An epigram is a lyric poem-miniature. Epigram in Russian literature in the 19th - early 20th centuries Epigram examples of works in literature
Connoisseurs of literature know that in the world of poetry there are many types of poems that can satisfy the needs of the most sophisticated reader. One of the types of poetic art is short, succinct poems that hit the target - epigrams.
The emergence of the epigram. Meaning and Definition
Comprehension of all the variety of poems, it is useful to pay attention to small original poems and learn in more detail what an epigram is. Its ancestor and one of its varieties is considered to be the epitaph. If we take the definition literally, then translated from Greek this concept means “inscription.” In Greece, it was customary to write various marks on the bases of statues, above the entrances to temples, and on objects that were to be presented to the gods as sacrifices.
An epigram as a genre of poetry is a type of satirical miniature, based on ridicule of a character or some social phenomenon. Poems are always filled with irony, jokes, and are distinguished by brevity. Its origin dates back to the 7th-6th centuries BC. e. And in the 17th-19th centuries, Voltaire, La Fontaine, Rousseau were already using this type of poetry with might and main in their work. In our literature, this genre appears in the 18th century and is found in the works of Bogdanovich, Lomonosov, Kantemir and others. This genre was especially respected by the Russian poet Alexander Sumarokov, who makes it very clear what an epigram is, formulating the main principles stating that the use of rudeness, swear words, and slander is simply unacceptable. These short, subtle verses should help in cases where all other forms of education and influence have not worked.
A talented person is talented in everything...
The recognized geniuses of the epigram in its further development are, of course, Pushkin, Vyazemsky, Baratynsky, Dmitriev.
During the Soviet period, Vladimir Mayakovsky, Samuil Marshak, Demyan Bedny, and other poets also used this genre of short poems in their work. For example, the short, witty epigrams of Marshak, who, by the way, wrote an entire book called “Lyrical Epigrams,” are very interesting.
Modern epigram
What is an epigram, what is its peculiarity - these questions have been asked and continue to be asked in our time. These short works are perhaps one of the most enduring poetic genres. Today, epics, odes, and elegies are unpopular, but epigrams still exist, they are in demand, interesting to the reader and are appropriate in almost all manifestations of our lives.
Masters of Epigrams Today
Some of our contemporaries used this genre especially successfully, for example, the famous poet, parodist, and host of the once very popular television program “Around Laughter” Alexander Ivanov. His epigrams were distinguished by their gentleness and kindness. Satirists Grigory Gorin and Arkady Arkanov also willingly included sarcastic poems in their work.
But, of course, the leader, the master of the epigram genre with a capital letter these days is our beloved actor Valentin Iosifovich Gaft. Of course, first of all, we appreciate this man for the roles he played in cinema and theater productions, but his talent in writing these short poems is also recognized by many. This multi-talented person understands well what an epigram is; his works have already become simply folklore.
Features of Gaft's creativity
When Gaft was asked if he remembered his first work in the genre of short, sarcastic verse, he replied that he did. His first epigram was born absolutely by accident: in the theater on Malaya Bronnaya, director Andrei Goncharov, who, by the way, was an avid mushroom picker, staged a play by G. Borovik. After the performance, at the banquet, Valentin Iosifovich volunteered to speak with his congratulations to the director. Gaft's epigram sounded from the stage was a great success, and the actor, in fact, took up writing for a long time.
One day, Valentin Gaft and a friend decided to publish a thematic book. When he first opened it, he was simply amazed - the collection contained epigrams by Valentin Gaft that he had never composed. Offensive, incorrect, humiliating poems, including a poem about the actress Irina Muravyova, for example. The actor was very upset. Valentin Iosifovich always noted that an epigram is a confession in a short form, a very accurate hit on the main thing in a person.
In general, Gaft's epigrams are very poignant poems, but accurately reflecting reality. And mostly aimed at his colleagues, close acquaintances, friends. Valentin Iosifovich dedicated his works to Mikhail Kozakov, Mikhail Ulyanov, Iya Savvina, Natalya Gundareva, Irina Miroshnichenko, Oleg Efremov, Lyudmila Gurchenko and many other famous and talented people. Many of them, of course, were offended, did not understand, the relationship between the author and the addressee deteriorated and worsened.
Liya Akhedzhakova recalls her resentment at the epigram addressed to her, how she did not communicate with Gaft for two years, not fully understanding the essence of the dedication. In fact, in the original, everything is radically changed by the final lines of the message of the great actor to the great actress and reveal the full laudatory intent of the poet.
Valentin Iosifovich always emphasizes in his interviews that offending, offending, or bringing a feeling of awkwardness is never his task when composing epigrams. To be convinced of this, you just need to re-read these truly unique, apt, recognizable poems by Gaft, which reflect and highlight the very essence of a person. Now Valentin Iosifovich, despite health problems, continues to create. He can often be seen among invited guests on various programs and talk shows. He always has a couple of fresh epigrams “from Gaft” in stock, as always very accurate, sharp and topical.
Conclusion
To summarize, we can say with confidence that the epigram is an amazing, rare genre that appeared in antiquity and has survived to our time. Pleasure, good mood, new impressions after reading these wonderful poems are guaranteed to everyone!
EPIGRAM. The word "epigram" in Greek means "inscription." This is what the ancient Greeks called poetic inscriptions that were carved on tombstones (in this case, the epigram was an epitaph), on sculpture pedestals, on bowls, on any object offered as a gift to the gods. Like many other genres of ancient poetry, the epigram goes back to oral folk art, and specifically to short moralizing poems and maxims. As an established genre of ancient Greek written poetry, the epigram began to exist in the 76th century. BC. The usual form of the epigram of that time was an elegiac distich couplet, in which the first verse hexameter (six feet), and the second pentameter (five feet).
Later, any lyric poem written in an elegiac distich began to be called an epigram. The first classic of the genre was the lyricist Simonides of Keos (5th century BC). Many epigrams on the themes of the Greco-Persian Wars were attributed to him, including a tombstone inscription over the fallen Spartans:
Traveler, go and tell our citizens in Lacedaemon,
That, keeping their covenants, we died here with our bones.
