ISSN 1509-1619
ɋɟɪɝɟɣ ɉɪɟɨɛɪɚɠɟɧɫɤɢɣ
Ɋɨɫɫɢɣɫɤɢɣ ɭɧɢɜɟɪɫɢɬɟɬ ɞɪɭɠɛɵ ɧɚɪɨɞɨɜ, Ɇɨɫɤɜɚ
ɉɈɅɖɋɄɂɃ ȼȿɊɅɂȻɊ ȼ ɊɍɋɋɄɈɆ ɉɊȿȾɋɌȺȼɅȿɇɂɂ
Key words: Polish vers libre, Russian vers libre, plurisegmental structure of verse, poetic transla- tion, Czesáaw Miáosz
ɇɟɩɨɫɪɟɞɫɬɜɟɧɧɵɦ ɩɨɜɨɞɨɦ ɞɥɹ ɧɚɩɢɫɚɧɢɹ ɧɚɫɬɨɹɳɟɣ ɫɬɚɬɶɢ ɛɵɥɢ ɨɩɭɛɥɢ- ɤɨɜɚɧɧɵɟ ɦɚɬɟɪɢɚɥɵ ɤɨɧɤɭɪɫɚ ɩɟɪɟɜɨɞɱɢɤɨɜ Ɇɢɥɨɲ ɩɨ-ɪɭɫɫɤɢ [2013]. Ɉɞɧɚɤɨ ɩɪɟɞɦɟɬɨɦ ɢɧɬɟɪɟɫɚ ɫɬɚɥɨ ɬɨ, ɱɟɦ ɩɨɥɶɫɤɚɹ ɜɟɪɫɢɹ ɜɟɪɥɢɛɪɚ ɨɬɥɢɱɚɟɬɫɹ ɨɬ ɪɭɫɫɤɨɣ ɢ ɤɚɤ ɷɬɨɬ ɮɚɤɬ ɨɬɪɚɠɚɟɬɫɹ ɜ ɪɭɫɫɤɨɦ ɩɟɪɟɜɨɞɟ ɩɨɥɶɫɤɨɝɨ ɨɪɢɝɢɧɚɥɚ. ɉɪɢ ɜɫɟɣ ɭɧɢɜɟɪɫɚɥɶɧɨɫɬɢ ɜɟɪɥɢɛɪɚ ɤɚɤ «ɦɟɠɞɭɧɚɪɨɞɧɨɝɨ» [Ƚɚɫɩɚɪɨɜ 1989, 254] ɫɬɢɯɚ, ɭ ɧɟɝɨ, ɛɟɡɭɫɥɨɜɧɨ, ɢɦɟɟɬɫɹ ɧɚɰɢɨɧɚɥɶɧɚɹ ɫɩɟɰɢɮɢɤɚ, ɫɜɹɡɚɧɧɚɹ ɫ ɬɟɦ, ɱɬɨ ɝɥɚɜɧɵɦ ɝɟɧɟɬɢɱɟɫɤɢɦ ɩɪɢɡɧɚɤɨɦ ɷɬɨɝɨ ɹɜɥɟɧɢɹ ɫɬɢɯɨɜɟɞɵ ɪɚɡɧɵɯ ɧɚɰɢɣ ɞɪɭɠɧɨ ɩɪɢɡɧɚɸɬ ɟɝɨ «ɩɚɪɚɡɢɬɚɪɧɨɫɬɶ»: «ɜ… ɨɝɪɚɧɢɱɟɧɧɨɦ ɫɦɵɫɥɟ ɪɢɬɦɢɱɟɫɤɭɸ ɫɬɪɭɤɬɭɪɭ ɫɜɨɛɨɞ- ɧɨɝɨ ɫɬɢɯɚ ɦɨɠɧɨ ɫɱɢɬɚɬɶ «ɩɚɪɚɡɢɬɚɪɧɨɣ», ɬɨ ɟɫɬɶ ɬɚɤɨɣ, ɫɭɳɟɫɬɜɨɜɚɧɢɟ ɤɨɬɨɪɨɣ ɡɚɜɢɫɢɬ ɨɬ ɞɪɭɝɢɯ «ɛɨɥɟɟ ɚɭɬɟɧɬɢɱɧɵɯ» ɫɬɪɭɤɬɭɪ» [ɑɟɪɜɟɧɤɚ 2011, 144]. «ȼɟɪɥɢɛɪ, ɨɱɟɜɢɞɧɨ, ɫɩɨɫɨɛɟɧ ɜɨɡɧɢɤɧɭɬɶ ɥɢɲɶ ɧɚ ɨɩɪɟɞɟɥɟɧɧɨɣ ɫɬɚɞɢɢ ɪɚɡɜɢɬɢɹ ɧɚɰɢɨɧɚɥɶ- ɧɨɣ ɫɬɢɯɨɜɨɣ ɤɭɥɶɬɭɪɵ, ɨɛɟɫɩɟɱɢɜɚɸɳɟɣ ɟɦɭ ɧɟɨɛɯɨɞɢɦɵɣ «ɮɨɧ», ɧɚ ɤɨɬɨɪɨɦ ɟɝɨ «ɦɢɧɭɫ»- ɩɪɢɪɨɞɚ ɨɳɭɳɚɟɬɫɹ ɱɢɬɚɬɟɥɟɦ ɤɚɤ ɞɨɫɬɚɬɨɱɧɵɣ ɪɢɬɦɨɨɛɪɚɡɭɸɳɢɣ ɮɚɤɬɨɪ» [Ɉɪɥɢɰɤɢɣ 1991, 82]. ɉɨɷɬɨɦɭ, ɬɚɤ ɫɤɚɡɚɬɶ, ɢɞɢɨɷɬɧɢɱɟɫɤɨɣ ɫɬɨɪɨɧɨɣ ɜɟɪ- ɥɢɛɪɚ ɹɜɥɹɟɬɫɹ ɟɝɨ «ɞɟɡɨɪɝɚɧɢɡɭɸɳɚɹ» ɧɚɩɪɚɜɥɟɧɧɨɫɬɶ ɜ ɨɬɧɨɲɟɧɢɢ ɫɥɨɠɢɜɲɢɯɫɹ ɜ ɧɚɰɢɨɧɚɥɶɧɵɯ ɜɟɪɫɢɮɢɤɚɰɢɨɧɧɵɯ ɤɭɥɶɬɭɪɚɯ ɪɟɝɭɥɹɪɧɨɫɬɟɣ. Ɍɪɚɞɢɰɢɨɧɧɵɣ ɫɬɢɯ ɜ ɥɸɛɨɣ ɧɚɰɢɨɧɚɥɶɧɨɣ ɥɢɬɟɪɚɬɭɪɟ ɜɵɩɨɥɧɹɟɬ ɩɪɟɠɞɟ ɜɫɟɝɨ ɮɭɧɤɰɢɸ ɜɬɨɪɢɱɧɨɣ ɫɟɝɦɟɧɬɚɰɢɢ ɬɟɤɫɬɚ, ɧɚɤɥɚɞɵɜɚɸɳɟɣɫɹ ɧɚ ɟɫɬɟɫɬɜɟɧɧɭɸ ɫɢɧɬɚɤɫɢɱɟɫɤɭɸ, ɩɨɞɞɟ- ɪɠɢɜɚɟɦɭɸ ɟɫɬɟɫɬɜɟɧɧɨɣ ɢɧɬɨɧɚɰɢɟɣ. ȿɫɥɢ ɭ ɜɟɪɥɢɛɪɚ ɧɟɬ ɫɨɛɫɬɜɟɧɧɵɯ ɪɟɝɭɥɹɪ- ɧɵɯ ɫɢɝɧɚɥɨɜ ɜɬɨɪɢɱɧɨɣ ɫɟɝɦɟɧɬɚɰɢɢ, ɬɨ ɦɨɠɧɨ ɥɢ ɟɝɨ ɫɱɢɬɚɬɶ ɫɬɢɯɨɦ? ɂɡɜɟɫɬɧɵɣ ɩɨɥɶɫɤɢɣ ɫɬɢɯɨɜɟɞ Ⱥ. Ʉɭɥɹɜɢɤ ɩɪɟɞɥɚɝɚɥ ɜɨɨɛɳɟ ɨɬɤɚɡɚɬɶɫɹ ɨɬ ɨɛɳɟɩɪɢɧɹɬɨɝɨ ɬɟɪɦɢɧɚ «ɜɟɪɥɢɛɪ, ɢɥɢ ɫɜɨɛɨɞɧɵɣ ɫɬɢɯ» ɢ ɨɛɫɭɠɞɚɬɶ ɥɢɪɢɱɟɫɤɭɸ «ɧɟɦɟɪɧɭɸ ɤɨɦɩɨɡɢɰɢɸ», ɫɩɟɰɢɚɥɶɧɨ ɨɝɨɜɚɪɢɜɚɹ ɮɚɤɬ ɟɺ ɩɪɚɤɬɢɱɟɫɤɨɣ ɧɟɩɪɢɦɟɧɢɦɨɫɬɢ ɜ ɛɨɥɶɲɨɣ ɩɨɷɬɢɱɟɫɤɨɣ ɮɨɪɦɟ, ɟɫɥɢ ɪɟɱɶ ɢɞɟɬ ɨ ɩɨɥɶɫɤɨɣ ɬɪɚɞɢɰɢɢ: «Kɨmpozycja nienumeryczna realizuje siĊ w programowym unikaniu jakichkolwiek regularnoĞci
jĊzykowych w wersach, a jedynym czynnikiem, którym moĪe operowaü, jest pauza wer- syfikacyjna (…), uzyskaü moĪna trzy typy kompozycji: monosystemową skáadniową, mo- nosystemową askáadniową i bisystemową, czyli realizującą oba systemy wersyfikacyjne.
