What is prose speech in literature. Prose and poetic speech Prose and poetic speech are two forms of literary and artistic language.
It is customary to talk about what a prose work is only against the background of its difference from a poetic text, however, oddly enough, with the seeming obvious difference between a poetic text and a prose text, to formulate what exactly this difference consists in, what is the essence of the specifics of poetry and prose why these two exist is quite difficult.
Problems of differentiation between prose and verse
Modern literary criticism, studying the difference between a poem and a prose work, raises the following curious questions:
- Which speech is more natural for culture: poetic or prose?
- What is against the background of poetry?
- What are the clear criteria for distinguishing between poetic and prose text?
- Due to what resources of the language does a prose text turn into a poetic one?
- How deep is the difference between poetry and prose? Is it limited to the organization of speech or does it concern the system of thought?
What comes first: poetry or prose?
The writer and literary critic Yan Parandovsky, reflecting on what a prose work is, once noticed that there is no scientific evidence that humanity first spoke in verse, not prose, but in the origins of literature different countries it is poetic, not prose speech. This happened due to the fact that it was verse that first rose above everyday speech and poetic speech reached its perfection long before the first attempts at artistic prose appeared.
Jan Parandovsky is a little cunning, since in fact there are a considerable number of scientific hypotheses, which are based on the assumption that initially human speech was poetic. G. Vico, and G. Gadamer, and M. Shapir spoke about this. But Parandovsky noticed one thing for sure: world literature really begins with poetry, and not with prose. The genres of prose works developed later than the genres of poetry.
Why exactly the poetic speech arose is not yet known exactly. Perhaps this is due to the idea of a general rhythmicity human body and the world around the person, perhaps with the original rhythm of children's speech (which, in turn, also awaits explanation).
Criteria for the difference between verse and prose
The famous versifier Mikhail Gasparov saw the difference between a poem and a prose work, that a poetic text is felt as a text of increased importance and is designed for repetition and memorization. The poetic text, in addition to being divided into sentences and parts of sentences, is also divided into parts that are very easily grasped by consciousness.
In essence, it is very deep, but it is not instrumental, since it does not imply clear criteria for distinguishing between verse and prose. After all, prose can also be of increased importance and can also be designed for memorization.
Formal signs of difference between prosaic and poetic text
Formal signs of difference - short fragments of a sentence - also cannot be recognized as a sufficient reason. A. G. Mashevsky notes that in fact, even a newspaper article can be turned into poetry by simply dividing its sentences into fragments of different lengths and writing each of them from a new line.
However, it will be too noticeable that the sentences are divided conditionally, no additional meaning is attached to the text by this division, except perhaps a humorous or ironic sound.
Thus, the differences between prose and poetry do not lie in any one feature, but suggest some profound differences. To understand what a prose work is, you need to know that prose and poetic texts are subject to different texts and the ordering of its elements.
Word in verse and prose
It so happened that traditionally prose is defined by its difference from verse. It is more common to talk about distinguishing features prose in comparison with verse, and vice versa - about the difference between verse and prose.
So, about the word in verse, the Russian literary critic Yu. N. Tynyanov said that it is more closely connected with other words in the work than in prose, its connection with the structure as a whole is also closer, he called this "the law of unity and tightness of the verse series" , and this concept is still relevant for literary criticism.
Two trends in resolving the issue
Modern science has made many attempts to formulate what a prose work is, in contrast to a poetic work, and in these attempts two tendencies can be quite clearly distinguished. A number of philologists believe that the most important criterion is the specificity of the sound of the text. This approach can be called phonetic. In line with this tradition of understanding prose and verse, V. M. Zhirmunsky also spoke, according to whom the difference between poetic speech lies in the “regular ordering of the sound form”. However, unfortunately or fortunately, not all prose and poetic works clearly differ from each other phonetically.
In contrast to this tradition, graphic theory insists on the primacy of the nature of the recording of the work. If the entry is ordered as a verse (written “in a column”, then the work is poetic, if the text is written “in a line”, then it is prosaic). In line with this hypothesis, the modern versifier Yu. B. Orlitsky works. However, this criterion is not enough. As already mentioned above, a newspaper text written “in a column” does not become poetic because of this. Pushkin's prose works, written down as poetry, will not become poetic because of this.
Thus, it must be recognized that there are no external, formal criteria for distinguishing between prose and poetic texts. These differences are deep and relate to the sound, grammatical, intonational, and genre nature of the work.
