We live in a world of sounds. Some sounds evoke positive emotions, while others alert, excite, cause a feeling of anxiety, or soothe and induce sleep. Sounds evoke images. With the help of a combination of sounds, it is possible to have an emotional impact on a person, which we especially perceive when reading artistic literary works and works of Russian folk art.

In works of art, and especially in poetry, various techniques for enhancing phonetic expressiveness of speech.

Poetic speech organized in a special way acquires a bright emotionally expressive coloring. This is one of the reasons why the content of poetry does not allow "retelling in prose."

sound recording- a method of enhancing the figurativeness of the text by repeating stressed and unstressed syllables, vowels and consonants.

The most common form of sound writing is poetic repetitions, which form a special construction of the text. This gives the text a kind of symmetry.

For example:
I dreamed of catching the departing shadows,
the fading shadows of the fading day,
I climbed the tower, and the steps trembled,
And the steps trembled under my foot.

And the higher I went, the more clearly drawn,
Tem more clearly drawn outlines in the distance
And some sounds were drawn in the distance,
Around me were heard from Heaven to Earth.
(Balmont)

The basic principle of enhancing the phonetic expressiveness of speech is the selection of words of a certain sound coloring, in a kind of roll call of sounds. The sound convergence of words enhances their figurative significance, which is possible only in a literary text, where each word plays an important aesthetic role.

The main way to enhance the phonetic expressiveness of artistic speech is sound instrumentation - a stylistic device consisting in the selection of words of close sounding.

For example:
P yetr is feasting. And mountains, and I am sen,
And thank you for the lo n gaze of him.
And his royal feast is wonderful.

Vowels are repeated here [o], [a] and consonants [p], [r], [t]. This makes the verse musical and vivid; the richness of sound repetitions seems to reflect the breadth of the glorified victorious triumph. The sound of speech emphasizes the main, dominant words in the text Peter is feasting.

Usually a verse is instrumented (as in our example) by repeating several sounds at once. And the more they are involved in such a “roll call”, the more clearly their repetition is heard, the more aesthetic pleasure the sound of the text brings.

Such is the sound instrumentation of Pushkin's lines: Views: under the distant vault the free moon walks; Cultivated yans in the eastern haze, in the northern, sad snow, you did not leave a trace in (about the legs); She liked novels early on; Whose noble hand will consume the old man's laurels!; And I will give a thoughtful row; Bed covered with carpet; Inheritance into an angry choir starts an obscene dispute etc.

Instead of a term "sonic instrumentation" sometimes used by others: say "consonant instrumentation" and "vowel harmony". Verse theorists describe various types of sound instrumentation. We will name only the most important of them.

Depending on the quality of repeated sounds, there are alliteration and assonance.

Alliteration called the repetition of the same or similar consonants.

Alliteration- the oldest stylistic device for enhancing the expressiveness of a verse by repeating consonant sounds. This technique is found in folk poetry and in the literature of all peoples of the world. They are rich in the poems of Homer, Hesiod, Horace, Virgil and many later poets of Europe - Dante, Petrarch, Ronsard, Shakespeare. The poet's sense of proportion and artistic tact determine the choice, nature and appropriateness of alliteration in verse; there are no rules for using it and cannot be.

In Russian folk verse, alliteration occupies a prominent place. Sound alliteration scattered in the text "Words about Igor's regiment»:

..Tube pipes are killed in Novegrad, stand still in Putivl ...

Sound combinations [tr] and [gr] create the feeling of a gathering army, in these sound combinations the sounds of military marches, the roar of military weapons are heard, while the sound combination [st] gives a sense of stability, but at the same time a hidden threat. All together - conveys the tension before the battle, on the one hand, already exciting, on the other hand - still calm mood.

Magnificent masters alliteration were A.S. Pushkin, F. I. Tyutchev, A. P. Sumarokov, G. R. Derzhavin and K. N. Batyushkov, N. M. Yazykov, N. A. Nekrasov.

For example:
The Neva blew and roared
To the ashes m bubbling tea and klubyas.
(A.S. Pushkin)

In lga, In lga, in spring and high water
You are not so flooding the fields ...
(N. Nekrasov)

In the stanza from Balmont's poem, the sound is repeated [l]:
The swan swam away into the floor,
In the distance, under the moon it is white.
The waves are flattening to the oar,
They cling to the moisture of the l or her ...

In Pushkin's lines, alliterations are noticeable on [n], [d], [s], [in]:
Night is coming; moons and bypass um
Watch the far vault of heaven,
And from the tins to her in the darkness of the woods
Melody

With the greatest certainty, our hearing catches the repetition of consonants standing in the pre-stressed position and in the absolute beginning of the word. The repetition of not only the same, but also consonants similar in some way is taken into account. So, alliteration is possible on d - t or h - s etc.

For example:
March!
Thu time
behind
the nucleus was broken.
To the old days
Thu wind ohm
from wore
Only
tangled hair(Mayakovsky).

Alliteration on the [ R ] in the first part of this passage, the beaten rhythm, the jerky sound of these lines leave no doubt about the purpose of the sound painting, with which the poet seeks to convey the music of the march, the dynamics of the struggle, overcoming difficulties ...

In other cases, the figurative symbolism of sound writing is more abstract.

So, only imagination will help us to feel in alliterations on f - h the chilling chill of metal in an excerpt from N. Zabolotsky's poem " Cranes»:
And the leader in a metal shirt
Slowly sinking to the bottom
And dawn over him the image of an oval
A golden stain.

Sound symbolism is still ambiguously assessed by researchers. However, modern science does not deny that the sounds of speech, uttered even separately, outside of words, are capable of evoking non-sound representations in us. At the same time, the meanings of speech sounds are perceived by native speakers intuitively and therefore are of a rather general, vague nature.

According to experts, phonetic significance creates a kind of “vague halo” of associations around words. This indefinite aspect of knowledge is almost not realized by you and is only clarified in some words, for example: burdock, grunt, mumbling, balalaika - harp, lily. The sound of such words significantly affects their perception.

In artistic speech, and above all in poetry, there is a tradition of dividing sounds into beautiful and ugly, rough and tender, loud and quiet. The use of words in which certain sounds predominate can become a means of achieving a certain stylistic effect in poetic speech.

The organic connection of sound writing with content, the unity of word and image gives the sound instrumentation a vivid depiction, but its perception does not exclude subjectivity. Here is an example from Aseev's poem " swim»:
Lie on your side
tense your shoulder
I float forward
more,-
gradually
mastered the wave
for fun
and clear water.
And follow me
leaving no trace
Curls
funnel water.

