Attention will be paid to the period of the poet's mature work, when he was the central figure of the decadent-symbolist movement. During this period, he published three collections of poetry: Burning Buildings (1900), Let's Be Like the Sun (1903), and Only Love (1903).
The poet entered the history of Russian literature as one of the most prominent representatives of the first symbolist generation - the so-called “senior symbolism”.
Attention will be paid specifically to the mature period of creativity, because at this time the poetic capabilities of Konstantin Balmont reached the pinnacle of their development. He used the power of the Russian language, experimented, created neologisms, resorted to the phonetic side of words, and attached great importance not only to the meaning of poems, but also to their musicality.
This topic is relevant, since there are no studies aimed at the features of the poetic language of Konstantin Balmont. Attention is usually paid to the literary side of the poet's legacy, and this is not surprising, since he published 35 collections of poetry, 20 books of prose, and was involved in translations of Percy Shelley, William Blake, Charles Baudelaire, Oscar Wilde, Rustaveli, Spanish songs, Slovak, Georgian epics, Yugoslav, Bulgarian, Lithuanian, Mexican, Japanese poetry. He is the author of autobiographical prose, memoirs, philological treatises, historical and literary studies and critical essays. Behind all this creatively prolific work, it is difficult to analyze the features of his poetic language; researchers are more often attracted by the motives, themes and images of Konstantin Balmont’s work.
Poetic language undoubtedly differs both from the language of prose works and from the language that we use in everyday life. This is a language that has an aesthetic orientation. Poetic language, artistic speech, is the language of poetic, verse and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike ordinary, practical language, in which the main function is the communicative function, the poetic language is dominated by the aesthetic function, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic), so that they become valuable means of expression . The general imagery and artistic uniqueness of a literary work are perceived through the prism of the poetic “I” of the artist.
Unlike ordinary language, the primary modeling system, the original “picture of the world,” poetic language is by its nature a secondary modeling system, as if built on top of the first one and creatively perceived thanks to the projection onto it.
An aesthetic sign, an image appears as semantically “fluctuating”, multifaceted, and therefore encourages the reader to creatively perceive it.
An aesthetic sign, word, phrase, construction, text as elements of a secondary modeled system in its comparison with the usual sign of the primary system, reality, is characterized by a number of specific properties. An aesthetic sign does not have a standard, generally accepted, but a special artistic form. It is characterized by unusual compatibility with other words, expressive, word-formation, morphological structure, inversion, emphasized phonic organization.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of language, is important for the analysis of poetic text.
The period of the poet’s mature creativity opens with a collection of poems “Burning Buildings” - and this is the peak of Konstantin Balmont’s popularity, all-Russian fame comes to him, he becomes the central figure of Russian symbolist poetry.
In order to analyze the features of Balmont’s poetic language, it is necessary to trace the evolution of ideological guidelines, because this is precisely what can explain the choice of vocabulary and poetic figures.
Balmont's early work was considered largely secondary in ideological and philosophical terms: his passion for the ideas of “brotherhood, honor, freedom” was a tribute to the general sentiments of the poetic community. The dominant themes of his work were the Christian feeling of compassion and admiration for the beauty of religious shrines.
Then the poet becomes interested in Friedrich Nietzsche's ideas about the superman, and the tone of the poems changes, the vocabulary changes.
The poetry of the mature Balmont is characterized by scale and comprehensiveness: here is the era of Ivan the Terrible and Boris Godunov, Scythian raids and Ancient Rus', West and East (“Scythians”, “Oprichniki”, “In the Dark Days”, “Death of Dmitry the Red”, “Like a Spaniard” ", "Castle of Jan Valmore", "Enchantment of the Month", "Iceland", "Memories", "Indian Motif", "Indian Sage", etc.).
I will consider the linguistic features of the poetic language of Konstantin Balmont during the period of mature creativity. The objectives of this work: firstly, it is necessary to consider the features of the phonetic organization of poems.
Secondly, examine the choice of vocabulary, find out which words are most frequent in the poetry of the mature period, whether words are neutral or expressive, vocabulary is abstract or concrete, etc.
Thirdly, study the syntactic organization of the poems, find out what rhetorical figures Konstantin Balmont uses.
Balmont's poetic language is characterized by expressiveness. Expressiveness (literal translation - “expressiveness”, from the Latin expressio - expression) is a property of a certain set of linguistic units, ensuring their ability to convey the speaker’s subjective attitude to the content or addressee of speech, as well as a set of qualities of speech or text organized on the basis of such linguistic units. In a broad sense, it is the increased expressiveness of a work of art, achieved by the entire set of artistic means, and depending on the manner of execution and the nature of the artist’s work.
In a narrow sense, it is a manifestation of the artist’s temperament. Balmont was an adherent of the cult of the musicality of the poem, and this stems from impressionism, from the veneration of “fleeting things,” from a love of vague and changeable moods. Asociality and dislike for earthly things gave rise to a tendency to use abstract words. Balmont's neologisms are also usually abstract words. Even trying to recreate folk epics, Balmont cannot help but abuse abstract concepts.
Balmont resorts to the use of alliteration. Alliteration is the repetition of identical or homogeneous consonants in a verse, giving it a special sound expressiveness in versification.
Also uses assonance. Assonance is the repetition of vowel sounds in an utterance. In poetry it has other uses - to describe poetic phonetics. This is the name of a rhyme in which only stressed vowel sounds coincide, as well as the repetition of homogeneous vowel sounds in verse.
Likes to use anaphora - lexical, morphemic, syntactic. Anaphora is a stylistic figure consisting of the repetition of related sounds, words or groups of words at the beginning of each parallel series, that is, the repetition of the initial parts of two or more relatively independent segments of speech.
Balmont's poetry is characterized by impressionistic features: he is able to capture a fleeting moment of life. Balmont is very melodic and musical.
Phonetics
The mature period of Konstantin Balmont’s work opens with the collection “Burning Buildings,” which was published in 1900.
Konstantin Balmont knew many languages and translated poetic works into Russian. He paid attention not only to the semantic load of the word, but also gave the words a phonetically attractive appearance.
And to confirm the truth of his words, he selects exactly those words and those constructions that phonetically prove this: to confirm the first line, a construction was chosen that is slow to read, and in the last line, the phonetics speaks for itself, the words, so to speak , sing, angry and tender:
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered deviations in this speech,
Singing, angry, gentle ringing.
