LEFT ENJAMBEMENT IN POETRY OF N. A. NEKRASOV

The term and concept of “left enjambement” belongs to the author of the article. Re- vealing poetic transfers and describing their structure according to her own method, based on taking into account the hierarchy of syntactic relations developed by M. L. Gasparov and T. V. Skulacheva, the author found cases when an inserted construction appears ap- proximately in the middle of a line (marked in brackets or double dashes), leaving with- out horizontal syntactic links a word (or, according to M. L. Gasparov, a metric word) located not at the end of the line (on the right), but at its beginning (on the left). In these cases, “left alone” word is forced to form the desired syntactic link in the lower adjacent line (sometimes lines), hence we see an enjambement, which in these cases is left (as op- posed to the traditional right). The author believes that left hyphenation can be formed not only by interstitial constructions, but also by other syntactic units, however, at the initial stage of the study, it is limited only to the indicated cases as the most eloquent. Seventy left enjambements have been identified in Nekrasov’s poetry and analyzed in the context of previously described left enjambements of Pushkin. Aspects of analysis: the mechanism of formation of left enjambements (with delimitation from similar syn- tactic structures), metric forms, the place of the left word in the text, the size of the word interval, the volume of the structure, the clause, the set and frequency of syntactic links. Statistical analysis made it possible to establish a typical model of Nekrasov’s left enjambements and deviations from it, in particular, the appearance of left protracted en- jambements (with an increased word spacing and an overgrown — up to three or more lines — structure). Comparison with similar data on Pushkin’s left enjambements shows Nekrasov’s as- similation of the literary (not folklore!) tradition, its development, which is important for the poets of the twentieth century. The conducted research demonstrates the rhythmic-syntactic richness of Nekrasov the poet and provides an additional way to describe this richness. Seventy left enjambements have been identified in Nekrasov’s poetry and analyzed in the context of previously described left enjambements of Pushkin. Aspects of analysis: