. curious, that such a view of things in any case do not impose on us a criticism, from the outside. This view is,, first of all, fruit shop-floor approach to the literature on the part of writers.
Nature art alien to the idea of ​​equality, and the thinking of any hierarchical writer. In this hierarchy, poetry is superior to prose and poet — in principle -above writer. This is so not only because, that poetry is actually older prose, but because, that cash-strapped poet can sit down and write an article; while the novelist in the same situation can hardly conceive of a poem. Even if he, novelist, and possesses qualities, necessary to compose a decent poetic text, it perfectly well, that poetry is paid much less and more slowly, than prose. With few exceptions,, all more or less the major writers of modern times paid tribute to prosody. some — as, eg, Nabokov — until the day sought to convince themselves and others, that they still — if not primarily — poets. Most, passing ordeal poetry, more to it never paid, except as readers, keeping, However, deep appreciation for the lessons laconic and harmony, she received. The only case in the literature of XX century, when a great writer became a great poet, — It is the case of Thomas Hardy. Summarizing the same, can be seen, writer that without the active experience of poetry is prone to verbosity and bombastic.
What writer learns from poetry? Depending on the proportion of words from context, focus of thinking, lowering self-evident, the dangers, tayaschimsya in an elevated state of mind. Learns anything from prose poet? few: attention to detail, use vernacular and bureaucracy, in rare cases — accept compositions (best teacher means — music). But also, and other, and the third can be easily poetry itself drawn from experience (especially from the Renaissance poetry), and theoretically — but only in theory — a poet can do without prose.
As only he can theoretically do without prose writings. Need or ignorance reviewer, not to mention the simple mail, sooner or later force him to start writing in line, “all people”. But apart from these, There the poet and other motives, that we try to consider the following. First of all, Therefore, it may just want one day to write something in prose. (Inferiority complex, which suffers from writer in relation to the poet, in any case, does not guarantee the superiority complex of the poet in relation to the prose writer. Therefore, part of the work honors last for much more serious, than your own, he and the work is not always considered.) Besides, there are stories, that nothing, except prose, and not to state. The narrative of the more than three characters faces resists almost every poetic form, with the exception of the epic. Reflections on history, childhood memories (which the poet indulges on a par with ordinary mortals) in turn, looks natural in prose. “History of the Pugachev rebellion”, “Капитанская дочка” — какие, it would seem that, grateful subjects for romantic poems! and especially in the Romantic era… ends, однако, the, which is novel in verse shift increasingly come “poems from the novel”. unknown, as losing the poetry of the poet's appeal to prose; significantly only, that the prose of this strong wins.
May be, it is better, than anything else, the question, why is it so, meet the prose of Marina Tsvetaeva. To paraphrase Clausewitz, Prose for Tsvetaeva was just a continuation of poetry, but other means (t. it is. the, than prose historically and is). Everywhere — in her diary entries, Articles about literature, fictionalized memoirs — we are faced with this: with the transfer of the methodology of poetic thinking in prose text, with the development of poetry in prose. The phrase is based Tsvetaeva not only on the principle of the predicate, following subject, but rather because of his own poetic technology: sonic allusions, root rhymes, semantic enjambement, etc. That is all the time the reader has to do not with a linear (analytical) development of, but with the crystal- (synthetic) growth of thought. For researchers poetry psychology will not find, пожалуй, best laboratory: all stages of the process revealed an extremely large — reaching to the lapidary cartoons — plan.
“Reading, — says Tsvetaeva, — there is participation in the work of”. it, of course, a statement of the poet: Leo Tolstoy said this would not. In the statement, responsive — at least, moderately cautious — ear distinguish extremely muted author (and women to the same) a touch of pride, despair that is why, very tired of the ever-increasing — with each successive stitch — the gap with the audience. And the poet's address to the prose -k this a priori “normal” form of communication with the reader — There is always a motive of reducing the rate of, speed change, attempts to explain, explain yourself. For without the participation in the work of no comprehension: that there is no comprehension of how complicity? In the words of Whitman: “Great poetry is possible only in the presence of the great readers”. Turning to prose, Tsvetaeva shows her readers, from which the word — think — the phrase is; she's trying — often against their will — bring the reader to imagine; make it equal-area.