The first anthology of Greek epigrams, compiled in the 1st century. BC. and supplemented in modern times, includes about 4000 epigrams, distributed by topic, love, funeral, table, satirical, etc. Among the authors are Plato, Sappho, Aesop, Aeschylus, Menander, Theocritus, Alcaeus, Meleager, Diogenes Laertius and many other poets.
The epigram genre entered Latin literature in the 2nd and 1st centuries. BC. Its first master Catullus. Here is one of his epigrams:
My darling tells me: I only want to be your wife,
Even Jupiter would have pitied me in vain.
That's what he says. But what does a woman whisper to her lover in passion,
Write in the air and on fast-flowing water.
The ancient Roman poet Martial devoted himself exclusively to the genre of epigram, with whom a satirical theme became the leading one for the first time. He opposes the “high” genres, epic and tragedy, as an image of life.
You read about what life can say: “here is mine.”
You won’t find any centaurs here, or gorgons, or harpies,
And my page smells like one person.
This slogan brings the epigram closer to comedy and satire, that is, mocking genres. The epigram needs “salt” and “bile”. Unlike the “high” style, any obscenity is allowed here. Many of Martial's epigrams are devoted to literary topics: polemics with learned poetry, ridicule of mediocrities and plagiarists.
The traditions of the ancient epigram continue to develop in the Latin literature of the Middle Ages (mainly inscriptions on tombs, buildings and church objects) and among Renaissance poets writing in Latin.
In European literature of modern times, the term epigram is assigned to a small form of the satirical genre (Martial tradition). A distinctive feature of an epigram is the specificity of the occasion (“poems for the occasion”). The main compositional device, the contrast between the initial lines and the final short “sharpness” (“pointe”), also goes back to Martial. An epigram of this kind developed in French literature of the 16th century. and acquired a stable form as a “small genre” of classicism in the 17th century. 19th centuries (Racine, La Fontaine, Voltaire, Rousseau, etc.) and from France spread to other European literatures (Lessing, Burns, etc.).
Here is an example of a satirical epigram by R. Burns with an unexpected ending:
No, he doesn't have a deceitful look,
His eyes don't lie.
They speak truthfully
That their owner is a rogue.
With the weakening of the position of classicism, the epigram loses its position in literature; romanticism almost does not turn to the epigram.
In Russian poetry, the epigram appears among the classicist poets of the 18th century. (Kantemir, Lomonosov, Kapnist, Bogdanovich, Kheraskov, etc.) Sumarokov especially loved this genre. He also formulated the basic principles of the epigram:
Let us consider the properties and power of epigrams:
They then live rich in their beauty,
When they are composed sharp and knotty;
They must be short, and their whole strength lies in
To say something mockingly about someone.
The Russian epigram reached its greatest flowering in the first third of the 19th century. in the works of I. Dmitriev, V. L. Pushkin, Vyazemsky, Baratynsky, as well as the young A. S. Pushkin. At this time, an epigram is often a response to specific events in literary or political life, to a particular writer or socio-political figure. Such epigrams usually did not reach the printing press, but were distributed orally and in manuscripts. This is, for example, the famous epigram of A.S. Pushkin to Count M.S. Vorontsov:
Half my lord, half merchant,
half-sage, half-ignorant,
Semi-scoundrel, but there is hope
Which will be complete at last.
Many major writers of the 19th century. (Nekrasov, Turgenev, Fet, Tyutchev, Maikov, etc.) to one degree or another paid tribute to the genre of the epigram. Thus, Nekrasov’s epigram became widely known To the author of Anna Karenina:
Tolstoy, you proved with patience and talent,
That a woman should not “walk”
Neither with the chamber cadet, nor with the aide-de-camp,
When she is a wife and mother.
Most epigrams (if they were not distributed orally) were published in humorous magazines. Here, the masters of the genre were D. Minaev and V. Kurochkin, who often used the epigram as a means of literary polemics and political activity. This is the epigram of D. Minaev Pushkin, after his second death:
We are driven away by the punishing Zeus,
He experienced a double death;
Pisarev appeared as Dantes // And again he shot the poet.
The figures of the Silver Age (Bryusov, Balmont, Ivanov, Sologub) were also not shy away from epigrams.
In the 1920s, an uncensored oral epigram became widespread, having an author, but functioning as a folk text, often with frivolous content. For example, A. Lunacharsky’s epigram on Demyan Bedny (distributed without the name of the author, with various variations):
Demyan, you want to become a Soviet Beranger.
You are Be, you are Zhe,
But you are not Beranger.
Official Soviet poets (D. Bedny, A. Bezymensky, S. Vasiliev, etc.) “did not despise” the epigram. Mayakovsky also wrote epigrams, sometimes with elements of a centon (paraphrase of famous phrases, expressions, lines):
Having crushed the boulders of my comedies,
The Chief Repertoire Committee Gandurin sits.
Could you play a nocturne // on this cracked bandura?
There are many epigrams from satirical poets and parodists, in particular from A. Arkhangelsky:
Everything changes under our zodiac,
But Pasternak remained Pasternak.
Marshak wrote a book Lyrical epigrams in the spirit of ancient epigrams, satirical miniatures alternate with short maxims. For example:
Time is precious.
There is a lot and little time.
For a long time not time,
If it has passed.
Modern poets also do not forget about the epigram, which is distributed both typographically and orally. Here is V. Lapin’s unpublished epigram on the poet Vs. Nekrasov, which has become widespread in literary circles:
Seva Nekrasov.
Education five classes.
Plus the institute.
Thus, the epigram is one of the few genres that originated in ancient times and has survived to this day.
Lyudmila Polikovskaya
Miniatures are a poem that ridicules a person or social phenomenon. The term comes from the Greek word epigramma, which literally means “inscription.”
