In other art forms and its techniques
The method of translating literary works
W a detailed analysis of a literary work is built on the laws of not only scientific, but also artistic creativity. Here we will talk about creative methods of translating a literary text into other types of art. These techniques allow you to express the position of the reader, form and develop the ability to figurative concretization and figurative generalization, and therefore they are relevant for elementary school.
Verbal drawing (oral and written) is a description of images or pictures that arose in the mind of the reader when reading a literary work. The word picture is also called verbal illustration.
This approach is aimed primarily on the development of the ability to concretize verbal images(imagination). In addition, the child's speech and his logical thinking develop. In verbal drawing, the reader must, relying on the verbal images created by the writer, detail your own vision in the visual picture, which he reproduces, describes orally or in writing.
At the same time, there appear two dangers: you can stray on direct paraphrase the author's text, and if the involuntary imagination is too active "forget" about the author's picture and start describing your own.
This reception requires a number of steps: read, present, concretize, choose the exact words and expressions for description, logically build your statement. In addition, the technique involves a description in a static picture complex relationships heroes.
This approach directs children's attention to the text: they reread its individual fragments, since only semantic and pictorial stylistic details will help them clarify verbal images, clarify them, present what the author describes in detail. The student gradually "enters" the world of the work and begins see it through the eyes of the author or one of the characters(depending on from whose point of view the picture is being recreated), i.e. joins the action, which means that he will be able to supplement the author's picture with his own details. Then the result of the work, which is based on text analysis, will not be a retelling and not a description torn off from the author's intention, but a creative picture that is adequate to the author's intention, but more detailed and necessarily emotionally evaluative.
Reception training leaks several stages .
1. Examination of graphic illustrations. First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist create a mood, express his attitude towards the characters. In the process of this work, children get acquainted with the concept of "composition of a picture", with the meaning of colors, color, line. This work can also be done in the classroom. visual arts and in extracurricular reading classes.
2. Choice of multiple illustration options the most appropriate to the episode under consideration of the work with the motivation of his decision.
3. Collective illustration using ready-made figures consists in the arrangement of characters (the composition of the picture), the choice of their poses, facial expressions.
4. Self illustration favorite episode and an oral description of what he himself drew. This technique can be made more difficult by asking the children to describe the illustrations made by their classmates.
5. Analysis of illustrations made with a clear deviation from the text of the work. Children are offered illustrations in which the arrangement of characters or other images of the work is violated, some of the author's details are missing or they are replaced by others, the color is broken, the postures and facial expressions of the characters are distorted, etc. After examining the children, they compare their perception of the text with the perception of the illustration.
6. Collective oral drawing illustrations- genre scenes. At this stage, children choose color scheme illustrations.
7. Independent graphic drawing of a landscape and his oral description or the description of the landscape by the artist.
8. Verbal Oral drawing of a landscape from detail text.
9. Collective oral detailed description of the hero in a particular episode(how you see the hero: what is happening or happened, the mood of the hero, his feelings, posture, hair, facial expression (eyes, lips), clothes, if it is important, etc.) The teacher helps the children create a description with questions.
10. Collective and independent verbal verbal drawing of the hero first in one specific situation, and later - in different.
11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.
Naturally, to master the reception word drawing possible only after mastering elementary skills analyze illustrations for the work. However, as propaedeutics, already at the very first stages of studying literary works, it is advisable to offer children such questions as: How do you imagine a hero ?», « How do you see the setting of the action?”, “What do you see when you read this text? " And so on.
Examples of organizing oral verbal drawing in the classroom:
A fragment of a lesson in the 1st grade on a fairy tale « Ax porridge »
The stage of rereading the text and its analysis
- Let's read the story to the end and observe how the soldier acted. Let's make a plan of action.
Children reread the tale in parts, numbering the events with a pencil. Then the results of the work are discussed, pre-recorded on the board are opened soldier's actions: noticed an ax; offered to cook porridge from an ax; asked to bring a cauldron; he washed the ax, lowered it into the cauldron, poured water and put it on the fire; stirred and tasted; complained that there was no salt; salted, tasted, complained that it would be nice to add cereals; added cereals, stirred, tasted, praised and complained that it would be nice to add oil; added oils; began to eat porridge. Combining small actions into larger ones: he planned to deceive the old woman; prepares the ax for cooking and begins to cook it; stirring and tasting, one by one asks for salt, cereals and butter; eats porridge.
Now let's watch it How did the old woman behave? at every given moment.
Has her mood and behavior changed? What are these changes?
We encourage children to imagine what illustrations can be made for this tale and describe the soldier and the old woman at every moment of the action (oral word drawing).
Help with questions:
- What is the background of the action?? (hut, furnishings in the hut, stove, utensils, etc.)
- Where does the soldier stand, how does he stand, where does he look(to the old woman, to the cauldron, to the side, etc. .), what does it do at this moment? What is his mood? What is he thinking about? What is his facial expression?
We propose to describe the old woman from the fairy tale "Porridge from an ax" at different moments of the action. We help with similar leading questions.
Then discussing an illustration in an anthology(Fig. 13 V.O. Anikin. “Porridge from an ax”).
- Is it possible to determine what moment of the fairy tale was depicted by the artist V.O. Anikin? What helps (or, conversely, hinders) to do this?
Word images that have grown together with the soul and acquired value beyond their narrower meaning, however, have, if I may say so, physical beauty when they are considered as a sound, as a melody. Understood even from the side of their most material essence, they are again not deprived of the ability to generate some kind of latent vibration of the auditory nerves, to cause some more general, little conscious emotional states, to which tonal art gives a fuller expression. The words of a language live both for the poet and for the reader always as acoustic perceptions that render the known artistic influence. And no matter how much the theory of poetry as the art of visual images underestimates this significance of the sensual, auditory, tonal, yet poets instinctively catch that it is very important point poetic influence, so that if some care even to avoid visible disharmony between sound expression and content, others may, by innate inclination or consciously, place the burden on just such harmony at the expense of everything pictorial or intellectual that affects the imagination and mind .
