Pushkin's tradition in the formation of the image of the garden in poetry and. Annensky

Raisky Boris Pavlovich is one of the main characters of the novel. A rich nature, multi-talented, a bit of an artist, musician, writer, composer, but mainly a focus of various life experiences for the sake of their further artistic processing (this is how Raisky himself perceives his own purpose). Boris Pavlovich is an ardent preacher of passion and obsession in any form. At the beginning of the novel, the hero is about thirty-five years old.

Initially, the novel “The Precipice” by Goncharov was called “The Artist”; the figure of Raisky was designated as the main one in it. According to the plan, this particular character was supposed to personify a force that, having awakened, cannot yet find a place for itself in a breaking reality. It was no coincidence that Goncharov considered all three of his novels as a trilogy - Raisky in this sense is the concluding character after Alexander Aduev (An Ordinary History) and Ilya Oblomov (Oblomov).

Among the literary predecessors of this hero, first of all, it is necessary to name Griboyedov’s Chatsky. To his cousin Sofya Nikolaevna Belovodova, who responds to his fervent sermon that he reminds her of Chatsky, Raisky says: “... It’s true, I’m funny, stupid... maybe I, too, got to the ball from a ship...”. “Son of Oblomov,” as Goncharov himself wrote about Raisky, can be called, not least of all, “son of Chatsky,” but with the specific connotation that the era of the 1840s imposed on this type.

In criticism, the character of interest to us was often compared with the characters of Turgenev - most often with the artist Gagin (“Asya”), traveling with his sister in Germany and sometimes painting landscapes. What is significant, however, is not only the similarity, but the little-noticed difference. Raisky, in comparison with Gagin, has a much more purposeful personality, a “nervous, passionate, fiery and irritable” nature, although these qualities are not directed in the same direction.

At the end of the novel conceived by Goncharov, Raisky was supposed to come to the idea that service to art is service to man, and to find himself precisely in such service. This is how, according to the plans, the trilogy was to develop: the romantic soaring of Alexander Aduev was rejected, as was the excessive earthiness of Pyotr Ivanovich Aduev, the “enchanted dream” of Ilya Ilyich Oblomov was contrasted with the dry, naked theory of the matter in the person of Stolz, and in the last novel a true awakening was to be expressed a Russian nobleman who managed to find the true ideal. But it only partially worked out as planned.

Talent colors all of Raisky’s undertakings, whether we are talking about an unfinished manuscript called “Natasha,” which describes the first love of a very young hero for an equally young and inexperienced girl who later died of consumption, about a portrait of Sofia Belovodova, or about sculptural sketches. For this hero, art is not a goal, not a vital necessity, not a means of livelihood, and therefore the hero cannot concentrate on anything completely, and every time some new dream, an unknown ideal beckons him to itself, forcing him to leave what he started and get down to work. other.

Raisky in “The Precipice” holds together various plot lines of a large-scale narrative, “provokes” a variety of characters to maximum self-expression. In this capacity, he again resembles Chatsky, who excited Moscow society with his arrival, with an attempt to intervene in the fate of everyone with whom fate brings him together in Famusov’s house.

Another important theme, important for all Russian literature, is connected with the image of Raisky - the artist’s knowledge of himself in a system of various contradictory connections with the world. Goncharov inherited it from Pushkin (“Egyptian Nights”). Having become almost exclusively the property of poetry, this theme was returned to prose by Goncharov. Having tried his hand at painting, music, and sculpture, Raisky intuitively gravitated toward literature, toward the novel, which most fully and objectively expresses life in all its interrelations and contradictions. But not being a creator in the true sense of the word, the hero represents the type of improviser captured by Pushkin in “Egyptian Nights” - the type of person inflamed by someone else’s feelings, thoughts, words. This is how Paradise is inflamed by the indifference and “marbledness” of his cousin Belovodova, the philosophy of life of Mark Volokhov, which is unclear to him, and most of all, the mystery of Vera, in which he feels a mysterious isolation, which he cannot understand and decipher.

Throughout the novel “The Precipice,” Raisky evokes the most contradictory feelings: he grabs at everything, doesn’t bring anything to the end, wants creativity to be given to him without difficulty, and talks haughtily about literature and art. The hero is obviously selfishly trying to kindle passion in his cousin Belovodova, but he failed to notice and appreciate true passion - poor Natasha died as unnoticed as she lived. Arriving at his parents' estate Malinovka, he immediately begins to disturb the peace of his innocent cousin Marfenka, trying to awaken feelings in her, then it is Vera's turn... The hero literally torments her, asking for secrets, almost searching her room, asking first for love, and then - at least for friendship... However, the author constantly emphasizes the attractive features of Raisky: “The colors of this magical pattern, which he selected as an artist and as a tender lover, changed, he himself constantly changed, then falling into dust at the feet of the idol, then getting up and thundering with laughter your torment and happiness. Only his love for goodness, his sound view of morality did not change anywhere.”

Raisky in the novel “The Precipice” is a true ideologist of passion, he preaches it everywhere and to everyone, even to his grandmother Tatyana Markovna Berezhkova, whom he treats with tender respect and sincere love, unaware of the deep inner world of this “sweet old lady.” The hero believes that only passion is a panacea for eternal sleep and stagnation, trying to “infect” those around him with it, but he himself cannot answer the question: what is passion? One thing is obvious: for the hero it is a certain system of perception of the world, in which love becomes an important element, and everything else appears as a bright, fulfilling life, rapidly and violently rushing forward. Raisky cannot explain this, so in the novel Goncharov gives several very subtle and accurate parodies - they are intended to practically embody Raisky’s theoretical calculations. This is the city “socialite” Polina Karpovna Kritskaya, and Savely and Marina, Berezhkova’s courtyard people.

Raisky is trying to break his loneliness, and unlike Turgenev’s characters, he succeeds: a moment comes in the hero’s life when he can bring real benefit to his loved ones, when he finds, if not a social, then at least a human career; Vera’s drama, as if resurrecting the old drama of Tatyana Markovna, will require specific actions from the hero so that the old “sin” is forgotten and a new one does not become the property of the crowd. The drama of the teacher Kozlov, from whom his wife ran away, will require the participation of Raisky - direct, effective, expressed at least in providing his old friend with shelter and food...

Goncharov’s hero is a kind of “bridge” between the “extra people” of the early 19th century. and Chekhov's heroes. His contradictions deepened and concentrated by the end of the century in heroes like Voinitsky (“Uncle Vanya”), Trigorin (“The Seagull”), Ivanov (“Ivanov”). The mirage of the matter and the inability to serve the ideal, the analysis that corrodes the brain and feelings, the inability to truly experience, the realization that “Schopenhauer, Dostoevsky” could come out of you, and the inability to overcome the bustle of everyday existence... A personality who had yet to gain a position for himself in Russian literature for several decades, Raisky opens a series of intellectual heroes who simultaneously irritate and evoke deep compassion with their tragic inaction in public life or in everyday life.

For the worthy glorification of the holy saints of God and the prayerful edification of those turning to them, hymnographers often use various images. In New Testament times, when Jesus Christ opened the doors of heaven to us through His suffering, the theme of heaven became important and widespread. The Bible says: And the Lord God planted paradise in Eden in the east, and brought there man, whom he also created.(Genesis 2:8). The image of paradise and paradise plants is often found in ancient Russian literature. The image of paradise and the Garden of Eden is a stable topos in liturgical texts. Hymnographers also glorify the heavenly Tree of Life, the Tree of the Cross, growing in it, since in New Testament times they are associated with the Giver of life, Christ the Savior and His redemptive feat. Along with the Tree of the Cross, the creators of the chants name other plants and flowers in the composed texts to glorify the various exploits of the holy saints of God.

Hieromartyr Eusebius of Samosata (†380; commemorated June 22): “Like a thorn, like a fragrant wine, like the paradise of God, you appeared, having in the midst of life a tree, the Maker of all and the Lord.” Thus, like a rose and a lily, the holy hierarch had the Lord Creator at the center of his life. In the service to the Origin of the Life-Giving Cross of the Lord it is said: “Having been planted in the middle of the earth, the Honest Cross now stretches out its branches... and overshadows all those who worship it.” The disciples of Christ brought the word of the Gospel to people. Apostle Carp (I; memorial May 26), one of the seventy, preached: “As a good gardener, you showed people the Animal Tree, from the Worthless poison, you will live... forever.” In the service to St. Ferapont of Mozhaisk (†1426; commemorated on May 27), the true Gardener of the Garden of Eden is called “The All-Blessed Vertogradar, Christ.”

The patron saint of vegetable gardening and horticulture is the holy martyr Conon the Gradar (comm. March 5), a native of Nazareth of Galilee, who suffered for Christ under the Roman Emperor Decius (249–251). In the ancient service he is told that he was grafted into the kinder Olive Tree - Christ. His image appears on the frescoes of the Novgorod Church of the Savior on Nereditsa (XII century) and is distinguished by the presence of a red rim in the halo. It is assumed that “the red rim could be thought of as an extremely compact symbol of the beauty of gardens, the subject of Konon’s earthly cares. A viewer with a sufficiently developed symbolic instinct could easily guess in the red component of the fresco, located in such a significant place as a halo, that is, in the very center of spirituality, a reflection of what makes the garden red - red-cheeked apples, ripe cherries, currants, raspberries.”

The personification of heaven on earth are monastic monasteries, and their ascetics are glorified for their monastic exploits and equal-angelic life. With the adoption of Christianity, monasteries appeared in Rus' and prayer books about the Russian land began in them. Gardens are built in monastic monasteries and they are called gardens of paradise or vertograds. The “Tale of the Destruction of the Russian Land” of the 13th century says that it is decorated with “monastery grapes.” Translated into Russian, this idea is conveyed as follows: “monastery gardens.” “The monastery gardens were located within the monastery’s fence and served as images of paradise.” Ancient Russian people were characterized by a very reverent attitude towards the garden and its plants.

