reishdkq wdlD;sljdoh bosßm;a lrk

fi!kao¾hd¾>k ks¾Kdhl

frdayK fifkúr;ak
iïNdjH NdId wOHhkdxYh
fmardfoKsh úYajúoHd,h

fi!kao¾h hk ufkdauQ,sl ixl,amfha iïNjh" rej.=K" wêldrh wd§ úúO me;slv

ms<sn| j kdkdm%ldr úpdr wdf,dapkd bÈßm;a ù ;sfí' od¾Yksl iy ufkdaúoHdkql+, oDIaàka
úiska fi!kao¾h ixl,amh jHjÉfþok iy bishqï m¾fhaIK wdÈhg Ndck lrkq ,eîfuka" lsishï
iajdNdúl m%m[aphla fyda udkj ks¾udKhla fyda fi!kao¾hd;aul jYfhka y÷kd .ekSfï iy
w¾>kh lsÍfï ks¾Kdhl o m%lg jQ nj fi!kao¾h b;sydih msßlaiSfï § meyeÈ,s fõ' tfia
Ndú;hg meñ‚ fmdÿ fi!kao¾h ks¾Kdhl iuQyh idys;Hh" Ñ;% uQ¾;s wd§ oDYH l,d" ix.S;h"
kdgH iy iskudj hkd§ jYfhka úúO jQ fi!kao¾h wdlD;s ;=< nyd msßlaiSu lrK fldg f.k"
tA ta fi!kao¾hdlD;sh úIfhys iqúfYaIS fldg i,lk ,o wNsj¾ê; ks¾Kdhl jYfhka o mßNdú;
jQ nj úYo hs' NdIdj uQ,sl wNsjyk udOHh lr .ksñka idys;Hh fi!kao¾hd;aul m%m[aphla
jYfhka i,lkq ,nk l," lskï wdldrfha we.ehqï iy ks¾Kdhl u.ska idys;Hd.; fi!kao¾hh
úksYaph lrkq ,eìh hq;= o" úksYaph lrkq ,eìh yels o hkak úuiQ m%dÖk m%;sÖk úpdrjdo
ir‚h ;=< reishdkq wdlD;sljdoh
ljdoh i;= N=ñldj ms<sn| j fuys ieflúka msßlaikq ,efí'
reishdkq wdlD;sljdoh hkafkka y|qkajkq ,nkafka l%s'j' 1917 § yg .;a reishdkq
fnda,afIúla úma,jhg miq j m%dÿ¾N+; j" 1930 § muK kd^z&isjd§ foaYmd,k fya;+ka u; hgm;a jQ
reishdfõ idys;H úpdr iïm%odh hs' mej;s iïuq;s iu;sl%uKh lrk ,o jHdmdrhla jYfhka
m%làN+; jQ fuh jkdys idys;Hfha jd.aúoHdkql=, moku m%uqL;ajfha ;nk ,o idys;H úpdrjdohla
jYfhka i,lkq ,eîug fya;= jQfha 1915 j¾Ifha § ia:dms; fudialõ jd.aúoHd ljh (Moscow
Linguistic Circle) iy 1916 § Ydka; mSg¾ian¾.ays msysgqjk ,o ldjH NdIdj wOHhkh i|yd jQ
fmfg%d.%Eâ ix>h (The Petrograd Society for the Study of Poetic Language) hk uQ,flakaø oajh
fuu wdlD;sljd§ úpdr iïm%odfha Wm; fjkqfjka uõmsh ;k;=re oerE fyhsks' uQ,sl jYfhka u
Roman Jakobson, Petr Bogatyrev iy Grigori Vinokur jeks jd.afõ§ka õ§kaf.a
. idudcsl;ajfhka
fudialõ jd.aúoHd ljh ieÿK o' mYapd;ald,Sk j reishdkq wdlD;sljd§ jHdmdrfha wNsOdkh njg
m;a jQ OPOYAZ 1 fyj;a fmfg%d.%Eâ ix>fha idudcslfhda nyq;rh idys;H b;sydi{fhda jQy'
fmdÿfõ reishdkq wdlD;sljdofha ks¾ud;Djreka jYfhka Roman Jakobson, Boris Eichenbaum,
Viktor Shklovsky, Boris Tomasjevsky, Juri Tynyanov, Osip Brik, Victor Vinogradov wd§yq 2
uq,a ;ekays ,d i,lkq ,efn;s' idys;H úpdrh ms<sn| b;sydifha m%:u jrg úoaj;=ka msßila úiska
idys;Hfha iqúfYaIS .=K,laIK" l%ufõo iy Ys,am ú.%y fldg olajkq ms‚i ffjIhsl fuka u
úoJd;aul l%uhla fidhd .ekSfï wNsm%h;ak orkq ,enQfha reishdkq wdlD;sljdoh ;=< § he hs
i,lkq ,efí'3 ieneúka u ta wNsm%h;akh idys;Hh ;=< kjH;r" m%.;s.dó woyia j.d lrkq iu;a
m%n, jHdmdrhla jQ nj Boris Eichenbaum n÷ ;;ald,Sk wdlD;sljdÈhl=f.a u;h msßlaif;d;a
iqm%;S; fjhs' Eichenbaum olajk whqßka idïm%odhsl W.;=ka iy wdlD;sljd§ka w;r wr.,hla
1
OPOJAZ, the acronym for Obscestvo isucenia POeticeskogo JAZyka
2
Vladimir Propp reishdkq wdlD;sljd§ iïm%odfha idudcslhl= jYfhka j¾;udkfha §
kï fkd flfrk kuqÿ fmr Tyqf.a odhl;ajh wkqj jeo.;a idudcslhl= jYfhka
i,lk ,§' vide. - Hawthrorn, Jeremy (1994) – A Concise Glossary of Contemporary
Lirerary Theory – p. 49
3
“...Indeed, it was for the first time in the history of criticism that a group of scholars
had as a definite aim the attempt to find a "scientific", objective method for defining
the specific features of literature, its methods and devices... ”
http://www.unibuc.ro/eBooks/lls/RaduSurdulescu-FormStructuality
 2

fkd mej;s ;rï jQ kuqÿ wdlD;sljd§ka úiska isÿ lrk ,oafoa tf;la mej;s idys;H wOHhkfhys ,d
ndOdldÍ fodr.=¿ ì|Su fkd fõ¦ ì| yßkakg fodr.=¿ fkdmej;s w;r indO n,fldgqj fjkqjg
kjH jQ" iq.u jQ újD; udj;la ;kd .ekSu hs'4
wdlD;sljdoh idys;Hh fj; t,a, l< n,mEfï iajNdjh wOHhkh lrkq ms‚i;a túiska
wdlD;sljd§ fi!kao¾h ks¾Kdhl bÈßm;a jq wdldrh úu¾Ykh lrkq ms‚i;a reishdkq
wdlD;sljdofha jHdma;sh ms<sn| j ieflúka msßlaiSu uekú' reishdkq wdlD;sljdoh m%Odk hq.;%hla
Tiafia úldYkh jQ nj m%lg hs' René Wellek olajk mßÈ ta my; mßÈ fõ'5

1' iajhxks¾jpkfha mQ¾j hq.h - The Early Period of Self-Definition (1916-1921)

wdlD;sljd§ jHdmdrfha m%drïNl iuh jkdys mQ¾jx.u idys;H{-m%d{ mßIoays
l%%shdldrlï nyq, jQ hq.h flfrka lemS fmfkk f,i neyer jQ újdod;aul
ld,mßÉfþohls' ldjHuh NdIdj iy .oH ixrpkh flfrys úfYaI wjOdkhla fhduq
ù mej;s iuh hs'
2' úia;drKfha iy ixia:dhSlrKfha uOH hq.h - The Middle Period of Expansion and
Consolidation (1921-1928)
ish¨ idys;H m%Yak m%;súNd. lrk ,o fuiufhys uqqLHdjOdkh fhduq ù
mej;sfha idys;H b;sydih fj; hs'
3' m%ydhkfha iy Wmfhdackfha hq.h - The Period of Dissolution and Accommodation
(1928-1935)
foaYmd,ksl fya;=idOl u; we;s jQ mSvkh tla mfilska mej;s w;r u
wdlD;sljd§ka ;=< u reÑl;ajfha ú;eka ùula yg .;a wjêh hs'6

moHfha Ydí§h ixiaÓ;sh flfrys jQ reÑh úiska wkd.;jdoh (Futurism) iu. o b;d ióm
in|;djla iys; jQ reishdkq wdlD;sljdoh ;;ald,Sk j T!od¾hh úoyd oela jQ ixfla;jdohg
(Symbolism), h:d¾:jdohg (Realism) iy l=gm%dma;sjdohg (Acmeism) tfrys jHdmdrhla jQ nj
m%lg hs' ixfla;jdohg tfrys j wdlD;sljdoh igkg ms<smkafka ldjHd;aul idys;Hh bka uqod
f.k úoHd;aul wkafõIKhkag yiq lr .ekSu ms‚i nj Eichenbaum wjOdrKh lf<a h' 7
reishdkq wdlD;sljdoh fmr mej;s iïm%odfhka fjkia u.la .;a idys;Hh jHdmdrhla jkafka
flfia oe hs msßlaik l," tys iqúYsIag;dj jvd;a úYo fjhs' idys;Hh jkdys ft;sydisl"
cSjúoHd;aul iy iudc h:d¾:fha yqÿ m%;sìïnhle hs hkq mQ¾jx.u idys;H úpdru;jdo ixys;djka
4
“...Before the appearance of the Formalists, academic research, quite ignorant of
theoretical problems, made use of antiquated aesthetic, psychological, and historical
‘axioms’ and had so lost sight of its proper subject that its very existence as a science
had become illusory. There was almost no struggle between the Formalists and the
Academicians, not because the Formalists had broken in the door (there were no
doors), but because we found an open passage-way instead of a fortress...”
Eikhenbaum, Boris - The Theory of the Formal Method - p.105
5
Wellek, René - A History of Modern Criticism - 1750-1950 - Vol.VII - p. 319
6
Peter Steiner f.a fnod oelaùug wkqj uQ,sl hq.;%fhys NdId ,laIKhkaf.a úúO;ajh
ie,ls,a,g .kq ,efí'
1' 1916-1921 hq.h - NdIdj ms<sn| hdka;%Sh oDIaáh (the machanical view of language)
2' 1921-1928 hq.h - NdIdj ms<sn| ftkaøSh oDIaáh (the organic view)
3' 1928-1935 hq.h - NdIdj ms<sn| l%udkqrEmS oDIaáh (the systemic view)
7
“...The formalists entered the fight against the symbolists in order to wrest poetics
from their hands-to free it from its ties with their subjective philosophical and
aesthetic theories" and to direct it towards the scientific investigation of facts... ”
Lemon, Lee T. and Reis, Marion J. (eds.) – Russian Formalist Criticism – p. 106
 3

u.ska m%;sIaGdms; j mej;s u;h jQ kuqÿ" m%m[apúoHd;aul (phenomenological) kHdhhkaf.ka ì|S

wd reishdkq wdlD;sljd§ ;¾lfhda idys;Hfha m%lrKd;aul idOlj, jeo.;alu wju fldg
ie,lSu u.ska {dkuQ,sl wx.hka tajdfha wla,sIag" i;H iajrEmhkaf.ka u ;eîug h;ak oerE y'8
reishdkq wdlD;sljd§kaf.a jHdmdrh mYapd;ald,Sk j fl;rï W.% úpdrhg iy úfrdaOhg
n÷ka ù o h;a wdlD;sljdoh y|qkajd§u ;uka w;ska isÿ jQ jrola jYfhka ms<sf.k ta neõ m%lg
lsÍug we;eï wdlD;sljd§ m%n,hkayg n, lrkq ,eì‚' kso¾Ykhla jYfhka
wdlD;sljdoúfrdaëkaf.a uQ,sl b,lalhla jQ Shklovsky, úreoaOjd§kaf.a n, lsÍu u; wdlD;sljd§
iïm%odh uQf,da;amdgkh l< A Monument to Scientific Error kï lD;sh rpkd lrñka 1930 §
iajlSh kHdh úfõpkhl fhÿfKa h'9 oYl lSmhla .; jk ;=re u udlaiajdoúfrdaë ÿ¾,íêhla
(Anti-Marxist Heresy) jYfhka fidaúhÜ reishdj ;=< ;ykug ,la j mej;s wdlD;sljdofha
wOHhk iuyrla fyda kej; idlÉPdjg md;% jqfha 1960 oYlh ;=< § muK nj fmfkhs' ta w;r;=r
iufha Jakobson, Bogatyrev jeks jd.afõ§yq Prague k.rfha o" wfursldfõ o iajlSh l%shdldrlï
wúÉýkak j mj;ajd f.k .shy'
tlÕùï iy úreoaOùï jYfhka wdlD;sljd§ka idys;Hh yd ixjd§ jQ wdldrh
oDIaáfldaK;%hlska oelSug o we;eï úpdrlfhda reÑ fj;s' 10 reishdkq wdlD;sljdofha
uqLHdrïuKh jQfha idys;Hh iajdëk mokula u; isgqùu hs¦ idys;H wOHhkh iajdëk iy
iqúfYaIS YslaIKhla njg m;a lsÍu hs'11 flfia o h;a"