Characteristic in this regard is the reaction against Lessing's principle, which came very early in the circles of German and English Romantics and was picked up later by the French Neo-Romantics or Symbolists. We have already indicated, speaking of the creative mood, what kind of representation is associated with the lyrical excitement of Novalis or Tik, what they consider musical element more important than the thought itself, which is expressed. Poets such as Keats and Tennyson in England, perhaps proceeding from a sense of musical mood that precedes a formalized idea and a single word in the process of creation, want to completely consciously ignore certain meanings and pictures in order to inspire the experienced through a simple sound, through sound impressions "maximum sound” (“maximum of sound”) and “minimum of sense” (“minimum of sense”), is the most obvious feature of this whole trend in English literature after 1830. Many of Tennyson’s poems are striking in their emptyness, their “minimum of sense”, whereas great place they are occupied by sound painting - "the maximum of melodies". Musical-sound combinations, a rich development of everything outwardly formal, whether it be a combination of vowels and consonants or a rhythmic-strophic structure, goes not only to help inner movements that are more elusive to the mind, but also as a means of conveying an objectively visual, accessible to perception. The rhythm and music of the verse want to enchant the ear, reminiscent of horse hooves and the rumble of shells (in the poem "Light Cavalry"), or reminiscent of a visual picture with brilliant assonances and alliterations (in the poem "Stream"), or drawing with sounds the ringing of a Christmas bell: "Peace and kindness, kindness and peace, peace and kindness for all mankind.
Later, thanks to Dante Gabriel Rossetti, this direction in musical poetry turns into modern symbolism, which found expression in the works of Yeats and Wilde, which can be placed next to such French poets as Verlaine, Samin and Greg, and with German poets Stefan George and Hoffmannsthal.
In France, it was precisely as a reaction against the plastic and pictorial poetry of the Parnassian school, which gave exemplary things in the person of Heredia and François Cope and brought verse to a possible technical perfection after Hugo, that a tendency arose towards alogical poetry, where the image and idea are nothing, and sound is everything. Verlaine, Malarme and others discovered in language new tool, through which, in addition to imagination, they acted directly on the soul. Equally disgusted by the academic coldness of the Parnassians and by the prosaic and formless naturalists who saw only visible reality or gross passions and instincts, the Symbolists turned to the most subtle moods, to the mysteries of the soul, striving to create musical poetry. By means of skillfully chosen sounds and by means of freely divided verse, vers libre, which does not recognize the former monotonous architectonics and allows at every step the so-called enjambement, the poets, followers of Verlaine, turned the word almost into an end in itself, got lost in a dark play on words and reached extremes. , a new formalism that bordered on tasteless mannerisms. Their main goal was to impose the principle "Ut musica ut poesis", to convince readers that in poetry, as the first verse of Verlaine's new "Poetics" states:
"Music First"
Baudelaire also had a significant influence on this direction in lyrics, to whom the Symbolists returned with enthusiasm as to their true teacher. Malarme adjusts his aesthetic to Baudelaire's sonnet Correspondences ("Smells, flowers and sounds answer each other"); Verlaine professes real fanaticism in relation to the one from whom he borrows, by spiritual kinship, the titles of his Saturn Poems and Accursed Poets; Arthur Rimbaud extracts his lyrical stanza and elements of The Alchemy of Verse from The Flowers of Evil. Baudelaire's verse showed extraordinary musical and rhythmic qualities and fully corresponded to its author's theory of "mysterious prosody", "taking deeper roots in the soul than classical poetry suspected" and allowing a poetic phrase to imitate this or that line (straight, curve, sheer, zigzag, spiral, parabola), thus approaching the music again. This poetic school was also influenced by the works of Wagner, which combined music with poetry and were met with enthusiasm by all gifted writers. It was immediately felt how poor language is for expressing affective and in general inner life and how music almost directly affects the central nervous system, creating all the desired illusions, all the phantasmagoria. “For poets, the need inevitably arose,” notes Valerie, a student of symbolism, “to oppose something to a dangerous rival, the owner of such deceptive and strong excitations for human soul". Wasn't even painting in 1885 looking for some kind of relationship with music in order to increase its power of suggestion through it? Hence the consciousness of the Symbolists that something of the mysteries of tone must be put into poetry in order to obtain from language effects similar to those produced by purely sonorous factors.
It turns out that one must not think, but listen attentively to the verse, since the words themselves are beyond their own abstract meaning can speak to feeling. Moreover, some fans of musical verse have come to believe that it is even possible to create ideas with the help of sound painting, and Banville, for example, tries to awaken the idea of the comic "through consonances, through the action of words, through the almighty magic of rhyme" . Banville himself is not a symbolist, but this is undoubtedly the path of symbolism that he would follow if the rational elements in his poetry, logical and plastic, did not occupy as much space as the musical-rhythmic ones. In this regard, Verlaine, the forerunner of the Symbolists, shows incomparably more common sense in understanding the possibilities of poetry than such a German lyricist as Rilke, for example, who builds landscape descriptions and even dramatic scenes using purely acoustic elements. The difficulties here, when linking sensations from different areas, due to the main emotional tone, are as great as in music, which causes the most definite pictorial effects. The Chinese philosopher Le Tzu tells the story of a musician who, playing the zither and imagining climbing high mountains or the sound of a stream, evoked similar impressions in his listeners. In a gloomy mood when traveling in rainy times, this musician again conveyed the corresponding feelings and ideas. And in the end he said to his companion: “You perfectly hear what is in my soul. The pictures you evoke are the same as my mood. It's impossible for me to hide with my tones." In poetry, this evocative power of tones and sounds should be understood very conditionally. Through the special coloring of vowels or consonants, through their brilliance or their dark color and weak articulation, it is truly possible to significantly clarify ideas about things directly depicted; but to think that this is enough to disregard all imagination is to completely shift the center of gravity in the art of poetry.
The Russian symbolic school also came out in defense of the new principle, since in it, of course, we have serious poets, and not mediocre followers of everything fashionable. Andrei Bely argues as follows:
“To refuse verbal art to play with words as sounds, or to belittle the significance of this game, means to look at a living language as a dead, unnecessary whole that has completed the circle of its development: there is a whole class of people whose hearing has been castrated by bad education and false views on language and who consider the sophistication of verbal instrumentation an idle pastime: unfortunately, among art critics the majority of castrates of hearing ... Meanwhile, the ability to aesthetically enjoy not only the figurative image, but also the very sound of the word, regardless of its content, is extremely developed among the artists of the word.