According to the phonosemantic analysis carried out on the website http://www.teron.fatal.ru/servisfonosemantika.php, the word “tender” has a “slow” expression of the attribute, the word “angry” has a “strong, courageous” attribute, “ringing” - again, “strong, courageous”! in other words, Konstantin Balmont paid great attention to the phonetic appearance of poems, and was very successful in this womb, as evidenced by modern phonosemantic analysis.
Balmont was an adherent of the cult of the musicality of the poem, and this stems from impressionism, from the veneration of “fleeting things,” from a love of vague and changeable moods.
As for phonetics, Konstantin Balmont himself studied the Russian language. Here is what he writes in his work “Russian Language”: “Of all the words of the mighty and original Russian language, full-voiced, meek and formidable, throwing sounds like an explosive waterfall, babbling with an elusive brook, filled with the talk of a dense forest, rustling steppe feather grasses, singing with the wind, that rushes and rushes and lures the heart far beyond the steppe, shining before the light with the silver spills of full-flowing rivers flowing into the blue sea - of all the uncounted gems of this inexhaustible treasury, the language of the living, created and, however, tirelessly creating, most of all I love the word - will". These words can explain Balmont’s choice of vocabulary, which was often phonetically motivated.
In the collection “Only Love” Konstantin Balmont uses his favorite word 6 times, in the collection “Burning Buildings” - 4 times, in the book “Let's Be Like the Sun” - 6 times. Why is the poet’s favorite word will? He also writes about this in his work: “His appearance alone is captivating. Breathing in, long, like the call of a distant choir, oh, caressing l, firm affirming I in softness. And the meaning of this word is double, like treasures in an old casket with two bottoms. Will is will-desire, and will is will-freedom. In such a casket, the dividing barrier of the double bottom is easily eliminated, and the treasures are united, mutually enriched by the iridescence of colors. One meaning of the word will, in the simplest, primordial usage, shines on another meaning, moderately burdening its living essentiality with content and significance.” Modern phonosemantic analysis does not contradict the words of the poet and produces the following characteristics of the word: large, majestic, mighty, joyful, beautiful, strong, bright.
In other words, Balmont likes to turn to the musicality of words, sometimes even sacrificing meaning. Attention to the changing states of nature and the inner world of man shaped Balmont's impressionistic poetics. The poet made a serious contribution to the technical improvement of Russian verse. He made skillful, if excessive, use of alliteration, assonance, and various types of verbal repetition. Balmont's poems affect the listener not so much with the meaning of the words, but with sound "witchcraft". For the sake of the sounds he needed, the poet was ready to sacrifice clarity of meaning, syntactic diversity and even lexical compatibility of words (as, for example, in the line the black boat is alien to charm).
Or in the poem “Even and Odd,” where the line included in the title of the poem is often repeated, sounding like a spell. Sometimes words are added to it that enhance the influence of h: “even and odd will flow,” “even and odd attracts you.” In the same poem there is an abundance of sonorant repetitions:
The sound is unclear
Indifferent,
No I do not believe,
And into loss
Early in the morning
Out of the fog
And in each line the same consonant sounds are repeated:
And it will illuminate
And he will notice
At night, bored
monotonous,
Believe, believe
Only death!
Using this poem as an example, we see that Konstantin Balmont relies heavily, in some cases even too much, on the phonetics and musicality of the poem.
If we take the poem “Verblessness”, we will see that the rhythm of the verse is mesmerizing, the alternation of hissing words with soft, lasting endings (- ny, -la, -no, -lo, - li, - oy, - oe) gives the poetic substance a special tenderness , almost physically felt.
Vocabulary
Establishing the image of a strong hero, a “spontaneous genius,” a “superman,” Balmont enthusiastically exclaims:
Oh the bliss of being strong and proud
and forever free!
"Albatross"
This is where Balmont’s attraction to extremes, scale, categoricalness, and superiority is manifested. This is reflected in the vocabulary. The word is always used by the poet 20 times in the collection, but this word has very categorical semantics. Eg:
The world agrees,
Forever clear
"Even and Odd"
To give extreme superiority, Balmont uses the word superterrestrial 2 times in the collection:
There were features of a super-earthly face
Show us the features of super-terrestrial beauty
If the early period of creativity was painted in dark tones, then the mature period is bright. The word light is used by Konstantin Balmont 25 times in the collection:
Covered from the immodest by the light haze of the horizon,
More tender than blonde strands
And suddenly return to dispassion, like light rain into a river.
The word white is used by the poet 9 times in the collection of poems:
And the dead man, standing white, sang psalms,
Separated in the twilight White ghost Jamila
All this gives a certain light tone to “Burning Building”.
The language of Balmont's lyrics is expressive:
I want burning buildings
I want screaming storms!
If we can imagine burning buildings, then a screaming storm is a vivid image that we can only feel. This sentence is separated by a comma from the previous one - as a continuation of the semantic series, as a gradation of the lyrical mood of the poem.
The collection “Burning Buildings” has a significant subtitle: “Lyrics of the modern soul.” In Balmont's view, this is a soul that is open to all grace and all the temptations of the world. Inhaling “complete freedom”, in her acceptance of the existing, she does not know any prohibitions, taboos, or restrictions. But at the same time, we cannot talk about a whole soul; on the contrary, it is split by contradictions, because the world into which it came and wants to love, still in many ways repels and disgusts it. In a whole series of poems by the mature Balmont, a negative picture of the world is drawn, which is captured in harsher tones than was in his youthful, early lyrics. Here it is - the fragmentation of that lyrical “I” standing behind Balmont’s poems, the multiplicity of faces of the lyrical hero, the multiplicity of masks that the lyrical hero tries on one after another: a free, nomadic Scythian; a proud and gloomy paladin - a crusader; twin of Emperor Nero, famous for his lawlessness; a sentry guarding the sleep of his comrades; Scorpio, dying in the name of his pride; a Spaniard, intoxicated by his own and others’ blood, who wants to be “first in the world”; “chosen, wise and dedicated” king and poet, “brother of the wind”, “son of the sun” and so on.
