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ences are responsible for it. It is becoming increasingly clear that the key to a h e a l t h y i m - m u n e s y s t e m lies in early childhood ... Anyone who grows up in a rural environment, where pregnant women and toddlers still have daily contact with pets and pets, will suffer much less later in life from allergic diseases such as h a y f e v e r or a s t h m a than others. On the other hand, babies who are born by Caesarean section have an increased tendency to allergies, as well as babies who are raised by the bottle and often receive antibiotics during the first six months of life (Our translation – A.P).

From the informational point of view the correspondence can be dedicated through the didactic moments (advice, maintaining, health etc.), there are also indicators of detailed information (harmlose Stoffe, gesundes Immunsystem, Heuschnupfen, Asthma – harmless substances, healthy immune system, hay fever, asthma etc.). It is obvious that some scientific facts are represented in the message as reflection of real life. This may be an important factor, because science becomes more and more useful in the society. So the volume of the scientific information, translated in the media, even in a popularized form is substantially growing.

In the genre of correspondence we should not overemphasize or emotionalize the problem. Elements of dramatization of the scientific problem are also not acceptable since it is known what the journalistic practice is. In the similar advertised report the reader is invited to a wide discussion, which is initiated by famous experts and is attributed to its thematic importance on various aspects of the discussed problem as well as the interests of scientists or common people.

S c i e n t i f i c r e p o r t a g e (Wissenschaftsreportage) is the leading journalistic genre in scientific journalism. The information is presented in the form of text collected by the author directly after passed event. The journalists are aimed to find out what was happening so the scientific reportage is inferior and is related to classic reportage, in what the reporter narrates on the development, what is really important for the reader. The matter is, that is expounded in an exciting way, informing on the problems in the correct reporting way.

Scientific reporting looks like a meaningful-reversed narration, predominantly taken from the first person view, in which a distant stand point is preserved and accompanied by its own associations, admiration or interest. If we take two different reporters, we can get two different reports about the same thing. But it is also clear that both reports will have something in common: an acceptable quote for the beginning of a scientific report will be quite relevant, for example. The thoughts of the leading scientists on the issue followed by an explanatory part should contain professional conclusion or result that reflect the scientific point of view. After that they look like a cautious view of the prospects for the further development concerning the described scientific phenomenon or object.

The expectations for scientific reporting are typical: the reporter may resort to a survey of informants or a conversation with employees. The informants often talk about the possibility of their activities, tell about the effects and results of the research work. It is also preferable to note that scientific report reflects new methods of the research; it is also to point out the importance of the experiment for this scientific field or laboratories activity what are the plans for the further development in the academic area.

The scientific report has definitely more neutral character; it observes a certain caution and declares subjectivity that gives information only from the journalist’s point of view. This allows an explicit evaluation of facts, but contains a comment to the statement, gives personal impressions. So a good scientific reportage will always cause a set of emotions by the reader. This happens when the author expresses his thoughts in a strict language within the scope of the subject matter. Logically the reporter avoids abstract formulas and does not try to create a complex picture or an image that does not evoke emotions. Remaining concrete and restrained, the author of the scientific reportage calls to an extent need for impressions, but his expressions

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must be more accurate, even when reporting (experimenting on animals, treating illnesses or working with new devices etc.).

The observations and interrelations are always suitable to find sentimental moments, to moderate emotions, what is regarded as truly journalistic art. To indicate excessive bombast is completely unnecessary in this situation. Thus the scientific reportage is only a part of the scientific genre palette.

Swjosdny Gorodok (dpa) – Im Sternenstädtchen bei Moskau könnte Alexander Gerst, der nächste Deutsche im All, regelmäßig sterben. Auch an diesem Vormittag steht dem Astronauten wieder e i n K a m p f u m s Ü b e r l e b e n bevor. Nicht in echt natürlich – es ist bloß eine Trainingseinheit im Simulator einer Sojus-Raumkapsel im berühmten Kosmonautentrainingszentrum vor den Toren der russischen Hauptstadt. «Wir trainieren sehr hart an diesem Fahrzeug», sagt Gerst. «Manchmal lassen die Trainer 10 bis 15 Probleme gleichzeitig auf uns e i n p r a s s e l n , während auf einem echten Flug normalerweise gar nichts passiert.» Zwar ist auch Gerst im Training schon «u m g e k o m m e n », aber selten enden diese Übungen für die Crew «t ö d l i c h ». Dafür muss das Team an seine Grenzen gehen. «Es gibt immer wieder Tage, wo man aus dem Trainer herauskommt, und man ist s c h w e i ß n a s s gebadet», erzählt Gerst. Im weißen SokolRaumanzug gleitet der athletisch gebaute «Astro-Alex» – sein Spitzname gewordener TwitterName – durch die Luke in den Simulator. … Gerst startet voraussichtlich Anfang Juni für gut fünf