It seems to us that the alliterations on w - p transmit sliding on the waves; persistent repetition [in ] in the last lines it evokes the idea of ​​a closed line, a circle, which is associated with funnels on the water.

The establishment of such a "sound-sense similarity" can be based on rather complex associations.

For example, in the lines of B. Pasternak
Chopin recorded
On the black sawing of the music stand -

you can see the fantastic outlines of a dream in the whimsical pattern of sound repetitions and in the combination of sounds unusual for Russian phonics in the word " music stand»

In Marshak's poem " Vocabulary The following line is illustrative: In its column x flickering sparks of feeling. Here is a double repeated combination ca as if depicting flicker».

Regardless of the figurative understanding of sound writing, its use in poetic speech always enhances the emotionality and brightness of the verse, creating the beauty of its sound.

Alliteration - the most common type of sound repetition.

This is explained by the dominant position of consonants in the system of sounds of the Russian language. Consonants play the main semantic role in the language. Indeed, each sound carries certain information. However, six vowels in this respect are significantly inferior to thirty-seven consonants.

Let's compare the "record" of the same words, made using only vowels and only consonants. You can hardly guess by the combinations ee, ayuo, ui, eao any words, but it is worth conveying the same words as consonants, and we can easily “read” the names of Russian poets: "Drzhvn, Btshkv, Pshkn, Nkrsv". Such "weightiness" of consonants contributes to the establishment of various subject-semantic associations, therefore the expressive and pictorial possibilities of alliterations are very significant.

Another, also common, type of sound repetition is assonance.

Assonance - reception of strengthening the figurativeness of the text by repeating vowel sounds.

For example:
I am a free wind, I always wind,
Into the waves of the waves, I caress the willows,
I sigh in the branches, sighing, I can’t,
le le yu grass, le le yu fields.

Vowels are repeated here "about" and "e".

At the core assonance usually only stressed sounds appear, since vowels often change in an unstressed position. Therefore, sometimes assonance is defined as the repetition of stressed or weakly reduced unstressed vowels.

So, in the lines from " Poltava» Pushkin's assonances on a and on about create only accented vowels:
Quiet Ukrainian night.
About the transparent sky.
The stars are shining.
You can overcome your slumber
doesn't want air.

And although many unstressed syllables repeat variants of these phonemes, conveyed by the letters o, a, their sound does not affect the assonance.

In cases where unstressed vowels do not undergo changes, they can increase assonance.

For example, in another stanza from " Poltava» the sound of speech determines the assonance on at; since the quality of this sound does not change, and in the unstressed position, y emphasizes the phonetic similarity of the highlighted words:
But in the temptations of a long punishment,
Having endured the su deb at the gift,
Strengthened Russia.
So heavy mlat
Shattering glass,
Ku et boo la t.

In the last two lines, the assonance to at connects with assonance a.

In the same text, different sound repetitions are often used in parallel.
Chalk oh, chalk oh all over the earth
In about all pre de ly.
Candle cha burned and on with roofing paper,
The candle was burning(Parsnip).

Here is the assonance e, and alliterations on m, l, s, v; repeated combinations of consonants: ml, sun - sv. All this creates a special musicality of poetic lines.

Everyone at least once in their life heard or said a rhyme with which you can calm crying children: “ Quiet, mice, the cat is on the roof. And the kittens are even higher».

Why do each of us remember and pronounce some phrases (poems, tongue twisters, quotes) all our lives? How do conspiracies, sentences, grandmother-whisperers, etc. work? What is the secret of popular slogans and slogans (political, advertising)? We believe that sound recording is of great importance in all this.

Dissonance - a complex type of sound writing, built on the use of consonant, but not rhyming words; Thanks to this technique, the poem acquires sound integrity.

For example:
It was:
socialism -
awesome word!
With a flag
with a song
stood on the left
and herself
on the head
glory descended.
Passed through the fire
through cannon muzzles.
Instead of mountains of delight
mountain of the valley.

It became:
communism -
the most common thing.
(V. Mayakovsky)

Cool
bourgeois
furious temper.
torn apart by thiers,
howling and groaning,
shadows of great-grandfathers -
Parisian Communards -
and now
yell
the Parisian wall.
(V. Mayakovsky)

I will climb at dawn to the silver cedar
Admire squadron maneuvers from there.
Sun, morning and sea! How cheerful I am,
Like air is thoughtless, like a mummy is wise.
Who is glorified by eagles - ah, he is not up to otters.
(I. Severyanin)

One of the types alliteration counts onomatopoeia .

Onomatopoeia - creating, with the help of sounds and words, a more specific idea of ​​\u200b\u200bwhat is said in this text.

Onomatopoeia - the simplest type of instrumentation is that the poet, by a certain selection of sounds, hints, as it were, at the sound side of the depicted.

For example:
German motors growl at the top:
- We are the Fuhrer and obedient slaves,
We are turning the city of oda into a city of oby,
We are death... You will no longer be scorched.
("Pulkovo Meridian" V. Inber)

Sound repetition [R ] creates the illusion of the sound of a German aircraft engine, the terrible sound of bombing. And although such onomatopoeia is considered an elementary type of alliteration, one cannot but admit that in the above passage the growl of fascist aircraft over besieged Leningrad is perfectly conveyed.

So, in Mayakovsky's phrase: " They beat hooves, they sang as if: mushroom-hornbeam-coffin-rough.. ." - a fairly clear imitation of the sound of hooves is given.
With a familiar noise, the noise of their tops in...
(A. Pushkin)

It's about pines; selection of sounds [w] and the convergence of two sliding aspirated [X] reproduced their noise.
Barely audible, silently cleverly rustling at reeds and ...
(K.Balmont)

The valley trembled, the blow resounded...
(A. Maikov)

It's about an explosion; four [e], three [R], two assonances (" IMPACT HAS HAPPENED”) resemble both the sound of an explosion and the peal of this sound.
Your stronghold smoke m and thunder ...
(A. Pushkin)

It's about a cannon salute; twice [tv], twice [dy] correlate with the sounds of gunfire.

Here is an example of a much more subtle onomatopoeia:
And shine, and noise, and talk orbal ov,
And at o'clock as pir ears are cold
The hiss of foamy glasses
And punch and the flame is naked.
(A. Pushkin)

Lip sounds dominate here ([b], [c], [m], [p]), hissing ( [h], [w]) and sonorants ( [p], [l]), making up an array of 28 sounds and 44 consonants of this passage, i.e. 64%.