- Rhythm is the repetition of some unambiguous phenomena at regular intervals (for example, the alternation of stressed and unstressed syllables in a line).
Phenomena of rhythm surround us everywhere: our heart beats rhythmically, day and night, seasons change rhythmically...
A clear rhythm is inherent in poetic speech. Of course, there is rhythm in prose, but still, prose speech gives the impression of natural, flowing speech, as in life. Poetry is special. It is distinguished by a clearer rhythm, and extraordinary conciseness, brevity. In addition, in poetic speech there is usually a rhyme.
Rhythm creates a certain mood, colors a poem or passage with a single tone. Notice the different rhythm in the following verse passages. How does he emphasize the characters of the heroines?
But the young princess
blooming silently,
Meanwhile, she grew, grew,
Rose and bloomed
White-faced, black-browed,
I like such a meek ...
And the queen laugh
And shrug your shoulders
And wink your eyes
And snap your fingers
And spin, akimbo,
Looking proudly in the mirror...
You can see that the rhythm of the second passage is faster, sharper, and this corresponds to its content.
Poetic speech implies organization, order, which is facilitated by rhythm, rhyme, and other features of such speech.
Free speech, that is, speech that moves freely from sentence to sentence, is called prose speech, and speech that is subject to a certain order, rhythm, structure, is called poetic speech.
Thinking about what we read
- Using the text of prose tales from the section "Russian Folk Tales" and the text of Pushkin's "Tale of the Dead Princess ...", show the difference between prose and poetic speech.
- What is rhythm? Give examples of different rhythms from "The Tale of the Dead Princess...".
Creative task
By the evening of Pushkin's fairy tales, prepare an expressive recitation by heart of an excerpt from a fairy tale or draw cartoon frames based on illustrations by T. Mavrina or E. Pashkov for one of Pushkin's fairy tales.
Phenomena of rhythm surround us everywhere in life: our heart beats rhythmically, day and night and seasons change rhythmically, a festive column marches rhythmically to the march of an orchestra...
Rhythm- this is the repetition of any unambiguous phenomena at regular intervals (for example, the alternation of stressed and unstressed syllables in a line).
A clear rhythm is inherent in poetic speech. Of course, there is rhythm in prose, but still, prose speech gives the impression of natural, "as in life" current speech. Poetic speech is special. It is distinguished by a clearer rhythm, and extraordinary conciseness, brevity. In addition, in poetic speech, as a rule, there is a rhyme.
Rhythm creates a certain mood, colors a poem or an excerpt from it with a single tone. Pay attention to the different rhythm in these poetic passages:
But the young princess
blooming silently,
Meanwhile, she grew, grew,
Rose and bloomed
White-faced, black-browed,
I like such a meek ...
And the queen laugh
And shrug your shoulders
And wink your eyes
And snap your fingers
And spin, akimbo,
Looking proudly in the mirror...
You can see that the rhythm of the second passage is faster, and this corresponds to its content.
Poetic speech implies organization, order, which is facilitated by rhythm, rhyme, and other features of such speech.
Free speech, that is, speech that moves freely from sentence to sentence, is called prosaic speech, and speech, subordinate to a certain order, rhythm, system, - poetic.
Questions and tasks
1. Using the text of prose tales from the section "Russian Folk Tales" and the text of Pushkin's "Tale of the Dead Princess ...", show the difference between prose and poetic speech.
2. What is rhythm? Give examples of different rhythms from "The Tale of the Dead Princess...".
EPITHET
Read the passage. Pay attention to adjectives. One of them ( high, deep, crystal, empty) are used in the direct meaning, others ( exuberant , quiet, sad) - figuratively.
... "Wait, -
The violent wind answers,
There, behind the quiet river
There is a high mountain
It has a deep hole;
In that hole, in the sad darkness,
The coffin is rocking crystal
On chains between poles.
Can't see any trace
Around that empty place;
In that coffin is your bride."
A figurative meaning gives an adjective, which in a sentence is a definition, a special artistic expressiveness. Before us is no longer just a definition, but figurative definition.
Such figurative definitions are called epithets. The word "epithet" comes from the Greek word meaning "application, attached."