Monate mit einer Sojus-Rakete vom russischen Weltraumbahnhof Baikonur in Kasachstan zur

ISS. Im zweiten Teil seiner Mission «Horizons» (Horizonte) wird er für einige Monate als erster

Deutscher Kommandant der ISS. [3*]. - Swjosdny Gorodok (dpa) – In the Star City (Swjosdny Gorodok) near Moscow Alexander Gerst, the next German in space, could regularly die. Also this morning the astronaut is again facing a fight for survival. Not really natural: it's just a training session in the simulator of a Soyuz space capsule in the famous cosmonaut training center just outside the Russian capital. "We train very hard on this vehicle," says Gerst. "Sometimes the coaches make 10 to 15 crashes on us at the same time, while on a real flight usually nothing happens." Although Gerst has already "lost" in training, these exercises rarely "kill" the crew. For this the team has to go to its limits. "There are always days when you come out of the coach and you are bathed in sweat," says Gerst. In the white “Sokol” space suit, the athletically-built "Astro-Alex" – his Twitter nickname – slides through the hatch into the simulator. ... Gerst is expected to launch a Soyuz rocket from the Baykonur – Russian spaceport in Kazakhstan to the ISS in early June for a good five months. In the second part of his mission called "Horizons" he becomes the first German commander of the ISS for a few months (Our translation – A.P).

After reading the text we see that the journalist acts as a director and operator: he monitors the process and controls the output of the end product. The simplest scientific report is produced in chronologically order in which author (or reader) are to follow the process. He seems to be present by looking for understanding; it evokes emotions, while provided authentic text with appropriate nuances is remained. The author knows that the reader needs elegant forms of reportage that are certainly more preferable, but only a few journalists can ensure sorting, selection, evaluation and selection of precise academic style. A certain strain in the research work is associated with profound identification of the causes of the event, its recognition, details, etc. [15, p.138-139].

The ability of journalists to observe in a scientific reportage the actual research qualities allows to justify the point of view and position of the person concerned. It is important for reader to obtain a scientific explanation of results of the information. Thus, only experience and journalistic practice clearly indicate by the scientific reporting a desired combination of theory and practice, personal and public, factual and emotional, informative and explanatory that crystallizes in a fulfilled form of presentation (media genre).

To achieve a maximal effect of the reportage it often can include a shocking moment that is introduced into the journalistic text with distinguishing features of the report that differ it

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from the common message when providing the vagueness what is typically for example for feature.

F e a t u r e . Speaking about is genre as a specific model of media space, there is top question that arise as a justification form. Feature is well-known genre scientific publications. It is distinguished first of all by its liveliness and it is easily written. It possesses a motley video clip, because feature acts mostly symbolically, also as a collective concept of all journalistic texts that provide information and have reporting character, for which the journalists involve author's or archival records.

What is this obviously but not useless genre form? In comparison with the report it is more free and not totally devoid of practical pragmatics. Firstly the facts that are contained in feature can be characterized as creative. In this message of a formal nature presentation of facts takes place against the backdrop of any scientific field and its substantive component presented in the form of reportage. That is a pleasant genre, because it illustrates something. Secondly the constant change of the stylistic registers between representation of points of view and tendency to abstraction, as well as to the dynamical depiction of facts or events has the intention to present important attitudes of science. Given by the author this information is one of the constants of this genre. From the author’s position the message in feature may be important in the first place for paying attention to methodology of lightening one or another scientific issue. Even if the author turns to the illustration of the event, which cannot be excluded, it is entirely necessary to concentrate on imaging (Darstellung) and viewing (Schilderung) that are always mentioned.