These endless transformations of the lyrical hero are accompanied by a change in his surroundings and scenery, which create the necessary flavor. The splendor of Balmont's books was also matched by the structure of the collections - with many sections, subsections, cycles, which are accompanied by epigraphs drawn from various sources, full of images of ancient and rare cultures, plus exquisite sayings. Thanks to such ornaments, breaking through the darkness of centuries, the light of forgotten cultures and civilizations is shed, highlighting the work of the poet himself. Hence the abundance of exoticisms and diversity of vocabulary. This determines the choice of vocabulary.
The poet is characterized by words that give vivid imagery to the poem - just look at the title - “Dagger Words”, which Konstantin Dmitrievich dreams about so much. A very accurate metaphor that is suitable for the whole collection of the poet. He has practically no words that are devoid of expression; more precisely, they exist, but the emphasis is not placed on them. “Dagger words” - before, in previous literature - we could not see such a combination. What a talent of an artist of words - to compare a seemingly harmless, incorporeal word with a dagger. What a strong symbolism - the dagger is inevitably associated with blood, death, and temperament. And this combination of seemingly incompatible words creates the uniqueness of Balmont’s style. According to phonosemantic analysis, the word daggers has a hot, quick expression of the attribute - which, apparently, is what the poet wanted, so that the word would subconsciously act like the object itself.
The poet uses the effect of paradox in his lines:
Oh man, ask the animals
Ask the lifeless clouds!
Run quickly to the deserts of waters,
To hear how melodious they are!
In these lines we are faced with paradoxical combinations of words in which, at first glance, they have no semantic compatibility: “lifeless clouds”, “deserts of waters”, which, moreover, are also “singing”.
Konstantin Balmont likes to use categorical language; he has a penchant for expressions that carry the meaning of superiority, extreme degree.
Konstantin Balmont experiments with vocabulary. The poet creates neologisms, but they are also abstract, like most of the words that Balmont uses. An example of this is the word in the title of the poem: “Silent Praises” or in “Cycle” eternity is painless, in “Maya” the face is super-earthly, in “Both Yes and No” - goodness, in “Fern” - golden-colored , beauty is also super-earthly, multi-wonderful, a triple dream, whitened, delicately light-woven.” He uses the word painless 3 times, superterrestrial - 2 times, golden-colored - 2 times in the collection “Burning Buildings”. From this we can conclude that Konstantin Balmont did not doubt the success of the words he created, because he did not stop at the one-time use of his own neologisms, but also used them further, along with canonical, dictionary, and commonly used words. That is, he considered them equal.
A verbal hyperbolization is created: unfading flowers, undying gardens. This is also typical for the collection “Burning Buildings,” where the question of eternity is very often raised: in eternal bowls, immortal, boundless.
Balmont is characterized by combinations that seem to be antonymous. Here is a line from the sonnet “The Drowned”: “Damn you! Damn you! Amen!". A paradox effect is created due to the introduction of contextual synonyms into a series of synonyms, which outside this context will remain on opposite sides of the barricades.
The combination of unexposed stars in The Enchanted Maiden is interesting. Balmont’s neologism appears before us again. Again, it is abstract and abstract in nature, but this neologism alone gives a very strong image, a symbol that carries lexically strong energy.
The artist’s painful attraction to all kinds of “abyss” and all kinds of “disharmony” (“Loving, killing – that is the beauty of love”). Balmont, in full agreement with other decadents, explained it as an attempt to “unravel the eternal phenomenon of world evil” - in the name of true love of good (Baudelaire, for example, “lived in evil, loving good”). However, such pious interpretations, of course, are nothing did not change in essence: it was in poems with an infernal coloring that the poet was most immersed in the dehumanized element of decadence. But it is in these words that there is a bright, rich emotionality of the language, contrast. The words chosen by the poet are semantically and expressively rich. And that very disharmony of the world cannot be reflected otherwise than by using antithesis. The combinations are constructed on the principle of antithesis, but Balmont himself speaks of “difference”:
What I value in the world is the variety of combinations:
I love the Star of the Seas, I love the serpentine sin.
And in the wild music of desperate sobs
I hear the devil's relentless laughter
Again, the expressiveness of the words, extreme, polar words were chosen: a person sees nothing higher than a star, there is no crime greater than sin, sobbing is an extreme manifestation of despair, there is nothing worse than the devil. Balmont uses the word sobbing as a manifestation of extreme despair 3 times in the collection, the word devil is addressed 12 times, sin occurs 12 times. Indeed, based on these data, we can safely speak about the veracity of our thoughts stated above - Balmont’s poetic language tends to extremes.
Balmont resorts to the use of exoticism. Exoticisms are a group of foreign language borrowings that denote objects or phenomena from the life of another, usually overseas, people. Unlike other barbarisms, due to their persistent ethnic association, exoticisms, with rare exceptions, are not fully assimilated and usually remain on the periphery of the vocabulary of the language. There are a lot of motifs and references to the culture and traditions of other peoples. And from this it is logical to use words that can be perceived as exoticism: Gaoma, Verethragna, Tistria, Agura Mazda, Ashavan, Agura, Datar, Mazdao from the poem “From the Zend-Avesta”. The collection contains references to the Koran and Upanishads.
In the poem “Iceland”, words are also used that are not familiar to the Russian reader: Snorri, Sigurds, Tormodds, Gunnars. Even now, these words are perceived as exoticism. But it's easy to explain. What other words could a poet use when writing about a foreign culture or mythology, if not using the names of the heroes of the epic?
The collection “Let's Be Like the Sun,” published in 1902, was an attempt to construct a cosmogonic picture of the world, in the center of which is the supreme deity, the Sun, which became one of the central, supporting ones. Becoming like a primitive man, a pagan, Balmont writes hymns to the elements, natural forces, stars, the Moon, etc. One of the main life elements for Balmont is Fire. Konstantin Balmont uses the word sun 54 times throughout the collection - indeed, it is the central deity around which the whole collection of poems is built. The word moon - 47 times, star - 31 times - we can safely talk about a pantheistic picture, which is expressed in the selection of vocabulary.
Balmont’s language is characterized by words that should characterize the fullness of the sensations of life: “I burn magnificently, so joyfully and anxiously.”
The pantheism of Konstantin Balmont is associated with the veneration of the genius of Percy Shelley. He confines himself to a few favorite motifs - the sun, the moon, the wind, to which the poet constantly addresses himself unambiguously: this or that natural phenomenon is intended to symbolically denote the poet’s state of mind. The spontaneous forces of nature are invariably present in Balmont’s poetry as images of that fullness of sensation and experience of life, which he does not find in human society:
I burn magnificently, so joyfully and anxiously,
Through the airy clouds so fiery,
It’s impossible to be more beautiful
And it’s impossible to be happier.