There is also an explanation of the methodology and one of Tsvetaeva's prose. From the date of occurrence of any narrative genre artwork -rasskaz, story, novel — fear of: reproach of unreliability. here — or striving for realism, or compositional delights. In the end, every writer strives for the same: overtake or keep the lost or the current time. The poet for this is the caesura, unstressed foot, dactylic endings; in prose is nothing there. Turning to prose, Tsvetaeva quite unconsciously carries in it the dynamics of poetic speech — basically, song dynamics. — which in itself is a form of reorganization of the Time. (If only for the reason, that verse line is short, for each word in it, often — each syllable, We have to double or triple the semantic load. Multiplicity of meanings requires a corresponding number of attempts to comprehend, t. it is. many times; and what is [time] but a unit of Time?) Tsvetaeva, однако, not too concerned about the credibility of his prose: Whatever the narrative theme, its technology remains the same. Besides, her story, in the strict sense, plotless and keeps, mainly, energy monologue. But she, in contrast to both the professional writers of, and other poets, resorted to prose, It is not subject to plastic inertia genre, forcing him to its technology, imposing themselves. It happens not from possession in person, as they think, but from possession intonation, that it is much more important and poems, and the story.
narrative credibility effect may be the result of compliance with the requirements of the genre, but it could be a reaction to the tone of voice, which tells. In the second case and the accuracy of the story, and the story is the fade in the mind of the listener into the background as a tribute, Devoted decency. The brackets are voice timbre and intonation. On the stage of the creation of such an effect requires additional gestures; on paper — t. it is. in prose — he achieved a dramatic reception arrhythmia, often carried out by impregnation of nominative sentences in complex mass. This same elements already seen in drawing poetry. Tsvetaeva same, which nothing and no one to borrow is not necessary, It starts with maximum structural spressovanoy speech and it also ends. Degree of linguistic expressiveness of her prose with a minimum printing means remarkable. Let us remember the author's remark to the characterization of Casanova in her play “End of Casanova”: “Not barstvenen -tsarstvenen”. Let us now imagine, how much would be spent on it in Chekhov. At the same time it is not the result of intentional savings — paper, words, forces, — but instinctive byproduct in the poet brevity.
Continuing poetry in prose, Tsvetaeva does not erase, but the line moves, existing between them in the mass consciousness, in hitherto inaccessible language syntactically sphere — up. I prose, where the danger is much higher stylistic impasse, than in poetry, by this movement only benefits: there, in the rarefied air of its syntax, Tsvetaeva tells her the acceleration, which resulted in changing the very concept of inertia. “telegraphese”, “mindflow”, “literature subtext” and so on. P. I do not have any relation to the above,. The works of her contemporaries, not to mention the authors of the following decades, creativity which these definitions are applicable, seriously, you can read on the grounds, mainly, nostalgic or historical and literary (what, в сущности, same). literature, created by Tsvetaeva, there is literature “nadteksta”, mind it if “flows”, in line with ethics; the only thing, that brings it closer to the telegraphic style, it is the main sign of its punctuation — dash, serving her how to describe the phenomena of identity, and jumping through a matter of course. This sign, however, There is another function: he crosses out a lot in Russian literature of XX century.
“Marina often begins a poem from the top “to”, — said Anna Akhmatova. Same, partially, It can be said about the tone of Tsvetaeva's prose. Such was the property of her voice, that it almost always starts with [Togo] the end of the octave, uppercase, its limit, after which the only conceivable descent or, best case scenario, plateau. But it was so tragic timbre of her voice, it providing a sense of lift, when any playing time. The tragedy of this did not come to the biography: he was [to]. Biography only coincided with him, to him — echo — responded. is he, this voice, clearly discernible already in “youthful poems”:

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