Wszystko to sprawia, Īe kompozycje nienumeryczne są zróĪnicowane w zaleĪnoĞci od tego, jak ukáada siĊ relacja: pauza – dziaáy skáadniowe» [Kulawik 1994, 235]. ɇɟɬɪɭɞɧɨ ɡɚɦɟɬɢɬɶ, ɱɬɨ ɜ ɜɟɪɫɢɢ Ⱥ. Ʉɭɥɹɜɢɤɚ ɜ ɤɚɱɟɫɬɜɟ ɦɟɪɵ «ɧɟɦɟɪɧɨɝɨ» ɫɬɢɯɚ ɜɵɫɬɭɩɚɟɬ ɩɨɡɢɰɢɹ ɟɫɬɟɫɬɜɟɧɧɨɣ ɫɢɧɬɚɝɦɚɬɢɱɟɫɤɨɣ ɩɚɭɡɵ, ɱɬɨ ɩɥɨɯɨ ɫɨɝɥɚɫɭɟɬɫɹ ɫ ɩɪɚɤɬɢɤɨɣ ɜɵɱɭɪɧɵɯ ɚɧɠɚɦɛɟɦɚɧɨɜ, ɯɚɪɚɤɬɟɪɧɨɣ ɞɥɹ ɫɨɜɪɟɦɟɧɧɨɝɨ ɜɟɪɥɢɛɪɚ [np. Pszczoáow- ska 1975, 24], ɨɞɧɚɤɨ, ɩɨ-ɜɢɞɢɦɨɦɭ, ɬɚɤɨɣ ɩɨɞɯɨɞ ɨɩɢɪɚɥɫɹ ɧɚ ɝɨɫɩɨɞɫɬɜɨɜɚɜɲɢɟ ɬɟɧɞɟɧɰɢɢ ɜ ɩɨɥɶɫɤɨɦ ɜɟɪɥɢɛɪɟ ɩɨɜɨɟɧɧɨɝɨ ɩɟɪɢɨɞɚ. ȼ ɪɭɫɫɤɨɦ ɫɬɢɯɨɜɟɞɟɧɢɢ (ɧɟɥɶɡɹ ɭɬɜɟɪɠɞɚɬɶ, ɱɬɨ ɷɬɨ ɦɧɟɧɢɟ ɜ ɩɨɥɧɨɣ ɦɟɪɟ ɪɚɡɞɟɥɹɸɬ ɫɚɦɢ ɩɨɷɬɵ) ɪɚɞɢ- ɤɚɥɶɧɨɟ ɨɩɪɟɞɟɥɟɧɢɟ ɜɟɪɥɢɛɪɚ ɞɚɥ Ɇ.Ʌ. Ƚɚɫɩɚɪɨɜ, ɨɛɴɹɜɢɜɲɢɣ «ɫɜɨɛɨɞɧɵɣ ɫɬɢɯ»
ɜ ɫɜɨɟɦ ɪɨɞɟ ɚɧɬɢɩɨɞɨɦ ɮɨɧɟɬɢɱɟɫɤɨɝɨ ɫɬɢɯɚ, ɢɧɚɱɟ ɝɨɜɨɪɹ, «ɧɟɫɬɢɯɨɦ», ɩɨɫɤɨɥɶɤɭ ɜ ɧɟɦ ɜ ɤɚɱɟɫɬɜɟ ɫɢɝɧɚɥɨɜ ɜɬɨɪɢɱɧɨɣ ɫɟɝɦɟɧɬɚɰɢɢ ɜɵɫɬɭɩɚɸɬ ɧɟ ɡɜɭɤɨɜɵɟ, ɚ ɝɪɚ- ɮɢɱɟɫɤɢɟ ɭɤɚɡɚɬɟɥɢ: «ɟɫɥɢ ɛɵ ɬɟɤɫɬ ɛɵɥ ɧɚɩɟɱɚɬɚɧ ɤɚɤ ɩɪɨɡɚ, ɫɩɥɨɲɧɨɣ ɫɬɪɨɤɨɣ, ɤɚɠɞɵɣ ɱɢɬɚɬɟɥɶ ɛɵɥ ɛɵ ɜɨɥɟɧ ɱɥɟɧɢɬɶ ɢ ɢɧɬɨɧɢɪɨɜɚɬɶ ɟɝɨ ɤɚɤ «ɫɢɧɬɚɤɫɢɱɟɫɤɢ», ɛɨɥɟɟ ɫɩɨɤɨɣɧɨ, ɬɚɤ ɢ «ɚɧɬɢɫɢɧɬɚɤɫɢɱɟɫɤɢ», ɛɨɥɟɟ ɧɚɩɪɹɠɟɧɧɨ, ɢ ɜɫɟ ɢɧɬɟɪɩɪɟɬɚ- ɰɢɢ ɛɵɥɢ ɛɵ ɪɚɜɧɨɩɪɚɜɧɵ. ɇɨ ɬɚɤ ɤɚɤ ɬɟɤɫɬ (…) ɧɚɩɟɱɚɬɚɧ ɪɚɡɞɟɥɶɧɵɦɢ ɫɬɪɨɱɤɚ- ɦɢ, ɬɨ ɢɡ ɷɬɨɝɨ ɦɧɨɠɟɫɬɜɚ ɢɧɬɟɪɩɪɟɬɚɰɢɣ ɜɵɞɟɥɹɟɬɫɹ ɤɚɤ ɩɪɚɜɢɥɶɧɚɹ ɥɢɲɶ ɨɞɧɚ…»
[Ƚɚɫɩɚɪɨɜ 2004, 16]. ɉɪɢ ɬɚɤɨɦ ɜɡɝɥɹɞɟ ɧɚ ɜɟɳɢ ɢɞɢɨɷɬɧɢɱɟɫɤɢɣ ɤɨɦɩɨɧɟɧɬ ɫɬɢɯɨ- ɜɨɝɨ ɫɢɧɬɚɤɫɢɫɚ ɪɟɞɭɰɢɪɭɟɬɫɹ «ɞɨ ɧɭɥɹ», ɩɪɨɛɥɟɦɚ ɚɞɟɤɜɚɬɧɨɝɨ ɩɟɪɟɜɨɞɚ ɜɟɪɥɢɛɪɚ ɚɜɬɨɦɚɬɢɱɟɫɤɢ ɫɧɢɦɚɟɬɫɹ ɫ ɩɨɜɟɫɬɤɢ ɞɧɹ, ɩɨɞɦɟɧɹɹɫɶ ɟɞɢɧɫɬɜɟɧɧɵɦ ɬɪɟɛɨɜɚɧɢɟɦ – ɫɨɛɥɸɞɟɧɢɟɦ ɝɪɚɮɢɱɟɫɤɨɣ ɷɤɜɢɥɢɧɟɚɪɧɨɫɬɢ. ɋɩɟɰɢɚɥɶɧɨ ɢɡɭɱɚɜɲɢɣ ɪɭɫɫɤɢɣ ɜɟɪɥɢɛɪ ɘ.Ȼ. Ɉɪɥɢɰɤɢɣ, ɨɞɧɚɤɨ, ɩɨɞɱɟɪɤɢɜɚɥ, ɱɬɨ, ɩɪɢ ɨɬɫɭɬɫɬɜɢɢ ɨɛɳɢɯ ɩɪɚɜɢɥ ɫɨɡɞɚɧɢɹ ɜɟɪɥɢɛɪɨɜɵɯ ɤɨɦɩɨɡɢɰɢɣ, ɤɚɠɞɨɟ ɨɬɞɟɥɶɧɨɟ ɫɬɢɯɨɬɜɨɪɟɧɢɟ ɜ ɢɞɟɚɥɟ ɮɨɪɦɢɪɭɟɬ ɫɨɛɫɬɜɟɧɧɵɣ ɢɧɫɬɪɭɦɟɧɬɚɪɢɣ ɫɪɟɞɫɬɜ, ɭɡɚɤɨɧɢɜɚɸɳɢɯ ɜɬɨɪɢɱɧɭɸ – ɩɨ ɨɬɧɨɲɟɧɢɸ ɤ «ɧɚɩɢɫɚɧɧɨɦɭ ɫɩɥɨɲɧɨɣ ɫɬɪɨɤɨɣ» (Ɇ.Ʌ. Ƚɚɫɩɚɪɨɜ) ɬɟɤɫɬɭ – ɫɟɝɦɟɧɬɚɰɢɸ: «Ɇɵ ɩɨɧɢɦɚɟɦ ɫɜɨɛɨɞɧɵɣ ɫɬɢɯ (ɜɟɪɥɢɛɪ) ɤɚɤ ɫɚɦɨɫɬɨɹɬɟɥɶɧɭɸ ɫɢɫɬɟɦɭ ɫɨɜɪɟɦɟɧɧɨɝɨ ɪɭɫɫɤɨɝɨ ɫɬɢɯɨɫɥɨɠɟɧɢɹ, ɨɩɢɪɚɸɳɟɝɨɫɹ ɜ ɫɜɨɟɣ ɫɬɪɭɤɬɭɪɟ ɧɚ ɟɞɢɧɫɬɜɟɧɧɵɣ ɪɢɬɦɨɨɛɪɚɡɭɸɳɢɣ ɩɪɢɡɧɚɤ – ɪɢɬɦ ɫɬɪɨɤ…» [Ɉɪɥɢɰɤɢɣ 1991, 82].
ɋɯɨɞɧɵɦ ɨɛɪɚɡɨɦ ɫɦɨɬɪɹɬ ɧɚ ɨɪɝɚɧɢɡɚɰɢɸ ɜɟɪɥɢɛɪɚ ɢ ɩɨɥɶɫɤɢɟ ɥɢɬɟɪɚɬɭɪɨɜɟɞɵ, ɧɚɩɪɢɦɟɪ, Ɋ. ɏɚɧɞɤɟ, ɡɚɞɚɜ ɪɢɬɨɪɢɱɟɫɤɢɣ ɜɨɩɪɨɫ «Czy istotnie z caáego arsenaáu Ğrodków rytmizacyjnych wiersza regularnego zachowaá on tylko wers, a wiĊc zdolnoĞü równieĨ pozaskáadniowego dzielenia frazy poetyckiej?» [Handke 2008, 103], ɡɚɬɟɦ ɩɪɟɞɥɚɝɚɟɬ ɚɧɚɥɢɡ ɬɟɤɫɬɚ, ɞɨɥɠɟɧɫɬɜɭɸɳɢɣ ɩɨɤɚɡɚɬɶ, ɱɬɨ ɩɟɪɟɞɚɧɧɵɣ ɝɪɚɮɢɱɟɫɤɢ ɫɢɧɬɚɤɫɢɱɟɫɤɢɣ ɩɪɨɢɡɜɨɥ ɧɟ ɟɞɢɧɫɬɜɟɧɧɨɟ ɩɨɷɬɢɱɟɫɤɨɟ ɫɜɨɣɫɬɜɨ ɜɟɪɥɢɛɪɚ. ȿɫɥɢ ɫɨɥɢɞɚɪɢɡɢɪɨɜɚɬɶɫɹ ɫ ɩɨɞɨɛɧɨɣ ɬɪɚɤɬɨɜɤɨɣ, ɬɨ ɨɞɧɨɣ ɢɡ ɜɚɠɧɟɣɲɢɯ ɡɚɞɚɱ ɯɭɞɨ- ɠɟɫɬɜɟɧɧɨɝɨ ɩɟɪɟɜɨɞɚ ɜɟɪɥɢɛɪɚ ɫɬɚɧɨɜɢɬɫɹ ɩɨɢɫɤ ɜ ɫɨɛɫɬɜɟɧɧɨɦ ɩɨɷɬɢɱɟɫɤɨɦ ɹɡɵɤɟ ɚɞɟɤɜɚɬɧɵɯ ɫɪɟɞɫɬɜ, ɫɩɨɫɨɛɧɵɯ ɨɬɪɚɡɢɬɶ, ɯɨɬɶ ɜ ɧɟɤɨɬɨɪɨɣ ɫɬɟɩɟɧɢ, ɪɟɩɟɪ- ɬɭɚɪ ɫɢɝɧɚɥɨɜ ɫɟɝɦɟɧɬɚɰɢɢ, ɩɪɢɦɟɧɟɧɧɵɯ ɜ ɨɪɢɝɢɧɚɥɟ. ɉɪɢ ɷɬɨɦ ɫɚɦ «ɝɟɲɬɚɥɶɬ»
ɜɟɪɥɢɛɪɚ ɞɨɥɠɟɧ ɫɨɯɪɚɧɢɬɶɫɹ, ɬɨ ɟɫɬɶ, ɫɤɚɠɟɦ, ɪɭɫɫɤɢɣ ɱɢɬɚɬɟɥɶ ɩɨ ɩɟɪɟɜɨɞɭ ɞɨɥɠɟɧ ɧɟɫɨɦɧɟɧɧɨ ɩɨɧɢɦɚɬɶ, ɱɬɨ ɢɦɟɟɬ ɞɟɥɨ ɫɨ «ɫɜɨɛɨɞɧɵɦ ɫɬɢɯɨɦ» ɩɨɥɶɫɤɨɝɨ
