Figurative parallelism. Syntax Parallelism: Definition, Examples

Not just in all textbooks on the Russian language and literature, you can find the phrase: "The Russian language is beautiful and rich." Of course, there is evidence for this, and quite weighty. Firstly, in the Russian language there are a huge number of expressive means that decorate speech, make it so melodic. Russian writers and poets generously add various tropes to their works. They need to be able to see and distinguish. Then the work will sparkle with new colors. Often, with the help of expressive means, authors focus readers' attention on specific things, evoke certain emotions, or help to understand how to relate to characters. One such technique is parallelism. It is divided into several types and is used for different purposes. This article will analyze what parallelism is, using examples of literary works.

What is parallelism?

According to the Big Encyclopedic Dictionary, parallelism is a similar arrangement of speech elements in adjacent parts of the text. Translated from the Greek language, this word means "locating nearby."

It is easy to conclude that this technique was known to the Greeks and was widely used in rhetoric, was the subject of her research. In general, parallelism is a characteristic feature of ancient literature. In Russian, examples of parallelism are very common in folklore. Moreover, in many ancient works this was the basic principle of constructing stanzas.

Types of parallelism

There are several forms of parallelism that are most commonly found in the literature.

Thematic parallelism. In this case, there is a comparison of phenomena that are close in content.

syntactic parallelism. In this case, the sentences following in order are built according to the same syntactic principle. For example, in several sentences following each other, the same order of arrangement of the main members is observed.

Sound parallelism. This technique is characteristic of poetic speech and is often found in poetic works. The poem takes on its own melody and sound.

But to understand what each of these types means, it is better to understand examples of parallelism.

Syntax parallelism

As already mentioned at the beginning of the article, Russian literary works are rich in various means that make speech more expressive. Therefore, it is worth analyzing examples of syntactic parallelism from the literature. This technique is found in the poems of M. Yu. Lermontov.

One of these poems is "When the yellowing field is agitated."

Then the anxiety of my soul humbles itself,
Then the wrinkles on the forehead diverge, -
And I can comprehend happiness on earth,
And in the sky I see God...

The first two lines follow the same order of the main members of the sentence. The predicate comes first, followed by the subject. And again: predicate, subject. Moreover, very often parallelism occurs together with anaphora or epiphora. And this poem is just that. The same elements are repeated at the beginning of sentences. And anaphora is the repetition of the same elements at the beginning of each sentence / line.

Thematic parallelism. Examples from fiction

This type of expression is perhaps the most common. Both in prose and in poetry one can see various comparisons of phenomena. A particularly common example of parallelism is the comparison of the states of nature and man. For clarity, you can refer to the poem by N. A. Nekrasov "Uncompressed strip". The poem is a dialogue of ears of corn and wind. And it is through this dialogue that the fate of the plowman becomes known.

He knew why he plowed and sowed,
Yes, he started the work beyond his strength.
Poor poor fellow - does not eat or drink,
The worm sucks his sick heart,
The hands that brought these furrows,
Dried up into a chip, hung like a loop ...

Audio parallelism

Examples of sound parallelism can be looked for not only in fiction. It has found a very good use in the modern world. Namely - in television and radio broadcasting.

By repeating parts of speech or individual parts of a word, you can create various effects that affect listeners. After all, a person very often associates acoustic representations with semantic ones. This is used by advertising. Perhaps everyone noticed how well advertising slogans are remembered. They are interesting, unusual, but most importantly - they sound good. And it is this sound that sinks into memory. Having heard an advertising slogan once, it is difficult to forget it. It is strongly associated with a particular product.

Negative concurrency

Separately, mention should be made of examples of negative parallelism. Everyone has definitely come across him on the school bench. This example of parallelism is common in Russian, especially in poetry. And this technique came from folk songs and was firmly entrenched in poems.

Not the cold winds rustle,
Not quicksands run, -
The grief rises again
Like an evil black cloud...

(Folk song of the twelfth century).

And there are many such examples in Russian folklore. It is not surprising that writers began to use this technique in their works.

These were the four most common types of parallelism found in fiction and beyond. Basically, as you can see from the examples, they are used to impress the reader/listener in some way. Arouse certain feelings or associations in him. This is especially important for poetry, where only images are most often used, but nothing is said directly. And parallelism allows you to make these images even brighter. It can also add melody to the timing, making it more memorable. And, as can be seen from the examples, artistic techniques are not only a feature of classical literature. On the contrary, they are alive and used until now. Only in a new key.

