Особенности ритмического строя поэтического цикла «Fels, Wald und See» А. фон Дросте-Гюльсхоф

Abstract

UK: Проаналізовано особливості акустичної матерії поезій А. Дросте «Das alte SchloЯ» и «Im Moose» з циклу «Fels, Wald und See». Дослідження акустичного аспекту віршових творів, їх неповторного звукоряду та ритмометру виявляє чітко впорядковані ритмічні структури як органічний, функціонально навантажений спосіб реалізації семантично складного змісту. RU: Проанализированы особенности акустической организации стихотворений А. Дросте «Das alte SchloЯ» и «Im Moose» из цикла «Fels, Wald und See». Исследование акустического аспекта поэтических произведений, их неповторимого звукоряда и ритмометра выявляет чётко упорядоченные ритмические структуры в качестве органичного, функционально нагруженного способа реализации семантически сложного содержания. EN: The audio-structural organization of images used to be of interest to poetry scholars and poets alike. Yet, the acoustic features of Droste-Hьlshoff’s poetry have not attracted much scholarly attention, not even in the Western literature on German studies. At the same time, it is beyond dispute that the poetry’s acoustic aspect, its unique scale and rhythmic structure are at the core of the organic and functionally significant realization of any creative image. This paper deals with Droste-Hьlshoff’s poems «Das alte SchloЯ» and «Im Moose», both included in the «Fels, Wald und See» collection and as yet untranslated into both Russian and Ukrainian. The analysis encompassed the determination of the strophe type, such as octave (in «Das alte SchloЯ») and sixain («Im Moose»); the comparison of the number of stresses and syllables; as well as the identification of the poetical meter, such as choree tetrameter and iambic pentameter, respectively. Our analysis is framed by the understanding of the poem as a complex nexus of meaning communicating a content that is capacious, superrational, and “impressionist” (as suggested by M. L. Gasparov). This understanding is informed by the valuable ideas of the likes of M. L. Gasparov, V. M. Zhirmunsky, Yu. M. Lotman, and Yu. N. Tynyanov. The conclusion is that Droste-Hьlshoff’s early work has been the springboard for her later evolution. At her early formative stage, the author sought to transpose the complex semantic meaning into clearly ordered rhythmic structures. While her mature work is distinguished by technical experiments with broken rhythms, the hallmark of the «Fels, Wald und See» collection is the “correct” and canonic use of scales and structures that had been widespread in the German poetry at the time.