To distinguish a definition from an epithet, here is an example: dark night And gloomy night. Word dark only enhances the characterization of the night, the word gloomy includes an emotional assessment, reminds us of a gloomy, angry person. Therefore, the word dark is a simple definition, and gloomy- an epithet, that is, a figurative definition that is distinguished by artistic expressiveness.
Questions and tasks
1. Match to adjectives tall, deep, crystal, empty such nouns that they become artistic definitions, that is, epithets.
2. In Pushkin's fairy tale, find 3-4 examples with epithets. Name them, point out their special artistic expressiveness.
3. What epithets does Pushkin use to characterize the queen and princess? Explain them.
Poetic speech. Its difference from prose speech.
Its rhythmic and tempo organization is also connected with the intonational-syntactic structure of artistic speech. The greatest measure of rhythm differs, of course , poetic speech. Since ancient times, people have noticed that words folded into harmonious poetic lines are easier to remember(which was important when the art of the word existed only in its oral version), are easier to perceive, and most importantly, they become beautiful and acquire a special effect on the listener(in this regard, by the way, in ancient times poetic form used not only in works of artistic literature, but also in scientific, say, works; for example, the famous scientific poem by Lucretius Cara ʼʼOn the nature of thingsʼʼ is written in verse). The last two functions have remained leading for poetic speech in modern times: to give the artistic text aesthetic perfection and to enhance the emotional impact on the reader.
Rhythm in verses is achieved due to the uniform alternation of speech elements - poetic lines, pauses, stressed and unstressed syllables, etc. The specific rhythmic organization of a verse largely depends on the system of versification, which, in turn, depends on the characteristics of the national language. So, due to a number of features of the Russian language (the nature of stress, the indistinguishability of long and short syllables in an unstressed position, etc.), our versification is completely syllabic system did not take root, which turned out to be very fruitful in Polish and French; but in Russian versification syllabotonics, dolnik, and declamatory tonic system have found their place.
So, verse is rhythmically ordered, rhythmically organized speech. At the same time, prose also has its own rhythm, sometimes more, sometimes less tangible, although there it is not subject to a strict rhythmic canon - meter. Rhythm is achieved in prose primarily due to the approximate proportion of columns, which is associated with the intonational-syntactic structure of the text, as well as various kinds of rhythmic repetitions. Let us trace, for example, the rhythmic organization of one passage from Bulgakov's novel ʼʼThe Master and Margaritaʼʼ (the sign ʼʼ//ʼʼ marks the boundaries of the columns): ʼʼIn a white cloak with a bloody lining, // shuffling cavalry gait, // in the early morning of the fourteenth spring month Nisan // into the covered colonnade between the two wings of the palace of Herod the Great // the procurator of Judea, Pontius Pilateʼʼ, came out. In the examples given, the rhythm of the prose text is clearly felt, but much more often it exists in prose as if in a hidden form, making the phrases aesthetically significant, but without attracting the reader's special attention and without distracting him from ideas, characters, plot, etc.
No less than rhythmic, the tempo organization of a literary text is also important; however, in practice, these two sides of artistic syntax are so inseparable from each other that sometimes one speaks of tempo-rhythm works. The tempo-rhythm has its function primarily creating a certain emotional atmosphere in the work. The fact is that different types tempo and rhythmic organizations directly and directly embody certain emotional states and have the ability, with extreme importance, to evoke precisely these emotions in the minds of the reader, listener, viewer; in such arts as music or dance, this regularity is seen very clearly. It is also traced in fiction. Let's see, for example, how the tempo-rhythm works in one of the episodes of Chekhov's ʼʼLady with a Dogʼʼ: ʼʼSitting next to a young woman who seemed so beautiful at dawn, calmed and enchanted in the sight of this fabulous setting - sea, mountains, clouds, wide sky - Gurov I thought about how, in essence, if you think about it, everything is beautiful in this world, everything. apart from what we ourselves think and do when we forget about the higher goals of being, about our human dignityʼʼ.
The role of a special, smooth, measured construction of the phrase in creating the emotional coloring of the scene is obvious, it is felt without any analysis. The solemn and sublime structure of the hero's thoughts is presented here with the help of the tempo and rhythmic organization of the text, literally with physical tangibility. And say about the atom differently - in short phrases, for example - and the psychological atmosphere would immediately disappear.
Poetic speech. Its difference from prose speech. - concept and types. Classification and features of the category "Poetic speech. Its difference from prose speech." 2017, 2018.