Personifications underlie other traditional types of verbal-subject allegory, primarily figurative parallelism. This type of figurativeness arose in oral syncretic creativity. In ancient times, people, being dependent on the forces of nature, not only likened its phenomena and processes to their conscious actions, but also vice versa - they thought about their actions and relationships by analogy with the processes that took place in inorganic nature or in the world of animals and plants. They were vaguely aware of the regularities of the life of nature and, through comparison with them, comprehended the social and psychological regularities of human life. Hence, in their verbal creativity, parallels arose between relations in nature and in people's lives. So, in a Russian folk song it is sung: “Do not twine, do not twine, grass, with dodder. || Do not get used to, do not get used to, well done, with the singer. || It was good to get used to it, it was sickening to leave. This is a parallel of two images: the first reflects the relationship in nature, the second - the relationship between people. The image of nature in figurative parallelism always comes first (this is the first term of parallelism); the image of human actions and relationships - on the second (this is the second term of parallelism). There is a direct connection between the first and second terms of parallelism. This kind of figurativeness is called direct two-term parallelism. Relations that arise in nature, as it were, clarify the actions and relationships of people. Strongly woven grass with dodder - human love can be just as strong; grass with dodder is difficult to break - just as difficult can be the separation of lovers. The image of both acquires a generalizing meaning. In a special article on parallelism, A. N. Veselovsky defines this type of figurativeness as "juxtaposition on the basis of action, movement." “... Parallelism,” he wrote, “is based on the comparison of the subject and the object according to the category of movement, action, as a sign of volitional activity” (36, 126). He called such parallelism "psychological", in contrast to the "rhythmic" parallelism, that is, from the intonational comparison of phrases, verses in the process of singing or reciting. However, such a definition narrows the meaning of the parallelism of images, since it is based, in essence, not only on the emotional, psychological connection between natural phenomena and the relationships of human life, but, above all, on their objective similarity, which acquires a generalizing cognitive meaning. In ritual and everyday folk songs, figurative parallelism is very common. Sometimes the whole song is based on it from beginning to end. Such, for example, is one of the Russian wedding songs depicting matchmaking: - Oh, you falcons, falcons, where did you fly in the evening? - Oh, we flew At the blue sea. - What did you see there? - Ah, we saw a gray duck, a gray duck in the backwater. - Oh, why didn’t you puff her, Siza plucked her feathers. - Oh, you, smart boyars, Where, boyars, did you go? - Oh, we went from city to city. We have already seen, we have seen Krasna the girl in the tower. Why didn't you take her? - Although we didn’t take it, we unraveled Rusa’s braid, Weaved out the Silk braid. Here, the relationship between a bird of prey - a falcon - and its victim - a duck - illuminates the relationship between the matchmakers - "boyars" and the girl they have chosen as a bride. The falcons “plucked out the feathers” of the duck, the matchmakers untwisted the girl’s braid - “conspired to marry her.” Initially arising on the analogy of the life of nature and man, figurative parallelism then sometimes extends to objects made by man. For example: “Like a silver glass || She has a golden aureole, II Like Mikhail Ivanovich’s “He has a dear mind.” Having developed in oral folk art, this type of verbal and object depiction, as well as personification, was assimilated in historically later times and fiction. Here he stopped to be a traditional principle of figurative thinking, arising from a naive assimilation of a person to nature, but became a product of the personal creative imagination of the authors, a means of enhancing the emotional expressiveness of their artistic generalizations.Here is a poem by F. Sologub: May, Not seducing by Beauty, A gloomy St. amplification of emotional expressiveness.This is the "psychological" parallelism in "War and Peace" by L. Tolstoy. With a feeling of hopeless disappointment in life, Prince Andrei goes to the Rostovs' estate and on the way he sees a large oak tree with broken branches and bark. Oak looks like an old, gray-haired freak, as if despising "spring, love, happiness," and Prince Andrei mentally agrees with him. But at the Rostovs, Andrey met Natasha, was carried away by her, felt that an unexpected confusion of young thoughts and hopes arose in him, and on the way back, seeing the same oak, but already “transformed, spread out like a tent of juicy, dark greenery,” he experienced "an unreasonable spring feeling of joy and renewal." The parallelism between a sudden thunderstorm and Katerina's tragic expectation of retribution for her betrayal of her husband is the highly artistic culmination of A. Ostrovsky's Thunderstorm. Turgenev showed himself to be a subtle master of figurative parallels between the characters and experiences of the characters and the nature around them in a number of stories, novels and novels (“Bezhin Meadow”, “Date”, “Calm”, “Faust”, “Rudin”, etc.). The negative parallelism that arose on the basis of direct parallelism, which is found especially often in the oral folk poetry of the Slavic peoples, has become much less widespread. So, in a Russian song it is sung: It is not a falcon that flies through the skies, It is not a falcon that drops its gray wings, A good fellow gallops along the path, Bitter tears pour from clear eyes. Here, as in direct parallelism, a comparison is given of the phenomena of nature and human life - a falcon and a young man - according to the similarity of their action and state. The falcon flies, the fellow jumps; both are in trouble - the falcon drops feathers from its wings, the good fellow sheds tears. At the same time, both phenomena retain their independent significance and are not subordinate to one another. But the similarity between them and their actions is no longer their identity: their identity is negated by the negative particle 'not'. It seems that the falcon is flying and dropping feathers - no, this is a good fellow jumping and dropping tears. And the denial of the identity of phenomena is more important here than the assertion of their similarity. According to Veselovsky, “psychologically one can look at a negative formula as a way out of parallelism...” (36, 188). Therefore, negative parallelism cannot serve as an independent means of subject representation, the basis for constructing a whole work. It is usually used in the beginnings of works or their individual episodes. Negative figurative parallelism is so characteristic of oral folk poetry that it is used in fiction only when the poet imitates the style of folk art. So Pushkin begins the poem "Brothers-robbers": "Not a flock of ravens flocked || On piles of smoldering bones...”; Nekrasov - one of the episodes in the poem "Frost, Red Nose": "It is not the wind that rages over the forest, || Streams did not run from the mountains ... "; Yesenin - "Martha Posadnitsa": "Not the sister of the month from the dark swamp || She threw the kokoshnik into the sky in pearls ... ". So, along with personification, figurative parallelism, especially in its main - direct binomial - form, is a very common type of verbal-subject allegoricalness, which originated in ancient folk art, later used in fiction, primarily in lyrical literature.