The poet feels his kinship with the elements: the sun, moon, clouds, wind, water, fire, air - this is the environment in which the free and rebellious soul of the poet truly lives. The wind is his “eternal brother”, the ocean is his “ancient ancestor”; turning to the fire, he exclaims: “Omnipresent fire, I am the same as you!”
Konstantin Balmont uses the word wind 49 times:
Like the breath of the winds
Free wind, wind, wind,
There are no winds breathing fiercely
The ocean occurs 6 times:
But you will penetrate the Ocean
Uplifts the vastness of the oceans
As already written above, Balmont’s language gravitates towards extremes, towards something limitless and elemental. In his poetry, the unconscious prevails over the conscious, and this is precisely what can explain the poet’s appeal to the elements. They are free, elusive, eternal. It is not for nothing that the poet in one of his poems calls himself nothing less than a “spontaneous genius.”
The language of Konstantin Balmont in the collection “Let's Be Like the Sun” is abstract. His numerous “spontaneous hymns” are abstract and rhetorical, in them his main weapon, “singing power,” betrayed him. Pantheistic and cosmological motives are dissolved in Balmont's lyrics - and in these cases he was sometimes accompanied by significant creative success. When he developed such topics specifically, he, as a rule, fell into loud but dry declamation.
But Balmont is a fan of Charles Baudelaire and an adherent of Friedrich Nietzsche’s theory of the superman. Hence the certain vocabulary:
Superman among people
Silent they are "superman"
The name of Friedrich Nietzsche is very influential for Balmont; his ideas had a great influence on the poet. It was Nietzsche’s call for a revaluation of values that underlay the transformation that Balmont experienced at the turn of the new century, abandoning the minor coloring that filled his early books in favor of a new worldview that acquired a largely hedonistic and voluntaristic character.
Balmont's worship of the elements was associated with the cult of beauty, indifference to ethical values, indifference to social problems and an attempt to elevate the unconditional freedom of the demonic, all-transgressing personality:
Among other deceptive pleasures
I have a cherished joy:
Forget what crying means, what laughter means, -
Wake up a roaring echo in the mountains
And contemplate in a storm, under thunder and howl,
The greatness of the world's desert.
Balmont's lyrics capture the most fluid, ethereal, mobile elements - light, air. Moreover, the poet sought to convey, first of all, a united, cumulative sensation of light, smell, sound: in his poems the sun smells of herbs, shines with bells, the poet himself cries sweetly and breathes the moon. Nature, thus, is depicted not so much in its concrete visibility, but as an element outside of place and time, remaining in absolute purity and eternity. The poet’s attention was attracted not by natural phenomena, but by its original and unchangeable properties. The subject of his lyrical exposition is not the wind in the field or the autumn night wind, but the wind in general, windiness in all its manifestations, not a stream or sea, but water, trembling in a drop of dew, and in the ocean, and containing “endless faces... and the immensity of its depth,” not a tree or trees, but woodiness.
Balmont varies the theme of “spontaneous genius” in different ways, to which he gave the features of a Nietzschean “superman”, to whom “everything is allowed”, who is beyond the laws of human good and evil, lies and truth. And, even if God stands in the way of the “superman,” then one must rebel against God, who is trying to throw a slave bridle.
It is from here that all Balmont’s impudent cries like: “I hate all saints,” or:
I hate humanity
I run away from him in a hurry.
My one and only fatherland -
My desert soul.
I don't care if a person is good or bad,
It doesn’t matter to me whether he’s telling the truth or a lie.
If only he would always freely say yes to yes,
If only he, like a free light, would say no to no.
And these lines indicate that the poet deliberately chooses words with a bright, rich connotation: I hate, not dislike, running in a hurry is no longer just running, it’s something stronger, more elemental, expressive, not just people - but namely humanity. Balmont's poetic language is characterized by egocentric globality.
In the poem “Under the Yoke” we again see confirmation of the power of expression of Balmont’s lines: “the flame of repentance” is not the usual repentance of a sinner, it is a hypersensitive emotional confession of a soul that has committed something terrible; or Konstantin Balmont sees the world completely differently, his world is not closed, for example, in the vaults of the temple where confession is held, no. This is simply a cry from the soul, burning itself with repentance - and this is typical for Balmont.
The appearance of Balmont's lyrical hero is determined by the individual's claim to the highest place in the hierarchy of values. All-inclusiveness, the cosmism of individualistic daring, the desire to touch everything, to experience everything are constant signs of Balmont’s poetic thinking. His lyrical hero never tires of admiring his versatility, strives to join the cultures of all times and peoples, bring praise to all gods, walk all roads and swim across all seas:
I want to be the first in the world, on land and on water,
I want crimson flowers, created by me everywhere.
"Like a Spaniard"
And inclusiveness and cosmism are achieved with the help of the words that the poet chooses: first, everywhere, on earth and on water. Balmont uses the word everywhere 7 times in the collection, which speaks in favor of the idea expressed above. In the poem “Slow Lines” there is a repetition of expressions: the tops of the white mountains, the tops of the mountains. Again, the choice of words that would carry exaltation. The poet uses the word peak 14 times in the collection. Vertex is a concrete word, but it also plays on the abstractness of Balmont’s language.
The world of Balmont’s poetry is “transcendental” - he uses this adjective 4 times: transcendental life, transcendental thrones - these words indicate boundlessness, eternity.
Lexically, metaphorically and emotionally strong is the combination: grave avalanche. On the one hand, an avalanche is something living, elemental, fiery, full of life. But she also carries within herself a destructive force that brings death to everything that comes her way. And this, as Balmont correctly noted, makes it sepulchral, and, despite all its apparent life, gives it symbolism of death. According to phonosemantic analysis, the word avalanche
has a beautiful, majestic attribute. How well Konstantin Balmont chose this word. The word “grave” is used 6 times - again - a tendency to extremes - after all, there is nothing further than the grave for the bodily shell.
In the collection of poems “Only Love” the word wordless appears 2 times. If we turn to phonosemantic analysis, we will see that this word has a clear feature.