What is the difference between verse and prose?
If we talk about the distinction between verse and prose, we can recall the play
J. B. Molière's "The Philistine in the Nobility", where the teacher naively explains to Mr. Jourdain how poetry differs from prose: "Everything that is not prose is poetry, and everything that is not poetry is prose." Moliere, of course, parodied the narrow-mindedness and low education of the characters. The apparent self-evidence of the answer (for example, "Yesenin - poetry, and Dostoevsky - prose") only proves that this difference exists, but does not give us a reliable criterion for distinguishing.
Prose, according to G.N. Pospelov, (from Latin prorsus - going straight ahead, not returning) - this is a speech that does not include proper rhythmic accents and pauses in its intonation, having only logical (as well as emphatic) pauses and accents (stresses). Ed. G.N. Pospelov. Introduction to Literary Studies. M.: Higher school, 1988, p. 353
Poem in the dictionary of Usoltseva T.N. and Suslova N.V. - (from the Greek. stichos - row, line) - the minimum unit of poetic speech. The selection of individual verses in the composition of a poetic work is graphically specially emphasized by printing in separate lines and, as a rule, is accompanied by a rhyme. Suslova N.V., Usoltseva T.N. New literary dictionary - a reference book for students and teachers. Moscow: White wind, 2003, p. 107
At the heart of poetic speech lies, first of all, a certain rhythmic principle. Therefore, the characteristic of a particular versification consists, first of all, in determining the principles of its rhythmic organization, that is, in establishing the principles that build poetic rhythm. The rhythm of speech in itself does not create verse, just as verse is not reduced to rhythm proper. If, on the one hand, a certain rhythm is generally inherent in speech due to physiological reasons (inhalations and exhalations, breaking speech into more or less uniform segments), then on the other hand, a clear rhythmic organization of speech arises, for example. in the labor process, in working songs that fix and enhance the rhythm of work.
One of the differences between poetry and prose is that in the bars of prose, meaningful words have the same word accents. In verse, when verbal accents are equal, a stronger rhythmic stress always appears on the last word of each verse, which is always unchanged, is the main, proportionately repeating "unit" of the rhythm of poetic speech, and is called "constant" (Latin constantus - established, constant) stress, or constant verse.
Another difference between verses and prose speech measures is that in prose measures are separated only by logical pauses (indicated by punctuation marks), while verses are separated from each other by rhythmic pauses that show the end of each verse and set off its rhythmic constant stress.
In short, it should be added that verse, unlike prose, also has rhyme - coincidence, consonance of the endings of two or more verses, connecting them together, and there is a clause, the rhythm-forming final unit of verse.
In prose, all speech is divided into separate groups of words that are in some way proportionate. These groups of words are called measures, they are separated from each other by intonational pauses. The proportionality of such measures consists in an equal number of word stresses. But these accents are heard only relatively, since in reality no one counts the number of verbal accents. Non-artistic speech (scientific, journalistic, etc.) and, of course, artistic speech have rhythm, since it is perfect and has a finished form. The prose text is divided into paragraphs, sentences, phrases. When determining the rhythm of prose, one can single out the features of accentuation, which is called prosody, and is divided into 3 groups depending on the fall of stress: the first group includes words with an independent meaning, namely significant parts of speech, and they are always stressed; the second group includes words service units speeches, and they are always unstressed; and, finally, the third group of words is made up of words-exclusions from the first group, which, depending on the context, are either placed or not stressed.
There is an external, formal difference between poetry and prose, and there is an internal difference between them. Nikolaev A.I. Fundamentals of literary criticism. Ivanovo: LISTOS, 2011. p. 15 The first is that poetry is opposed to prose; the last is that prose, as thinking and rational presentation, is opposed to poetry, as thinking and figurative presentation, designed not so much for the mind and logic, but for feeling and imagination. From this it is clear that not all verses are poetry, and not all prose forms of speech are internal prose. We know "poems in prose" and, in general, such works written in prose that are the purest poetry: it is enough to name the names of Gogol, Turgenev, Tolstoy, Chekhov. If we formally turn any text into a verse, even the same sentence:
If formally
turn any
Text to verse...
one cannot but agree with what we see: the connections “along the vertical” are established in this text by chance, turning the information into something parodic.
