The artistic text is prosaic and poetic.

The basis of this division is the speech organization of the text: a prosaic text is short speech, the division of speech here is determined by the semantic and syntactic structure and automatically follows from it; The poetic text, or poetic, is a periodic, rhythmically organized speech. The segmentation in the poetic text is qualitatively different from the segmentation in the prose text, perceived as a solid text space.

For a poetic text, not syntactic units are important, but units that are rhythmically organized; these are closed components, strapped by cross-rhymes. The units of division are a line, stanza, quatrain (or couplet). Verse strings do not necessarily coincide with the syntactic boundaries of sentences: the verse has a meter (size). This is an orderly alternation in verse of strong points (ikts) and weak points filled in different ways. Strengths and weaknesses are alternating syllable positions in verse; they form a meter in the form of a two- or three-syllable foot. Strong syllable syllables are occupied by stressed syllables, weak ones are non-stressed. Prose is speech not connected with meter and rhyme.

Poetic speech and prose are not closed systems, their boundaries can be blurred, transient phenomena are inevitable. There are “poems in prose” and imitation of prose. At the same time, an occasional rhyme in prose is a disadvantage no less than its merit in poetry.

Opposition prose - verses softened somewhat with the appearance of a free verse. And poetry and prose began to be seen in the general stylistic qualities of the text and the tasks of its construction.

"... Poetry does not give information or practical recommendations, it represents a meaning, the value of which may consist precisely in its lack of information, in its detachment from practical needs [1]."

The prose and the poetic can in different parts be part of the same phenomenon. For example, the saying and saying in comparison with a fairy tale is a verse; and in comparison with a lyric song, a poem - prose.

Rhythmically organized speech in a greater degree than prose, uses figures - anaphora, epifors, periods, retardations, verse hyphenations, junctions, parallelisms.

The rhythmized material (language) in poetry is by its nature national, it is literally non-translatable into other languages. It is possible to “translate” content, meaning, but the peculiarities of versification cannot be translated. No wonder, for example, translations of M. Yu. Lermontov, S.Ya. Marshak, F.I. Tyutcheva, V.A. Zhukovsky is rather original, own creations on a given topic.

Of particular importance is the verse syntax [2]. It is largely conditional, deformed, subordinated not to the structure of the sentence, but to rhythm. First of all, intonation and metrics are realized in the syntax. A poetic phrase is a rhythmic-syntactic phenomenon, the word order is also subject to rhythm.

The poetry researcher B.M. Eichenbaum emphasizes the role of lyrical intonation in verse. It is not similar to the intonation of the epic or specially fantastic. Based on the intonation principle in the characteristics of the lyrics, BM. Eichenbaum distinguishes three types: declarative (rhetorical), melodious (song) and colloquial [3]. Moreover, the artistic role of intonation itself is more significant in the lyrics of the melodious type.

The rhetorical type of verse can be illustrated with the poems of A.S. Pushkin "The Prophet", "Anchar", the odes of G.R. Derzhavina, M.V. Lomonosov. Melodious poems of the brilliantly successful S.A. Yesenin. The colloquial type is represented by the iamb "Eugene Onegin", "Count Nulin" A.S. Pushkin; poems by A.A. Akhmatova.

These types represent different melody verses. Under the melody of B.M. Eichenbaum understands not the sonority in general, not every intonation of a verse, but a developed system of intonation, with phenomena of intonational symmetry, buildup, kanansirovaniya (from the Latin cado - fall, end), etc. [4]

Speech intonation in verse often loses its semantic and logical coloring, being subjected to melodious deformation; stress in words can shift, obeying rhythm. For a verse, it is important to convey the emotional state through the form. The rhythmic form of the verse is the emotional intonations fixed in the amount.

Moreover, the size itself is capable of conveying the semantics of the poetic line.

Wed: dyslexic foot (trochee) - fast movement:

Clouds rushing, clouds hovering, the invisible moon (A. Pushkin)

(dominant - rush );

trisyl foot (amphibrach) - slow motion:

Life was slow, like an old fortune teller,

Mysteriously whispering forgotten words (A. Block).

Thus, a specific rhythm is the result of the actualization of the poetic form, and the “inside” of this form is the meaning. The poetic form becomes "figuratively expressive." Due to the specificity of its form, the poetic text, in comparison with the prosaic, is less free, since it has a number of limitations [5]: the requirement to observe certain metrhythmic norms, organization at the phonological, rhyme and compositional levels. “It would seem that this should lead to a monstrous increase in redundancy in a poetic text” [6]. However, in reality, these restrictions do not lead to a decrease, but to an increase in the possibilities of new significant combinations of elements within the text. “It turns out that a huge number of speech elements that are produced and perceived as random in the source language, at least not bearing special significance in this statement, acquire this significance in a poetic context, so that in poetry any element of the speech level can be elevated to the rank of significant "[7].

