Swan Island: a beautiful and picturesque place on the Seine. Ontological properties and laws of metaphor

Quietly and very romantically, the Seine carries its waters, dividing Paris into two halves. In the center of the French capital, not far from the famous Eiffel Tower, there is an artificial Swan Island on the river. This interesting and unusually picturesque place attracts hundreds of tourists every day. We will also take a virtual walk to the Swan Island in Paris!

The Seine River is the symbol of the French capital

The Seine is a river in Paris, which has a sacred meaning for a true Frenchman. It was on its shores that the Parisians settled in the 3rd century BC - one of the Gallic tribes that founded the future metropolis. The very name of the river, according to one version, is of Latin origin and is translated as "sacred stream".

The Seine originates in Burgundy and flows into the English Channel, collecting water from an area equal to almost 80 thousand square kilometers. It is a full-flowing river with a rather calm course. Its total length is 776 kilometers. The river is the most important shipping artery for France. A large number of large and small ports have been built on its banks.

Top attractions on the Seine

The river in Paris flows in a rather steep arc. At the same time, the city is divided into two parts. Historically, the left bank of the Seine is considered bohemian, and the right - the business center of the capital. The historical center of Paris with its most important sights is also tied to the banks of this river.

Taking a boat trip along the Seine, a tourist will definitely see the Bourbon Palace, the Louvre, and, of course, the world famous Eiffel Tower. No less popular are the numerous Parisian bridges. In total, 37 of them are thrown across the Seine within the city. The most beautiful of them are the Louis-Philippe and Notre-Dame bridges.

Swan Island is one of the most beloved and most visited places in Paris by travelers. We will tell about it further.

Swan Island: description and location

The object is located in the area of ​​the 15th and 16th districts of Paris. It offers an excellent view of the nearby metropolitan skyscrapers and the Eiffel Tower.

Swan (or Swan) is an artificial island on the Seine, which divides its channel almost in half. An elongated bulk dam was built in 1825. Today, it also serves as a support for the Paris metro bridge. The total length of the island is 890 meters, but the width is only 20 meters.

You should definitely visit this Parisian island! After all, here you can leisurely walk in a calm atmosphere, admiring the beautiful views of the river. This place in Paris will undoubtedly appeal to professional photographers. Here they will find for themselves a lot of organic and very successful angles for shooting.

Sights of Swan Island: bridges and alley

Swan Island is not only walks and the opportunity to take beautiful photographs of Paris. There is also something to see here.

So, the island is crossed by three Parisian bridges at once: Bir-Hakem, Ruel and Grenelle. The most important and largest of them is Bir Hakem. This is a two-tiered bridge, on which the sixth line of the city metro passes. Its lower floor is intended for the movement of vehicles and pedestrians.

In the western part, the island is crossed by the Grenelle bridge, and in the center by Ruel. The latter is one of the most unusual and original bridges in Paris. Its design was built for the 1900 World's Fair. The highlight of the bridge is that it consists of three completely different parts: two stone and one metal. Moreover, the element on the left bank of the Seine is made in the form of a smooth bend on two supports.

Another attraction of the island permeates its entire length. This is the so-called Swan Alley. You can walk it at a leisurely pace in about 10 minutes. The alley is lined with 322 trees. Moreover, these trees are not the same, here you can count more than 60 of their species! Under their branches there are benches where you can have a good rest and hide from the summer heat.

Parisian Statue of Liberty

Swan Alley leads tourists to the main attraction of the island. This is a reduced copy of the American one. The history of its appearance here is very interesting.

As you know, in 1876 the French presented their overseas friends with an impressive gift - a 46-meter statue of Liberty (Statue of Liberty). It was dedicated to the centenary of the American Revolution. The giant sculpture was installed in New York and soon became one of the main symbols of the United States.

13 years have passed, and the Americans decided to thank the French by giving them an exact but reduced copy of the statue 11.5 meters high. A return gift was erected on the western edge of Swan Island so that the sculpture "looked" towards the United States.

The Parisian Statue of Liberty holds in its left stone hand a tablet with two historical dates: US Independence Day and

Here it is - the Swan Island of Paris! It is especially beautiful in the evening, when the multi-colored lights of the most romantic capital of Europe are reflected in the Seine.

In the best poetic experiences, metaphor has ontological properties. With the help of metaphor, the author can infinitely increase the power of the echo sounder of his intuitions, expand the space of perception of the work. Thanks to its energies, metaphor, as an internal sculptor, forms not only itself, but the entire work as a whole.

It is interesting to consider the conditions under which a metaphor acquires ontological abilities. This article is the first step in this direction, the search for general metaphysical laws of metaphor in the individual handwriting of the author. Andrey's worksTavrovwere chosen for consideration because of the brightness of itsmetarealisticstyle and his theoretical reasoning in a number of essays on metaphor, close to the concept of the author of the article .

A verbal work of art is a voluminous, not a flat thing. When metaphors are linearly born alonebehind (from) the other, the volume of the work and the non-synchronism of the perception of metaphors are preserved. One of the important tools for creating three-dimensionality is the flickering of the imaginary and real plans, which in the reader's reception works as a ratio of different planes in sculpture.

SWAN

Who created you, who sewed you, poured
into the ear shell, froze it there, took it,
released a lump of tear-stained veins in the snow,
widened again, like a chandelier click - into the hall

with a white wall, with a window star in his beard.
Who shod your beak and gilded your eyes?
Whoever put a claw into the liver made himself white in water
among the black seven in the skulls of the Philistines wings?

Who put the ladder to the side to go up, down

disappearing into you and descending to the prostrate
on the back of the head with a scythe, a black miracle of a thunderstorm - in the eyes .

<…>

Let us pay attention to how the convexity of the work in the reader's reception is achieved by several planes moving in the mind:

Who put the ladder to the side to go up, down
angels walked, disappearing behind the clouds,
disappearing into you...

The passage begins with a clear metaphorical plan (putting a ladder against the swan's side). But the imaginary action through the pronoun "Who" (God) passes here into a metaphysical reality (in the sphere of the incomprehensible, angels acquire the non-metaphorical ability to disappear behind the clouds). However, their disappearance in the swan again returns to explicit metaphor.

The artistic space and time of the swan enclose here the space-time reality of the angels in a ring. But this passage of the poem is not a circle, but part of a discrete line, fragments of which are the existence of a swan and the existence of a swan as a perfect creation of God. In the reader's reception, this intermittent linearity is transformed into a three-dimensional image.

Born inseparable on verbatim stages, metaphorical objects disintegrate, clothed in a word. The substance of a metaphor is complete if, having crumbled, its parts in the mind of the recipient are combined into a whole picture, giving the joy of creation.

The ontological possibilities of a metaphor manifest themselves more sharply in cases where a whole image is born in the reader in the process of combining several or many metaphors (their series, clusters, and even deposits).

The pattern of their connection may be different. Separate metaphorical objects here can be common to different metaphors.