Tübingen. Zwei Bungee-Jumper haben sich im Namen der H i r n f o r s c h u n g insgesamt 30 Mal von der 192 Meter hohen Europabrücke bei Innsbruck gestürzt. Bei dem Experiment gelang es Wissenschaftlern um Surjo Soekadar vom Universitätsklinikum Tübingen erstmals, das sogenannte B e r e i t s c h a f t s p o t e n z i a l im menschlichen Gehirn außerhalb des Labors und u n t e r E x t r e m b e d i n g u n g e n zu messen. Die Studie soll im Frühjahr in einem Fachmagazin veröffentlicht werden. Kurz bevor der Mensch eine bewusste Handlung ausführt, kommt es den Forschern zufolge im Gehirn zu einer e l e k t r i s c h e n S p a n n u n g s v e r s c h i e b u n g – diese wird als Bereitschaftspotenzial bezeichnet. … Bisher galten Messungen des Bereitschaftspotenzials nur im Labor als möglich, da die S p a n n u n g s v e r s c h i e b u n g im Bereich von wenigen Millionstel-Volt liegt, wie es in der Mitteilung heißt. Die Ergebnisse des Experiments seien vor

allem für die Weiterentwicklung sogenannter G e h i r n -M a s c h i n e -S c h n i t t s t e l l e n						wich-
tig.	Durch	solche	Systeme	können	Q u e r s c h n i t t s g e l ä h m t e	und

S c h l a g a n f a l l p a t i e n t e n Maschinen mit ihren Hirnsignalen steuern. "Das aktuelle Ergebnis hilft uns dabei, die Zuverlässigkeit dieser Schnittstellen im Alltag wesentlich zu verbessern."

[2*]. - Tübingen. In the name of b r a i n r e s e a r c h two bungee jumper jumped 30 times from the 192 meter high Europabrücke near Innsbruck. For the first time scientists around Surjo Soekadar from the University Hospital Tübingen succeeded in measuring the so-called r e a d i - n e s s p o t e n t i a l in the human brain outside the laboratory and u n d e r e x t r e m e c o n d i - t i o n s . The study will be published in spring in a scientific journal. Shortly before a person performs a conscious act, according to the researchers, an e l e c t r i c a l v o l t a g e s h i f t occurs in the brain – this is called standby potential. ... So far, measurements of the standby potential were only in the laboratory as possible because the v o l t a g e s h i f t is in the range of a few millionths of a volt, stated in the message. The results of the experiment are especially important for the further development of so-called b r a i n - m a c h i n e i n t e r f a c e s . Such systems enable paraplegics and s t r o k e p a t i e n t s to control machines with their b r a i n s i g n a l s . "The current result helps us significantly improve the reliability of these interfaces in everyday life"

(Our translation – A.P).

The above example of the feature clearly demonstrates the presence and participation of genre the author of the message in a scientific experiment, which puts the feature into the genre category of special compositional forms that are simultaneously and outwardly distanced by the

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ways of describing facts or events. This so-called "sensory" information, in which the reader is immersed in the environment, should be qualified as a level of scientific illumination that does not decrease, but contains the actual information is submitted at a quite high scientific level.

The classic feature is really interesting and alive; it is located in a newspaper in a noticeable place. The reader does not address it when there are no reports of catastrophes or any political event. In this situation the reader can find more serious news, but in some cases it will pay more attention to the information itself, rather than in the news form. It is not uncommon for the journalistic job to create in this genre, referring to the so-called "soft" news, because of their importance and significance.

Further we see that news agencies record and mark the feature as a well identified trade mark of the edition. In the informing on science, the authors often turn to the so-called "eternal" topics that attract attention etc. We can say at this place that the genre of feature is stylistically divided; it simultaneously provides informative coverage of any scientific problem.

Conclusion.

After examining the most frequent genres and compositional forms of scientific journalism, we can draw the following conclusions.

1.The modern scientific landscape in its technological representation is a formal reflection of the actual challenges caused by mutual interlacing of the spheres of Humanities: economy, science, culture, media, Internet, mobile communication etc. The fact of reality is the socalled media convergence, which combines on the united platform personified and mass communication, i.e. communication that is aimed at a particular individual and/or at mass audiences. It should be noted that the borders of genres are becoming increasingly blurred. If earlier the language of science was considered to be the most rigorous language, now for its description we need a fixed object of research. It is necessary to accept those linguistic tools that allow fulfilling the complete study of vocabulary, syntax, context or composition structure of the media text.

2.The study of scientific speech in terms of scientific media text explorations manifests an objective elimination of the scientist role as an addressee, while the science is increasingly acting as a corporate system, whose main function is the development and theoretical systematization of objective (and / or subjective) information about the real world.

3.As a social institution the science continues to be a specialized activity for the regeneration and adaptation in the media environment of new knowledge. Therefore the advancement of any resources in / or for science is an important component of the development in any society. The level of dissemination of information show the true attitudes to science in society, allow to judge the peculiarities of state policy in the field of information resources when using the media text. The current drop in science in the context of the total mass culture and, mass communication systems the development of consumer society are characteristically not exclusively for Russia, but are the trend that is equally for any country in the world.