ɨɪɢɝɢɧɚɥɚ. Ɋɟɲɟɧɢɟ ɷɬɨɣ ɡɚɞɚɱɢ ɨɫɥɨɠɧɹɟɬɫɹ ɬɟɦ, ɱɬɨ ɜ ɪɭɫɫɤɨɦ ɩɨɷɬɢɱɟɫɤɨɦ ɹɡɵɤɟ ɛɟɡɭɫɥɨɜɧɨ ɪɚɡɥɢɱɚɸɬɫɹ ɩɨɥɢɦɟɬɪɢɹ (ɦɨɧɬɚɠ ɬɟɤɫɬɚ ɢɡ ɨɬɞɟɥɶɧɵɯ ɫɬɢɯɨɜ ɪɚɡɧɨɣ ɞɥɢɧɵ ɢ ɦɟɪɧɨɫɬɢ) ɢ ɜɟɪɥɢɛɪ ɤɚɤ ɬɚɤɨɜɨɣ. ɋɨɛɫɬɜɟɧɧɨ, ɪɚɡɧɨɜɢɞɧɨɫɬɶ ɜɟɪɥɢɛɪɚ, ɜɤɥɸɱɚɸɳɟɝɨ ɪɟɝɭɥɹɪɧɵɟ ɫɬɢɯɢ ɧɚɪɹɞɭ ɫɨ ɫɬɢɯɚɦɢ, ɧɟ ɢɦɟɸɳɢɦɢ ɪɟɝɭɥɹɪɧɨɝɨ ɪɢɬɦɚ, ɫɭɳɟɫɬɜɭɟɬ ɜ ɪɭɫɫɤɨɣ ɬɪɚɞɢɰɢɢ, ɬɚɤɨɝɨ ɪɨɞɚ ɬɟɤɫɬɵ ɫɬɢɯɨɜɟɞɵ ɨɬɧɨɫɹɬ ɤ ɤɥɚɫɫɭ «ɧɟɱɢɫɬɵɯ» ɜɟɪɥɢɛɪɨɜ [Ɉɪɥɢɰɤɢɣ 1991, 84-85], ɧɨ ɫɨɨɬɧɨɲɟɧɢɟ ɜ ɩɨɞɨɛ- ɧɵɯ ɜɟɪɥɢɛɪɚɯ ɞɨɥɠɧɨ ɫɤɥɚɞɵɜɚɬɶɫɹ ɜ ɩɨɥɶɡɭ «ɧɟɦɟɪɧɵɯ» ɫɬɪɨɤ ɩɪɢɛɥɢɡɢɬɟɥɶɧɨ 4:1. Ȼɨɥɶɲɢɧɫɬɜɨ ɪɭɫɫɤɢɯ «ɜɟɪɥɢɛɪɨɜ» ɩɨ ɷɬɨɦɭ ɤɪɢɬɟɪɢɸ ɩɨɩɚɞɚɸɬ ɫɤɨɪɟɟ ɜ ɪɚɡɪɹɞ ɩɨɥɢɦɟɬɪɢɢ, ɞɚɠɟ ɟɫɥɢ ɪɭɤɨɜɨɞɫɬɜɨɜɚɬɶɫɹ ɚɜɬɨɪɫɤɨɣ, ɚ ɧɟ ɮɨɧɟɬɢɱɟɫɤɨɣ ɪɚɡɛɢɜɤɨɣ ɧɚ ɫɬɢɯɢ. ɇɚɩɪɢɦɟɪ, ɫɬɢɯɨɬɜɨɪɟɧɢɟ ɫɨɫɬɚɜɢɬɟɥɹ ɛɨɥɶɲɨɣ ɚɧɬɨɥɨɝɢɢ ɪɭɫɫɤɨɝɨ ɜɟɪɥɢɛɪɚ Ʉɚɪɟɧɚ Ⱦɠɚɧɝɢɪɨɜɚ:
«ȼɡɞɪɚɝɢɜɚɸ!
Ɉɬ ɫɤɪɢɩɚ ɞɪɟɦɭɱɟɣ ɭɥɢɬɤɢ [ɹɦ3].
Ɉɬ ɢɫɤɪɢɜɥɟɧɢɹ ɤɨɪɧɹ ɞɚɥɟɤɨɝɨ ɞɟɪɟɜɚ.
Ɉɬ ɩɨɥɧɨɱɧɨɝɨ ɜɫɩɥɟɫɤɚ ɦɨɪɫɤɨɝɨ ɛɭɥɵɠɧɢɤɚ.
Ɉɬ ɤɨɥɟɛɚɧɢɹ ɥɚɫɬɨɱɤɢ ɜ ɧɟɞɪɚɯ ɪɚɫɫɜɟɬɚ... [ɚɧ4].
Ɍɚɤɚɹ ɜɨ ɦɧɟ – [ɚɦɮ2]
ɬɢɲɢɧɚ»
ȼ ɩɨɥɢɦɟɬɪɢɱɟɫɤɨɣ (ɧɟ ɡɚɜɢɫɹɳɟɣ ɨɬ ɚɜɬɨɪɫɤɨɣ ɝɪɚɮɢɱɟɫɤɨɣ ɢɧɬɟɧɰɢɢ) ɪɚɡ- ɛɢɜɤɟ ɬɟɤɫɬ ɩɪɢɨɛɪɟɬɚɟɬ ɟɳɟ ɛɨɥɟɟ ɪɟɝɭɥɹɪɧɵɣ ɯɚɪɚɤɬɟɪ: «ȼɡɞɪɚɝɢɜɚɸ! Ɉɬ ɫɤɪɢɩɚ – [ɞɨɥ.ɯ4]/ ɞɪɟɦɭɱɟɣ ɭɥɢɬɤɢ – [ɚɦɮ2]/ Ɉɬ ɢɫɤɪɢɜɥɟɧɢɹ ɤɨɪɧɹ – [ɚɧ3]/ ɞɚɥɟɤɨɝɨ ɞɟɪɟɜɚ – [ɚɦɮ2]/ Ɉɬ ɩɨɥɧɨɱɧɨɝɨ ɜɫɩɥɟɫɤɚ ɦɨɪɫɤɨɝɨ – [ɞɚɤ3]/ ɛɭɥɵɠɧɢɤɚ – [0]/
Ɉɬ ɤɨɥɟɛɚɧɢɹ ɥɚɫɬɨɱɤɢ ɜ ɧɟɞɪɚɯ ɪɚɫɫɜɟɬɚ... – [ɚɧ4]/ Ɍɚɤɚɹ ɜɨ ɦɧɟ ɬɢɲɢɧɚ – [ɚɦɮ3]».
ȼ ɧɟɪɟɝɭɥɹɪɧɨɦ ɨɞɢɧɨɱɟɫɬɜɟ ɨɫɬɚɟɬɫɹ «ɛɭɥɵɠɧɢɤ».
ȼ ɩɨɥɶɫɤɨɣ ɬɪɚɞɢɰɢɢ, ɤɚɤ ɩɪɟɞɫɬɚɜɥɹɟɬɫɹ, ɱɟɬɤɚɹ ɞɢɫɬɢɧɤɰɢɹ ɩɨɥɢɦɟɬɪɢɢ ɢ ɜɟɪɥɢɛɪɚ ɜɨɜɫɟ ɨɬɫɭɬɫɬɜɭɟɬ ɞɚɠɟ ɜ ɬɟɨɪɢɢ: ɩɨɥɢɦɟɬɪɢɸ, ɫɨɞɟɪɠɚɳɭɸ ɞɨɫɬɚ- ɬɨɱɧɨɟ ɤɨɥɢɱɟɫɬɜɨ ɚɧɠɚɦɛɟɦɚɧɨɜ, ɫɬɢɯɨɜɟɞ-ɩɨɥɹɤ ɫɤɨɪɟɟ ɜɫɟɝɨ ɭɜɟɪɟɧɧɨ ɨɬɧɟɫɟɬ ɤ ɜɟɪɥɢɛɪɭ. ȼɬɨɪɨɣ ɜɚɠɧɵɣ ɦɨɦɟɧɬ – ɧɟɨɞɧɨɪɨɞɧɚɹ ɩɪɢɪɨɞɚ ɜɨɡɦɨɠɧɨɣ ɩɨɥɶɫɤɨɣ ɩɨɥɢɦɟɬɪɢɢ, ɩɨɞɪɚɡɭɦɟɜɚɸɳɟɣ ɤɚɤ ɫɢɥɥɚɛɢɱɟɫɤɭɸ, ɬɚɤ ɢ ɫɢɥɥɚɛɨ-ɬɨɧɢɱɟɫɤɭɸ ɨɫɧɨɜɵ ɢ, ɟɫɬɟɫɬɜɟɧɧɨ, ɢɯ ɤɨɦɛɢɧɚɰɢɸ, ɫɪ.: «W kaĪdym razie juĪ samo wykorzysty- wanie przerzutni i wersów Ğredniówkowych w wierszu nieregularnym pokazuje, jak trudno obejĞü siĊ bez staáych i nawet doraĨnych cech sylabizmu» [Pszczoáowska 1975, 37]. ɉɪɢ ɬɨɦ ɧɭɠɧɨ ɩɪɢɧɢɦɚɬɶ ɜɨ ɜɧɢɦɚɧɢɟ ɬɭ ɩɟɪɜɨɫɬɟɩɟɧɧɭɸ ɡɧɚɱɢɦɨɫɬɶ, ɤɨ- ɬɨɪɭɸ ɜ ɩɨɥɶɫɤɨɣ ɫɢɫɬɟɦɟ ɜɟɪɫɢɮɢɤɚɰɢɢ ɢɦɟɟɬ ɰɟɡɭɪɚ, ɢ ɬɨɬ ɮɚɤɬ, ɱɬɨ, ɜ ɨɬɥɢɱɢɟ ɨɬ ɪɭɫɫɤɨɣ ɬɪɚɞɢɰɢɢ, ɩɪɢ ɨɩɪɟɞɟɥɟɧɢɢ ɰɟɡɭɪɵ «ɩɨ-ɩɨɥɶɫɤɢ» ɪɢɬɦɢɱɟɫɤɢɣ ɮɚɤɬɨɪ ɨɤɚɡɵɜɚɟɬɫɹ ɜɚɠɧɟɟ ɫɢɧɬɚɤɫɢɱɟɫɤɨɝɨ. Ɍɨ ɟɫɬɶ ɟɫɥɢ ɜ ɩɪɟɞɩɨɥɚɝɚɟɦɨɦ ɞɨ- ɢɥɢ ɩɨɫɥɟɰɟɡɭɪɧɨɦ ɫɟɝɦɟɧɬɟ ɫɨɯɪɚɧɹɟɬɫɹ ɨɬɧɨɫɢɬɟɥɶɧɚɹ ɫɢɧɬɚɤɫɢɱɟɫɤɚɹ ɫɚɦɨɫɬɨ- ɹɬɟɥɶɧɨɫɬɶ ɫɥɨɜɨɫɨɱɟɬɚɧɢɹ, ɩɭɫɬɶ ɢ ɧɟ ɩɨɞɬɜɟɪɠɞɚɟɦɚɹ ɜ ɪɚɦɤɚɯ ɫɬɚɧɞɚɪɬɧɨɝɨ ɫɢɧɬɚɤɫɢɱɟɫɤɨɝɨ ɱɥɟɧɟɧɢɹ ɩɪɟɞɥɨɠɟɧɢɹ ɧɚ ɝɪɭɩɩɵ, ɧɟ ɨɛɨɡɧɚɱɚɟɦɚɹ ɩɭɧɤɬɭɚ- ɰɢɨɧɧɨ, ɬɨ ɬɚɤɨɣ ɨɬɪɟɡɨɤ ɛɭɞɟɬ ɬɪɚɤɬɨɜɚɬɶɫɹ ɤɚɤ ɫɚɦɨɫɬɨɹɬɟɥɶɧɚɹ ɢ ɪɟɝɭɥɹɪɧɚɹ ɱɚɫɬɶ ɫɬɢɯɚ, ɯɨɬɹ ɩɨɥɧɵɣ ɫɬɢɯ ɦɨɠɟɬ ɜɵɝɥɹɞɟɬɶ ɧɟɪɟɝɭɥɹɪɧɨ: (ɫɪ. ɪɚɫɫɭɠɞɟɧɢɹ Ⱥ. Ʉɭɥɹɜɢɤɚ ɨ 5+n-ɫɥɨɠɧɢɤɚɯ ɐ. ɇɨɪɜɢɞɚ [Kulawik 1994, 234] ɢ Ʌ. ɉɳɨɥɨɜɫɤɨɣ
ɨ ɪɟɝɭɥɹɪɧɵɯ ɩɨɥɭɫɬɢɲɢɹɯ, ɩɪɟɜɪɚɳɚɸɳɢɯɫɹ ɜ ɦɟɬɪɢɱɟɫɤɢɟ ɟɞɢɧɢɰɵ ɜɟɪɥɢɛɪɚ [Pszczoáowska 1975, 35–36]. ɉɨɫɥɟɞɧɟɟ, ɨ ɱɟɦ ɫɥɟɞɭɟɬ ɫɤɚɡɚɬɶ: ɬɨ ɧɟɪɚɜɧɨɟ ɩɨɥɨ- ɠɟɧɢɟ, ɤɨɬɨɪɨɟ ɡɚɧɢɦɚɟɬ ɜɟɪɥɢɛɪ ɜ ɩɨɥɶɤɨɣ ɢ ɪɭɫɫɤɨɣ ɩɨɷɬɢɱɟɫɤɨɣ ɬɪɚɞɢɰɢɹɯ.