And, emphasizing how little observation is still made in the nature of verbal instrumentation, and in particular about alliteration and assonance, which are only the surface of deeper melodic phenomena, Bely adds: selection of sounds and that there is still an elusive parallel between the content of experience and the sound material of words that shape it.
In passing, we must note that not only art word, but ordinary speech also knows this relationship between sounds and symbolic meaning, So famous words inherent already because of a certain sound combination and, in addition to any basic meaning, this or that tendency. But systematic observations in this direction have not yet been made.
Quoting a poem by Baratynsky:
Take a look: youthful freshness
And in the autumn of years she captivates,
And she has a gray flyer
Does not steal latin roses:
Self conquered by beauty
Looks - and the path does not continue,
White remarks:
“... carefully analyzing line by line, we begin to understand that the whole poem is built on “e” and “a”, first comes “e”, then “a”: determination and cheerfulness final words as if connected with the open sound “a” ... Alliteration and assonances are hidden here ... And that there are a number of alliterations, we will see if we emphasize the alliterative sounds ... Here (in the first three lines) there are three groups of alliterations:
1) on “l”, 2) on nasal sounds (m, n), 3) on dental sounds (d, t), i.e. for 12 not clearly alliterative letters there are 23 clearly alliterative ones (twice as many)”.
And, quoting another poem by the same Baratynsky, beginning with the lines:
The lure of affectionate speeches
You can't make me lose my mind...
Bely explains: “As the poem develops, the melancholic tone of the poem turns into a tone of gloomy determination and anger, and accordingly the melancholic instrumentation ( mnl) changes: like pipes, enter the teeth and through h move on to whistling in a line that is caustic in meaning:
I don't dare to compete."
We have cited these opinions and observations as well as reproaches addressed to critics who are looking only for public moods and ideas in poetry and who have “a fear of falling in love with the very flesh of the expression of an artist’s thought: words, a combination of words”, since only in this way is the new extreme, to which supporters of musical painting reach, who do not recognize the plot, ideas and pictures in poetry and reduce verbal art to risky game sounds and indefinite images, to a set of words that mean nothing, but claim to be a reflection of internal rhythms or symbols of innermost moods. One or two typical symbolist poems will convince us of what great violence they sometimes allow themselves to do with the word, making it say things that it cannot say, and feel how premeditation and mannerism are trying in vain to take on the role of artistic instinct. Strange "Twilight" mystical evening» Verlaine read:
Twilight is trembling... Memories are trembling
In the shining distance of former hope,
Blushing in the fire of flickering rays.
A strange veil, then brighter, then paler
Living combinations are burning in heaven
Weave into a pattern with the play of their lights
And the poison of the sultry pernicious breath -
Tulips, dahlias, roses, ranuncles, orchids, -
My thought is clouded by impulses of all passions
And in a general swoon they merge without consciousness
And this twilight, and all the memories.
And the greatest admirers of Verlaine must admit that the meaning here is difficult to guess, although there are so many charms for hearing. And it is so difficult to catch anything primary and sincerely felt in George's over-praised poem "Sleep and Death", where there is a lot of onomatopoeia and sonorous words, but little meaning. The author completely deviates from the normal poetic way of speaking, as well as from the generally accepted spelling, throwing out, following the example of Malarme, both the main letters and the system of punctuation marks. These examples of poetic music reduced to dangerous game words, programs verbal art, ignoring everything logical and clearly stated in favor of acoustic effects, and the latter do not have that universality and regularity that is inherent in rhythms and sounds instinctively found in a creative mood. Therefore, the understanding of this kind of symbolism is limited to a very narrow circle of amateurs, and never will the art of such poets as George and his followers, with its one-sided formalism and its esoteric inspirations, acquire the influence and significance of older ones. literary movements. Achieving a strict stylization of what is contemplated and a noble remoteness from everything temporary and worldly, everything that is morality and worldview, the inspirer of poets grouped around the magazine "Blätter für die Kunst" (1892-1919), the enemy of the naturalists and romantics of the Heine school, supports the principle: " Poems should be inexplicable, their purpose is to awaken feelings and make the inexpressible sound.” But a certain coldness and some kind of sought-after and dark impressionism leave us indifferent to this music of the inexpressible in the soul. Hofmannsthal also cannot cover up his tonal word game ideological emptiness of his lyrics. Much more natural and naively mystical in comparison with him and George is their contemporary R. M. Rilke, likewise an admirer of the music of words, exquisite rhyme and assonances, who professes: "Ich bin eine Saite, über breite Resonanzen gespannt." ("I stretched string with a wide resonance.”) Gheorghe's merit is only in what he gives with his “hieratic art” - this poetic cursiveness, where we can hardly catch the original image of the letter - a rebuff to the modern lyrical routine, using long-unusable means.
SOME EXPLANATIONS
That there is something rightly grasped at the basis of this sound-painting or symbolism is beyond doubt. The fact that similar aspirations are seen in poets with other programs and in epochs who do not theorize at all about the acoustic value of language proves this indisputably. The physical nature of the means by which the poet creates, the very flesh of poetic thought, as it is accessible to our ears, aroused in former times a feeling of aesthetic pleasure, aroused it both in creators and in selected readers, showing a strange kinship with the things in question. Virgil, in his first eclogue, conveys the coming of evening with two such verses:
Et jam summa procul villarum culmina fumant
Majoresque cadunt altis de montibus umbrae.
Translated, they read: "And already near the roofs of houses smoke, and long shadows fall from high mountains." About them, one recognized connoisseur writes: “These luxurious verses, with their special accumulation of the letters “y”, “m”, and “l” and the almost complete absence of a solid consonant “r”, draw a picture of evening peace through sounds, how better we can hardly imagine." Naturally, this matters only for those who know the original language well and feel its spirit. Because only a foreign dialect, assimilated as a native word, can speak to the imagination and hearing with its own musical properties; otherwise it remains just a sign for thoughts and ideas. Maybe, the literary philologist Mautner thinks, the native word is no more sonorous than some Hothentot dialect, but we do not know this dialect, it is ugly and dissonant for us, and we admire only the musical beauty of our own language. This beauty is always something very relative, something subjective in a certain sense, and Voltaire shows himself to be an extremely limited aesthetic when he is surprised at those Germans and Englishmen who found their language more harmonious than all other languages; when, in his prejudice, he went so far as to ridicule the Russians, that their language - this mixture of Slavic, Greek and Tatar words (!) - seemed melodious to their ears. “But,” he argues self-confidently, every German or Englishman of hearing and taste will be more pleased with oύρανόs than with Heaven or Himmel; from "άνΰρωπυε, not Man or θεός; not God or Got, from "άριστος, not good...". A person of the 18th century, with a naive belief in some absolute measure of well-being, gives the palm among European languages to ancient Greek as the most sonorous and French as the most suitable for conversation. Byron, however, like many others who are in love with Dante's homeland, shows a fondness for the Italian language, finding wonderful pleasure and tenderness in its sounds compared to the harsh consonants in English, which reminded him of an unpleasant hiss or rude cry.