Each speech element has a semantic load. In general, it turns out that the poem is “a complicated meaning”. The semantic complexity lies in the fact that there is always a deep inner meaning behind the external textual image. Semantic dvuhplanovnost and multiplicity is natural for the poetic text. The structure of the poetic text is conditional, non-normative due to the excessive activity of the subjective beginning, and therefore the “buildup of meanings” in the poetic text is much more active than in the text of the prose, there is a higher degree of concentration of meaning in it.

In this respect, it is interesting to observe that the prose, written by the poet, as a rule, is more capacious, concise, “concentrated”, with an unusual, non-normative compatibility of words; this is due to the intuitive, subconscious transfer of the laws of versification into a prose text. As an example, the texts of M. Tsvetaeva's prose can be cited, where the “darkness of conciseness” (the words of M. Tsvetaeva herself) has been brought to such an extent that many semantic lacunae have to be filled with copyright punctuation marks, since the text could be unreadable.

Here is characteristic of MI. Tsvetaeva's prose text:

First: the light. Second: space. After all the darkness - all the light, all the cramped - all the scope. There would be no roof - a desert. So is the cave. Light cave, the goal of all underground rivers. At a glance - a mile, on a verse - there is no end ... The end of all the Lids and hells: light, space, peace. After this light - that.

Work paradise, my paradise and as paradise, naturally here is not given. In the emptiness - in silence - in the morning. Paradise above all the place is empty. Empty - spacious, spacious - quietly. Calm - light. Only emptiness does not impose anything, does not force out, does not exclude. For everything to be, it is necessary that nothing be. Everything does not tolerate what (as "could" - is). - But Mayakovsky has a paradise - with chairs. Even with the "furniture". The proletarian thirst for materiality. Everybody has his own.

Desert. Cave. What else? Yes, deck! There is no first wall, there is - to the right - glass, and behind the glass is the wind: the sea (Natalia Goncharova. Workshop).

It is not by chance that there is such an abundance of punctuation marks, without them it would be difficult to grasp the essence of the meaning: the “plot” is only dashed, words that are not divorced with signs are difficult to combine with each other, and the sense lacunae are frequent and large in volume.

The activity of the artistic form in the poetic text is so strong that the entire work can be a detailed metaphor. The transfer of meaning from the external form (external objective image) to the internal (deep image) is carried out by interweaving the characteristics of this and another image. For example, in S. Shchipachev's poem “Birch”, the external objective image of Russian birch is only a sign, a reason for the transfer of another image, the attributes of which are attributed to the subject ( looks silently, white hands, shoulders, straight character, the third is true ):

She bends down to the ground,

Almost naked, and she

Torn, glances silently,

And the rain will calm down at the window.

And in the impenetrable winter evening,

In victory, believing in advance,

Its snowstorm takes by the shoulders

White takes hands.

But, thin, breaking it,

Out of the force will beat out ... She,

Looks like a straight character

Someone third is true.

With the obvious differences between the prose and the poetic text, it is impossible to draw a sharp boundary between them, because there is a lot of common, unifying principle in them - artistry. The poems in the prose of I. Turgenev or M. Gorky's Song about a Thunderbird, although they do not have a rhyme, perceived its rhythmic form from poetic speech. The poetry of the form often accompanies ornamental prose.

Art prose is mainly (excluding transitional cases) represented by two types.

Classical prose is based on the culture of semantic-logical connections, on the observance of the sequence in the presentation of thoughts. Classical prose is predominantly epic, intellectual; unlike rhythm, poetry relies on an approximate correlation of syntactic constructions; it is a speech without division into commensurate segments.

Ornamental (from the Latin. Ornamentum - decoration) prose is based on the associative-metaphorical type of connection. This is prose “decorated”, prose with “a system of rich imagery”, with metaphorical beauties (N.S. Leskov, AM Remizov, E.I. Zamyatin, A. Bely). Such prose often draws its pictorial resources from poetry. The authors of ornamental prose most often look like original experimenters of literary form: this is an appeal to active word creation (A. Bely), then to excessive archaic syntax and vocabulary (A. Remizov), then to grotesque images (E. Zamyatin), then to imitation fantastic shape (N. Leskov). In any case, it is a hypertrophied sense of form, when a word becomes the subject of a linguistic experiment. For A. Bely, for example, word creation is a way of aesthetic thinking (for example, such combinations: the star’s eyes, her eyes were numb, the swallow got lost; verbal nouns: chinking , rotting, jailing ). Practically it turns out that the system of language possibilities is ultimately tested, when prefixes, suffixes are used in combination with different roots, without taking into account the existing normative derivational models.