ȿɫɥɢ ɜ ɩɨɜɨɟɧɧɨɣ ɉɨɥɶɲɟ ɜɟɪɥɢɛɪ ɫɬɚɥ ɨɫɧɨɜɧɨɣ ɮɨɪɦɨɣ ɩɨɷɬɢɱɟɫɤɨɝɨ ɫɚɦɨɜɵɪɚ- ɠɟɧɢɹ, ɢ ɟɝɨ ɧɵɧɟɲɧɢɣ ɚɜɬɨɪɢɬɟɬ ɛɟɫɫɩɨɪɟɧ ɜɜɢɞɭ ɜɟɞɭɳɟɝɨ ɦɟɫɬɚ ɜɟɪɥɢɛɪɢɫɬɨɜ ɜ ɩɨɥɶɫɤɨɣ ɩɨɷɡɢɢ ɜ ɰɟɥɨɦ (ɑ. Ɇɢɥɨɲ, Ɍ. Ɋɭɠɟɜɢɱ, Ɂ. ɏɟɪɛɟɪɬ, ȼ. ɒɢɦɛɨɪɫɤɚɹ ɢ ɞɪ.), ɬɨ ɜ ɪɭɫɫɤɨɣ ɫɨɜɪɟɦɟɧɧɨɣ ɩɨɷɡɢɢ ɞɟɥɨ ɨɛɫɬɨɢɬ ɢɧɚɱɟ, ɧɚɩɪɢɦɟɪ, ɡɚ ɞɟɫɹɬɶ ɥɟɬ (2003–2013) ɛɨɥɶɲɚɹ ɩɨɷɬɢɱɟɫɤɚɹ ɩɪɟɦɢɹ «Ɇɨɫɤɨɜɫɤɢɣ ɫɱɟɬ» ɧɢ ɪɚɡɭ (!) ɧɟ ɛɵɥɚ ɜɪɭɱɟɧɚ ɭɛɟɠɞɟɧɧɨɦɭ ɜɟɪɥɢɛɪɢɫɬɭ. ɇɟɫɦɨɬɪɹ ɧɚ ɟɠɟɝɨɞɧɨ ɩɪɨɯɨɞɹɳɢɟ ɮɟɫɬɢɜɚɥɢ ɜɟɪɥɢɛɪɚ (Ɇɨɫɤɜɚ-ɋɚɧɤɬ-ɉɟɬɟɪɛɭɪɝ, ɨɪɝɚɧɢɡɚɬɨɪ – ɘ.Ȼ. Ɉɪɥɢɰɤɢɣ), ɩɨɫɬɨɹɧɧɵɟ ɡɚɹɜɥɟɧɢɹ ɱɚɫɬɢ ɥɢɬɟɪɚɬɭɪɧɨɝɨ ɫɨɨɛɳɟɫɬɜɚ ɨ ɩɟɪɟɠɢɬɨɱɧɨɦ ɯɚɪɚɤɬɟɪɟ ɪɟɝɭɥɹɪɧɨ- ɝɨ ɫɬɢɯɚ, ɦɧɟɧɢɟ ɷɤɫɩɟɪɬɧɨɣ ɚɭɞɢɬɨɪɢɢ ɧɟ ɭɞɚɟɬɫɹ ɩɨɤɨɥɟɛɚɬɶ. Ɍɚɤɢɦ ɨɛɪɚɡɨɦ, ɜ ɡɚɞɚɱɭ ɪɭɫɫɤɨɝɨ ɩɟɪɟɜɨɞɱɢɤɚ ɜɫɹɤɢɣ ɪɚɡ ɜɯɨɞɢɬ ɤɚɤ ɧɟɤɨɟ ɞɨɩɨɥɧɟɧɢɟ – ɭɛɟɞɢɬɶ ɜ ɡɚɤɨɧɧɨɫɬɢ ɢ ɧɟɩɪɢɦɢɬɢɜɧɨɫɬɢ ɜɟɪɥɢɛɪɚ ɤɚɤ ɩɨɷɬɢɱɟɫɤɨɣ ɮɨɪɦɵ, ɜɵɛɪɚɧɧɨɣ ɩɟɪɟɜɨɞɢɦɵɦ ɚɜɬɨɪɨɦ. Ⱥɜɬɨɪ ɧɚɫɬɨɹɳɟɣ ɫɬɚɬɶɢ ɩɪɢɞɟɪɠɢɜɚɟɬɫɹ ɩɪɟɞɫɬɚɜɥɟɧɢɣ ɨ ɜɟɪɥɢɛɪɟ, ɫɯɨɞɧɵɯ ɫɤɨɪɟɟ ɫ ɩɨɥɶɫɤɢɦɢ, ɱɟɦ ɫ ɪɭɫɫɤɢɦɢ. Ⱦɭɦɚɟɬɫɹ, ɱɬɨ «ɚɝɨɝɢɤɚ»
[Kulawik 1994, 221] ɜɟɪɥɢɛɪɚ ɨɩɪɟɞɟɥɹɟɬɫɹ ɫɨɨɬɧɨɲɟɧɢɟɦ ɜɧɭɬɪɢ ɬɟɤɫɬɚ ɬɪɟɯ ɬɢ- ɩɨɜ ɫɢɝɧɚɥɨɜ ɩɨɫɬɚɧɨɜɤɢ ɩɚɭɡɵ: 1. ȿɫɬɟɫɬɜɟɧɧɚɹ ɫɢɧɬɚɤɬɢɤɨ-ɢɧɬɨɧɚɰɢɨɧɧɚɹ ɩɚɭɡɚ, ɫɨɨɬɜɟɬɫɬɜɭɸɳɚɹ ɩɪɚɜɢɥɚɦ ɢɧɬɨɧɚɰɢɨɧɧɨɝɨ (ɫɭɩɪɚɫɟɝɦɟɧɬɧɨɝɨ) ɨɮɨɪɦɥɟɧɢɹ ɜɵ- ɫɤɚɡɵɜɚɧɢɹ ɜ ɥɢɬɟɪɚɬɭɪɧɨɦ ɹɡɵɤɟ (ɉɂ); 2. ɉɚɭɡɵ ɜ ɤɨɧɰɟ ɫɬɢɯɨɜɨɝɨ ɨɬɪɟɡɤɚ, ɱɶɢ ɝɪɚɧɢɰɵ ɨɩɪɟɞɟɥɹɸɬɫɹ ɜ ɫɨɨɬɜɟɬɫɬɜɢɢ ɫ ɧɚɜɵɤɨɦ ɫɬɢɯɨɞɟɥɟɧɢɹ, ɫɥɨɠɢɜɲɢɦɫɹ ɧɚ ɨɫɧɨɜɟ ɩɪɟɞɫɬɚɜɥɟɧɢɣ ɨ ɫɨɜɨɤɭɩɧɨɫɬɢ ɩɨɞɨɛɧɵɯ ɫɢɝɧɚɥɨɜ, ɢɫɩɨɥɶɡɭɟɦɵɯ ɜ ɧɚɰɢ- ɨɧɚɥɶɧɨɣ ɜɟɪɫɢɮɢɤɚɰɢɢ (ɉɋ); 3. ɂɫɤɭɫɫɬɜɟɧɧɵɯ (ɚɜɬɨɪɫɤɢɯ, ɩɚɪɬɢɬɭɪɧɵɯ) ɩɚɭɡ, ɤɨɬɨɪɵɟ ɜɦɟɧɹɟɬ ɜ ɨɛɹɡɚɧɧɨɫɬɶ ɫɨɛɥɸɞɚɬɶ ɝɪɚɮɢɱɟɫɤɚɹ ɪɚɡɛɢɜɤɚ ɧɚɫɬɨɹɳɟɝɨ ɬɟɤɫɬɚ ɢ ɤɨɬɨɪɵɟ ɹɜɥɹɸɬɫɹ ɡɨɧɨɣ ɤɨɧɬɪɚɫɬɚ ɩɨ ɨɬɧɨɲɟɧɢɸ ɢ ɤ ɩɟɪɜɵɦ ɢ ɤɨ ɜɬɨɪɵɦ (ɉȺ).
ɋɜɨɟɨɛɪɚɡɢɟ ɜɡɚɢɦɨɞɟɣɫɬɜɢɹ ɜɫɟɯ ɬɪɟɯ ɜɢɞɨɜ ɩɚɭɡ ɢ ɟɫɬɶ ɮɨɧɟɬɢɱɟɫɤɚɹ ɨɫɧɨɜɚ ɜɟɪɥɢɛɪɨɜɨɝɨ ɫɬɢɯɚ. ɇɚɩɪɢɦɟɪ, «ɚɝɨɝɢɤɚ» ɫɬɢɯɨɬɜɨɪɟɧɢɹ Kiedy ksiĊĪyc ɑ. Ɇɢɥɨɲɚ ɛɭɞɟɬ ɜɵɝɥɹɞɟɬɶ ɩɪɢɛɥɢɡɢɬɟɥɶɧɨ ɬɚɤ
«Kiedy ksiĊĪyc [ɉɂ] i spacerują [ɉɋ] kobiety [ɉɂ] w kwiaciastych [ɉɋ?] sukniach [ɉɋ, ɉɂ, ɉȺ]
Zdumiewają mnie ich oczy, [ɉɂ, ɉɋ] rzĊsy [ɉɂ] i caáe urządzenie Ğwiata [ɉɋ, ɉȺ, ɉɂ].
Wydaje mi siĊ,[ɉɂ] Īe z tak wielkiej [ɉɋ] wzajemnej skáonnoĞci [ɉɋ, ɉɂ, ɉȺ]
Mogáaby wreszcie wyniknąü [ɉɋ] prawda ostateczna [ɉɂ, ɉȺ]» [Miáosz 1980, 112].