The theme of the ascetic life of monks is reflected in hymnography. In the service to St. Demetrius of Prilutsk (†1393; commemorated February 11) it is said: “He was zealous for the life of angels, holy, imitating those angelic lives.” Below, the Church addresses him: “O blessed Father Demetrius, you have appeared as a citizen of the mental paradise, the brightest vine of Christ’s grapes, the fruit of eternal life.” In the service to the Council of Radonezh Saints we read: “Like a prolific herd, the monastery of the Life-Giving Trinity appeared on the land of Radonezh.” The service to St. Micah of Radonezh (†1385; commemorated on May 6) says: “Rejoice, O desert of Radonezh, who sprouted spiritual crops in the helicity of St. Sergius.”

The great ascetics of the Church are imitators of Christ and fulfillers of His commandments. Hieromartyr Polycarp of Smyrna (†167; commemorated Feb. 23) sealed his fidelity and devotion to God with his suffering, and now in the service he is called “A fruitful garden of virtues appeared to the Lady.” In the service to Saint Nikita of Novgorod (†1108; commemorated January 31), it figuratively speaks of the fruits of his archpastoral care for the flock entrusted to him: “Like a garden of ever-blooming trees, you created your people, increased them in piety, you multiplied them, and from this you are a faithful servant and the worker of Christ’s grapes appeared to you.” In the service to the Hieromartyr Clement of Ancyra (†312; commemorated on January 23), the image of the garden is used to describe and glorify the sufferings of the holy hierarch: “Behold, seeing your suffering, the flowers of your wounds, blessed, rejoicing, we reap yours and delight our senses with various miracles.” The image of a garden with many valuable trees is shown in the service of the Kiev-Pechersk fathers, whose incorruptible relics rest in the Far Cave (memorial August 28): “Thou art enclosed in Vertograd, holy cave, in thee the Most High Planter planted many trees, God-bearing father, Like the cedars of Lebanon, which reach as high as the heavens, marveling at them, I sing a song to my God.”

The Creator and Giver of our life is the Lord. In hymnography, this truth is depicted through the image of the Tree of Life, which personifies Christ the Savior. The Monks Vassian and Jonah of Pertomin (†1561; commemorated on June 5), laboring on Solovki, “...were worthy... The trees of the garden were born, and your fruit was born of suffering and your crowns flourished.” Through his exploits, the Monk Paphnutius of Borovsk (†1477; commemorated on May 1) “...thou hast reached the breadth of Paradise and the Tree of Life” now receives communion. Below it is said that the ascetic “made the desert like a mental paradise, bringing Divine flowers.” The Venerable Nil of Sorsky (†1508; commemorated on May 7), who founded a skete for monastics seeking special solitary exploits: “A mental paradise appeared... growing flowers of various virtues, he brought red fruits to his Master.” Images of the plant world are used to glorify the Sorsky ascetic, to which believers are called: “... let us crown you like flowers, weaving crowns of praise... Rejoice, the most red flower of the monastics, vegetated in the desert fields... Rejoice, fruitful tree, psalmically planted at the issue of the waters and with the fruits of corrections and Your God-wise writings nourish many monastics.” The Monk Gerasim of Vologda (†1178; commemorated March 4) is glorified as “a fragrant flower garden and a paradise of sweetness.”

In the Sacrament of the Eucharist, wine is used and therefore an important feature of the theme of “plants” in hymnography is the vine, bunches, grapes, wine. The ascetic and ascetic, Venerable John Climacus (†649; commemorated March 30), is known for his labors and immortal creation, by which Orthodox believers are edified: “Father, you raised the clusters of faith with your Divine husbandry, and you put it into the winepress, and you drove out the labors of learning, and having filled the cup of spiritual abstinence, gladden the hearts of your flock.” In the service for the Finding of the Relics of the Holy Martyrs in Eugene (commemorated on February 22) it is said: “Like the grapes of an immaterial being, the bunch of God-wisdom has blossomed for us and the wine has flowed out of immortality for all to see.” The Monk Zosima of Solovetsky (†1478; commemorated April 17) labored in the north, on Solovetsky Island in the White Sea, and in his service it is said about the southern grapes: “The vine is fruitful, father, your soul was quick, pouring out the wine of tenderness for us, purifying passions and divinely joyful to the soul.” In the service of St. Eutychius of Constantinople (†582; commemorated April 6): “A heavenly planted rod in the courts of God, thou hast vegetated the gobbled fruits of virtuous deeds.”

An oil plant grows in the south, the fertility of which is often noted in liturgical texts. Saint Leo of Catania († c. 780; commemorated February 20) is glorified in the service: “Like an olive tree, father, which was planted and became fruitful in the house of the Lord, bearing fruit after your death, from your divine body the Divine oil, always driving away every ailment of the faithful, flowing to you with love, wisely.” About the Venerable Cosmas of Yakhromsky (†1492; commemorated Feb. 18) it is said: “The olive tree is truly fruitful of God, you were, O Reverend”; Below, the ascetic is glorified: “... Rejoice, beautiful creature, who has drawn everyone to Christ with his loving gaze.”

Of the flowers in liturgical texts, the lily is obviously most often spoken of. “Like a creen, in your mental pleasures you flourish, you fill everything with the Divine stench” - this is how the martyrs like Eugene are glorified. Just as various plants are planted in a garden, so hymnographers often name several plants in one liturgical text, comparing the saint not with one plant, but with several. The Venerable Martyr Nikon (†251; commemorated on March 23) with his disciples “like a cranium, in the suffering of green prosperity, and like a sweet-breathing thorn, our hearts are fragrant with torment with kindness, passion-bearers of God’s inspiration.” For different stages of the life path of the righteous sufferer John the Russian (†1730; commemorated on May 27), the hymnographer also uses different flowers: “Like a fragrant plant, Russia sprang up, and like a red thorn, you were in the midst of the thorns of Hagar, which sweetened you with the grace of God.” . Almost our contemporary, the Monk Silouan (†1938; commemorated September 11), labored on Athos “like a wondrous crystal and a wonderful sapphire, in the holy city of the Most Pure you flourished, O Venerable Silouan.” In the service of Nikita the Slav (†1808; memorial April 4): “Like a crin, in the bountiful lands of the Holy Mountain you have flourished, the most praiseworthy, like a phoenix, you have risen in virtue and like a cedar, you have appeared strong.”

And below in this service it says: “Like a thorn, you blossomed in the flower bed of fasting, like a fragrant weed, like a fragrant apple, and you fragrantly fragrant all pious souls and hearts.” Venerable Martyr Evdokia († c. 160–170; commemorated March 1): “From the charms of thorns, like a thorn, God-wise, sweet-smelling, you grew red and you have blessed the souls of the faithful, O Evdokia.” The Monk Cassian the Roman († c. mid-5th century) wrote ascetic works: “Like the sweet-smelling thorn, we are fragrant with the inspired words of your divine tongue.”

Blessed Prince Daniel of Moscow (†1303; commemorated March 4) is chronologically the first prince, holy ascetic monk and patron of Moscow. In the service to him, the Mother See is compared to the garden in which he successfully worked: “The hardworking worker of the God-planted garden, worthy of the wonderful corrections of the Grand Duke’s authorities, planting the good-smelling cassia and blessed with fasting abstinence in the schema-monastic stay of myrrh, rooted in your God-loving heart, Holy Daniel.”

Shortly before the suffering of the cross, Christ entered Jerusalem, the inhabitants of which, as the Gospel says, joyfully greeted Him with palm branches (John 12:13), that is, with fronds. Therefore, in the service of the holiday they are called “branches of virtues”, “Via of virtues”. The children of Jerusalem “praised with the frond and branches” Christ, “I cut the branches from the trees,” “the branches of the gardens of the people’s burden.” Remembering this historical event, “and we bearing the olive branches and vaia, gratefully... cry out: Hosanna in the highest, blessed is he who comes in the name of the Lord.” In Rus', on this holiday, churches were decorated with willows. Therefore, this type of plant is found in Russian hymnography. In the service of the Venerable Euphrosyne of Polotsk (†1173; commemorated on May 23), the hymnographer rearranged the words of Psalm 136: “By the fruitful willows of the body, as if hanging on the Babylonian river, you cried out in the storm of life: if I forget you, Jerusalem, without offering joy at the beginning “Let my right hand be forgotten and my tongue cling to my throat.”

The Octoechos services for Friday, when Christ the Savior suffered, speak of the Tree of the Cross and the salvific value of His suffering for the human race. “The tree of disobedience is the death of the world, but the tree of the Cross is life and incorruption. In the same way we pray to You, the crucified Lord: may the light of Your countenance shine upon us.” Standing at the Cross, the Most Pure Mother had compassion for Her Divine Son: “You, Jesus, are nailed to the tree of the cross, seeing, Unclothed, weeping.” The liturgical texts of the Octoechos also name the tree species that made up the instrument of Christ’s suffering. The service of the third tone says: “On cypress, and song, and cedar, you were exalted, the Lamb of God.” A little lower we read: “On the cedar, and the song, and the cypress, Lord, the only one of the Trinity, you ascended, and you exalted these beings into the depths of many

fallen into pleasures: blessed be God our father.” The Word of the Tree of the Cross, attributed to St. Gregory the Theologian, was widespread in Old Russian writing.