1' idys;H úYaf,aIKfha mQ¾jiaÓ; wêldÍ úêl%uhkg úreoaO ùu

ndyH úYaf,aIKh (extrinsic analysis), OdrKdjd§ úpdrh (impressionistic
Criticism), kjH udkqIjdoh (New Humanism) hk fmr mej;s úpdrúêl%uhkag
úfrdaOh mEu'
2' idys;Hh wOHhkh flfrys YslaIŒh iy m%jpkSh (teachable and quantifiable)
t<Uqul wjYH;dj wjOdrKh lsÍu
ì%;dkH iy wfußldkq idys;Hhka tjlg kjH;r" m%.;s.dó wOHhkhkg md;%
fjñka mej;s fyhska tn÷ t<Uqul wjYH;dj fjfiiska oeks‚'
3' m%fõ.j;a ixialD;sl iy foaYmd,k fjkiaùï iu. m%;spdr oelaùu
m%%:u f,dalhqoaOh iy reishdkq úma,jh" hqfrdamh mqrd me;sr .sh úoHdfõ
iy ;dlaIKfha YS>% m%.ukh" kjHjd§ ldjHfha wNsj¾Okh wd§ m%jK;d iu. ixjd§
ùu hs' idys;Hh ms<sn| l%ufõohla jYfhka fkd j idys;H úoHdjla jYfhka
wdlD;sljd§kaf.a jHdmdrh y÷kajd fokq ,efí'
reishdkq wdlD;sljdoh bÈßm;a lrk idys;H kHdh ir‚h imqrd i¾jf;dafhda.H
fi!kao¾h ks¾Kdhl jYfhka ie,lSfï ndOd lsysmhla mj;sk nj wOHhkfha § fmkS hhs' NdId
udOHh m%Odk fldg .;a idys;Hh flakaø ùu" ;;a wdldr idys;Hfha o jd.aúoHd;aul fkdfyd;a
NdIdú.%yd;aul wxYh fj; úfYaIfhka fhduq jQ wNsreÑh" ú[a[dKjdoh iu. fi!kao¾hfha we;s
wkkH;dj fi!kao¾h úoHdfõ wúfhdackSh O¾u;djla jk nj fkd i,ld yßkq ,en ;sîu wdÈh
bka lsysmhls' reishdkq úma,jhg mYapd;a;k Ñ;%l,dj iy iskudj wOHhkh lr; wkd.;jd§
8
“...From an epistemological viewpoint, their premises largely derived from
Eichenbaum’s phenomenological theory, which attempted to set apart objects of
knowledge in their genuine, pure form, by bracketing the contextual factors.. ”
http://www.unibuc.ro/eBooks/lls/RaduSurdulescu-FormStructuality
9
Literaturnaia gazeta kï reishdkq m%ldYkfha wdlD;sljdoh bj;a lr .ekSu ms<sn|
Shklovsky f.a m%ldYkh (recantation of Formalism) m< úh'
“...Where we erred was not in introducing this working separation, but in trying to
perpetuate it... ” cf. Shklovsky - A Monument to a Scientific Error
10
vide. - http://social.chass.ncsu.edu/wyrick/debclass/ovform.htm
11
Jefferson, Ann - Russian Formalism – p. 25
 4

Ñ;%l,dfõ iy iskudfõ m%jK;d y÷kd .; yels jk kuqÿ wiqj,a wiqj,a mßÈ he hs yqjd oelaúh
yels" ish¨ fi!kao¾h wdlD;sj,g fmdÿ
fmdÿ jQ úfYaI ks¾Kdhl fyda kHdh mekS h;e hs lshf;d;a ijro
fjhs' Khlebnikov, Mayakovsky jeks wkd.;jd§ lùkaf.a iy Sergy Eisenstein n÷
iskudlrejkaf.a lD;s msßlaiSfuka muKla jqj o fï neõ úYo fjhs' tfy;a ;;ald,Sk j mek
ke.=Kq c.;a fi!kao¾h jHdmdrhka w;r mQ¾j.dñhl= jYfhka reishdkq wdlD;sljdoh ie,lsh hq;=
h' l,dfõ wdlD;sl mlaIh ms<sn| j úis jk ishji ;=< isÿ jQ b;d jeo.;a ixjdohla reishdkq
wdlD;sljdoh ;=< wdús¾Njkh jQ fyhsks' fuu idys;H jHdmdrh ;=< mekS .sh idys;H kHdh ir‚h
fi!kao¾h ks¾Kdhl jYfhka kdulrKh lsÍug jvd" reishdkq wdlD;sljdofha iqúfYaI;d lsue
hs y÷kajd fokq ms‚i wdlD;sljdoh úiska u bÈßm;a lrk ,o ks¾jpk lsysmhle hs oelaùu
hqla;shqla; jkq we;'
idys;HdOHhkh úIfhys wdlD;sljd§kaf.aa odhl;ajfha jeo.;alu ;=ka wdldrhlska
y÷kd .; yels h hs Jeremy Hawthorn jeks kQ;k úpdrlfhda olaj;s' flfia o h;a"

1' idudkH jHjyD; NdIdj iy ldjHd;aul NdIdj w;r m%n, úix.;hla we; hk
^j¾;udkfha iq¿;rhla muKla tlÕ jk& úYajdih
2' wmrEmSlrKfha jeo.;alu
3' j¾;udk wdLHdkúoHdfõ § uqLH N+ñldjla olajk l:dj iy l:d úkHdih w;r
mj;akd úixjdoh12

ldjHd;aul NdIdj jkdys ffoksl Ndú;fha mj;akd idudkH NdIdjg jvd fjkia"
fjfiia NdId m%j¾.hla nj wdlD;sljd§yq wjOdrKh l<y' ldjH lD;Hh hkafkka ldjHd;aul
NdIdfjys l%shdl,dmh y÷kajd §fuys ,d uQ,sl jQ Roman Jakobson (1896-1982) reishdkq
wdlD;sljdofha Orudk iufhka miq j o Prague ys jd.aúoHd ljfha fuka u wfußldfõ § o iajlSh
woyia wNsj¾Okfhys fhÿfKa h' ixfla;jdohg úfrdaë idys;H jHdmdrhla jYfhka
fjfiikq ,enqj o wdlD;sljdoh f.dv ke.=fKa ixfla;jdofha uQ,dOdrh u; nj m%lg hs'
idys;Hhsl NdIdj fyj;a ldjHd;aul NdIdj idudkH f,dalfha NdId jHjydrfhka fjkia iqúfYaIS
NdId m%j¾.hla jYfhka y÷kd .ekSu;a" ziajdëk" iajhxm%ldYl" jd.;sl%dka; ßoauhlska hq;="
jH[aclZ wd§ .=Kjdpl u.ska ta fjfiid oelaùu;a reishdkq wdlD;sljdofha wNsreÑh o" wdrïuKh
o ù h' wdlD;sljdoh hkq ieneúka u tys úreoaOjd§ka úiska m%ia;=; jHdmdrh fy<d olskq ms‚i
wdfrdams; kduhla jQ kuqÿ idys;Hfha ffjIhsl ldrKd flfrys wdlD;sljd§ka oelajQ wêldjOdkh
u Tjqkaf.a kjH idys;H m%hdKh idys;Hh fj; flfrk w¾:úoHd;aul m%fõYhla f,i kï
lsÍug;a ta i|yd wdlD;sljdoh hkak u wNsOdkh jYfhka fhdod .ekSug;a Tjqka fmd<Ujd ,S h'13
jHqyd;aul jd.aúoHdfõ l%ufõohkaf.ka wdlD;sljd§kaf.a idys;H ixjHdmdrfha
l%ufõo ;rula fjkia jQ kuq;a fomd¾Yajfha u wruqKq iudk úh' idys;Hfha ixiaÓ;sh
ms<sn| .eUqßka úuiSu;a" lsishï idys;Hhl iajNdjh ms<sn| m%;HNs{dkh (recognition)"
mD:lalrKh (isolation) iy ffjIhsl újrKh;a (objective description)" idys;H lD;shl YíÈu
Ys,afmdaml%uhkaf.a Ndú;h;a wdlD;sljdoh we.ehQjkaf.a wjOdkh md;% jQ nj .uH fõ' lsishï
lD;shl b;sydih" uQ,dY%dÈh fyda bka wNsjykh flfrk m‚úvh fyda ;;a lD;sfhys ft;sydisl"
iudchSh" ufkdaúoHd;aul udkhka fyda msßlaiSu Tjqkaf.a wNsu;h fkd ù h' l,dj iajdëk" ia:dhS"
iajhx;Srl jQ o tys u ks¾Kdhl u.ska úNd. l< hq;= jQ o m%m[aphla f,i y÷kajd fokq ,eì‚'
Shklovsky l,dfõ iajNdjh újrKh lf<a l,dj yqÿ fN!;fha m%m[aphkaf.ka Tijd ;eìh