Let us give an example of a drawing of a metaphor connection based on the subject-object relationship "I - She - he", in which "I" is a contemplator, and "She" and "he" are the main participants in the birthmetaphors.

I see a courtyard illuminated by a maiden,

and the shape of the house and doors is curved -

the space melted away from Her, as if by hand,

attached to the tram window in winter.

Her warmth spreads the form

Everything else is white Gabriel,

embraced the world, Her one

not filling with wings, which means

is he - the imprint of this maiden. The hand

prints itself on white and inhaled glass -

that's how he thawed to Mary

with the outline that coincided with the

capable of repeating her features .

"Empty land" (Rilke) - heavenly, incomprehensible space -P is represented here by the imprint of the Virgin Mary in the earthly world (“the space thawed from Her, as from a hand applied to a tram window in winter”). The rest of the space is filled with "white Gabriel", as you know, who conveyed to the Virgin Mary the news of her death a few days before her. Gabriel is likened to a hand that made an imprint. He embraced the whole world, "He alone is not filled with wings." The metaphorical objects "melting hand" and "melted imprint" equally belong here to the metaphorical images of the Virgin Mary and Gabriel, only they change semantic places. Andrei Tavrov masterfully uses the method of imposition, casting from different vessels of emptiness (niche) and the actual form. The metaphorical images of Mary and Gabriel created by him are ideally superimposed on each other by fragments of emptiness and occupancy.

If the reader's mind additionally turns on the linearity of perception, a gallery of reflections and (or) inertia is bornovertakingone wave of another (the light of Mary - the curved shape of the house and doors as an imprint of Mary - Gabriel as an imprint of Mary - a message that can repeat Her features), then the whole passage is transformed into not a closed circle, but into a world endlessly overtaking itself.

The rhythm of a metaphor becomes more audible when it enters into diffusion with a metonymy or a series of metonyms.

The middle of the earth is where you put your heel, -
here you went down, died three times and rose again,
here the needle melts to gather again in the eye, -
you will find yourself in its center, as
pearls of the shell of the world, condensed into a syllable and sound .

The metaphor of the melting of the needle in this context contains a paradoxical metonymic flicker like a synecdoche: the needle is larger than its eye - the eye of the needle is larger than the needle. The thing is born from the world of absence and returns to it ("here the needle will melt to gather again in the eye").

The rhythm of perception of this metaphor is associated with the transfer of energy from one material phenomenon (“needle”) to its part (“needle eye”), which turns into a fundamentally different, empty space, and then back to matter, but of a different order (creativity). In the ideal “empty world” only true creativity is material (“pearl of the world shell, condensed into syllable and sound”).

The special arrangement of four objects - the needle, the eye of the needle, the zone of the incomprehensible and poetry - creates waves of flowing rhythm, forcing the reader to alternately look locally, pointwise, overview (expanding the point to infinity) and inward.

One metaphorical object (the eye of a needle) is here common to the metaphorical images of the needle and the void, its boundaries flicker between the poles "part"/"whole". The rhythm of this metaphor, on the one hand, is spasmodic (displacement from the whole to the part, then again to the whole and again to the part, the cursor sometimes goes beyond the boundaries of the whole), on the other hand, spiral (the substance of the needle - voidness abalone as a fragment of an ideal world is a fundamentally different substance of poetry). The motif of the eye of a needle refers to the motif of the ear, thanks to which poetry is born from an incomprehensible center.

The echo sounder of a metaphor reaches deep layers if the author manages to capture the materiality, the density of the process, to portray the thing as a process.

So, the language in Andrei's poetry Tavrov is depicted both as an organ of speech and as a process, a flow.

<…>

What do you say, moving
in the whole cage, as with one tongue,
by itself, as if by the body of the past
and armless dolphin jumping.

(“Let me feel the chest cage ...”)

The “past body”, “armless dolphin jump” (the trajectory of the dolphin, its phantom outline) belong to both the metaphorical dolphin and the real person, metonymically likened here to his language.

The thing as a process and the process as a thing grow phenomenologically to the most essential, “empty” point, reaching the depth of the bottom as the top, acquiring the ability to create and even resurrect:

And who did they create together then -
earth with gorse or sky in the shoulders?
Move your tongue like a mound on a grave
so that Lazarus wakes up in the rays .

A visible image of a thing as a process is observed in the poem "John and the Ladder".

Metaphorical description by Tavrov " ladders» John is rhythmically based on the non-synchronous and multiple birth of metaphors in reception. The reader perceives new metaphors, while in his creative mind the birth continues or begins again. previous.

John's essay ladder consists of "steps" of virtues, along which a Christian can ascend on the path to spiritual perfection. The image goes back to the biblical vision of Jacob - the Ladder, on which the angels ascend. Andrey's poem Tavrov does not fall in steps. The instantaneous depiction of the entire staircase by the poet, its repeated overview description, along some steps from the bottom up and from the top down, is just an illusion that quickly turns into a description of a thing as a process. Author and reader of the ascetic "ladders” and the Stair itself merge here in a dense triad “author - work - reader”. Stairs the reader's blood "gets to God", as the pressure raises the water "over a hundred floors in a skyscraper". John "sits on the ground like a coil of wire, stoic the angel will not find him by sound. And an alternating and scarlet current passes through it, making its flesh white-hot for other heights.

Each new metaphor in this poem includes all the previous ones, gradually expanding to God as an "infinite ball" nested in the wings of an eagle. The ladder that goes inside a person opens and illuminates God in him. All metaphors in the poem are of equal value, newborns do not detract from the previous ones, but on the contrary, return the reader's attention to them, again tearing them to the depths. The repetitions of the motifs of stairs, wings, an eagle and others condense the process into a thing. The movement of metaphors ignores the dynamics and tempo of gradation, preserving the endless flow of the staircase as a thing. Parts of the ladder and objects similar to it, illuminated in an incomprehensible center inside a person, are absolutely equal to it.

JOHN AND THE LADDER

John ladder beast builds about 30 wings.
One - cornflower blue, silk two and six
from the fangs of a saber-toothed tiger; on two trunks
the rest go into the sky and thunder like a tin.

He brings the artillery of the night to God's assault, soldier
long-range prayer, humility fireball
and rockets of the desert - patience, thirst and hunger,
and its foot guards fire-lipped shepherd.

On one step, cotton wool grows clouds,
an eagle made a nest on the second, a dragon on the third.
But he storms the height and goes, sunfisher,
like a crab on stones, like glass, sky taking the slope.

Sabertooth creature ladder shows teeth to enemies,
like a Doberman beast, snarling at evil spirits around,
and blood reaches God, like a hundred floors
in a skyscraper, the pressure raises the water, elastic.

In silence lie down like snow, heaps of heaven,
like a plow in the air plowed the height of the grain,
in the black soil and blue rises the heavenly city-forest,
where the cuckoo is love and faith like a narwhal whale.

He sits on the ground like a coil of wire,
stoic the angel will not find him by sound.
And an alternating and scarlet current goes through it,
white-hot his flesh for other heights.