Thus, modern attempts science reflection in the media are a very revealing and important public task, became they affect a range of possibilities for studying the media genre paradigm and its impact on social and scientific development. In other words scientific culture is represented as a broad platform of translation of informational and analytical genres and at the same time is dedicated as a sphere of application and interaction of various social trends.

References

[1] Pastuhov A.G. Model' nauchnoj gumanitarnoj kul'tury: jazyk – tematizacija – medializacija / A.G. Pastuhov // Zhanry i tipy teksta v nauchnom i medijnom diskurse: mezhvuz. sb. nauch. tr. – vyp. 10 / otv. red. A.G. Pastuhov. – Orjol: OGIIK, «Gorizont», 2012.

– S. 36-53.

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[2]Fomina Z.E., Lavrinenko I.Ju. Kognitivnye strategii kak mental'nye determinanty pri jazykovoj objektivacii konceptov razuma i chuvstva v filosofskom diskurse F. Bjekona/ Z.E.

Fomina // Nauchnyj Vestnik. Serija «Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija». – 2014. – vyp. 1 (21). – S. 23-37.

[3]Artemova L.A. Pragmaticheskij potencial transformacii introduktivnyh modelej v medijnyh tekstah / L.A. Artemova // Nauchnyj zhurnal «Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija». – 2017. – №3 (35). – S. 130-139.

[4]Kohring, Matthias: Wissenschaftsjournalismus. Forschungsüberblick und Theorieentwurf / Matthias Kohring. – Konstanz: UVK Verlagsgesellschaft mbH, 2005. – 339 S.

[5]Geretschläger, Erich u.a.: Der Fall Schaden und die Publizistik. Eine kommunikationswissenschaftliche Analyse mit einem Ausblick auf die Wissenschaftsberichterstattung in

österreichischen Zeitungen. – Projektleitung: Erich Geretschläger unter Mitarb. v. Christian Enichlmayr [u. a.]. Institut für Publizistik u. Kommunikationswissenschaft der Universität

Salzburg, 1979. – 90 S.

[6]Göpfert, Winfried: Ruß-Mohl, Stephan: Was ist überhaupt Wissenschaftsjournalismus? // Wissenschafts-Journalismus: ein Handbuch für Ausbildung und Praxis / Winfried Göpfert (Hrsg.) 5., vollst. aktual. Aufl. – Berlin: Econ-Verl., 2006. – 309 S. [Schriftenreihe: Journalistische Praxis]

[7]Vikulova L.G. Vneshnjaja legitimacija nauki vo Francii XVII veka / L.G. Vikulova //

Nauchnyj zhurnal «Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija». –

2015. – № 2 (26). – S. 106-117.

[8]Picht, Herbert: Fachkommunikation – Fachsprache. In: Budin, Gerhard (Hg.): Mehrsprachigkeit in der Fachkommunikation. Bd.1. – Wien: TermNet, 1996. – S. 27-45.

[9]Weingart, Peter: Die Stunde der Wahrheit? Zum Verhältnis der Wissenschaft zu Politik, Wirtschaft und Medien in der Wissensgesellschaft / Peter Weingart. – Weilerswist:

Velbrück, 2001.

[10]Kleinsteuber, Hans J.: Die Informationsgesellschaft – Eine Gesellschaft ohne Information über sich selbst? Einige Thesen // Globalisierung der Medien? : Medienpolitik in der

Informationsgesellschaft [Jahrestagung des gemeinsamen Arbeitskreises "Kommunikation und

Politik" der Deutschen Gesellschaft für Publizistikund Kommunikationswissenschaft (DGPuK) und der Deutschen Vereinigung für Politische Wissenschaft (DVPW) vom 13.-14. Februar 1998 in Hamburg] / Patrick Donges (Hrsg.) – Opladen [u.a.] : Westdt. Verl., 1999. – S. 24.

[11]Pastuhov A.G. Medial'nost' – novoe svojstvo teksta? // Jazyki dlja special'nyh celej i professional'naja kommunikacija v izmenjajushhemsja mire: materialy «kruglogo stola» / A.G.

Pastuhov [otv. red.] – Orjol: Orlovskij gos. in-t iskusstv i kul'tury, 2009. – S. 4-9.

[12]Schäfer, Mike S.: Wissenschaft in den Medien. Die Medialisierung naturwissenschaftlicher Themen / Mike S. Schäfer. – Wiesbaden: VS Verlag für Sozialwissenschaften,

2007. – 232 S.