Another technique that is used less often than others - onomatopoeia .

These are words that imitate their own meaning. These words are " snore», « crunch", and derivative words" snore», « crunch" etc.

For example:
And the crunch of sand, and the snoring of a horse
(A. Blok)

Frost-drenched puddles
crunchy and brittle like crunch al
(I. Severyanin)

A more complex method of sound recording - punning rhyme .

pun rhymes - these are rhymes built on a play on words and sound similarities.

They are often used for comic effect. Various authors have an example of such a rhyme, such as, for example, A. S. Pushkin, D. D. Minaev, V. V. Mayakovsky and others.

In a punning rhyme, polysemantic words are used, as well as homonyms - when only sound identity is established between words, and there are no semantic associations.

For example:
You puppies! Follow me!
You will be on the kalach,
Look, don't talk
Otherwise, I'll beat you.
(A. S. Pushkin)

He was careless for twenty years,
Not giving birth to a single line.
(D. D. Minaev)

The area of ​​rhymes is my element,
And I write poetry easily,
Without hesitation, without delay
I run to line from line,
Even to the Finnish brown rocks
I'm dealing with a pun.
(D. D. Minaev)

Another method of sound recording anaphora and epiphora. This is the name of the subsection of sound writing, which distinguishes it by its location in the verse.

Epiphora- repetition of the end of the verse.

Anaphora, or monotony, is a stylistic device consisting in the repetition of related sounds, words, syntactic or rhythmic constructions at the beginning of adjacent verses or stanzas.

sound recording- the use of various phonetic techniques to enhance the sound expressiveness of speech.

sound recording allows you to significantly (at times) enhance the impact of speech and text, choosing words with the “correct sounds”.

For example:
For three days it was heard how on the road a boring, long
There was a knock and a joint and: east, east, east. ..
(P. Antokolsky reproduces the sound of carriage wheels.)

Or:
Near me, a locomotive was moving along the tracks.
On the right, a steam locomotive passed along the rail.

sound recording often found in Russian literature, especially in poetry. K.D. uses it very well. Balmont, who gave a figurative description of the sounds of speech (the sound is " small sorcerer gnome”, magic) and, of course, V.V. Mayakovsky.

Basic functions of sound recording

The artistic purpose of sound recording may be to simply create harmony, the musical sound of speech ( U Ch e r but go sea I h inar and there is a young ...- Lermontov M. Yu.). Such use of sound writing, if it does not damage the logical side of speech, is quite aesthetically justified. The harmonious repetition of consonances and individual consonants gives speech a special beauty.

However, word artists are usually not satisfied with the beauty of the sound of speech and try to involve sound writing in solving more complex stylistic problems. Sound writing can perform a serious semantic function in poetic speech: emphasize logically important words, artistic images, motifs, themes. V.V. Mayakovsky, talking about the features of artistic creativity. In the article " How to make poetry? he wrote: I resort to alliteration for framing, for even greater emphasis on a word that is important to me.". The sound similarity of words often emphasizes the semantic proximity, homogeneity of objects. Sound repetitions highlight homogeneous members of the sentence.

Sound can play a compositional role : communicate a similar sound to the semantic segments of the phrase and phonetically distinguish each new poetic image.

For example:
You were torn by the movement of a frightened bird,
You went, words, but my dream is light ...
And in the air, did the spirit go, and the eyelashes fell asleep,
Anxious silks whispered.
(A. Blok)

Here the repetition of sounds c - y - p in the first line combines words associated with the image of a bird; a different sound coloring gets a comparison like a dream; "Roll-call" of consonants and vowels distinguishes subsequent speech segments separated by pauses: after the phrase "the spirits sighed"as if a sigh is heard (this illusion is created by a combination of sounds d - y - x), figurative expression "drooped eyelashes" receives a special expression due to the harmony of consonances re - re, s - s - ts; finally, in the next line, the expressive alliteration for hissing reflects the noise of the silk dresses of a mysterious stranger who flashed past ...

Thus, the development of the theme is consistently reflected in alliterations and assonances .

As an expressive means, sound repetitions are used in the headlines of newspaper and magazine articles, works of art (“ Dew at dawn», « Fountains of Fedorovka"). This use of sound writing can be called attention-grabbing.

If we draw an analogy with cooking, then the sound recording allows you not to boringly prepare a dish, but to freely experiment in the process, adding seasonings and spices.

You should not overdo your speech (oral, written) with alliteration and assonance. It is much more effective with their help to emphasize its main essence, to isolate the core of meaning, scratching the interlocutor to the very heart.

Practicing in sound writing, you can not only develop attention, memory and expand your vocabulary, but also (most importantly) feel how easily your phrases change their sound from POWERFUL and MAJESTIC to SILENT and PENETRATING, you just need to choose the right words.

The process of commanding sentences is pleasantly striking. Addictive. Allows you to get positive emotions when writing even the most boring texts.

The use of various methods for strengthening sonic expressiveness of poems.

Sound recording (instrumentation) - the technique of enhancing the figurativeness of the text by repeating stressed and unstressed syllables, vowels and consonants. The most common form of sound writing is poetic repetitions, which form a special construction of the text. This gives the text a kind of symmetry.

Sound recording is created in a variety of ways:

1. Alliteration- repetition of consonants.

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

A storm is close, beats on the shore

Uncharmed black shuttle...

Alien to the pure charms of happiness,

Boat of languor, boat of worries

Threw the shore, beats with the storm,

The hall is looking for bright dreams ...

(K. Balmont)

V.V. Mayakovsky in the article “How to make poetry?” wrote about alliteration:

Alliteration must be dosed extremely carefully and, if possible, repetitions that do not protrude outwards. An example of clear alliteration in my Yesenin's verse is the line: “Where is he, the ringing of bronze or granite edge ... I resort to alliteration for framing, for even greater emphasis on an important word for me

One of the types of alliteration is onomatopoeia.

German engines growl above:

We are the Fuhrer's obedient slaves,

We turn cities into coffins

We are death... You will be gone soon.

("Pulkovo Meridian" V. Inber)

The repetition of the sound "er" creates the illusion of the sound of a German aircraft engine, the terrible sound of bombardments.

2. Assonance- repetition of vowels. Sometimes an assonance is called an inaccurate rhyme in which the vowels coincide, but the consonants do not coincide (enormity - I'll come to my senses; thirst - it's a pity). Assonance enhances the expressiveness of speech.

At our ears on top,

A little morning lit up the guns

And forests blue tops -

The French are right here.