1)Sierotwiń ski S. Slownik terminow literackich.

“Parallelism. The phenomenon of parallelism, repeatability, analogy between parts of the structure that form a sequence. Parallelism may lie in the similarity of verbal systems, motives, compositional and content elements.<частиц>, often it is the basis of composition in lyrics, which is typical, for example, for folk songs. Parallelism in the full sense is a condition of rhythm, and intonation is a constant decisive factor in verse, since even in the absence of other versification requirements<он>follows from the division into verses, determines their equivalence, and delimits verse from prose” (S. 182).

2) Wilpert G. von. Sachwörterbuch der Literatur.

“Parallelism<...>as opposed to chiasma repetition of the same word order corresponding to the symmetr. syntax constructions with an approximately equal number of words (columns of approximately the same duration of sounds<...>) in two or more consecutive sentences, members of sentences or verses: "Hot love, cold snow." The second and possible following part of the statement inclines thoughts again in the same direction and brings a deepening of what was said by means of other formulations; the form symmetry, for the most part with a more strict contain. relation or semantic unity mentally through antithesis or climax, outwardly often connected through anaphora, epiphora or homoiotheleuton; esp. in sacred language: a conscious stylistic means of heightened expression in Chinese, Babylonian, Egyptian, Arabic. and special Jewish poetry and prose<...>(S. 658).

"Parallelism- arrangement of parts of the whole so that equal elements (parts) are balanced within identical structures. This distribution is applicable to words, expressions, sentences, paragraphs and entire passages of a work. Parallelism, from the Greek word meaning "one after the other," is a rhetorical mechanism used in all genres in all known forms of literature” (p. 275).

4) Dictionary of World Literary terms / By J. Shipley .

"Parallelism- 1) balanced repeatability of structural elements.<...>2) a series of repetitions. It can be a repetition of sounds, structures, meanings; usually several repeating segments are approximately the same volume or length” (p. 230).

5) Dictionnaire de la théorie et de l'histoire littéraires du XIX siecle a nos jours.