In the close relationship between poetic perception or mood and its primary linguistic appearance lies the reason for the impossibility of translating in the true sense, if a foreign language does not convey a special harmony, a specific sound-melodic coloring of the original. “Translations are donkey bridges: the donkey of content crosses over to the other side, but the more valuable one, which creates pleasure, is lost,” thinks Mautner. Baudelaire translates into French Edgar Poe's poem "The Raven" prose, motivating it this way: “There is necessarily a terrible imperfection in the prosaic casting of poetry, but it would be a great evil to attempt rhyming apes. How can one, for example, translate that nevermore (“never again”), which, according to Poe himself, with “its long O , as the most sonorous vowel "and with R , as "the strongest consonant", should be here the refrain of each stanza and the leitmotif of the main mood, melancholy? That is why the composer Gounod had the right to be indignant when the magnificent cantilena of his Faust "Salut, demeure chaste et pure" was translated into Italian: "Salve, dimora casta e pura", due to which the deep sweetness and subtle nuances of his music completely disappear. The dark and secret tones of the French verse "Salut, demeure chaste et pure", which simultaneously express the mystery of the night and the mystery of love, give way to the sonorous and open vowels "o", "a", "u" in the Italian text, and thus achieve that something declamatory. "Salve, dimora casta e pura" sounds like a soulless trumpet. The irrationality of the vowels in the original is not cast correctly in the corresponding vowels of the translation, so that the listener cannot associate the spirit of the music with the spirit of the accompanying text.
Speaking of the musical in Shakespeare's verse, Chamberlain defends the view that music is special art the English may not have it, but what does it sound like in the works of their best poets. "IN German translations Shakespeare, undoubtedly, the wings of this music are falling away, losing thousands of sound effects and introducing a striking rationality of expression. No matter how brilliant the work of Schlegel and Tieck may be, no matter how incredibly correct the dramatic line is found, the overall result means the disappearance of poetry, which in an individual case, perhaps, is not felt, but which significantly changes the impression of the original. The ethereality of the language is lost, all alliteration, consonance, etc. is lost, mainly the special impressiveness of English speech with everything that makes it the language of ecstasy is lost ... “Shakespeare is the most perfect master of all degrees and shades of musical expressiveness in poetry,” Chamberlain concludes. .
But already Cervantes remarks about the translation of “Roland in Love” (Boyardo) from Italian into Spanish: “Many of the primary strength of the poem has been taken away here. This mistake is made by all those who translate rhymed works into another language, because, no matter how much labor and skill they apply, they never reach the perfection of the original. Goethe's dissatisfaction is known when, when he himself tries to translate poems from in English in German, he felt that “all power and all influence” of the original is lost if the stressed single-syllable words of the English language are replaced by multi-syllable and compound words of German. Any translation turns out to be, in Pushkin's expression about the imaginary translation of Tatyana's letter in Eugene Onegin, only a "pale echo". In the best case, one can speak of special form creativity, about some kind of poetic imitation that connects the visions, feelings, thoughts of the author with personal similar experiences and linguistic capabilities of the translator. But even then the content is transmitted mainly, with the rejection of all subconscious reactions, with organic innervation, depending both on the meaning of the text and on its stylistic and linguistic elements.
Paul Valéry's considerations on this subject are correct when it comes to translating his own works into foreign language he remarks: “When poems are translated, they cease to be the work of the one who wrote them. There is a psychology of words: in every language there is an intonation of sounds, voices, many things that cannot be conveyed through new text. My poems have been translated into many languages, even Chinese. But I don't recognize them. Rilke translated them into German, his work is good, but this is only a new version my poems, these are not my poems. Even earlier, we discover such observations and such an opinion from the Russian poet Fet, when he emphasizes how in the translation of one poem, “all the climatic properties and features” of the original are lost, so to speak. There is a whole abyss between a foreign word in general and the corresponding one in the native language, so that, for example, the epithet όρείτρφος, with which Homer characterizes a lion, does not at all correspond to the Russian “city-bred”. The root τρέφω contains many shades that sound at once in a full epithet (fat, eat, live, grow). It is obvious that it is impossible to attribute to him an equivalent word in the Russian language, regardless of the fact that both "urban" and "city-educated" violate the Russian ear and the "Russian warehouse of speech". And he completely agrees with the Russian poet, the French writer Leon Daudet, when he finds that not only in verse, but also in good prose, it is not so easy to achieve a successful translation. To believe, he thinks, that a good translation of Plato, Homer, Thucydides, Aristophone, Suetonius, and Tacitus replaces the original texts themselves is sheer folly. The linguistic substance, etymology and syntax of the author are the inevitable bearer of his intellectual substance.
If we look historically at the question of aesthetic impact through everything illogical-sound and untranslatable in speech, we must say that it is a problem posed theoretically and practically a long time ago. The foreboding of what the Neo-Romantics and Symbolists elevated into a program is already present in a critic with a poetic temperament, such as the forerunner of the old Romantics in Germany, Herder. Admiring in his articles "On German Art" (1773) Ossian's ballads and English folk songs collected from Bishop Percy, he notes their mobile dance rhythm and their linguistic melody, which is more important in his eyes than meaning and content, since they contain spirit and power of poetry. Take, he says, one of the old songs taken by Shakespeare or included in some other collection, “remove from it all lyrical harmony, rhyme, word order, dark course of melody; leave only the meaning and translate it into a foreign language”, wouldn’t the same thing happen if you scatter the composer’s notes or letters on the page? Where are the tones here, where are the thoughts? So the song can be understood as an expression of mood only when it affects us "by sound, tone, melody with everything dark and unnameable, which, like a stream, invades the soul along with the song." Consequently, Herder concludes, “the farther away from artificial, scientific thought, writing and speech a people stands, the less for printing and for dead poems in letters their songs are created”, with everything “living, free, sensually and lyrically mobile” in them. . From these extra-logical elements of natural song, to which we must add the "symmetry of sounds", its "miraculous power" depends, they are "the arrows of that wild Apollo that pierce hearts and chain souls." And precisely because his contemporaries lack this power in the book song, he turns with all his enthusiasm to the folk songs of primitive tribes in Europe and America, ready to capture through their "sound and rhythm" the completely hidden psychology of the collective poet, like a Frenchman, dance teacher Marcellus, was proud that he could know the character of a person only by the position of the body.