Ȼɭɞɭɱɢ ɨɞɧɢɦ ɢɡ ɩɨɷɬɨɜ, ɭɛɟɠɞɟɧɧɨ ɨɬɤɚɡɚɜɲɢɯɫɹ ɨɬ ɩɪɨɫɬɨɣ ɫɢɥɥɚɛɢɤɢ ɢ ɫɢɥɥɚɛɨ-ɬɨɧɢɤɢ ɜ ɩɨɥɶɡɭ «ɚɝɨɝɢɱɟɫɤɢɯ» ɜɟɪɥɢɛɪɨɜɵɯ ɤɨɦɩɨɡɢɰɢɣ, ɑ. Ɇɢɥɨɲ ɦɧɨɝɨɤɪɚɬɧɨ ɩɨɞɱɟɪɤɢɜɚɥ ɪɢɬɦɢɱɟɫɤɭɸ ɧɟɩɪɨɢɡɜɨɥɶɧɨɫɬɶ ɫɜɨɢɯ ɬɟɤɫɬɨɜ. ɗɬɨ ɧɚɲɥɨ ɨɬɪɚɠɟɧɢɟ ɜ ɭɩɨɬɪɟɛɥɟɧɢɢ ɜɟɫɶɦɚ ɫɩɟɰɢɮɢɱɧɵɯ ɤɜɚɡɢɬɟɪɦɢɧɨɜ ɫ ɰɟɥɶɸ ɚɜɬɨɯɚɪɚɤɬɟɪɢɫɬɢɤɢ ɫɬɢɥɹ, ɫɤɥɚɞɚ ɫɨɛɫɬɜɟɧɧɨɣ ɩɨɷɡɢɢ – dykcja, inkantacja [Sku- balanka 2006, 37–38], ɚ ɬɚɤɠɟ ɜ ɦɟɬɚɩɨɷɬɢɱɟɫɤɢɯ ɞɟɤɥɚɪɚɰɢɹɯ, ɜɪɨɞɟ ɫɥɟɞɭɸɳɟɣ:
«Zasadniczo poezja i proza mają to wspólnego, Īe kadencja zdania sáyszana jest w uchu (...), kadencje poezji i kadencje prozy są zasadniczo poddane innej dyscyplinie»
[Tosza 1993, 30]. Ɉɱɟɜɢɞɧɨ, ɱɬɨ ɩɨɥɶɫɤɢɣ ɧɨɛɟɥɢɚɬ ɨɬɧɸɞɶ ɧɟ ɫɱɢɬɚɥ ɫɜɨɣ ɜɟɪɥɢɛɪ
ɩɨɫɬɪɨɟɧɢɟɦ, ɧɟ ɢɦɟɸɳɢɦ ɜɧɭɬɪɟɧɧɟɣ ɚɪɯɢɬɟɤɬɨɧɢɤɢ. ɇɚɩɭɬɫɬɜɭɹ ɫɨɪɟɜɧɭɸɳɢɯɫɹ ɩɟɪɟɜɨɞɱɢɤɨɜ, ɨɪɝɚɧɢɡɚɬɨɪ ɤɨɧɤɭɪɫɚ ɇ. Ƚɨɪɛɚɧɟɜɫɤɚɹ ɚɤɰɟɧɬɢɪɨɜɚɥɚ ɢɯ ɜɧɢɦɚɧɢɟ ɢɦɟɧɧɨ ɧɚ «ɚɝɨɝɢɱɟɫɤɢɯ» ɤɨɦɩɨɡɢɰɢɹɯ: «Ɂɧɚɱɢɬ, ɜɚɠɧɨ, ɱɬɨ ɜ ɨɞɧɢɯ ɫɥɭɱɚɹɯ ɨɧ ɜɵɛɢɪɚɟɬ ɜɟɪɥɢɛɪ, ɜ ɞɪɭɝɢɯ – ɛɨɥɟɟ ɢɥɢ ɦɟɧɟɟ ɪɢɬɦɢɱɟɫɤɢɣ ɢ ɪɢɮɦɨɜɚɧɧɵɣ ɫɬɢɯ»
[Ƚɨɪɛɚɧɟɜɫɤɚɹ 2013, 11]. Ʉ ɫɨɠɚɥɟɧɢɸ, ɩɪɟɞɫɬɚɜɥɟɧɢɹ ɩɟɪɟɜɨɞɱɢɤɨɜ ɢ ɩɨɷɬɨɜ ɨ ɡɚɤɨɧɨɦɟɪɧɨɫɬɹɯ ɤɚɤ ɩɨɥɶɫɤɨɝɨ, ɬɚɤ ɢ ɪɭɫɫɤɨɝɨ ɜɟɪɥɢɛɪɨɜ ɨɬɪɚɠɚɸɬ ɫɤɨɪɟɟ ɩɪɨ- ɮɟɫɫɢɨɧɚɥɶɧɭɸ ɦɢɮɨɥɨɝɢɸ, ɱɟɦ ɹɡɵɤɨɜɭɸ ɪɟɚɥɶɧɨɫɬɶ. ɂɡ ɞɟɫɹɬɢ ɩɪɟɞɥɨɠɟɧɧɵɯ ɤ ɩɟɪɟɜɨɞɭ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɩɹɬɶ ɛɵɥɢ ɛɟɫɫɩɨɪɧɵɦɢ ɜɟɪɥɢɛɪɚɦɢ, ɨɬɞɟɥɶɧɵɟ ɫɬɢɯɢ ɤɨɬɨɪɵɯ ɧɟ ɫɨɪɚɡɦɟɪɹɥɢɫɶ ɩɨ ɞɥɢɧɟ, ɞɜɚ – ɩɨɝɪɚɧɢɱɶɟ ɜɟɪɥɢɛɪɚ ɢ ɩɨɥɢɦɟɬɪɢɢ (Spotkanie, Czaszka). ȼ ɫɬɢɯɨɬɜɨɪɟɧɢɹɯ, ɩɪɨɹɜɥɹɸɳɢɯ ɬɟɧɞɟɧɰɢɸ ɤ ɦɟɪɧɨɫɬɢ ɢ ɪɟɝɭɥɹɪɧɨɫɬɢ, ɪɭɫɫɤɢɟ ɩɟɪɟɜɨɞɱɢɤɢ ɷɬɭ ɬɟɧɞɟɧɰɢɸ ɤɚɤ ɩɪɚɜɢɥɨ ɭɫɢɥɢɜɚɥɢ, ɫɪ.:
«…Jest tą wyschniĊta koĞcią, nie próbuje zgadnąü.// Zostaje tak, rozmyĞla wiek jeden i drugi» (Czaszka) [Ɇɢɥɨɲ ɩɨ-ɪɭɫɫɤɢ 2013.]. «ɋɬɚɥ ɷɬɨɣ ɜɵɫɨɯɲɟɣ ɤɨɫɬɶɸ, ɨɧɚ ɧɟ ɝɚɞɚɟɬ. Ɍɚɤ ɢ ɫɢɞɢɬ ɨɧɚ ɜɟɤ ɢ ɨɞɢɧ, ɢ ɜɬɨɪɨɣ, ɪɚɡɦɵɲɥɹɹ» (ɩɟɪ. ȼɥɚɞɢɦɢɪɚ ɒɬɨ- ɤɦɚɧɚ). ɉɪɢ ɷɬɨɦ ɬɨ ɫɪɟɞɫɬɜɨ, ɤɨɬɨɪɨɟ ɜ ɩɨɥɶɫɤɨɦ ɨɪɢɝɢɧɚɥɟ ɫɛɥɢɠɚɟɬ ɜɟɪɥɢɛɪ ɫ ɩɨɥɢɦɟɬɪɢɟɣ, – ɪɟɝɭɥɹɪɧɨɟ ɩɨɹɜɥɟɧɢɟ ɩɨɫɥɟɰɟɡɭɪɧɨɝɨ ɲɟɫɬɢɫɥɨɠɧɢɤɚ: «nie pró- buje zgadnąü»; «wiek jeden i drugi» ɜ ɪɭɫɫɤɨɦ ɩɟɪɟɜɨɞɟ ɚɧɚɥɨɝɚ ɧɟ ɩɨɥɭɱɚɟɬ.
Ɉɱɟɜɢɞɧɨ ɝɥɚɜɟɧɫɬɜɭɸɳɢɦ ɞɥɹ ɪɭɫɫɤɢɯ ɩɟɪɟɜɨɞɱɢɤɨɜ ɱɢɫɬɵɯ «ɧɟɦɟɪɧɵɯ ɤɨɦ- ɩɨɡɢɰɢɣ» ɑ. Ɇɢɥɨɲɚ ɫɬɚɥɨ ɫɨɛɥɸɞɟɧɢɟ ɝɪɚɮɢɱɟɫɤɨɣ ɷɤɜɢɥɢɧɟɚɪɧɨɫɬɢ. ɇɚɩɪɢɦɟɪ, ɜɬɨɪɚɹ ɫɬɪɨɮɚ ɡɧɚɦɟɧɢɬɨɝɨ ɫɬɢɯɨɬɜɨɪɟɧɢɹ Biedny chrzeĞcijanin patrzy na getto:
«Pszczoáy odbudowują [ɉɋ] plastry páuc[ɉɂ], [ɉȺ]
Mrówki odbudowują [ɉɋ] biaáą koĞü, [ɉɂ], [ɉȺ], [ɉɋ]
Rozdzierany jak papier, kauczuk, [ɉɂ] páótno, skóra, len [ɉȺ]
Wáókna, materie, celuloza,[ɉɂ], [ɉɋ] wáos, wĊĪowa áyska, druty
Wali siĊ w ogniu dach, Ğciana [ɉɂ], [ɉɋ] i Īar ogarnia fundament. [ɉɂ], [ɉȺ]
Jest juĪ tylko piaszczysta, zdeptana [ɉɂ], [ɉɋ] z jednym drzewem [ɉȺ]
bez liĞci [ɉȺ]
Ziemia»
ȼ ɪɭɫɫɤɢɯ ɩɟɪɟɜɨɞɚɯ ɜɵɝɥɹɞɢɬ ɬɚɤ:
«ɉɱɟɥɵ [ɉɂ?]ɨɛɠɢɜɚɸɬ[ɉɂ?] ɩɚɡɭɯɢ ɥɟɝɤɢɯ.[ɉɂ][ɉȺ]
Ɇɭɪɚɜɶɢ [ɉɂ?] ɨɛɠɢɜɚɸɬ [ɉɂ?] ɛɟɥɭɸ ɤɨɫɬɶ. ɉɂ] [ɉȺ]
Ɋɚɡɪɵɜɚɸɬɫɹ, ɤɚɤ ɛɭɦɚɝɚ, [ɉɂ] ɤɚɭɱɭɤ, ɩɨɥɨɬɧɨ, ɤɨɠɚ, ɥɟɧ, [ɉȺ], [ɉɂ], [ɉɋ? – ɟɫɥɢ ɭɱɟɫɬɶ ɬɨɧɢɱɟɫɤɨɟ ɫɬɢɯɨɞɟɥɟɧɢɟ]
ȼɨɥɨɤɧɚ, ɬɤɚɧɢ, ɤɥɟɬɱɚɬɤɚ, [ɉɂ] ɜɨɥɨɫ, ɡɦɟɢɧɚɹ ɱɟɲɭɹ, ɩɪɨɜɨɞɚ [ɉɂ], [ɉȺ].