“Parallelism. Correspondence in the forms of syntactic constructions between two phrases, two segments of phrases, or two verses” (p. 229).

6) Zundelovich Ya. Parallelism // Dictionary of literary terms: B 2 v. T. 1. Stlb. 551-554.

“P.- such an arrangement of individual words or sentences, in which one verbal group contains thoughts, images, etc., corresponding to another group, and both of these groups constitute or are part of one whole.<...>See, for example, the parallelism from Chinese poetry given by Bryusov in his "Experiments": Your mind is as deep as the sea / Your spirit is as high as the mountains. The acuteness of parallelism lies in its unexpectedness and some obscuration of the connections between its members. Comparisons or contrasts, which usually serve as the theme of parallelism, do not have to be very clear. Therefore, comparison, for example, often has a negative character in parallelism<...>A special type of parallelism is the so-called reverse parallelism or chiasm. <...>So, for example, we have chiasmus in the half lines of the following verse from Tyutchev's poem "Twilight": All in me and I in all<...>“.

6) Kvyatkovsky A. Poetic dictionary.

“Parallelism<...>a compositional technique that emphasizes the structural connection of two (usually) or three elements of style in a work of art; the connection of these elements is that they are located in parallel in two or three adjacent phrases, verses, stanzas, due to which their commonality is revealed<...>“(pp. 193-195).

7) Roschin P. Parallelism // Dictionary of literary terms. S. 259.

“P.<...> - analogy, similarity, commonality of characteristic features; homogeneous syntactic construction of two (or more) sentences (or parts of them): Your mind is as deep as the sea / Your spirit is as high as the mountains(V. Bryusov)<...>“.

8) Gasparov M.L. Parallelism // Les. S. 267.

“P.<...>, an identical or similar arrangement of speech elements in adjacent parts of the text, to-rye, correlating, create a single poetic. image. Example: Oh, if only there were no frosts on the flowers<...>Oh, if it's not for me<...>The development of P. are 3 ancient figures of the Greek. rhetoric: isocolon,antithesis, homeoteleuton (similar endings in terms, germ of rhyme)<...>“.

9) Broitman S.N. Psychological parallelism // Literary terms (materials for the dictionary). Issue. 2.

“P. p.- an artistic device of folk poetry, a reflection of the most ancient (syncretic) stage in the development of figurative forms in literature.<...>Thus, in P. p., there is neither absolute identity nor complete distinction, and such a semantic structure is a phenomenon that has historically arisen: it imprinted relationships that could form only at a certain stage in the development of figurative consciousness.<...>If we use the distinction between “expressed” and “manifested” worked out by Indian poetics, then it should be said that in P. p. the difference is expressed: both compared phenomena (nature and man) are independent in their external form, separated in the space of the text and connected by a composition ( and not subordinating). But what is manifested, i.e., the very possibility of the existence of this expressed difference, here is precisely syncretism” (pp. 51-53).

Symbol

1)Sierotwiń ski S. Slownik terminow literackich.

“Symbol. A sign, concept or system of concepts used to refer to another thing. The interpretation of a symbol is either conventional (arising from a fixed-term contract, from life practice, from literary tradition), or it allows for polysemy and arbitrariness, which is precisely the basis for the use of symbols in artistic creativity.<...>“(S. 265-266).

2) Wilpert G. von. Sachwörterbuch der Literatur.

“Symbol(gr. symbolon- <...>) initially. in Greece, an identification mark in the form of one of the two halves of a broken object, which the partners in the contract, people connected by ties of hospitality, and spouses divided into parts before parting and, at the subsequent meeting, folded for a new recognition (Greek. symballein- to compare), then - any event or object pointing to something higher, esp. traditional S. and religious ceremonies. societies that are understandable only to the initiated (for example, the banner, Christ. Cross and supper), often also artistic. sign, emblem generally. In poetry, a sensuously perceived and understandable sign endowed with figurative power, which points beyond itself as a revelation, making it clear and explained, to a higher abstract area; as opposed to rational, arbitrarily established allegory"symbol" with esp. penetrating effect on feeling, artist. power and a widely spread circle of connections, which, in the embodiment of the individual, the particular, hints and foreshadows the unspoken universal and, as an understandable replacement for the mysterious, not subject to the image and located behind the sensually perceived world of phenomena of the imaginary sphere, seeks to reveal in image her broad spirituality. content that is contained in the image, but differs from itself<...>(S. 908).

