Субъективно-модальные синтагмы в лирическом дискурсе Е. А. Баратынского

Abstract

The article is devoted to the semantics and functioning of introductory constructions in the poetic texts of E. A. Baratynsky. The complex syntax of Baratynsky shows that the desire for clarity and accuracy of expression, characteristic of the representatives of the “school of harmonic accuracy”, headed by V. A. Zhukovsky and K. N. Batyushkov, is not always compatible with the simplicity and clarity of the syllable: the task of embodying the “poetry of thought” required Baratynsky to complicate the poetic form at the syntactic level. Subjective-modal constructions, reflecting the conflict, the paradoxical nature of poetic consciousness, saturating the text with the intonations of a lively dialogue, were widely used in the lyrics of Baratynsky in the 1820s. The lyrical theme is often revealed by the young elegiac Baratynsky through the struggle, clash of voices, ideas, internal dispute, doubts and hesitations of the inner subject of the poem. The high activity of introductory syntagmascauses drama and "increased" dialogism, including in the form of auto-communication. Sometimes the form of conversation, dispute is in an open form. From the 1830s, the recognized author of psychological elegies turns into a "poet of thought", Baratynsky undergoes a significant creative evolution on an intensive path of saturation of a closed, "close" lyrical form with the most complex metaphysical content, when he creates the cycle of poems "Twilight" (1842). In the last lyrical cycle of Baratynsky, the activity of the introductory syntagmas is much lower than in the early elegies, the monologism of the utterance, the preaching pathos, is intensified.