12
Hawthorn – op.cit. – p.123f.
13
“...Thus, While it was its opponents who called the OPOYAZ formalists their
declared concern with objective facts moved them to prefer the title specifiers, and
to describe their pursuit as a morphological approach to literature... ”
Hawks, Terence – Structuralism and Semiotics – p.61
 5

hq;a;la f,i hs'14 tn÷ jQ l,dj ;=<" úfYaIfhka u idys;Hh ;=<" idys;H úpdrh iy wjfndaOh
i,lkq ,eìh hq;af;a iqúYsIag iy talSN+; {dkf.dapr l%shdldrlï jYfhka nj o wjOdrKh
lrk ,§' wdlD;sljdoh ms<sn| j idlÉPd lrk mYapd;a;k úpdr óudxidfjda mjd l,dlD;s l,dlD;
hkafkka wdlD;sljdoh úiska woyia lrk ,oafoa" yels;rï meyeÈ,s wdldrhg l,d;aul jk mßÈ
lD;Ska ks¾udKh ms‚i úfYaISlrKh jQ m%fhda.hka u.ska ks¾ñ; lD;s u nj wjOdrKfhys ;;amr
jQy'15 tys jmißh ;=< idys;Hh ms<sn| ke.sh hq;= jQfha flfia o (How) hk mekh úkd l=ula o
(What) hk mekh fkd jk nj o Shklovsky meyeÈ,s j olajd isáfha h'16
ldjHh wOHhkh l< hq;af;a flfia o hkak ms<sn| j Jakobson f.a woyia wdlD;sljd§ka
fi!kao¾hd;aul m%m[ap foi úpdr oDIaàka fhduq l< wdldrh Ñ;%Kh fldg olajkakls' Tyqf.a
u jpkfhka Wmqgd olajf;d;a ta fumßÈ h' zÑ;%hl úYaf,aIKh Ñ;%fha ixiaÓ;sh wkqj isÿ
flfrkakdla fuka ldjHdOHhkh jd.ajHqyfha .eg¨ yd inef|hs' jd.afõoh jkdys jd.ajHqyh
ms<sn| id¾j wOHhkh jk fyhska ldjHdOHhkh o jd.afõofha wfNaoH fldÜGdihls' ieflúka
olajf;d;a" fndfyda ldjHuh wx.,laIK NdIdfõohg u;= fkd j ix{d ms<sn| kHdhhkg fyj;a
wúfYaIS ix{dfõohg o wh;a fjhs'Z17 iskudj' Ñ;% iy uQ¾;s l,d wdÈfhys o wdlD;sl wOHhkh
fjfiiska jeo.;a jYfhka wdlD;sljd§ka i,lkafka fï ksid nj úYo hs' tf;l=ÿ jqj;a reishdkq
wdlD;sljdoh ish¨ fi!kao¾h wdlD;Skag fmdÿ úpdrjdohla jYfhka y÷kajd §u ijro jkafka
wdlD;sljdoh jd.afõoh iy NdIduQ,sl idys;Hh flfrys ;§h n,mEu fjfiiska úYaf,aIKh l<
úpdrjdohla nj iqúYo fyhsks'
ldjH lD;Hh ms<sn| Jakobson m< l< woyia jdåuQ,sl ikaksfõokh (verbal
communication) iïnkaOfhka Tyq oerE u;jdohka iy idoDYHfhka .; hq;= h' fyj;a udkj
ikaksfõok lD;Hfha u m%YdLdjla jYfhka ldjH lD;Hh ie,lsh hq;= h¦ ie,lsh yels h hkq
Jakobson f.a úksYaph ù h' idys;H lD;shl m%Odk;u Ndrh flakaø.; jkafka tys Wmhqla; NdIdj
u; h' fjfiiska y÷kd .; hq;= ixiaÓ;sluh wx.,laIK lD;sh ;=< úkd tys ks¾ud;D ;=<
fidhd .; fkdfyk nj o" ish,a, ldjH wuqøjH f,i ie,lsh hq;= fyhska lD;sfha f;audj fyda
fjk;a ndyH ,laIK ;=< fkd j Wmhqla; NdIdj ;=< u tajdfha ixia:dmkhka ksÍlaIKh l< hq;=
nj o wdlD;sljd§yq olajd isáhy' tfyhska ldjHh ìys úh hq;af;a ldjHuh úIhhkaf.ka
.k fkd j
NdIdfjka fyj;a jpkj,sks' Jakobson NdIdfõ lD;Hhka lsysmhla y÷kd .kS' ir, j olajf;d;a
fumßÈ fõ'

1' Ndjd;aul lD;Hh (emotive function)

wNsjykh flfrk ksfõokfha wka;¾.;h flfrys l:lhdf.a wdl,amh wjOdrKh
lrkq ,efí' laIKNdjjdpl (interjections) iy wjOdrKd;aul m%ldYj, (emphatic speech) §
fuks'

14
“...Art was always free of life and its colour never reflected the colour of the flag
which waved over the fortress of the city... ” Erlich, Victor – Russian Formalism ;
History-Doctrine(1965) – p. 77 q.v. - Hawkes – op.cit. – p. 61
15
“...By works of Art, in the narrow sense, we mean works created by special
techniques designed to make the works as obviously artistic as possible ”
Lemon and Reis – op.cit. – p. 8
16
Ibid.- p. 57
17
“...Poetics deals with problems of verbal structure, just as the analysis of painting is
concerned with pictorial structure. Since linguistics is the global science of verbal
structure, poetics may be regarded as an integral part of linguistics. In short, many
poetic features belong not only to the science of language but to the whole theory of
signs, that is, to general semiotics... ”
vide. - http://social.chass.ncsu.edu/wyrick/debclass/Jakob.htm
 6

2' újlaId lD;Hh (conative function)

lÓ;hd (addressee) fj; fhduq jk NdId lD;Hhla jk óg wd,mkh (vocative) kso¾Yk
hs' ^Bühler fuu lD;Hh i|yd wNsOdkuh lD;Hh (appelative function) hk fhÿu Ndú; lrhs'&
3' ix,laIHS lD;Hh (referential function)
m%lrKh fj; mdGlhd fhduq flfrkafka Wmhqla; NdIdfõ fuu lD;Hh úisks'
ikaksfõokh jkdys ieuúg u m%lrKd;aul lsisjla iy inef|k nj ñka iQpkh fjhs' ^Bühler
fuh ksfhdack lD;Hh (representative function) hkqfjka kï fldg olajhs'&
3' mßÑ;S
ßÑ;SlrK lD;Hh (phatic function)
NdIlhka fofofkl= w;r iïnkaOh we;s lr ikaksfõok ud¾. újD; lrk NdId
lD;Hh hs' we;eï úg NdIlhka iïnkaO lsÍu muKla bgq lrhs'
4' mdrjd.affjIhsl lD;Hh (metalinguistic function)
NdIdj ms<sn| NdIdfõ lD;Hh f,i ie,lsh hq;= fuh NdId fla;hka iu. u iïnkaO
jkakls' lsisjl= lshk ,o hula tljr jgyd .; fkdyqKq wjia:djl § ^m%ldYkfha fla;h fkd
jegyqKq l,& h<s ta ms<sn| j úpdÍfï § fuks' fyj;a fla; úNd.h i|yd fhfohs'
5' ldjH lD;Hh (poetic function)
l:lhd fyda lÓ;hd fj; fkd j ksfõokh fj; r|k NdId lD;Hh hs' yqÿ wka;¾.;hg
jeä hula wNsjykh lrhs' wka;¾.;h yefrkakg tla jk oE jkdys ksfõokh jvd;a j¾Kj;a
lrkq ms‚i tla flfrk w,xldr" ,fhys fyda yfvys Wiamy;anj wdÈh hs'
m%ldYkfha § fuu lD;Hhka lsysmhla u tljr l%shd;aul ùu NjH hs' ta w;=ßka ljr
NdId lD;Hh wêldÍ iajNdjh orkafka o hkak mÍlaId lsÍu ms‚i úYaf,aIKh wdjYHl fõ'
^wdlD;sljdodkql+, wêldrh ixl,amh ms<sn| u;= olajkq ,efí'& Jakobson bÈßm;a l< NdIdfõ
lD;Hhka ms<sn| fuu wdo¾Yh Karl Bühler oela jQ ;%sNla; moaO;shg (tripartite system) o
Bronislaw Malinowski f.a phatic communion ixl,amhg o iïnkaOlï iys; jQjls' jdÑl
fyda ,sÅ; ikaksfõokh ieu úg u u;= oelafjk uQ,dx.hka ifhka iukaú; jk nj Jakobson
meyeÈ,s lf<a h'18
m%lrKh CONTEXT
ksfõokh MESSAGE
l:lhd ADDRESSER ------- lÓ;hd ADDRESSEE
iïnkaO;dj CONTACT
fla;h CODE

´kE u jduQ,sl ikaksfõok l%shdjla wOHhkfha § hf:dala; ixia:dmk idOl msßlaishhq;=

nj Tyq Linguistics and Poetics kï ish iqm%isoaO ixrpkfhys oela ù h' ikaksfõokh mßmQ¾K ùu
i|yd fuu uQ,dx.hkaf.a ld¾hNdrh tys idlÉPd flß‚'19

18
vide. - http://www.uni-kassel.de/fb8/misc/lfb/html/text/6-4.html
19
“...The ADDRESSER sends a MESSAGE to the ADDRESSEE. To be operative the
message requires a CONTEXT referred to (‘referent’ in another, somewhat
ambiguous, nomenclature), seizable by the addressee, and either verbal or capable of
being verbalized; a CODE fully, or at least partially, common to the addresser and
addressee (or in other words, to the encoder and decoder of the message); and,
finally, a CONTACT, a physical channel and psychological connection between the
addresser and the addressee, enabling both of them to enter and stay in
communication... ”
Jakobson, Roman - Closing Statement ; Linguistics and poetics - p. 53f.
Cf. Sebeok, Thomas A. (ed.) – Style in Language – p.358
 7

ldjH lD;Hhl m%;HlaI jd.affjIhsl ks¾Kdhlh fkdfyd;a ldjH lD;shl wjYHfhka

u mej;sh hq;= .=K,laIKh l=ula o @ jrKh (selection) iy ixfhdackh (combination) hkqfjka
jdÑl prKhl (verbal behavior) mßNdú; m%Odk m%;smdok l%ufõo (modes of arrangement)
oajhhla we;' child hkak ksfõokfha f;audj jkafka kï l:lhd child, kid, youngster, tot jeks
iudkd¾:j;a mo w;ßka child hkak o sleeps, dozes, nods, naps n÷ l%shdmo w;ßka iqÿiaila o
f;dard .kS' wk;=re j iqÿiq mßÈ tlS mo iïnkaO lrkq ,efí' jrKh jkdys iu;dj iy wiu;dj
(similarity and dissimilarity)" iudkm§Ndjh iy úreoaOm§Ndjh (synonymity and antonymity)
u; o ixfhdackh jkdys idómHh fyj;a ;dgia:Hh u; o r|hs' ldjH lD;Hh iudk;dj
kï .=K,laIKh jrKfha wlaIh flfrka ixfhdackfha wlaIh fj; fhduq lrhs' fyj;a
iudk;dj m%ldYkfha ixia:dmk Ys,afmdaml%u olajd .=K flfrhs' ßoauh wd§ YdíÈl ,laIKhkaf.a
iy h;sh wd§ Pdkaoisl ,laIKhkaf.a iudk;dj mqkmqkdhkfhka fhfohs' 20 NdIdfõ ldjH
lD;Hh iy wfkl=;a lD;Hhka w;r iïnkaOh olajñka Jakobson myokafka ldjHfha § fkdfyd;a
idys;Hfha § ldjH lD;Hh NdIdfõ wfkl=;a lD;Hhka wNsNjkh lrk nj;a" wfkl=;a lD;Hhkays
§ tlS lD;Hhka úiska ldjH lD;Hh wNsNjkh flfrk nj;a h' fuu.ska WÑ; mohkaf.a jrKh
iy ixfhdackh u ldjHuhNdjhg fya;= jk nj wjOdrKh lrk ,§' jpkhkaf.a jrKh iy
ixfhdackh ms<sn| Jakobson oela jQ woyia iu. w;siduHfhka ie,lsh yels woyia Ndr;Sh mqrd;k
jd.afõofhka yuq jk nj o lsj hq;= j ;sfí' N¾;DyßúrÑ; jdlHm§
jdlHm§h jpkhkaf.a wdldålaId"
fhda.H;d iy wdi;a;s hk ,laIK y÷kajd fohs' fhda.H;d fyj;a tla jpkhla wfklg .e<msh
hq;= nj hkafkka wdlD;sljd§ka oelajQ hf:daÑ; mßÈ jpk jrKh o" wdi;a;s fyj;a idómHh
hkafkka hf:daÑ; jdlaixfhdackh o iQÑ; neõ iqm%;S; h'&
ldjH lD;Hh jkdys ldjHfha tl u lD;Hh jYfhka .; hq;= he hs fuu.ska woyia fkd
jk nj o wdlD;sljd§yq wjOdrKfhka olajd isá;s' ldjH lD;Hfha úIh mrdih yqfola
ldjHhg ,>q lsÍu fyda ldjHh ldjH lD;Hhg iSud lsÍu wh:do¾YS w;sir,SlrKhla
(oversimplification) úh yels h hs wdlD;sljd§kaf.a u;h fõ' fufia lsj yels jkafka ldjH
lD;Hh hkq jdåuh l,djkaf.a flaj, lD;Hh fkd j tajdfha wêldrh muKla jk fyhsks'
ldjHhla ;=< § ldjH lD;Hh wêldß;ajh ork kuqÿ NdIdfõ wfkla lD;Hhkaf.a § ldjH lD;Hh
wm%Odk" wêldÍ fkd jk ;,hla fnfchs' lsishï NdId lD;Hhla Ndjd;aul" mdrjd.affjIhsl wd§
jYfhka fjfiish yelafla ta ta wjia:djkays § ta ta NdId lD;Hh fydnjk wêldß;ajh wkq j u
nj reishdkq wdlD;sljdoh uekúka újrKh lr olajhs'21
20
“..The poetic function projects the principle of equivalence from the axis of selection
into the axis of combination. Equivalence is promoted to the constitutive device of
the sequence. In poetry one syllable is equalized with any other syllable of the same
sequence; word stress is assumed to equal word stress, as unstress equals unstress;
prosodic long is matched with long, and short with short; word boundary equals
word boundary, no boundary equals no boundary; syntactic pause equals syntactic
pause, no pause equals no pause. Syllables are converted into units of measure, and
so are morae or stresses... ”
Jakobson – op.cit.- p. 58 Vide. - http://courses.essex.ac.uk/lt/lt204/lingpoetics.htm
21
Jakobson úiska bÈßm;a lrk ,o NdId lD;Hhka w;r mefkk ldjH lD;Hh
idys;Hfha § flfia isÿ fõ oe hs myokq msKsi Robert Sclioles úiska u;= oelafjk
igyk Wmfhda.S lr .kq ,eìKs'
Context
Text
Author ------------------------------ Reader
Medium
Codes
 8

