L. Tolstoy’s “Poetics of the Word”

The analysis of sound repetitions and poetic etymology makes it possible to gain a deeper understanding of the semantic structure of a literary work. Of particular importance is the method of the “poetics of the word,” developed by V.P. Grigoriev, which helps to uncover hidden associations and semantic resonances within the sound of words. Phonogrammatic sequences in Leo Tolstoy’s “Anna Karenina” play a key role in shaping the profound semantic connections and symbolic fields of the text. The aim of this article is to identify and interpret these semantic and poetic correlations, which allow us to view “Anna Karenina” not only as a socio-psychological drama, but also as a complex poetic text, rich in inner rhythms, repetitions, and sound correspondences. The focus is on significant phonic parallels such as the chains “Anna — strannaya” [‘strange’] or “Karenin — career — carriage”, which create a distinctive poetic fabric of the novel. These patterns reveal characters and their actions, conflicts and motives, while also reflecting their social status and emotional state. Of special relevance is the episode of the horse race, where the sound patterning and lexical repetitions intensify the drama of the scene while simultaneously highlighting the discursive interplay of semiotic and semantic connections between the image of the horse and that of the heroine. This approach demonstrates how the poetry of the word — the expressive power of language — becomes an integral part of the prose structure of “Anna Karenina”, shaping Tolstoy’s poetic worldview and his individual style.