It should be noted that one can speak of the freedom of prose speech only conditionally: in fact, prose also has its own laws and requirements. Even if, unlike poetry, artistic prose does not know rhyme and rhythmic regularity of feet, it must still be melodic. Both verse and prose are artistic speech, which, in turn, is rhythmic. And rhythm is a manifestation of organization, orderliness of movement. When prose blindly imitates poetry and becomes what is irreverently but rightly characterized as "chopped prose", then this, one might say, is unaesthetic; but some kind of special harmony and symmetry, a special sequence of words, is undoubtedly characteristic of prose, and a delicate ear senses this. Suffice it to recall such a short phrase from Gogol's poem " Dead Souls»: "What Russian does not like to drive fast?!". It sounds melodious, not just as a separate sentence of the text.
The word in verse, according to E. N. Dryzhakova, acquires greater semantic expressiveness. Dryzhakova E.N. In the magical world of poetry. M .: Education, 1978, p. 23 Therefore, it is in poetic speech that we often meet metaphors (from the Greek metaphora - transfer) - a kind of trail, figurative meaning words based on the likening of one object or phenomenon to another by similarity or contrast. Suslova N.V., Usoltseva T.N. New literary dictionary - a reference book for students and teachers. Moscow: White wind, 2003, p. 56
Even Etkind in his book "Conversation about poetry" noted: "Poetry has a different dimension" Etkind E. Conversation about poetry. L., 1970. p. 14. It is very important to learn that poetry is more than a style: it is a worldview; the same must be said of prose. If poetry is divided - approximately and generally - into epic, lyrics and drama, then in prose there are such genera and types: narrative (chronicle, history, memoirs, geography, characterization, obituary), description (travel, for example), reasoning ( literary criticism, for example), oratory; Naturally, this classification cannot be strictly maintained, and the enumerated genera and species are intertwined in various ways. Of course, if the author consciously and intentionally retreats into the realm of prose in poetic creation, then this is another matter, and there is no artistic error here: philosophical reasoning or historical digressions of Tolstoy's War and Peace cannot be blamed on the great writer for aesthetic guilt. And the purely literary fact of the interpenetration of prose and poetry has its deeper roots in the fact that it is impossible to divide reality itself into prose and poetry. One of two things: either everything in the world is prose, or everything in the world is poetry. And the best artists embrace the latter. For them, where there is life, there is poetry.
Why does the wind spin in the ravine,
Lifts up the leaf and carries the dust,
When the ship is in motionless moisture
Waiting for his breath?
Why from the mountains and past the towers
The eagle flies, heavy and terrible,
On a black stump? Ask him.
Why arapa
Young loves Desdemona
How does the moon love the dark nights?
Then what the wind and the eagle
And the heart of a virgin has no law.
Be proud: so are you, poet,
And there are no conditions for you.
Pushkin A.S.
If you convey poems in prose, then this is what happens: the ship needs the wind to sail, and the ship, in turn, does unnecessary work: spinning in a ravine, raising foliage and dust above the ground. The eagle, formidable and strange, the lord of birds, for some reason sits on a rotten stump. The charming Desdemona, instead of falling in love with a man of her circle from the nobility, frivolously falls in love with a gloomy and ugly "Arap". And the poet is the same: he creates his own art, which is not amenable to either logic or reason, singing what is happening in the soul. And this is something to be proud of. The prose version of this verse is very ugly, and is unlikely to be remembered. It is precisely that which is beyond the control of reason and logic that attaches the poet to the unreasonable natural elements, which makes him a poet with a capital letter.
Prose needs abstractions, schemes, formulas, and it moves along the channel of logic; Poetry, in turn, requires picturesqueness, and it transforms the content of the world into living colors, and words for it are carriers not of concepts, but of images. Prose talks, poetry draws. Prose is dry, poetry is agitated and excites. Prose analyzes, poetry synthesizes, that is, the former separates the phenomenon into its constituent elements, while the latter takes the phenomenon in its integrity and unity. In this regard, poetry personifies, inspires, gives life; prose is akin to a mechanistic worldview. Only a poet like Tyutchev could feel and say: “Not what you think, nature; not a cast, not a soulless face: it has a soul, it has freedom, it has love, it has a language.
“A verse is a snapshot of the soul,” and Brodsky was absolutely right.
Paul Valerin, French poet, essayist, philosopher, writes in a book on art that “ poetry there is a greater expression of feelings.” For him prose- This walking, A poetry This dance.
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