Types of Emotives in Artistic Text (Based on M.Yu. Lermontov's Poem "Demon")

Prihod'ko Viktoriya Konstantinovna ORCID: 0000-0001-7309-0498 Doctor of Philology Associate Professor; Higher School of Russian Philology; Pacific State University 136 Pacific Street, Khabarovsk, 680035, Russia, Khabarovsk Territory ulius-viktori@mail.ru Other publications by this author

Introduction

The linguistics of emotions, or emotiology, is closely related to the study of human thought processes, which is always in the field of priority interests of scientific knowledge. The linguistic study of emotions "requires an anthropocentric approach, in which the category of emotivity receives a situationally personal sound" ^{[26, p.27]}.

Various units of language and speech came to the attention of scientists as means of expressing emotivity, as a result of which some knowledge about the emotive code of human verbal communication was formed and structured.

This is reflected in the works of many Russian linguists, such as O.B. Abakumova ^[1], I.N. Andreeva ^[2], E.N. Belaya ^[5], N.S. Bolotnova ^[6], L.Y. Buyanova ^[7], A.V. Vladimirova ^[5], P.S. Volkova ^[6], I.E. Gerasimenko ^[9], O.V. Golubeva ^[11], P.S. Dronov ^[12],[13], E.R. Ioanesyan ^[15], S.V. Ionova ^[16],[17], T.N. Moskvina ^[21], A.A. Odyakh ^[6], Yu.P. Nechai ^[7], A.B. Penkovsky ^[22], E.V. Sazhina ^[25], D.S. Semak ^[25], Yu.A. Razorenova ^[27], A.A. Shteba ^[29], E.A. Yakishchenko ^[30] and others.

Foreign researchers are also interested in this problem (see the works of J. Aitchion ^[31], J. Allwood ^[32], A. Wierzbicka ^[37], D. Goleman ^[33], D.A. Vaoch ^[36], K.V. Petrides ^[34], R.D. Roberts ^[35] and others).

Emotivity in a literary text is the property of language to express any emotional state of a character using the means available in it: semantic and pragmatic (communicative). Emotive vocabulary is distinguished by its evaluative, expressive, colorful, and imaginative nature. Research on this layer of vocabulary helps to recreate the emotional picture of the world of a linguistic personality (author, character, reader) in accordance with the anthropocentric perspective in science and the semantic approach. A pragmatic approach is also taken into account, which involves considering emotivity manifested in communication, in which all other verbal capabilities of the language system are represented.

The typology of emotives and their terminology was proposed by us in the dissertation study "The Emotive fund of Russian dialects of the Amur region", only the analysis of emotives was carried out on the basis of dialects and dialect words ^[23]:

– emotivatives are linguistic means that express "living" emotions, symmetrical in all participants of communication;

– emotivs are language tools that express "dead" emotions that leave participants in communication indifferent;

– emojolatives are language tools that express the asymmetry of emotional states;

Emojis are linguistic means that express a deliberately false, deliberately transmitted false emotion in order to mislead the participants of communication.

Now we propose testing our own typology and terminology of emotives based on the material of artistic style, in relation to M.Y. Lermontov's poem "The Demon".

The purpose of this work is to consider expressions of emotivity in a pragmatic aspect based on the material of M.Y. Lermontov's poem "The Demon".

The novelty of this study is determined by the fact that no such analysis has been carried out so far based on the material of M.Y. Lermontov's idiosyncrasy. M.Y. Lermontov's poem "The Demon" has not been studied for emotivity in a similar perspective. In the literature of the subject, it is customary only to write about psychologism and the psychological foundations of the mythological image of a Demon ^[28].

The relevance is ensured by the extraordinary interest of scientists in the category of emotivity and the ways it is expressed in literary texts.

The object of research is the category of emotivity, which is understood as the verbal representation of the emotional world of characters in a literary text.

The subject of the research is linguistic means of expressing emotions in M.Y. Lermontov's poem "The Demon".

The methods used in the work include analytical and descriptive methods, as well as methods of semantic and contextual analysis of emotive contexts based on the basic principles of linguistic analysis of a literary text: the principles of historicism, coordination of general and particular, the principle of semantic opposition and the principle of associative dominance.