The poet's poems are dominated by impressionistic features: the ability to convey a moment, an affirmation of the fleeting nature of life, and changeability of moods. We can trace all these features and motives in these lines:
In every fleeting moment I see worlds,
Full of changing rainbow play.
This poem uses anaphora - in the second quatrain the pronoun I is used - I am only, I am only, I am calling. In the first quatrain, in the second and third lines, the word fleetingness is repeated, and in the second quatrain, in the second and third lines, the phrase: I’m just a cloud. The poem uses interrogative and exclamatory sentences and a psychological pause - silence, and all these techniques are found in the second quatrain. Metaphors are also used: “a cloud full of fire” and epithets: “changeable rainbow game.” All of these techniques give the poem a special musicality and lightness. The poem “I Don’t Know Wisdom” not so much conveys the author’s thoughts and feelings as it awakens his own in the reader. But it is not addressed to everyone, not to the reader-consumer, but to the reader - creator, co-author, dreamer, who will be able to continue what the author did not say, for example, continue
the phrase “I call the dreamers.” This is a very successful move on the part of the poet.
Syntax
Having conducted research at the phonetic and lexical level, let us turn to the syntactic organization of Konstantin Balmont's poems. It is in the poems that we are clearly given precisely those divisions, general tempo and system of accents that the author wanted to give to his speech. The poem recreates the very movement of the living author's voice with a fidelity that is inaccessible to artistic prose. We perceive the poems in general, exactly as he imagined them himself. Balmont preferred monotonous syntactic constructions, and often resorted to anaphora.
Balmont uses the technique of lexical anaphora:
Six months - merciless cold,
Half a year - rain and stifling heat
I want burning buildings
I want screaming storms!
Let the sea of heat flare up,
Let the darkness tremble in your heart.
Midnight and light know their hour.
Midnight and light make us happy.
There is a ghostly light in my heart.
There is no midnight in my heart.
What life breathes in the silent backwater,
What is immortal love.
You beckon sweetly and exclusively,
You promise forever.
Morphemic anaphora:
The vast plain
Unforgiving ground
The echoes are involuntary,
Reflections of rays
And half-dead ruins
Half-forgotten cities
Syntactic anaphor:
Because I was born ugly,
Because I'm a sinister Scorpio.
Those are my timid ones,
They are airy white,
Oh, if you were a river wave,
Oh, that I were the first flash of the day!
I will wait painfully for you,
I'll wait for you for years
More tender than a silver ringing, -
More tender than fragrant lily of the valley,
Oh wave, wait! I'll go after you!
Oh wave, wait! But the surf receded.
In the poem “Slow Lines” we see confirmation that Balmont loved to use the same syntactic constructions, syntactic parallelism within even one poem:
The higher above the ground
The lighter the snow flakes
These kinds of syntactic devices gave the poetic language of Konstantin Balmont smoothness, viscousness, and melody.
The conclusion can be drawn as follows: the poet used the lexical, phonetic and syntactic riches of the Russian language. Konstantin Balmont experimented, created neologisms that were of an abstract nature: painless, super-earthly, non-silent, goodness, wordlessness, etc. All Balmont’s neologisms are abstract in nature, and this comes from the themes of the poems: “The Chosen One,” “The Voice of the Devil,” “I do not know wisdom” - i.e. The topics themselves are abstract and the choice of vocabulary comes from this.
Balmont is characterized by the frequent use of the names of the elements: wind, sun, fire, moon, etc. Such attention to the elements comes from the pantheistic mood of the poet; he worships the elements, composes hymns to them, loves to compare himself with them (“wind, I am the same as You"). Balmont's pantheism is more secondary than original, it came out of the veneration of the genius of Percy Shelley, but since we examined the features of Balmont's poetic language, we could not help but notice that he refers to “spontaneous” words very often. Balmont's worship of the elements was also associated with the cult of beauty, indifference to ethical values, indifference to social problems and an attempt to exalt the unconditional freedom of a demonic, all-transgressing personality. Nature, thus, is depicted not so much in its concrete visibility, but as an element outside of place and time, remaining in absolute purity and eternity. The poet's attention was attracted not by natural phenomena, but by its original and unchangeable properties.
Balmont's language tends to be global and large-scale. The poet often uses words like everything - 156 times in the collection “Burning Buildings”, 248 times in the collection “Let’s Be Like the Sun”, 128 times in the book of poems “Only Love”. These data are evidence that the language of Balmont’s lyrics in his mature period of creativity is not indifferent to scale.
Balmont's language is expressive. Expression is achieved through the use of vocabulary with a strong emotional connotation: hate, burning, dagger, storm, devil, etc. That is, these words themselves have expressive semantics, and add emotional coloring to the language of lyrical texts.
Balmont was an adherent of the cult of the musicality of the poem, and this stems from impressionism, from the veneration of “fleeting things,” from a love of vague and changeable moods. This was achieved by Konstantin Balmont using phonetic means: assonance and alliteration. Sometimes the poet abuses them, but in general this gives the poetic language of Konstantin Balmont originality and individual character. Konstantin Balmont paid great attention to the phonetic appearance of poems, and was very successful in this area, as evidenced by modern phonosemantic analysis. As for phonetics, Konstantin Balmont himself studied the Russian language. Thus, we can say that the poet used his theoretical data in practice. As an adherent of impressionistic poetics, Balmont used phonetic means as an attempt to musically influence the subconscious. The poet made a serious contribution to the technical improvement of Russian verse. He himself wrote about this:
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners
In the course of our work, we found out that the poet rightfully wrote these words about himself, since before him in Russian poetry no one had paid so much attention to the musicality of poems to phonetics.
Balmont resorts to the use of exoticisms - Aguramazda, Ashavan, Agura, Datar, etc. This is explained by the fact that Balmont resorts to the mythology and history of other countries.
The name of Friedrich Nietzsche is very influential for Balmont; his ideas had a great influence on the poet. It is Nietzsche’s call for a revaluation of values. This leads to the use of vocabulary that implies superiority. Konstantin Balmont at that time shared Friedrich Nietzsche’s theory of the superman: “I want to be the first,” “a superman among people,” “there are other poets before me - forerunners,” etc.
Balmont also tries to use words with an infernal connotation - and this follows from the worship of Charles Baudelaire: devil, witch.