[13]Pastuhov A.G. Infotejnment i jedutejment: cifrovye media protiv bumazhnyh? / A.G. Pastuhov // Filologija i chelovek. – 2012. – №4. – C. 183-193.

[14]Campenhausen, Jutta von: Wissenschaftsjournalismus / Jutta von Campenhausen. – Konstanz: UVK-Verlagsgesellschaft, 2011.

[15]Biere, B.U. «Infotainment» – Boulevardisierungstendenzen im Wissenschaftsjournalismus? / B.U. Biere. In: Abrakadabra der Fachsprache: Wissenschaft und Medienöffentlichkeit. – (Hrsg.) Dieter Erlach, Bernd Schurf. – Berlin: Cornelsen Verlag, 2000. – 80 S.

Analysed sources

[1*] Retzbach, Joachim: Matsch mit Soße: Der Schlüssel zu einem gesunden Immunsystem liegt in frühester Kindheit // Darmstädter Echo. – 28.01.2018. – Jelektronnyj resurs. –

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Rezhim dostupa: http://www.echo-online.de/vermischtes/leben-und-wissen/matsch-mit-sosse- der-schluessel-zu-einem-gesunden-immunsystem-liegt-in-fruehester-kindheit_18480889.htm (data obrashhenija: 18.01.2018)

[2*] (dpa) Test unter Extrembedingungen. Hirnforscher lassen Bungee-Jumper 30 Mal von Brücke springen // Hamburger Abendblatt. – 30.01.18. – Jelektronnyj resurs. – Rezhim dostupa: https://www.abendblatt.de/ratgeber/wissen/article213267069/Hirnforscher-lassen- Bungee-Jumper-30-Mal-von-Bruecke-springen.html (data obrashhenija: 31.01.2018)

[3*] (dpa) «Astro-Alex» Gerst übt für zweiten ISS-Flug // Rhein-Neckar-Zeitung. – 22.01.2018. – Jelektronnyj resurs. – Rezhim dostupa: https:// www. rnz. de/ wissen /wissenschaft _artikel,-sternenstaedtchen-bei-moskau-astro-alex-gerst-uebt-fuer-zweiten-iss- flug-_arid,332414.html (data obrashhenija: 29.01.2018)

UDC 81ʼ38

THE MUSICALITY OF R.M. RILKE LYRICS

A.A. Shuaipova

_____________________________________________________________________________

Moscow Pedagogical State University

PhD student of the Chair German language GOU VPO MPSU Alina Abasovna Shuaipova

email: [e-mail]

_____________________________________________________________________________

Statement of the problem. The article analyses and describes different methods of creating a musical language in lyrics of a famous austrian poet and writer R.M. Rilke. The main aim of the article is a linguostylistic analysis of the poetic language of R.M. Rilke.

Results. The article contains a comprehensive analysis of various ways of creating a musical language in german poetry on three levels: lexical, phonetic and syntactic on the example of R.M. Rilke poetry. It is revealed, that for the purpose of making the language sound musically, the poet uses multi-level means: 1) phonetic expressive means (onomatopoeia, assonance, consonance, proapototic, alliteration etc.)., 2) lexical expressive mans (the selection of vocabulary for euphony lyrics)., 3) syntactic expressive means (a special structure of the stanza). In this case the poet applies all these multi-level means not intentionally, they are “woven” into the poetic narrative, the perception of a language is as equal as the perception of a music from the inside.

Conclusion. A word as a unit of a language system has an immense aesthetic potential in creating the musicality in poetry. The musicality in poetry is mainly achieved with the help of rhythmic and rhymed structure of a poem, the usage of alliterative words and phrases, assonance.

Key words. poetry, musicality of a word, R.M. Rilke, phonetic features of musicality of a word, lexical musicality, syntactic musicality, euphony, aesthetics of a word.

For citation: Shuaipova A.A. The musicality of R.M. Rilke lyrics A.A. Shuaipova // Scientific Journal

“Modern Linguistic and Methodical-and-didactic Researches”. – 2018. - №1 (20). – P. 129 – 137.

Introduction.

In modern linguistics and translation science occurs high interest to the issue of relationship between music and literature. The researchers of the musicality of speech consider the relationship between music and literature (especially poetry) as an undeniable fact, according to its genetic, historical and ontological similarity. In defining features and mechanism of the in

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© Shuaipova A.A., 2018

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terplay of different kind of arts the main role was always given to music. “Musicality” becomes the most important aesthetic category in poetics of symbolism and music itself becomes a rhythmical-intonational and imagery and thematic basis of a poetic work.