I scored a charge in the cannon tight

And I thought: I will treat my friend! ..

("Borodino", M. Lermontov)

The repeated repetition of the sound "y" helped the poet convey the echo of the early morning; the rumble that spreads over the field before the battle.

Here is how Alexander Pushkin manages the same sound “u”:

Do I wander along the noisy streets,

I enter a crowded temple,

Am I sitting among the foolish youths,

I surrender to my dreams.

(A. Pushkin)

The assonance of the "y" sound is used to represent the rumble of a city street.

And here is an example of the use of assonance by K. Balmont.

I am a free wind, I always blow
I wave the waves, I caress the willows,
In the branches I sigh, sighing, dumb,
I cherish the grasses, I cherish the fields
(K. Balmont)


Repetition of vowels "o" and "e"

3. Punning rhymes- rhymes built on word play and sound similarity. They are often used for comic effect. In a punning rhyme, polysemantic words are used, as well as homonyms - when only sound identity is established between words, and there are no semantic associations.

You puppies! Follow me!

You will be on the kalach

Look, don't talk

I won't beat it.

(A. S. Pushkin)

He was careless for twenty years,

I did not give birth to a single line.

(D. D. Minaev)

4. Anaphora- a stylistic device consisting in the repetition of related sounds, words, syntactic or rhythmic constructions at the beginning of adjacent verses or stanzas.

Sound anaphora is a feature of alliterative verse, in which there should be an equal number of logically strong stressed words in certain places, but it is sometimes found in metrical verses built on the basis of meter.

Storm-blown bridges

A coffin from a blurry cemetery.

(A. Pushkin)

Lexical anaphora, repetition of the same words:

Wait for me and I will come back.

Just wait a lot

Wait for sadness

yellow rain,

Wait for the snow to come

Wait when it's hot

Wait when others are not expected

Forgetting yesterday.

Wait when from distant places

Letters will not come

Wait until you get bored

To all who are waiting together.

(K. Simonov)

Syntactic anaphora, (anaphoric parallelism) repetition of syntactic constructions:

I stand at the high doors

I follow your work.

(M. Svetlov)

Strophic anaphora, the repetition of words or syntactic constructions in adjacent stanzas: in the following example, the anaphoric word, although it is separated into a separate typographical line, but it forms the beginning of an iambic verse, which ends with the following line:

Earth!..
From snow moisture

She's still fresh.
She wanders by herself
And breathes like deja.

Earth!..
She runs, runs

5. Epiphora- a stylistic device consisting in the repetition of related sounds, words, syntactic or rhythmic constructions at the end of adjacent verses or stanzas.

Noisy, sparkling

and dragged to the distance,

and drove sorrows

and sang away...

(K. Balmont)

6. Onomatopoeia- words that imitate their own meaning. Such words are the words “Snoring”, “Crunch”, and derivative words “snoring”, “crunching”, etc.

And the crunch of sand, and the snoring of a horse

Frost-drenched puddles

crunchy and brittle like crystal

(I. Severyanin)

There are many other methods of sound writing: dissonance, joint, ring, etc. But the six named above are the most popular and more often used by Russian poets.

Sound writing is "the use of secondary sound signs of speech for expressing various emotions, additional meanings, etc. (Great Soviet Ents-I). In the poet's dictionary of A. P. Kvyatkovsky - sound writing is a conditional term for one of the types instrumentation of the verse, the cat having established the corresponding phonet of the composition of the phrase in the depicted picture. V. Kholshevnikov writes: "Apart from rhyme,
repeating regularly, sound repetitions within the verse now appear, then disappear, then they are barely caught, then they are heard very clearly. Therefore, when clearly audible repetitions occur after a series of "neutral" verses in relation to sound, the verse stands out noticeably.

Write with sounds.

Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
A storm is close, beats on the shore
Uncharmed black shuttle...
Alien to the pure charms of happiness,
Boat of languor, boat of worries
Threw the shore, beats with the storm,
The hall is looking for bright dreams ...
(K.Balmont)

Soundwriting is an artistic technique,
which consists in creating images by choosing words that
imitate the sounds of the real world (whistle of the wind, roar of the motor, etc.).

Sound recording is created in different ways:

1. Alliteration- repetition of identical or similar consonants. The poet's sense of proportion and the thin tact of the poet's choice, character and appropriateness of alliteration in verse; there are no rules for using it and cannot be. (“Pipes are blowing in Novegrad, banners are standing in Putivl ...- A word about Igor's regiment). Transfer of settings before the battle. Pushkin, Tyutchev, Derzhavin, Batyushkov.

2. Assonance- repetition of vowel sounds. For the expressiveness of speech.

(Lermontov: At our ears on the top of the head, a little morning lit up the cannons and forests of the blue tops ...) Repeat - to create the atmosphere of the morning.

3. pun rhyme- rhymes based on wordplay and sound similarity. To achieve a comical effect. Pushkin, Mayakovsky. Use of homonyms, polysemantic words.

Etc. - You puppies! Follow me!

Will you by kalach,

Look, don't talk

But not that I'll beat you.

(A. S. Pushkin)

He was twenty years old negligent,

single line without giving birth.

(D. D. Minaev)

4. Anaphora, epiphora

An epiphora is a repetition of the end of a verse. Anaphora - repetition of related sounds, words, synth repetition in the beginning of verses, stanzas.

A) Lexical anaphora - subsided,dejectedly blue sea,
subsided,depressed fast rivers,
subsided,depressed walking clouds,
The blessed queen reposed...
(Folk historical song "Death of Nastasya Romanovna")

It creates the effect of sadness, crying.

Syntax anaphora, (anaphoric parallelism) repetition syntax construct:

I am standing at high doors
I follow for your work.

(M. Svetlov)

strophic anaphora, repetition of words or syntax of constructions in adjacent stanzas: in the following example, the anaphoric word, although it is separated into a separate typographic line, but it forms the beginning of an iambic verse, which ends with the last line:

From snow moisture

She's still fresh.

She wanders by herself

And breathes like deja.

She runs, runs.

Epiphora - Noise whether, sparkle ali

and to d ali attracted whether,

and Mr ali oven ali,

and ne whether vd ali…

(K. Balmont)

5. Onopathomea- words, imitating their own meaning - snoring, crunching.

Frost-drenched puddles

They are crunchy and fragile, like crystal (Severyanin)

There are many other methods of sound writing: dissonance, joint, ring, etc. But the six named above are the most popular and more often used by Russian poets.