In the Holy Scriptures, the species that made up the instrument of Christ's suffering are repeatedly named between the names of different plants. The righteous shall prosper like the phoenix: like the cedar in Lebanon he shall multiply(Ps 91:13). In the Russian text of the Bible we read: Instead of thorns, cypress will grow; instead of nettles, myrtle will grow; and it will be to the glory of the Lord(Isaiah 55:13). But pine, that is, song, is never named in the Bible or in hymnography. In the Menaion liturgical texts only cedar and cypress are found; their qualities are compared to the holy saints of God. The devotees of the Studite monastery in Constantinople are characterized as “like cedars in Lebanon or dates, flourishing in the midst of God’s paradise.” In the service to the Council of Radonezh Saints it is said about St. Sergius: “Like the cedar tree in Lebanon, your companions and disciples have multiplied and become glorified in virtues.” Righteous John the Russian: “Like the phoenix, the same name of grace, which delights the feelings of the faithful with the sweetness of its fruits, like the cedar is indestructible, but it is a storm of misfortunes and temptations.” The forefather of Bulgarian monasticism, the Venerable John of Rila (†946; commemorated Aug. 18): “Who in Lebanon was likened to a cedar, multiplying the divine virtues, and like a tree planted with the flowing waters of life, you now overshadow the sick with grace.” Of the three named species of the Cross in Rus', in addition to pine, cedar trees grew, and an interesting phenomenon is associated with some Russian monasteries - the establishment of monastic cedar groves.

The upward direction and fragrance of cypress wood are the qualities that are used by hymnographers in liturgical texts to glorify the holy saints. In the service to St. Macarius the Roman of Novgorod († second half of the 16th century; commemorated on January 19) it is said about him: “Like a high-topped cypress tree, you grew, Rev. Macarius, in the desert of thieves and barrenness and you were glorified in spiritual fruitfulness in it, as a true saint of Christ God.” It is said about the Venerable Methodius of Pesnosh († XIV century; commemorated on June 14) that he, like “a high-topped cypress, grew up... in a barren desert.” The relics of St. Philip of Moscow are compared: “... like the sun, your venerable relics have risen from the depths of the earth, to the saint, like the myrrh-scented cypress, those who sing to the Lord are fragrant.” In the service to St. Hypatius of Gangra († c. 326; commemorated on March 31), the hierarch himself and the reliquary of his holy relics are glorified: “Like a thorn, like a sacred crin sweet-smelling, To the Saint, like a cypress, like myrrh divine and fragrant, your relic is fragrant with miracles, driving away evil ailments, all-honorable holy martyr.” Saint Basil of Moscow, the Fool for Christ's sake (†1557; memorial August 2) flourished in his exploits, “like a cypress tree in the middle of the Russian land.”

In combination with other flowers and plants, it speaks of other ascetics. Venerable Daniel the Stylite († c. 489–490; memorial Dec. 11): “Like a Creed, Father, who dwells in the paradise of abstinence, you have blossomed and, like a cypress, you have risen to the heights of perfection; like an olive tree, you have appeared in psalms, faces and anointing our hearts with the oil of your illnesses.” In a similar way, it is said about the Monk Gerasim on the Jordan (†475; commemorated March 4): “Thou art flourished, Father, in the courts of our God, like a tall phoenix, like a cypress, thou art exalted by Divine offerings.”

Speaking about trees and plants, hymnographers glorify the holy ascetics, “planting” them with the Garden of Eden. The named saints showed us an example of faith and fulfillment of the commandments of Christ, these are “cypress trees” of the spirit, and now they reside in paradise villages. We are aware of our unworthiness, and everyone can say about themselves with the words of the Theotokos stichera from the service to the Hieromartyr Ferapont (III century; commemorated on May 27): “I am a barren tree, the All-immaculate One, barren of the fruit of the saved, and therefore I tremble at the cutting, but not as I will be cast into the unquenchable, accursed fire.”

In the service of the holy martyr Hermeus (2nd century; commemorated on May 31) it is said: “For the pillar is invincible, the enemy has not been shaken” (2 stichera on the Lord I cried // Menaion May. M., 2008. Part 3. C .300). For his courage against evil spirits, the Monk Dionysius of Glushitsky (†1437; commemorated June 1) is glorified by the Church as follows: “Having valiantly endured the beating of invisible enemies, you appeared as an unshakable pillar” (3 troparion 5 songs of the canon at Matins // Menaion June. M., 2008. Part 1. P. 23). The image of a pillar was used twice in the service of St. David of Thessalonica († c. 540; commemorated on June 26): “...the pillar appeared as a light-like figure” (1st stichera I cried to the Lord // Menaea June. M., 2008. Part 2. P. 367); “The pillar of the monastics is shining with God” (3 troparion 8 songs of the canon at Matins // Ibid. p. 373). This image was also common in other genres of Christian literature; cm. Rudy T.R.“Like a pillar is unshakable” (about one hagiographic topos) // Proceedings of the Department of Old Russian Literature. T. 55. St. Petersburg, 2004. pp. 211–227.

Razumovskaya, Aida Gennadievna

Academic degree:

Doctor of Philology

Place of thesis defense:

Saint Petersburg

HAC specialty code:

Speciality:

Russian literature

Number of pages:

Chapter first. Garden as an idea in the poetry of symbolism

1.1. In poah " unfading year»

1.2. Poetic embodiment of the heavenly helicopter city

1.3. Garden - metaphorari

Chapter two. Gardens of St. Petersburg and its suburbs: interaction of word and space

2.1. Letniyd - an object of poetic reflection

2.2. "Heavy Runed Eaters" of St. Petersburg

2.3. “Talking” landscapes of landscape parks.c.l

2.3.1.Tavrichid

2.3.2. Pavlo

2.4. Tsaoe Selo: " unfaded originalda»

Chapter three. The last pages of the estate "text"

3.1. The past of the greedy debts

3.2. Ironic fantasies in park settings

Chapter Four. Gardens of Western Europe through the eyes of Russian poets

4.1. Images of Italians in the context of any modernity

4.2. “Gardens of Ile de Fra”, visible and mimable

Chapter five. " Vertograd of blue dreams"in the poetry of the Soviet years

5.1. The garden as a model of indrial paradise: pro et contra

5.1.1. “City” - emblem and symbol of the future

5.1.2. Idyll of the Cryaihds

5.1.3. " Ukrm Rodinudami!» Replication of ideas in poetry of the 1930-1950s.

5.1.4. Paradise - "dream paralysis"

5.2. Soveaya Mva: from a city town to a park of culture and recreation for workers

5.3. Reincarnation of the idea in the symbolic era

Introduction of the dissertation (part of the abstract) On the topic "The garden in Russian poetry of the twentieth century: the phenomenon of cultural memory"

The garden is one of the basic categories of human consciousness, going back to the fundamental principles of existence and associated with the cyclical life of nature, with fertility, with the continuation of life. According to the Holy Scriptures, man’s first home was a heavenly, fertile place: “And the Lord God planted a paradise in Eden in the east; and he placed there the man whom he had created” (Gen. 2.8). The biblical story of Adam and Eve (their stay in Eden, exile after the Fall and longing for the lost paradise) symbolizes absolute prosperity lost due to the violation of the Divine prohibition, and the desire to return to an ideal state. The ideas about the garden-paradise that arose in ancient times as a topos of eternal bliss, promised to the righteous in the future life, later became part of world religions, including Christianity, and formed the basis of European culture. In all eras, the image of the “garden” appeared mythopoetic a model of the world in its ideal essence.

In Russian literature and culture as phenomena of European consciousness, the “garden” was also one of the iconic images. Already in Ancient Rus', monastery gardens had a high sacred status. "The monastery gardens, which symbolized paradise,<.>they had to have “trees of paradise” - apple trees, then flowers, mostly fragrant, and attract birds. It was precisely this “abundant” in all respects, affecting all human feelings that ancient Rus' imagined a paradise in, in which God, according to the book of Genesis, planted “all the trees.” It was supposed to delight the eyesight, taste (the image of a meal or edible fruits) and the ear (birds singing),” noted D.S. Likhachev.1 Along with the visible Eden, the image of the intelligible Eden arose in medieval Christian literature

1 Likhachev D. S. Poetry of gardens. On the semantics of gardening styles. Garden as a text. Ed.Z, rev. and additional M., 1998. P.59. Among the latest studies on this issue, see: Cherny V.D. Russian medieval gardens: experience of classification. M., 2010. 174 p. In this work, ancient gardens are studied from the point of view of their purpose, arrangement and semantics. garden,” to which the meanings of the church, the Mother of God, the soul of the righteous, and the world of higher spiritual and moral values were assigned.2

In the relatively young secular culture of Russia, starting from the 18th century, imperial country residences were thought of as semblances of paradise. Their main customers, focusing on Dutch and French, and then English samples, invited foreign craftsmen to arrange their own “paradises”, and poets (since the garden was in search of “ aesthetic replenishment» « directed towards the word") mastered the experience of European literature, applying pastoral and anacreontic genre forms to Russian life, customs, and culture. Monarch gardens for a long time? were accessible to the gaze of a limited number of people, but as the circle of visitors expanded, their understanding in art began to develop. Parallel to this, there was a process of emergence and consolidation in the cultural consciousness of the estate “myth”. As a result, a tradition developed in the poetry of the 18th-19th centuries panegyric and the idyllic correlation with the Eden of Tsarsky1 Selo, Pavlovsk, numerous rural estates.4

But even in isolation from specific loci, the image of the garden, having been a mythopoetic model since the time of Virgil,5 contained a deep semantic capacity. In the 19th century, this image, divorced from the “first event,” was associated with memories - “the garden in memory and the garden of memories, the place where a person is surrounded by memories, form not just closely

2 See: Sazonova L.I. 1) The poet and the garden (from the history of one topos) // Folia Litteraria: Studia z literatury rosyjskiej i radzieckiej. Lodz. 1988. No. 22. C.17 - 45; 2) The garden motif in Baroque literature // Sazonova L. I. Poetry of the Russian Baroque (second half of the 17th - beginning of the 18th century). M., 1991. S. 164 - 187; Bondarko N. A. Garden, paradise, text: allegory of the garden in German religious literature of the late Middle Ages // Image of paradise: from myth to utopia. Series “Symposium”, issue 31. St. Petersburg, 2003. pp. 11 - 30.

3 Likhachev D. S. Poetry of gardens. P.29, 30.

4 See: Zykova E. 77. Poem/poem about a rural estate in Russian poetry of the 18th-early 19th centuries. // Rural estate in Russian poetry of the 18th - early 19th centuries / comp., introductory article, commentary. E. P. Zykova. M., 2005. P.3-36.