ldjH lD;Hfha wêldrh ms<sn| idlÉPd lrñka idys;Hfha úúO m%YdLdjkays § wêldrh
ls%hd;aul jk wdldrh o wdlD;sljdofha § ú.%y flfrhs'22 Linguistic and Poetics kï ixrpkfhys
§ Jakobson, ixialD; moH iy ldjH w;r fjki o olajñka" ixialD; úoHd;aul iy ;dlaI‚l
idys;Hh mjd moHfhkaa úrÑ; kuqÿ ldjH f,i ta fkd i,lkq ,nkafka ;;a idys;Hfhys § ldjH
lD;Hh wêldrh fkd ork ksid neõ meyeÈ,s lrhs'23
wêldrh (dominent) ms<sn| j Jakobson we;=¿ wdlD;sljdoSka olajk woyia idys;Hh
úIfhys muKla fkd j fi!kao¾hfõofha iEu m%YdLdjlg u mdfya fmdÿ" jeo.;a woyia jYfhka
ie,lsh hq;= h' fyj;a reishdkq wdlD;sljdoh y÷kajd fok" fi!kao¾hfõohg wod< ;j;a jeo.;a
ixl,amhla jYfhka ta ie,lSfï jrola ke;' 24 wdlD;sljdohg wkqj lsishï fi!kao¾hd;aul
lD;shla ;=< wêldÍ wjhjh wfkl=;a wm%OdkSN+; wjhj md,kh lrhs¦ ;SrKh lrhs¦ úm¾hdihg
m;a lrhs' tfia u wêldrh yqÿ flaj, lD;shl fyda fi!kao¾h iïm%odhl muKla fkd j iuia;hla
jYfhka lsishï ksYaÑ; hq.hl l,dj ;+< o m%;S; jkakg yels h hs Jakobson úYajdi l< neõ
fmfka'25 mqkreoh iufha fi!kao¾h ks¾Kdhlhkaf.a l+gm%dma;sh oDYHl,djkays wêldrh u.ska
ixfla;j;a jQjdla fuks' Brian McHale n÷ mYapd;a;k úpdrlfhda" Jakobson f.a fuu woyia
ieneúka u y÷kd f.k wNsj¾Okh lrk ,oafoa Tynyanov úiske hs ms<s.kakg reÑ fj;s'26 Prague
jd.afõo .=rel=,fha Jan Mukarovsky, wêldrh ms<sn| j jvd;a biau;= lr olajk wdlD;sljd§
úpdrlfhl= jQ w;r ldjH lD;shl § Wmhqla; wjhjhkaf.a m%dOdkHfha wkqms<sfj<la (hierarchy)
mj;sk nj;a" tys Wmßm%dOdkHh ysñ lr .kakd wjhjh wêldß;ajh ,nk fyhska wfkla ish¨
wjhj tys ia:djrfha isg w¾>kh flfrk nj;a olajhs'27

22
“...Epic poetry, focused on the third person, strongly involves the of language; the
lyric, oriented toward the first person, is intimately linked with the emotive function;
poetry of the second person is imbued with the conative function and is either
supplicatory or exhortative, depending on whether the first person is subordinated to
the second one or the second to the first... ”
Jakobson – Linguistic and Poetics – p. 24 f.
23
“..finally Sanskrit scientific treatises in verse which in Indic tradition are strictly
distinguished from true poetry (kavya), all these metrical texts make use of poetic
function without, however, assigning to this function the coercing, determining role
it carries in poetry... ”
Ibid. - loc.cit.
24
l,d lD;shl jHqyh úNd. lrk l, tys uQ,sl rEmdldr ;%hla olakg ,efn;e hs
kQ;k fi!kao¾hfõ§yq o olaj;s. tkï,
1. úúOFjfha talShFjh (Unity in Variety)
2. m%uqL;dj (Dominance)
3. iu;=,s;;dj (Equilibrium) jYfhks'
fï w;ßka m<uqjekak reishdkq wdlD;sljdofha mefkk .;sl wkql,k
ixl,amh iu. o" fojekak wêldr ixl,amh iu. o imqrd ixjd§ fjhs'
vide. - Parker, Dewitt. H – The Principles of Aesthetics – p. 70 f.
25
Jakobson (1971) – pp. 82,83
26
vide. Hawkes – op.cit. – p. 53
27
“...The systematic foregrounding of components in a work of poetry consists in the
gradation of the interrelationships of these components, that is, in their mutual
subordinations and superordinations. The component highest in the hierarchy
becomes the dominant. All other components, foregrounded or not are evaluated
from the stand point of the dominant.... ”
Mukarovsky (1964) – p. 20
 9

ldjHd;aul NdIdj iy idudkH jHjyD; NdIdj w;r fjki meyeÈ,s lrkq ms‚i
Jakobson iy wfkl=;a wdlD;sljd§ka Ndú; lrk fhÿï iy újrK lsysmhls' ldjHdlD;sh jkdys
NdIdfõ ixúê; n,d;alD;Hhle (organized coercion of language) hs Jakobson olajk neõ
Eichenbaum f.a lD;shl yuqfjhs' 28 weßiafgdag,shdkq woyilg iudk jYfhka ie,lsh yels
u;hla wdlD;sljd§ka fj;ska bÈßm;a ùu o úfYaI;ajhls' tkï ldjH NdIdj wmßÑ; (strange)
yd úYauhckl NdId úfYaIhla f,i fmkS isáh hq;= h hkak hs'29 YdíÈl iy ßoauhdkql=, jYfhka
ldjH NdIdj .ïNSr iy ÆL Ndjhg m;a l< hq;= he hs Leo Jakubinsky f.a woyi jQ w;r idudkH
NdIdfjka ldjH NdIdj neyer úh hq;= nj bka wNsjHla; ù h'
reishdkq wdlD;sljdoh ldjHh yd idys;H iïnkaOfhka f.k yer mE" ie,lsh hq;=
jeo.;alula iys; ixl,amhla jYfhka Ñ;a;rEm Wmfhdackh úuiSu jà' l,dj hkq Ñ;a;rEm
jYfhka flfrk Ñka;kh (Art is thinking in images) hs o m%lg h' reishdkq ixfla;jdÈhl= jQ
Potebnya, 1905 § Ñ;a;rEmhkaf.a jeo.;alu ms<sn| oela jQ woyia reishdkq wdlD;sjd§kag m%udK jQ
nj lshkq ,efí' Ñ;a;rEmhkaf.ka f;dr l,djla - úfYaIfhka u ldjH l,djla - ke;e hs o" ;j;a
jfrl¦ ldjHuh moH iy .oH jkdys Ñka;kfha iy {dkkfha m%uqL;u úfYaIs; l%ufõoh hs o
lS Potebnya o Tyqf.a wkq.dñlfhda o ldjHh jkdys Ñ;a;rEm u.ska flfrk iqúfYaIS Ñka;khla
nj weoyQy' Ñ;a;rEmhkaf.a ld¾hNdrh kï úúO úIh iy l%shdldrlï úfNaokh;a" {d;hka (the
known) u.ska w{d;hka (the unknown) meyeÈ,s lr .ekSu;a h' tfy;a l,dj Ñ;a;rEm u.ska
l,amkh hs ,>q fldg .ekSu ms<sn| j wdlD;sljdoh ;rfha úreoaO úh' Tjqyq fufia olaj;s'
zÑ;a;rEm jkdys lsisjl=g ysñ ke;' ^fyj;a Ñ;a;rEm i¾jn,OdÍ foúhkag wh;a h'& Ñ;a;rEm
ms<sn| wjfndaOh we;s jk ;rug" lsishï lúhl= Ndú; lrk iy Tyqf.a u h hs wm is;k Ñ;a;rEm
fjk;a lúhl= úiska o tf,iska u iïNdú; tajd nj jegyS hhs' lúfhda Ñ;a;rEm w¨;ska
ks¾udKhg jvd mj;akd Ñ;a;rEm fm< .eiaùfuys fhfo;s' tfyhska kj Ñ;a;rEm ckkYlH;djg
jvd Ñ;a;rEm m%;siaurK YlH;dj jeo.;a h'Z 30 Ñ;a;rEmdYs%; l,amkhg lsisÿ úfgl jdåuh
l,dfõ mjd il,úO lafIa;% we;=<;a fkd jk nj o wdlD;sljdoh wjOdrKh lrhs'
Potebnia moHfha NdIdj iy .oHfha NdIdj w;r fjkialï y÷kd fkd .;af;a h' tys
m%;sM,h jQfha l,amkfha m%dfhda.sl l%fudamdhla jYfhka ckkh jk Ñ;a;rEm iy ldjHd;aul j
ckkh jk Ñ;a;rEm jYfhka Ñ;a;rEmhkaf.a m%j¾. folla mj;sk nj fkd i,ld yßkq ,eîu
hs' ldjHuh Ñ;a;rEm jkdys m%n,;u NjH OdrKdj ks¾udKh lsÍu (creating the strongest
possible impression) hs' tfy;a mqkrela;sh (repetition)" w;sYfhdala;sh (hyperbole)" ix;=,s;
ixiaÓ;sh (balanced structure)" idudkH fyda ksfIaOd;aul idudka;¾h (ordinary or negative
parallelism)" ixikaoh (comparison) wd§ fjk;a ldfjHdaml%uhkg wêl;r fyda W!k;r
M,odhS;djla Bg ysñ h hs i,ld .ekSu ijro h' Ñ;a;rEmj, lD;Hh kï iómSlrKh
(approximation) u.ska ta ta Ñ;a;rEm fmkS isák wre;a isysm;a fldg §u muKla jk fyhska ta
yefrkakg Ñka;kh i|yd Ñ;a;rEmhkaf.a iyh kqjqjukd h' Ñ;a;rEm ms<sn| wjfndaOh ta
u.ska .uHudk jk oE ms<sn| wjfndaOhg jvd jeo.;a jkafka fï wkqj hs'
Potebnya f.a woyia wNsj¾Okh ù" l,dj i|yd Ñ;a;rEm w;HjYH neõ iïu; j mej;s
kuqÿ wdlD;sljdoh tys ÿ¾j,;d ishqï f,i msßlaiS h' Ovsyaniko Kulikovsky kï reishdkq
úpdrlhd .Dyks¾udK Ys,amh" Ndj ldjH" ix.S;h hk l,d m%fNao Ñ;a;rEm rys; l,dfõ úfYaI
m%YdLdjla jYfhka kï lrñka l,dfõ ie,lsh hq;= ;rfï úYd, lafIa;%hla ld,amksl fkd jk
28
Eikhenbaum, Boris - The Theory of the Formal Method – p. 127
29
Shklovsky, Victor -Art as Technique – p. 22
30
“..Images belong to no one: they are the Lord’s. The more you understand an age,
the more convinced you become that the images a given poet used and which you
thought his own were taken almost unchanged from another poet… Poets are
much more concerned with arranging images than with creating them. Images are
given to poets; the ability to remember them is far more important than the ability to
create them... ”
 10