The idea of musicality in literature becomes possible only in such cultures or aesthetic systems that regard music as a universal language, which principles are in one or another way separated by literature. Up to the 18th century the idea of literary musicality didn’t exist at all: few remarks about the commonality of literature and music came directly from the idea of a universal harmony, that equally manifests itself in literature and music. The representatives of romanticism put forward thesis about musicality as a “natural” feature of literature. The idea of musicality as a natural basis of any artistic creation was later on used in poetics of symbolism and has retained its explanatory power in self-consciousness of many writers of the 20th century.

Musicality of a literary work means its similarity with the principles, formal features or

expressive techniques, peculiar to music. Literary critics have not still defined the exact meaning of musicality, whether it is a category, a feature, a principle or an effect that occurs while reading.

It is known that poetry and music have much in common, for example, rhythm, intonation. This fact makes it possible to study musicality at the level of metrics and melodic of a poetic work. A more obvious similarity between literature and music occurs at the level of composition.

In linguistics the musicality of a word means melodiousness, euphony, harmonicity and poetic feature of a literary work. The researcher of the problem of musicality Mahov A.E. asserts that the music of a word is only a secondary idea, as it is “based mainly on the history of an idea of music but not on the history of music itself.

The music itself must be understood, intelligently interpreted in order the word could be understood as being musical.” [1, p.15]. We should note that the phenomenon of “Music” is being described in a number of works, the actual works include, for example, a scientific article by Korobko L.V. [2].

The above mentioned idea of the musicality of a word shows that a word in order to sound as musical creates its own expressive forms, which are not musical themselves, they correspond the idea of musicality indirectly.

The interest to the life and creativity of Rilke R.M. is caused mainly by the fact, that his poetry has unusual forms and literary trends, specific idiostyle and also a special attitude to the musicality of a word, all that is very important for this article.

Rilke R.M. lived in an international atmosphere and his early lyrics and prose are a combination of a slavic and hungarian influences.

Typical for Rilke lyrics is a combination of a franc and naked lyricism and a severe disciplined form:

Herr: es ist Zeit / Der Sommer war sehr groß / Leg deinen Schatten auf die Sonnenuhren/ und auf den Fluren laß die Winde los / Befiel den letzten Flüchten voll zu sein;

gieb ihnen noch zwei südlichere Tage, / dränge sie zur Vollendunghin und jage die letzte Süße in den schweren Wein / [Rilke 1981, Herbsttag (Das Buch der Bilder): 173] [8*, s. 9]. (Lord: it is time / The summer was immense / Let thine shadows upon the sundials fall /and unleash the winds upon the open fields / Command the last fruits into fullness /give them just two more ripe, southern days / urge them into completion and press the lastbit of sweetness into the heavy wine ) (Autumn Day) (translation: www.picture-poems.com).

This verse visually keeps the form of a pray, meanwhile the verb imperatives express not only a pleading note (as peculiar for a pray) but also a requirement intonation, which refers to

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the autumn landscape. The poet thus as if notifies the energy of development, formation and eternal change of seasons. In Rilke lyrics organially coexist the element of lyricism, the overwhelming flow of feeling and the immutable formal law. Between these two poles vibrate his lyrical “Me“.

At first glance the distinctive features of Rilke R.M. lyrical works can be related to the period of his creativity: the turn of the XIX-XX centuries. In literary circles this period is being regarded as the period of a spiritual fault to which most of the writers and poets were unwittingly converted as to the past, so to the future. This tendency of lyrics was peculiar at that time to many german poets. Rilke lyrics differ by numerous inclusions of various literary lines among them: the technique of nuances and the feeling of impressionism, neoromanticism, stylized populism, the naivety of aristocracy.

The researchers of Rilke R.M. liiterary work pay their attention to lots of peculiarities of the poet’s idiostyle. For example, one of the most common themes of research in this line is a special form of Rilke verse, the so called “poems-objects“. Their peculiarity is in metaphorical thinking of an ordinary life, in description through ordinary objects of a universal interconnection between the Small and the Great, the Carnal and The Spiritual. The poetic world represents a difficultly arranged literary mechanism and a model of a real world at the same time.

The poetic language has an aesthetic function, the main idea of which is in the possibility of a language to serve as means of reflection of reality, refracted in a poet’s consciousness, that allows to speak about the individual author’s picture of the world. The world of emotions and spiritual experience is one of the peculiarities of a poetic language. Rilke literary work is filled with numerous concepts. This reveals itself mainly in additional meaning and ist use in unusual concepts. Exactly a special word usage and unusual word combinations ensure the poet, that the reader will follow his thought, trying to catch ist meaning without inventing his own idea.