How frustrating is the stairway, sparing!
How patient death and generous red pain.
Again the craftsman-God is sculpting and the rib, and crying,
so that the stairs insideyou, like a subway, got off.

So that you lighten with weight and sing from pain,
resurrected from death, starved from eternity,
so that your forehead is like cotton, and black and white,
so that the grain of peace expands like a collapse.

And the grasshopper sings, and there is a haystack,
and the eagle flies for love, and a flurry for a candle.
And to you the whole world is like God for an eagle,
which is embedded in the wings like an endless ball.

O metabolism in poetry A. TavrovI already wrote in connection with verbatim in the work: “When M. Epstein talks about metabolism as a metaphorical trope in which “ bringing into discourse an intermediate concept<…>unites distant subject areas and creates a continuous transition between them”, just one can mean “a metaphor with a piece of placenta”. Is it always metabola aesthetic value? Here it is important to distinguish between the natural ingrowth into the fabric of the work of a comparative feature as the moment of birth, which creates a highly artistic context, and its artificial montage, showing a weak artistic level. In my article, I gave examples highly artistic metabolite from epic A. Tavrov"Dante's Project" and his poem "Bach, or the Space of the Stream".

I will now turn my attention to one of the laws metabolites in the poetry of the author under study. Under the condition of a high level of product force metabolites multiplies: 1) when moving apart the poles - moving away from each other metaphorical objects; 2) with the length of the territory occupied by an intermediate (comparative sign).

For example:

SEA LION I

like a sheet of armlessness swaddled -
sleeping in white amalgam fever
but squeezed out by lead tube in umber
and in the cone of the muzzle oily like paint

Here, the first metaphorical object is already declared in the title, then in the first two lines there follow accompanying metaphysical metaphors describing it. (I can’t resist the assessment: the first one is simply brilliant - “ like a sheet of armlessness swaddled"!) and only then the intermediate "extruded lead tube in umber and in the cone of the muzzle. Schememetabolites here is: sea lion (first object) - fluidity, shape, like a sea lion squeezed out of a tube ( intermediate) - oil paint (second object).

Let us sum up the results, which will be intermediate, since the article only begins the study of the ontological properties and laws of metaphor.

Based on the poetry of AndreiTavrovit can be seen that the metaphor acquires the metaphysical properties of deepening and expanding the space of reception if:

– in the process of separating metaphorical objects from each other in the reader's perception, they are reunited into a harmonious picture close toverbatimand giving the reader the joy of co-creation;

– an integral image is born in the reader in the process of connecting several or many metaphors (their series, clusters and even deposits), howeverwith a plurality of metaphors in the context, their non-synchronous maturation in the mind of the reader is observed;

- P With the linearity of the origin of metaphors, onebehind (from) the volume of the work is preserved on the other, segments of the reader's reception work like different planes in sculpture;

- in all metaphors in the work are equivalent;

- in the work there is a flickering of imaginary and real plans;

– having the shape of an imaginary circle, a fragment of the work is part of a discrete line and its metaphor overtakes itself endlessly;

By semantic transformation we mean such changes in the semantic structure of a word or phrase that bring to the fore not their direct, but their figurative meanings. Then tropes are semantic transformations that allow language units in a certain context to develop figurative meanings by combining two or more semantic representations in their verbal form.

In "Eugene Onegin" we read:

The theater is already full; lodges shine;

Parterre and chairs, everything is in full swing...

Pushkin paints a picture of a full theater hall, without mentioning that there are joyfully excited and well-dressed people in it: the poet names only places for spectators (boxes, stalls, chairs) and assigns unusual verbal actions to these places: sparkle, boil. But we understand that it is not the stalls and chairs that are in a state of “boiling”, but the people sitting in them, but the action itself boils is not related to the "boiling of a liquid when heated strongly", but refers to the audience, excited by everything that happens in the theater. In this context, in the highlighted words, there have been shifts from a direct meaning to a figurative one.

In the formation of paths, an active role is played by the associative thinking of a person, which allows one to see the similarity or contiguity of heterogeneous entities, to establish their analogy. Tropes transform the semantic space of a language.

The main tropes include metaphor, metamorphosis, metonymy, synecdoche (a kind of metonymy), hyperbole, litote, irony. All these semantic transformations are found in texts of different functional styles, but they manifest themselves most expressively in the language of fiction.

§ 11.2. Tropes as semantic transformations

Semantic transformations based on assimilation and analogy: comparison, metaphor, metamorphosis. Usually, according to the type of semantic transformation, comparison, metaphor and metamorphosis are put in one row as comparative tropes of different structure.

Comparison is a figurative verbal expression in which the depicted phenomenon is likened to another according to some common characteristic for them, while new, extraordinary properties are revealed in the object of comparison. So, in the context of A. Akhmatova There was a voicelike a hawk's cry, But strangely like someone else two phenomena are openly compared: voice- item being compared hawk's cry- the image of comparison (the object with which the comparison takes place), the comparison is based on the tonality of the sound. Comparison can highlight any one feature (as above in Akhmatova); and can correlate with each other and two parallel situations, which later form the basis of metaphorical transfer, for example, in B. Pasternak: Like a refurbished home with no windows. open through all horizonswooded slope (parallel windowless house - open wooded slopein the text is deliberately revealed and structurally fixed by a rhyme).

Metaphor (from Gr. metaphora - transfer) is a semantic transformation in which an image formed with respect to one class of objects is attached to another class or a specific class representative. Since the time of Aristotle, metaphor has been regarded as an abbreviated comparison, i.e. comparison from which similarity predicates are excluded (similar to etc.) and comparative conjunctions (like, as if, as if, as if, exactly, exactly and etc.). For example, in F. Tyutchev’s poem about the sea wave “Sea Horse”, the very assimilation of “a wave like a running horse” in the structure of the verse turns out to be hidden - only the definition helps to unravel this figurative riddle nautical and words shore, shore, spray:

O zealous horse, O sea horse,

With a pale green mane,

That is meek, affectionately tame,

It's insanely playful!

I love you when headlong

In his arrogant strength, Tousled his thick mane

And all in a couple and in soap,

To shores directing a stormy run,

With a cheerful neigh you rush,

Throw your hooves into a ringing shore

And in spray scatter!

Thus, when deployed in the text, the metaphor can also realize the signs of the literal meaning of the comparison image (in this text, “horse”), creating a single metaphorical context, namely: the sea “horse-wave” is assigned attributes (thick mane, steamed and soapy, hooves) and predictive signs (neighing, running, rushing) real horse. This phenomenon is called the realization of the metaphor in the text.

A similar phenomenon is observed in S. Yesenin: Behind the dark strand of woods, In the unshakable blue,Curly Lamb - Month Walking in blue grass. In a quiet lake with sedgeButting his horns (1915–16). In this case, the semantic parallel curly lamb: a month, is revealed in the text in such a way that the metaphorical phrase is overgrown with real signs of the image underlying the assimilation: the moon appears, like the lamb, with horns, which butt heads - so the poet imagines the reflection of the incomplete moon in the water. Once the foundation of the likeness has been revealed, the poet in subsequent verses can only imply it, and the reader must independently restore the metaphorical figurative analogy using the familiar attributes and predicates of the imaginary animal – cf. later with Yesenin: Monthhorn cloudbutts, V blue bathed in dust(1916).