Balmont's language is characterized by the use of antitheses and hyperboles. Often the poet puts words that have antonymic relationships in a synonymous row.
In the syntactic structure, Balmont gives preference to monotonous syntactic constructions and uses verbal and lexical repetitions.
Konstantin Balmont also likes to use anaphora, lexical, syntactic, and morphemic.
In general, we can say that Konstantin Balmont’s language is distinguished by its bright individuality.
The poetic language of Konstantin Balmont has a versatile beauty, which explains the great popularity of the poet in his mature period of creativity.
Reviews
I love analytical works, and I simply adore women’s works.
However, to be fair, I will say that I also noticed half of the “rough edges” voiced by Dmitry Sukharev. But...
You probably don’t know, young and sweet creature, that Dmitry, firstly, is a misogynist, and he is not allowed to see anything cute in the opposite sex, as well as to make some concessions to his youth.
Secondly, you, as a smart girl, must understand that Dmitry is angry not so much at your intelligence, but rather takes revenge on everyone for his long absence from him. Here are his words:
“Why should I learn English?
In Yekaterinburg, where I live and from which I will hardly have to leave, little is spoken in this language.
I’ll tell you more - I hardly speak Russian with anyone.
Yes, and I know the language poorly. I did poorly in school in many subjects.
I didn’t just dislike Russian. Hated it.
Even now I don’t really... well, let it be - I love him.
The daily audience of the Proza.ru portal is about 100 thousand visitors, who in total view more than half a million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.
“I am the sophistication of Russian slow speech...”
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered deviations in this speech,
Singing, angry, gentle ringing.
I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.
The splash is multi-foam, torn and fused,
Gemstones of the original land,
Forest roll calls of green May -
I will understand everything, I will take everything, taking everything from others.
Forever young, like a dream,
Strong because you're in love
Both in yourself and in others,
I am an exquisite verse.
Year of writing: 1901
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Analysis of Balmont’s poem “I am the sophistication of Russian slow speech...”
The beginning of the 20th century was marked by a very strange trend in Russian literature, which can roughly be called posturing. Many famous and aspiring poets considered themselves geniuses, openly declaring this in their works. Konstantin Balmont, who in 1903 published the poem “I am the sophistication of Russian slow speech,” did not escape this fate.
By this point, Balmont, who considered himself a symbolist, followed the example of Igor Severyanin and Velimir Khlebnikov, starting experiments with syllable and style. As a result, he convinced himself that he had achieved certain success in this field, isolating a certain special syllable, distinguished by melodiousness and melody. Several poems were created in a similar vein, and very soon Konstantin Balmont came to the conclusion that he had opened a new path in the world of literature. It is for this reason that the author openly states: “Before me there are other poets - forerunners.” He believes that he has invented something that had never occurred to anyone before, boasting that he gave the world “singing, gentle, angry ringing sounds.”
Balmont compares himself to thunder and a ringing stream, emphasizing that he has no merit in such a discovery. The poet realizes that behind his creative experiments are the centuries-old traditions of Russian literature, which prompted him to make similar discoveries. Therefore, he admits: “I am for everyone and no one.” In this phrase, the author emphasizes that his experiments are in the public domain and can be used by anyone who wishes. But at the same time, Balmont notes that he will still rise above the crowd, which does not bother itself with literary searches and accepts only the finished result.
However, the poet himself does not deny that his fellow writers who lived in past centuries worked hard so that now he could afford to create poetry in a special, melodious manner. In fact, Balmont admits to plagiarism, declaring: “I will understand everything, I will take everything, taking everything from others.” However, in this case, we are not talking about borrowing someone’s ideas, but about the ability to analyze the information that, in the poet’s opinion, lies on the surface. In addition, Balmont admits that without the inspiration that he draws from the beauty of the surrounding nature, admiring how “the semi-precious stones of the original land shine around,” he would never have created an “eternally young, like soybean” exquisite verse filled with melody and magic.
“I am the sophistication of Russian slow speech...” Konstantin Balmont
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered deviations in this speech,
Singing, angry, gentle ringing.I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.The splash is multi-foam, torn and fused,
Gemstones of the original land,
Forest roll calls of green May -
I will understand everything, I will take everything, taking everything from others.Forever young, like a dream,
Strong because you're in love
Both in yourself and in others,
I am an exquisite verse.
Analysis of Balmont’s poem “I am the sophistication of Russian slow speech...”
The beginning of the 20th century was marked by a very strange trend in Russian literature, which can roughly be called posturing. Many famous and aspiring poets considered themselves geniuses, openly declaring this in their works. Konstantin Balmont, who in 1903 published the poem “I am the sophistication of Russian slow speech,” did not escape this fate.
By this point, Balmont, who considered himself a symbolist, followed suit and began experiments with syllable and style. As a result, he convinced himself that he had achieved certain success in this field, isolating a certain special syllable, distinguished by melodiousness and melody. Several poems were created in a similar vein, and very soon Konstantin Balmont came to the conclusion that he had opened a new path in the world of literature. It is for this reason that the author openly states: “Before me there are other poets - forerunners.” He believes that he has invented something that had never occurred to anyone before, boasting that he gave the world “singing, gentle, angry ringing sounds.”
Balmont compares himself to thunder and a ringing stream, emphasizing that he has no merit in such a discovery. The poet realizes that behind his creative experiments are the centuries-old traditions of Russian literature, which prompted him to make similar discoveries. Therefore, he admits: “I am for everyone and no one.” In this phrase, the author emphasizes that his experiments are in the public domain and can be used by anyone who wishes. But at the same time, Balmont notes that he will still rise above the crowd, which does not bother itself with literary searches and accepts only the finished result.
However, the poet himself does not deny that his fellow writers who lived in past centuries worked hard so that now he could afford to create poetry in a special, melodious manner. In fact, Balmont admits to plagiarism, declaring: “I will understand everything, I will take everything, taking everything from others.” However, in this case, we are not talking about borrowing someone’s ideas, but about the ability to analyze the information that, in the poet’s opinion, lies on the surface. In addition, Balmont admits that without the inspiration that he draws from the beauty of the surrounding nature, admiring how “the semi-precious stones of the original land shine around,” he would never have created an “eternally young, like soybean” exquisite verse filled with melody and magic.