Main provisions and results

Mikhail Lermontov's poem "The Demon" is a romantic mystery poem. Mystery is a genre of European medieval religious theater of the 14th–16th centuries. Some features of the genre:

1. It was formed on the basis of the liturgical drama, which eventually moved from the church to the city square.

2. The content consisted of biblical stories.

3. Scenes of a religious nature alternated with some inserted domestic episodes.

4. The story of the event remained a mystery until the end of the narrative.

5. The mystery involved a supernatural mystery.

6. The romantic poem had fluidity, fuzziness, inconsistency.

7. The variety of emotions expressed in the mystery filled her with psychology.

The concept of "living" and "dead" emotions was developed by us within the framework of a pragmatic approach, that is, the emotive word is studied in terms of communication (in speech and context). When considering the appeal of a word to the real world, to the speaker and listener in their interaction, we divide emotives into types (emotivs, emotivs, emotivs, emotivs). Emotionality, evaluativeness, and expressivity are taken into account as pragmatic components.

Emotivatives (from emotive + vita (Latin), that is, "living" emotive) are emotives, or linguistic means expressed nominatively, metaphorically and descriptively, causing commensurate emotion in all participants of communication. Emotivities are equally understandable to everyone and lead to empathy, they can create a doublet (similar) emotional scenario in the emotional picture of the world of any linguistic personality, regardless of gender, age, nationality, or social status. Emotivities can be interpreted as follows: participant X experiences grief and shares his emotion with participant Y. Participant Y is "infected" by the emotion of participant X, and the interlocutors sympathize by living together a typical emotional scenario corresponding to the situation, reinforcing the emotion with verbal and non-verbal means of expression.

For example, Princess Tamara suddenly found out about the death of her fiance. She has never seen the young prince they wanted to marry her to, and she is not cordially attached to him. But she feels right and humanly, along with all the grieving relatives, bitterness and pain for the young, handsome prince who was promised to her as her husband. Her experiences can be called "living" emotions, and their description in the text can be called emotives.:

For a carefree family

God's punishment came like a thunderbolt!

She fell on her bed,

Poor Tamara is crying;

Tear after tear rolls down,

The chest is high and it is difficult to breathe ...^[18].

You can experience other emotions together and fully: joy, surprise, interest, etc. There are other examples of emotives in M.Y. Lermontov's poem "The Demon". The episode of Tamara dancing before the death of the groom is significant in terms of the presence of "living emotions" in it. The bride is dancing her last girlish dance at the wedding feast. She is sad, worried, and hoping for love. What the beautiful princess experiences during the dance can be called polyemotionality. The same contradictory feelings take possession of the Demon hovering above the Ground when he sees Tamara dancing. Tamara and the Demon's emotions are in tune. Language tools that describe these synchronous emotions can be called emotives.:

The last time she danced. / Alas! In the morning, a frisky child awaited / Her, the heiress of Gudala, / The sad fate of a slave, / A homeland alien to this day, / And an unfamiliar family. / And often a secret doubt / Darkened the bright features; / And all her movements were / So slender, full of expression, / So full of sweet simplicity, / That if the Demon, flying by, / Had looked at her at that time, / Then, remembering the former brethren, / He would have turned away and sighed...

And the Demon saw... / For a moment / An inexplicable excitement / He suddenly felt within himself, / A blessed sound filled the desert of his mute soul / And once again he comprehended the sanctity / of Love, goodness and beauty! / And for a long time He admired the sweet picture — and dreams / About the former happiness in a long chain, / As if a star were behind a star, / Then rolled before him. / Chained by an invisible force, / He became familiar with a new sadness; / A feeling suddenly spoke in him / It was once my native language. / Was that a sign of rebirth? / Could he not find the words of insidious temptation in his mind... / Could he forget? — God did not give oblivion: / And he would not have taken oblivion!..^[18].

Emotivs (from emotive + other-Greek Θάνατος, thanatos – "death", i.e. "dead" emotive) are emotives, or linguistic means denoting emotions that leave participants in communication indifferent to the emotional scenario unfolding before their eyes and to its causers due to the fact that emotional experiences and the causes of them The callers are incomprehensible, alien: In vain do the grooms rush here in a crowd from distant places. / There are many brides in Georgia; / And I'm not going to be anyone's wife!.. ^[18].

Emotivs manifest themselves differently from emotivs, since "dead" emotions develop according to a different pattern: participant X tells participant Y about his experiences, who remains indifferent to participant X's emotions and the reasons that caused them.

For example, during the first attempts to be tempted by a Demon, Tamara demonstrates mentally "dead" emotions, their linguistic expression is suggested to be replaced by emotivs. Tamara's indifference to the Demon's sorrows is emphasized by her direct questions:

Tamara

Why should I know your sorrows,

Why are you complaining to me?

You have sinned...

