Anjambeman is a literary term, which is translated from French as "step over". This concept refers to versification and is:
a) the divergence of rhythmic and syntactic pauses at the end of a verse, stanza or hemistem;
b) the use of caesura in a sequential chain of words that are close in meaning.
The linguistic origin of the term
In traditional poetry, three types of anjambeman are distinguished:
1. "Reset" - a technique in which, at the end of a phrase, the beginning of the next one is also captured.
2. "Sketch" - a variety in which, on the contrary, the beginning of the phrase occupies the end of the previous one.
3. “Double throw” - this kind of anjambeman involves the beginning of a phrase in the middle of a verse and the end in the center of the next.
It is worth considering these techniques on the example of the work of A.S. Pushkin:
On the shore of desert waves
He stood, the great thoughts are full,
And looked into the distance [discharge]. Wide before him
The river rushed [double throw]; poor shuttle [draft]
On it sought lonely.
In this work, Anjambeman performs graphic and expressive functions, acquires direct iconicity in moments.
The origins
Russian philology is rich in the works of various scholars, in whom the theme of Anjambeman is widely worked out. G.A. Shengeli, A.K. Zholkovsky, I.E. Loshilov, Yu.N. Tynianov and others.
As a pictorial means, hyphenation in a poetic work is important.
M.I. Shapir created a technique that draws a straightforward parallel between form and content - Anjambeman and a poetic text. The author used this technique in his studies as fundamental.
V.M. Zhirmunsky is one of the first researchers of Anjambeman. He started from the fact that following the traditional directions in the lyrics, the visible pointer to anjambeman at the end of the line is the appearance of a punctuated border of sentences in the center of the line.
M.L. Gasparov, in turn, revised this idea under the influence of B.I. It is bright, according to which, the hierarchical strength of syntactic relations varies from the weakest compounds within sentences to the strongest ones - the noun and its definition.
This researcher suggested considering the Anjambémans in poetics, based on the power of syntax separation. For this theory, it was necessary to edit the classification of the syntactic connection of B.I. Yarho.
Thanks M.I. Twenty-three gradations in grammatical connections were established for Shapir. Following them, we can conclude that the deeper the connection, the wider the number of arguments that allow us to talk about Anjambeman (if there is a gap in a particular place).
Literary era
In different eras, there was a contrast to the use of Anjambeman. Namely:
1. Antiquity. Anjambeman has been used in literature since ancient times. Pindarovskaya lyrics are more based on the stanza anjambeman. Pindar is an ancient Greek poet whose works are part of choral lyrics. They are mainly hymns, praises and songs of praise to the gods.
2. New time - the period after the Middle Ages. For poetry of this time, stanzaic closeness is more characteristic.
3. Classicism. Poetry of this period is characteristic of avoiding the Anjambemans.
4. Romanticism and some poetry schools of the twentieth century, on the contrary, cultivated them.
Transfer
Anjambeman is a kind of caesura within a group of words connected by meaning.
Historically, when it is used, humorous semantics or an antique connotation (accompanying the meaning of a linguistic phenomenon) prevail.
Nevertheless, in contemporary poetry, the number of local artistic problems that are solved by internal transference has increased dramatically.
As noted above, anjambeman in literature is a transfer of a part of a phrase from the previous poetic line to the next one further. The reason for its appearance is a mismatch in the rhythm, unevenness in the line, traditionally ending with two types of pauses: semantic and final poetic.
If the verses are composed rhythmically evenly, Anjambeman is an intonation glitch that allows you to intonationally highlight and emphasize the main semantic word. Thus, the author can convey various emotions: excitement, thoughtfulness.
Very effectively, the transference is able to emphasize a prosaic or colloquial speech.
Types of Anjambemans
There are many varieties of transfer, for example:
- Single hyphenation - they provide the allocation of parts of phrases using intonations, even if they were separated by another section of the verse.
- Numerous anjambemans give a prosaic manner that almost completely levels (smooths) the rhythm in the poem. This is an essential artistic technique in poetry.
- Verse - moving a phrase to another verse.
- Strophic Anjambeman - transfer of phrases to the next stanza part.
- Syllabic - moving this part to another lowercase phrase.
Also distinguish syntactic-lowercase, syntactic-stropic, verbal-lowercase, verbal-stanza and many other hyphenation.
Application in poetry
In Russian literature, an example of Anjambeman is the work of A.S. Pushkina, V.V. Mayakovsky, M. Kuzmin, G. Obolduev, B. Okudzhava, V. Shershenevich.
The use of transference as a poetic figure is most often justified by the semantic content that it carries in itself.
Many famous authors used lowercase anjambeman. A great example of its application is the work of Anatoly Kobenkov. In his poems, filled with lyrics and philosophy, the abruptness and drama of life is exacerbated by hyphenation.
For example, in this passage:
A man is born, grows into a husband,
Does not sink in water, does not burn in evil,
Then he finds out that he is not needed at all
Neither to himself, nor to his daughter, nor to the earth;
Then a person learns to cry
Then, without remembering why he came
To this earth, it becomes dust -
And he is good, and the earth is good.
In the work of the modern poet Andrei Kachalyan, the use of syllable stanzaic transference is very common. In the poem "By otherworldly lips", the author moves the pronoun "I" to the main (initial) syllable. The use of a part of speech in the form of a first person helps to beat the content and show the deep meaning and duality of the character, the global nature of his experiences and worldview.
Marina Tsvetaeva
In the poems of the poetess are many examples of Anjambeman. Tsvetaeva made hyphenation an integral part of her work. They made her style recognizable from the first lines:
We fooled the day, hugging it hot
Palms, breathing inaudibly in the back.
When reading this poem, any person will feel the need for an intonation pause after the word “palms”. She instantly gives a feeling of warmth, summer heat, lack of need to rush somewhere.
In the work of Marina Tsvetaeva, the transfer sometimes encompassed entire stanza groups.
Folk poetry
It is interesting to note that the presence of hyphenation is not characteristic of folklore. Rather, it is typical for a complete coincidence of the intonation-phrase series with the verse.
Joseph Brodsky
The active development of Anjambeman at the end of the twentieth century is connected with his work. This poet, in many ways, is the heir to the traditions of M. Tsvetaeva. Moreover, he managed to significantly develop them.
M.I. Shapir said that in the second half of the last century I. Brodsky experimented in every way with this topic:
a) lengthened the poetic phrase;
b) made more and more sharp transfers between lines and stanzas;
c) shared the noun and the preposition;
d) carried out the division of verbal units between a stanza and a verse.
This is especially noticeable in his works "Hair for the temple", "On the death of TS Eliot."
Modern lyrics
This technique is not forgotten at the present time. As an example of the use of Anjambemans in the literature, one can mention the work of such poets as A. Kushner, S. Len, E. Lesin, K. Kedrov, Yu. Martyntsev, D. Davydov, A. Kachalyan, A. Nechaev and others.
Syllabic-stanza and syllabic anjambemans are the most common types of transference in modern poetry.