Sections: Russian language
Class: 8
- Educational: repeat and summarize what has been learned on the topic “Syntax of a simple sentence” based on the works of K.D. Balmont, preparation for the State Examination
- Educational: to cultivate an understanding of the value of every moment in a person’s life
- Developmental: development of text analysis skills, broadening one’s horizons in the field of cultural studies
Equipment: portraits of Balmont from different years
Musical arrangement: music by Debussy, Stravinsky.
Decoration: works by Claude Monet.
During the classes
I. The teacher's word
Hello guys! Today we have a lesson in Russian literature “I am the sophistication of Russian slow speech...”. The Russian language and literature will be closely intertwined with each other, they will be equal in rights, they will help each other, complement, enrich each other.
We will repeat and summarize the knowledge we have acquired in the Russian language on the topic “Syntax of a simple sentence”, and by repeating this knowledge we will take steps towards the upcoming State Examination, which awaits you in 9th grade. What topics have we covered? (Students' answers.)
I came to the lesson with the Silver Age poet Konstanti Mr. Dmitrievich Balmont.
– Which representatives of the Silver Age do you know?
– When did we have the Silver Age?
The Silver Age is n. 20th century, the era of the revival of spirituality and culture, creative freedom, a constellation of bright individuals, the birth of brilliant discoveries. Akhmatova, Tsvetaeva, Blok, Pasternak, Mandelstam are Pasternak’s contemporaries. And he himself was the idol of reading Russia in those years. As Valery Bryusov noted, “for a decade Balmont inseparably reigned over the Russian position.”
Slide 1: Let him introduce himself to you with his poems: poem “I am the sophistication of Russian slow speech...” (reading by the teacher)
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered deviations in this speech,
Singing, angry, gentle ringing.I am a sudden break
I am the playing thunder
I am a transparent stream
I am for everyone and no one.The splash is multi-foam, torn and fused,
Gemstones of the original land,
Forest roll calls of green May -
I will understand everything, I will take everything, taking everything from others.Forever young, like a dream,
Strong because you're in love
Both in yourself and in others,
I am an exquisite verse.
Slide 2: And now I bring to your attention several statements about him by his contemporaries, and complete tasks for them (cards with suggestions and tasks are distributed). (Teacher reads.)
Cards with proposed tasks are distributed. Complete them.
| 1. “Who is Balmont in Russian poetry? The first lyric poet? Forerunner? The ancestor? This cannot be answered. It cannot be compared. He is the exception. You can only love him." ( M. Voloshin) | Indicate the types of one-part sentences. |
| 2. “Balmont captured everyone’s thoughts and made everyone fall in love with his sonorous verse.” ( V. Bryusov) | Select s/s synth. communications. |
| 3. “The idea of transience, the desire to capture passing moments, changeability of moods, increased attention to the poetics of verse (passion for sound recording, musicality) - these are the distinctive features of K. Balmont’s early books.” ( M. Stakhov) | Draw up a sentence diagram and explain. punctuation marks. |
| 4. “He had one precious virtue - spontaneity and original freshness of lyrical feeling.” ( Vl.) | Orlov |
| Explain the punctuation mark - dash. 5. “Having studied sixteen languages, he probably spoke a special seventeenth, Balmontov.” () | M. Tsvetaeva |
| Syntactic parsing of a sentence. 6. “Balmont’s creative method and poetic manner are characterized by the word – impressionism.” () | Ap. Grigoriev |
What part of the sentence is the word “impressionism”?
– Underline key words. Let us pay attention to the words “forerunner”, “impressionism”.
– What did you understand from these statements?
“What was the poet K. Balmont like, according to his contemporaries?”
Slides with paintings by Claude Monet. Teacher's comment:
Impressionism - impressionist artists work with small strokes, applying pure, unmixed paints side by side, without smooth transitions and shades, so that many objects were only just outlined, and the outlines of light and shadows, crushing and crumbling, turned into one another. (Pablo Picasso, Van Gogh, Claude Monet, Renoir). The ideologist of the new direction was Claude Monet. He was the only one who always remained true to his ideas. By the way, thanks to him, or rather to his painting, the term “impressionism” itself appeared, coming from the French “impression” - impression.
Drawing, which had been the basis of everything for centuries since the Renaissance, was banished. Painting is color. Spots of paint piled on top of each other. From now on, even the shadow has color. Only black paint had no place on their canvases. The world has become a set of colors on a palette. Color and light are the main characters of their paintings. They wrote only what they saw. They didn't just do sketches. They started and finished the painting in one session, maintaining the freshness and spontaneity of the first impression. The details weren't important. The place of the dark canvases of the masters of academic painting was taken by their canvases sparkling with all imaginable colors and shades.
The new rhythm of life, accelerating every year, became the rhythm of their art. They did not run away from modernity like the Symbolists. They loved her and longed to open her to art. They learned to portray industrial “monsters” that offended the esthete’s eye as beautiful. More precisely, not themselves. The play of light in the air around them. The play of the colors of their surfaces. How many people now can sincerely say that Monet's train stations are not beautiful? Having broken the traditional system of guidelines for the world of beauty, teaching both viewers and artists to look at the world and art in a new way, the impressionists opened the way for modern art
Claude Monet wanted to capture on canvas the living breath of nature: the rustling of leaves, the running of clouds, the subtly changing play of sunbeams on the green grass.
Balmont also works - “Nature is a mosaic of flowers”, and his poems capture the moment.
Write down 2-3 sentences characterizing Balmont by analogy, using keywords, compressing the text
II. Let's move on to part 2 of our lesson.
Problematic situation.
“I came to this world to see the Sun.”
I placed the Sun in the center of the board, and this is not accidental. What do you think: how are the Sun and Balmont related to each other? What associations come to your mind related to the word “sun”? Let's place them in the rays of the sun: fire - warmth - joy - light - life - good mood - spring - beauty - youth, etc. How does this relate to Balmont’s work? (Children's answers.)
Article slide : Carefully read an excerpt from Lev Ozerov’s article “Song of the Sun” and tell me whether your statements were true? What associations have been added? (Conscience and freedom.)
Excerpt from Lev Ozerov’s article “Song of the Sun”
(1) “Let’s be like the sun!” - says the poet and calls the book of his poems...
(2) The call to people - “Let us be like the sun” - is an exorbitant desire.
(3) But the exorbitance of desires is the poet K. Balmont...
(4) “I came into this world to see the sun,” the poet repeats the prophetic words of the Greek philosopher Anaxagoras.