nj m%lg lf<a h' Ndj ldjH jkdys jdåuh l,djla jkakd fia u oDYH l,djg b;d ióm h' tfy;a
oDYH l,dj o woDYH l,dfõ fldgila njg wú{dksl j u m;a jk w;r oDYH woDYH l,d udOHhka
foflys § u wmf.a ixcdkkh iudk h' Art is thinking in images hk u;h ixfla;jd§ woyila
f,i i,lk wdlD;sljdoh fï wkqj Ñ;a;rEm ms<sn| ixfla;jd§ u;hkg úuqL j isà' ldjHh
jkdys Ñ;a;rEm jYfhka l,amkh h hkakg úreoaO j wdlD;sljd§ka olajkafka Ñ;a;rEm hq.fhka
hq.hg" cd;shlska cd;shlg" lúhdf.ka lúhdg b;d w,am jYfhka fjkia fjñka .uka lrk nj
hs' lúhkaf.a lD;s j¾.SlrKh flfrkafka lúhd úiska wkdjrKh lr .kakd ,o iy yqjudre
lr .kakd ,o kjH Ys,afmdaml%uhkg wkqj úkd mßNdú; Ñ;a;rEm wkqj fkd jk nj o bka úYo
hs'
idys;Huh;dj (LITERATURNOST > Literariness) o reishdkq wdlD;sljd§ka úiska fmrgq
lrk ,o" idys;Hh yd iïnkaO jeo.;a ixl,amhla f,i ye|skaúh yels h' idys;Huh;dj wdma;
idys;H lD;shl ;:HÑyakhla (hallmark) jYfhka wdlD;sljdoh úiska kï flfrk fyhska
lsishï lD;shl idys;Hd;aul .=K,laIK y÷kd.kq ms‚i fuh ukd ks¾Kdhlhla jYfhka o
ie,lSu iqÿiq h' idys;Hfhka idys;Huh fkd jk oE fjka fldg .kq ms‚i wdlD;sljdoh úiska
iïNdú; ks¾Kdhlh idys;Huh;dj hs'
idys;HdOHhkfhys úIh jkafka idys;Hh (literature) fkd j idys;Huh;dj nj
wdlD;sljdoh i;;ska wjOdrKh lrkakls' lsishï lD;shla idys;Huh jkafka tys idys;Huh;dj
/|S isákafka kï mu‚' fuf;la l,la idys;H b;sydi{hka isÿ lr we;af;a ljrla o hkak
Wmydid;aul j ú.%y lr olajk Jakobson Tjqka flfrka idys;Hfhys idys;Huh;dj wOHhkh
neyer jQ wdldrh újrKh lrhs' Eichenbaum fï ms<sn| j fjfiiska idlÉPd lrk
wdlD;sljdÈfhla fjhs' Literary Environment kï Tyqf.a ixrpkfha § m%lg flfrk wkaoug
idys;Huh-ft;sydisl ;;= jkdys idys;Huh;dj uQ,sl jYfhka u r|d mj;akd ixlS¾Kfhda h'
idys;Hh wkH udkj l%shdjkag jvd iqúfYaIS jkafka idys;Huh;dj tys iem;a j isàu lrK fldg
f.k nj bka .uH hs'
idys;Huh;dj ks¾jpkh flfrk tla l%uhla jkafka idudkH jHjyD; NdIdj iy
ldjHuh NdIdj w;r mj;akd fjki wjOdrKh lsÍu hs' ldjHuh NdIdj lsishï idys;ahsl
m%ldYkhl mruidrN+;fhaa iajrEmfhka isáhs' ldjHhl w¾:hkag;a jvd jeä jeo.;alula we;e hs
wdlD;sljdoh ie,l=fõ tys YdíÈl ixrpkh (phonic texture) hs' tfyhska Tomashevsky jeks
úpdrlhka ßoauh jkdys iqúfYaIS m%dOdkHhla iys; wdlD;sl ,laIKhla f,i y÷kajd §ug reÑ jQ
nj fmfka' idys;Huh;dj w¾: oelaúh yels ud¾. jYfhka we;eïyq my; i|yka t<Uqï olaj;s'31

1' mdGhl wka;¾,Sk jd.affjIhsl .=K,laIK

(text-internal linguistic properties)
2' ixialD;sl fla; (cultural codes)
3' úfYaI wdrïuKfu!,sl mGk l%fudamdh
(special purpose reading strategies) fyda
4' ufkdauQ,sl ksfhdackhka fyda fyda ufkdauQ,sl l%shdj,s
(mental representations and mental processes)

lsishï lD;shl fi!kao¾h .=Kfha ;Sj%;dj w¾>kh lrkq ms‚i ks¾Kdhlhla jYfhka
idys;Huh;dj ie,lsh hq;af;a fï ksid he hs wdlD;sljd§yq meyeÈ,s lr;s' Mikhail Bakhtin f.a
u;jdo reishdkq wdlD;sljdofha we;eï wx. úfõpkh lrk w;r" úfYaIfhka u ldjHuh NdIdj
iïnkaO Tyqf.a woyia idys;Huh;dj hkq lsue hs jgyd .kq ms‚i Wmldr úKe hs ie,fla' Bakhtin
ldjH NdIdj NdIdfõ Wmm%fNaohla (dialect) f,i i,lkq ,eîug úreoaO úh' th ffoksl jHjyD;
NdIdfjka fjkia jkafka ldjH kshduh (poetic assignement) lrK fldg f.k he hs fyf;u lS

31
Source: http://www.unisa.ac.za/default.asp?Cmd=ViewContent&ContentID=7380
 11

h'32 idys;Huh;dj jkdys ldjHuh NdIdfõ wêldrh iy;sl lrkakle hs bka wjOdrKh flß‚'
wdlD;sljd§ woyiaj,g wkqj" Ñ;a;rEmhkg fyda ix{dj,g jvd idys;Huh;dj u lsishï lD;shla
idys;Huh hk wNsOdkh ,eîug iqÿiq njg m;a lrhs' hq.fhka hq.hg" rplhdf.ka rplhdg
yqjudre jk fmdÿ jia;+ka f,i Ñ;a;rEm ie,lsh yels kuqÿ idys;HdOHhkfha wdma; úIhh jk
idys;Huh;dj jkdys ix{d iy ix{s; w;r kj in|;djkaf.ka Wfma; jkakla nj olajk
Shklovsky" idys;Huh;dj wmrEmSlrK l%shdj,sfha lD;Hhla f,i o y÷kajd fohs' reishdkq
wdlD;sljdoh úiska y÷kajd fok ,o idys;H ks¾Kdhlhka w;r iqúfYaI ia:dkhla
idys;Huh;djg ysñ jkafka fï wkqj nj úpdrlfhda olaj;s'33
wmrEmS
wmrEmSlrKh jQ l,s reishdkq wdlD;sljd§ka úiska idys;Hh jHjÉfþokfha §
y÷kd .kq ,en idys;Hh msKsi wdjYHl mshjrla jYfhka fkdfyd;a fmdÿfõ fi!kao¾h
ks¾Kdhlhla jYfhka bÈßm;a lrk ,oaols' OSTRANENIE (=defamiliarization) hkqfjka
wdlD;sljdofha § kdulrKh flfrk fuu ixl,amh idys;Huh;dj újrKh fldg olajkq ms‚i
iïNdú; m%Odk ks¾Kdhlhla o fjhs' 1917 § Art as Technique kï iajlSh lD;sfhka wmrEmSlrK
ixl,amh y÷kajd ÿka Shklovsky, uQ,sl jYfhka u bka wmßÑ;SlrKh (estranging) fyda wjfndaOh
iaj,am ld,hla olajd mud lsÍu (prolonging perception) iy tu.ska yqremqreÿ úIhhka fyj;a
ix{djka flfrys" wjia:d flfrys fuka u ldjHdlD;sh flfrys mdGlhdf.a iajhxisoaO
iïnkaOhg ndOd meñKùu n÷ wre;la woyia l< neõ fmfka'34
ienE l,dj úúO úIhhka wmßÑ; (unfamiliar) fyj;a kqyqre-kqmqreÿ njg m;a lsÍu isÿ
lrhs' wdma; l,dlD;Syq tu.ska úIhhkays mj;akd l,d;aul;dj wkqN+;Ska njg m;a lr .kq ms‚i"
fkdfyd;a jpk iy woyia ms<sn| wmf.a wmßÑ;" iajhxisoaO fkdjk" kjH ixcdkkhka mila
lr .kq ms‚i Wmldr fj;s' wmrEmSlrKh jYfhka l,dj ;=< isÿ jk fuu l%shdj,sh
idys;Huh;dj i|yd wdjYHl nj Shklovsky wjOdrKh lr isákafka fï ksid h' l,dj iy
Ñ;a;rEmuh l,amkh lsisúg talSN+; fkd jk kuqÿ tl u; tl m;s; ùug yels nj;a" Bg fya;=
jkafka jevlghq;=" jia;%dNrK" .DyNdKav" hqoìh wdosh u;= fkd j hful=f.a Nd¾hdj mjd
jYfhka ish,a, jkid ouk mßÑ;SlrKh (habitualization) nj;a Tyqf.a u;h ù h' tfyhska
l,dfõ ld¾hh úh hq;af;a jia;+ka wdú¾Njkh jk úg tajd ms<sn| ixfõokh wkdjrKh lsÍu hs'
jia;+ka oek .kakg ,efnk úg fkd fõ'35
32
“...Language acquires poetic characteristics only in the concrete poetic construction.
These characteristics do not belong to language in its linguistic capacity, but to the
construction, whatever its form may be. The most elementary everyday utterance or
apt expression may be perceived artistically in certain circumstances. Even an
individual word may be perceived as a poetic utterance...”
Bakhtin, Mikhail - The Formal Method in Literary Scholarship – p. 84 f.
33
“...Despite Tynianov and Jakobson's attempt to connect the aims of Formalism to
the broader issues of culture (as an entire complex of systems), Russian Formalism
remained committed to the idea that literariness alone, rather than the referent and
its various contingencies, historical and otherwise, was the proper focus of literary
scholarship... ”
Jefferson - op.cit. – p. 81
34
úlD;SlrKh (deformation) kñka On Realism in Art iajlSh ixrpkfha § Jakobson
idlÉPd lrkafka wmrEmSlrK ixl,amh ms<sn| j u neõ m%;S; hs'
Ladislav Matejka and Krystyna Pomorska (eds.) - Readings in Russian Poetics
(1921) – Translated into English by Karol Magassy
vide. - http://www.centerforbookculture.org/context/no9/jakobson.html
35
“...Because habitualization devours everything, works, clothes, furniture, one’s wife,
and the fear of war, it is the role of art to impart the sensation of things as they are
perceived and not as they are known...”
 12