A special place is occupied by the genitive metaphor, in which the compared object is in the genitive case, and the object of comparison is in the nominative: pearls of the islands at I. Annensky, showers of lights V. Mayakovsky and others. Most often, such a construction is three-membered - it is supplemented by a definition that emphasizes in the figurative object the signs that are simultaneously necessary both for the development of the figurative meaning of the metaphorical construction and for its correlation with reality: cold twilight of amethysts, longing shadows of branches at I. Annensky, colored beads of lanterns at M. Tsvetaeva, small wave sturgeon I. Brodsky.

A genitive metaphor generates a synthetic trope - a metaphor-comparison. This semantic transformation is different in that the components represented by nouns (for example, sturgeon and waves Brodsky), reveal at the same time the fusion of the literal and metaphorical semantics of one of the components (sturgeon in the meaning of “sturgeon meat as food”, without losing its original semantics, it is as if transferred to the space of another member of the construction - waves). The separation of the comparative construction is preserved due to the presence of two nominal members enclosed in a construction with a genitive case. Synthesis is achieved due to the fact that in the very grammatical structure of the genitive construction there is the possibility of forming "attribute" in the form of an inconsistent definition: the initial objectivity of the metaphorical component (for example, beads M. Tsvetaeva) seems to permeate the non-metaphorical component (lanterns) and figurative meaning is born when they interpenetrate. That is why it turns out that the reflection of the lanterns can be “rinsed” in the water like a real object: Let's slow down by the riverrinsing Colored beads of lanterns. In this case, we are already dealing with the poetic realization of the metaphor-comparison.

However, often in poetic contexts, the construction of comparison (introduced by conjunctions and allied words like, like, exactly, like etc.) directly develops into a metaphor, including a genitive one, revealing the basis of its imagery: cf. Won,exactly cards, semicircle divergelights. Guess, child,night cards, Where is your lighthouse(A. Blok). Here lights are first likened cards, then a fused image is formed - night cards, which expands in the text: namely, one of the properties is implemented kart- you can guess from them.

The generality of comparative transformations - comparisons and metaphors - also expresses itself in the fact that the reverse order of their sequence is also possible, namely: a metaphor can be resolved by an open comparison: Clear sky.Crows black umbrella. flashed,like a pen, a beak (A. Voznesensky). In this case, the genius metaphor (crows black umbrella) is not self-sufficient, and for its understanding it is necessary to expose the grounds for comparison (umbrella handle: beak)- hence the deployment of a genitive metaphorical construction into a purely comparative one.

The disclosure of the base of comparison is also characterized by another tropeic transformation, which bears the speaking name of metamorphosis (from the Greek. metamorphosis - transformation). In metamorphosis, the sign of comparison is enclosed in the form of the instrumental case of the name: cf. And glory floated like a swan Through the golden smoke(A. Akhmatova). No wonder metamorphosis is considered a transitional transformation between metaphor and comparison, as indicated by the possibility of its semantic deployment with the help of a verb. At the same time, the very form of the instrumental case of a name in metamorphosis always depends on the verbal action, which, in fact, creates the transformation-metamorphosis, i.e. translates the meaning of the name in the instrumental case into a different semantic plane. Thus, in the mentioned example from Akhmatova, it is thanks to the introduction of the verb floated a holistic picture is formed, in which glory assimilated swans feminine gender and appears in her guise.

In the case of metamorphosis, predicative assimilation (from Latin assimilatio - likening, merging, assimilation) comes through most clearly, as a result, its name and verbal action, which are carriers of the trope, semantically adapt to each other so that together they create an idea of ​​a single figurative situation. For example, S. Yesenin golden frog moonsprawled out on still water metamorphosis moon frog determines the appearance of the verb in the text spread out, which acts as a predicate to the subject moon, and together they describe the single situation of a moonlit night. The basis of the semantic adaptation of the subject and the predicate was metamorphosis itself - the transformation of the moon into a golden frog. Choice frogs as the basis of metamorphosis is also not accidental: it transfers the subject of the statement - the moon- with sky on the water.

Predicative assimilation, characteristic of all comparative tropes, manifests itself most clearly in metamorphosis. Compare the previous context with a purely metaphorical one: snow swan to me feathers under the feet spreads (M. Tsvetaeva), where the phrase "snow swan" acts as a metaphor for snow. In order for the falling snow to be identified as a swan, it is necessary to do some mental operations, i.e. unfold the metaphor and correlate snowflakes with swan feathers - only then does the whole situation swan spreads feathers becomes relevant to the situation. something white, snowy creeps. In Yesenin's text, for the transformation moon in an amphibian, it is sufficient to have something in common with frog verb flatten out(on the water), which captures the shape of the reflection of the moon in the water.

Relationship between metaphor and metonymy. Personification in a series of tropes. Metonymy (from Greek metonymia - renaming) is a trope that transfers the name of an object or class of objects to another class or a separate object associated with data by contiguity, contiguity, and also involvement in one situation based on temporal, spatial characteristics or causal relationships . Metonymic transfer can be realized according to several models: 1) “the material of the product from this material”: for example, in A. Pushkin: What fun, shoesiron sharp feet, Glide along the mirror of stagnant, smooth rivers \(iron in this context means skates); 2) "artist, poet, composer of his work": For years sometime in the concert hall IBrahms will play– I'll leave longingly.(B. Pasternak); 3) "action is its result": And every quick turn brings everything new with itgame andcombination (M. Kuzmin); 4) "a person is a significant part of his body": Fear screamsfrom the heart (AT. Mayakovsky); 5) "a man is an attribute of his clothes": The Red Army men were leaving with the last tram, right outside the city,And an overcoat shouted damp: - We will return again - understand ...(O. Mandelstam).

Synecdoche - a kind of metonymy - represents a part of an object or phenomenon as a whole or a whole as its part; usually the whole and the part are adjacent. Synecdoche can underlie the entire composition of the text. So, the poem “I am at the bottom” by I. Annensky was written on behalf of the hand of the statue that broke off and fell into the water: I'm at the bottom, I'm a sad fragment, The water is green above me. The "gluing" of the whole picture of the poem occurs only in its final lines ( There yearns for me Andromeda With a crippled white hand).

Let's look at a few more examples: As ifthe flute played because of the thick glass(M. Kuzmin); At the deity behind the lamp SmiledMagdalene (S. Yesenin). In the example with flute at Kuzmin we

we have a transfer based on the fact that a single element represents a complete picture-situation that can be restored entirely from its parts: it is not the flute itself that plays, but the performer using the flute as a musical instrument. In Yesenin's context, it is not the biblical Magdalene herself who smiles, but her icon-painting image, but in this case, to understand the line Magdalene smiled one metonymic transformation is not enough - metonymy comes to the aid of a metaphor that transfers from the realm of the inanimate to the realm of human emotions.