(5) The call to “let us be like the sun” is justified by the fact that, according to the poet’s words, it is young.
(6) And the poet turns to youth.
(7) In everything, it was important for Balmont to feel the obvious or hidden presence of the sun.
(8) I don't believe in the black beginning,
Let the mother of our life be night,
Only the sun answered the heart
And he always runs away from the shadow.
(9) The theme of the Sun in its victory over darkness ran through all of Balmont’s work...
(10) Bely was with Balmont: “Beyond the sun, behind the sun, loving freedom, let us rush into the blue expanse!”
(11) In the book “Let's be like the sun!” the poet rightly places the Sun in the center of the world, the source of light and conscience, in the literal and allegorical sense of the word...
Discussion of the article:
– Find a sentence that expresses the main idea of the text. Are these words suitable as an epigraph?
– Prove that this is a text. Text type.
– Means of connecting sentences in the text. (parallel).
– Complete tasks for the text (from the Unified State Exam) (8-10 tasks in total).
(Task cards).
The ellipses are the tiptoe marks of departed words.
Slide : Tests followed by mutual testing to the music of Debussy's "Prelude"
1) Indicate in which of sentences 2–4 the introductory word occurs
2) In sentences 1–3, indicate the inconsistent definition
3) Among sentences 9–11, indicate a sentence with a separate application (an application that has causal meaning)
4) Find a sentence with a separate circumstance expressed by an adverbial phrase.
5) Indicate the grammatical basis in sentence 2
6) Replace the phrase exorbitant desires(3 sentences), built on the basis of management, a synonymous phrase with the connection coordination
7) Among sentences 4–7, find a one-part sentence and indicate the type.
8) In sentence 7, indicate the type of predicate
Teacher's conclusion: Indeed, Balmont is also called the poet of the sun. The main image in the poet’s work is the image of the Sun. He never tires of singing hymns to Him:
Giver of life
Light creator,
Sun, I sing to you!
Even if you're unhappy
Do it, but passionately
Hot and domineering
My soul.
The sun is the source of life. The fiery principle is the very essence of life. The fulfillment of his dreams connects Balmont with the sun; it is this that connects a person with the Universe, where eternal Goodness and Beauty reign. ( I. Brodsky)
I do not know wisdom suitable for others.
Only fleetingness I put it in verse.
In each fleetingness I see worlds (inversion)
Full of changing rainbow play.
Don't curse, wise ones. What do you care about me?
I'm just a cloud full of fire.
I'm just a cloud. You see: I’m floating.
And I call the dreamers... I am not calling you.
- What would you say is the key word? (Fleetingness.)
- What syntactic constructions are found? What does the poet see as the purpose of his poetry? (All sentences are simple. Some are incomplete. They convey a feeling of fleetingness, a moment. There are even sentences that are divided into separate words, segments.) Find them.
Parcellation. The logical emphasis on each word gives them special power. Highlights these words.
- What other artistic and expressive means do you see?
- Lexical repetition.
- The epithet of the changing rainbow game is to explain: fleetingness is painted in all the colors of the rainbow. Expressive technique of syntax - emotionality.
- A rhetorical question. He doesn’t need an answer to this question, yes: he himself knows where and why he should sail.
- Anaphora: 2 r. – enhanced logical selection, expressiveness of speech.
- Comparison: compares himself to a cloud, why?
- Is there a Sun in this poem: a cloud full of fire - as you understand: a cloud is soft, gentle, changes shape, an oxymoron; fire – emotional, hot, bright, fire inside.
- Are there any contrasts here?
All questions have answers.
Wise - who know everything.
Rational mind.
Much is incomprehensible to him, he is a dreamer and he wants to discover new things.
Conclusion from the lesson:
Homework
- Learn the poem: “I am the sophistication of Russian slow speech...”, answer in writing the questions “How do you imagine Balmont? What was he writing about? How did you write? (using different syntactic structures).
- How does syntax work to reveal meaning in the poem “I do not know wisdom suitable for others ...” (written)
I am the sophistication of Russian slow speech, Before me are other poets - forerunners, I first discovered in this speech the deviations, Recited, angry, gentle ringing. I am a sudden break, I am playing thunder, I am a transparent stream, I am for everyone and no one. A multi-foam intertwining, broken and fused, Gemstones of the original land, Forest roll calls of green May - I will understand everything, I will take everything, taking everything from others. Forever young, like a dream, Strong in that I am in love with myself and others, I am an exquisite verse.
3.Make a diagram of the sentence, explain. punctuation marks. “The idea of transience, the desire to capture passing moments, changeability of moods, increased attention to the poetics of verse (passion for sound recording, musicality) - these are the distinctive features of K. Balmont’s early books.” M. Stakhov
1. “Let’s be like the sun!” - says the poet and calls the book of his poems that way. 2. Call to people - “Let's be like the sun!” - the desire is exorbitant. 3. But the exorbitance of desires is the poet K. Balmont... 4. “I came into this world to see the Sun” - the poet repeats the prophetic words of Anaxagoras... 5. The call “let us be like the sun” is justified by the fact that it is - according to the word the poet is young. 6. And the poet turns to youth... 7. In everything, it was important for Balmont to feel the obvious or hidden presence of the sun. 8. I don’t believe in a black beginning, Let the foremother of our life be night, Only the heart answered the sun And always runs away from the shadows. 9. The theme of the Sun in his victory over Darkness ran through all of Balmont’s work... 10. Together with Balmont there was Bely: “Beyond the sun, behind the sun, loving freedom, let us rush into the blue expanse!”... 11. In the book “Let’s be like the sun!” the poet rightly places the Sun in the center of the world, the source of light and conscience, in the literal and allegorical sense of the word...
I do not know wisdom suitable for others. I put only fleeting things into verse. In every fleeting moment I see worlds Full of changing rainbow play. Don't curse, wise ones. What do you care about me? I'm just a cloud full of fire. I'm just a cloud. You see: I’m floating. And I call the dreamers... I am not calling you.
Homework 1. Learn the poem: “I am the sophistication of Russian slow speech...”, answer in writing the questions “How do you imagine Balmont? What was he writing about? How did you write?” (using different syntactic structures) 2. How does syntax work to reveal the meaning in the poem “I don’t know wisdom suitable for others...” (written)