l,dfõ Wml%uh jkafka jia;+ka kqyqre lsÍu hs¦ fkdfyd;a wdlD;Ska lDÉPdjfndaë lsÍu
hs¦ ixcdkk l%shdj,sh u fi!kao¾hd;aul ksIaGdjla jk fyhska ixcdkk ld,mrdih §¾> lsÍu iy
lDÉPdjfndaëNdjh .=K lsÍu hs' tfia u l,dj jkdys jia;=jl l,d;aulNdjh ú| .kakd wdldrh
hs¦ úêl%uh hs' tys § jia;=j jeo.;a jkafka ke;' fyj;a jia;=j hkq l,dfõ yqÿ Wmpdrhla (pretext)
mu‚' wmrEmSlrK m%fhda.fhda jkdys l,d;aulNdjh .=K lrk m%fhda.fhda h' mßÑ; jia;= fyda
úIh kï fkd lr isàu kso¾Yk hs' fkdfyd;a m<uq jrg olskakd fia újrKh lsÍu hs'
Shklovsky ish lD;sfhys kso¾Yk olajk wdldrhg Leo Tolstoy fjfiiska fuu
wmrEmSlrK Ys,afmdaml%uh Ndú; lf<a h' Tolstoy úiska úrÑ; Kholstomer kï lD;sfha wdLHd;D
jkdys wYajfhls' ukqIH wdLHd;Djrhl=g jvd wYajhl= ta i|yd fhdod .ekSfuka tys l:dkaorh
wmQ¾j wdldrfhka bÈßm;a fjhs' War and Peace kï kjl:dfõ Tolstoy olajk hqoaOj¾Kkd ñka
fmr fkd jQ úrE fia yeÕS hkafka wmrEmSlrKfhka fyj;a mdGlhdg yqremqreÿ hqojekqïj,ska
neyer j bÈßm;a jk ksid h' Resurrection kï lD;sfhys § Tyq k.rh iy wêlrKh j¾Kkd
wdldrh o wmrEmSlrKh y÷kd .kq ms‚i wdma; kso¾Yk jYfhka Shklovsky olajhs'
YDÙ.drd;aul úIhh meyeÈ,s f,i u jl% j j¾Kkd flfrkafka tn÷ úIh tie‚ka
y÷kd .ekSu flfrka mdGlhd neyer lrkq mss‚i nj o 36 l,d;aul wdlD;sh mj;akd ;ek
wmrEmSlrKh /f|k nj o ms<s.kakg Shklovsky reÑ úh' tfy;a wmrEmSlrKh jkdys
YDÙ.drd;aul úIh ms<sn| m%fyA,sldjla fyda uD¥la;s oelaùfï yqÿ Wml%uhlg jvd il,úO
ldjHuh Ys,afmdaml%uhkaf.a moku hs'
Boris Tomashevsky jeks Shklovskyf.a iuld,Sk wdlD;sljd§yq" Jonathan Swift úiska
rÑ; Gulliver’s Travels l:dkaorfhys isõ jk fldgfiys ukqIHj¾.hdf.a iajNdjhka Gulliver
fyj;a tys wdLHd;D úiska j¾Kkd lrkq ,en we;s wdldrh wmrEmSlrKh i|yd wdma; kso¾Ykhla
f,i oelajQy' ukqIHhdf.a ÿIaglï iy uq.aO;d újrKh ms‚i idudkHfhka idys;Hfha §
fhdod .efkk uD¥la;s fjkqjg iudc úIu;d iy hqoaOfha l=ßre nj tys uekúka wkdjrKh
fjhs' ,s,smqÜgka Gulliver f.a lnd idlal=fjys we;s oE úia;r lrkafka Tjqkag tajd ixcdkkh jk
whqßka ñi idudkH ukqIHhl=g ixcdkkh jk whqßka fkd fõ' tfyhska wmrEmSlrKh tys
iem;a j isáhs' wmQ¾j;ajh yg .kS' fumßoafoka iqúfYaI idys;Huh l%fudamdhhka u.ska wkqN+;s
ixcdkkfha kejqï nj ;yjqre flfrhs' ^wmrEmSlrKh hkq Ndr;Sh fi!kao¾hfõoh wkqj
jfl%dla;sjdofha mefkk woyia iu. w;sYh ixjd§ ùuls'&
ldfjHdaml%u m%làlrKh (laying bare) o wmrEmSlrKh idlaId;a lr .kq ms‚i
mßNdú; ;j;a WmlrKhla jYfhka Shklovsky y÷kd .kS' wmrEmSlrKh u jvd úia;D; mßmQ¾K
ixl,amhla jYfhka bÈßm;a lrñka mQ¾jiaÒlrKh (foregrounding) kï idys;H ks¾Kdhlh
y÷kajd fok ,oafoa Prague k.rfha ia:dms; jd.aúoHd ljfha idudcslhl= jq Jan Mukarovsky
úisks' mQ¾jiaÒlrK ixl,amh u.ska idys;H lD;shl jdåuh uQ,dx. is;du;d úlD;s lsÍu fyj;a
wmrEmSlrKh jvd;a meyeÈ,s f,i újrKh lrkq ,eìKs' fï lrK fldg f.k miqld,Sk j
wmrEmSlrKh iy mQ¾jiaÒlrKh ixjd§ ixl,am f,i ú.%y lrk ,§' mQ¾jiaÒlrKh37 jkdys"

Shklovsky – Art as Device – p. 264

36
“...Hence sexual organs are referred to in terms of lock and key, or quilting tools, or
bow and arrow, or rings and marlinespikes. Quite often in literature the sexual act
itself is defamiliarized; for example, the Decameron refers to scraping out a barrel,
catching nightingales, gay wool-beating work, (the last is not developed in the plot).
Defamiliarization is often used in describing the sexual organs. Such constructions
as the pestle and the mortar, or Old Nick and the infernal regions (Decameron), are
also examples of the technique of defamiliarization... ”
Ibid. – p. 267f.
37
Bohuslav Havranek bÈßm;a lrk ks¾jpkh o jeo.;a h'
“...By foregrounding...we mean the use of the devices of the language in such a way
that this use itself attracts attention and is perceived as uncommon as deprived of
 13

idys;H lD;shl mj;akd idys;Huh uQ,dx.hla fmrgq fldg ;nk w;r u wjYHfhka u fjk;a
idys;Huh uQ,sldx. tlla fyda lsysmhla iajdëk lsÍu iy.dó fldg mj;skakla jYfhka woyia
flfrhs' mQ¾jiaÒlrKh yels ;rï uekúka fhdokq ,eîu u ldjHuh NdIdfõ lD;Hh fjhs' 38
mQ¾jiaÒlrK ixl,amh y÷kd .ekSu fya;= fldg f.k mYaÑuiaÒlrKh (backgrounding) kï jQ
wmr ixl,amhla o wdlD;sljd§ka fj;ska bÈßm;a úh' idys;H lD;shl we;eï idys;Huh uQ,sldx.
fmrgq fkd lsÍu fyj;a miq;,fhys ;eîu bka woyia lrk ,o nj m%lg hs' wdlD;sljd§yq
kso¾Ykhla f,i ryiamÍlaIl kjl:d i|yka lr;s' tn÷ ks¾udKhkays l;=jrhdf.a fl!Y,Hh
imqrd fy<sorõ jkafka mdGlhd wjidkh f;la u ks¾udKh úkaokfhys fhÿKfyd;a mu‚'
fyj;a l;=jrhdf.a l:dúkHdilrKfha olaI;d lD;sh ;=< wka;¾,Sk j" mYaÑuiaÒlD; j mj;S'
mYaÑuiaÒlrKh id¾:l jk ;rug tn÷ lD;shlska mdGlhd ,nk wdiajdoh ;Sj% fjhs'
wmrEmSlrKh id¾:l j bÈßm;a lrkq ms‚i m%udK jk jeo.;a ixl,amhla jYfhka
iajhxm%j¾;SlrKh (automatization)39 ixl,amh o wdlD;sljdoh úiska meyeÈ,s lrkq ,en ;sfí'
lsishï l,d;aul jia;=jla fuu l%shdj,sh lrK fldg f.k yqremqreÿ" jeo.;alulska f;dr yqÿ
úIhhla njg m;a fjhs' fyj;a l,d;aul jia;=jla jYfhka tys m%dn,Hh ySk fjhs' kjH iy
m%;skùlD; Ys,afmdaml%uhkag wmßÑ;" wmQ¾j l%fudamdh jYfhka fmkS isákakg
yelshdj ,efnkafka iajhxm%j¾;SlD; (automatized) l%fudamdh lsishï lD;shla ;=< mj;skafka kï
mu‚' fyj;a yqremqreÿ úIhhkaf.a meje;au ksid kqyqre-kqmqreÿ" wmQ¾j oE lemS fmfkhs' fï wkqj
wmrEmSlrKh iy iajhxm%j¾;SlrKh l,d;aul lD;shl wdlD;sh iy wka;¾.;h w;r in|;dj
újrKh lrk kjH jQ o .;sl jQ o ks¾jpkhla imhhs'
.;sl wkql,kh (Dynamic Integration) kñka reishdkq wdlD;sljdoh ;=< mefkk
ixl,amh o m%dud‚l jeo.;alula iys; fi!kao¾h ks¾Kdhlhla jYfhka i,lkq jà' moH rpkh
iïnkaOfhka olajñka meyeÈ,s lrf;d;a fuu ixl,amfhka woyia jkafka jdlH úkHdih" ßoauh"
kdo iy Yíoèjks wd§ ish¨ wdjYHl uQ,sldx.hkaf.a idOqiïnkaOh hs' Tynyanov fuka u
wkd.;jd§ lúhl= jQ Vladimir Mayakovsky o i;al,dlD;shl ;sìh hq;= fï .=Kh ms<sn| j úúO
woyia m< lr isáhy' wdlD;sljdofha we;eï ixl,am yd tlÕ fkd jk kuq;a Mayakovsky f.a
How are Verses Made kï lD;sh moH ixrpkfha § .;sl wkql,kfha jeo.;alu .eUqßka
úuikakls' ngysr fi!kao¾hjdofha Organic Unity fkdfyd;a Unity in diversity hkqfjkq;a"
mqrd;k Ndr;Sh fi!kao¾hjdofha iujdh iïnkaO hkqfjkq;a mefkk ixl,am wdlD;sljdoh
úiska oelafjk fuu ixl,amh iy uekúka meyefik nj lsj hq;= o fkd fõ' tfyhska m%dÖk
m%;sÖk fi!kao¾h{hka w; ixjd§ j jevqKla jYfhka .;sl wkql,k ixl,amh y÷kd .; ukd
h' l,dlD;sh iuia;hla jYfhka ie,lSfï wjYH;dj;a tys wxf.damdx. m%f;Hl jYfhka f.k
w¾>kh fkd l< hq;=" fkd l< yels nj;a Ndr;Sh fi!kao¾h{fhda o" m%;sÖk od¾Ykslfhda o40
reishdkq wdlD;sljd§yq o wjOdrKh lf<da h' fi!kao¾fhda;amdok lD;Hfha § o" úkaok lD;Hfha
§ fuka u w¾>k lD;Hfha § o tl fia jeo.;a jk .;sl wkql,k ixl,amh reishdkq wdlD;sljdoh
flfrka o ke.S wd úYajhSh m%dud‚l;ajhlska hq;= fi!kao¾h ks¾Kdhlhla jYfhka ie,lSu