3) Dictionary of Literary Terms / By H. Shaw.

"Symbol something that is used or treated as a representation of something else. In a narrower sense, a symbol is a word, phrase or expression that has a complex of associative meanings; in this meaning, the symbol is regarded as something having a different significance than that which is symbolized” (p. 367).

4) Morier H. Dictionnaire de poetique et de rhétorique.

“Symbol. A particular object chosen to denote one or another of its essential properties. So, the sphere is a symbol of perfection.<...>This particular subject emphasizes, as a rule, a whole set of properties. In the language of philosophy, it, in principle, has an infinite meaning. In the language of literary criticism, this means that the symbol has many meanings: for example, "lion" is not only a symbol of courage; it is also a symbol of other qualities inherent in a lion, i.e. strength, beauty, nobility. This wealth of meanings has bribed poets at all times. But only in the second half of the 19th century, starting from 1885, did poetry master it to such an extent that its use became the main method of the poetic school. The essence of this method cannot be understood without establishing a clear distinction between two kinds of symbols: conventional and living symbols” (p. 1080).

5) Lvov-Rogachevsky V. Symbol // Dictionary of literary terms: B 2 vol. T. 1. Stlb. 773-774.

“With. It comes from the Greek word symbolon - connection, essence in a few signs. Usually, by a symbol, we mean a picture image with a figurative allegorical meaning.<...>Where it is impossible to give an object, there a symbol is born to express the inexpressible, the inexpressible through correspondences between the external world and the world of our dreams, while the visible object, through which the artist allegorically expresses his ideas and vague moods, is not only there is something, but means something, alluding to something else, standing outside its essence, but connected with it by more than a mere association. Using symbols, the artist does not show things, but only hints at them, makes us guess the meaning of the obscure, reveal “hieroglyphic words”<...>“.

6) Kvyatkovsky A. Poetic dictionary.

“Symbol<...>a multi-valued objective image that unites (connects) different planes of reality reproduced by the artist on the basis of their essential commonality, affinity. S. is built on the parallelism of phenomena, on a system of correspondences; it has a metaphorical beginning, which is also contained in poetic tropes, but in S. it is enriched with a deep intention. The ambiguity of the symbolic image is due to the fact that it can be applied with equal justification to various aspects of being. So, in Lermontov's poem "Sail"<...>the relationship of two diverse phenomena (personality and elements) is embodied in the symbolic image of a lonely sail<...>(p. 263).

7) Mashbits-Verov I. Symbol // Dictionary of literary terms. pp. 348-349.

“With. <...>- a subject or verbal sign that conditionally expresses the essence of the c.-l. phenomena with a certain t. sp., which determines the very nature, quality of S. (revolutionary, reactionary, religious, etc.). S. can serve as objects, animals, known phenomena, signs of objects, actions, etc. (for example, lotus - S. of the deity and the universe among the Hindus; bread and salt - S. of hospitality and friendship; snakes - S. of wisdom; morning - S. youth, blue color - S. hope, symbolic dances, rituals).<...>At its core, S. always has a figurative meaning. Taken in verbal terms, it is trope(cm.)<...>”.

8) Averintsev S.S. Symbol in art // Les. pp. 378-379.

“With. <...>universal aesthetic. category, revealed through comparison with adjacent categories - image artistic, on the one hand, sign and allegory- with another. In a broad sense, it can be said that S. is an image taken in the aspect of its symbolism, and that it is a sign endowed with all the organicity and inexhaustible ambiguity of the image.<...>The objective image and the deep meaning appear in the structure of S. as two poles, one inconceivable without the other (because the meaning loses its appearance outside the image, and the image outside the meaning crumbles into its components), but also divorced from each other.<...>“. “The fundamental difference between S. and allegory is that the meaning of S. cannot be deciphered by a simple effort of reason, it is inseparable from the structure of the image, it does not exist as some kind of rational formula, which can be “inserted” into the image and then extracted from it.<...>The meaning of S. objectively realizes itself not as cash, but as dynamic trend; he is not Dan, a given. <...>If we say that Dante's Beatrice is the S. of pure femininity, and Mount Purgatory is the S. of spiritual ascent, then this will be true; however, the remaining "pure femininity" and "spiritual ascent" are again symbols, although more intellectualized, more like concepts.