Sound repeats

They have a similar character to other repetitions (choruses, rhymes) and are directly related to our perception. The more you repeat, the greater the conviction.

In European verse, repetitions begin at the level alliterations (Celtic, German tradition) - the repetition of the same close-sounding times. Alliteration - the principle is based on the consonance of sounds, more often consonant, repeating from line to line, but not regularly, without a system. Etc. in the "Song of Hilldebrand" the names of the kings are consonant (Heldebrand, Herebrand, etc.).

The Nibelungenlied contains the beginnings of rhyme.

Gertrude Stein wrote: "and a rose is a rose, there is a rose, there is a rose", or other translation: "... I am a rose like anything."

But in these alliterations there is not enough order (they either appear or not in any place), we are waiting for some kind of response, and therefore a rhyme appeared.

phonics

- the doctrine of the sound organization of the text, which is defined as the compliance of the text with the norms of euphony in general (for example, the text is checked for facts confluence of vowels or consonant clusters ), and the use by its author of sound repetitions ( alliteration , consonance and assonance ), as well as the facts of their semantization.

sound recording

it is a set of methods of phonetic organization of the text. In everyday speech, sounds are used arbitrarily, since the native speaker does not specifically think about which of them should be used. Meanwhile, many authors of works of art, especially poets, carry out a careful selection of sounds, guided by aesthetic objectives. The repetition of the same sounds may be necessary for the author as an additional means of rhythmizing speech. Therefore, among phonetic devices, first of all, sound repetitions are distinguished. These include alliteration, consonance and assonance.

Sometimes repetitions of sounds or their combinations have an exclusively ornamental function, i.e. decorate the text with the fact that they give it overall harmony. But sometimes they are associated in the author's text with a certain semantic meaning - and it is then that the phenomenon of sound writing arises:

Comes out Pe tr. His eyes
Shine. His face is terrible.
Movement bys tr s. He etc ek R asen.
He is like God gr oz.
Goes. A horse is brought to him.
Zealous and humble faithful horse.
Feeling the fatal fire
dr revived Eyes askance
And rushes into etc ahh combat,
Proud of the mighty rider.

In the poem "Poltava" A.S. Pushkin, by careful selection of words, forms the connection of sound repetitions with the visual image of Peter's actions. So, combinations of consonants in words bys- tr-s, etc-e- kr-asen, gr-ose, others- alive, in etc-ahe convey the energy and determination of the Russian Tsar.

The connection between the sound composition of speech and meaning is even more clearly manifested in cases where writers turn to paronomasia.

sound recording

sound recording

Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

sound writing

A set of methods of phonetic organization of the text. In everyday speech, sounds are used arbitrarily, since the native speaker does not specifically think about which of them should be used. Meanwhile, many authors of works of art, especially poets, carry out a careful selection of sounds, guided by aesthetic objectives. " P about l e n OU P a l about n a P a l ec H a P about l eo n a "- in this phrase, repeated repetition of consonants P-l (l')-n clearly audible. The repetition of the same sounds may be necessary for the author as an additional means of rhythmizing speech. Therefore, among phonetic techniques, first of all, sound repetitions are distinguished. These include alliteration, consonance and assonance.
Sometimes repetitions of sounds or their combinations are associated in the author's text with a certain semantic meaning:

Pyo comes out tr. His eyes

Shine. His face is terrible.

Movement bys tr s. He etc e kr asen.

He is like God gr oz.

Goes. A horse is brought to him.

Zealous and humble faithful horse.

Feeling the fatal fire

dr revived Eyes askance

And rushes into etc ahh combat,

Proud of the mighty rider.

In the poem "Poltava" A.S. Pushkin careful selection of words forms the connection of sound repetitions with the visual image of Peter's actions. So, combinations of consonants in words by- tr-s, etc-e- kr-asen, gr-ose, others- alive, in etc-ahe convey energy and purposefulness Rus. king.
The connection between the sound composition of speech and meaning is even more clearly manifested in cases where writers turn to paronomasia.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

sound recording

SOUND - according to Potebne - onomapoetic speech. ('"Ονομα - name name). This name denotes such a property by which speech characterizes an object with its external sound side, a combination of vowels and consonants, regardless of the meaning that is embedded in the content of the word. Therefore, onomapoetic or sound-written words give an idea of ​​the subject in two ways: the external form of the word and the internal - its meaning.In words - croak, buzz, meow, cuckoo, laughter, clatter - the sound form indicates that a frog croaks, a cat meows, a cow mooes, etc. If for the student the Russian language knows the meaning of the words - a frog, a cat and a cow - then he will guess the meaning of the predicates given by one sound form, because these words carry an element of onomatopoeia. path inherent in every word of the primitive language, since this word at the moment of speech had a special shade of meaning in comparison with the previous one. They also indicated what effect the object had on the organ of hearing. From this, it would seem easy to draw the conclusion that all objects, the actions and signs of which are perceived through the word, must be onomatopoeic in their origin, but such a conclusion would be erroneous. Onomatopoeia of phenomena of animate and inanimate nature is difficult to reproduce, because all sounds and noises, except for the human voice, are inarticulate. In the meowing of a cat, the neighing of a horse, the barking of a dog, the noise of a waterfall, the rumble of a pavement, etc., the noises merge so that they produce one auditory sensation, which, only by analogy with the sounds of a voice, is divided into several separate noises. This explains the fact that onomatopoeic words in different languages ​​are not the same. There can be no similarity in onomatopoeic words also because between the motor sensations of the movements of the speech organs and the auditory ones, their own associations have been established in each language and, thanks to this, each word of a foreign language is pronounced according to the patterns that are characteristic of the speaker's language. This explains all the shades of someone else's pronunciation, for example, Germans, Tatars, Chinese, etc. Judging by analogy, taking into account the gradual desire of children to free themselves from onomatopoeic words imposed on the child by adults, as a result of which he instead of gamk pronounces baka (dog ), instead of meow - a cat, etc., then one must think that in the primitive language, onomatopoeia gradually weakened. It should have weakened also because the root of the word in all the inflected parts of speech and in the unchangeable parts of speech and in the invariable ones derived from the invariables is complicated by suffixes: ku-ku-shka, we-chat, etc. At the same time, according to special laws, different for each language, there is a change in the root sounds, words. T. o., Greek. the word βου̃ς, lat. boss, russian and glory, the bull is onomatopoeic in its structure, but we learn about this only from a comparative analysis, by using the methods inherent in comparative linguistics.