The elevated imagery of ornamental prose, reaching the embellishments, creates the impression of super-shaped speech, speech in the highest degree of pictorial, graphic in the literal sense of the word. However, this is not just a decoration, “packaging” of thought, but rather a way of expressing the essence of artistic thinking, aesthetic modeling of reality [8].

The style of ornamental prose is created in different ways:

1. appeal to the common people of the language (N. Leskov);

2. excessive metaphor, imagery (early M. Gorky);

3. heightened emotionality, reaching up to enthusiasm (some parts of the works of N. Gogol);

4. brazenness to word creation (A. Bely).

Here are some examples.

N.V. Gogol in The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich uses numerous repetitions, poetic definitions, exclamations, and appeals expressing delight:

Glorious bekesh Ivan Ivanovich! Great! And what smushki! Fu you abyss, what smushki! Gray with frost. I bet God knows what, if anyone has such! Take a look at them for the sake of God, especially if he starts talking to someone, take a look at the side: what a joy! Can not be described: velvet! silver! the fire! [...] Beautiful man Ivan Ivanovich! Beautiful man, Ivan Ivanovich!

S. Dovlatov is no stranger to the metaphorical inventiveness in some parts of his generally realistic works, built in the framework of the prose of the classical type:

Brother looked strong. A stormy brick face rose above the cliffs of the shoulders. The dome was crowned with a tough and dusty patch of last year’s grass. Loaf arches of ears were lost in the twilight. The outpost of a wide, durable forehead lacked loopholes, dark lips were open with a ravine. The flickering eyes of the swamp, covered with the icy edge, were asking, the bottomless mouth, like a gap in the rock, concealed a threat.

The brother got up and the cruiser extended his left hand. I almost groaned when the grip of iron squeezed my palm (Reserve).

As already mentioned, in the ornamental prose, compared with the usual, the tendency to the formation of words is more intensively represented. Occasionalisms are unusual, original in form, often unsteady in their semantics. Created with the help of ordinary derivational elements (suffixes, prefixes), they are not usual in their grammatical and semantic features.

For example, A. Bely [9] reveals rich word-formation series: houses, houses, houses, houses, houses, houses, houses. In the novel “Petersburg” A. Bely demonstrates the highest degree of ingenuity in the experiment with the word “dance”. This word is related to the characterization of the character Nikolai Petrovich Tsukatov, for whom life is a solid dance.

N.P. Tsukatov danced his life; now Nikolai Petrovich dodged this life, danced easily, harmlessly, did not go ...

All he could dance. He danced a little boy; he danced best of all, by the end of the course of the gymnasium they danced; by the end of the law faculty, from the vast circle of acquaintances, he danced himself a circle of influential patrons; and N.P. Candied started to dance service. By that time he danced the estate; having danced an estate, with frivolous simplicity he set off to the balls; and from the balls he led me into his house ... life partner ... with a huge dowry; and N.P. Candidates from that very time danced at home; children were dancing; danced, further, children's education, - all this was danced easily, plainly, joyfully. He now dodged himself.

So with the help of the found part, the author draws Tsukatov’s life dance. A. Bely discovers even more ingenuity in the experiment on language, when he creates words that contradict normative word formation, for example:

The lane was burning hot; the smelly courtyard smelled paint; house painter lined the facade; zatruhleli, peeling, dentate soils ... Drehlena Yaginichna hung rags and things; in the fence breach, over which the bird began to flutter, the second courtyards opened - with the walls sagging, with the roofs overlapping ... (Moscow under the impact).

By the way, there are a lot of similar words, not included in use, but quite understandable, in V. Dahl's “Dictionary”. We find the same in the “Dictionary of Language Expansion” by A. Solzhenitsyn, where he draws the attention of writers to the unlimited word-formation possibilities of the Russian language. For each such neologism there is a derivational analogue. For example, if the adjective “homeless” correlates with the verb “shelter”, then you can continue the analogy, for example, “hang around” - “homeless”, for Solzhenitsyn the words “take” (from “take”), “lame” (from “pour “),“ Dragging ”(“ dragging ”), if there are words“ joint ”(“ joining ”),“ jumping ”(“ jumping ”), etc.