5 See: Tsivyan T.V. Verg. Georg. IV, 116 - 148: Towards the mythology of the garden // Text: Semantics and structure. M., 1983. P.148. connected, but also a complementary and reversible pair.” The poetic image ranged from designating a world of beautiful feelings, friendly “feasts” and “fun” to symbolizing the space of poetic solitude and daydreaming; “the subtlest parallelism of ideal space and the space of the soul, existing in the perspective of time, was established, shimmering with allegorical symbolic meanings”:7 By the time the art of modernism emerged at the turn of the 19th-20th centuries, behind the image of the garden there was a huge context of Russian and European literature, which was being mastered by a new artistic consciousness.

At the beginning of the 20th century, gardens became the object of close study in the works of A. N. Benois, I. E. Grabar, V. Ya. Kurbatov, G. K. Lukomsky, in publications of the magazines “World of Art” (1899, 1901-1904) , "Old Years" (1907-1916), " Capital and estate"(1913-1917), popularizing estate culture. The flourishing of the study of gardens in art history was accompanied by a process of steady1 destruction of the still surviving monuments of landscape art. A. N. Benoit with admiration; which was mixed with a feeling of bitterness;. drew the attention of his contemporaries* to the state of the capital's famous parks. For example, in an article from 1901; he stated that the “Peterhof Monplaisir Garden” is not maintained in such order, with the luxury and grace with which the gardens were maintained at the beginning of the 17th century, when the traditions of the great Le Nôtre were still alive. Where are the old, intricate designs of paths, where are the carpets of flowers , where: those rare plants that decorated the gardens of that time? Who will now be able to “regulate” the garden in such a way, trim it so that it serves as a true harmonious addition to the architecture? " Under the influence of the leaders of the World of Art association, educated Russian society took measures to preserve old parks.

6 Toporov V.N. Dilapidated house and wild garden: the image of lost happiness (a page from the history of Russian poetry) // The Shape of the Word. Sat. articles / RAS. Russian Language Institute. M., 1997. P.304.

7 Movnina N. S. The ideal topos of Russian poetry of the late 18th - early 19th centuries // Russian literature. 2000. No. 3. P.19-36.

8 Benoit A. N. Monplaisir // World of Art. 1901. No. 2-3. P.123. The Society for the Study of the Russian Estate (OIRU), created in 1922 (although it existed only for eight years), played a significant role.

The regret of specialists about the crumbling suburban gardens of St. Petersburg corresponded with the memories and longing of cultural representatives about the disappearing estate “paradise”. At the same time, during these years the intelligentsia actively became acquainted with the culture of gardens and parks in Western Europe. Under the influence of this complex of impressions and elegiac moods in the culture of the turn of the century, mythologies of gardens of various types began to take shape and subsequently develop: real and “imaginable”, metropolitan and provincial, gardens of other eras and other lands. Reflections of these mythologies continued to exist in Russian poetry throughout the 20th century.

In recent years, the interest of philology (and cultural studies) in gardening issues has noticeably increased. Intensive scientific understanding of the “garden as a text” began after the publication in 1982 of D. S. Likhachev’s fundamental monograph “The Poetry of Gardens. On the semantics of gardening styles. The garden as a text." In parallel, in the works of V.N. Toporov, T.V. Tsivyan, T.A. Agapkina and other researchers of Slavic folk cultures, the study of the perception of the garden and its center - the tree, the personification of the fruit-bearing forces of nature, in folklore was intensified.9 The mechanism of landscape transition from From the geographical sphere to the mythological sphere, the long-term attention of I. I. Svirida, the head of the project “Landscape as an object and text of culture,” has been devoted. Slavic world" at the Institute

9 Toporov V.N. On the structure of some archaic texts correlated with the concept of the “world tree” // Myth, folklore, religion as modeling systems. (Works on sign systems. V. In memory of V. Ya. Propp.) Tartu, 1971. P. 9-62; Tsivyan T.V. Analysis of one Polesie text in connection with the mythology of the garden // Polesie and the ethnogenesis of the Slavs: Preliminary materials and conference topics. M., 1983. P.96-98; Agapkina T. A. South Slavic beliefs and rituals associated with fruit trees in a pan-Slavic perspective // Slavic and Balkan folklore: Beliefs, text, ritual. M., 1994. P.84-111. Slavic studies and Balkan studies RAS.10 In her article “ Nature and culture: to the problem of relationship"11 the idea was traced that the participation of natural and cultural principles in the existence of a particular era influences the type of personality characteristic of it, on " the state of this world and its artistic image"in different historical times. According to the author, this problem, being one of the fundamental ones, in a philosophical sense “encompasses the relationship between Man, the Cosmos and God, practically includes all metaphysical issues, connections between being and consciousness, the real world and the ideal world, matter and spirit, natural necessity and creative freedom, ultimately - the problem of man’s place in the Universe and his relationship to it.”12

In the semiotic studies of T. V. Tsivyan13 it is proved that the garden belongs to the space of culture (“this is culture persistently introduced into nature, and not nature in the delicate environment of culture”) and, using the example of Virgil’s “Georgic”, the transition of a utilitarian description to the rank of art is considered: the transformation of a garden from an object of empirical knowledge into an idea, a mythologem. The idea that not only^ " every garden is an artifact"(T. Tsivyan), but also all sorts of things nature description has a general philosophical character and is key in articles devoted to the topic of nature in European (including Russian) literature of the 18th-19th centuries. This also applies to the analysis of a descriptive poem “ moderate educator"J. Delisle's "Gardens", which played an important role in the literary polemics of the pre-Romanticism era,14 and deciphering the "language of flowers" in

10 See: Svirida I.I. Utopianism and gardening art of the Enlightenment // Culture of the Enlightenment. M., 1993. P.37 - 67; Svirida I.I. Gardens of the Age of Philosophers in Poland. M., 1994; Nature and culture. Slavic world. Rep. ed. I. I. Svirida. M., 1997; Landscapes of culture. Slavic world / Rep. ed. and comp. I. I. Svirida. M., 2007, etc.

11 Nature and culture. P.4-14.

12 Ibid. C.4.

13 See also: Tsivyan T.V. Garden: nature in culture or culture in nature? // Nature and culture. Abstracts of the conference. Moscow, November 1993. M., 1993. P.13-15.

14 Zhirmunskaya N. A. Jacques Delisle and his poem “Gardens” // Delisle J. Gardens. L., 1987. P.171-190; Lotman Yu. M. “The Gardens” of Delisle translated by A. F. Voeikov and their place in Russian literature // Ibid. pp. 191-209. Russian literature of the first third of the 19th century.15

Special attention should be paid to the intensive appeal of modern humanities to estate culture, within the framework of which the gardens and parks of noble nests have been intensively studied over the last decade. In the geocultural works of V. G. Shchukin, E. E. Dmitrieva and O. N. Kuptsova, the emergence of “ myth" about the Russian estate, features of the estate chronotope and dictionary.16 Anthologies of estate poetry appear.17 Revived in 1992, OIRU holds scientific conferences, continues to publish collections called "Russian estate" and illustrated monographs.18

Since the subject of study - a garden/park - is synthetic in nature, modern literary studies Work on understanding the reflections of garden and park landscapes in verbal creativity interacts with research in this area by architects, cultural historians, restorers, and art historians. A list of already classic books by V. Ya: Kurbatov, L. B. Lunts, T. B. Dubyago, A. P. Vergunova and V. A. Gorokhov, T. P. Kazhdan and others about gardens of different times and 19 countries in recent years

15 Sharafadina K I. “Alphabet of Flora” in the figurative language of literature of the Pushkin era (sources, semantics, forms). St. Petersburg, 2003. 309 p.

16 Shchukin V. G. The myth of the noble nest. Geocultural research on Russian classical literature. And Shchukin V.G. Russian genius of enlightenment. Research in the field of mythopoetics and history of ideas. M., 2007. (First edition: Krakow, 1997.) P. 157458; Dmitrieva E. E., Kuptsova O. N. The life of an estate myth: paradise lost and found. M., 2003. 527 p. See also: Roosevelt P. Life in a Russian estate: experience of social and cultural life / translated from English. St. Petersburg, 2008. (First edition: 1995.) 518 e.; Gardens and Imagiation: Cultural History and Agency. A symposium cosponsored" by The Huntington and Dumbarton Oaks, edited by Michel-Conan. Washington: Dumbarton Oaks Trustees for Harvard University, 2008. 259 p.

17 See: Rural estate in Russian poetry of the 18th - early 19th centuries / Comp., introductory article, commentary. E. P. Zykova. M., 2005. 432 e.; Poetry of noble estates / Comp., introductory article. L. I. Gustova. St. Petersburg, 2008. 285 p.

18 The world of the Russian estate: essays / rep. ed. L. V. Ivanov. M., 1995. 294 e.; Noble nests of Russia: History, culture, architecture: essays / ed. M. V. Nashchokina. M., 2000. 382 e.; Noble and merchant rural estate in Russia in the 16th-20th centuries: historical essays / ed. L. V. Ivanova. M., 2001. 782 p. and etc.

19 Kurbatov V. Ya. General history of landscape art. Gardens and parks of the world. M., 2008. (First edition: St. Petersburg, 1916.) 735 e.; Dubyago T.B. Russian regular gardens and parks. L., 1963. 341 e.; Gorokhov V. A., Lunts L. B. Parks of the world = Parks of the world. M., 1985. 328 e.; was replenished with a number of new works of art criticism. Since 2008 in

In the Internet space there is a website of the famous specialist in interdisciplinary study of landscape B. M. Sokolov, “Gardens and Time,”21 which clearly demonstrates that the garden in different eras remained one of the most popular images in culture. In general, the volume of scientific works on the topic of gardening is so significant that an urgent task has arisen

- “critically review the main studies of Russian gardening culture that have appeared over the past twenty years and identify the main trends in the interpretation of the still relevant problem of the “garden” and 22 texts." It was partially resolved in a substantive review carried out by experts in the field of relationships between gardening -park art and literature by A.V. Ananyeva and A.Yu. Veselova.

