ЕДИНСТВО И ТЕСНОТА СТИХОВОГО РЯДА И АКТИВНО СЕМАНТИЗИРОВАННАЯ ГРАНИЦА В ЛИРИКЕ АРСЕНИЯ ТАРКОВСКОГО

Abstract

The article is based on the idea of M. Bakhtin about the centralization of rhythmic units in poetry and the law of unity and tightness of the line of verse by Y. Tynyanov. The two problems identified by Tynyanov are combined – the boundary of the syntactic and verse series and the oscillating signs of the poetic word. The purpose of the article is to study the semantization of the border between the syntactic and verse series on the material of the lyrics of Arseny Tarkovsky. The analysis sheds light on the following tendencies: the boundary between the verse and syntactic series in Tarkovsky is not overloaded; the intensification of the gap in this boundary can serve as a signal for the end of the poem, the boundary between verbal and post-verbal in the final work is clear; poetic transfer is not Tarkovsky's favorite technique; lexical liminality for Tarkovsky is more important than syntactic one, which supports it, serves its needs; fluctuating signs often radiate from the main metaphor in the poem; the concept word is often in the middle of a line; rhyme is a discrete means of active semantization of the text: the poet does not strive for extraordinary consonances, without diverting attention to them; he also uses blank verse; the successiveness of poetic speech largely arises due to the context. For Tarkovsky, an actively semanticized border is rather a minus device, the poet demonstrates the power of the lexical coloring of the word in the middle of the line. Soft experiments of Tarkovsky in line with the unity and tightness of the verse series work for the unity of lexical and syntactic units in the work. The care of syntax in Tarkovsky's poetics correlates with the author’s delicate attitude to the reader’s interpretation and the demiurgical abilities of his lyrical hero.