Means of artistic expression in the language of Spanish folklore

Bakanova Anna Valentinovna PhD in Philology Associate Professor, Department of Ibero-Romanic Language Studies, Faculty of Philology, Lomonosov Moscow State University 119991, Russia, g. Moscow, ul. Leninskie Gory, 1, of. 1GUM asia_sim@mail.ru Other publications by this author

Terentieva Ekaterina Dmitrievna PhD in Philology Associate Professor, Department of Foreign Languages, Faculty of Humanities and Social Sciences, Peoples' Friendship University of Russia 117198, Russia, g. Moscow, ul. Miklukho-Maklaya, 10/2 terentyeva-ed@rudn.ru Other publications by this author

As you know, folklore works are built according to their artistic canons. Distinctive features of folklore texts are the oral form of existence, folk authorship, synthesis of various artistic components, textual variability, improvisational nature of performance and others. The artistic origin in folklore was not always primary, at an early stage folklore was closely intertwined with ancient rituals and beliefs, representing a syncretism of various artistic forms: "[...] todos esos aspectos que ese Pueblo uno e indiferencible, practica, usa, siente, cree, hace, todos aquellos que son otros distintos del conoce, entran dentro de lo popular y, por consiguiente, en el contenido del concepto determinado por Folklore [...]" ^{[18, p. 7]}.

The oral form of the existence of folklore works and their birth in the process of improvisation contributed to the emergence of numerous variants of the same plot, influenced the selection of means of artistic imagery. "Being voiced, the text was born anew every time. The performer improvised. He relied on the knowledge of the poetic language of folklore, selected ready-made artistic components, created their combinations. Without improvisation, the use of speech 'blanks' and the use of oral-poetic techniques would be impossible" ^{[1, p. 11]}. Thus, the storyteller, choosing the means of artistic expression, finds himself in a situation of creative freedom: "El narrador de cuentos se encuentra con libertad para introducir en la narraci?n todo tipo de variaciones y referencias" ^{[20, p. 38]}, but the creative process is carried out within certain boundaries – within the artistic system, genre, functional orientation. We will consider these distinctive features of the folklore art system in more detail.

The use of tropes and other types of speech imagery in folklore narration manifests itself at different levels, starting with the language and moving on to the plot level, characterization of characters and composition construction. Such scaling testifies to the uniformity of artistic means and the consistency of their use in folklore. In the horizontal plane, consistency manifests itself in the repeated repetition of tropes and techniques, as, for example, in the case of hyperbole, when objects, events, heroes are hyperbolized in the folklore text: "Hyperbole has gone beyond the limits of speech expression – it has become an image, figurative thematic details [...]" ^{[1, p. 355]}.

Hyperbole and litota, antithesis and comparison, epithet and metaphor – exaggeration and distortion of the usual way of life, play a special role in Spanish folklore, allows you to see the limits of imagination, the boundaries of the fantastic worlds of popular consciousness: honey, oil, vinegar, milk and wine rivers; dense, impenetrable forests; bloodthirsty animals with burning eyes, whether A lion, tiger or wolf: "A poco rato llegaron a un r?o de leche, despu?s a un r?o de miel, despu?s a un r?o de vino, despu?s a un r?o de aceite, despu?s a un r?o de vinagre, y aunque todos eran muy anchos y muy profundos, todos los pasaron con la mayor facilitad, como la se?ora les hab?a dicho, dejando la carta en el r?o y poni?ndose de pie encima de la carta. Luego empiezan a encontrar bosques y de cuando en cuando les sal?a una fiera que parec?a que los iba a devorar; tan pronto un lobo, tan pronto un le?n, tan pronto un tigre, en fin, muchas fieras, con la boca abierta, los ojos encendidos y una cara de muy mal genio; pero a todas las aplacaban ech?ndoles pedacitos de carne, y as? pod?an continuar su camino».

The analysis of artistic techniques in a folklore text is impossible without reference to genre features. The main creative unit of the study of oral folk art is, according to V. P. Anikin ^{[1, p. 94]}, it is the genre within which the creative idea is realized and which determines the nature of the available stylistic transformations. Many genre forms are universal and are found in the folklore of different peoples, for example proverbs, riddles. Others are more connected with the history and culture of individual countries, so about the Spanish fairy-tale texts, the first folklorist-collector A.M. Espinosa writes that their distinctive feature is attention to everyday life and everyday trifles: "Las versiones hispanicas se caracterizan por el extraordinario desarrollo de las tareas [...]. Conozco cuarenta y ocho versiones hispanicas" ^{[17, p. 15]}. Folklore has a special artistic outlook on the world, typifies, sublimates, generalizes life facts, endows them with universality and special artistry.

Compositional and artistic techniques are closely related to genre specifics, the same artistic technique in different genres performs a different function. "The genre specificity of folklore works is no less vividly manifested in their poetic, linguistic style, in particular in the various figurative expressions they use – tropes. First of all, we note that in various genres of folklore, certain tropes are not used to the same extent, which is due to the peculiarities of their artistic method" ^[8]. Each folklore genre tends to use certain tropes more frequently, so comparison is widely used in paroemias, metaphor is widely used in riddles. But with the equal popularity of the same technique, the nature of this technique varies depending on the specific genre, for example, the functions of the epithet in lyrical songs and epics differ, since the artistic imagery itself differs.

At different historical stages of folklore's existence, various artistic systems replaced each other, while maintaining a single creative method, their artistic laws, taking into account the diversity of genre forms: "Y es que el contenido del concepto que hoy se representa con el t?rmino Folklore es tan vasto en su extenci?n, que no se vislumbran los l?mites" ^{[18, p. 3]}. The traditional and the typical thus come to the fore, the oral folklore tradition becomes a kind of general fund of artistic means from which storytellers draw inspiration. With repeated repetition, retelling, oral texts lose individual features introduced by the narrator. The new in folklore is born based on a traditional basis, artistic techniques and creative processes are carried out within the framework of tradition. "Oral works were created according to already known patterns, even included direct borrowings. The speech style used constant epithets, symbols, comparisons and other traditional poetic means. Works with a plot were characterized by a set of typical narrative elements, their usual compositional combination" ^{[5, p. 6]}.