Rhyme as a structural component of the sonnet text

Abstract

Background. The article deals with the description of rhyme structures and their functioning in the Ukrainian sonnet text. Using a wide range of case studies, the author examines rhyme structures that are characteristic of the classical European sonnet, represented by Italian, French, and English forms, as well as the contagion plan for such forms. The author analyzes the role of rhyme in the structural and compositional organization of the stanza and the integral system of sonnet verse, with a projection on the author's own artistic and aesthetic perception of such integrity.

Methods. Descriptive, systematization and matrix modelling, contextual.

Results. The author traces the regularities of the construction of Ukrainian sonnet verse, taking into account both the established criteria for the use of rhyme and numerous modifications related to the nature and functioning of the rhyme construct. Different structural types of rhymes are considered ‒ in terms of partial expression, full and incomplete rhymes, functional role, for example, homonymous pairs ‒ in a sentence, a separate stanza, and an entire sonnet text. Varieties of rich rhyme are characterized (based on full consonances, when a fully rhyming word correlates with the rhyme component of the correlated word when a phoneme sound is inserted/dropped before the stressed syllable, when rhyming words differ only in the initial components of the phoneme complex preceding the stressed syllable, in particular, with intervocalic modification in such a preposition, etc. The author emphasizes the role of rhyme in creating a holistic poetic matrix of the sonnet, with certain instruments, anagramming, enjambment, and chiasmic alternation.

Conclusions. Rhyme in the sonnet text, in addition to its background role, performs an important structural, compositional, and genre-creating function. Rhyme diversity, both in the established structures of stanza organization and with a variety of modifications, in particular, with the leftward spread of the rhyme component (with consonance inside, at the beginning of the word) in the modern sonnet, is an important factor in enriching the phonetic palette of the poem. A peculiar rhyme resonance at the level of individual syllables, syllables and words, and entire lines contributes to the dynamization and aestheticization of the artistic structure. Rhyme becomes a kind of faceting not only of the sound but also of the figurative and semantic integrity of the work.

Information about the author:

Anatolii Moisiienko – DSc (Philol.), Prof. of the Department of the Ukrainian Language and Applied Linguistics; Educational and Scientific Institute of Philology; Taras Shevchenko National University of Kyiv (Ukraine).

E-mail: a.moisiienko@knu.ua

___________

REFERENCES

1. Chaplia, V. (1930). Sonnet in Ukrainian poetry. Historical and theoretical essay. To the sociology of the poem. DVU [in Ukrainian].
2. Cherednychenko, I (1962). Essays on general stylistics of the modern Ukrainian language. Radianska shkola [in Ukrainian].
3. Chyzhevskyi, D. (2003). Ukrainian literary baroque. Akta [in Ukrainian].
4. Dudyk, P. (2005). Stylistics of the Ukrainian language. Akademiia [in Ukrainian].
5. Gadamer, H. G. (1991). The relevance of beauty. Iskusstvo [in Russian].
6. Gasparov,M. (1984). Essay on the history of Russian verse. Nauka [in Russian].
7. Grossman, L. (1925). Poetics of the sonnet. Problems of poetics (pp. 117–140) [in Russian].
8. Yakubinskiy, L. (1986). Where do poems come from? In L. P. Yakubinskiy, Selected works. Language and its functioning (pp. 194–196). Nauka [in Russian].
9. Kachurovskyi, I. (1967). Strophe. Instytut Literatury im. M. Oresta [in Ukrainian].
10. Kachurovskyi, I. (1994). Phonics. Lybid [in Ukrainian].
11. Kachurovskyi, I. (1984). Phonics. Ukrainskyi Vilnyi Universytet [in Ukrainian].
12. Lomonosov, M. (1952). Letter on the rules of Russian poetry. In M.V. Lomonosov, Full composition of writings, vol. 7 (pp. 7‒22). Izd-vo AN SSSR [in Russian].
13. Moisiienko,A. (2018). “Herbsttag” by Rainer-Maria Rilke in Ukrainian translations. In А. Moisiienko, The text as an artistic given. Problems of poetic language (pp. 181‒193). Vyd-vo Ivanchenka I. S. [in Ukrainian].
14. Moisiienko,A. (2016). A folk riddle in the text-discursive dimension. Vyd. dim Dm. Buraho [in Ukrainian].
15. Movchun,L. (2020). Ukrainian rhyme in the language system and in language practice. Instytut ukrainskoi movy NANU [in Ukrainian].
16. Pavlychko,D. (2007). Literary studies. Criticism. Ukrainian literature, vol. 1. Osnovy [in Ukrainian].
17. Riznychenko, O. (2002). Dvostrunne hralo: Sonnets. Druk [in Ukrainian]. https://chtyvo.org.ua/authors/Riznykiv_Oleksa/Dvostrunne_hralo_zbirka
18. Sirobaba,M. (2013). Genre-strophic modifications of the Ukrainian sonnet. Pidpryiemets Matorin B. I. [in Ukrainian].
19. Ushkalov, L. (2002). Preface. In H.Skovoroda, Garden of divine songs (pp. 7‒16). Maidan [in Ukrainian].
20. Vovk, P. (2008). Mizhmovna asymetriia movnoho znaka. Studia linguistica, 1, 20–24 [in Ukrainian].
21. Zvarych, V. (2013). Canonization of the sonnet as a genre in Ukrainian poetry: from the creative experience of neoclassical poets. Literary process: methodology, names, trends, 2, 12–15. Kyivskyi universytet imeni B. Hrinchenka [in Ukrainian].