Polysyndeton, or mnogosoyuzie (from the Greek poly - many, syndeton-connected) - a term whose most general meaning is defined as "the principle of text construction, in which subsequent narrative units (or parts of them) are joined to the previous ones by the same (usually compositional) union" (Kruchinina I. N. Mnogosoyuzie // Linguistic Encyclopedia, Moscow, 1990, p. 302). At the same time, it is noted that "in an artistically organized text, M[nogosoyuzie] is simultaneously a stylistic device with a wide range of expressive and semantic functions" (Ibid.). In rhetoric, a polysyndeton is traditionally defined as "a figure of addition<...>, based on the deliberate repeated use of conjunctions" (Khazagerov T. G., Shirina L. S. General rhetoric: A course of lectures. Dictionary of rhetorical techniques. Rostov n / A, 1999, p. 261).

The definition of a polysyndeton as a stylistic figure (figure of speech) can be clarified by indicating that it is structurally opposite to an asyndeton (figure of expressive non-conjunction) and is a grammatical repetition of conjunctions when combining or joining homogeneous members, parts of a sentence, or whole sentences as part of a complex syntactic whole, which gives the utterance an expressive character. -

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ter. For example (redundant chains of conjunctions are highlighted in these and subsequent illustrations):

"The property of these night lights is to approach, overcoming the darkness, and sparkle, and promise, and beckon with their proximity" (V. Korolenko). Cf.: The property of these night lights is to approach, overcoming the darkness, sparkle, promise, and beckon with their proximity; " A lot, for a long time, loudly, sharply - someone it goes, and the warmer it is to sleep, the closer the comfort. And all the air isn't fully asleep yet. And the blankets didn't wake up. And the dreams didn't fold their wings. The room is still asleep" (S. Gorny). Cf.: And all the air has not yet finished sleeping. The blankets didn't wake up. The dreams didn't fold their wings. Another room sleeps.

It should be borne in mind that sometimes the concept of polysyndeton is given a narrower meaning: it is understood as the redundancy of the same type of union connection only between homogeneous members of the sentence (see, for example: Kvyatkovsky A. P. School Poetic Dictionary, Moscow, 1998, p. 188). However, it seems appropriate to have a broader understanding of polysyndeton, including the repetition of conjunctions not only when connecting homogeneous terms, but also when connecting several sentences (see, for example: Nikitina S.E., Vasilyeva N. V. Experimental system Explanatory Dictionary of Stylistic Terms. Principles of compilation and selected dictionary entries, Moscow, 1996, p. 114), since the relations of uniformity between sentence members, parts of a complex sentence, and sentences within a complex syntactic whole are isomorphic (similar).

The polysyndeton figure should not be confused with expressive multi-union constructions, which are not figures in the strict sense of the word. The polysyndeton figure occurs when repeated conjunctions (all or part of them) are optional from the grammatical point of view (in other words, they could be omitted without violating the grammatical correctness of the utterance (see the illustrations above). The multi-union of such constructions is a pragmatically significant (expressive) deviation from the stylistically neutral variant of the language norm (the structurally necessary minimum of unions). However, the multijoint of a syntactic construction can be determined grammatically and be mandatory, not optional (in such constructions, conjunctions cannot be omitted without destroying the construction itself or distorting its meaning). For example: "[The young man] secretly revels in various pop, gaz, buz, myz, gruz and other songs and motifs in close companies<...>. Or he plays a video. Or, on the contrary, he has buried himself in the archives and is stubbornly looking for a cousin of Count Pyotr Pafentievich Ivanov-Apraksin, who was married to the second cousin of the grand-niece of Prince Ivan Parfentievich Gagarin. Or reads Western. Or studying Oriental.

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Kabbalah, zen. Or he is looking into the wilds of the great Inca civilization. Or he's studying a palmistry textbook. Or him... "(Lit. newspaper. 1987. May 13). This text is expressive due to several stylistic techniques used, including the repeated repetition of the dividing union or (the very fact of its multiplicity is expressive), which, however, is grammatically necessary here and cannot be removed without destroying the entire structure. The same grammatical obligation applies to the repeated conjunction while in the following sentence: "As long as the writer keeps talking about how to write and how not to write, as long as some more aggressive person tries to get ahead of himself and offer a special product, as long as born organizers prepare the channel along which only the popular taste should be "directed", the people's person reads everything indiscriminately that falls under his hand" (P. Muratov).

The function of the polysyndeton as a stylistic figure is interpreted differently in the specialized literature, sometimes even contradictory. It is noted, for example, that with its help "the purposefulness and unity of the enumerated are emphasized" (Kvyatkovsky A. P. Decree, op. P. 188), that the polysyndeton "autonomizes each of the components of this series" (Rosenthal D. E., Dzhandzhakova E. V., Kabanova N. P. Handbook of Spelling, pronunciation, literary editing. M., 1998. P. 341), that "the abundance of repeated conjunctions makes the semantic structure of syntactic phenomena following each other especially transparent" (Klyuev E. V. Rhetoric (Invention. Disposition. Elokucia). Textbook for universities), etc.

