This article is devoted to the study of the verbalization of auditory perception in the poetic texts of A. N. Maikova. The analysis revealed that auditory perception in the poet's work is closely related to the process of cognition of the world and reality. In poetry A. N. Maikova auditory perception occupies a Central place, being a semantic dominant in the system of structure-forming cycles of poems. The most important role this feeling plays at the level of language and artistic system. Semantic multifunctionality of auditory vocabulary in lyrical language A. N. Maikova not only participates in the formation of the author's idiostyle, but also gives an idea of the model of sensory perception in the consciousness of the Russian language.
Keywords: auditory perception; language system; auditory vocabulary; perception.
The relevance of the work is due, first, to the study of linguistic representations of the universal auditory category of perception, showing an individual view of the world. What fits this work into the scope of work performed within the anthropocentric approach to the study of language; second, the need for a systematic and multidimensional description of linguopoetics an. Maikova, since up to now a detailed analysi lexical features of his poetics from the position of the category of perceptivity were not carried out, which implies the scientific novelty f this study.
The limitation of the material works of one author aims to identify idiostyle features of the study of poetry, the description of the author's individual picture of the world.
The aim of the study is to identify traditional and individually-authored ways of representation of auditory situation of perception in the poetry of A. N. Maikov and analysis in ideastream aspect.
The goal necessitated the following tasks:
1) analysis of the vocabulary of auditory perception as a means of transmitting the author's worldview;
2) identification of auditory perception and its verbalization in the poetic text of A. N. Maikova.;
3) analysis of the functions of the vocabulary of auditory perception.
Verbalization of sensory perception as the most important fragment of the reflection of the common language picture of the world is one of the urgent problems in the study of perceptual vocabulary. The ability of a person to perceive the real world is among its fundamental capabilities along with the ability to feel, imagine, think, understand. «The results of the process of perception (sensory sensations, perceptions and perceptual images) are related, this relationship is based on the experience gained. Perception is a kind of link between reality and human thinking» [2, p. 68]. In the dictionary of S. I. Ozhegov, N. Yu. Swedish perception has this interpretation: «Perception — 1. Action by value. verb. apprehend. 2. The course of studies., philos. Reflection in the human consciousness of the senses, objects and phenomena of the material world acting at this time, including their understanding and comprehension on the basis of previous experience» [3, p. 764].
To convey the perception of each of the five senses (vision, hearing, touch, smell, taste) in the language there is a special circle of words. All these words together form a semantic field of sensory perception. Through the perception of a person, the reflective function of language is realized.
The structure of the perception process is always two-sided: there is a subject and an object of perception. The category of perception in the poetic text actively participates in the figurative interpretation by the subject of perception of both the explicit (external) in the surrounding world and the hidden (internal) world of the individual. The perceptive aspect in the literary text performs various functions: it serves as a mechanism of individual author's sense formation, it is a means of describing auditory impressions and related experiences, but first of all, it reveals the evaluative characteristics that «direct» the figurative interpretation, and thus unites the product of the artistic perception of the author and the reader. Auditory perception is one of the leading, although its object values are less pronounced materially than objects of visual perception. Hearing is not only the most important source of information for a person, but also the most reliable way to verify it.
Thoughts about the special importance of the sensual foundations of human existence and the existence of the Universe occupied a Central place in the philosophical systems of F. Hegel, I. G. herder and other thinkers.
Thus, the ancient Greek philosopher Epicurus bases his theory of knowledge on sensory perception as the sole criterion of truth.
Russian poet of the nineteenth century A. N. Mikov took as a basis the epicurean philosophy of perception of life as beautiful and reflected it in his «anthological poems». This view of life A. N. port and the surrounding. In this cycle of poems the poet refers to Antiquity, to events, to the pantheistic nature, to the «pagan» worldview. From the contradictions of life, he to go into the world of harmonic ancient art, clear sobriety, balance life and perfect plasticity.
In the poem «cycle», «Italian» cycles «Century and» and «comments history» by A. N. Maikov auditory perception is Central, being dominant in the semantic system of core cycles.