Demon

Is it against you? ^[18].

Someone's emotionally intense experiences can leave the other participant of the communication completely indifferent, he may demonstrate misunderstanding.

But it turns out that such indifference is an ideal emotional state, which the Demon strives for himself and which Tamara urges Tamara to strive for.: In the midst of vast fields / In the sky they walk without a trace / Elusive clouds / Fibrous herds / The hour of separation, the hour of rendezvous – / They have neither joy nor sorrow; / They have no desire for the future, / And they do not regret the past./ On a painful day of misfortune / Just think of them; / Be without concern for earthly things / And be careless like them! ^[18].

The emotivs in this poetic context are expressed descriptively: "the hour of separation, the hour of rendezvous – they have neither joy nor sorrow"; "they have no desire for the future, and they do not regret the past", "be to the earthly without participation". The demon sings to Tamara, who has fallen asleep in tears, a song about cold, indifferent clouds. "Dead" emotions, the absence of passions is an ideal emotional state, according to the Demon, for the super-being that he considers himself, and a worthy feeling for the future "queen of the world."

An intermediate link of emotives expressing "false" emotions is emoviolatives (emotive + Latin. violatio – "violation"). Emojolatives are emotives, or linguistic means, denoting "disturbed" or "distorted" emotions, provoking the appearance of alternative emotional scenarios, which complicates the communication process. Emojolatives are represented as follows: participant Y, instead of being happy for participant X, suddenly begins to feel envy (anger, anger, jealousy). The following episode of Lermontov's poem is significant in this regard. In the story, flying aimlessly over the Earth, the Demon finds himself in the most beautiful place in the Caucasus: Georgia, in a natural earthly Eden. Everything is beautiful here: clear streams, blooming roses, timid deer, polyphonic nightingales. But the Demon is indifferent to the beauty of God's world, he does not rejoice with the Creator, the Demon's feelings are envious, he is cold and angry.:

But, apart from cold envy, the brilliance did not excite Nature / In the breast of a barren exile / No new feelings, no new powers; / And everything he saw in front of him, He despised or hated ^[18].

The demon does not rejoice in God's peace, he experiences completely different, "painful" emotions, which in this context are metaphorical (cold envy) and nominative (despised or hated) emojis in the linguistic representation.

Emojolatives often express an asymmetry of emotive meanings. For example, there are three positions of asymmetry of emotional expression:

a) emotions can be experienced without openly expressing them, for example, hiding fear, pain, and resentment behind indifference and contempt: What a bitter longing / For a lifetime, centuries without separation / And enjoy and suffer, / Not to expect praise for evil, / Not to be rewarded for good; / To live for oneself, to be bored by oneself/ And by this eternal struggle / Without triumph, without reconciliation! / Always regret and not desire, / Know everything, feel everything, see everything, / Try to hate everything / And despise everything in the world!..^[18].

b) it is possible to express an emotion without experiencing it.

For example, Tamara outwardly tries to demonstrate prayerful reverence and concentration, but at the same time feels a sinful attraction to an unknown, vicious spirit.

She has been languishing for many days, / Not knowing why herself; / Whether she wants to pray to the Saints / – And her heart prays to him ^[18].

The demon, tempting Tamara, swears his love to her, but he does not feel love himself, he despises her weak human essence with all his being, unable to understand his scale and grandiosity: "Oh! If only you could understand!" Tamara is misled by the Demon's love vows. At the climax of her ascension to heaven, the Demon's true malice terrifies her: Tamara's sinful soul clung to her protective breast, / Suppressing her terror with prayer. / / The fate of the future was being decided, / He stood before her again, / But, God! "who would recognize him?" / How he looked with an evil gaze, / How full of deadly poison he was / Of enmity that knows no end, / And there was a chill of the grave / From a motionless face ^[18].

We will call this type of emojolatives "emofalsives" – from the words "emotive" + "faicivus" (lie), that is, misleading communication participants.

Emojis are linguistic means that express a deliberately false, deliberately broadcast false emotion in order to mislead. This is one of the types of emotive asymmetry.:

c) it is possible to express an emotion different from the one experienced. For example: Leave me, O evil spirit! / Be silent, I do not believe the enemy... / Creator... Alas! I can't/Pray... ^[18]. In this episode, Tamara tries to resist the temptation of the Demon, drives it away, but is already poisoned by the sweet poison of love for the Evil Spirit.