Recognizing the unconditional value of what has been done in science, we have to state that the subject of reflection of all the above-mentioned researchers, as a rule, are* reflections of gardens in Russian medieval culture, as well as in the culture of the 18th-19th centuries. Meanwhile, it was in the 20th century that, with the help of the symbolic image of the garden, the perception of the world, man, art and society was formulated in a new way. Despite the undoubted interest of many specialists in the development of the “garden and park” theme with poetry of the 20th century, there are only fragmentary studies of the image of the garden in the works of individual authors.23 Literary studies

Vergunov A.P., Gorokhov V.A. 1) Russian gardens and parks. M., 1988. 415 e.; 2) Vertograd: Landscape art of Russia (from its origins to the beginning of the 20th century). M., 1996. 431 e.; Each T.P. The artistic world of a Russian estate. M., 1997. 319 p.

20 Nashchokina M.V. 1) Russian gardens. XVIII - first half of the XIX century. M., 2007. 255 e.; 2) Russian gardens. Second half of the 19th - beginning of the 20th century. M., 2007. 215 e.; Kucharians D. A., Raskin A. G. Gardens and parks of palace ensembles of St. Petersburg and its suburbs. St. Petersburg, 2009. 366 e.; Gardens and parks of St. Petersburg. SPb.-M., 2004. 286 p. See also: Russian gardens and parks / Comp. and the author of the article T.I. Volodina. M., 2000. 63 e.; Zuilen G. All the gardens of the world. M., 2003. 176 p.

21 www.gardenhistory.ru

22 Ananyeva A.V., Veselova A.Yu. Gardens and texts (Review of new research on gardening art in Russia) // New Literary Review. 2005. No. 5 (75). P.348-375.

23 See, for example: Lavrov A.V. “The Nightingale Garden” by A. Blok. Literary reminiscences and parallels II Lavrov A. V. Sketches about Blok. St. Petersburg, 2000. P.230-253; Alfonsov V. Ya. Poetry dissertations of recent times are devoted mainly to the study of the estate garden in the literature of the 18th-19th centuries.24

This dissertation research is the first to attempt a holistic and systematic study of interpretations of the image of a garden in poetry of the 20th century, which determines the relevance of the topic. The work is based on a combination of subject-thematic and chronological principles. Since many of the defining models of the garden were formulated in the poetry of Russian symbolism, a detailed consideration of the modifications of the image begins with the literature of the Silver Age and is traced through the material of Russian poetry throughout the 20th century. Due to the immensity of artistic material on the stated scientific problem, conscious limitations were made in the work.

The methodological basis of the study is a combination of the traditional historical and literary approach to understanding the poetics of a work of art with the methods of historical, typological and structural-semantic analysis of the text. The scientific problem of the dissertation led to an appeal to a related field of humanitarian knowledge - cultural studies.

Boris Pasternak. JL, 1990. P.92-93; Yushng O. A. Stylistic formation of Acmeism // Questions of literature. 1995. No. 5. P.101-125; Musatov V.V. Pushkin tradition in Russian poetry of the first half of the 20th century. From Annensky to Pasternak. M., 1992. S. 711, 15-17, 153-165, etc.; Shubnikova - Guseva N.I. Yesenin’s poems: From “Prophet” to “ black man": Creative history, fate, context and interpretation. M., 2001. S. 464-471. See also: Ashcheulova I.V., Prokudenko N.A. Comparative philological analysis of poetic texts with the word-image SAD (based on the poems of B. Pasternak, A. Akhmatova, B. Akhmadulina, A. Kushner): educational and methodological manual . Kemerovo, 2005. 31 p.

On the typological textual meanings of the word garden using the example of B. Akhmadulina’s lyrics, see: Eliseeva M. B. Semantic scope of the word garden in a cultural-historical context. Abstract of the dissertation for academic competition. step, candidate of philology Sci. St. Petersburg, 1991. 16 p.

24 See: Gustova L.I. Transformation of the image of the estate in Russian poetry of the 18th - first third of the 19th centuries. Abstract of the dissertation for academic competition. step, candidate of philology Sci. Pskov, 2006. 17th; Sakharova E. V. Garden and park topos in Russian literature of the first third of the 19th century. Abstract of the candidate of philology. Sci. Tomsk, 2007. 23; Zhaplova T. M. Estate poetry in Russian literature XIX - early. XX century. Abstract of Doctor of Philology. Sci. M., 2007. 39 p.

The purpose of the work is to reveal the semantic typology of the garden mythologeme in Russian poetry of the 20th century and to trace its transformations within each type.

The main objectives of the work are as follows: ¡. Consider modifications (varieties) of “conceivable gardens”, comprehended as an ideal essence, in the poetry of the Symbolists and their followers.

2. Reveal the semantics of poetic refractions of real, St. Petersburg “paradises” as an earthly projection “ imaginary gardens"Symbolists.

3. Explore the image of a garden/park as the most important element of the estate paradigm in the poetry of the early and mid-20th century.

4. To identify the phenomenon of perception - gardens of other lands in Russian poetry of the 20th century using the example of Italian and French garden topoi.

5.Trace the dynamics of reflection of the images of the “garden” as a metaphor for the future in the poetry of the Soviet period. »

The research material is the poetic texts of those authors in whom this* topic is presented most representatively: I. Annensky, A. Akhmatova, K. Balmont, A. Bely, A. Blok, I. Bunin, I. Brodsky, K. Vaginov, M Voloshina, 3. Gippius, N. Gumileva, S. Yesenina,

H. Zabolotsky, Vyach. Ivanov, G. Ivanov, D. Klenovsky, N. Klyuev, V. Komarovsky, M. Kuzmin, A. Kushner, B. Livshits, O. Mandelstam, V. Mayakovsky, D. Merezhkovsky, V. Nabokov, N. Nedobrovo, N. Otsupa, B. Pasternak, Vs. Rozhdestvensky, S. Solovyov; F. Sologuba, N. Tikhonova, Y. Terapiano, V. Khlebnikov, V. Khodasevich, M. Tsvetaeva, S. Cherny, Ellis and many others.

Main provisions submitted for defense:

I. Russian poetry of the 20th century, despite global socio-political changes and the secularization of cultural consciousness, continued to be based on the heritage of European culture, which was fundamentally Christian.

2. Ideas about the biblical prototype of the garden, enriched by European cultural experience, in the interpretation of the symbolists received a dual coloring, reflecting; on the one hand, their search for ideal love, and on the other, the element of pagan sensuality;

3. Interpretations by poets of the 20th century of the real gardens of St. Petersburg and its suburbs reflected the change in philosophical and aesthetic ideas over the course of the century; at the same time, poetic texts recorded the repulsion of literature from empirical reality and the aspiration to existential issues.

4. The most important element of the estate chronotope - the park, presenting itself in elegiac, idyllic or ironic modifications, did not cease to be interpreted in the poetry of the 20th century as an image of the lost Eden. 5; The poetic reception of “alien” (European) gardens, reflecting the authors’ perception of the country as a whole, where Russian people felt their loneliness, was based on comparison with native toposamsha (St. Petersburg or Moscow); - and c. In this involuntary competition, foreign gardens lost - emotionally and aesthetically.

6;. IN; In the poetry of the Soviet years, which actively used the image of the “garden” in modeling future reality, the idea of man-made nature dominated over the idea of natural nature:

7. Russian poetry of the 20th century, implicitly based on the Christian concept of the garden, by the end of the century openly revealed its immanent connection with the cultural; heritage: the past, at a new stage of development, returning to the symbolist experience of interpreting the metaphysics of the garden. Scientific novelty of the research? is that for the first time in it

A holistic study of the image of the garden in Russian poetry of the 20th century as a cultural phenomenon has been undertaken;

Poetic “gardens” are considered in synchrony and diachrony;

A generalization has been made of various modifications of the images of “conceivable gardens”, most widely represented in the works of symbolists;

An analysis of the poetic images of such topoi of St. Petersburg as

Summer, Tauride and Alexander Gardens, as well as the suburban Pavlovsk Park;

The models of the image of a manor park in the poetry of the Russian diaspora are comprehensively considered;

The poetic refraction of the gardens of Italy and France in the works of representatives of different movements and schools has been holistically analyzed;

The variety of models of the “ideal garden” as a projection of the future in the literature of the Soviet period is considered.

Using the example of the Neskuchny Garden, the poetic reflections of Moscow gardens, which underwent a typological transformation in the Soviet years, are comprehended.

In addition, the dissertation identifies the innovation of 20th century poetry in the interpretation of the “Lyceum gardens,” especially by poets of the Russian emigration and representatives of literature of the late 20th century; significant additions and adjustments were made to the understanding of the garden as the leading element of the estate culture by poetry of the first half of the 20th century.

The theoretical significance of the work is determined by the fact that it reveals an increase in semantic> capacity, the mythology of the garden in Russian poetry of the 20th century; the philosophical richness of the image of the garden in the works of the Symbolists and their followers is revealed; classification of garden models is carried out on extensive poetic material of both high and popular poetry; ideas about the existence of the categories of idyllic, elegiac, and ironic in the culture of the 20th century are being updated. The conducted research realizes the idea of poetry of the 20th century as an internally holistic phenomenon.

The practical significance of the work lies in the fact that the results of the study can be used when giving lectures on the history of Russian literature of the 20th century in the practice of university teaching, when developing special courses on Russian literature and culture.