The most important role this sensual feeling plays at the level of the language system, it performs an emotive function, for example, in the poem «Sounds of the night» the lyrical hero, thanks to the auditory perception of the sounds of the night, experiences a sense of calm and peace, a state of love and spiritual attraction, as indicated by such tokens as:
«...I'm in love,
Stand and listen, you charmed»...
The auditory process also performs the accumulative function, which transmits information about the cultural activity of a person, the implementation of this function is most clearly manifested in the historical cycles of the poet. So, for example, in «Rome» poet story paints cultural and the beauty, people and life of the ancient world and world, in which lives himself, using under this appropriate vocabulary, describing or transmitting auditory sensations.
Auditory perception can also carry out cognitive function, which allows you to record the results of mental activity of the subject of perception and use them in acts of communication: "...Poet! You hear these sounds... Down with armor! To the dust!"(" N. A. Nekrasov after reading «Muses»).
Lexical units of the auditory lexical-semantic field (hearing, hearing, hearing, listening, hearing, etc.) in the poetic texts of A. N. Maikova indicate, for example, the effectiveness of the sensory process, help in understanding what he heard: "...Even the very thoughts In the ear are given to wonderful Music»...(«Only midnight feast»); "...I hear the nobles whispering and crossed herself»...(«In Gorodets in 1263"); or indicate whether the object is perceived or there is no purposeful perception of it: "...Lord, hear my prayers»...(«The friar»); "...You won't hear the call»...(«Midnight feast only»), etc.
Such verbs of auditory perception as hear, hear, listen, hear, etc., in the poems of A. N. Maikova acquire optional semes of locativity, expressing the distinction, the perception of sound at the point of space and complementing the lexical meaning of these verbs in certain contexts (heard, heard, disobeyed, listen): "...Heard in the cell sometimes only aching delirium»...(«In Gorodets in 1263") or "...Below — the cliff, where you can hear the roar of dragons»... («Minion») — where the tokens of the cell and the cliff called a specific place in which the process of sensory perception. The author also uses a metaphor to depict the localization of the auditory perception of the lyrical hero, for example, in the poem «Improvisation»: "...I hear hot impulses in my heart»....
The primary means of the verbalization of listening comprehension in the poetic texts of A. N. Maikov:
− stable verbal and adjective phrases with nouns (to be attentive, to cover ears, long ears, to prick ears, sensitive hearing), for example: "...And the Prince hears more attentively»... («the Court of ancestors»); "...He was captivated by sensitive hearing»... («Epicurean songs»), etc.
− adjectives denoting sound characteristics (loud, silent, deafening, quiet, inaudible): "...Quiet speech led»... («That's the coffin!"); "...This ringing, this clear Female voice in the ranks»... («Joan Of arc»); "...And this life is not a noisy feast»... («young Lady»), etc.
− a number of nouns that representerait the sound object and have value to this sound (noise, sound, murmur, roar, rumble, squeak, creaking, rattle, whistling, rustling, rustling, whisper, snicker, cry, twang, noise, Ahan, whispering), for example, "...the rumble of the storm»...(«Yesterday ‒ and at the moment of separation»); "...He was raised to the murmur of water and rustling reeds»... («Bacchus»); "...Only a whisper is heard in the meeting»...(the»Claremont Cathedral»), etc.
− impersonal constructions and infinitive: "...I can hear whose face I find everywhere»...(«What in the silence of the mysterious night dream»); "...To hear the twigs crack»... («Autumn.)»
Thus, the analysis of lexical units of auditory perception makes it clear that for A. N. Maikova «hearing» is associated with the process of knowledge of the world and reality. Semantic multifunctionality of auditory vocabulary in the language of lyric A. N. Maikova not only participates in the formation of the author's idiostyle, but also gives an idea of the model of sensory perception in the Russian language consciousness.
- Maikov A. N. Poems. URL: https://rupoem.ru/majkov/all.aspx
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