Due to the fact that the sounds and noises formed in the cavities of the mouth and nose often do not coincide with the noises and sounds of nature, as well as the fact that each language forms its own articulations (its own ways of speech organs), - as a result, the subjective onomapoeticity of the word is formed. . For us, onomatopoeia is thunder, for Romans it is tonitrus, for Germans Donner, for us onomatopoeia is trampling, for Germans it is Stampfen. From this we see that each language uses its own means for onomatopoeia.

As for the onomapoeticity of coherent speech, here it is necessary to distinguish: 1) the onomapoeticity of sounds and 2) rhythm. The first depends on the instrumentation of speech, the second on the tempo. Instrumentation can be direct or indirect. Direct instrumentation consists in the fact that the sounds of the word correspond to the action of the object. Moreover, the name of an object or action can be either onomanoetic, or words that have a different meaning, with their sound composition, can only indicate the object or action, but not designate it. Most often, speech is constructed in such a way that the sound idea of ​​an onomapoetic word is included in the sound composition of other words (see Alliteration). Let's take an example. In the proverb “from the clatter of hooves the dust rushes across the field” the word stomp is onomapoetic: the sounds t, u, t convey the idea of ​​auditory sensation; in the word - hoof, taken separately, this idea is absent, but it is strengthened by the repetition of consonants and the new consonant k. Let's give an example for the second case. Words that have nothing to do with onomapoieticity, thanks to repetition and alliteration, become onomapoetic:

Oh how, oh how

us to you,

Oh gods, don't cry.

(Sumarokov).

The words “like” and “to you”, taken separately, have nothing to do with the croaking of frogs, but in connection they characterize this croaking.

Another example from Chanticleer Rostand, translated by Shchepkina-Kupernik:

CHORUS OF BEES.

Buzzing, spinning

Circle, buzz,

We drank greedily from jasmine,

Then we fly to other people's flowers.

CHORUS OF OWLS.

Uh, uh, uh!

Hiss and crack and sipi-and-and-and,

And meow

hoot, howl, hoot,

Intimidate with hellish torment.

Uh, uh, uh!

Onomapoeticity, built on indirect instrumentation, consists in establishing a connection between auditory sensations and others - visual or motor. An example from Chauntecleer:

HOR OS.

A swarm flies, a swarm of frisky wasps

Over a ridge of ruddy roses;

Under the game of early growth

The robes of roses are gently glowing.

The onomapoetic nature of rhythm is reduced either to its fast or slow flow. We will not give examples: they can be found on any page of our poets. Rhythm is sometimes combined with onomapoeticism, for example, in the proverb - "You drive more quietly, you will continue."

Iv. Lyskov. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

Synonyms:

See what "Sound" is in other dictionaries:

Sound recording ... Spelling Dictionary

In versification, it is the same as a system of sound repetitions, especially selected with the expectation of onomatopoeia rustling, whistling, etc. (... Barely audible, silently rustling reeds, K. D. Balmont) ... Big Encyclopedic Dictionary

SOUND, sound recordings, pl. no, female (lit.). Same as euphonia in 2 meanings. Explanatory Dictionary of Ushakov. D.N. Ushakov. 1935 1940 ... Explanatory Dictionary of Ushakov

SOUND, and, wives. In artistic speech: sound repetitions, saturation with the same or similar sounds for the purpose of figurative onomatopoeia. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

Exist., number of synonyms: 2 sound recording (5) repetition (12) ASIS synonym dictionary. V.N. Trishin. 2013 ... Synonym dictionary

sound recording- SOUNDING according to Potebne onomapoetic speech. (’ Ονομα name name). This name denotes such a property by which speech characterizes an object with its external sound side, a combination of vowels and consonants, regardless of the meaning, ... ... Dictionary of literary terms

sound recording- a system of sound repetitions, focused on the conditional reproduction of the sounds of nature, reflective exclamations of people, sounds produced by objects, etc. Heading: structure of a poetic work Whole: sound organization of a verse View: ... ... Terminological dictionary-thesaurus on literary criticism

AND; well. 1. Artistic embodiment in music of the sounds of the surrounding world. 2. A set of techniques (alliteration, etc.) that enhance the sound expressiveness of the verse. * * * sound writing in versification is the same as the system of sound repetitions, in ... ... encyclopedic Dictionary

Shklover Mark Yurievich

Emotions of sound and sound of emotions

Tab. one. The sound of emotions.

All values ​​are given relative to the letter "A". The grammatical potential of a letter, the rhyming potential of a letter, the magnitude of the emotional potential of a letter, and the quality of a poem were evaluated on a 5-point scale.

Letter	Quantity	Potential	EMOTIONAL VECTOR LETTERS	The quality of the poem	Comments
words	verbs	grammatical	rhyming	Value	Direction
BUT						CONFUSION. Absurdity, excitement and apathy		Few verbs, weak EVB.
B						HOSTILITY Burden of combat (brother beats brother)
AT						Faith, majesty Eternity, time, universe
G						ANGER The oppression of anger, sin, dirt and grief.
D	1.5					DEBT Business, money, soul, friendship
E	0.1	0.1	-	-	-	No sound E	-	Weak letter
F	0.1	0.5				PASSION, THIRST Desire, lust for life		Weak letter
W						DEPENDENCE Call, earth, gold, zone, link
And			1.5			INTEREST Play, search, intrigue		Slight lack of verbs
Y					-	-	-	Weak letter
To						Cunning Kaverza, dagger, conflict
L	0.5	1.5				LOVE Caress, cling, kiss
M	1.5					MAYATA Flicker, loom, wrinkle		Missing verbs
H						DEPRESSION Whining, punishment, nerves		Verb storage
O						SURPRISING		Verb storage
P						PRIDE Victory feat premium prize		Verb storage
R						Rage, zeal, roar, roar		Verb storage RL Lack of noun. and apply.
With						COMPASSION Death, sorrow, old age
T		2.6				ALARM Darkness, mystery, silence		Slight lack of verbs
At		8.6				HORROR Ghoul, killer, freak		Lack of nouns
F	0.5					CONFIDENCE Fort, queen, doom		Serious lack of verbs.
X	0.5					DISPOSAL Boor, rubbish, barn
C	0.1	0.5				SUPERIORITY King, center		Weak letter
H	0.5					FUN Eccentric, scarecrow, grubby
W	0.5					SHOCK Assault, flurry, storm		Skewed towards verbs, missing nouns
SCH	0.05	0.3				ATTACHMENT Spare, shield, grope		Weak letter
E	0.5	0.5	0.5			ANNOUNCE Eh		Serious lack of verbs. Zero EVB
YU	0.05	0.1				No sound Yu		Serious lack of verbs
I	0.1	0.1				No sound I		Weak letter