Approbation of work. The materials and results of the dissertation research were used when delivering lectures on the history of Russian literature of the 20th century and special courses at the Pskov State Pedagogical University. The main provisions of the dissertation in the form of reports were presented: on; Anniversary conference for the 120th anniversary of A. Akhmatova “Anna Akhmatova. 21st century: creativity and destiny" (RNL, A. Akhmatova Museum; St. Petersburg, 2009), at the International Conference "Image and Word: Forms of Ekphrasis in Literature" (IRLI RAS; St. Petersburg, 2008), at the International Seminar "A writer in a mask. Forms of self-presentation in the literature of the 20th century" (IRLI RAS; St. Petersburg, 2007), at the International Scientific Conference "The Worlds of Joseph Brodsky: Reading Strategies" (R1TU; Moscow, 2004), at the International Scientific Conference dedicated to the 60th anniversary of I: Brodsky (Zvezda Magazine, A. Akhmatova Museum; St. Petersburg, 2000), at the International Conferences “Print and Word of St. Petersburg” (SZIP SSHUTD;; St. Petersburg, 2004; 2006, 2007, 2008, 2009) ; at the International literary and scientific readings dedicated to the 150th anniversary of the birth of I. Annensky (Literary; Gorky Institute; Moscow; 2005), at the VI International scientific conference “Russian literary criticism; at the present stage" (MGOPU named after Sholokhov; Moscow, 2007), at the III Cultural Readings " The world of childhood in Russian* abroad"(Cultural Center "House-Museum" of M. Tsvetaeva"; Moscow, 2009), at the International Conferences. "Non-Calendar XX Century" (NovSU; V.Novgorod, 2003, 2007, 2009); at the XX Scientific Readings of the Faculty of Humanities of Daugavpils; University (Latvia; 2010), at the 1st Blok Readings in Pskov (POUNB; 2004), at the V “Onegin Readings in Trigorskoye” (Pushkin Reserve “Mikhailovskoe”; Pushkin Mountains, 2007), at the annual scientific conferences of PSPU teachers (Pskov; 2006, 2007, 2008, 2010). The results and research are presented in the monographs “Joseph Brodsky: metaphysics of the garden” (Pskov, 2005), “The garden in Russian poetry of the 20th century: the phenomenon of cultural memory” (Pskov, 2010) and in 27 published scientific articles (total volume about 40 pp).

The structure of the dissertation is determined by the purpose and objectives of the research. The work consists of an Introduction, five chapters and a Conclusion.

Conclusion of the dissertation on the topic "Russian Literature", Razumovskaya, Aida Gennadievna

Conclusion

The topic of the relationship between poetry and landscape art, which is generally not new, is revealed in this work on a different material than has been done so far - on the poetic heritage of the 20th century, one of the most tragic and controversial centuries. The era of cataclysms and social catastrophes has exacerbated man's longing for harmony, peace, and security; strengthened the longing for the lost paradise, which supporters of social utopias tried to bring to life.

The era of the early 20th century, prone to aestheticization of reality, which is not coincidentally called the Russian Renaissance, aroused the interest of contemporaries in landscape gardening art. In an atmosphere of growing passional sentiments caused by the extinction of the former culture, there was a process of active mythologization of real gardens in art, especially in poetry. Various modifications of the topos arose - elegiac; ironic, idyllic. They reflected, on the one hand, a longing for the noble culture that was receding into the past as an ideal, and on the other hand, an understanding of the impossibility of returning to this lost paradise in modern life. Therefore, poets contrasted the tragic reality with the garden as an image of the creator’s soul, as a space in which his spiritual aspirations are realized.

The originality of our research is also determined by the fact that the mythology of the garden is analyzed in the dynamics of changes in literary movements and schools. Based on the experience of literature from the 18th to 20th centuries, modernists included gardens in the existential dimension. The symbolists were the first to reveal the timeless essence of the gardens of St. Petersburg and its suburbs, and the parks of European cities. Noting the ambivalence of earthly spaces, both decadents and young symbolists contrasted their imperfections with “conceivable gardens,” in which the dream of the unattainable, of “ promised land" The reference point for everyone was the biblical image of the garden-paradise, but for each author the first garden appeared in an individual embodiment,

4. Kubryakova E.S. The initial stages of the formation of cognitivism: linguistics - psychology - cognitive science // Questions of linguistics. - 1994. - No. 4. - P. 34-46.

5. Langacker R.W. Concept, image, and symbol: The cognitive basis of grammar. -Berlin, 1991.

6. Brief dictionary of cognitive terms KSKT

MYTHOLOGEM OF THE “GARDEN OF EDEN”: CENTER AND PERIPHERY IN THE SPATIAL PICTURE OF THE WORLD A.S. PUSHKIN

Pavel Sergeevich Ivanov,

graduate student

Kemerovo State University, Kemerovo, Russia [email protected]

The article examines the image of the garden in the spatial picture of the world by A.S. Pushkin. The mythopoetic level of a number of lyrical texts of the Southern period containing descriptions and mentions of gardens is presented. The mythopoetic content of the image of the garden is correlated with archetypal meanings, the biblical picture of the world, and the artistic symbolism of the era of romanticism.

Key words: A.S. Pushkin, myth, artistic picture of the world, mythopoetics, elements, romanticism.

One of the first to the images of gardens in the poetry of A.S. Pushkina addressed D.S. Likhachev, outlining a promising problem of studying the poet’s work. However, the subject of the researcher’s consideration was mainly the gardens in the Lyceum lyrics, formed by the literary tastes of the era, the poet’s personal impressions and biographical memories: “Pushkin’s Lyceum lyrics are closely connected with the Tsarskoe Selo gardens with their themes and motifs. This connection was carried out in two ways. Firstly, both the Tsarskoye Selo gardens and Pushkin’s lyrics largely depended on the poetic “moods of the era” common to both of them, and secondly, Pushkin’s very stay in the “Gardens of the Lyceum” undoubtedly influenced his Lyceum lyrics.”

But the image of the garden accompanies Pushkin at different stages of his work. We turn to the consideration of garden motifs in the lyrics of the Southern period, in which the mythopoetic content of images develops on the basis of the biblical symbolism of the Garden of Eden.

It should be noted that in the poet’s artistic paradigm, according to the Pushkin Dictionary of the Language, the word “paradise” as a definition of the place of bliss of the first people is not frequent. Its place is taken by poetic paraphrases such as “vertograd”, “desired limit”, “Garden of Eden”, “midday land”, a significant part of which appears in the lyrics of the 1820-1824s.

Biblical images and motifs in the works of A.S. Pushkin has long been the subject of special consideration in the studies of S. Davydov, Yu.M. Lotman, T.G. Malchukova, M.F. Muryanova, V.S. Nepomnyashchy, V.P. Starka, I.Yu. Yuryeva and others. However, the image of paradise, the Garden of Eden with the biblical content actualized in it, as far as we know, has not received detailed study.

Before we begin to consider specific works of Pushkin, let us turn to the canonical biblical content of the image of paradise and the Garden of Eden. Paradise as a harmonious creation of God on earth is described in the Bible: “The Lord God created the earth and the sky, and every bush of the field that was not yet on the earth, and every grass of the field that was not yet growing, for the Lord God did not send rain on the earth, and there was no man to till the land, but steam rose from the earth and watered the whole face of the earth" (Genesis 2:4-6).

“The paradise in which the first people dwelt was material for the body, like a visible, blissful dwelling, and for the soul it was spiritual, like a state of grace-filled communication with God and spiritual contemplation of creatures.” The encyclopedic dictionary “Myths of the Peoples of the World” presents the Old Testament interpretation of paradise as a divine garden, Eden, in which man was blissful and which was lost forever. Translated from Hebrew, “Eden” means “pleasant, sweet (place).”

The New Testament meanings of paradise and heavenly bliss significantly change the Old Testament ideas. The Gospel understanding of paradise was expressed in the word of Christ that the Kingdom of Heaven is within us: “When the Pharisees asked when the Kingdom of God would come, he answered them: The Kingdom of God will not come in a pleasant way, and they will not say: behold, it is here, or: behold, there. For behold, the kingdom of God is within you” (Luke 17:20.21).

Thus, the Garden of Eden in the Old Testament is associated with ideas about a material, geographically defined space of eternal bliss, and in the Gospel the garden loses its semantics of paradise and, through the resurrection of Christ, is associated with the idea of salvation of the soul, the atonement of original sin, and the acquisition of divine grace. “In the place where He was crucified there was a garden” (John 19,

The motif of the Old Testament garden, forever lost, but reminiscent of itself in the image of a man-made harmonious space, is presented in A.S. Pushkin’s poem “My Sister’s Vertograd” (1825). The similarity with the Songs of Songs of King Solomon has long been noted by researchers. Pushkin uses an extended biblical metaphor and creates the image of a garden described by the heroine herself.

Through euphemisms that subtly vary sensory experiences, the described “vertograd” garden appears as a place of bliss and completeness. The lyrical hero experiences a state of saturation given to him by the abundance of pristine nature:

My fruits shine, liquid, golden; Clean, living waters are running and making noise. Nard, aloe and cinnamon are rich in incense: As soon as the aquilon blows,

And the aromas will drip. (II, 260). (Italics are mine - P.I.)

The space of the divine garden is called “solitary,” that is, delimited, hidden from the outside world. It is depicted in all its original perfection: the air is filled with the transparency of light and “incense” spilled everywhere; the waters, “clean, living,” “unclouded,” sparkle and shimmer in the sun; fruits, “golden, pouring”, rush to delight the taste of the lyrical hero. In this case, satiation is thought of not only as a pleasure for the flesh, but, above all, as a blissful state of the soul.

The development of the artistic semantics of a garden on earth, likened to the Garden of Eden, is presented in the poem “Who has seen the land where the luxury of nature ...” (1821). At the center of this work is the image of Crimea, a southern country perceived as a poetic realization of a possible paradise on earth. The lyrical hero perceives the southern region as a beautifully cultivated garden. Unlike gardens in early poems, here the garden is presented not as a space of imagination or memories of the place of the poet’s spiritual formation, but as a “blessed land” that the poet actually visited while in the south.

