მონოლოგური და დიალოგური დისკურსი და მიმართვის ფორმები პიერ კორნელის „ჰორაციუსის“, „ცინას“ და „პომპეუსის სიკვდილის“ მიხედვით

ანოტაცია

 In Pierre Corneille's "Roman Tragedies"-“Horace”, “Cinna” and “The Death of Pompey” the types of dramatic discourse – dialo­gues and mono­logues – occupy an important place. Dialogues and monologues have the function of self-expression of the characters.

 Monologue is one of the best ways to illustrate the characters' thoughts and inner feelings. According to the poetics of classicism, when the character is alone on stage, the principle of persuasiveness requires that he express his thoughts, which he often expresses in the form of a dialogue with himself, which he or she does not want anyone to hear.

 Through the monologue of the characters of Corneille's tragedies they not only carefully examine the hidden sides of their souls and convince themselves of the necessity of certain actions, but also examine and review possible decisions and the advantages and disadvantages of these decisions.

 In “Horace”, “Cinna” and “The Death of Pompey” the mono­lo­gue has the following functions:

1. Through monologue, the actors of the tragedy express their personal feelings and attitudes.
2. Through monologue, the characters of the tragedy judge and analyze this or that idea and point of view.

Dialogue, like monologue, is a basic and important form of dramatic speech. P. Cornielle perfectly uses dialogues in "Roman tra­gedies" for the purpose of exchange of ideas between actors, tho­rough reasoning about the problem and persuasion of the interlocutor.

1. Corneille's emotionally charged dialogues with a high tragic register express the pathos and ethos of the actors, their thoughts and inner feelings.

In “Horace”, “Cinna” and “The Death of Pompey” Pierre Cor­neille, in addition to monologue and dialogic discourse, uses such rhetorical-stylistic means as: formal ("you") and informal ("you") forms of address and apos­trophes – "Seigneur", "Madame", "Princess", "Prince", "reine" and others. The use of the formal – "you" form of address is related to the rule accepted in the aristocratic society of France during the Pierre Corneille era, according to which the aristocracy mainly used the formal "you" of address in the 17th cen­tury. Pierre Corneille created tragedies, first of all, for the king and the society of the royal court, and the vocabulary of the acting heroes of the tragedy should be high and pathetic.

 As for the „you“ informal of address, its use by the characters indicates their emotional change, and the use of apostrophes orga­nizes the inter­locutive space in which the speakers, using evidence, in a state of emotional rapture or affect, directly convey what they have to say.