Ɋɚɡɪɭɲɚɸɬɫɹ ɜ ɨɝɧɟ [ɉɂ] ɤɪɵɲɚ ɢ ɫɬɟɧɚ [ɉɂ], ɠɚɪ ɨɯɜɚɬɵɜɚɟɬ ɮɭɧɞɚɦɟɧɬ. [ɉɂ]
Ɉɫɬɚɟɬɫɹ ɬɨɥɶɤɨ ɩɟɫɱɚɧɚɹ, [ɉɂ] ɡɚɬɨɩɬɚɧɧɚɹ, [ɉɂ?] ɫ ɨɞɧɢɦ ɞɟɪɟɜɨɦ [ɉȺ]
ɛɟɡ ɥɢɫɬɜɵ, Ɂɟɦɥɹ».
(Ʌɢɥɢɹ ɘɫɭɩɨɜɚ)
«ɉɱɟɥɵ ɨɛɠɢɜɚɸɬ ɥɟɝɨɱɧɵɟ ɩɥɚɫɬɵ,
Ɇɭɪɚɜɶɢ ɨɛɠɢɜɚɸɬ ɛɟɥɭɸ ɤɨɫɬɶ. (ɤɭɪɫɢɜ ɩɟɪɟɜɨɞɱɢɤɚ – ɋ.ɉ.) Ɋɚɡɞɢɪɚɟɬɫɹ ɛɭɦɚɝɚ, ɤɚɭɱɭɤ, ɩɨɥɨɬɧɨ, ɤɨɠɚ, ɥɟɧ,
ȼɨɥɨɤɧɨ, ɦɚɬɟɪɢɹ, ɰɟɥɥɸɥɨɡɚ, ɜɨɥɨɫ, ɱɟɲɭɹ ɭɠɚ, ɩɪɭɬɶɹ, ɉɚɞɚɟɬ ɜ ɩɥɚɦɹ ɤɪɵɲɚ, ɫɬɟɧɚ, ɢ ɠɚɪ ɨɯɜɚɬɵɜɚɟɬ ɮɭɧɞɚɦɟɧɬ.
Ɉɫɬɚɟɬɫɹ ɬɨɥɶɤɨ ɩɟɫɱɚɧɚɹ, ɜɵɬɨɩɬɚɧɧɚɹ, ɫ ɨɞɧɢɦ ɞɟɪɟɜɨɦ ɛɟɡ ɥɢɫɬɶɟɜ, Ɂɟɦɥɹ».
(Ⱥɧɚɫɬɚɫɢɹ ȼɟɤɲɢɧɚ)
«ɉɱɟɥɵ ɨɛɫɬɪɚɢɜɚɸɬ ɫɨɬɵ ɥɟɝɤɢɯ
Ɇɭɪɚɜɶɢ ɨɛɫɬɪɚɢɜɚɸɬ ɛɟɥɭɸ ɤɨɫɬɶ, (ɤɭɪɫɢɜ ɩɟɪɟɜɨɞɱɢɤɚ – ɋ.ɉ.) ɪɚɡɨɞɪɚɧɵ ɛɭɦɚɝɚ, ɪɟɡɢɧɚ, ɯɨɥɫɬ, ɤɨɠɚ, ɥɟɧ,
ɜɨɥɨɤɧɚ, ɬɤɚɧɢ, ɤɥɟɬɱɚɬɤɚ, ɳɟɬɢɧɚ, ɡɦɟɢɧɚɹ ɲɤɭɪɚ, ɩɪɨɜɨɥɨɤɚ.
ȼ ɨɝɧɟ ɪɭɲɚɬɫɹ ɤɪɵɲɢ ɢ ɫɬɟɧɵ, ɠɚɪ ɩɨɠɢɪɚɟɬ ɮɭɧɞɚɦɟɧɬ.
Ɉɫɬɚɟɬɫɹ ɬɨɥɶɤɨ ɨɞɧɚ ɩɟɫɱɚɧɚɹ, ɜɵɬɨɩɬɚɧɧɚɹ, ɫ ɨɞɧɢɦ ɝɨɥɵɦ ɞɟɪɟɜɨɦ ɩɨɱɜɚ.»
(ɂɝɨɪɶ Ȼɭɥɚɬɨɜɫɤɢɣ)
ɍ ɞɜɭɯ ɩɟɪɟɜɨɞɱɢɤɨɜ ɢɦɟɟɬɫɹ ɢɞɟɧɬɢɱɧɨɟ ɨɬɤɥɨɧɟɧɢɟ ɨɬ ɝɪɚɮɢɱɟɫɤɨɣ ɪɚɡɛɢɜɤɢ ɨɪɢɝɢɧɚɥɚ – ɜɵɞɟɥɟɧɢɹ ɜ ɨɬɞɟɥɶɧɭɸ ɫɬɪɨɤɭ ɚɬɪɢɛɭɬɢɜɧɨɝɨ bez liĞci. ȿɫɥɢ ɭ ɂ. Ȼɭɥɚ- ɬɨɜɫɤɨɝɨ ɷɬɨ, ɜɢɞɢɦɨ, ɦɨɬɢɜɢɪɨɜɚɧɨ ɜɵɛɨɪɨɦ ɥɟɤɫɢɱɟɫɤɨɝɨ ɷɤɜɢɜɚɥɟɧɬɚ («ɝɨɥɵɣ») – ɝɪɚɦɦɚɬɢɱɟɫɤɨɝɨ ɩɪɢɥɚɝɚɬɟɥɶɧɨɝɨ, ɫɜɹɡɚɧɧɨɝɨ ɫɢɥɶɧɨɣ ɨɩɪɟɞɟɥɢɬɟɥɶɧɨɣ ɫɜɹɡɶɸ ɫ ɫɭɳɟɫɬɜɢɬɟɥɶɧɵɦ, ɫɟɦɚɧɬɢɱɟɫɤɢ ɧɟ ɩɨɞɯɨɞɹɳɟɝɨ ɞɥɹ ɩɨɦɟɳɟɧɢɹ ɜ ɚɜɬɨɧɨɦɧɭɸ ɫɬɪɨɱɤɭ, ɬɨ ɦɨɬɢɜɚɰɢɹ Ⱥ. ȼɟɤɲɢɧɨɣ ɦɟɧɟɟ ɨɱɟɜɢɞɧɚ. ɂɧɵɟ, ɫɨɩɪɨɜɨɠɞɚɸɳɢɟ, ɜɢ- ɡɭɚɥɶɧɵɟ ɫɢɝɧɚɥɵ ɜɟɪɥɢɛɪɚ ɢɫɩɨɥɶɡɭɸɬɫɹ ɂ. Ȼɭɥɚɬɨɜɫɤɢɦ ɢ Ⱥ. ȼɟɤɲɢɧɨɣ ɜɨɩɪɟɤɢ ɨɬɫɭɬɫɬɜɢɸ ɩɨɞɨɛɧɵɯ ɹɜɥɟɧɢɣ ɜ ɩɟɪɟɜɨɞɢɦɨɦ ɨɪɢɝɢɧɚɥɟ. Ʉ ɬɚɤɨɜɵɦ ɨɬɧɨɫɢɬɫɹ ɭ ɂ. Ȼɭɥɚɬɨɜɫɤɨɝɨ ɱɟɪɟɞɨɜɚɧɢɟ ɫɬɪɨɱɧɵɯ ɢ ɩɪɨɩɢɫɧɵɯ ɛɭɤɜ ɜ ɧɚɱɚɥɟ ɫɬɢɯɨɜɨɝɨ ɨɬɪɟɡɤɚ, ɭ ɂ. Ȼɭɥɚɬɨɜɫɤɢɦ ɢ Ⱥ. ȼɟɤɲɢɧɨɣ – ɜɵɞɟɥɟɧɢɟ ɪɟɮɪɟɧɧɵɯ ɫɬɪɨɤ ɤɭɪɫɢɜɨɦ («ɢɝɪɚ ɲɪɢɮɬɨɦ», ɧɟ ɨɫɨɛɟɧɧɨ ɩɪɢɧɹɬɚɹ ɜ ɤɥɚɫɫɢɱɟɫɤɨɦ ɫɬɢɯɟ).
ɋɨɛɫɬɜɟɧɧɨ, ɧɟɪɟɝɭɥɹɪɧɨɟ, ɩɪɨɢɡɜɨɥɶɧɨɟ ɱɟɪɟɞɨɜɚɧɢɟ ɫɜɟɪɯɞɥɢɧɧɵɯ ɢ ɫɜɟɪɯ- ɤɨɪɨɬɤɢɯ ɫɬɪɨɤ ɜ ɪɭɫɫɤɨɣ ɬɪɚɞɢɰɢɢ ɬɚɤɠɟ ɜɵɫɬɭɩɚɟɬ ɤɚɤ ɫɢɝɧɚɥ ɜɟɪɥɢɛɪɚ, ɫɬɚɥɨ ɛɵɬɶ, ɞɥɹ ɩɨɥɶɫɤɢɯ ɫɬɢɯɨɜ, ɭɫɬɪɨɟɧɧɵɯ ɩɨɞɨɛɧɵɦ ɨɛɪɚɡɨɦ, ɫɨɛɥɸɞɟɧɢɟ ɝɪɚɮɢ- ɱɟɫɤɨɣ ɷɤɜɢɥɢɧɟɚɪɧɨɫɬɢ ɜ ɩɟɪɟɜɨɞɟ – ɩɭɬɶ ɤ ɭɜɟɥɢɱɟɧɢɸ ɢɫɤɨɦɨɣ ɚɞɟɤɜɚɬɧɨɫɬɢ.
ȼɨɩɪɨɫ, ɨɞɧɚɤɨ, ɧɚɫɤɨɥɶɤɨ ɪɭɫɫɤɨɟ ɝɪɚɮɢɱɟɫɤɨɟ ɞɟɥɟɧɢɟ ɧɚ ɫɬɪɨɤɢ ɩɟɪɟɞɚɟɬ ɮɨɧɟ- ɬɢɱɟɫɤɨɟ ɫɜɨɟɨɛɪɚɡɢɟ ɩɨɥɶɫɤɨɝɨ ɨɪɢɝɢɧɚɥɚ ɜ ɫɦɵɫɥɟ ɜɡɚɢɦɨɞɟɣɫɬɜɢɹ ɩɚɭɡ. ɋɪɚɜ- ɧɢɜɚɹ ɨɪɢɝɢɧɚɥ ɢ ɩɟɪɟɜɨɞ Ʌɢɥɢɢ ɘɫɭɩɨɜɨɣ ɥɟɝɤɨ ɭɜɢɞɟɬɶ, ɱɬɨ ɜ ɪɭɫɫɤɨɦ ɜɚɪɢɚɧɬɟ ɜɟɪɥɢɛɪ ɥɢɲɢɥɫɹ ɜɟɪɫɢɮɢɤɚɰɢɨɧɧɨɣ ɩɨɞɞɟɪɠɤɢ – ɫɬɢɯɨɜɨɣ ɩɚɭɡɵ, ɬɨ ɟɫɬɶ ɫɬɚɥ ɛɨɥɟɟ ɢɧɬɟɪɧɚɰɢɨɧɚɥɶɧɵɦ, ɧɨ ɡɧɚɱɢɬɟɥɶɧɨ ɦɟɧɟɟ ɢɦɦɚɧɟɧɬɧɨ ɪɟɝɭɥɹɪɧɵɦ.