Reflecting on the general patterns of the “southern” landscape in A.S. Pushkina, M.N. Epstein notes: “The Caucasus is a romantic place, Crimea is a classic one. This difference is due to the very topography of the mountains and their relationship to the sea. The Crimean mountains are smoothed by time; they are dominated not by sharp, jagged shapes, but by rounded and flat ones. Their gentle ridges are like bursts of stone waves rolling in from the sea. There is no distant aspiration of the Russian plain, but there is no high-altitude aspiration of the Caucasian mountains either - the infinite gives way to the finite, the visible. The soft sculpting of the mountains, the clarity of outlines, the proximity of distances, and the sunny transparency of the air give Crimea a classic feel. For the essence of the classical, as opposed to the romantic with its elusive mystery, is embodiment, distinctness, tangibility." The “classical” component of the southern landscape is undoubtedly reflected in the depiction of the garden.

Speaking about the biography of the poet, which inextricably merged with his work, it is important to note that Pushkin’s best memories of beautiful pictures of nature are associated with the “midday land”, in the descriptions of which he invariably mentions gardens. In one of his letters to his brother, he calls “the happiest moments of his life” the short time he spent on the shores of sunny Taurida: “Judge whether I was happy: a free, carefree life in the circle of a dear family; the life that I love so much and which I have never enjoyed - a happy, noonday sky; lovely land; nature that satisfies the imagination - mountains, gardens, sea: my friend,

my favorite hope is to see the midday shore again...” (to L.S. Pushkin on September 24, 1820 from Chisinau to St. Petersburg).

The natural landscape in the poem “Who has seen the land where the luxury of nature” is presented as eternally blooming. A feature of the Crimean panorama is the fruitful combination of land and water in living harmony:

Who has seen the land where the oak groves and meadows are enlivened by the luxury of nature, where the waters rustle and splash merrily and the peaceful shores caress. (II, 50).

The lyrical hero is surrounded by the life-giving forces of nature, which “nourish” all his feelings: the “cheerful” sound of the sea; the colorful “luxury of nature” in all its visibility and completeness; the aromas of flowering herbs, and the taste is sweetened by the “amber of the vine” - the central symbol of the southern garden. A materially tangible sensation is conveyed through the perception of meadows, hills, and massive rocks and is expressed in the desire of the lyrical hero to “fall asleep in the bosom of peaceful laziness.” The pleasure of life, overflowing, overwhelms the lyrical hero. There is no winter here: “...on the hills, under the laurel arches // The gloomy snows do not dare to lie” (II, 50): nature is full of abundance, luxury, perfection - everything here is “alive”, everything is “a delight to the eyes.” The blossoming and fragrant land comes close to the idea of paradise, where eternal summer reigns. The completeness of the depicted world begins to be conceived spatially in the form of a widely spread landscape. The lyrical hero is endowed with a special kind of vision, which allows him to move freely in all directions: into the sea, where ships “get lost”; under the shelter of hospitable Tatars living a peaceful life, and even more widely - in “villages, cities”, to the tomb of Mithridates, illuminated by the “radiance of sunset”.

garden poetry annensky pushkinsky

If we talk about the Pushkin tradition in the development of poetic space by I. Annensky, then, first of all, it is necessary to highlight the image of the garden. Naturally, within the framework of modernist aesthetics, when entering the artistic world of this or that poet, any classical tradition is mythologized. Annensky also creates poetic myths about Russian classics, which becomes decisive for understanding the specifics of the transformation of Pushkin’s image of the garden, to which this outstanding modernist artist appeals in his artistic experiments.

In the poetic heritage of A. S. Pushkin, a number of poems stand out, where the features of the semantic content of the image of a garden, characteristic of his poetry, are most clearly manifested. Let's turn to these poems.

The Garden of Eden in the Old Testament is associated with ideas about a material, geographically defined space of eternal bliss, and in the Gospel the garden loses its semantics of paradise and, through the resurrection of Christ, is associated with the idea of salvation of the soul, the atonement of original sin, and the acquisition of divine grace. “In the place where He was crucified there was a garden.”

Pushkin uses an extended biblical metaphor and creates the image of a garden described by the heroine herself. Through euphemisms that subtly vary sensory experiences, the described garden - “vertograd” appears as a place of bliss and completeness. The lyrical hero experiences a state of saturation given to him by the abundance of pristine nature:

My fruits are shining

Liquid, gold;

They're running and making noise

The waters are clean and alive.

Nard, aloe and quinnamon

Rich in incense:

As soon as the aquilon blows,

And the aromas will drip.

The development of the artistic semantics of a garden on earth, likened to the Garden of Eden, is presented in Pushkin’s poem “Who has seen the land where the luxury of nature ...” (1821). At the center of this work is the image of Crimea, a southern country perceived as a poetic realization of a possible paradise on earth.

The lyrical hero perceives the southern region as a beautifully cultivated garden. Unlike gardens in early poems, here the garden is presented not as a space of imagination or memories of the place of the poet’s spiritual formation, but as a “blessed land” that the poet actually visited while in the south.

Reflecting on the general patterns of the “southern” landscape in A.S. Pushkina, M.N. Epstein notes: “The Caucasus is a romantic place, Crimea is a classic one. This difference is due to the very relief of the mountains and their relationship to the sea... The Crimean mountains are smoothed by time, they are not dominated by sharp, jagged shapes, but by rounded and flat ones. Their gentle ridges are like bursts of stone waves rolling in from the sea. There is no distant aspiration of the Russian plain, but there is no high-altitude aspiration of the Caucasian mountains either - the infinite gives way to the finite, the visible. The soft sculpting of the mountains, the clarity of outlines, the proximity of distances, and the sunny transparency of the air give Crimea a classic feel. For the essence of the classical, as opposed to the romantic with its elusive mystery, is embodiment, distinctness, tangibility." The “classical” component of the southern landscape is undoubtedly reflected in the depiction of the garden.

The natural landscape in the poem “Who has seen the land where the luxury of nature ...” is presented as eternally blooming. A feature of the Crimean panorama is the fruitful combination of land and water in living harmony:

Who has seen the land where the luxury of nature

Oak groves and meadows are revived,

Where the waters make noise and splash merrily

And peaceful people caress the shores.

A materially tangible sensation is conveyed through the perception of meadows, hills, and massive rocks and is expressed in the desire of the lyrical hero to “fall asleep in the bosom of peaceful laziness.” The pleasure of life, overflowing, overwhelms the lyrical hero. There is no winter here: “...on the hills, under the laurel arches // The gloomy snows do not dare to lie”: nature is full of abundance, luxury, perfection - everything here is “alive”, everything is “a delight to the eyes.” The blossoming and fragrant land comes close to the idea of paradise, where eternal summer reigns. The completeness of the depicted world begins to be conceived spatially in the form of a widely spread landscape. The lyrical hero is endowed with a special kind of vision, which allows him to move freely in all directions: into the sea, where ships “get lost”; under the shelter of hospitable Tatars living a peaceful life, and even more widely - in “villages, cities”, to the tomb of Mithridates, illuminated by the “radiance of sunset”.

In the image of the grave, in particular, T. V. Alpatova sees elements of a ruined landscape, but we believe that Mithridates’s tomb in this poem is, first of all, real evidence that fragrant gardens exist on the southern land as if from the beginning (since the tomb is ancient monument).

It is noteworthy that in the structure of the artistic world of this poem the spatial images of the vertical are not updated; they are replaced mainly by flat landscapes: oak groves, meadows, hills, gardens, villages, cities, spread out within the lower world. The reference to "skies as clear as joy" is important only to the extent that they are able to transmit the transparent rays of the sun - everything is focused on admiring the beauty of the natural world.

The time continuum of the poem is also unusual: in the biblical tale, Eden - the Garden of Eden - was forever lost by the first people. The lyrical hero also loses the experienced bliss and in the present tense finds himself among the excitement of a “turbulent life”, far from the garden. At the same time, his experiences are increasingly associated with the state of his soul, in which the hope of rediscovering the lost feeling is based:

Will I see again through the dark forests,

And the arches of rocks, and the azure shine of the sea,

And the skies as clear as joy?

Will the excitement of a stormy life subside?

Will the beauty of the past years be resurrected?

In this case, a different level of perception of the material-natural world is revealed, which is not only given to delight the senses, but, above all, is aimed at the higher needs of the soul. That is why the main aspiration of the lyrical hero is connected with the desire - “to fall asleep with the soul in the bosom of peaceful laziness”, to merge with pristine nature.

The garden as a place of eternal summer and flowering is contrasted with the changing nature of the Russian north in the letter “To Ovid” (1821).

There is a new settler on the Scythian shores,

Son of the south, the grapes shine purple.

Already cloudy December in Russian meadows

Fluffy snow was spread out in layers;

Winter was breathing there, and with the spring warmth

Here the clear sun rolled over me... .

A notable feature of the southern garden is that it is located on the border of water and land. And in this regard, there is another significant topos of “earth” in poetic mythology by A.S. Pushkin, associated with the garden, is the shore. In the poem “Who has seen the land, where the luxury of nature” (1821), the waters do not absorb the land, but, reflecting the comprehensive harmony of nature, “peaceful caresses the shores.” In this union of water and earth, the garden blooms. The epithet “cheerful” (“cheerful streams”, “the waters rustle and sparkle merrily”) is constantly associated with waves, which conveys the mood of triumph and joy of life.

The image of a garden in the southern poetry of A.S. Pushkin is included in the description of the natural landscape as a significant component. The content of this image develops in the motifs of cultivated flowering land, the silence of the valley, the harmony of water and land. A bunch of grapes illuminated by the sun, cypresses, poplars, laurel trees and oak groves transform Pushkin's southern landscape into an image of an earthly cultivated paradise.

Thus, the mythopoetic content of the image of the garden in the spatial picture of the world of the southern lyrics of A.S. Pushkin is formed on the basis of biblical ideas about paradise, a place of eternal summer and a blooming garden washed by water. The lyrical hero in this space finds a state of harmony, pristine integrity and unity with nature in its pristine state.