automization, as deautomized, such as a live poetic metaphor as opposed to a

lexicalized one, which is automized... ”
The Functional Differentiation of the Standard language (1964) – p.9f.
38
“...The function of poetic language consists in the maximum of foregrounding of the
utterance, while the foregrounding of any one of the component is necessarily
accompanied by the automatization of one or more of the other components... ”
Mukarovsky, Jan (1964) – pp.19-20
39
Naturalization hkq o we;euqka úiska Automatization hk ixl,amh y÷kajkq msKsi
Ndú; hs'
40
Langer, Susanne K. – Problems of Art - pp.55-57
vide.- Osborn, Harold (1955) – Aesthetics and Criticism - Parker, Dewitt H. (1946) – The
Principles of Aesthetics
 14

tfyhska ijro fkd fõ' i;aidys;HlD;shla hkq tys Wmhqla; il,úO ffY,Sh Ys,afmdaml%uhkaf.a
talsNjkh hs (A work of literature is the sum-total of all the stylistic devices employed in it.)
hkqfjka oela jQ Rozanov Shklovskii fuka u idys;H lD;shl iujdh hkq w;sYhska iuñ;sl jQ
iuia;h tal;ajh fkd j .;sl wkql,kh hs¦ idys;H lD;shl wdlD;sh .;sl jQjla jYfhka
újrKh l< hq;= h (The unity of a literary work is not that of a close symmetrical whole, but …
of a dynamic integration.... The form of the literary work must be described as dynamic.) hs oela
jQ Tynianov o fuu ixl,amfha Wmfhdackh meyeÈ,s l< wdlD;sljd§yq jQy' úfYaIfhka u
Tynianov .;sl wkql,kh fj; n,mEï t,a, lrk uQ,sl idOl folla olajhs' iajdëk;dj
(autonomy) iy iudffc;sydisl l%shdj,sh (socio-historical process) jYfhks' l,d;aul lD;shla
iajdëk wia;s;ajhlska yd iajhxmd,s;Ndjhlska hq;= ùu o" iudc ft;sydisl ;;= m%lg lsÍu o .;sl
wkql,kfha iaMrKhka we;s lrkq iu;a idOl f,i Tyq olajhs' idys;H uQ,sldx. wfkHdkH
iyiïnkaO;dj mj;ajd .ekSfï wjYH;dj o" iuia;hla jYfhka úkd l,d lD;sh m%f;Hl j
wOHhkh lsÍfï ifodaI;dj o tu.ska m%;S; hs'
reishdkq wdlD;sljdoh idys;H úpdrh iy úksYaph fj; o fmdÿfõ fi!kao¾hfõoh fj;
o oela jQ odhl;ajh úuiSfï § l,d;aul m%fhda. (priyom>devices) o ie,lsh hq;= jeo.;alulska
hq;= N+ñldjla ysñ lr .kS' idys;Hh iu. u;= fkd j wfkl=;a fi!kao¾h wdlD;s iu. o
ks¾udKlrejd úiska isÿ flfrk ixjdohkays § Tyq Ndú; lrk Ys,afmdaml%u fuu.ska woyia
lrk ,§' NdIdj iajlSh ks¾udKd;aul woyia wNsjykh lrk udOHh jYfhka idys;Hlrejd úiska
iïNdú; w;r iskudlrejd rEm iy Yío o" Ñ;%Ys,amshd j¾K" f¾Ld iy yev;, o
fhdod .kshs' ;uka Ndú; lrk m%fhda. bishqï f,i wOHhkh lsÍfuka ,o mßphla o ta i|yd
jvkd ,o m%;sNdj o we;s ks¾udKlrejd fj;ska ìys jk ixks¾udK" wmrEmSlrKh iy
mQ¾jiaÒlrKh úiska .=K lrk ,o wmQ¾j;ajhlska Wfma; fjhs' fyj;a m%.=K lrk ,o l,d;aul
m%fhda. wmrEmSlrKh i|yd mQ¾jdjYH;djla (prerequisite) jkafka h hs wdlD;sljd§yq meyeÈ,s
lr;s' fuu m%fhda.hkaf.ka iuyrla mQ¾jiaÒlrKh flfrhs¦ fkdfyd;a wmrEmSlrKh flfrhs'
tu.ska wfkl=;a wm%Odk m%fhda. mßÑ; fyj;a mYaÑuiaÒlrKh jkq ,efnk fyhska l,d;aul
ixcdkkh kjH njg m;a fjhs'41 m%fhda.fhda jkdys yqfola tl,d j wmrEmSlrKh bgq l< fkd
yelaflda h' tneúka Tjqyq lD;sh ;=< l%shd;aul ùu u.ska ta bgq lr ,;s' mqk¾N+; Ñ;a;rEm
(recurrent images) hk m%fhda.h reishdkq f,aLlhkaf.a ks¾udKhkays mßNdú; wdldrh
Shklovsky óg kso¾Yk fia olajhs' 42 wdlD;sljdoh ms<sn| mYapd;a;k úpdrlfhda o
iajhxm%j¾;SlD; fyda mßÑ; m%fhda.h lsishï idys;H lD;shl wdlD;sh iu. olajkjdg jvd jeä
ióm in|;djla tys wka;¾.;h iu. olajk nj o" tu.ska m%fhda.hkaf.a jeo.;alu .=K jk nj
o ms<s.ks;s'43
kjH wdLHdkfõoh (Modern Narratology) úIfhys reishdkq wdlD;sljdoh isÿ l<
fufyjr fjfiiska u w.hkq ,nk fyhska wdLHdk kHdh ms<sn| j o ieflúka idlÉPd lsÍu
41
“...A device is a compositional feature of the literary work. Some are foregrounded
or made strange in order to renew artistic perception while others are, i.e.
they have become habitual... ”
http://www.unibuc.ro/eBooks/lls/RaduSurdulescu-FormStructuality
42
“...One device in modern artistic prose is very curious. To create an unusual
perception of things in modern prose there is a widely used device which has never
been described and which I would define as the recurrent image. In Russian
literature it is represented by Dostoevsky, Rozanov, Andrei Bely, Zamyatin and also
by the Serapion brothers. It consists in using a certain word (usually such a word is
orchestrated by means of repetition or else an exotic word is chosen) and then
equating all the other matter in the work of art to this word.... ”
http://www.centerforbookculture.org/context/no2/shklovsky.html
43
Jefferson, Ann – op.cit. – p. 36
 15

jáhs' idys;H lD;shl wka;¾.;h jeo.;a h hk nyqm%;s.Dys;h iy tlÕ fkd jk wdlD;sljd§yq

wdlD;sh (form) wêl;r m%dOdkHhla Wiq,k neõ olaj;s' Shklovsky wdlD;sh jvd jeo.;a jYfhka
y÷kd .kakjqka ienE fi!kao¾{hka f,i;a wka;¾.;h w.fka h hs i,lkakka yq§ckhka f,i;a
j¾. lrkafka fï ksid nj meyeÈ,s h'44 ix.S;h" Ñ;% ks¾udK iy idys;Hh hk ks¾udK m%j¾.
wdY%fhka wdlD;sh jvd;a jeo.;a jkafka flfia oe hs Tyq újrKh lr olajhs' fï wkqj lsishï
fi!kao¾hd;aul lD;shl wdlD;sl ,laIK we.hsK' idys;H ks¾udKhl mefkk wdnHdkh tys
iqúfYaIS wdlD;sl ,laIKhla jk fyhska tys Wmfhdackh ms<sn| j mD:q, idlÉPd we;s úh' l:dj
iy l:dúkHdih ms<sn| j wdlD;sljdofha bÈßm;a jk u;jdo kQ;k wdLHdkfõofha we;eï
wNsj¾Okhka i|yd m%udK j mj;s;e hs lshefjkafka tfyhsks'
l:d îch (Fabula > story) jkdys wdLHdkhla njg m;a ùug ilia flfrk idys;H
wuqøjHhkg reishdkq wdlD;sljd§ka úiska fhdok ,o wNsOdkh hs' th ld,dkql%ñl isoaêkaf.a
ixys;djls' l:d îcfha isoaê mefkkafka wdLHdkfha isoaê mekS hd hq;= wdldrhg u fkd j isÿ jQ
ms<sfj< wkqj hs' wdLHdkhla jYfhka fmkS isákq ms‚i l:d îch ilia l< hq;= fjhs' fï ilia
lsrSu ms‚i wdjYHl l:d úkHdih (Sjuzhet > plot) jQ l,s yqÿ ld,dkql%ñl isoaêoduhla jk
l:dîch fuka fkdj iïmQ¾Kfhka u idys;Huh" l,d;aul ixia:dmkhls' mud lsÍï" w;=re l:d
fh§ï" ld,dkql%uh ì| oeóï wdÈh u.ska l:d úkHdih l:d îch ixúOdkh lrhs' ieneúka u l:d
úkHdifha ld¾hh l:d îcfha wdLHdkrEmh wmrEmSlrKh hs' l:dfjka l:d úkHdih fjka fldg
y÷kd .kq ms‚i ks¾udKlrejd m%;sNdkaú; úh hq;= h' l:dfõ isoaê ld,dkql%uh iy fya;=M,
iïnkaOh u.ska ine|S we; o l:d úkHdih ilia lrkq jia l;=jrhd tu isoaêkaf.a hf:dala;
iajNdjhka fj; u fkd /|S tajd WÑ; mßÈ m%;sixúOdkh l< hq;= h' m%;sksfõYkh lrk ,o w;=re
l:d" l;=jrhdf.a w¾:l:k fyda újrK wd§ jYfhka wdLHdkfha .,kh úikaê lsÍï mjd mej;sh
yels h' fï ikso¾Yk fldg olajkq jia Shklovsky olajk wdma; kso¾Ykh kï Lawrence Sterne
f.a Tristram Shandy kï kjl:dj hs'45 Tyq meyeÈ,s lrk wkaoug mqkrela;sh iy iudkNdjh
iys; jD;a;dka;hkays oelsh yels fidamdk ixiaÓ;sh (staircase structure)" jHdc ksIaGdjla iys;"
úixjd§Ndjh jHdma; j mj;akd idys;H lD;Skays yuq jk wxl=Yd
hudk ixiaÓ;sh (hook-like structure) iy oaú;aj l:d úkHdihka fh§u (double-plotting) úúO
l:d úkHdi úfYaI i|yd ukd ksoiqka fõ' l:d úkHdih tlaflda i;HdNdifha wjYH;d ksid
im%dKS fõ' ke;fyd;a mdGl wfmalaId iqka lrñka fy<sorõ ù wm%dK j hhs'
l:d úkHdih wNsj¾Okh hk f;audj hgf;a u reishdkq wdlD;sljdofha idlÉPdjkag
md;% jQ ;j;a wxYhla jQfha l:dfõ mßiaÓ;sh ;=< wdLHd;Df.a iajrh ysñ lr .;a N+ñldj hs'
Eikhenbaum úiska Skaz jYfhka kï lrk ,o wdLHdk úfYaIh ;=< wdLHd;Df.a N+ñldj
fkdfyd;a iajrh mQ¾jiaÒlrKh lrkq ,efí' tu N+ñldj l;=jrhdf.a N+ñldfjka fjkia jQjla ùu
wdjYHl hs' wdLHd;Df.a jdlafldaIh" jHdlrK úfYaI;d" m%ldYk èjksh wdÈh Tyqg u wdfõ‚l
o" iqúfYaIS o fõ' Skaz jkdys Yaf,aId¾:" rEÎ" ckY%e;sh" bx.s;s fyda wkqlrK wdÈh u; mokï úh
yelalla nj wdlD;sljdofha lshefjhs' wdLHd;D iy l;=jrhd w;r jd.affjIhsl iy {dkrEmS
44
“...The so-called aesthetes, lovers of the beautiful, say that for them the important
thing in art is not what, but how, i.e., the main thing is form... ”
Viktor Shklovsky - Form and Material in Art
Vide. - http://www.centerforbookculture.org/context/no2/shklovsky.html
45
“...All the devices of the novel are set in motion without any apparent need on the
part of the novelist to impose coherence upon them or to justify them. Characters are
introduced without any preamble, and then left hanging in mid-gesture. Digressions
are appliqued into the narrative in such a way that they overlap with it and displace
its center. Narrative time is set off against event time against the expectations of the
characters in many different and unpredictable ways... ”
Formalism and Theory of Narrative - Encyclopaedia of Literature – p. 1289f.
q.v. – Lemon and Reis. – op.cit. – p.57
 16