Most authors who write about polysyndeton agree that polysyndeton emphasizes and highlights the listed elements( words, parts of a sentence, sentences), increasing their semantic significance. Apparently, this is the main function of the polysyndeton as a figure of speech, which is inherent in all its varieties in all stylistic contexts (artistic, journalistic, oratory, and partly scientific speech). For example: "What a strange, inviting, and carrying, and wonderful word in the word: road! And how wonderful it is, this road <...>" (N. Gogol); "Oh, summer is red! I would love you If it weren't for the heat, dust, mosquitoes, and flies" (A. Pushkin); "Pseudo-culture may not differ in word or gesture from culture, but in deed, but in consequence, but in its own fallacy - it differs" (S. Zalygin); "This is the kind of person Academician Likhachev dreams of and wants to see in each of us. Therefore, both teachings, and sermons, and instructions. Therefore, enlightenment - in the deepest sense of the word. Therefore, popularizing" (Lit. newspaper. 1986. November 26); " Let's say the artist doesn't owe anyone anything, but it's painful to see how he can go into his own created worlds, or the spaces of subjective whims, to give the real world into the hands of people of the bark-

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"No, I can positively say that there has never been a poet with such universal responsiveness as Pushkin, and it is not just responsiveness that matters, but the amazing depth of it, but the reincarnation of one's own spirit into the spirit of foreign peoples, the reincarnation of the world. almost perfect ( ... ) " (f. Dostoevsky); "To a certain extent, the situation of the 1920s is repeated, when post-revolutionary pink optimism generated a desire to deeply transform not only the social system and economic structure, but also culture, and the literary language canon" (V. Kostomarov).

The given examples show that the polysyndeton figure is constructed not only on the basis of the repetition of the connecting union " And "and the opposite union" BUT " (although these are its most frequent varieties), but also on the basis of the repetition of other compositional unions.

Polysyndeton's ability to create a slow-motion effect (Ancient Theories of Language and Style (anthology of texts)) is already noted in the "Rhetoric to Herennius". St. Petersburg, 1996, p. 284), which is also noted by modern authors (see, for example: Novikov L. A. Iskusstvo slova, Moscow, 1982, p. 94; Kruchinina I. N. Decree, op. p. 302). This function of the polysyndeton is optional, due to the real meaning of the sentence in which this figure is implemented, and the content of the broader context. Compare two contexts where the first demonstrates this polysyndeton function and the second does not:

... In the golden distance

The church bell sounds like a reproach...

And the sun is setting. And the air is cool.

And the evening water splashes with fish.

And the linden trees of the monastery garden.

Where the nights are like moments and the days are like years...

(I. Severyanin);

"Impudent greedily with a whoop and guffaw tear to pieces the pie that once baked the deceased Rus-a farewell, memorial pie. And they vomit, and swallow, and choke. And with bloodshot eyes they gnaw the table like a hungry horse in a manger "(A. Remizov).

In the same dependence on the lexical content of the construction, the surrounding context, the style and genre of the entire work, the polysyndeton has the function of giving speech a solemn tonality (which is associated with the creation of an appropriate rhythm), noted by some authors (See, for example: Kuznets M. D. and Skrebnev Yu. M. Stylistics of the English language. L., 1960. p. 78), emotional elation, and irony:

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"... He touched my ears, -

And they were filled with noise and ringing:

And I listened to the sky's shudder,

And the flight of angels on high,

And the reptile of the sea underwater passage,

And long vines prozyabanye. "(A. Pushkin);

"It's night, and I feel like the sun is shining <...> and it's like music, like singing, which I've been dreaming about all my life. And I didn't know who I loved with such an immeasurable love that makes you want to cry, laugh, and sing" (L. Andreev); "He who was nothing will become everything. Out of our pocket. And in vain does the golden rank of Chubais whimper. Both Christ, Karl Marx, Livshits, and the bratva say one thing: we must share " (Novaya Gazeta. 2000. 31 Dec. - February 6).

Polysyndeton often interacts with other stylistic figures, especially with parceling, syntactic parallelism, and other types of repetitions:

"I smelled comfort, tobacco. There was a whiff of home and life adored. And ask for a caress. And love" (S. Gorny);"... To find these new Russian forms of existence, one must contemplate Russia as it is - its gifts, its dangers, its needs, its strengths and weaknesses; and from it, for it, create the right way of life, and order, and order, and power, and not impose on it foreign, non-Orthodox, and foreign ideas. stencils" (I. Ilyin).

The convergence of the polysyndeton and asyndeton, which are structurally and partly functionally opposed, is particularly significant (see the last example). Their interaction in a single stylistic context clearly reveals their main difference: the non-division, "flow" of the enumeration of objects in the asindeton and the division of the enumerative series, the logical isolation of its components in the polysindeton; "Life is getting better, more interesting, and more diverse day by day. And more honest. And more truthful. And fairer" (Coma, true. 1986. February 14).

The concept of polysyndeton sometimes includes multiple offers - repeated, deliberately excessive use of prepositions: "We must also think about the lower classes, we must not avoid menial work, we must not forget that we are called to free the people from beggary, from ignorance, from disenfranchisement" (P. Stolypin);

"I want to walk in everything

To the very core;

At work, in search of a path,

In the heart turmoil.

Up to the essence of the past days,

Before their cause,

To the roots, to the roots,

To the core"

(B. Pasternak);

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"And with such riches, we found ourselves without timber, without hemp, without tallow, without Solzhenitsyn and Brodsky, without Rostropovich and Ernst Neizvestny" (Lit. gazeta. 1990. July 25).

Recognition of multi-offers as a variety of polysyndeton seems to be justified, since this technique has similar functions, which is especially noticeable when they are located in the stylistic convergence.:

"<...>In the wilderness, in the darkness of captivity

My days passed quietly

Without divinity, without inspiration,

No tears, no life, no love.

The soul has awakened:

And here you are again,

Like a fleeting vision,

Like a genius of pure beauty.

And the heart beats in ecstasy,

And for him they were raised up again

Both divinity and inspiration,

And life, and tears, and love."

(A. Pushkin).

Krasnoyarsk

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