Inscription of any content
The epigram originated in Ancient Greece and was originally an inscription with some content on a cup, vessel, portico of a temple or the elevated pedestal of a statue. In Ancient Rome, the meaning of a poetic inscription changed; for the Romans, an epigram was a satirical poem. In ancient Greek poetry, the epigram arose in the 7th-6th centuries
The first classic of this genre is Simonides of Keos. Many epigrams about the warriors of Greece and Persia are attributed to this ancient author. In the first century BC, an anthology of Greek epigrams was first created, which included about 4,000 works, sorted by topic. In the Middle Ages, in Latin literature, epigrams with ancient traditions continued their development - inscriptions on tombs, church objects and various buildings. Also, poetic epigrams were popular among poets of the Renaissance.
In European literature
An epigram in European literature is a small form of satire, from the distinctive features of which one can clearly distinguish the specificity of the occasion. The first who began to write epigrams in Europe were French writers - Racine, Voltaire, La Fontaine, Rousseau. Somewhat later, this form spread to other genres of European literature.
In Russian literature
In Russian fiction, the epigram clearly manifested itself in the works of poets of the 18th century: Bogdanovich, Lomonosov, Kheraskov, Kantemir, etc. But it reaches its highest degree of development in the works of Dmitriev, Pushkin, Vyazemsky. During this period, an epigram is a response to individual political events, literary masterpieces, famous personalities, and public figures. For the most part, they were not published, but remained in the manuscripts of the authors. Among the particularly outstanding epigrammatic authors of the early 19th century are P. A. Vyazemsky, A. S. Pushkin, E. A. Baratynsky, S. A. Sobolevsky. Pushkin's epigrams were distinguished by subtle satire, for example, written on F.V. Bulgarin, A.A. Arakcheev and A.N. Golitsyn. Although some of his creations in this genre carefully continued the ancient Greek tradition (“Curious”, “Movement”).
In the middle of the 19th century, the epigram (poems of the traditional type) receded into the background, and topical satirical poetry experienced a rise. Particularly striking examples of it were created by V. S. Kurochkin, D. D. Minaev, M. L. Mikhailov, N. A. Nekrasov. Later, many other outstanding writers wrote epigrams: A. A. Fet, F. I. Tyutchev, A. N. Apukhtin, so-called minor poets also tried to express themselves in this genre; there are isolated examples of epigrams written by prose writers - N. S. Leskov, F. M. Dostoevsky. In Soviet literature, the epigram was often used by S. Ya. Marshak, V. V. Mayakovsky, A. G. Arkhangelsky, Demyan Bedny and many others.
From antiquity to modernity
Modern writers and poets also pay due tribute to the epigram, which continues to spread among the masses not only in printed form, but also orally. An outstanding actor is considered one of the most famous epigrammatists of our time. He is the author of an endless number of poetic cartoons aimed at his fellow actors. Gaft's epigrams are caustic poetic attacks on domestic actors, films and even politicians. The artist “pulled to pieces”, as the author himself says, “ate him alive.” The targets of his attacks were: Liya Akhedzhakova, Galina Volchek, Oleg Dal, Armen Dzhigarkhanyan, Vasily Lanovoy, Oleg Tabakov. After the release of the film “Three in a Boat, Not Counting the Dog,” Gaft composed an epigram for Alexander Shirvindt and Mikhail Derzhavin. Many are openly offended by Gaft’s epigrams, including the family of Sergei Mikhalkov. The object of Gaft’s satire was the painting “The Three Musketeers” and Vladimir Zhirinovsky.
The epigram is one of the rarest, most unique genres, which, having originated in deep antiquity, has not been lost for several centuries, has survived to this day and is still popular, especially among satirists and parodists.
CHAPTER 1. Expressive-semantic structure of the Russian epigram as a genre form of artistic speech
1.2. General characteristics of the epigram as a satirical and humorous genre of fiction.
1.3. Satirical and humorous expressiveness as the most important genre feature of an epigram.
1.3.1. Expressiveness as a linguostylistic category.
1.3.2. Expressive tonality of epigrams from the era of classicism. ^
1.3.3. Expressive tonality of epigrams of the late 18th - early 19th centuries.
1.3.4. Expressive tonality of the Russian epigram of the Pushkin and post-Pushkin periods of the 19th century. ^
1.4. The field structure of the epigram as a satirical and humorous genre of artistic speech.
1.4.1. Semantic and expressive-semantic field as linguistic categories. ^
1.4.2. Microfield structure of two-line epigrams.
1.4.3. Microfield structure of four-line epigrams.
1.4.4. Microfield expressive-semantic structure of multi-line epigrams.
CHAPTER 2. Lexical and phraseological means of creating satirical and humorous expression in epigrams of the 18th - 19th centuries
2.1. Genre and stylistic use of expressive and evaluative vocabulary in epigrams.
2.2. Proper names with pejorative evaluation as a means of satirical characterization of the addressee.
2.3. Lexical polysemy and homonymy as a means of comic characterization of the addressee.
2.4. Antithesis with pejorative evaluation as a means of ridiculing the addressee.
2.5. Phraseological means of creating a reduced characteristic of the addressee in epigrams.
2.6. Genre-stylistic conditionality of the use of colloquial vocabulary and phraseology in the epigram.
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Introduction of the dissertation (part of the abstract) on the topic “Expressive-semantic structure of the Russian epigram of the 18th-19th centuries and its lexical and phraseological means”
Since the end of the 18th century, the epigram has become one of the most popular artistic and verbal genres in the Russian literary environment. Many epigrams were published in magazines, others, under conditions of strict censorship, were distributed in handwritten form and passed on from mouth to mouth. In the epigram, as a topical satirical and humorous genre, lexical and phraseological means of living folk speech were widely used, which significantly contributed to the democratization of the Russian literary language.
The processes occurring in fiction, in its language and style, require deep scientific understanding. This is necessary both for the successful development of artistic creativity itself and for the further formation of a relatively new direction in linguistics - the theory of genre forms of artistic speech. The Russian epigram as a special satirical-humorous genre is considered mainly in literary works (M.L. Gasparov, L.F. Ershov, M.I. Gillelson, E.V. Novikova, L.I. Timofeev, O.B. Kushlina and others), however, it has not been previously studied in the linguistic-stylistic aspect. The speech structure of the epigram as a genre form of artistic speech, its determining influence on the selection and use of lexical and phraseological means characteristic of the genre, have not yet been studied.