The syntax can also be characteristic of ornamental prose - often rhythmicized, which recreates the features of poetic speech, for example, A. Bely: “The Baroness was a brunette from a burning youth”; "This night we will deal with disassembly we."

Speaking about the difference between the prose and the poetic artistic text, one cannot but say the possible crossbreeding of the main stylistic features of the two. And the point is not only that there are transitional phenomena between prose and verses (verses in prose), the fact is that it is possible that prose can acquire poetic features and, conversely, with verses - prose features. Prozization of poetic texts and poeticization of prose is a phenomenon associated not so much with formal indicators (for example, the rhythmization of prose), but with the inner meaning of the text, with the author’s special aesthetic attitude, his emotional and ideological essence.

Poetry - this is a special property of the work, which tells him the spirituality, elevation above the ordinary. The point is not in the subject of the image, but in its coverage, not in the subject, not in the plot, but in their embodiment, from the perspective, in emotional and moral accents ( one cobblestone sees underfoot, the other - a star fallen from heaven ). Poetic is that in which there is something of super practical purpose.

The poetry in the prose text is created by various methods, for example, the imagery born of the collision of the real and the surreal; reception of reservations; a combination of direct and portable in terms of speech units. Poetry is found in the very method of constructing text.

Например, в классицизме поэтичность создается использованием античной символики. Такая форма обычно не вызывает разночтений. Для раскрытия античной аллегории, символов, эмблем необходимы лишь историко-культурные знания. Труднее постигается эстетическое кредо романтиков: они активно эксплуатируют прием недоговоренности, смешения реального и ирреального плана.

Поэтичность ощущается через эмоциональное (не интеллектуальное!) потрясение. Сплетение реальных и ирреальных (легендарных) образов делает поэтичной прозу Ч. Айтматова. Практически все его романы построены на жизненной трансформации легенд, через обращения к легендам осмысливаются реальные жизненные ситуации («Белый пароход», «Плаха», «Буранный полустанок»).

С другой стороны, стихотворный текст может приобретать прозаические черты, особенно это свойственно «говорному» типу стиха. Такая прозаизация осуществляется за счет разговорных интонаций, диалогизации, включения в текст слов бытового содержания. Такая тонкая, частичная прозаизация не лишает произведение в целом яркой художественности. В разработке разговорных форм (и отчасти частушечных) преуспела, например, А. Ахматова, в поэтических описаниях которой можно встретить много бытовых деталей, вплоть до «дырявого платка». Тонкая прозаизация ощущается в самой сложности поэзии Ахматовой, когда возвышенное оказывается рядом с земным. «Обрастание лирической эмоции сюжетом – отличительная черта поэзии Ахматовой. Можно сказать, что в ее стихах приютились элементы новеллы или романа, оставшиеся без употребления в эпоху расцвета символической лирики»[10]. Сюжетность просвечивает у Ахматовой через повествование, которое имеет жесткую, энергичную форму. (Смена действий во времени дается путем нанизывания глагольных форм времени.)

Было душно от жгучего света,

А взгляды его – как лучи.

Я только вздрогнула: этот

Может меня приручить.

Наклонился – он что-то скажет...

От лица отхлынула кровь.

Пусть камнем надгробным ляжет

На жизни моей любовь.

Однако прозаизация стихотворного текста может быть доведена до такой степени, когда собственно поэзия исчезает, остается голая форма стиха – ритм и рифма (например, у современного авангардиста В. Сорокина некоторые стихи цикла «Времена года»). В частности, обычное «языковое сознание» не приемлет включения в стихи нецензурной лексики и описания деталей интимной жизни. Такой нарочитый бытовизм и натурализм взрывает стих изнутри.

Интересным представляется вопрос о прозаизации прозаического текста. Несмотря на свою парадоксальность, он вполне закономерен, особенно если иметь в виду некоторые современные литературные произведения. Это лишний раз свидетельствует о том, что понятия «поэтичность» и «прозаичность» вышли далеко за пределы той сферы принадлежности, откуда они родом, т.е. поэтичность не обязательно свойство поэзии, а прозаичность – прозы, хотя, конечно, важен и такой нюанс: стихи без поэтичности – это все-таки нонсенс, а проза без поэзии – это проза, которая может быть в высшей степени художественной.

Цель прозаизации художественного текста, в том числе и прозаического, – достичь правдоподобия, приблизить к обыденному, земному, реальному (хотя может быть и другая причина – например, выражение таким образом социального протеста против традиционно сложившихся литературных канонов и т.п.).