The most obvious points of intersection between the images of the garden in Pushkin and Annensky are associated with the image of the gardens of Tsarskoe Selo.

Annensky's perception of Tsarskoe Selo and its Pushkin aura is close to the previous tradition. We agree with the opinion of L.G. Kikhney and N.N. Tkacheva, expressed when analyzing the “sculptural” theme, which they consider “a continuation of the dialogue with Pushkin’s tradition” in Annensky’s poems: “For Annensky, Tsarskoe Selo is a place that preserves the memory of the best moments of his life. Portraits, fountains, monuments, ponds and groves, painted with such love by the author, absorb his longing for the past, which can never be returned.<…>Tsarskoe Selo is for Annensky a sign of a different culture, and above all Pushkin’s. This is evidenced by the mention not only of the Pushkin monument, but also of the sculpture of the nymph, glorified by the poet in the poem “Tsarskoye Selo Statue”.

Annensky himself, in his speech “Pushkin and Tsarskoe Selo” (1899), called the poet the guardian genius of Tsarskoe Selo, which makes it possible to say that this space was not thought of or felt by him outside of connection with the image and poetry of Pushkin, Moreover, this inseparable connection of theirs was perceived by him as if through the prism of legend, that is, it was mythologized: “There is an old Lyceum legend that even under Engelhardt, a cube-shaped turf monument with a white marble board was erected near the Lyceum: the inscription Genio was carved on the board in gold letters loci - i.e. guardian genius. The name of Pushkin somehow naturally became associated with this local monument, and the Tsarskoe Selo lyceum students surrounded their palladium with reverence. Almost 30 years have passed, the Lyceum was transferred to St. Petersburg, and I don’t know where the monument went. But the true genius guardian of our gardens could not leave them, and yesterday we laid the first stone for his Tsarskoe Selo monument.”

The image of Tsarskoe Selo itself is depicted by Annensky in “The Trefoil in the Park,” where Tsarskoe Selo is not indicated in a verbal image, but where its sculptural images appear, and in the message of L. I. Mikulich. In addition, a peculiar lyrical sketch of the summer Tsarskoe Selo is found in Annensky’s letter to A.V. Borodina dated July 14, 1905. At the same time, it is striking that here, too, the image of Pushkin, a monument to him, is designated as a kind of center of this city: “Our summer picture is pale in color, but it has a special touching quality. The “forgetfulness” of Tsarskoye Selo parks definitely flirts a little, even on a quiet evening, with its weary observer. Tsarskoe is now simply a desert, and in those places where one might seem to expect special movement, for example, at the Pushkin monument, a kind of eerie silence reigns; rare passers-by, stunted blond children - all of this is definitely afraid to even talk about. Everything is open, swept, even elegant, if you like - and in everything there is some kind of “forgetfulness”, some kind of terrible alienation. For some reason, it seems to me that nowhere would I feel as good now as I do here.”

From this sketch it is clear that for Annensky, Tsarskoe Selo is an ideal poetic space, a place of inspiration. And what makes it so is its “desertness”, “oblivion”, which, in a way, is associatively reminiscent of Pushkin’s image from the poem “It’s time, my friend, it’s time! [peace] the heart asks..." (1834): "Long ago, a tired slave, I planned an escape / To a distant abode of labor and pure bliss," which developed from his early general romantic images of a "distant canopy", "deserted corner", etc. P. Pushkin also characterizes the atmosphere of Tsarskoe Selo as an idyllic, secluded, quiet corner where inspiration, dreams and memories reign: “Keeper of sweet feelings and past pleasures, / O you, Genius, long familiar to the singer of the oak forest, / Memories, draw before me / Magical places, where I live with my soul, / Forests, where [I] loved, where [feelings] developed, / Where infancy merged with first youth, / And where, nurtured by nature and dreams, / I knew poetry, gaiety and peace...” (“Tsarskoe Selo "; 1823). Therefore, it is no coincidence that the idea of Tsarskoye Selo as a space of emerging poetry and beauty is associated in Annensky’s mind with the name of Pushkin: “It is here, in these harmonious alternations of shadow and shine; azure and gold; water, greenery and marble; antiquity and life; in this elegant combination of nature and art, Pushkin, even on the threshold of adolescence, could find all the elements of that strict beauty, to which he remained forever faithful both in the outlines of images, and in the naturalness of transitions, and in the grace of contrasts (compare them at least with the famous Derzhavin’s), and even in the severity of the rhythms."

For Annensky himself, this is more a space reminiscent of the possibility of creativity than the space of “poetic works” itself, hence the final verses of the message “L.I. Mikulich”: “Say: “Tsarskoye Selo” - / And we will smile through our tears.”

Perhaps the remark made by A. Aryev in his interesting article, distinguished by subtle observations, is still somewhat categorical: “Under the pen of Annensky, Tsarskoye Selo is transformed from the “abode of the muses” into Lermontov’s “bad little town.” He is the first to hammer a nail into the gates of Tsarskoye Selo parks: “But the garden has died down... and the door there is hammered in...”.

His statement that “In Tsarskoye for Annensky “everything that is gone forever” seems more accurate and conclusive, and it was precisely in the midst of all this that was gone that it was especially painful and sweet for him to create. This is creativity that absorbs the crude materiality of today and the illusory nature of yesterday.”

Perhaps that is why, in his speech about Pushkin and Tsarskoe Selo, Annensky pays special attention to the theme and poetic form of memory: “Staying in the field of lyricism, we will find that it is in Tsarskoe Selo, in this park of “memories” par excellence, in Pushkin’s soul that It was for the first time that an inclination towards the poetic form of memories developed, and Pushkin, even later, always especially loved this spiritual mood.” Moreover, these words of Annensky can rightfully be attributed to him. At the same time, it is interesting that the motif of memory becomes the leading one in his poems, which contain the image of a garden or park, often characterized as abandoned, secluded, forgotten, etc.

Let's name just a few of Annensky's poems, which present the image of a garden, a park, since it appears in most of his works: “September”, “First Piano Sonnet”, “Poppies”, “In March”, “Black Silhouette”, “Nox vitae” ", "Old Manor", "Ghosts", "Impossible", "Melancholy of the Garden", "Autumn Enamel", "The Last Lilacs", etc.

For Annensky himself, the poetics of garden and park space is associated, as a rule, with the motives of loss, memories of now inaccessible harmony, happiness, etc., which justifies the characterization of the garden as forgotten, abandoned, old, dying, etc.: “Gilded, but stunted gardens / With the temptation of purple on slow ailments" ("September"), "There the old garden is full of the moon and fables" ("First Piano Sonnet"), "A cheerful day is burning... But the garden is empty and deaf" ("Poppies" ), “Only once we intertwined our cold hands / And, trembling, we quickly left the garden...” (“In March”), “How strangely fused are the garden and the firmament / With its stern silence, / How the night resembles death / To everyone, even the faded cover "("Nox vitae"), "An ancient garden, all the aspen trees are skinny, scary! / The house is ruins... Mud, mud in the ponds... // What a loss!.. Brother against brother... What offense!.. / Dust and rottenness... It tilted... But it’s worth..." (“Old Estate”), etc.

In this interpretation of the poetic space of an abandoned garden, Annensky turns out to be the continuer of one of the main traditions of Russian literature, founded in the “Friendly Literary Society”, which met in 1801 in the house of A.F. Voeikov, but at the same time directly connected with the Pushkin tradition: “Dead gardens, like decaying houses, existed in Russia not only in the 19th century, but also earlier - both in the 18th century and before it, but they were not noticed, at least in fiction. They came to the attention of poetry, not counting the rarest and incomplete analogies, precisely at the beginning of the 19th century, and since then, embodied in a poetic image, they have entered the inventory of means of artistic expression. Andrei Turgenev not only noticed such phenomena in Moscow life, but also recorded them in the poetic word, first picked up by Zhukovsky, and later adopted and developed by subsequent generations of poets. The first person we need to remember in this regard was Pushkin.”

Thus, Annensky, on the one hand, organically develops the literary symbolism of an abandoned garden, embodied, among other things, in Pushkin’s poetry, and on the other hand, his image is also constructed as a contrast to Pushkin’s image of the garden as an ideal poetic space. This contrast with Pushkin’s figurative system (since such an interpretation of the garden as an idyllic chronotope is pan-European) turns out to be possible through the lyrical inclusion of specific gardens and parks - Tsarskoye Selo. And the symbolism of the Tsarskoe Selo garden/park as the fatherland of poetry (“Fatherland to us Tsarskoe Selo”) was created precisely in Pushkin’s poetry, in this meaning it was organically perceived by Russian literature: “In the very perception of Tsarskoe Selo there are two myths about it as a city kings and “royal miracles” and as a city of poets and literary miracles.”

As you can see, Annensky creates his poetics of the garden, starting from the impressions evoked by the real and mythologized image of the gardens and parks of Tsarskoe Selo, while the perception of this topos as a lost, collapsing, once ideal space of “poets and literary miracles” is relevant for him.

So, in the system of spatial images of Annensky’s lyrics, we can distinguish the topos of the garden. Moreover, in all cases there is a serious rethinking of the symbolism of this image, created by the “golden age” of Russian poetry. We can also talk about a single direction in the semantic re-emphasis of these poetic spaces - in Annensky’s poems, thanks to textual references and reminiscences, Pushkin’s meaning of images is preserved as ideal, initially inherent, but no longer accessible in the modern disharmonious and pragmatic world in which his lyrical hero, overcome by melancholy, resides according to the “golden age”, but aware of its absolute irrevocability, therefore traditional symbols are “turned over” in relation to their past meaning: gardens as a place of inspiration and “poetic labors” are rethought again in the context of the symbolism of the impossible as a space of remembrance of the lost and now inaccessible ideal of beauty, harmony, poetry, etc.