The musicality of Rilke lyrics is being discussed only by some researchers, among them the german scientist Dȍrr O. in his essay “Das Wort und die Musik: zwȍlf Essays inspiriert durch die Poesie von Rainer Maria Rilke“ [3] and also a native scientist Erofeeva L.A. in her thesis research “Metaphorical representations of the dominant concepts in Rilke poetic picture of the world“ [4].

The conducted by the scientists research has shown that the most dominant concept in Rilke poetic picture of the world is the concept of an emotional sphere (feeling [as an archetype], day, evening, night) and also philosophic spheres (life, death).

The research of different methods of verbalization of the given concepts is of big interest for the purpose of description of methods of attaching musicality to Rilke poetic texts.

Research methodology.

The object of research of the given article is Rilke poetic language. The subject of research is the formation of a special musicality of a language. The material of study are the poetic texts of Rilke R.M. The main aim of the article is the description of different methods of creating a musical language in lyrics of a famous poet and writer Rilke R.M.

English and german scientists also pay attention to the main aspects of Rilke literary works, for example, Freedman R [5], Metzger E.A [6]. Much attention of the foreign scientists attract individual motives in Rilke literary work. For example, the thesis research of a german scientist Guite C [7] is aimed at the review of fear motive and its representation in Rilke R.M. poetic works. The main research methods are: a descriptive method, the method of observation, the method of analysis of the scientific literature to the topic of investigation and also the method of classification of language techniques at lexical, stylistic and grammatical levels.

Research results.

Until now there hasn’t been given a detailed research of the musicality of Rilke lyrics neither in foreign or native linguistics, this article contains a thorough research of the given theme. A word as a unit of the language system plays a big role in creation musicality of poetic

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works. Musicality of a word in german poetry is achieved at lexical, phonetic and syntactic levels.

German researcher Dȍrr O. gives a following conjecture, that most likely the lack of investigations about the musicality of Rilke lyrics is associated with the fact, that the poet was absolutely not musically gifted: “According to his biography Rilke R.M. was not musically gifted at all and most probably that he didn’t pay much attention to this aspect of the word“ [3, p. 81].

On the other hand several researchers are sure, that musicality was for Rilke R.M. “a true feature of poetry, because “the soul“ manifests itself melodiously, — it’s the purpose of poetry“

[8, p. 8]. It’s not by chance that Rilke R.M. called his poetic translation of a famous russian

“The Song of Igor’s Campaign“ the “The Igor Song“. He structured the text of this translation severely, paying more attention to the musicality and less attention to the accuracy of translation.

In any language there are lots of tricks of making a speech sound musically. Especially vividly it is seen in poetry. German scientist Bleumer H. states that “a language in lyrics goes beyond music, whereas music directly influences the recipient“23 [9, p. 372]. It follows that lyrics is always melodious.

For better comprehension of the poetry content very important quality is the unity of the melodiousness of words and their meaning, the spreading of thoughts. In this regard poets usually refuse any grammatical or logical connection, lexical visualization in favour of the melodiousness of a language.

Famous linguist Brandes M.P. states that the melodiousness of a language is more often being transmitted by intonation and syntactic means. However, sometimes humming rhythm, corresponding vocabulary, usually poetic or neutral, are used as means of creating the melodiousness of a language [10, p. 275].

German researcher Schneider S. points out such means of creating musicality in german language as euphony, intonation means, rhythm, compositional structure, thematic areas, that are used by the poet [11, p. 185].

Another german researcher Moritz J. especially notes musical metaphor as means of creatimg melodiousness in a language [12, p. 45]. To his point of view, musical methaphor is used in poetry not for the expression of any sense, but first of all for creating a special aesthetic of a verse.

In opinion of the russian scientist Mahov A.E. the musicality of a word can manifest itself at any language level, for example, at the phonetic level (onomatopoeia, intonation, melodiousness) or at the lexical level (musical keys, musical themes, recreating the sound of instruments) [1, p. 56].

In this article are given the results of the study of the musicality of Rilke R.M. lyrics at different language levels: 1) phonetic; 2) lexical; 3) syntactic.

1 . P h o n e t i c f e a t u r e s o f m u s i c a l i t y o f R i l k e R . M . l y r i c s .

Phonetic features of musicality of Rilke R.M. lyrics reveal themselves first of all in special rhythmic and rhymed structure.