We observe the combination of metaphor and metonymy in the couplet of V. Lugovsky: Brass orchestrainflates Hugecopper mouths, where wind instruments are likened to the mouths of musicians, but they are at the same time adjacent to them, and therefore, as it were, are their continuation. Here, metaphorical and metonymic transfer enter into close interaction, generating a synthetic trope - a metonymic metaphor.

Metaphor and metonymy are mutually complementary tropes. Metaphor creates a verbal image by projecting onto each other and likening two object spaces (the mouths of musicians and wind musical instruments), metonymy performs the transformation based on the juxtaposition of two verbal images in one object space (the mouths of musicians continue in the mouthpieces of pipes and other musical instruments).

Sometimes a trope is also called personification - a semantic transformation, consisting in assigning a sign of animation to objects of the inanimate world; however, it is often based on metaphorical and metonymic shifts in meaning. Usually, personification arises by attracting a “personifying” detail into the general metaphorical context, thanks to which the figurative meaning realizes itself in separate features of the overall picture. So, in the mentioned lines M. Tsvetaeva snow swan under my feetfeathers spread snow becomes a swan due to the appearance in the text of a sign that realizes the metaphor (feathers).

Epithet. We have repeatedly encountered the epithet in the case of both metaphorical and metonymic transformations. An epithet is a word or expression that, due to its structure and special function in the text, acquires a new semantic meaning, highlighting individual, unique features in the image object and thereby forcing it to be evaluated from an unusual point of view. The epithet acts as a pictorial device, which, interacting with the main types of semantic transfers (metaphor, metonymy, etc.), gives the text as a whole a certain expressive tone: cf. You miss the pink skyAnd pigeons clouds(S. Yesenin). Here the epithet pigeon has both metaphorical (clouds are like doves) and metonymic (clouds are the color of a dove) components.

Most scientists consider the defining word in the attributive construction adjective + noun (A + N) as an epithet. Attributive epithets can be classified in terms of their structure and syntactic position (preposition, postposition, dislocation). The Russian language is characterized by the preposition of an epithet expressed by an adjective, i.e. it comes before the noun it defines. In poetic texts, the epithet often appears in a postposition (after the word being defined), which is connected with special rhythmic organization of the verse. So, in the poetic text of B. Pasternak, the epithet first precedes the word being defined, and in the next line it comes after it, creating the effect of inverse symmetry: Roofing thin icicles, Brookssleepless chatter! In a poetic text, the dislocation of the epithet can also occur, when the defined and defining words are separated from each other by a third word (A. Blok: In the blue twilight, a white dress. Behindlattice flickers carved), which creates an additional image.

Explaining the epithet and the word it defines in different rows and arranging them vertically can create additional figurativeness. So, in the lines of A. Blok

Everything is as it was. Only strange

reigned silence.

And in your window foggy

Only the street terrible.

first, due to the unusual arrangement of epithets, the effect of “breaking the sound” (silence) is created, and then the effect of “mystery”: the street is “terrible” because of its “nebula”. Thus, stylistic figures, through a special use of word order, interact with syntactic figures.

From the point of view of structure, the following are distinguished: simple epithets (consisting of one adjective forming a pair combination A + N, for example blue depth by A. Platonov), fused (when adjective epithets are formed from two or three roots: the usual fused epithet in A.N. Tolstoy storyconvincingly deceitful and a neological fused epithet in M. Tsvetaeva Girlish-own-lion Show capture!..); composite (from two or more definitions with one defined - yellow Manchurian wind I. Brodsky); complex (transmitting a merged group meaning: in lifebuoy goggles V. Mayakovsky).

The expressive function of an epithet becomes most tangible when the epithets line up in a synonymous row and each member of the row introduces its own unique stylistic connotation of meaning: Dull, sad friendship tofading Sasha hadsad, mournful reflection(A. Herzen).

Oxymoron. Usually, an oxymoron is a semantic transformation, the figurative potential of which is based on the action of multidirectional, antonymous semantic features. Most often, an oxymoron is represented by an attributive phrase (adjective + noun): miserable luxury, a living corpse, hot snow, a poor rich man. Coordination and interpenetration of signs opposite in meaning can occur in a genitive construction (kiss poison M. Lermontov) and adverbial (adverb + verb form): Look, herfun to be sad. Suchsmartly nude at A. Akhmatova; in sentences with homogeneous members (I snow aroundburned and cold atB. Pasternak) and in the structure of figurative comparison: The heat of the swollen cheeks and forehead into the glasshot as ice Pours on the mirror(B. Pasternak). Here, semantic assimilation occurs due to the elimination of the multidirectional semantics of each of the components, and therefore they are thought of as a single whole. In prose texts, there are oxymoron situations that convey the duality and inconsistency of the characteristics or states of the characters. Such “ambiguous” appears, for example, Pugachev in Grinev’s prophetic dream: scary guyaffectionately called me(A. Pushkin. Captain's daughter).

Hyperbole and litote. Irony. Hyperbole and litotes are paths based on the disproportion of a quality or attribute brought to the fore (in the first case, this is an exaggeration, in the second, an understatement). Hyperbole (from the Greek hyperbole - exaggeration) is a semantic transformation in which the indicative meaning of a linguistic expression is exaggerated to implausibility. Quantitative ("Million torment" I. Goncharova; Half the world outshine the lightMyriad whirlwind of grains of sand B. Pasternak) and quality indicators (Winter nights - perhaps they will throw us into a crazy and devilish ball in A. Blok), which can even cause the fusion of hyperbole and oxymoron: terrible and all the more charming dream of happiness (L. Tolstoy), terrible caresses your(A. Blok), terrible beauty (B. Pasternak). Hyperbolization is often based on metaphorical transfer, and we are dealing with a quantitative metaphor: A riot of eyes and a flood of feelings(S. Yesenin), Forest of flags, hands of grass...(V. Mayakovsky), Powerful grass foam(I. Brodsky). Quantitative metaphors are created mainly on the basis of genitive constructions. Such genitive metaphors can form whole rows, as, for example, in the second poem of A. Kruchenykh's cycle "Hyperbole - the conception of poetry":

Out of line

me, almost a beggar,

take caress...

which one will rush

windbreak of verses

wild fire

screaming briars of catastrophes.

The “injection” of a feature is often observed in constructions with fused epithets, one part of which names a color or feature, and the second reinforces it, often emphasizing the destructive nature of this feature or transferring it from one sphere of perception to another: hellish black eyes(V. Benediktov), poisonous red lips(M. Gorky), unbearably white walls(Yu. Nagibin).

Hyperbolization can occur in the text due to or emphasizing the meaning of “lack of boundaries or limits of measure” (A. Blok: Oh, spring without end and without edge– Endless and endless dream!), or the use of other semantic transformations in which meanings associated with the limits of human feeling are brought to the fore: And I loved. And I've tasted the crazy hops of love pains(A. Blok) - or critical disease states, almost on the verge of death.