The relevance of our research is related to the need to fill this gap in the scientific understanding of the epigram as a special genre form of artistic speech with its specific speech structure and a wide range of use of stylistic means of the national language. As V.V. Vinogradov emphasized, “the task of speech stylistics falls to understand the subtle differences of semantic and expressive-stylistic nature between different genres” [Vinogradov, 1959: 15]. The scientific foundations of linguistic stylistics of genre forms of speech have already been formed (V.V. Vinogradov, A.N. Kozhin, V.G. Kostomarov, G.L. Solganik, E.F. Petrishcheva, E.A. Ivanchikova, M.N. Nesterov and others). The principles of linguostylistic research into genre forms of artistic speech have found practical implementation in works devoted to the Russian fable [Shipilov, 1992], the modern joke [Perekhodyuk, 1999], the Russian lyrical song [Karapetyan, 2001], the historical novel and drama [Voronichev, 1995; Manuilova, 2006; Egorova, 2008]. Our dissertation work was also carried out in line with the linguistic stylistics of genre forms of artistic speech.
The object of the dissertation research is a Russian epigram of the 18th - 19th centuries. Such a wide chronological period allows us to show different historically determined structural and speech types of epigrams, and their stylistic commonality as a single satirical and humorous genre form, which reached its highest peak in the Pushkin and post-Pushkin periods.
The subject of the study is the expressive-semantic structure of the epigram as a satirical and humorous genre form and the lexical and phraseological means of its formation.
The main goal of the study is to identify general style-forming features of the speech structure of the epigram as a genre form of artistic speech and to show their decisive role in the selection and use of semantically and expressively dominant vocabulary and phraseology. To achieve this goal, the following tasks are planned:
1) identify and describe the features of the expressive-semantic structure of the Russian epigram of the 18th - 19th centuries as a special satirical and humorous genre;
2) show the determining influence of the microfield structure of the epigram on the selection and use of semantically and expressively dominant linguistic means;
3) analyze the main lexical and phraseological means that are used in epigrams of the 18th - 19th centuries for satirical and humorous ridicule of the addressee;
4) show the prevalence of colloquial and vernacular vocabulary, phraseology, which contributed to the democratization of the language of fiction of the 18th - 19th centuries and the Russian literary language in general.
The research material was epigrams of famous writers of the 18th - 19th centuries (M.V. Lomonosov, A.P. Sumarokov, G.R. Derzhavin, V.V. Kapnist, D.I. Khvostov, I.I. Dmitriev, I.A. .Krylov, A.E.Izmailov, V.A.Zhukovsky, D.V.Davydov, K.N.Batyushkov, P.A.Vyazemsky, A.S.Pushkin, E.A.Baratynsky, S.A.Sobolevsky , M.A. Dmitriev, N.A. Nekrasov, I.S. Turgenev, N.F. Shcherbina, D.D. Minaev and others). A total of 1670 epigrams were analyzed. The choice of research material is due to the fact that the epigrams of this period are characterized by high artistic skill and have not yet been subjected to detailed linguistic analysis.
The methodological basis of the study was the work on the stylistics of language and genres of speech by V.V. Vinogradov, A.N. Kozhin, V.G. Kostomarov, G.Ya. Solganik, O.A. Krylova, L.A. Kiseleva, E.F. .Petrishcheva, V.V.Odintsova, M.N.Nesterova; on the history of the Russian literary language by L.A. Bulakhovsky, N.A. Meshchersky, E.G. Kovalevskaya, A.I. Gorshkov, G.P. Knyazkova; on "lexicology, phraseology by N.M. Shansky, D.N. Shmelev, V.N. Teliya, A.I. Molotkov; on the theory of semantic fields by Yu.N. Karaulova, V.P. Abramova, G.S. Shchura , B.Yu.Gorodetsky, etc. Methodologically, the work is based on the use of a field approach to the study of the speech structure of the epigram as a genre form of artistic speech and its lexical and phraseological means.
The main research method is descriptive with direct observation and interpretation of linguistic facts. We use it when studying linguistic means of forming the expressive-semantic structure of the genre form under study and when characterizing the types of these linguistic means. When studying the structural features of the epigram as a genre of artistic speech, the method of component analysis is used. The work also uses the method of comparing the structure of different types of epigrams, the method of stylistic comparison of the speech structure of the epigram and other small genre forms (fable, anecdote, feuilleton, impromptu). As additional ones, functional-semantic, functional-stylistic methods, and the method of stylistic experiment are used, which make it possible to clearly show the dependence of the use of lexical and phraseological means on the structural features of the genre form.
The following main provisions are submitted for defense:
1. The purpose of the epigram as a satirical and humorous genre of artistic speech is to express the author’s negative attitude towards the addressee, which is conveyed either in the form of open denunciation or through irony, creating a comic characteristic. Depending on the nature of the public ridicule of the addressee, the microfield structure of the epigram is divided into two types: 1) in epigrams with an open denunciation, all expressive-semantic microfields have a single-dimensional negative tonality, 2) in epigrams of an ironic nature, the semantics and expression of the microfields are of a contrasting nature. However, in both the first and second types of epigrams, the microfields are harmoniously combined and form a single expressive-semantic field with a sharp condemnation of the addressee.
2. The intended purpose of the epigram, the features of its expressive-semantic structure determine the widespread use in it to characterize the addressee of vocabulary and phraseology with pejorative evaluation, various nominal periphrases with pronounced negative expression, figurative artistic means with a negative evaluation, such as metaphor, comparison, likening.
3. To create a negative characteristic of the addressee in epigrams of the 18th - 19th centuries, various kinds of derivative names with pejorative evaluation are often used, such as Glupon, Kradon, Podlon, Skryagin, or parodically consonant with real names, such as instead of Bulgarin - Figlyarin, Kachenovsky - Kochergovsky, etc. .d.
4. The intended purpose of the epigram and its expressive-semantic structure determine its widespread use of polysemantic vocabulary and phraseology, lexical homonyms, through which a punning play of meanings is created, aimed at ridiculing the addressee.
5. In order to ridicule the addressee, epigrams widely use antithesis, built on the opposition of meliorative and pejorative expressive-semantic shades, which allows, through expressive-semantic contrasts, to give a sharp negative characterization to the addressee.
