Urgent! ! ! Russian Pushkin's poetry paper! 3000 words

When we study the speech of poetry, whether we study its phonetic and lexical composition, or its lexical nature and meaning structure, we can see that art has the same sign everywhere: that is, it is specially created to get rid of the automation of feelings, the creator's purpose is to provide visual sense, and its production is "artificial" in order to preserve its feelings and achieve the greatest strength and durability as far as possible. At the same time, things are not felt in space, but in an uninterrupted continuation. Poetic language conforms to these characteristics. In Aristotle's view, the language of poetry should be strange and peculiar. In fact, it is often foreign: for example, Sumerian is to Azores, Latin is to medieval Europe, Arabic is to Persians, and ancient Bulgarian is the basis of Russian standard language; Or it is often an improved language, such as the folk song language close to the standard language. The extensive use of archaic words in poetry, the difficulty of "doicestillnuovo" language, the obscure style of Arnold Danielle 2 1 and various forms that cause pronunciation difficulties (Diez 22. The poet's life and labor, page 2 13) all belong to this situation. In his thesis, Leah Kubinschi expounds a law in poetic language, that is, sometimes the repetition of the same sound will cause phonetic difficulties. Therefore, the language of poetry is a difficult, profound and full of obstacles. Sometimes the language of poetry is similar to that of prose, but this does not violate the law of abstinence. Pushkin wrote:

"Her name is tatyana. ...

This is the first time we have used such a name.

Let the gentle chapter shine,

This is a bit presumptuous, "23.

Pushkin's contemporaries were used to Jerchavin's poetic language with high style, but Pushkin's vulgar style was unexpectedly difficult to understand. We all remember that Pushkin's contemporaries were shocked by his vulgar language. Pushkin regards the use of folk proverbs as a special means to attract attention, just as his contemporaries always use Russian words when speaking French (see the example in Tolstoy's War and Peace).

A more typical phenomenon is happening now. Russian standard language originated from Russia, a foreign country, and has penetrated into the bottom of the people and assimilated many folk sayings. However, literature began to be keen on dialects (writers such as Remizov, Clive and Ye Saining, whose talents are different from each other, but their languages are similar, and they all intend to pursue a foreign language) and loanwords (hence the emergence of the Chevalier Yan Ning School of Poetry). Maxim Gorky has now changed from a standard language to a standard "Leskov accent", and in this way, folk sayings and standard language have switched places (Viacheslav and many other writers). Finally, there is a strong trend to create new and specialized poetic languages. As we all know, the leader of this school is Wilmir Hlebnikov. So we define poetry: it is a distorted language with many obstacles. Poetic speech is a kind of speech structure. Prose is a universal language: an economical, easy-to-understand and correct language (the goddess of prose is correct and fertile, and the goddess of "normal fetal position" of babies). I will discuss the problem that hysteresis and delay are the universal laws of art in more detail in my article on plot construction.

At first glance, those who put forward the concept that Xu Li is the essential feature of poetic language, even the decisive feature, have a very tough stance on the issue of rhythm. Spencer's explanation of the role of rhythm seems completely beyond doubt. He said: "If we experience uneven boxing, we must keep our muscles redundant and sometimes unnecessarily nervous, because we can't predict when the next punch will come out. If the blow is even, we can save effort. " This view seems very convincing, but it has made a common fault-confusing the different laws of poetic language and daily language. Spencer did not distinguish between these two rhythms in his book Philosophy of Style, but there may actually be two rhythms. On the one hand, the rhythm of general language (prose), labor songs and labor songs can replace the password of "Yo, come on" when necessary, on the other hand, it can reduce labor and make it automatic. Indeed, walking with music is easier than walking without music; But it is also easy to have a lively conversation when walking, because at this time we are not aware of the walking action. Therefore, the general language rhythm is very important as a factor to produce automation. But the rhythm of poetry is different. There are "architectural columns" in art, but none of the columns in Greek temples are completely standing in the designated position of architectural columns. The rhythm of art exists in the destruction of the rhythm of general language. People have been trying to systematize these phenomena, which is the task that rhythm theory faces today. It can be expected that this systematic effort will not succeed. Because this is not a problem of complicated rhythm, but a problem of disrupting the rhythm, which is unpredictable. If this subversion becomes a paradigm, it will lose the function of difficult technology.