Ⱦɥɹ ɨɛɪɚɡɰɨɜ «ɫɦɟɲɚɧɧɨɝɨ» ɩɨɥɶɫɤɨɝɨ ɜɟɪɥɢɛɪɚ, ɝɞɟ ɪɟɝɭɥɹɪɧɨɫɬɢ ɩɪɢɫɭɬɫ- ɬɜɭɸɬ ɤɭɞɚ ɛɨɥɟɟ ɤɨɧɰɟɧɬɪɢɪɨɜɚɧɨ, ɫɨɛɥɸɞɟɧɢɹ ɨɞɧɨɝɨ ɥɢɲɶ ɩɪɚɜɢɥɚ ɝɪɚɮɢɱɟɫɤɨɣ ɷɤɜɢɥɢɧɟɚɪɧɨɫɬɢ ɧɟɞɨɫɬɚɬɨɱɧɨ. ɏɨɬɹ ɛɵ ɩɨɬɨɦɭ, ɱɬɨ ɧɟɤɨɟ ɟɞɢɧɫɬɜɨ ɫɪɟɞɧɟɣ ɞɥɢɧɵ ɫɬɪɨɤɢ ɫɨɛɥɸɞɚɟɬɫɹ. ȼɨɬ ɩɨɫɥɟɞɧɟɟ ɬɪɟɯɫɬɢɲɢɟ ɢɡ MáodoĞü ɑ. Ɇɢɥɨɲɚ:
«BĊdziesz iĞü ulicami jarzących siĊ stolic poáudnia Przywrócony twoim początkom, widząc w zachwyceniu Biel ogrodu, kiedy w nocy spadá pierwszy Ğnieg».
Ʉɚɤ ɩɪɟɞɫɬɚɜɥɹɟɬɫɹ, ɩɨɥɶɫɤɢɣ ɤɨɦɩɟɬɟɧɬɧɵɣ ɱɢɬɚɬɟɥɶ ɚɬɪɢɛɭɬɢɪɭɟɬ ɟɝɨ ɤɚɤ ɮɪɚɝɦɟɧɬ ɬɟɤɫɬɚ ɜɟɪɥɢɛɪɚ. Ƚɥɚɜɧɵɦ ɫɢɝɧɚɥɨɦ ɛɭɞɟɬ, ɜɟɪɨɹɬɧɨ, ɩɪɟɜɵɲɟɧɢɟ ɢɥɢ ɫɭɳɟɫɬɜɟɧɧɨɟ ɭɦɟɧɶɲɟɧɢɟ ɫɬɚɧɞɚɪɬɧɨɣ ɞɥɢɧɵ ɫɢɥɥɚɛɢɱɟɫɤɨɝɨ ɫɬɢɯɚ ɢ ɹɜɧɨɟ ɨɬ- ɫɭɬɫɬɜɢɟ ɰɟɡɭɪɵ ɧɚ ɨɠɢɞɚɟɦɵɯ ɪɟɝɭɥɹɪɧɵɯ ɦɟɫɬɚɯ (ɩɨɫɥɟ 5–6–7 ɫɥɨɝɚ). ȼɨɡɦɨɠɧɨ,
ɢɡ ɪɹɞɚ ɜɵɛɢɜɚɟɬɫɹ ɩɟɪɜɚɹ ɫɬɪɨɤɚ, ɤɨɬɨɪɚɹ ɩɪɢ ɠɟɥɚɧɢɢ ɦɨɠɟɬ ɱɢɬɚɬɶɫɹ ɧɟ ɬɨɥɶɤɨ ɤɚɤ ɢɡɜɨɞ ɩɨɥɶɫɤɨɝɨ ɝɟɤɡɚɦɟɬɪɚ, ɧɨ ɢ ɤɚɤ ɩɨɞɨɛɢɟ ɹɦɛɚ, ɢɥɢ ɤɨɦɛɢɧɚɰɢɹ ɨɬɪɟɡɤɚ ɹɦɛɚ ɢ ɚɦɮɢɛɪɚɯɢɹ.
Ʉɨɝɞɚ ɪɭɫɫɤɢɣ ɩɟɪɟɜɨɞɱɢɤ ɫɬɚɥɤɢɜɚɟɬɫɹ ɫ ɩɨɥɶɫɤɢɦ ɜɟɪɥɢɛɪɨɦ, ɩɨɞɨɛɧɵɦ ɩɪɢɜɟɞɟɧɧɨɦɭ ɜɵɲɟ, ɨɧ ɹɜɧɨ ɧɚɪɭɲɚɟɬ ɫɨɨɬɧɨɲɟɧɢɟ ɦɟɪɧɨɫɬɢ ɢ ɧɟɦɟɪɧɨɫɬɢ.
«Ȼɭɞɟɲɶ ɯɨɞɢɬɶ ɩɨ ɭɥɢɰɚɦ ɫɜɟɪɤɚɸɳɢɯ ɸɠɧɵɯ ɫɬɨɥɢɰ ɜɟɪɧɭɜɲɢɫɶ ɤ ɫɜɨɟɦɭ ɧɚɱɚɥɭ, ɢɡɭɦɥɟɧɧɨ ɥɸɛɭɹɫɶ ɛɟɥɵɦ ɫɚɞɨɦ ɜ ɧɨɱɶ ɩɟɪɜɨɝɨ ɫɧɟɝɚ».
(ɂɝɨɪɶ Ȼɭɥɚɬɨɜɫɤɢɣ) 1 – Ⱦɨɥɶɧɢɤ ɞɚɤ3 /+ɚɦɮ3 2 – ɹɦ4/+ɚɧ3
3 – ɚɧ3
«Ɍɵ ɩɨɣɞɟɲɶ ɩɨ ɩɪɨɫɩɟɤɬɚɦ ɫɬɨɥɢɰ ɥɭɱɟɡɚɪɧɨɝɨ ɸɝɚ.
ȼɨɡɜɪɚɳɟɧɧɵɣ ɤ ɫɜɨɢɦ ɧɚɱɚɥɚɦ, ɧɟ ɧɚɥɸɛɭɟɲɶɫɹ Ȼɟɥɵɦ ɫɚɞɨɦ, ɤɨɝɞɚ ɧɨɱɶɸ ɥɟɝ ɩɟɪɜɵɣ ɫɧɟɝ».
(ȼɥɚɞɢɦɢɪ Ɉɤɭɧɶ) 1 – ɞɚɤ4
2 – ɞɨɥɶɧɢɤ ɚɧ3+ ɧɟ ɧɚɥɸɛɭɟɲɶɫɹ – ɚɦɛɢɜɚɥɟɧɬɧɵɣ 3 – ɚɧ4
ɉɨ ɫɭɬɢ ɞɟɥɚ, ɪɭɫɫɤɢɣ ɩɟɪɟɜɨɞ ɩɪɟɜɪɚɳɚɟɬ ɜɟɪɥɢɛɪ ɜ ɩɨɥɢɦɟɬɪɢɸ ɢ, ɬɟɦ ɫɚɦɵɦ, ɡɚɞɚɟɬ ɮɨɧɟɬɢɱɟɫɤɢɣ ɦɟɯɚɧɢɡɦ ɞɨɩɨɥɧɢɬɟɥɶɧɨɣ ɫɟɝɦɟɧɬɚɰɢɢ, ɤɨɬɨɪɵɣ ɜ ɩɨɥɶɫɤɨɦ ɜɚɪɢɚɧɬɟ ɧɟ ɹɜɥɹɟɬɫɹ ɪɟɝɭɥɹɪɧɨ ɞɟɣɫɬɜɭɸɳɢɦ. ɉɪɢɱɢɧɵ, ɩɨ ɤɨɬɨɪɵɦ ɷɬɨ ɩɪɨɢɫɯɨɞɢɬ, ɩɨ-ɜɢɞɢɦɨɦɭ, ɤɨɪɟɧɹɬɫɹ ɜ ɪɚɡɧɨɣ ɫɢɥɟ ɫɢɝɧɚɥɨɜ «ɞɟɡɨɪɝɚɧɢɡɚɰɢɢ»
ɜ ɫɢɥɥɚɛɢɱɟɫɤɨɣ ɢ ɫɢɥɥɚɛɨ-ɬɨɧɢɱɟɫɤɨɣ ɬɪɚɞɢɰɢɹɯ. Ɉɬɫɬɭɩɥɟɧɢɟ ɨɬ ɬɪɚɞɢɰɢɨɧɧɵɯ ɞɥɢɧ ɫɢɥɥɚɛɢɤɢ ɜ ɩɨɥɶɫɤɨɣ ɬɪɚɞɢɰɢɢ – ɫɢɥɶɧɵɣ ɢ ɫɚɦɨɞɨɫɬɚɬɨɱɧɵɣ ɫɢɝɧɚɥ ɜɟɪ- ɥɢɛɪɚ, ɨɧ ɩɨɝɥɨɳɚɟɬ ɫɩɨɪɚɞɢɱɟɫɤɢɟ ɪɟɝɭɥɹɪɧɵɟ ɫɬɢɯɢ. ȼ ɪɭɫɫɤɨɣ ɬɪɚɞɢɰɢɢ ɥɸɛɨɟ ɩɨɞɨɛɢɟ ɪɢɬɦɢɱɟɫɤɨɣ ɪɟɝɭɥɹɪɧɨɫɬɢ – ɫɢɝɧɚɥ ɬɪɚɞɢɰɢɨɧɧɨɣ ɫɢɥɥɚɛɨ-ɬɨɧɢɤɢ, ɫɥɟ- ɞɨɜɚɬɟɥɶɧɨ, «ɞɟɡɨɪɝɚɧɢɡɭɸɳɭɸ» ɬɟɧɞɟɧɰɢɸ ɧɭɠɧɨ ɭɫɢɥɢɜɚɬɶ. ɇ. Ƚɨɪɛɚɧɟɜɫɤɚɹ ɧɚɩɢɫɚɥɚ ɜ ɫɜɨɢɯ «Ɂɚɦɟɬɤɚɯ ɩɪɟɞɫɟɞɚɬɟɥɹ ɠɸɪɢ»: «Ʉɨɝɞɚ ɜ ɪɟɝɭɥɹɪɧɨɦ ɜɟɪɥɢɛɪɟ ɛɨɥɶɲɟ ɞɜɭɯ ɫɬɪɨɤ ɩɨɞɪɹɞ ɢɞɭɬ ɛɟɥɵɦ ɫɬɢɯɨɦ, ɜɨɡɧɢɤɚɟɬ ɧɟɧɭɠɧɚɹ ɢɧɟɪɰɢɹ»
[Ƚɨɪɛɚɧɟɜɫɤɚɹ 2013,11]. ȼɩɪɨɱɟɦ, ɜ ɪɟɩɟɪɬɭɚɪɟ ɪɭɫɫɤɢɯ ɮɨɧɟɬɢɱɟɫɤɢɯ ɫɪɟɞɫɬɜ ɧɟ ɬɚɤ ɦɧɨɝɨ ɫɢɥɶɧɵɯ ɞɟɡɨɪɝɚɧɢɡɭɸɳɢɯ ɫɢɝɧɚɥɨɜ. Ɉɞɢɧ ɢɡ ɫɢɥɶɧɵɯ – ɧɚɪɭɲɟɧɢɟ ɩɪɚɜɢɥɚ Ɋ. əɤɨɛɫɨɧɚ – Ʉ. Ɍɚɪɚɧɨɜɫɤɨɝɨ ɧɚ ɩɟɪɟɚɤɰɟɧɬɭɚɰɢɸ: «ɂɥɢ ɭɩɪɹɦɫɬɜɨ?