Emojolatives and emojis are an asymmetry in the expression of emotions in cases where a person feels an emotion, but does not demonstrate it, or, conversely, transmits an emotion to others, but does not feel it. It can also represent an emotion that is the opposite of the one experienced in the case of emotions found in interlocutors who differ from it due to different value orientations, upbringing, status, education, age.

The semantic opposition in the form of a conflict between a Demon and a God was understandable to the reader of the 19th century. The presupposition of the work was supported by background theological knowledge. They were also based on the previous "demoniade" in fiction, which was created by such authors as John Milton "Paradise Lost"^[20], Alfred de Vigny "Eloa" ^[14], Charles Maturin "Melmoth the Wanderer" ^[19], George Gordon Byron "Cain", "Manfred" [3 4], Johann Wolfgang von Goethe's "Faust" ^[10], Alexander Sergeevich Pushkin's "The Demon" ^[24].

The principle of historicism, as well as the general ideology of the listed works and Lermontov's "Demon" reveals the "claims" made by the Demon to God, which can be summarized as follows:

1. The world created by God is far from perfect, there is no harmony in it. This is the main rebuke of the Demon to God.: "Without regret, without participation / you will look at the earth, / Where there is neither true happiness, / Nor lasting beauty; / Where crimes are only death; / Where petty passions only live; / Where they do not know how to live without fear / Neither hate nor love" ^[18].

2. Man is the "crown of God's creation" - a pathetic, incompetent creation: does not possess knowledge equal to God; A person is stupid, susceptible to temptation, sinful, prone to passions, mortal: "Or don't you know what momentary love is for people?/ The excitement of the blood is young, / But the days are running by and the blood is getting cold! / Who can resist separation, / The temptation of new beauty, / Against fatigue and boredom / And the waywardness of dreams?" ^[18].

The demon does not fall in love with Tamara, his exquisite oaths are false. In modern parlance, "Tamara is a Demon's project." The demon considers himself a superior being. Hence the origins of its destructive power and permissiveness. A demon competes with a God. God created man, a weak and sinful being. Now the Demon dreams of creating his own "superman", which will be Tamara.:
Oh, no, beautiful creature, / You are destined to another; / Other suffering awaits you, / Other depths of delight; / Leave the former desires / And the pitiful light to his fate: / The abyss of proud knowledge / In return I will reveal to you./
I will bring a crowd of my service spirits to your feet; / ... I will sink to the bottom of the sea, / I will fly beyond the clouds, / I will give you everything, everything earthly ^[18].

Tamara was only a good material ("clay") for the Demon to create a "superman", because she is beautiful, intelligent, pure, princely. In seductive speeches, the Demon promised her to give divine knowledge inaccessible to man ("the abyss of proud knowledge"), immortality ("I will give you eternity in a moment"), the absence of passions ("without regret, without participation, you will look at the earth"), wealth ("I will build magnificent palaces of turquoise and amber"), power ("and you will be the queen of the world"). And Tamara needed only his sincere love, which the Demon could not give to a mortal man. This is the core and associative dominant of demonic rebellion against God. It would seem that Tamara only needed to breathe in the powerful spirit of a Demon through a kiss, and the idea of creating a superman would come true. But Tamara died. She did not become what the Demon wanted her to become, did not change her essence, did not leave the limits of her thesis: "a man created by God." And the Demon was defeated again.

Conclusion

Thus, the typology of emotives (emotivs, emotivs, emotivs) developed by us, expressing "living", "dead" and "painful" emotions, is applicable not only to dialectical material, but also to artistic text. Based on the material of M.Y. Lermontov's idiosyncrasy, the author's typology was used for the first time.

The testing of the typology of emotives based on the material of M.Y. Lermontov's poem "The Demon" revealed that lexical descriptive, nominative and metaphorical designations of emotions can express the symmetry and asymmetry of emotional manifestations of characters.

In the process of context analysis, multilevel linguistic representations of "living" emotions, "dead" emotions and "painful", asymmetric emotions are distinguished. The emotions of Lermontov's characters, highlighted and described verbally, clearly reflect their inner world and experiences: grief, love, anger, disappointment, envy, hatred, contempt, etc.

Readers are familiar with the presupposition of the poem, they possess background, extralinguistic knowledge, therefore, readers' empathy for the heroes of the poem, decoding the deep meaning of the romantic mystery poem "Demon" in explicit and implicit layers is also part of the communicative act conceived by the poet: reading and deciphering the symbolic artistic text. The pragmatic approach to emotivity reveals the subtle psychological impact of the writer on readers through emotivity expressed nominatively, metaphorically and descriptively by different types of emotives.