The meaning of the word PARALLELISM. in the Literary Encyclopedia

PARALLELISM.

I. The term of traditional stylistics, denoting the connection of two or more composed sentences (or parts of them) by strictly matching their structure - grammatical and semantic. Example: "Your mind is as deep as the sea, || Your spirit is as high as mountains” (V. Bryusov, Experiments, M., 1918). P. widespread

444 in oral and ancient written lit-pax, in many systems of versification acting as a principle for constructing a stanza; especially known for the so-called parallelismus membrorum of Hebrew versification, in which P. is combined with a synonymous variation of images, for example. “Place me as a seal on your heart || and like a ring on your hand” (“Song of Songs”). P. occupies a large place in the alliterative and even rhymed Germanic verse of the Middle Ages. It is of no less importance in the Finnish epic Kalevala, where it is combined with the obligatory gradation. Wed “He finds six grains || seven seeds he raises." In written lit-pax, P. acquires a very complex character, connecting with anaphora, antithesis, chiasmus, and other figures, for example. “I am a king, I am a slave, I am a worm, I am a god” (Derzhavin). The doctrine of parallelism is greatly developed in ancient rhetoric. See "Rhetoric", "Stylistics", "Figures". R. S. II. In Russian folklore, the term "P." is used in a narrower, specific sense, denoting a feature of a poetic composition, which consists in comparing one action (main) with others (secondary) observed in the world external to man. The simplest type of P. is binomial: “A falcon flew across the sky,

Walked well done around the world. More complex types probably formed from it: polynomial (several consecutive parallels); negative (a parallel taken from the outside world is given in negative order): “Not a white birch tree bows to the ground -

The red maiden bows to the father”; formal (the logical connection between the members of P. is lost): “I will lower the ring into the river,

And a glove under the ice

We signed up for the community

Let all the people judge." On the connection of P. with the choral action, see "Amebay Composition". From folklore P. widely penetrates into art song (individual Kunstlied). Bibliography: Veselovsky A., Psychological parallelism and its forms in the reflections of the poetic style, Sobr. sochin., vol. I, St. Petersburg, 1911. V. Ch.

Literary encyclopedia. 2012

Comparative or syntactic parallelism.

Among all types of parallelism, syntactic parallelism is the most common in the literature. It is distinguished by the use of the same sentence structure, whether it is a poem or prose. The generalizing circumstance, as a rule, is placed in the first part of the sentence, while the objects being compared are placed in the second.

The use of such a technique makes it possible to strengthen the generalizing circumstance, to make its description complete, voluminous, and vivid. The most commonly used circumstance or part of speech is the key in the work, the so-called "protagonist", which is sometimes simply necessary to strengthen to understand the plot.

Use of syntactic parallelism.

This technique is very typical for English texts. In English, it is easy to compare words similar in consonance to compare certain parts of speech, circumstances, heroes. In Russian, a similar form is used less frequently, since it is not always appropriate and stylistically correct to break up the construction of a sentence.

The history of the emergence of syntactic parallelism originates from the Hebrew language, which in turn was used to compose psalms. In the Middle Ages, the most revered and read texts were precisely the sacred psalms, the Bible and the biographies of the saints. Such books were distributed both in Europe and in Asia, and books that told about other values of life or other foundations were destroyed.

Medieval Germanic style also influenced syntactic parallelism. From this influence, fragmentary rhythms began to appear in poems and prose, a combination of incongruous parts of speech arose to enhance the effect.

In addition, the Finnish epic Kalevala also had a hand in syntactic parallelism. In this epic, the use of such constructions is clearly traced, which in turn gives the work charm and a certain spirit.

Examples of syntactic parallelism.

Most often in Russian poetry, such compositions are found in Tyutchev and Fet.

"Only in the world is there that shady
Dormant maple tent.
Only in the world and there is that radiant
A childish thoughtful look.
Only in the world is there that fragrant
Cute headdress.
Only in the world is this pure
To the left a running parting.
(A.A. Fet)

“The feast is over, the choirs are silent,
empty amphorae,
overturned baskets,
Not drunk in cups of wine,
Wreaths are crumpled on the heads, -
Only aromas smoke
In the empty bright room...
Having finished the feast, we got up late -
The stars were shining in the sky
The night has reached half...
(F.I. Tyutchev)