Litota (from the Greek litotes - simplicity) - a trope, the reverse of hyperbole, i.e. a technique of semantic transformation, by means of which the signs of an immensely and implausibly small are assigned to the small: Who got losttwo steps away from home, Where is the snow up to the waist and the end of everything?(A. Akhmatova about B. Pasternak). To achieve the effect of "smallness in superlatives" word-formation means can be used (for V. Mayakovsky: Hell of a city windows smashedfor the tiny light-sucking hells). Sometimes the sign of "great smallness" is given as if by contradiction, with the inclusion of oxymoron semantics, as, for example, in Mayakovsky: If I weresmall as the great ocean, – on tiptoe b waves got up, the tide caressed the moon.

The second understanding of litotes is connected with the intentional weakening in the text of a classifying feature or property of an object. It is achieved by double negation of the sign (not useless, not without love) or by adding negation to words and expressions that have a negative meaning (not devoid of a sense of humor, not stupid). As a result, statements are formed that, in their logical content, are equal to constructions devoid of negation (cf.: useful, with the application of labor, with love, smart), but in which the confidence that a given feature or quality is inherent in the object is greatly weakened: Separation, perhapsnot bad I'll take it down, but I'll meet you– hardly(A. Akhmatova).

Tropes also often include irony (from Gr. eironeia - pretense) - an allegory in which linguistic expressions acquire a meaning that is the opposite of the literally expressed or denies it. Irony usually contains denial and ridicule under the guise of approval and consent due to the fact that the phenomenon is attributed properties that it obviously cannot have. Classical examples are given by the fables of I. Krylov, when the remark addressed to the donkey sounds like this: Where, smart, are you wandering head?

Often, irony serves as the basis for creating a parody - a text built as an imitation of the original text, but with a mandatory semantic distortion of the sample. An example of such a “distortion of the model” is Sonnet VI from “Twenty Sonnets of Mary Stuart” by I. Brodsky, which parodies A. Pushkin’s poem “I loved you ...”. The reverse meaning of Pushkin's lines in Brodsky's text is born due to a real distortion of the text by adding, denying the original meaning (I loved you so much, hopelessly, as God grant you others -but will not give /), as well as the fact that the recognition of the "lyrical I" this time is not addressed to a living woman, but to a statue (so that the fillings in the mouth melt from the thirst to touch - I cross out the “bust” - mouth!), which makes all the manifestations of passion presented in the text ridiculous. Thus, in this parody, one of the manifestations of irony takes place: the literal meaning of the lines is “turned over” and instead of forcing passion, we are faced with its complete absence.

Path interactions; their reversibility. Semantic transformations in the text, as a rule, do not exist separately, but enter into close interaction. The most susceptible to interaction is the epithet, which always acts as a definitive to a certain definable. It is widely represented in attributive constructions (an adjective subordinate to a noun), where semantic interaction always relies on a strong syntactic connection between components. In attributive constructions, metaphorical and metonymic transfer is often introduced into the phrase through the epithet, i.e. one can speak of metaphorical and metonymic epithets.

A metaphorical epithet most often appears in three-term constructions, the structural basis of which is a metaphor-comparison: And I remember your face, And now I easily recognizeAshes chilling parting And violets of vernal eyes (M. Kuzmin). Metaphorical transfer in genitive constructions parting ash and violet eyes due to the syntactic connection of its constituent elements, which also enter into a relation defining + defined, however, such a semantic transformation is based on a comparison given by the nominative case of the name (cf.: device like ashes– ashes of the device, eyes like violets– violet eyes). The epithet, which in such constructions is most often located between the members of the genitive metaphor, can syntactically obey the name both in the nominative and in the genitive, but in the semantic plan it always serves as a link between these two elements and deepens the interpenetration of their meanings. Yes, an attributive phrase freezing ashes already in itself contains an oxymoron meaning (cold + hot), which extends to the word parting, endowing it with color (ashen), and temperature definitions.

Oksimiron's "Tumbler" is one of the most favorite tracks of the performer's fans. Many admitted that it was from her that they began to listen and adore his songs. Oxxxymiron really did not regret interesting tricks and difficult comparisons when he wrote "Tumbler". He captivated the listeners with his individual literary style, and the fans do not hide: "This track wants to be put on repeat again and again."

So, what does Oksimiron want to say with his "Tumbler"? This is indeed a mysterious image and symbol that cannot be ignored.

Track "Tumbler" listen

“From point A to point B came a pale young man with burning eyes”

It becomes clear to us that this road is a life path, crazy, full of vicissitudes of fate and thorns, but alluring. And ... a foregone conclusion: from point "A" to point "B". The beckoning road that absorbs the entire young man is just a straight line, which is easy to draw with one stroke of a pencil. In this geometric wretchedness, where everything is initially defined and tritely simple, the hero began his triumphal march. With this one line, the author has already told us about what will happen next.

And then he managed to “get fat”, that is, to grow old and become a bourgeois down to earth, limited layman with a kind of beer belly. He immediately drank away the knightly armor, which elevated him above the empty, everyday life, pointed to his lofty aspirations, firm principles and feats of arms. He started out as a warrior, a winner, “a knight without fear and reproach,” but, in Yesenin’s way, he pawned his pants over a glass and married a laundress, the simplest girl, who is far from the throne of a princess. Some fans of Oxy speak of his marriage as a hopelessness, again a fall from the originally intended height. He himself does not know what he needs, all the intended goals lose their meaning. Life lands and even kneels, but it does not kill him in the physical sense of the word. Only values ​​become completely different and the material side of being acquires special importance. “Man does not live by bread alone,” we recall Pushkin and understand that without bread, our hero is deader than God in the 20th century.

Routine makes people madly similar to each other, they involuntarily copy facial expressions and gestures, so "every second here is like that, their swarm is here." All bees are the same, they all live to provide the hive with life-giving honey, but they don't realize it. If we humanize this metaphor, we get Pelevin's bablos and cattle artificially bred by vampires. And then another bee, another cattle decides to weaken and become a victim of a series of black stripes. At one point, he loses absolutely everything and gets far from what he wanted.

The traveler "learned from the dead, like the prince of Denmark from the shadow of his father." It's about Hamlet, the hero of Shakespeare's tragedy of the same name. Let's remember what the crowned offspring learned? To sweep. He learned the truth about the conspiracy and the murder of his father, and his whole world turned into an inky cloak that is difficult to translate. Thus, the author hints that the shadows of his ancestors opened his eyes to the true state of affairs. He is unhappy because he feels the quagmire of vulgarity into which life is sucking him. Most likely, he studied it in books, and now he could not help but stand out from the “biomass and protoplasm”.