6. In the epigram as a special satirical and humorous genre, colloquial vocabulary and phraseology of living folk speech with its inherent pejorative evaluation are very widely used, which significantly contributed to the democratization of the language of fiction and the Russian literary language in general in the 18th - 19th centuries.
The scientific novelty of the dissertation work is determined primarily by the fact that the language of the Russian epigram as a special genre has not yet been studied enough. The dissertation is the first to examine the expressive-semantic structure of the epigram as a special genre form and comprehensively describes the dominant lexical and phraseological means of its formation. The methodology and methodology of the research are of a certain novelty: the dissertation was carried out in line with modern linguistic stylistics of genre forms of artistic speech using a field approach, due to which the general expressive-semantic qualities of the language of the genre form under consideration are identified and various linguistic means of its formation are systematically presented.
The theoretical significance of the study is that, from the standpoint of linguistic stylistics, it reveals the features of the speech structure of the epigram, reveals its main style-forming means as a satirical and humorous genre, and contributes to the study of the language and stylistic features of the Russian epigram of the 18th - 19th centuries. At the same time, the dissertation work has a certain significance for the further development of the linguostylistic theory of genre forms of artistic speech, for the creation of a linguostylistic typology of artistic and verbal genres.
The practical significance of the work is determined by the fact that the research materials, main provisions and research methodology can be used in the practice of teaching the stylistics of the Russian language, the history of the Russian literary language, in special courses and special seminars on the language of literary genres, in the linguistic analysis of literary texts, in coursework and final qualifying works of students. The dissertation research materials can be used in constructing a training course and creating a textbook on the stylistics of genres of literary speech.
Approbation of work. The main provisions of the study were presented in reports and communications at scientific conferences of the Armavir State Pedagogical University (2005-2008), at the IV, V international conferences “Culture of Russian Speech” (Armavir, 2005, 2007), at the International Scientific and Practical conference “Spiritual and moral potential of Russia: past, present and future” (Armavir, 2007), at the All-Russian scientific and practical Internet conference “Systemic relations in language” (Stavropol, 2007), at the Sixth International scientific and practical conference “ The work of V.V. Kozhinov in the context of scientific thought at the turn of the 20th - 21st centuries" (Armavir, 2007), at the International Scientific Conference "Continuity and Discreteness in Language and Speech", dedicated to the memory of Doctor of Philology, Professor A.G. Lykov ( Krasnodar, 2007), at the Interuniversity Scientific Conference “Text. Discourse. Genre" (Saratov region, Balashov, 2007), at the International scientific conference "Language system and speech activity: linguo-cultural and pragmatic aspects" (Rostov-on-Don, 2007).
The structure of the work is determined by the purpose and objectives of the study. The dissertation consists of an introduction, two chapters, a conclusion, a bibliography (190 titles) and a list of sources of language material.
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1. The intended purpose of the epigram as a genre form of artistic speech for satirical and humorous ridicule of the addressee, its specific microfield structure aimed at an unambiguous negative assessment of one or another life phenomenon, determine the widespread use of mainly pejorative expressive-semantic means of language. The basis of these means is general literary vocabulary with pejorative evaluation, despite the fact that many epigrams were not originally intended for printing, were distributed in handwritten form, and were passed on from mouth to mouth. In order to enhance the negative assessment, epigrams, as a rule, combine pejorative expressive means of different significant parts of speech - adjectives, nouns, verbs, adverbs. To create an accusatory characteristic in epigrams, a descriptive designation of the addressee in a periphrastic way is often used. Periphrases not only indicate the addressee, thanks to the description of his characteristics, but also provide a condensed, reduced characteristic of a satirical nature, and serve as a clear means of expressing the author’s negative attitude towards the person depicted.
2. In order to negatively characterize the addressee, epigrams often use proper names, names of newspapers, magazines, works with symbolic semantics and pejorative expression. In the 18th century, the addressee was, as a rule, a generalized person with certain moral shortcomings; Depending on the derided shortcomings, names were given: Glupon, Kradon, Mechton, Podlon, Skupon, Khmelnin and others. Epigramists of the 19th century more often resorted to punning plays on the real names of the recipients, the titles of their works, and periodicals. To create a highly expressive contrast, against which the lowland of the addressee is more clearly shown, mythological names with a traditionally high semantic aura are used. The addressee is usually likened to ancient characters, symbolizing base moral traits.
3. The target setting of the epigram as a genre, the features of its speech structure determine the widespread use of polysemantic words and lexical homonyms, paronymically consonant words, and phrases to negatively characterize the addressee. Thanks to playing with different meanings of words, poets achieve vivid expressiveness of the images they create. The linguistic means under consideration are common in the epigrams of various authors of the 19th century (Pushkin, Vyazemsky, Baratynsky, Minaev, Davydov, Minsky, Shcherbina, Mikhailov), representing different historical eras and literary movements.
4. The epigram as a satirical and humorous genre form is characterized by the widespread use of antithesis with pejorative evaluation. To negatively characterize the addressee, different types of lexical antonymy are used, the indispensable property of which is the presence of a clearly expressed negative expressive connotation in one of its components.
5. The expressive-semantic structure of the epigram as a genre form of artistic speech determines the widespread use of a wide variety of phraseological units in it. As a dominant means that forms expressive-semantic microfields in epigrams, both the semantics of phraseological units (their polysemy, opposition to free phrases) and expressive-stylistic coloring are used, which allows creating comic ridicule of the addressee of the epigram.
6. With all the features of literary trends and literary language of different eras, despite different individual styles, an integral stylistic feature of the epigram as a genre form of artistic speech is colloquial linguistic means. Colloquial vocabulary and phraseology are observed in the epigrams of A.P. Sumarokov, M.I. Popov, I.I. Dmitriev, A.E. Izmailov, A.D. Illichevsky, P.A. Vyazemsky, A.S. Pushkin, E .A. Baratynsky and other epigramists representing different historical eras. The widespread use of colloquial linguistic means in epigrams is associated with the presence of evaluative meanings, emotional and expressive shades, through which an accusatory characteristic of the addressee is created. The nature of vernacular linguistic means varies among different authors. In epigrams of a humorous nature (M.I. Popov, I.I. Dmitriev, A.E. Izmailov, A.D. Illichevsky, P.A. Vyazemsky) crude colloquial means predominate. Epigrams of a satirical nature with a pronounced shade of sarcasm (N.F. Shcherbina, A.S. Pushkin) often use rough colloquial vocabulary and phraseology with a sharp negative connotation.