Tab. 2. Emotion of sounds. The classification of emotions and feelings was taken as a basis. Ilyin E.P. (added emotions in the left column are written in lowercase letters)

EMOTION-FEELING	SOUND	Emotion vector
Emotions of expectation and forecast
ANXIETY	T	Darkness, mystery, silence
FEAR, horror	At	Ghoul, murder
frustration emotions
ANNOUNCE	E	Eh
DEPRESSION, whining	H	Whine punishment attack in vain anguish
LONGING, lighthouse	M	flicker looming crumple
DISGUST	X	Khabal ham trash
ANGER	G	Gad hell rot pus bend sin grimace thunder
frenzy, rage,	R	Roar, joy, zeal, roar
Communicative emotions
FUN	H	Smack child tap dance smack eccentric scarecrow
CONFUSION, a state of absurdity	BUT	Agony adrenaline crash anarchy
compassion	With	Death, sorrow, old age
Intellectual emotions
SURPRISE, stunned	O	Very cheating to measure oh misfire
INTEREST	And	Game, intuition, seek
Emotion guesswork
CONFIDENCE	F	Fact fort queen finca fatum
Emotions arising in the process of activity
STRESS, shock	W	Assault flurry storm awl syringe epee spire spur bayonet
FEELINGS
ATTACHMENT	SCH	Spare, shield, feel
addiction	W	Call, earth, gold, zone, link, grain
duty	D	Do, children, home, money, friend, power, team, soul
LOVE	L	caress, cuddle, kiss
passion, thirst	F	Wish, live, woman, greed, love of life
SUPERIORITY	C	reign, whole, center
HOSTILITY	B	Beat, scourge, bomb, fight
AGGRESSION, conflict, deceit	To	Punish, dagger, blade, boil, conflict
PRIDE	P	win patriot prestige pearl feat honor prize prize
faith, majesty	AT	Eternity, time, universe, top, will, warrior, power

The sound sequence of words, which creates a certain sound, acts as a tool for the formation of meanings. This is the first (and main) function of sound writing in a poetic text. The term "function" is used here in the meaning of "task" - simply put, the function determines what the use of this or that technique in the text gives.

Sound recording features

1. Sound is a conductor of meaning.
In this context, the concept of "sound-writing" is used in the narrow sense of the word: as the correspondence of the sound composition of the phrase to the depicted one.

1. And I will listen to silence,
leafing through Pushkin's poems,
Look out the window at the moon
And stir up problems in your mind.

2. Blowing lips in the evening. The wind blows.
The river frowns eyebrows-shores ...

2. Sound repetition acts suggestively, generates the magic of the word, the effect of musical accompaniment, subtly conveys the mood of the lyrical hero.
Phonetic expressiveness makes a significant contribution to the creation of the energy of the poem, its influencing potential. Articulatory tension, with which many combinations of consonants are pronounced, entails the general phonetic tension of the verse, and this tension is transmitted to the content, affects its perception.

The ear of the spikelet
The sun aims at the temple.
Glare, faces, faces.
But the bird is chirping.
wheel wheeled,
Rolled over the woods.
Cross on the bell tower
The sky hurts

.
3. Sound writing enhances the non-linearity of the poetic text, which manifests itself in the large role of vertical connectivity. Words are connected not only horizontally, linearly - by morphological and syntactic connection (cohesion), but also vertically, i.e. semantic, figurative, sound echoes of words are created, uniting them into one whole (coherence).

Anatoly Melnik
FISHING

Light ripples and swells
Dark fish backs
Glare and clouds
The river is full of sunshine.
smooth fins,
Nega and whim lines.
My little catch
Pike, perch and words.

4. Sound writing weakens inaccurate rhyme, if any, in the stanza. For example:

I looked - completely gray,
Near neighbor, grandfather,
In my soul - a garden,
Seven settled troubles.

ALLITERATION(from lat. ad - to, with, with and littera - letter; subletter) - the oldest stylistic device for enhancing the expressiveness of artistic speech, especially verse, by repeating consonant sounds. A. is found in folk poetry and in the literature of all peoples of the world. A. rich poems of Homer, Hesiod, Horace, Virgil and many later poets in Europe - Dante, Petrarch, Ronsard, Shakespeare. The sense of proportion and artistic tact of the poet determine the choice, character and relevance of A. in verse; there are no rules for using it and cannot be.

A. occupies a prominent place in Russian folk poetry. Sonorous A. are scattered in the text "Words about Igor's Campaign":

The trumpets are blowing in Novegrad, the banners are standing in Putivl...

Night moaning to him with a thunderstorm, wake the bird; the whistle of the beasts is near ...

With advance in the heel of the trample, the filthy Polovtsian placks ...

Many Russian proverbs and sayings are built in sound terms on A. and on the rhyme that came out of A., which is under stress: “As hunger takes, a voice will appear”; "The quieter you go, the further you'll get"; "One with a bipod, seven with a spoon." Poets of the pre-syllabic and syllabic era do not have A.'s versification: at that time, Russian poets were hard at work on developing new rhythmic forms of verse, and such details as A. were out of their field of vision. Only in the 18th century, when the reformers of Russian versification V. Trediakovsky and M. Lomonosov developed the foundations of a new metrical verse, did a tendency to use alphabet as a means of sound expression emerge. A scientist and experimenter, Lomonosov composed special alliterative verses in which the "g" sound prevailed:

Hilly coast, favorable moisture,

Oh, mountains with clusters, where the south warms the lambs,

Oh, cities, where are the auctions, where are the brain-round mash ...

(“On the dubious pronunciation of the letter “g” in the Russian language”)

A. Sumarokov, G. Derzhavin and K. Batyushkov's experiments with verse alliteration were successful. Gorgeous A. in the verses of A. Pushkin.

Neva swelled and roared

Cauldron bubbling and swirling.

The hiss of foamy glasses

And punch flame blue.

Who will start a passionate bargain?

I sell my love...

In the following poems by Pushkin, subtle A. is used - a combination of consonants and vowels:

Sad time! oh charm!

Your farewell beauty is pleasant to me ...

In the spirit of Pushkin's artistry, there are beautiful A. and other poets, for example:

Like the Volga shaft is white-headed

Reaches a whole to the shores.

(N. Languages)

Volga, Volga, abounding in spring

You don't flood the fields like that...