Hamlet, the hero of Shakespeare's tragedy of the same name

There he learned not only the knowledge of life, but also the ancient rules of cohabitation of people among themselves, such as tolerance and observance of memorandums (diplomatic documents). The Table of Ranks was introduced by Peter the Great, but here he means class inequality fixed in the subcortex. Under the world, it turns out, only Makarevich does not bend, but all the rest perfectly sense the boss and do not dare to blather against him. Otherwise, the path may break.

"Back boomerang" - change everything? Or even get out into oblivion, since no one crushed the “louse of doubt”? Is it possible to change everything in a place where abstractions such as report cards, distorted by vicious us, determine consciousness? Not even being, but the devil knows what.

People blame circumstances and do not notice their mistakes, “you blame the soles and go the distance,” and then wonder why the thorns last so long and cannot wait until the stars finally appear. And it is not surprising, because after a series of break-ups, one wants to fall into Oblomovism - the great Russian melancholy. And the soles are not the same now, are they?

“Slits in the shell” is an appeal to the through image of the chitinous cover in the work of Oksimiron. From the world, his hero is traditionally protected by a shell, because his soul is vulnerable and soft, like turtle meat. For a rich soup of life - that's it. Scabs, planted by time, became his prison and his own salvation.

What does the hero do in his lonely captivity? Money. He bows before the idols of the theater according to Bacon - those "authoritative" points of view that are always right, because from childhood you are marinated in them. He is tempted by the correct and positive American dream: through hardships to success, moreover materially, and the stars have nothing to do with it. He, like everyone else, seeks to hit more, and well-meaningly wonders why others “rub them on the gums” - pour them into drugs and entertainment. Doubt is: “Maybe it should be so?”. From this grows the second crooked path - hedonism and a passion for self-destruction. Since everything is so miserable and petty, why do anything at all? And so it will!

Of course, drugs come to the rescue, those same “money in the gums”. The pursuit of lava and a career bow no longer makes sense, and it didn’t, after ardent disappointment come apathy and despair, and a person tries to forget himself, dissolving his consciousness in whatever.

So to hell with feeling sorry for yourself
Less worthless reflections and more reflections
When there is a clear goal, then empty wanderings become a quest.

Pity, thoughts about the past - all this flies to hell. Miron is ironic, saying that you need to think less, calling this exercise worthless, and calls for animal reflexes to be brought to the fore. All his goals here do not matter, they are artificial, life is just an interesting game in which there is no point, it beckons, but leads to a dead end, which we naively call "goal". Have we been trying to get a bank account all this time? And so it happens, for the sake of it we wake up every day. But it's better than being homeless and strumming Alexander Nepomnyashchikh's songs on the guitar, isn't it? No, well, you can, of course, wander a la forever young, but doesn’t it look funny on 50-year-old uncles and no less shabby aunts? So think after that, what is the meaning of life, when freedom looks like a carnival procession to nowhere.

Chorus analysis: what does "roly-poly" mean?

The roly-poly is a symbol of an unshakable personality, a bizarre doll that does not fall, but only wanders around and immediately takes the opposite position, it gets stuck and keeps between bizarre lines: the pursuit of money, utopian thoughts about the meaning of life, the thirst for success and drug contemplation. That is, the winner is the one who balances between, and does not go ahead.

However, nooo, something is unclean here: maybe a tumbler is just the same neither fish nor meat? Those very hated by Vysotsky "moderate people of the middle"? They do not have conscious spiritual values, they have no opinion, they do everything like everyone else, and therefore they are always right. This is their strength: neither here nor there. They repeat only proven and worn-out truths, they do not risk looking for their own, they never climb the barricades. It is such a people who clings tightly to their little egg and knows exactly why they live. Exist.

And the strongest will survive, and thanks for that. This is the maximum, because we have already seen how the warrior drank away his armor, how he gave up and was blown away on the way to his point "B". B is a swamp. But even if he continued his tortured chivalry, would he not be driven back like a rearing floorboard, level with the floor? Live, wash, please, but do not play with your muscles: for any action there is a reaction, for any force - forces.

Second verse: prongs of fate

The first lines are clear - ironic lamentations of self-justification. The reasons for the fact that there is no need to go further and longer lie in the Divine failure (like the Gnostics, the author doubts that this world is not the Creator's mistake), inappropriate trinities of place, time and action. The knowledge that is needed in this erroneous and random world is not the kind that comes in handy on the TV game “What? Where? When?" (it is the best players who are given the crystal owls mentioned in the text). From them, knowledge, apparently, it follows that patience and willpower (do not piss = do not be afraid, and the play on words with the “sanitary zone” refreshes the text) will help to adequately overcome the vicissitudes and crosses of fate.

Humility is good, as they say, but the following lines report how the crowds do not want to put up with the disappearance of the hero and write a statement on him to the ECHR - the European Court of Human Rights, located in The Hague. This means that Oxy fans are deprived of this blessing that gives peace, maybe this is for the better, because humility means silent solidarity with the world in all its horror.

By the way, he's still the same. The world does not give a damn about the personality, its machinations in taverns and marriage beds, its betrayal of itself. The world is still the same, the author repeats in a refrain, nothing important has happened. A person who came to this distance could not change anything, and could, since his path is just a dotted line from point to point? Awareness of his insignificance and insignificance brings the hero to the bottom: since I can’t change anything, it means it’s better to find refuge among the same doomed as Gorky’s heroes.

A common metaphor that pervades this verse is an endless swim to the shore of that same “Swan Island”. True, there is not a malachite bracelet, but Moloch in the form of a golden fleece - the ancient Greek symbol of wealth and prosperity. As you can see, the artificial goal of this quest was invented and clearly marked: now the hero is not just floundering in the sea in the hope of being saved, like the passengers of Theodore Gericault's Medusa raft, he is swimming towards gold, like a brave filibuster. Fleece is worth all this painful life excitedly. It is so?

Theodore Géricault, The Raft of the Medusa

The crisis mood of the creator passes fleetingly past the listener, his helplessness “to convey what is in my cranial TV transmission box”. A cross-cutting theme and a cross-cutting pain: I know what, I don’t know how to convey. But, apparently, it worked out.

“Ahead, as usual, only without inseparable and without bosoms” - behind were illusions and hopes of finding someone for good, continuing the journey with him. Neither friends nor loved ones can settle here on a permanent basis - scorched earth lurks in the pulp under a chitinous cover.

Punch is a form of corporal punishment of slaves in ancient Rome. As if fate itself disciplines its slave, makes him stronger, so this torture is handy for him. He knows everything about his situation, he is deprived of the veil of stupidity and naivety, so there is no need to pretend anymore: he is precisely the slave of this whirlwind, even though swimming is free. The contrast of the text tells us that by discarding the fictitious goal in the form of a golden fleece, we get the same formless wanderings - "free swimming" - movement unencumbered by anything and no one. Who gives the hero dentition? The same meaningless world in which each of us is actually floundering alone. He still obliges us to swim according to his unwritten laws, you can only get out of the water into oblivion or indulge yourself with mirages of swan islands.