7. The Russian epigram of the 18th - 19th centuries was the most democratic artistic and verbal genre in its style; it widely used the vocabulary and phraseology of living folk speech and significantly contributed to the democratization of the Russian literary language.
CONCLUSION
In the study of the speech structure and style-forming means of the Russian epigram of the 18th - 19th centuries, we proceeded from a linguistic-stylistic understanding of the genre of artistic speech. According to experts, the main style-forming factors of speech genres are: 1) belonging to a certain style of language, 2) purpose, 3) content, 4) speech situation in a broad sense. Belonging to a specific functional style unites all genres of a given style into an integral system and brings them together. Distinctive features are formed by the characteristics of their intended purpose, content and conditions of speech. In this case, the purpose of the genre plays a decisive role.
The intended purpose of the epigram, already at the very beginning of its formation in Russian literature of the 18th century, was to express the author’s negative attitude towards the addressee, his actions, deeds. In the epigrams of the period under study, it was expressed in two ways: 1) through an open, monotonous assessment of a satirical nature, 2) veiledly, through irony. In multi-line epigrams, these two methods are often combined in different forms.
The era of classicism is most characterized by two-line and four-line epigrams, which contain a single-tone negative expression that clearly expresses a negative assessment of a specific or general addressee. At the end of the 18th - beginning of the 19th century, in line with sentimentalism and early romanticism, four-line and multi-line epigrams became prevalent. In terms of expressive tone, ironic ones with an underlying negative assessment of the addressee become common. But in a number of cases, both quatrains and multiverses have a single-dimensional negative expression. In the Pushkin and post-Pushkin periods, the Russian epigram as a satirical and humorous genre reaches its highest peak. Its negative expression increases significantly. The number of accusatory epigrams with one-dimensional negative expression is increasing. Subtextual ironic epigrams with a sharp negative evaluative ending also become sharper. Many epigrams are dedicated to socio-political events and are aimed at ridiculing specific reigning and high-ranking officials. As a result, the socio-political role of the epigram as a satirical and humorous genre increases.
Being, by its specificity, a lyrical genre, the purpose of which is to briefly, in a concise form, express the author’s negative attitude towards a particular person or event, and give them his assessment, the epigram is a single-field expressive-semantic structure, characterized by a single-subject artistic modality. But depending on the textual-verse format, the epigram is characterized by a different internal microfield structure. It can consist of two, three, four or more microfields that interact in different ways. This determines the structural and semantic diversity of the epigram as a genre of artistic speech.
In two-line epigrams, which are characterized by the greatest compression of artistic speech space, only two expressive-semantic microfields are clearly distinguished. By the nature of expression, they can be monotonal satirical or contrastingly ironic. As a result of the interaction of two microfields, a single expressive-semantic field is created: in epigrams of the first type - with an open, one-dimensional negative assessment of the addressee, in epigrams of the second type - with ironic overtones. Many of the four-line epigrams, like the two-line ones, consist of two microfields of a single-tone negative or contrasting ironic type. But there are also special speech structures consisting of 3-4 microfields. They can also have a monotonal negative expression. But more often they are characterized by a contrasting satirical and humorous tone. However, in all these epigrams, different in microfield structure, thanks to the interaction of microfields, a single expressive-semantic field is created, either in an accusatory tone, or satirical-humorous with an ironic overtone. In multi-line epigrams, which have a significantly larger artistic space, the microfield structure is even more complex than in four-line epigrams. The number of microfields in multi-line epigrams can reach 10 or more. In some cases, they all contain an open negative assessment and create a single expressive-semantic field of accusatory tonality. But more often, multi-line epigrams consist of microfields of diverse expression. Nevertheless, their interaction, one way or another, ultimately determines the formation of a single macrofield of a satirical and humorous nature with ironic overtones and a negative assessment of the addressee and his activities.
The intended purpose of the epigram as a genre form of artistic speech for satirical and humorous ridicule of the addressee, its specific microfield structure aimed at an unambiguous negative assessment of one or another life phenomenon, determine the widespread use of mainly pejorative expressive-semantic means of language. The basis of these means is general literary vocabulary with pejorative evaluation, despite the fact that many epigrams were not originally intended for printing, were distributed in handwritten form, and were passed on from mouth to mouth. In order to enhance the negative assessment, epigrams, as a rule, combine pejorative expressive means of different significant parts of speech - adjectives, nouns, verbs, adverbs. To create an accusatory characteristic in epigrams, a descriptive designation of the addressee in a periphrastic way is often used. Periphrases not only indicate the addressee, thanks to the description of his characteristics, but also serve as a clear means of expressing the author’s negative attitude towards the person depicted.
In order to negatively characterize the addressee, epigrams often use proper names, names of newspapers, magazines, works with symbolic semantics and pejorative expression. In the 18th century, the addressee was, as a rule, a generalized person with certain moral shortcomings; Depending on the derided shortcomings, names were given: Glupon, Kradon, Podlon, Skupon, Khmelnin and others. Epigramists of the 19th century more often resorted to punning plays on the real names of the recipients, the titles of their works, and periodicals. To create a highly expressive contrast, against which the lowland of the addressee is more clearly shown, mythological names with a traditionally high semantic aura are used. The addressee is usually likened to ancient characters, symbolizing base moral traits.
The target setting of the epigram as a genre, the features of its speech structure determine the widespread use of polysemantic words and lexical homonyms, consonant words, and phrases to negatively characterize the addressee. Thanks to playing with different meanings of words, poets achieve vivid expressiveness of the images they create. The linguistic means under consideration are common in the epigrams of various authors of the 19th century (Pushkin, Vyazemsky, Baratynsky, Minaev, Davydov, Minsky, Shcherbina), representing various historical eras and literary movements.