(N. Nekrasov)

In the verses of the Symbolists who cultivated A., the sense of proportion is often violated; their A. are pretentious and intrusive, which is especially true of Balmont, who once struck his contemporaries with the poem “The Longing Boat”, entirely built on a mechanical change of alliterative sounds - c, b, h, s, etc .:

Evening. Seaside. Sighs of the wind.

The majestic cry of the waves.

A storm is close, beats on the shore

Uncharmed black shuttle...

Alien to the pure charms of happiness,

Boat of languor, boat of worries

Threw the shore, beats with the storm,

The hall is looking for bright dreams ...

Another poem by Balmont "Moisture" is entirely alliterated to "l":

The oar slipped from the boat,

The coolness is gentle.

"Cute! My dear!" - light,

Sweet from a cursory glance.

The swan swam away in the semi-darkness,

In the distance, whitening under the moon.

The waves crash to the oar,

Lashes to the moisture of the lily.

Involuntarily I catch hearing

The babble of a mirror bosom.

"Cute! My dear! I love" -

Midnight looks from the sky.

A. is original in the following verses by I. Severyanin:

Elegant stroller with electric beat

It rustled elastically on the highway sand.

“To dose alliteration,” wrote V. Mayakovsky in the article “How to make poetry?”, “It is necessary to be extremely careful and, if possible, repetitions that do not stick out to the outside. An example of clear alliteration in my Yesenin verse is the line: “Where is he, the ringing of bronze or the edge of granite ...”. I resort to alliteration for framing, for even greater emphasis on a word that is important to me.

One of the elementary types of A. is onomatopoeia, for example, in the poem “Pulkovo Meridian” by V. Inber (the growl of Nazi aircraft over besieged Leningrad):

German engines growl above:

We are the Fuhrer's obedient slaves,

We turn cities into coffins

We are death... You will be gone soon.

Or in P. Antokolsky's poem "About a guy from the Nazi division":

For three days it was heard how on the road a boring, long

The joints were tapping: to the east, east, east ...

ASSONANCE(French assonance - consonance) - 1) incomplete rhyme common in romance poetry, in which only stressed vowel sounds coincide. In Russian poetics, on the other hand, it is customary to call an inaccurate rhyme in which stressed syllables coincide, while the ends of rhyming words are either dissonant or approximately consonant. Assonance rhymes, as a stylistic device of euphony, have existed in Russian folk poetry for a long time. A. are found in "The Tale of Igor's Campaign", in "The Tale of Grief-Misfortune", in "Zadonshchina" and other ancient monuments of Russian literature. For example, A. in "The Tale of Igor's Campaign":

Rishcha in the path of Troyan,

through the fields to the mountains, -

sing the song of Igor...

If Igor is a falcon in flight, -

then Vloor will flow vlkom ...

A. Russian folk verses are sprinkled - songs, ditties, proverbs and sayings:

The girl is arrogant -

Didn't give thanks

Didn't call me friend.

Alyonushka is not good,

Didn't let me drink water.

Black-browed big guy

He put a stone on his heart.

I give a scarf - blue coims,

Wipe yourself, dear, remember.

Dear falcon, dear swan,

When you get bored, you will come.

Here is A. in ditties of the Yaroslavl region:

I will sew a dress with a frill,

I will embroider a puff on the frill.

No time is harder

When a darling loves two.

Sing more merrily, harmonica,

Louder, black furry,

My darling on the path

I was driving a fordzone.

Friends about me

They say that a fashionista.

I need to be fashionable

Because - a collective farmer.

Along with rhymes, A. are found in the works of Russian virsheviks. The reform of versification, carried out by Trediakovsky - Lomonosov, established the principle of classical rhyme: from the vowel of the stressed sound to the end of the word, all sounds must coincide. However, Russian classics can sometimes be found among strict rhymes and A., for example, in Pushkin:

And in front of the blue rows

Their militant squads,

Carried by faithful servants,

In a rocking chair, pale, motionless,

Suffering from a wound, Karl appeared.

("Poltava")

But the hammer crushes stones,

And soon the ringing pavement

The saved city will be covered,

Like forged armor.

("Onegin's Journey")

The Development of Arrow in Russian Poetry of the Late 19th and Early 20th Centuries should be considered as an important moment in the search for new expressive means. In the Soviet era almost all Russian poets use A.

Here is the beginning of V. Mayakovsky's poem "Vladimir Ilyich Lenin", where the first two stanzas are entirely sustained in the A. system:

a story about Lenin.

But not because

no more

time because

what a sharp longing

became clear

conscious pain.

Lenin's slogans whirlwind!

spread out

tear puddle?

more than alive.

Our knowledge is

and weapons.

Here are a number of examples of A. in the verses of other Soviet poets:

I want to go home, in vastness

An apartment that brings sadness.

I'll come in, take off my coat, I'll come to my senses,

Light up the street lights.

(B. Pasternak)

Congratulations mom

happy birthday to your son.

Are you worried about him?

and worry a lot.

Here he lies

sick and untidy,

unwisely married,

unprofitable for the home.

(E. Evtushenko)

We watched the sunset for a long time

Neighbors of our keys were angry.

To the old piano musician

He bowed his sad gray hairs.

(B. Akhmadulina)

When there is an excess of the soul in the soul -

No petty feelings, no hackneyed words.

The soul is generous in a new way,

Good, like a song carduelis.

(R. Kazakova)

2) The repetition of percussive, mostly vowel sounds within the verse. Internal A. are found in Russian folk verse, for example, in the song “Oh, you, canopy, my canopy”:

Canopy new, maple, trellis...

Released a falcon from the right sleeve ...

Fly you, my falcon, high and far,

And high and far to the native side.

Pushkin masterfully used the internal A., for example, in the following verses, built on a booming “u”:

Do I wander along the noisy streets,

I enter a crowded temple,

Am I sitting among the foolish youths,

I surrender to my dreams.

M. Lermontov’s internal A. on “u” and on “a” are very expressive in the poem “Borodino”:

At our ears on top,

A little morning lit up the guns

And forests blue tops -

The French are right here.

I scored a charge in the cannon tight

And I thought: I will treat my friend! ..

Here the drums crackle -

Examples of sound writing in Russian poetry

What is a poet? A person who writes poetry? Of course not. He is called a poet... because... because he... brings words and sounds into harmony, because he is the son of harmony, a poet... Three things are possible for him: firstly, to free sounds from their native beginningless element in which they reside, firstly secondly, to bring these sounds into harmony, to give them a form, and thirdly, to bring this harmony into the external world.