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Contents List of Tables ........................................................................................................... xi Acknowledgments ............................................................................................... xiii Abbreviations ........................................................................................................ xv Preface .................................................................................................................. xvii Praeludium. Sound Repetition in Tjutchev’s Lyrics: Preliminary Speculations .................................................................................. 1 A. Accepting Tjutchev ..................................................................................... 2 B. Tjutchev: The Name and the Rhyme ......................................................... 5 “When our decrepit powers …” (“Когда дряхлеющие силы …”) .. 7 C. Germinating Rhyme .................................................................................... 8 “April 17, 1818” (“17-‐‑e апреля 1818”) ................................................... 9 “Tears” (“Cлёзы”) ................................................................................... 10 D. The Triumph of Harmony: “Spring” (“Вeсна”) ................................... 13 Part I. Sound and Structure in Tjutchev’s Lyrics. Tjutchev and Fet ................ 17 Chapter 1. Poetry or Music? ................................................................................. 19 Section 1: Poetry and Music .......................................................................... 19 A. A Musical Approach to Poetic Form ............................................... 19 B. Musicological Terminology in Verse Theory ................................. 25 C. Formal Structures: The Period in Music and the Stanza in Verse ........................................................................... 33 Section 2. “Insomnia”: Two Poems .............................................................. 38 A. Poetry or Music? ................................................................................. 39 B. Synaesthesia ......................................................................................... 43 C. Comparison ......................................................................................... 45 D. Formal Organization: Sound Texture, Rhymes, and Composition in Ins. 1 and Ins. 2 ...................................................... 52 Chapter 2. The Theory of Assonance: Scholarly Works and Supplements. Sound Patterns in Multi-‐‑Stanzaic Composition ................. 61 Section 1: Scholarly Works ............................................................................ 61 A. Viktor Zhirmunskij, Rhyme: Its History and Theory (Рифма, ее история и теория; 1923) ................................................ 62 viii CONTENTS B. Ian Lilly, Dynamics of Russian Verse (1995) ...................................... 65 C. M. L. Gasparov, “The Probability of Assonances” (“Вероятностные ассонансы”; 1992) ............................................. 66 Section 2. Systematic Repetition: Supplements to the Theory of Assonance ............................................. 67 Section 3. “Glimmer” (“Проблеск”): Sound Patterns in Multi-‐‑Stanzaic Composition .................................................................... 74 A. X-‐‑crossings .......................................................................................... 75 B. Composition and Imagery ................................................................. 80 C. Composition and Sound Structure .................................................. 82 Chapter 3. Tjutchev and Fet: Two Sound Models ............................................ 87 Section 1. Tjutchev’s Iambic Tetrameter Quatrains ................................... 88 A. The Division of Tjutchev’s Lyrics into Three Periods ................... 88 B. Iambic Tetrameter Quatrains with/without X-‐‑crossings .............. 90 C. Functions of Rhyme in the abab and abba Verse Forms (with Alternating RVs ABAB and Homogeneous RVs AAAA) ............ 93 Section 2. Calculations ................................................................................... 96 A. Forms of RSV Repetitions, and Methods of Calculations ............ 96 B. Iambic Tetrameter Quatrains with X-‐‑crossings .............................. 97 C. Location of X-‐‑crossings, and the Cadence Line ............................. 98 D. Notes on Tjutchev’s Vowel Preferences in Rhyme ..................... 100 Section 3. Comparing Tjutchev and Fet: The Dynamic versus Static Model of the Stanza ............................... 105 A. Iambic Tetrameter Quatrains in Fet’s Lyrics: Material. RV Forms with/without X-‐‑crossings. Location of X-‐‑crossings ........ 106 B. Homogeneous Forms in Fet’s Lyrics: Prediction of RV Preferences ......................................................... 107 C. Rhyme Vowel Preferences in Tjutchev and Fet ........................... 108 D. The Dynamic versus Static Sound Model ..................................... 111 Interludium. From Structure to Meaning ....................................................... 117 A. The Point of Golden Section in a Stanza .............................................. 118 “Over hot ash…” (“Kaк над горячею золой…”) ............................ 120 B. Symmetry, Sound Repetition, and The Point of Golden Section in Composition ............................................................ 123 “The royal heir lies dying in Nice…” (“Сын царский умирает в Ницце…”) ....................................... 123 Part II. Sound, Graphic Form, and Meaning in Tjutchev’s Lyrics .................. 127 Chapter 4. Tjutchev’s Lyrics before 1850 and after 1864 ................................ 129 Section 1. Ferdinand de Saussure on Anagrams ..................................... 129 Section 2. Tjutchev and Ausonius .............................................................. 131 Section 3. Visual Forms in Tjutchev’s Lyrics before 1850 ....................... 141 [3.81.221.121] Project MUSE (2024-03-29 03:30 GMT) CONTENTS ix “Oleg’s Shield” (“Олегов щит”) ........................................................ 141 “And the coffin is already pushed into the grave…” (“И гроб опущен уж в могилу…”) .................................................. 143 Section 4. Experimenting with the Alliterative Form in Tjutchev’s Poem “K.B.” .......................................................................... 146 A. Zhukovskij’s and Pushkin’s Influence on Tjutchev: “I Used to Meet the Young Muse…” by Zhukovskij; “To***” by Pushkin; and “K.B” by Tjutchev ................................ 147 B. An Acrostic in Zhukovskij, and Its Modification in Pushkin and Tjutchev ................................................................. 149 C. “K.B”: The Alliterative Form, and the Name of Tjutchev’s Addressee ......................................................................................... 152 Chapter 5. Tjutchev’s Lyrics of 1850–64 ........................................................... 155 Section 1. Anagram and Rhyme in the Poems of the Denis’eva Period, 1850–64 ..................................................................... 157 A. Anagrammatization of Elena Denis’eva’s Name ........................ 158 “Last Love” (“Последняя любовь”) ............................................ 158 “All day she lay deeply drowsing…” (“Весь день она лежала в забытьи…”) ................................. 159 “She sat on the floor…” (“Она сидела на полу…”) .................. 160 “O how murderously we love…” (“О, как убийственно мы любим…”) ................................... 162 B. Rhyme and Initials ............................................................................ 162 “Many’s the time you heard my confession…” (“Не рaз ты слышала признанье …”) .................................. 162 “On the River Neva” (“На Неве”) ................................................ 163 “Again I stand above the Neva…” (“Oпять стою я над Невой…”) ............................................... 164 Section 2. “First Leaf” (“Первый лист”) as a Congratulatory Epistle ........................................................................... 167 A. “First Leaf” in Tjutchev’s Biography ............................................. 167 B. An Anagram and a Word/Sound-‐‑Play in the Central Lines (11–13) ....................................................................... 169 C. The Rhymes and the Rhyme Expectation ..................................... 170 D. A Message Encoded in the Initial and Central Lines (1 and 13) of “First Leaf” ................................................................. 173 Section 3. “Last Love” and Some Parallels ............................................... 175 A. The Generic Roots of “Last Love” ................................................. 176 B. “Last Love”: Deviations from the Norm ....................................... 179 C. “Last...