The epigram as a satirical and humorous genre form is characterized by the widespread use of antithesis with pejorative evaluativeness. To negatively characterize the addressee, different types of lexical antonymy are used, the indispensable property of which is the presence of a clearly expressed negative expressive connotation in one of its components.
The expressive-semantic structure of the epigram as a genre form of artistic speech determines the widespread use of a wide variety of phraseological units in it. As a dominant means that forms expressive-semantic microfields, epigrams use both the semantics of phraseological units (their polysemy, opposition to free phrases) and expressive-stylistic coloring, which allows creating comic ridicule of the addressee of the epigram.
With all the features of literary movements and literary language of different eras, despite different individual styles, an integral stylistic feature of the epigram as a genre form of artistic speech is colloquial linguistic means. Colloquial vocabulary and phraseology is observed in the epigrams of A.P. Sumarokov, M.I. Popov, I.I. Dmitriev, A.E. Izmailov, P.A. Vyazemsky, A.S. Pushkin, E.A. Baratynsky and others epigramists representing different historical eras. The widespread use of colloquial linguistic means in epigrams is associated with the presence of pejorative evaluative meanings, through which an incriminating characteristic of the addressee is created. The nature of vernacular linguistic means varies among different authors. In epigrams of a humorous nature (M.I. Popov, I.I. Dmitriev, A.E. Izmailov, A.D. Illichevsky, P.A. Vyazemsky) crude colloquial means predominate. Epigrams of a satirical nature with a pronounced shade of sarcasm (N.F. Shcherbina, A.S. Pushkin) often use rough colloquial vocabulary and phraseology with a sharp negative connotation.
The Russian epigram of the 18th - 19th centuries was the most democratic artistic and verbal genre in its style; it widely used the vocabulary and phraseology of living folk speech and significantly contributed to the democratization of the Russian literary language.
In the Soviet era, due to the intensification of repression for ideological and political reasons, sharp socio-political epigrams became very rare. The press was dominated by humorous epigrams, similar in semantics and expression to the madrigal. In the post-Soviet period, despite the proclaimed democracy and freedom of speech, laws persecuting the authors of jokes and epigrams addressed to officials were not repealed. Therefore, even at this time, the epigrams published are also characterized by a lack of socio-political acuteness. Naturally, epigrams of the 20th and 21st centuries can become the subject of special research.
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Municipal educational institution "Likino-Dulyovo basic secondary school No. 4"
For the regional competition
"Start in Science"
The genre of epigrams in creativity and.
Completed by 9b grade student Andrey Makeev.
Goal of the work:
1. Determine the place of the epigram in the work of the poet of the first half of the 19th century, and V. Gaft, actor, poet of the 20th century.
2. Identify the traditions of the epigram genre in the poetry of the 19th and 20th centuries (using the example of the analysis of epigrams and V. Gaft)
Introduction.
The research work examines the genre of the epigram in the works of the Russian poet of the 19th century and the famous actor, poet of the 20th century V. Gaft.
Interest in this topic is determined by the unique properties of the epigram as a literary work: it, like a mirror, reflects the artistic taste of the author, reveals his civic position, and reveals human preferences. Turning to the work of poets from such different times allows us to see the changes that have occurred in the genre of the Russian epigram, as well as note the traditions of the genre.
The work analyzes the features of epigrams and V. Gaft, reveals the meanings of literary terms, and defines their artistic features.
Plan.
I. Introduction.
II. The epigram genre in creativity.
1. Addressees of epigrams.
2. Artistic features of epigrams.
III. People and time in the epigrams of V. Gaft.
IV. Conclusion. Traditions of the epigram genre in poetry of the 19th and 20th centuries.
Introduction.
Epigram(Greek “inscription”) - a small satirical poem ridiculing a person or social phenomenon. Initially, an epigram was a dedicatory inscription on statues, altars and other objects dedicated to the gods, and on tombstones.
The heyday of the epigram in European literature is considered to be the 18th century (Voltaire, in Russia -). In parallel, the epigram developed, representing a direct response to topical events, often political. In addition to those mentioned, masters of sharp satirical epigrams include La Fontaine in France, R. Burns in England, and G. Heine in Germany.
Some kind of devil is sitting in it, a demon,
Just two inches from the floor,
And the stars come from the sky!
In the epigram, built on an antithesis, the greatness of the actor’s talent is revealed with the help of phraseological units “two inches from the floor” and “stars from heaven.” According to Gaft himself, it was Rolan Bykov who “encouraged” him to write epigrams : “By the way, it was he who inspired me to write epigrams, then poems. Once we were filming together. Roller drank a little and began to read poetry. Made a stunning impression on me. And this epigram too.” The hymn to human honesty and dignity sounds in the lines dedicated to the actor Zinovy Gerd, who was wounded in the war, as a result of which his knee could not bend. This fact takes on a completely different meaning – it becomes a symbol of courage and integrity:
Oh, extraordinary Gerd,
He has kept it since the war
One of the best features -
He is unbending with his knee.
By the way, we note that the author of the epigrams himself is distinguished by the same inflexibility and sense of human dignity. His friend, Mikhail Kazakov, who “got it” from Gaft, writes the following: “Gaft is not a careerist. He will not kiss the presidential shoulder for the order awarded to him on stage... You won’t see Gaft at all these different kinds of parties... His face is not adorned by thick glossy magazines. He did not want to turn into food for readers who swallow newspapers. He stands apart from the anti-cultural revolution and other television feasts of our new time. He is Gaft - and that says it all.” Making fun of human vices and assessing contemporaries is not easy. You must have a moral right to do this, in addition to talent. Gaft, from my point of view, has it.
A friendly cartoon filled with good humor and admiration for real talent is an epigram for director Eldar Ryazanov:
Rethinking again
Paintings by Elik Ryazanov,
I will say: his talent is growing,
Like the belly, they have no limit,
But he gets ahead
His talented body.