Goethe, having learned a good lesson from Herder's observations, immediately shows himself to be a worthy executor of such prophetic suggestions. Freed from the classical correctness of the verse, turning his gaze to natural language folk song and putting pathos and his lively temperament into his first songs, he reveals the full power of free rhythm and sound painting, for example in Ganymede (1774):
Oh, as in the brilliance of the morning,
Beloved, all of a sudden
Cheers, you are spring!
With a thousandfold pleasure
Clings to the heart
Eternal fervor
Feeling sacred -
Beauty infinity!
An ecstatic mood in the spirit of Werther's feeling for nature is seen here not only in general diction, but also in a peculiar combination of vowels "o", "a", "i" - "i", "ei", "e", as well as tone consonants and the syllables g-1, gla, glü-gli, en-an, etc. Such wonderful correspondences between the emotional and the figurative, so new in the harmony of sounds, are found by Goethe in the first part of Faust, in the elegy "An den Mond" ("To the month"), and even in the late second part of Faust, where, for example, whole stanzas remind of movement or peace in nature, make us hear the rustle of the wind in the reeds and in the branches of trees, see and feel landscapes:
You, reed, whisper, bow down;
You, reed, nodding, rot,
Poplar branches, whisper
Willow branches, babble
Make me sleep again!
There was movement here.
Trembling and secret confusion
And my flow is awakened.
In general, Goethe's poetry makes the era not only with its new motives, but also with the art of connecting everything sound-linguistic with sensual-objective and internally mobile. Taking into account the evolution of verse, with the emphasized acoustic value of the word, it must be said that the truth intuitively grasped by Herder later finds its clear psychological justification among aestheticians and critics, who noticed in the poet’s art not only figurative and ideological values, but also something irrational, capable of setting in motion organically . Guyot discovers the "poetic" beginning of style in the same way in what is directly "said and shown" - in images, thoughts, feelings - and in the "impressive character" of the words themselves, in their ringing, their echo in the soul of the listener. In his opinion, "poetry is magic, which in one moment and only with one word opens up the whole world." Theodor Mayer considers “the new painting of the poet to be a very important indirect means in drawing pictures and mental states, by calling up the emotional-sensual elements of the content. For example, "the combination of high and low, dark and sharp explosive tones" in Schiller's verse "Und es wallet und siedet und braust und zischt" ("It boils, worries, rustles, seethes") gives a direct feeling of the unbridled, wild play of menacing elements" . Similarly, the sociological critic Emile Fague, who seeks ideas primarily in literature, does not remain deaf to the peculiar music of verse and is aware of the full power of meters and phonetic features, of an elongated and accelerated tempo, full of suggestions for the ear and the spirit of rhyme.
In Hugo's verses:
Labor shimmers in the shade of the trees,
The valley is a golden sea
Where under the breath of July
Thick breads are agitated.
This is the horse of glory
Like Astarte who came out of the sea,
Thirst quencher
From the radiant vessels of the dawn.
Faguet admires the poet’s art of “speaking in musical phrases, associating sound with thought most intimately, making us understand both with the ear and with the spirit, and even before our spirit has perceived ...” Hugo has a sense of the value of the word itself, he knows that sounds have his physiognomy and his character. “Thanks to this knowledge of the musical value of the vowel, consonant and word, he makes from one verse, even isolated, something like the rhythm of a verse with its certain number of syllables, pleasing to the accustomed ear, an expressive rhythm that conveys a feeling or a form ...” But here is another example of art Hugo paint noise, sounds as they are born, grow and die, paint with words that convey the approach and withdrawal of sound, its softness and bliss, or its strength, or its purity, and all its effects on hearing and our feeling:
Listen! - Like the rustle of an invisible nest,
Footsteps from the dizzy depths of the forest.
And here in dark forest,
dreaming in moonlight,
There is a vibrating
Transmitting its thrill to the forests
Guitar sound.
And this thrill turns into a song
The melody plays for a few moments
Among the trees, blue in the rays of the serene moon,
Then he stops: everything is quiet.
Hugo does not use here any intellectually assimilated means to convey the impression of things with the help of a certain selection of sound combinations; he involuntarily finds this harmony by innate feeling and most naturally evokes the desired experiences in the reader. The same is true of Baudelaire. From the side of rhythmic and sound effects, his sonnets justify his programmatic statements about art, which is intimately related to music. This is felt, for example, in "Spleen":
Pluviosis is embittered at life and at people,
Flowing from his bottomless vessel
On the outskirts of the gloomy deadly cold,
And the inhabitants of the graves rot faster.
A lousy cat is bitten by a flea,
And he itches all the time, he fidgets from the itch.
The sewer is sobbing. Screams from there
The spirit of the poor singer who freezes in her.
And the bell groans... And the black log
Mutters in unison to the cold hours,
And from the deck of cards comes the smell of cumin ...
The jack of hearts and the queen of spades met, sighing
About the fact that love has gone forever.
Equally close to the romance of Hugo, to the supporter pure art Baudelaire and the symbolist Verlaine feels at this point and contemporary poet Paul Valerie. Contrary to the classical technique, rational style and picturesqueness of images, he, who seeks the synthesis poetic means, which Malarme dreamed of, does not neglect "de reprendre à la musique son bien" ("to borrow from music its dignity"). In his "Charmes" ("Charms"), at every step, the conscious, then the unconscious search for correspondences between phonetic dominants and mental images or states is captured. One day, he reminds us of the hissing of a snake through the sounds "s" and "i":
Il se fit Celui qui dissipe
En consequences son Principe,
En etoiles son Unite.
On another occasion, Valerie gives us a view of a cemetery with the help of the consonants "r" and "s":
Amére, sombre et sanore citerne
Sonnaut dans l'ame un creux toujours futur.
