of its sounds. On pages 128-29 he states: "Words, interlaced (or merely drawn together) by their sounds, approach each other and are interlaced, at least partly, by their meanings as w e l l . . . . Poetical language removes itself, both lexically and syntactically, from every- day speech. It returns to lantuage its original ... nature. It returns to words their mean- ings, which precede (although outside o f time) their individual concrete meanings, condi- tioned by context. In poetical language, these meanings are represented by various sounds; this explains why the sounds themselves take on meaning . . . . Poetical language can ne- ver be satisfied with mere denotation (oboznacheniem). In this respect it is related to music, and thus creates its own music." Poetry, he believes, is "another music" (p. 164) because it "is the music o f language, expressing the music of the senses in its . . . invariab- ly meaningful sounds" (p. 86). One questions the validity o f such statements. His lengthy discussion about music in poetry is n o t terribly convincing. Actually, his most tenable statement is found in an appendix: " O f course, music and
Canadian-American Slavic Studies – Brill
Published: Jan 1, 1982
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