Like Pushkin’s epigrams, the climax coincides with the denouement: true talent is not afraid of anything, nothing can obscure it. In his epigrams, Gaft is accurate and truthful. He explores the theme of evil, fear and slavery, and mercilessly assesses modern society. A reliable male friendship connects him with the great actor Tabakov; they have known each other since their student days, and therefore, apparently, resentment for a friend became the reason for the following epigram:
The gait is sharp, the speech is firm
At Lyolik's at Tabakov's.
His star is burning, his star is burning
On Mikhalkov's jacket.
Before the reader is a picture of injustice, caustically drawn by Gaft. The award should, in his opinion, belong to another hero. In the epigram, the author paraphrases a line from the famous Russian romance “Shine, burn, my star...” Continuing the theme, we note another epigram by Gaft, in which the Mikhalkov star family came under satirical aim: the poet Sergei Mikhalkov, author of the Russian Anthem, and his sons, Nikita Mikhalkov and Andron Konchalovsky:
Russia! Do you feel this strange itch?!
Three Mikhalkovs are crawling on you!
Gaft has an absolute rejection of protrusion, any kind of human immodesty, although he has repeatedly paid tribute to the talent of, for example, Nikita Mikhalkov in interviews: “I was lucky. I haven't acted for a long time. And recently he starred in two films with Nikita Mikhalkov: the movie “12 Angry Men”, which will be released in early autumn. And in the continuation of "Burnt by the Sun". There, however, in a small role. But with Mikhalkov I agree to play even in the crowd. I just fell in love with this director!” A high assessment of Gaft’s work in the epigram genre came from the lips of Mikhail Kazakov: “Gaft is a distinguished epigramist, and a very professional one at that. Can he sometimes be accused of being rude? Perhaps. And in the anger of apt epigrams? To your health. In injustice? It depends on how you look. He, in our opinion, is not just an epigramist, he is a kind of Pimen of our epigram-worthy theatrical times. Moreover, he can be polite, benevolent, even pathetic in this genre.” The high purpose of a true artist, dedicated to his work, is captured in an epigram-metaphor dedicated to the actor and director Leonid Bykov:
He knew that it would be like this - and he was strong to the end,
Saving the truth from sticky lies,
He began making films, taking life casts
A touch of the soul.
I sincerely admire the man, his epigrams turn into odes of praise. Lyubov Polishchuk and Nonna Mordyukova, Tatyana Tarasova and Yuri Nikulin received praise in their poems.
Among the recipients of Gaft's epigrams are politicians. Gaft does not accept acting, cheap trickery in those whose thoughts, words and actions should be transparent, simple, and sincere. Therefore, the characterization of the famous politician Vladimir Zhirinovsky is unflattering:
Is he a politician or an artist?
I look into Volodina’s eyes -
Then his father is a lawyer,
Then his mother is the Motherland.
Or maybe he is a son or grandson
Anyone on the side?
Perhaps he is actually a product
Immaculate Conception.
Verbose is unworthy of statesmen; it is worthy of ridicule and censure. The epigram on the politician and businessman Anatoly Chubais sounds equally harsh and accusatory:
Is Chubais a flower?
The chieftain's forelock sticking out?
Perhaps a lake? Influx?
Or the title of the novel?...
Or maybe it's a predatory animal?
Or medicine from a pharmacy?
Whoever he is, he is now
Privatized forever.
The epigram reflected the pain of the Russian people who suffered during privatization, so it is difficult to blame the author for subjectivism and bias in the assessment of real events. As in the time of Pushkin, an epigram can bring trouble to the author. Thus, Mikhail Kazakov, having heard one of the “political” epigrams, remarked: “Moreover, I had the opportunity to listen to his reading of brilliant characteristics in the genre of epigrams about such things that, if published, would become unsafe for their creator. Unsafe in the literal sense of the word. And although the characteristics are accurate, and witty, and brilliant, I told him: “Hide it in the table.”
In the last two decades, many epigrams were written by V. Gaft. The author who turned to this genre knew very well what requirements it had: brevity, swiftness, originality, aphorism. With V. Gaft everything is harsher, angrier, his epigrams hit not the eyebrow, but the eye (remember the epigram on S. Kramorov). But an epigram is a double-edged sword: Gaft writes - they also write about him. To be fair, we note that Gaft, like the great Pushkin, composes autoepigrams, which is a sign of great intelligence, self-irony, and self-criticism:
Gaft has beaten a lot of people
And in epigrams he ate him alive.
He got his hand in this matter,
And we'll fill the rest.
And the main thing in his famous epigrams is not that they are evil or funny. His epigrams are a free man’s view of his colleagues. Gaft's gut does not tolerate any dictatorship, except the dictatorship of talent. Grigory Gorin, writer and playwright, remarked: “I am terminally ill with Gaft.” These words contain recognition of Valentin Gaft’s talent and his originality.
Traditions of the epigram genre in poetryXIXAndXXcentury.
The Russian epigram as one of the types of lyrics was formed in the Pushkin era and mainly thanks to. In his work, it acquired stable features that became a distinctive feature of the epigram in the subsequent literary process.
The Russian epigram of the 20th century inherited the best traditions. The epigram is sharp, caustic, and laconic. , as well as, is distinguished by a pronounced civic position, subjectivity in assessing people and events. Let us note that in the sources available to the reader, we did not find epigrams by Valentin Gaft on the top officials of the state (remember Pushkin’s epigrams on Arakcheev and Alexander I).
It is symbolic that Gaft is a laureate of the Tsarskoye Selo Prize, an honorary prize for poets, about which he said: “I treat this prize with reverence. Because I received it at the Tsarskoye Selo Lyceum, in the hall where Pushkin read his poems to Derzhavin.” Although the epigram genre is not so popular in modern poetry, it is gratifying that it is alive, reflects the time, the fate of people, human virtues and vices. In Russia, where humor has always been valued, the epigram must necessarily be revived, rise to the appropriate heights and acquire artistic value
Used Books.
1. . Poems and epigrams. Moscow, “Enlightenment” 2007.
2. . Lyrics. Moscow, “Enlightenment”, 2002.
3. M. Kozakov. Actor about actor: a friendly declaration of love. Kinoart magazine, 2005 No. 4