Or the rustling of the wind through "m" and "r":
Vous me le murmurez, ramures!
And some stanzas are built precisely with one or two sound groups in mind, which should leave the desired impression or mood, the desired psychic resonance, even apart from the meaning of the words:
douces colonnes, and ux
Chapeaux garnis j our
Ornes de vrais ois eaux
Qui marchent sur la t our .
About the whole poem from which this stanza is taken and in which various musical leitmotifs of syllables, consonants and vowels are revealed (for example, oi-ai, e-i, d-1, ch-j, etc.), the critic F. Lefebvre says: “One cannot read and especially reread this poem without being enchanted, in deep sense the words flowing from it; words are connected and compared; the stanzas are adjusted in such a way as to create the impression that we are the center of a bright and magical circle, as if we are the subject of a spell from which we cannot free ourselves. So it is about another poem, so mysterious for some readers from outside ideological development“La Jeune Parque” (“Young Park”) is from the very beginning and above all a whole symphony, and there is no need to look for philosophical or metaphysical subtleties in it in order to like it; you just have to listen to the resonance of her poems, and you will admire. Commenting on these and other things of Valerie, the critic Lafon finds that the brilliant vowels "a", "o" correspond to ringing noise and strong lighting, and symbolically - to pride or grandeur; that clear vowels i, u, e, eu express the murmur of a stream, lightness and speed, and in spiritual sense- soft or ironic cheerfulness; that "i" conveys sardonic laughter in this stanza, and "and" in another stanza - heavenly blue, moonlight or the song of a flute. In alliteration, also beloved by the poet, "p" conveys the impression of perseverance, "s" - something silky, soft, "i" - grace and lightness, "p" and "m" - effeminacy and slowness, etc. But in reality, the author's musical technique knows an innumerable variety of shades that cannot be classified; sounds intersect very diversely in their imitative harmonies.
A similar instinctive use of correspondences between certain images or moods and certain sound or rhythmic groupings can be discovered even in the poets against whom the apostles of purely musical poetry took up arms. There is no doubt, for example, that in the Parnassian Heredia we easily catch the organic connection between images or pictures and the orchestration of vowels, since he perfectly feels the secret harmony of sounds and colors and achieves the illusion of an object through the magic of speech. “The author of Trophies,” writes Henri Bordeaux, “uses the music of words, creating plastic and clearly defined images. His vision of the subject is conveyed by tonality, the picture, captured in the imagination, very accurately corresponds to the rhythms and features of sounds ... And he must sometimes rework a sonnet with rare and elegant rhymes and a wonderful form only because the totality of verbal harmonies does not correspond to his images. Heredia's verse is just as sonorous and expressive as the verse of Hugo or Leconte de Lisle, who also find words and rhymes that seem to carry echoes of spiritual movements.
Verbal illustration in the lessons of literary reading.
illustration- reception creative work students used in reading lessons, as well as when writing essays and presentations. Illustrations are taken ready-made, pre-selected, or created by the children themselves. Oral (verbal) drawing techniques are used. Verbal illustration (drawing)- this is the ability of a person to express his thoughts and feelings on the basis of a read fairy tale, fable, story, poem. In no case should verbal drawing turn into a retelling of the work. I begin teaching verbal drawing with the creation of genre (plot) pictures. At the same time, it must be remembered that word picture it is static, on it the characters do not move, do not talk, they seem to “froze”, as if in a photograph, and do not act, as on the screen. At the first stage of teaching verbal drawing, it is advisable to use the so-called "dynamic" picture that gradually appears before the eyes of children.
At the first stage of teaching verbal drawing, a visual support is needed, which can be used as the so-called “dynamic” picture that gradually appears before the eyes of children. At the same time, after the students verbally describe each detail of the drawing, any interior, the character, pictures are gradually attached to the demonstration sheet of paper, corresponding to the just “drawn” verbally. The location of the elements of the picture is discussed with the children. So in the course of work, a complete picture is created for the episode, which serves as a visual support for the ideas that have arisen in the imagination of the students. In addition, you can also use a demonstration manual of three sheets, which are attached one on top of the other to the board in sequence, and as the oral picture appears, they are opened in front of the children.
At the next stage, you can use the following techniques:
An episode is selected for illustration, the plot is discussed in general terms future picture, location of its main elements, color. Performed pencil sketch followed by a verbal description of the illustration.
Children "draw" a picture with words, and then compare it with the corresponding illustration in a children's book or in a textbook on literary reading.
At the following stages of teaching oral illustration, the following techniques are used:
1) an episode is selected for verbal drawing;
2) the place where the event occurs is “drawn”;
3) are depicted characters;
4) necessary details are added;
5) the contour drawing is “painted”. Complicating the work is possible due to the fact that “coloring” will be carried out along with “drawing”, and secondly, during the transition from a collective form of work to an individual one.
Just on final stage teaching oral illustration, you can offer children to independently, without visual support, make verbal drawing to the text. (“There is no illustration in the textbook. Let's try to create it ourselves.”) Word drawing (illustration) increases the emotional level of perception artistic text. Usually word pictures are drawn to those episodes that are especially important for understanding. ideological concept story. If the description is illustrated, then the most beautiful and at the same time accessible to children paintings are selected.
Verbal drawing of landscape illustrations is usually done for poetic texts. When working on a lyrical work, the technique of verbal drawing should be applied with extreme caution, since when reading lyrics, there should not be clear visual representations, everything should not be expressed to the details, it is impossible to concretize poetic images by separating them.
Bibliography:
Goretsky V.G. and others. Lessons of literary reading according to the textbooks "Native speech": Book. 1, 2, 3; The book for the teacher. - M., 1995.
Nikiforova O.I. Psychology of perception fiction. - M., 1972.
http://www.pedagogyflow.ru/flowens-641-1.html
http://fullref.ru/job_cf28d84de3278e2be75ee32f39c7a012.html
Fragment of the lesson "Discovery of new knowledge" on the topic "Balmont Konstantin Dmitrievich Poem "Autumn""
Target: create conditions for the development of expressive reading skills, the assimilation by students of the literary device "personification" and teaching verbal drawing.
