Harmony and Disharmony: Acoustic Opposition in the Early Lyrics of Alexander Blok

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Abstract

The article studies the role of the observer - the subject of acoustic perception of poetic narrative, in particular, in the construction of a dual reality in the early work by Alexander Blok “Poems about the Beautiful Lady”. Acoustic perceptual data is the basis for the creation of complex mystical and philosophical symbols and poetic images. The divine, ideal world of the Beautiful Lady and the real world of the lyric hero are in opposition to each other in acoustic terms, which give rise to the opposition HARMONY - DISHARMONY. The opposition is realized in musical sounds, songs, and bell ringing typical of the upper world. The real world is characterized by other sounds, non-musical: groans, creaks, complaints, and crying. Accordingly, emotions also differ in value depending on belonging to one or another world: in the world of the Beautiful Lady they quietly laugh, rejoice; in the world of the lyrical hero they cry, moan, complain. SILENCE is a significant symbol of the divine world. The world of the Beautiful Lady is thus harmonious, musical and quiet. Its important element is the voices of birds: swans, cranes, eagles. Smell, touch and taste play a minor role in the creation of the Blok’s dual reality. Temperature sensations participate in the formation of the COLD symbol as a phenomenon hostile to the divine world. Thus, the concept of dual reality in Blok’s early lyrics is embodied in a number of acoustic oppositions and acoustic symbols of silence, song, and bell ringing.

About the authors

Zifa K. Temirgazina

Graduate School of Humanities Pavlodar Pedagogical University

Author for correspondence.
Email: zifakakbaevna@mail.ru

Doctor of Philology, Professor of the Graduate School of Humanities

60, St. Mira, Pavlodar, The Republic of Kazakhstan, 140005

Gulzhan K. Zhakupova

Nazarbayev Intellectual School

Email: gulzhan_n@pvl.nis.edu.kz

tutor

16/2, St. Tkacheva, Pavlodar, The Republic of Kazakhstan, 140012

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Copyright (c) 2021 Temirgazina Z.K., Zhakupova G.K.

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