Functions of Anaphoras in the Compositional Structure of Igor Severyanin's Poems

The article deals with the problem of using anaphoras as a strategic principle of poetic speech construction in the context of works of Igor Severyanin, known for his experiments in the field of poetic forms. Despite the fact that the anaphora is one of the most ancient methods of rhythmic organization of texts, its aesthetic potential continues to attract word artists who seek to find new opportunities of using traditional visual and expressive techniques. The analysis of this phenomenon through the prism of the composition of a lyric poem is particularly effective. Severyanin actively uses anaphoras throughout all his creative way: he builds compositional patterns in accordance with artistic tasks. In his early lyrics, the patterns are subordinated to the desire to activate the resources of the poetic language for the implementation of the idea of theatricalization of the poetic world. The main character of this world and simultaneously the actor is the author-performer playing the role of a royal clown. In his mature period, tending to the classics, Severyanin often refers to the precedent texts of Russian poetry, developing them and supplementing them with new semantic nuances. The research revealed the most productive forms of anaphoric constructions and their functional features. A large group of Severyanin's poems is united by the task of integrating musical and poetic ways of displaying reality. Symbolically, they can be divided into song lyrics and poems, stylized for a particular musical genre: sonata, overture, hymn, polonaise, etc. The internal anaphora plays an important role in the organization of speech flow in Severyanin's lyrics. It can form the structure of the beginning ("Romans"), serves as a bond between two artistic spaces ("Razvenchanie"), solves the problem of integrity in the perception of the stanza form ("Devyatnadtsativeshnyaya"), amplifies the sound of key segments of the speech flow ("Na motiv Fofanova"). A significant stylistic device in Severyanin' works is also the degree of prevalence of anaphoric articulation of the text. For example, a homogeneous, sequential composition pattern through an entire work can create the mood set by the requirements of the genre ("Yantarnaya Elegiya"). On the contrary, a fragmentary repetition often serves as a means of creating the effect of spontaneity of the speech, emotional outbursts that are characteristic of the oral communication ("Poeza trekh printsess"), or it is used as a technique that allows the author to suspend the development of a lyrical plot, to expand and detail the story ("Nocturne", "Ballada"). Thus, the creative application of the anaphoric composition significantly expands the visual possibilities of the poet, influences his individual style.

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