World comprehension" by Marina Tsvetaeva: "The triunity of sound, word and sense"
The article deals with the poetics of M. Tsvetaeva's works connected with the motive of comprehension. The aim of the research is to show how the penetration into the poetic heritage of M. Tsvetaeva reveals a special understanding of the world and man expressed in the poetic formula of the triunity of sound, word and sense, in the poet's ability to reflect on the word, listen to its nature. Biographical and structural-semiotic methods are used to achieve this aim. Readers, literary critics, linguists mark the volcanic passion of the poet to the study and understanding of the world by poetic word means on different levels. "The triunity of sound, word and sense is expressed by Tsvetaeva through the achievement of the basic aim - "to comprehend in a proper way" the ancient (primordial and profound), the far and the close, your own voice (soul) inside of you and out of yourself. In her obsession with the word and in the unrestrained nature of the word the word is presented as a self-worth reality, and the idea of the primordial nature of the word belongs to the author's most favorite ones. Traveling inside herself, into the inner world, making herself an object of a reflection-investigation, Tsvetaeva understands the birth and becoming of a poet in herself. In the poem "Throwing back my head..." (1918) the character speaks of her birth as a Poet as a realized fact and it is not an occasion that it happened "on the day of Annunciation", of responsibility ("with a kind of a Kremlin bell in the chest - one cannot lie"), of an internal fight of the idea and tyranny "in the chest that moves a grindstone". For the poet this day ("I am standing in front of God") is both a holiday and a trial. Belief and hope of the character in her self-affirmation as a poet are getting firmer in her mind with her readiness to answer all her questions. The poet is blessed. The voice, poems are not subordinated to her, they acquire their self existence. The orientation on the auditory perception of the world, linguistic intuition, denying stereotypes, norms, polyphony of the soul, "word consciousness" as the most important level of responsibility, the state of the constant overcoming - all this characterizes M. Tsvetaeva during her work. The listeners followed this way of sense making, the poem's sound directed them in the poem's comprehension. The poem's sound turned out to be stronger than the sense which was originally introduced in the lines; it results in a new sense that can put a person beyond the conflict over the country by setting eternal values. The sound of a complete text in the unity of the sound and the word, and also in the poet's reading, became sense-forming for the listeners who comprehended the human content through the closeness of the voice tempo, heard the poet's "trust that settles all the conflicts". Russia is resurrected in the poetic word by Tsvetaeva absorbing the entire world's polyphony, its spontaneity and ambiguity: the initial, primordial senses of the word-sound, phenomena and events are actualized. The occasional and momentary turns into the integral and the unbroken, the Essence and the Eternity are revealed. In the final edition the idea of the disappearance of a work was neglected, another idea was asserted: it is impossible to reproduce something that has no limits. The authors of the article come to a conclusion that the triunity of sound, word and sense is the structure and material embodiment of M. Tsvetaeva's poetic texts. The meaning of poetry for Tsvetaeva is the effectiveness of the word and the ability to include the reader into a living dialogue. This is the strategy of the author's (Tsvetaeva's) utterance.