Any swimmer is caught off guard by pitfalls, which are also undermined by water. The unknown dangers of the world are hidden under this image, and even a hero with a bleeding heel cannot escape them. Stones lie in wait for the strong, as Scylla and Charybdis (ancient Greek monsters) expected the demigods of ancient Greece.

Scylla and Charybdis absorbing tourists

While someone is fleeing from reality (with drug visions, for example), an archetype of world culture, an anti-hero, trickster and rogue, the Trickster, enters the scene. A deity who puts the process of the game above life. Usually this image behaves contrary to the generally accepted dogmas of behavior, plays pranks and ridicules everything that we value. They are found in life, and in literature, and in mythology. Here he shows another answer to the question "What leads us?". Someone is carried away by the game in opposition to everything, the so-called "shadow", without which the light would not know what to do. The excitement of life can lead us further and longer, the magic of protest and the romantic veil of nihilism will add colors and new meanings to swimming.

Third verse: what leads Oksimiron?

The hyperactive teenager from the first verse woke up and realized that childhood was ending, there was already a long way behind. You can't continue like this. Despite calls not to feel sorry for himself, he still whined and believed in chimeras - unrealizable ideas and dreams.

A feast during the plague is one of Pushkin's little tragedies (a translation of an act from Wilson's play), where the characters, having abandoned mourning for their loved ones who died from the plague, feasted, despite the protests of the priest. They explained this by complete despair in the future: what role will piety play in the tragedy of widespread death? Youth, which fell during the plague year, cannot pass in sorrow. So our hero could not devote his whole life to self-pity and sadness over lost illusions. If cholera is everywhere, everywhere and does not stop, then what, not to love or what? No, there is even a doomed joy that sharpens feelings - to love under bullets, where no one makes plans for tomorrow and does not take an apartment on credit. The hero also desperately caught pleasure.

Feast in Time of Plague

The pace of the hero's life is accelerated many times, the dynamics does not allow to relax, "but here it is either up a sheer wall or down a spiral." He chooses to climb hard and rebel against all sorts of deities, be it Moloch, the Trickster, or that dim-witted Gnostic God who doesn't know much. He is the rebellious Sisyphus Camus, who, out of pride, accepts his curse and continues his senseless action in spite of his judges. According to legend, Sisyphus blasphemed and was proud during his lifetime, so the Gods sentenced him to forever drag a stone up the mountain after death. The stone always fell, after which the convict resumed his work again. According to the interpretation of the existentialist philosopher Camus, the hero accepts the verdict in cold blood and is ready to spit in the face of his accusers again, because he has not acquired any remorse and humility. Pride and a sense of his own superiority did not leave him. So our hero, knowing and realizing the futility and imperfections of human life, nevertheless strives upwards, and not downwards.

Who is he: a tumbler, a trickster or the strongest?

What is the true meaning of the main image in the song is an open question. You can interpret it as a call to always rise, even if life skidded at the turn. You might think that this is advice not to indulge in extremes and stand your ground, no matter how they try to put you and nail you to the floor on the right or left. Then our hero is a roly-poly.

There is also an opinion that this is generally a negative image, which means the average mass consciousness of "moderate people in the middle." It is necessary to choose a road and load a cross on oneself, so as not to live only materially, not to become this stout husband of an economic and petty-bourgeois limited laundress. The cross in this case is a vocation, a set of spiritual parameters that define a person's life. If you hang out towards both ours and yours, bow to everyone like a roly-poly, then you can easily lose yourself in quotation marks, bows and tables. With this understanding, our hero is the strongest, opposing himself to the roly-poly.

It is possible that the very desire to rise in order to break loose, find an alternative way to everyone and maintain the irreconcilability, independence and playfulness of a teenager is the desire of the inner trickster in the hero to realize his destructive potential, play with life, cheat, but still lose in hedonistic self-destruction, because the song is filled with pessimistic images of the hero's self-imposed delusion.

Be that as it may, after all the analysis and word disputes, the song still leaves its listeners with a huge mental space for discussions, reflections and "fruitless reflections".

Interesting? Save it on your wall!

The man is amazing. You say closed. He will come up, pull the handle, make sure: it’s really closed. It’s the same with non-material things: you know that something doesn’t work, you can’t change something, you can’t return it, that the trees won’t be big again - and yet you hope.

You hope to prove to a person from a distant past that he was wrong, to explain to someone important that it is possible in a different way. It seems that this will help to rewrite your “then” and at the same time correct something in such an unsightly “now”. You waste your energy, you shout, you explain, you prove. You do not want to believe that a person will not understand.

Sometimes a trifle helps to switch. The psychologist, despairing of waiting for attempts to explain and prove by themselves to come to naught, comes up with such a metaphor. Imagine, he says, that you and a man were born and raised on a desert island. Both were brought up in the realities of this island: the ocean around is endless, man is a friend, comrade and food to man, there is no life on Mars (Mars, however, does not exist either - like other land besides yours).

The world is not limited by the island, you can live and love in a new way, turn your back on each other

And then one day you leave this island of yours and find yourself on the mainland. The picture of the world, of course, is collapsing, but a new one is being built on the ruins. The world is not limited by the boundaries of the island, you can live and love in a new way, turn your back on each other without risking a spear, cheers.

Driven by good intentions, you, of course, swim back to the island and try to communicate with a person. But nothing happens: you think in new, free categories, you try to talk about the Great Land, but the person does not believe you. He has not seen anything but his island and does not want to see it. Because not everyone is ready for the collapse of the worldview. Because it hurts anyway.

And what to do? You can, of course, stop talking - but this is not really a solution. Yes, escape. You can try to take him to the mainland by force. But he, most likely, will resist - both will drown. You can continue to plant ligaments in an attempt to convey, explain, convince. Or you can mentally “transplant” him to a desert island every time you talk with a person, realizing that this cannot be changed.

Separate the problem from yourself

Arina Lipkina, psychologist

Our life consists of more events and relationships than we select for ourselves and stories about our lives. We tend to mentally return to what happened to us, to “stuck” on some events that caused pain, trying to prove to someone in the past that he was wrong.

But for our "now" it is only important how we describe the incidents that occurred then, interpret, what meaning and emotions we endow. It is important to learn to separate the problem from yourself - this is the only way to change the attitude towards it. It is useful to personify the problem: give it a name, explore it. The more the problem is personified, the more it separates from the person.

Another way - become more competent and capable: for example, creating successful relationships with other people, developing the ability to solve various life problems. Yes, there, in the past, our loved one reproached us for something, but today we are no longer the same: now we are able to cope with the difficulties that previously baffled us. New stories give rise to new, broader views of our past.

Throughout our lives, many of us carry a baggage of grievances against our parents: for criticism, indifference, or, on the contrary, ruthless words. But maybe the parents just did not understand us - their children? Maybe they behaved this way because of their fears, depression, despair or pain? Then does everything done and said have any relation to us, to our personality? No. So is it worth staying in the field of the problem?

Letting go of the past is not an easy task, but this is the only way to build a happy present.