mr;rh idfmalaI jYfhka l=vd fyda .%yKh lr .kq ÿIalr jk fyda" W;a;umqreI wdLHdk iajrhka
iys; fyda lD;Ska Skaz hgf;a olajkq fkd ,efí' Daniel Defoe f.a Robinson Crusoe kjl:dj
tnkaolg kso¾Ykhla f,i wdlD;sljd§yq olaj;s'
reishdkq wdlD;sljdoh úiska fi!kao¾hfõoh fj; olajkq ,en we;s odhl;ajfha m%udKh
iy iajNdjh wOHhkh lrkq ms‚i fumßoafoka fkdfhl=;a msßlaiqï l< yels nj úYo hs' tu.ska
mYapdoaúma,ùh reishdfõ W;amkak ;okka;r úpdrjdo iy kHdhsl wdia:dkdÈhg ,enqKq fmdaIKh
o wys;lr n,mEï o tfuka u kjH úpdrdf,dapkd wdf,dalj;a lrkq ms‚i ,enqKq wdNdih o
úuish yels fjhs' flfia j;=ÿ reishdkq wdlD;sljdoh fkd u| jQ m%;sfrdaOd;aul úpdrhkg o ;=vq
ÿka idys;H jHdmdrhla jQ nj o fkd u;l lsÍu fkd uekú' Mikhail Bakhtin udlaiajd§ kHdh
Ndú; jk wkaou ms<sn| oeä wjOdkhlska lghq;= l< úpdrlhl= jQ w;r reishdkq wdlD;sljdoh
úiska bÈßm;a jQ fndfyda fi!kao¾h ixl,am úfõpkhg ,la fldg ish u;jdo fmrgq l< neõ m%lg
hs' wdlD;sjdoh úiska jrojd w¾:l:kh lrk ,oe hs ie,l+ we;eï fi!kao¾h kHdh i|yd jvd;a
mD:q, iy kjH;r w¾:l:k o fya iemhS h' 46 wdlD;sljdofha ksfIaOd;aul m%fõYh ms<sn| j
idlÉPd lrñka Bakhtin olajkafka wdlD;sljd§ka ldjH NdIdj ffoksl jHjyD; NdIdj fkd jk
njg ksfIaOd;aul wdl,amhlska i,lkq ,eîu w;d¾lsl nj hs' ikaksfõokh idudkH jHjyD;
NdIdfõ w;sYhdjYHl wx.h jk w;r bÈka lõni bka neyer kï thska ikaksfõokhla isÿ
jkafka flfia oe hs hkq Tyqf.a idOdrK ;¾lh hs' fufia u" wmrEmSlrKh iodpdr mokula u;
isÿ jkakla úkd ldjHd;aulNdjh b,lal fldg f.k isÿ fkd flfrkakla nj;a"47 ldjH NdIdj
jQ l,s ixia:dmkh u.ska ìys jkakla úkd WmNdIdjla fyda úfYaI NdId m%j¾.hla fkd jk nj;a"48
wdLHdk kHdh hgf;a wdlD;sljdoh wjOdrKh l< mßÈ l:d úkHdih l:djg jvd jeo.;a h
hkak ijro nj fyj;a l:d úkHdih yqÿ m%fhda.hla muKla jk w;r ksIaGdj jkafka l:dj u
nj;a"49 ldjHuh w¾: jkdys yqfola ixia:dmkfha § biau;= jk w¾: f,i fkd j jpkhkaf.a
kscd¾: .=ŒN+; j meñŒula nj;a wjOdrKh lf<a h' Bakhtin f.a lD;Ska yereKq l, Vladimir
Mayakovsky rpkd l< How are Verses Made (1926) kï lD;sh o reishdkq wdlD;sljdoh fj;
t,a, lrk ,o wj{diy.; oDIaàkaf.ka .yK jQjla f,i m%lg hs'
flfia j;=ÿ idys;Hh iy fmdÿfõ fi!kao¾hfõoh iïnkaOfhka tf;la mej;s woyia
kj u.la fj; fhduq lrkq iu;a jQ m%dud‚l úpdr jHdmdrhla jYfhka reishdkq wdlD;sljdoh
y÷kd .ekSfï ndOdjla ke;af;a h' bÈka úis jk ishjfia idys;H úpdr iïm%odh fj; muKla jqj
wdlD;sljdofhka ,o Wreuh úuif;d;a u;= mefkk odhdohka oelaúh yels h hs we;eï úpdrlfhda
mji;s'50

1' idys;Hh flfrys úoHd;aul m%fõYh (scientific approach to literature)

2' idys;H lD;s m%;H¾>kh (reevaluation of the literary work)51

46
Bakhtin - The Formal Method in Literary Scholarship – p. 91
fuu lD;sh Pavel Medvedyev úiska úrÑ; he hs we;efula i,l;s'
47
“...Thus, an object is not made strange for its own sake, in order that it be felt, in
order to ‘make a stone stony,’ but for the sake of something else, a moral value,
which against this background stands out all the more sharply and vividly precisely
as a moral value... ” Ibid. – p. 60
48
“...Language acquires poetic characteristics only in the concrete poetic construction.
These characteristics do not belong to language in its linguistic capacity, but to the
construction, whatever its form may be. The most elementary everyday utterance or
apt expression may be perceived artistically in certain circumstances. Even an
individual word may be perceived as a poetic utterance...” Ibid. – p.84
49
Ibid. – p. 79
50
vide.- http://www.findarticles.com/p/articles
51
“...they placed the study of the actual work of literature at the centre of scholarship
 17

3' wdlD;sh iy wka;¾.;h oaúOdlrKh flfrys idjOdk ùu (awareness of the

problematic dichotomy of content and form)
4' Yío rgd flfrys tald.%djOdkh (focus on sound patterns)
5' mGkh iy mdGlhd fj; fhduq jQ ie,ls,a, (shift of attention onto reading
processes)

reishdkq wdlD;sljdoh mYapd;a;k iy w;smYapd;a;k we;eï fi!kao¾h ixl,am ckkh

flfrys o" iuyrla ixl,am wNsj¾Okh flfrys o" ;j;a iuyrla ì| fy<kq ms‚i o odhl jQ
wdldrh c.;a fi!kao¾h b;sydifhka m%;S; hs' idys;H úIfhys u;= fkd j kdgH l,dj" iskudj"
Ñ;% iy uQ¾;s l,d wdÈfhys mjd reishdkq wdlD;sljdofha wdNdih úoHudk jk ieá wOHhkfha §
o; yels h' Sergey Eisenstein f.a iskudl,dfjys mefkk ifudaOdk (Montage) m%fhda.h iy
Bertold Brecht f.a iqm%lg kdgH isoaOdka;h jk ¥riaÒlrKh (Alienation Effect) muKla jqj óg
foia fok kso¾Yk hs' kjH úpdr isoaOdka;hka fndfyduhla mjd wdlD;sljdofha fmdaIK
Odrdjkaf.ka Yla;su;a j mj;S'52 tfyhska fi!kao¾h kHdh iy Ndú;h ms<sn| u;= fkd j fmdÿfõ
fi!kao¾h b;sydih ms<sn| wOHhkh ms‚i reishdkq wdlD;sljdoh fj; t<öu yqfola Ñrka;k
fi!kao¾fõo jHdmdrhla fj; flfrk idïm%odhsl mqk¾.ukhla u fkd j kjH;r yd idOq;r
wdia:dk .fõIKh ms‚i wkd.;h fj; flfrk iM, m%hdKhle hs o lSu ijro fkd jkq we;'

Selected Bibliography

1. Coyel, Martin et al (ed. 1990) – Encyclopedia of Literature and Criticism – NewYork - Gale Research Inc.
2. Hawkes, Terence (1977) – Structuralism and Semiotics – London - Methuen & Co. Ltd.
3. Hawthorn, Jeremy (1994) – A Concise Glossary of Contemporary Literary Theoy – London – Hodder
Headline Group
4. Jefferson, Ann and Robey, David (1986) - Russian Formalism in Modern Literary heory: A Comparative
Introduction - New York - Batsford Ltd.
5. Langer, Susanne K. (1957) – Problems of Arts – London, Routledge
6. Lemon, Lee T. & Reis, Marion J. (eds. Ans trans. 1965)– Russian Formalist Criticism : Four Essays
–Lincoln – University of Nebraska Press
7. Mayakovsky, Vladimir (1990) – How are Verses Made – Bristol – Bristol Classical Press
8. Osborn, Harold (1955) – Aesthetics and Criticism – London
9. Parker, Dewitt H. (1926) - The Analysis of Art – Yale - Yale University Press, (1946) The Principles of
Aesthetics - NewYork - Appleton Century Crofts Inc.

and relegated biographical, psychological, and sociological studies to its

periphery...”
Wellek - op.cit. – p. 324
52
“...From Barthes, through Kristeva, to Derrida, who by returning to Nietzsche is
referring literature back to the moment of Formalism, it is now possible to see
clearly how the fundamental theoretical components of such key poststructuralist/
postmodernist/postcritical concepts as the death of author, the writable (as opposes
to the readable) text, the degree zero of writing, desire in languages, difference, and
many other attempts to conceptualize the pleasure (and pain) of the text on the basis
of a sound grammatology and an intrinsic historicism, owe propound debt to the
work of the Russian Formalists... ”
Encyclopaedia of Literature and Criticism – p. 1292
 18

10.Weitz, Morris (1959) – Problems in Aesthetics – New York - The Macmillan Co.
11.Wehrle, Albert J. (transl.1978) - Mikhail Bakhtin : The Formal Method in Literary Scholarship: A
Critical Introduction to Sociological Poetics – London - The Johns Hopkins
12.Wellek, Rene (1969) – The Literary Theory and Aesthetics of the Prague School – Ann Arbor –
University of Michigan Press

URLs (selected)

1. http://www.unibuc.ro/eBooks/lls/RaduSurdulescu-FormStructuality
2. http://social.chass.ncsu.edu/wyrick/debclass/overform.htm
3. http://www.uni-kassel.de/fb8/misc/lfb/html/text/6-4
4. http://courses.essex.ac.uk/lt/lt204/lingpoetics.htm
5. http://www.unisa.ac.za/default.asp
6.http://www.centerforbookculture.org/context
7.http://www.findarticles.com/p/articles /mi_m2342/is_n4_v29/ai_18348510/pg_2
8.http://mural.uv.es/omaher/rusform.html
9.http://www.press.jhu.edu/books/hopkins_guide_to_literary_theory