Personal Outcomes
Develop communication skills in a group discussion of the performances of the guys
To form the ability to evaluate their own knowledge and skills in literary reading
To form the ability to verbally evaluate the work of their classmates in the form of judgment and explanation
Regulatory universal learning activities:
Evaluate your own results learning activities using self-assessment sheets
Formulate the goal, tasks of educational activity with the help of the teacher's lead-in dialogue
Recognize and accept the learning task
Cognitive universal learning activities:
Learn to formulate a learning problem by answering a problematic question
Extract new knowledge: extract information presented in different forms (text, table, diagram, figure, etc.)
Communicative universal learning activities:
Communicate your position to other people
Engage in learning collaborations with the teacher and classmates
Build a conscious statement oral
Subject Results
Learn to identify the main idea of the work and its mood
Learn how to use personification.
Task "Word drawing".
| word drawing | Let's imagine that we are artists. What colors will you choose for the drawing? (burgundy, blue, yellow) Find your clue words in the text. Describe your painting. Who will be the main character of our picture (Autumn) How can you depict autumn? (in human form) What does the girl do - autumn? What facial expression? Sad or happy? Why? Why is the girl crying - autumn? What natural phenomenon did the poet want to depict under the tears of a girl? What colors will you choose for the drawing? Find clue words in the text. Divide into teams of 4 and discuss your paints. Ripe lingonberries - burgundy, The blue sea is blue The sun laughs less often - yellow, In a multi-colored dress - yellow, red, brown. Who is the main character in the picture? What will you draw around the Autumn girl? How does the poet feel about Autumn, which will soon cry? | Communicative UUD (skills of cooperation between teacher and students) Regulatory UUD (selection and awareness by students of what has already been mastered) |
When businessmen discuss the future of a company or the benefits of a product, they place particular emphasis on ideals and ideologies, such as “increasing sales”, “quality service” or “ sustainable development". And given that the employees of an organization, like its clients, are often people with different views and temperaments, it may seem that such abstract constructions are quite appropriate, as they create a common understanding.
But such theorizing undermines one of the fundamental principles communication: it does not bring clarity. Managers should talk about development strategies in such a way that the subordinates have a clear picture in their heads. Instead of philosophical phrases, the most effective salespeople communicate their ideas with vivid and understandable word images (image-based words).
What are word images?
In short, these are phrases that describe objects with pronounced properties (such as children) and easily recognizable actions (such as smiling and laughing). Imagery conveys sensory information and thereby draws in the imagination. living picture It is very easy for listeners to imagine what the speaker is talking about. We can say that the vision, which is conveyed with the help of verbal images, is closest to the literal meaning of the word "vision" itself.
A speech saturated with images is much more effective than a report through which the speaker tries to explain abstract concepts to the audience. Andrew Carton, along with Chad Murphy of the University of Oregon and Jonathan Clark of the University of Penn, found that hospital patients respond better to medical workers who use images in their work and communication with patients than about doctors who resort to the help of abstract ideas.
Another study in which teams were asked to design a prototype children's toy found that discussions using emotional imagery ("our toys... will make the child laugh and the parents smile") receive much better response than neutral expressions ("our toys... will to all buyers).
Word images and colorful metaphors literally bring listeners to life - they are inspired by crystal clear understanding of your ideas.
Inspirational images of the future
It is worth mentioning another study that confirmed the benefits of using verbal images. For example, Cynthia Emrich of Purdue University and her colleagues found that US presidents who used living metaphors were, and are, considered more charismatic than presidents who spoke more abstractly.
Surely you have heard about similar studies and opinions. All the inspiring speeches delivered at the most critical moments of history have in common that the speakers appealed to the imagination of the listeners. From Winston Churchill, who vividly outlined the near future, where the Allies would “fight in the fields and streets,” and John F. Kennedy, who wanted to “put a man on the moon,” to Martin Luther King, with his dream of a time when “the sons of slaves and the sons of slave owners can sit at the same table.
Word images were also actively used by business revolutionaries. Think of Bill Gates and his "computer on every desk in every home" or Henry Ford's dream of a car "big enough for the whole family." From a recent one, the British chemist Paul Thomas comes to mind and his speech that "the day will come when we can find a tumor in the lung if we just ask a person to blow into a tube."
More specifics
In their book Made to Stick: Why Some Ideas Survive and Others Die, the Heath brothers (Chip and Dan Heath) argue that people tend to trust specific images because life itself is concrete. The days of our lives are filled with visual symbols, sounds and smells - accordingly, verbal images convey reality in the best possible way.
Especially these images are the best option when it comes to the long term, because the future is often vague. In case the event hasn't happened yet, people don't respond better to constructs like "maximizing the price of a stock" or "providing an impeccable service", but to expressions that convey the essence through metaphors, sensations, or even sounds.
At the same time, people themselves are not inclined to draw vivid pictures in their imagination when it comes to the future. Nira Liberman of Tel Aviv University and Yaakov Troup of New York University found that the more distant an event is, the more generalized one begins to think.
For example, when subjects were asked to imagine the process of reading a book, they were much more likely to describe it as “gaining knowledge” rather than “following the printed lines with their eyes” if it was about reading “next year” rather than “tomorrow”. It is this trend that explains the fact that more than 90% of managers communicate with subordinates without the use of vivid images.
Those people who do try to reverse the trend described above and talk more specifically about the distant future often resort to the help of numbers as an illustration of the goal - for example, talk about stock price, market share or ROI. And this is understandable: such an analysis is mandatory for any business. We also use specific data in order to streamline the chaos around us, to drive a complex reality into some kind of framework. We carry out diagnostics in order to track changes.
Research has shown that setting a goal with specific numbers increases employee motivation, in large part by making expectations much clearer. The importance of quantifying reality has only increased in the digital age. Nevertheless, verbal images have advantages that reports cannot boast of even with exact numbers.
2 key benefits
Another study confirmed that imagery presentations have two undeniable advantages. First, messages with numbers and statistics run the risk of being misunderstood if there is no interesting story behind them, which is almost always present in messages with an abundance of images. Second, Deborah A. Small and her colleagues found that a story about a starving 7-year-old girl in Malawi motivated people to donate twice as much money as a story about “a famine in Malawi that affected more than three million children.”
Both principles described can be easily illustrated with examples.
In the first case, we are talking about the availability of perception. For example, a company sets a goal to increase the use of renewable energy by 25%. To do this, she will have to make sure that people know everything about this form of energy and understand how to increase its use. But the phrase: "Cities with solar panels on every roof, biofuel in every car and wind turbines on every hill" is clear to all listeners - regardless of their education and technical savvy.