Правдоподобие достигается, как правило, обращением к различным отклонениям от литературной нормы в языке. Эти отклонения суть:

1) речь диалектная, 2) речь неграмотная, 3) речь простонародная, жаргонная, социально ограниченная, 5) речь табуированная, обсценная.

Basically, such an imitation of speech is associated with the construction of the speech characteristics of the characters, however, stylization of the author’s speech, the narrator’s speech, and any subject of speech in general is possible. The history of Russian literature testifies to the natural appeal of many writers to dialectism, illiteracy, slang, and argot speech. Even such a “poetic” prose writer as I.S. Turgenev could not do without the dialect coloring of his texts. It's all about the amount of blotches and motivation. Neither poetry nor artistry as a whole suffers from this.

В последнее время особенно актуальным становится вопрос о нецензурной, обсценной речи в современных печатных текстах. Многих это возмущает, шокирует, оскорбляет. Другие настроены более лояльно и для подкрепления своей позиции ссылаются на то, что и классики иногда «пошаливали» (например, А. Пушкин). Однако серьезно этот вопрос не проанализирован. Личные вкусовые критерии оказываются доминирующими. Если же принять во внимание общую прозаизацию литературной речи, протекающую очень активно в последнее время, причем не только в прозе, но и в поэзии, то анализ этого явления окажется вполне закономерным.

Интерес к этому «отверженному» лексическому фонду в последнее время активизировался. См., например, «Проспект словаря разговорноокрашенной и сниженной лексики русского языка» В.Д. Девкина (1993). Ранее обычно обсценные номинации из словарей изгонялись. Но сейчас такая потребность возникла, хотя бы потому, что прогрессирует стихийная легализация выражений, всегда считавшихся неприличными и потому запретными.

Так, например, А. Шаталов в предисловии к книге Э. Лимонова «Это я – Эдичка» объясняет обращение автора к нецензурной лексике таким образом:

«Обсценная лексика, используемая Лимоновым, существенно необходима для адекватного восприятия его текстов, она является неотъемлемой характеристикой личности героя книги и мотивируется той экстремальной ситуацией, в которой он находится. В большинстве случаев она используется во внутренних монологах или размышлениях Эдички, борющегося за сохранение в чужой стране собственного «я», собственного менталитета, и поэтому употребление им табуированных слов, характерных в большинстве случаев именно для русского человека, помогает ему ощущать свою русскость, свое отличие от американского общества, «сливаться» с которым, как это ни удивительно может быть для самих американцев, он не хочет и не может. Таким образом, можно предположить, что герой книги форсирует употребление ненормативной лексики, которая, будучи даже переведенной на другой язык, не воспринимается чем-то чрезмерным и эпатирующим, поэтому, соответственно, и не несет тот эмоциональный всплеск, который естествен для русскоязычного текста» (Глагол. Литературно-художественный журнал. 1990. №2). Сам же Лимонов подчеркивает, что намеренно пишет на «крепком мужском языке», поскольку его герой разговаривает именно так. И даже добавляет: «Именно так разговаривает все его советское окружение».

It is no less natural for literary texts to refer to the “camp speech,” the speech of criminals, since this topic turned out to be highly relevant for Russian literature of the 20th century. Camp life, the life of the “zone” can hardly be represented in “poetic tones”. And here the law of credibility. S. Dovlatov expressed an interesting opinion about the speech of the criminals: “The laws of linguistics do not apply to camp reality. Since the camp speech is not a means of communication. She is not functional. The camp language is least designed for practical use. And in general, it is a goal, not a means. " And further: “The very minimum of the camp speech is spent on human communication ... It seems that the convicts save on everyday verbal material. Basically, the speech of the camp is a creative phenomenon, purely aesthetic, artistic and purposeless [...]. Surprisingly, there are very few swear words in the camp speech. This felon rarely drops to obscene. He neglects unclean obscene patter. He values ​​his speech and knows her price.

A genuine felon appreciates quality, not decibels. Prefers accuracy over abundance. Disdainful: “Your place is near the bucket” - there are a dozen selected curses ”(S. Dovlatov. Zone).

As we can see, the prosaization of a literary text in modern literature is often maximized, because it is not just a literary device that helps to vividly convey the character’s speech, it is the language of the author himself, living on Wednesday, in the environment, in social reality. And moreover, in some cases such neglect of normativeness allows expressing one’s rejection of traditional canons of literary taste.

The fact of wide dissemination in the printed texts of jargon-camp and slang formations led to the urgent need to create appropriate dictionaries [11].