According to Dmitriev A., Rilke R.M. relatively fast achieved the mastery of a rhyme and rhythm. Herewith he made sound melodious even rather painful dissonance [13, p. 27].

23 Bleumer H., Emmelius C. Lyrische Narrationen – narrative Lyrik: Gattungsinterferenzen in der mittelalterlichen Literatur. -Walter de Gruyter, 2011.-372 S. “in Kombination mit dem Ausdrucksmittel der Musik wird die Sprache im Lyrischen transzendiert, kann die Musik den Rezipienten unmittelbar affizieren” (“a language in lyrics goes beyond music, whereas music directly influences the recipient.“)

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At the same time rhythm and rhyme in Rilke R.M lyrics demonstrate special examples of sound recording, which mean “a system of sound alliteration, especially chosen according to the sound of rustling, the sound of the whistle etc“ [10, p. 33].

Jetzt bin ich bei den leeren / und schaue durch alle Alleen. / Fast bis zu den fernen Meeren / kann ich den ernsten schweren / verwehrenden Himmel sehn (“Ende des Herbstes“) [7*, s. 16-17]. - Now I am at the clearings and look over the boulevards / Almost as far as to the distant seas the solemn / heavy denying heaven can I see / (The End of Autumn) (translation: www.picture-poems.com).

In the given example a special rhythmic and rhymed structure is being created not only with the help of a standard rhythm and combination of syllables and stanzas, but also with the help of a special sound recording which expresses in constant repeating of a long vowel sound

“e” at the end of each stanza. This trick is called assonance, that means harmony of vowel sounds, regardless consonants [11, p. 82].

Musicality of Rilke lyrics at the phonetic level is also achieved by the mastery of the poet in different methods of rhyming.

Researcher Belova D.N. calls this method of rhyming a classical italian canon, which consists of two quatrains and two tercets. Structurally this method can be shown as “abab abab cde cde” [14, p. 8].

This peculiarity can be illustrated by the extract from the “Sonnets to Orpheus”:

Ein Gott vermags. Wie aber, sag mir, soll / ein Mann ihm folgen durch die schmale Leier. / Sein Sinn ist Zwiespalt. An der Kreuzung zweier / Herzwege steht kein Tempel für Apoll. (abab) | Gesang, wie du ihn lernst, ist nicht Begehr, / nicht Werbung um ein endlich noch Erreichtes; / Gesang ist Dasein. Für den Gott ein Leichtes. / Wann aber sind wir? Und wann wendet er (abab) | an unser Sein die Erde und die Sterne? / Dies ist nicht, Jüngling, da; du liebst, wenn auch / die Stimme dann den Mund dir aufsösst, — lerne (cde) | vergessen, da; du aufsangst. Das verrinnt. / In Wahrheit singen, ist ein andrer Hauch. / Ein Hauch um nichts. Ein Wehn im Gott. Ein Wind (cde) (Sonette an Orpheus. T.I. Sonett 3) [10*, s. 20]. - A God has the power / But tell me / shall a man wring the same from a slender lyne? / His senses are awry / And there stand no temples of Apollo / At the crossings of two heart-lines / Song, by Your example, does not concern desire / Nor pursuit and attainment of its object / Song is — to be / Trifling for the god / But when shall we be? And when does He after the earth and the stars in our being? / This is not, my lad, a matter of your passions, though Your voice throw open your lips, — learn / To forget that you sang out / That is fleeting / True singing is breath of another kind / A breath that aims nowhere / Pneuma within the God / A zephyr / (Sonnets to Orpheus part I sonnet 3) (translation: www.picture-poems.com).

In this sonnet the problem of creativity is being raised. Art is not available to an ordinary man. The main idea of the sonnet is how real art should be. Art is our life, for God it’s not difficult to create, whereas for an ordinary man it’s complicated to create God alike, because in a men’s soul reign discord, false and tangled feelings. The sonnet is based on the ancient Greek myth of God Apollo. His servant is lyre Orpheus. The aim of Orpheus art is to erect Apollo temple on the crossroad of the confused roads of men’s feelings. Art should serve the truth, only then it will be real, sacred. (ein Hauch (Nothing) ein Wind (Whirlwind). One of the central concepts of the sonnet is the concept of “God”. This concept is an image that has great importance in the system of men’s values. With its help a man tries to comprehend the universe, find his place in it and express his world outlook. It should be noted that the problem of mental concepts has been profoundly reflected in articles by Lavrinenko I.J [15].

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