To demonstrate the second principle (emotional impact), consider the New York City Municipal Program, which declared its goal to reduce the annual number of pedestrian deaths from 200 to 0 per year. From the point of view of the planners, of course, zero looks like an effective benchmark. But bright and memorable words could better show what would change after achieving the goal - for example, how every year 200 people would receive life and happiness as a gift to meet sunrises and see off sunsets together with loved ones.
While numbers are more specific than general expressions like "maximizing stock price," it's easy to be fooled into believing they make the brain think faster or fire up the imagination.
In fact, everything is exactly the opposite - the numbers reduce the listener's ability to perceive figurative information. To verify the correctness of this argument, let us turn to research in the field of brain anatomy.
According to Seymour Epstein and his colleagues, one thinks logically (analytical, or "rational self"), and the second perceives sensory information from the world around us (empirical, or "sensory self"). The numbers are processed in the analytical system and do not contribute to the formation overall picture. And verbal images fall into the empirical system and are instantly transformed into a specific "vision".
It is very difficult to operate both cognitive systems at the same time. When one works, the other rests. Since quantitative information (data, statistics, metrics, etc.) activates the analytical system, another part of the brain responsible for creating vivid images waits its turn. Numbers are literally the mortal enemy of the imagination.
Pictures of the change of seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderstorms - all this can be conveyed in music. Many famous people were able to do this brilliantly: their musical works about nature have become classics of the musical landscape.
natural phenomena, musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral compositions, and sometimes even in the form of program cycles.
"The Seasons" A. Vivaldi
Antonio Vivaldi
Vivaldi's four three-movement violin concertos, dedicated to the seasons, are without a doubt the most famous musical works about the nature of the Baroque era. Poetic sonnets for the concertos are believed to have been written by the composer himself and express the musical meaning of each movement.
Vivaldi conveys with his music thunder peals, and the sound of rain, and the rustle of leaves, and bird trills, and dog barking, and the howling of the wind, and even the silence of an autumn night. Many of the composer's remarks in the score directly indicate one or another natural phenomenon that should be depicted.
Vivaldi "The Seasons" - "Winter"
"The Seasons" by J. Haydn
Joseph Haydn
The monumental oratorio "The Seasons" was a kind of result of the composer's creative activity and became a true masterpiece of classicism in music.
Four seasons sequentially appear before the listener in 44 scenes. The heroes of the oratorio are villagers (peasants, hunters). They know how to work and have fun, they have no time to indulge in despondency. People here are part of nature, they are involved in its annual cycle.
Haydn, like his predecessor, makes extensive use of the possibilities of various instruments to convey the sounds of nature, such as a summer thunderstorm, the chirping of grasshoppers and a frog choir.
In Haydn, musical works about nature are associated with people's lives - they are almost always present in his "pictures". So, for example, in the finale of the 103rd symphony, we seem to be in the forest and hear the signals of hunters, for the image of which the composer resorts to a well-known means -. Listen:
Haydn Symphony No. 103 - final
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"The Seasons" by P. I. Tchaikovsky
The composer chose for his twelve months the genre of piano miniatures. But the piano alone can convey the colors of nature no worse than the choir and orchestra.
Here is the spring jubilation of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of the white nights, and the song of the boatman, swaying on the river waves, and the field work of the peasants, and dog hunting, and the alarmingly sad autumn fading of nature.
Tchaikovsky "The Seasons" - March - "Song of the Lark"
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Carnival of the Animals by C. Saint-Saens
Among the musical works about nature, Saint-Saens' "great zoological fantasy" for a chamber ensemble stands apart. The frivolity of the idea determined the fate of the work: "Carnival", the score of which Saint-Saens even forbade to publish during his lifetime, was fully performed only in the circle of the composer's friends.
The instrumental composition is original: in addition to strings and several wind instruments, it includes two pianos, a celesta and such a rare instrument in our time as a glass harmonica.
There are 13 parts in the cycle describing different animals, and the final part, which combines all the numbers into whole work. It's funny that the composer also included beginner pianists diligently playing scales among the animals.
The comical nature of "Carnival" is emphasized by numerous musical allusions and quotes. For example, "The Turtles" perform Offenbach's cancan, only several times slower, and the double bass in "Elephant" develops the theme of Berlioz's "Ballet of the Sylphs".
Saint-Saens "Carnival of the Animals" - Swan
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Sea element N. A. Rimsky-Korsakov
The Russian composer knew firsthand about the sea. As a midshipman, and then as a midshipman on the Almaz clipper ship, he made a long journey to the North American coast. His favorite marine images appear in many of his creations.
Such, for example, is the theme of the “blue ocean-sea” in the opera Sadko. Literally in a few sounds, the author conveys the hidden power of the ocean, and this motif pervades the entire opera.
The sea reigns both in the symphonic musical picture "Sadko" and in the first part of the suite "Scheherazade" - "The Sea and Sinbad's Ship", in which the calm is replaced by a storm.
Rimsky-Korsakov "Sadko" - intro "Ocean-sea blue"
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“The east was covered with a ruddy dawn…”
Another favorite theme of musical works about nature is the sunrise. Here, two of the most famous morning themes immediately come to mind, something in common with each other. Each in its own way accurately conveys the awakening of nature. These are the romantic "Morning" by E. Grieg and the solemn "Dawn on the Moscow River" by M. P. Mussorgsky.
In Grieg, the imitation of a shepherd's horn is picked up by stringed instruments, and then by the entire orchestra: the sun rises over the harsh fjords, and the murmur of a stream and the singing of birds are clearly heard in the music.
Mussorgsky's dawn also begins with a shepherd's melody, the ringing of bells seems to be woven into the growing orchestral sound, and the sun rises higher and higher above the river, covering the water with golden ripples.
Mussorgsky - "Khovanshchina" - introduction "Dawn on the Moscow River"
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It is almost impossible to list everything in which the theme of nature develops - this list will turn out to be too long. These include concertos by Vivaldi (The Nightingale, The Cuckoo, Night), The Bird Trio from Beethoven's 6th Symphony, Rimsky-Korsakov's Flight of the Bumblebee, Debussy's Goldfishes, Spring and Autumn, and winter road» Sviridov and many other musical pictures of nature.