ɋɥɢɲɤɨɦ ɜ ɦɨɞɟ ɧɵɬɶɟ» (_UU_U_U_UU_) – 9-ɹ ɫɬɪɨɤɚ ɢɡ ɩɟɪɟɜɨɞɚ Przepis (Ɋɟ- ɰɟɩɬ) Ⱥ. ȼɟɤɲɢɧɨɣ. ɉɨɞɨɛɧɨɝɨ ɪɨɞɚ ɮɨɧɟɬɢɱɟɫɤɢɟ ɫɬɪɭɤɬɭɪɵ ɧɟ ɩɨɞɞɟɪɠɢɜɚɸɬ ɫɤɜɨɡɧɨɣ ɪɢɬɦɢɱɟɫɤɨɣ ɢɧɬɟɧɰɢɢ ɜ ɪɚɦɤɚɯ ɪɭɫɫɤɨɣ ɫɢɥɥɚɛɨ-ɬɨɧɢɤɢ ɢ ɩɟɪɟɜɨɞɢɬ ɟɞɢɧɫɬɜɟɧɧɨ ɜɨɡɦɨɠɧɭɸ ɪɢɬɦɢɡɚɰɢɸ ɜ ɪɟɠɢɦ ɱɢɫɬɨɣ ɬɨɧɢɤɢ (ɟɫɥɢ ɩɨɜɬɨɪɹɟɬɫɹ ɢɡ ɫɬɪɨɤɢ ɜ ɫɬɪɨɤɭ – ɫɢɝɧɚɥɢɡɢɪɭɟɬ ɨ ɥɨɝɚɷɞɟ].
ȿɫɬɶ ɟɳɟ ɨɞɢɧ ɨɱɟɜɢɞɧɵɣ ɩɪɢɟɦ ɞɟɪɢɬɦɢɡɚɰɢɢ, ɫɜɹɡɚɧɧɵɣ ɫɨ ɫɥɨɜɨɭɩɨɬ- ɪɟɛɥɟɧɢɟɦ: ɢɫɩɨɥɶɡɨɜɚɧɢɟ ɫɥɨɜ, ɩɪɟɜɵɲɚɸɳɢɯ ɫɪɟɞɧɸɸ ɞɥɢɧɭ ɪɭɫɫɤɨɝɨ ɫɥɨɜɚ ɢ ɧɟɫɭɳɢɯ ɧɚ ɫɟɛɟ ɬɨɥɶɤɨ ɨɞɧɨ ɭɞɚɪɟɧɢɟ. ɋɪɚɜɧɢɦ ɬɪɢ ɜɚɪɢɚɧɬɚ ɨɞɧɨɣ ɫɬɪɨɤɢ:
«Faász uczuü odgaduje siĊ po faászu frazy» (Przepis) ɜ ɬɪɟɯ ɜɚɪɢɚɧɬɚɯ: «Ɏɚɥɶɲɢɜɨɫɬɶ ɮɪɚɡɵ ɜɵɞɚɟɬ ɮɚɥɶɲɢɜɨɫɬɶ ɩɚɮɨɫɚ» (ɂ. Ȼɭɥɚɬɨɜɫɤɢɣ]. «Ʌɠɢɜɨɫɬɶ ɱɭɜɫɬɜ ɜɵɞɚɟɬ
ɮɚɥɶɲɢɜɚɹ ɮɪɚɡɚ» (Ɍɚɬɶɹɧɚ Ⱦɭɛɢɧɢɧɚ). «Ɏɚɥɶɲɶ ɱɭɜɫɬɜ ɭɝɚɞɵɜɚɟɬɫɹ ɡɚ ɮɚɥɶɲɶɸ ɮɪɚɡɵ» (Ⱦɟɧɢɫ ɉɟɥɢɯɨɜ). «Ɏɚɥɶɲɢɜɚɹ ɮɪɚɡɚ ɪɚɡɨɛɥɚɱɚɟɬ ɮɚɥɶɲɢɜɵɟ ɱɭɜɫɬɜɚ»
(Ⱥ. ȼɟɤɲɢɧɚ). ɋɨɡɞɚɧɢɟ «ɱɢɫɬɨɝɨ» ɪɭɫɫɤɨɝɨ ɜɟɪɥɢɛɪɚ ɬɪɟɛɭɟɬ ɨɬ ɚɜɬɨɪɚ ɫɟɪɶɟɡɧɵɯ ɜɟɪɫɢɮɢɤɚɰɢɨɧɧɵɯ ɭɫɢɥɢɣ, ɟɫɥɢ ɨɧ ɧɟ ɨɫɬɚɟɬɫɹ ɜ ɩɥɟɧɭ ɢɥɥɸɡɢɢ, ɱɬɨ ɝɪɚɮɢɤɚ ɪɟɲɚɟɬ ɜɫɺ. Ⱦɥɹ ɩɨɥɶɫɤɨɝɨ ɚɜɬɨɪɚ ɪɢɬɦɢɡɚɰɢɹ ɜ ɪɚɦɤɚɯ ɜɟɪɥɢɛɪɚ ɜɵɫɬɭɩɚɟɬ ɤɚɤ ɞɨɩɨɥɧɢɬɟɥɶɧɵɣ ɩɪɢɟɦ, ɭɜɟɥɢɱɢɜɚɸɳɢɣ ɫɜɨɟɨɛɪɚɡɢɟ ɬɟɤɫɬɚ. Ⱦɥɹ ɪɭɫɫɤɨɝɨ ɪɢɬɦɢ- ɡɚɰɢɹ – ɩɪɢɡɧɚɤ ɫɯɨɞɫɬɜɚ ɫ ɞɪɭɝɢɦɢ ɨɛɪɚɡɱɢɤɚɦɢ ɪɭɫɫɤɨɝɨ ɜɟɪɥɢɛɪɚ, ɥɢɲɟɧɧɵɦɢ, ɩɨ ɫɭɬɢ, ɦɟɬɪɢɱɟɫɤɨɝɨ ɫɜɨɟɨɛɪɚɡɢɹ. ɉɨɷɬɨɦɭ ɜɫɹɤɚɹ ɦɟɬɪɢɡɚɰɢɹ ɢ ɪɢɬɦɢɡɚɰɢɹ, ɢɫɩɨɥɶɡɨɜɚɧɢɟ ɩɚɪɨɧɢɦɢɱɟɫɤɢɯ ɚɬɬɪɚɤɬɚɧɬɨɜ, ɜɧɭɬɪɟɧɧɢɯ ɪɢɮɦ (ɫɦ. ɜɵɲɟ «ɠɚɪ ɩɨ- ɠɢɪɚɟɬ», «ɪɟɡɢɧɚ-ɳɟɬɢɧɚ» ɂ. Ȼɭɥɚɬɨɜɫɤɨɝɨ) ɨɤɚɡɵɜɚɸɬɫɹ ɩɪɢɡɧɚɤɚɦɢ ɚɧɬɢɜɟɪɥɢɛɪɚ ɢɥɢ, ɜ ɥɭɱɲɟɦ ɫɥɭɱɚɟ, ɫɦɟɲɟɧɢɹ ɟɝɨ ɫ ɬɚɤ ɢɥɢ ɢɧɚɱɟ ɬɪɚɞɢɰɢɨɧɧɵɦ ɫɬɢɯɨɦ. Ɉɞɧɚɤɨ ɱɢɫɬɵɣ ɪɭɫɫɤɢɣ ɜɟɪɥɢɛɪ, ɜɜɢɞɭ ɟɝɨ ɪɟɞɤɨɫɬɢ ɢ ɬɪɭɞɧɨɫɬɢ ɜ ɢɫɩɨɥɧɟɧɢɢ, ɜ ɫɨɡɧɚɧɢɢ ɛɨɥɶɲɢɧɫɬɜɚ ɱɢɬɚɬɟɥɟɣ ɜɨɜɫɟ ɧɟ ɜɵɝɥɹɞɢɬ ɢɡɵɫɤɚɧɧɵɦ ɫɬɢɯɨɦ, ɞɨɫɬɨɣɧɵɦ ɷɫɬɟ- ɬɢɱɟɫɤɨɝɨ ɜɧɢɦɚɧɢɹ. ɂɫɬɨɪɢɹ ɢ ɪɭɫɫɤɨɝɨ, ɢ ɩɨɥɶɫɤɨɝɨ ɜɟɪɥɢɛɪɚ ɞɨɫɬɚɬɨɱɧɨ ɬɟɦɧɚ (ɜ ɨɬɥɢɱɢɟ ɨɬ ɧɟɦɟɰɤɨɝɨ), ɢɯ ɨɛɳɚɹ ɝɟɧɟɬɢɱɟɫɤɚɹ ɫɜɹɡɶ ɫ ɮɪɚɧɰɭɡɫɤɢɦ «ɫɜɨɛɨɞɧɵɦ ɫɬɢɯɨɦ» ɞɨɫɬɚɬɨɱɧɨ ɫɨɦɧɢɬɟɥɶɧɚ [ɍɪɛɚɧɶɫɤɚ 2009, 349], ɢ ɨɱɟɜɢɞɧɨ, ɱɬɨ ɤɪɨɦɟ ɞɟ- ɤɥɚɪɚɬɢɜɧɨɝɨ ɭɬɜɟɪɠɞɟɧɢɹ ɨɛ «ɨɫɜɨɛɨɠɞɟɧɢɢ» ɫɬɢɯɚ, ɧɢ ɩɨɥɹɤɢ, ɧɢ ɪɭɫɫɤɢɟ ɧɢɱɟɝɨ ɨɛɳɟɝɨ ɫ ɮɪɚɧɰɭɡɫɤɨɣ ɬɪɚɞɢɰɢɟɣ ɧɟ ɢɦɟɥɢ. ɑɭɜɫɬɜɨɜɚɬɶ ɠɟ, ɝɞɟ ɬɨɱɤɢ ɩɪɢɥɨɠɟ- ɧɢɹ ɞɟɡɨɪɝɚɧɢɡɭɸɳɟɝɨ ɨɫɜɨɛɨɞɢɬɟɥɶɧɨɝɨ ɢɦɩɭɥɶɫɚ ɜ ɱɭɠɨɦ ɜɟɪɫɢɮɢɤɚɰɢɨɧɧɨɦ ɩɪɨɫɬɪɚɧɫɬɜɟ ɩɟɪɟɜɨɞɱɢɤɢ ɟɳɟ ɧɟ ɧɚɭɱɢɥɢɫɶ. Ɉɬɬɨɝɨ ɧɟɨɛɵɤɧɨɜɟɧɧɵɣ ɑ. Ɇɢɥɨɲ ɜ ɪɭɫɫɤɨɦ ɨɬɨɛɪɚɠɟɧɢɢ ɜɵɝɥɹɞɢɬ ɞɨɜɨɥɶɧɨ ɨɛɳɨ (ɧɚ ɪɭɫɫɤɨɦ ɜɟɪɥɢɛɪɢɱɟɫɤɨɦ ɮɨɧɟ), ɩɨɫɤɨɥɶɤɭ ɩɟɪɟɜɨɞɱɢɤɢ ɟɳɟ ɧɟ ɜɵɪɚɛɨɬɚɥɢ ɧɚɛɨɪɚ ɩɪɢɟɦɨɜ, ɫɨɡɞɚɸɳɢɯ ɭ ɪɭɫɫɤɨɝɨ ɱɢɬɚɬɟɥɹ ɮɨɧɟɬɢɱɟɫɤɢɣ, ɚ ɧɟ ɝɪɚɮɢɱɟɫɤɢɣ ɨɛɪɚɡ ɩɨɥɶɫɤɨɝɨ ɜɟɪɥɢɛɪɚ.
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Summary
POLISH FREE VERSE FROM THE RUSSIAN POINT OF VIEW
This article discusses the status and the main plurisegmental characteristics of Polish and Russian vers libre, and evaluates the possibilities of adequate translation from the Polish versification paradigm into the Russian one. The analytical material comprises the texts presented by Russian translators at the competition “Miáosz in Russian” which was organized to celebrate Czesáaw Miáosz’s centenary.
