“Memories in Tsarskoe Selo” (1814) is one of the most famous poems by Alexander Sergeevich Pushkin. He wrote it at the age of 15. The poem is known not only for its content, but also for the fact that it earned the praise of the famous poet of that time, Gabriel Derzhavin, who recognized the talent of the young poet.
The poem “Memoirs in Tsarskoe Selo” (1814) bears the features of both and elegy at once. His lyrical hero lists the monuments of Tsarskoye Selo that float before his gaze. This is a monument erected in memory of the successful victory of the Russian fleet over the Turkish army in 1770, a monument that appeared after the success of Rumyantsev’s armada again over the Turks. This time near the town of Cahul in the same 1770. In the text of the poem, the author recalls the glorious and great commanders of those times, their successes and the poets who sang them.
In the poem “Memoirs in Tsarskoe Selo” (1814), the hero thinks about the new century, which began quite recently. And many events have already happened in it that shocked Russia: the invasion of Napoleon’s troops, the burning of Moscow, the conquest of Paris.
At the end of his work, the poet seems to turn to the poet of modern times Zhukovsky, whom he calls the skald of Russia. He calls on everyone around him to praise the future successes of the Russian people.
Analysis of the poem “Memoirs in Tsarskoe Selo” (1814) is always aimed at the high role of the poet in society, which the author notes. Pushkin directly states that every era requires not only commanders and brave soldiers, but also poets who will inspire heroes to their exploits.
Creating a Poem
Pushkin wrote the poem “Memories in Tsarskoe Selo” (1814) in the fall of 1814. He did this out of necessity - his own work was required to be read at an exam at the Tsarskoye Selo Lyceum, where the poet studied.
An open public exam was held during the transition from junior to senior year. A famous poet of that time confirmed his participation in the exam. Having learned about this, the literature teacher of the lyceum students, Galich, suggested that Pushkin, who had already published his lyrics several times, write some worthy poem for this event.
Shortly before the exam, a rehearsal took place. This demand was put forward by the government’s Minister of Education, Alexei Razumovsky. He himself was present at it. It was then that Pushkin presented his work for the first time. "Memoirs in Tsarskoe Selo" (1814) made a great impression on everyone.
Pushkin Exam
The exam itself at the Tsarskoye Selo Lyceum took place at the very beginning of 1815. Derzhavin arrived feeling unwell. He was old and the exam took too long. He perked up only when Russian literature was being assessed.
Lyceum students read by heart and analyzed poems by Derzhavin himself. He listened attentively and with pleasure.
Pushkin later wrote that he read the poem “Memoirs in Tsarskoe Selo” (1814) while being a few steps from Derzhavin. As soon as he finished reading, he immediately ran away, not remembering where. Derzhavin was delighted, he demanded that the poet be brought to him to hug him. He immediately declared that this poet could replace him.
Fate of the text
After the exam, Derzhavin asked Pushkin to send him the handwritten text of the poem. The second copy ended up with his uncle Vasily Lvovich. This is how the text became famous and popular.
In 1815, the poem was published in the magazine "Russian Museum, or Journal of European News." In 1819, while working on the first collection of his poems, which was never published, Pushkin revised the text. From it he removed references to Alexander I as the savior of Europe.
It was possible to include it in the collection only in 1825. It was sent to the censor, and as a result it did not appear in the published book. It is believed that the censor noticed that Pushkin removed the stanza dedicated to the emperor. And the text was well known in its original form. This fact could not go unnoticed.
By the way, in 1829 the poet created another poem under the same title. It begins with the words “Confused by memories...”. These two texts should not be confused.
The meaning of the poem in Pushkin’s works
This poem played a big role in the poet’s fate. The fact that Derzhavin, who died a year later, publicly named Pushkin as his successor made a great impression on his contemporaries. And when Pushkin’s genius was revealed in all its glory, the event began to be considered symbolic. It was seen as the passing of the creative baton from the 18th to the 19th centuries.
Derzhavin himself had a great influence on Pushkin. The poet repeatedly addressed him in his works.
For example, in “Eugene Onegin” the phrase “Old Derzhavin noticed us / And, going to the grave, blessed us” soon became popular.
Analysis of the poem
Where should the analysis begin? “Memories in Tsarskoe Selo” (1814) is a work in which the poet moves from the successful years of the 18th century, when the country was led by Empress Catherine II, to the very recent past. He talks in detail about the events of the war against the French, noting the main ones: the burning of Moscow and the Battle of Borodino. Describes the victorious march of the Russian army across Europe to the very heart of Europe.
The poet compares the victory over Napoleon with deliverance from the “scourge of the universe.” The address at the end of the poem to Zhukovsky made a particularly strong impression on him.
Text Features
What else can be included in the analysis? “Memoirs in Tsarskoe Selo” (1814) by Pushkin is a poem that contains obvious elements for which the 18th century was so famous. For example, among other texts by Pushkin, it is distinguished by the solemn syllable in which it is written.
At the same time, Pushkin does not at all shy away from using archaisms. So, describing what happened during the war against Napoleon, he mentions the ringing of swords and chain mail. But it is obvious that neither one nor the other was used in the 19th century. But Pushkin deliberately uses these very images to give his text more sublimity and solemnity. In reality, the so-called music of battles of that time was artillery.
At the same time, Alexander Sergeevich Pushkin in his poem is guided not only by examples of classicism. Obvious romantic and sentimental features are also clearly visible in the text.
The most striking example is the description of the landscape at the very beginning of the poem, which sets the mood for the entire text.
At the same time, it is worth recognizing the obvious fact that the poem itself is clearly imitative in nature. In it, Pushkin collects the best that the older generation of poets produced at that time, the most significant representative of which was Derzhavin. Based on their works, Pushkin forms his own, unlike anything else, individual and unique style.
This is precisely what Derzhavin, who was present at Pushkin’s exam, noticed and appreciated so highly.
Against the background of “The First Return,” the title “In Tsarskoe Selo” can be interpreted as a doom to continue the “forever exhausted theme.” In this situation, the poet is very clearly aware that his personal focus on uniqueness will inevitably run into the impossibility of not repeating himself.
In this dialectic, spatial realities are preserved in the word because they were already a word and many times passed from verbal reality to life reality. Against this background, the love experiences of the first poem unfold. The essence of the experience is unhappy and painful love, the most universal situation in Akhmatova’s early and late works. This situation is quite common in turn-of-the-century poetry, so it is necessary to understand its significance in this poetic context. Akhmatova’s peculiarity is that the language of love was the most adequate for comprehending time (I. Brodsky), because this is not just torment, but torment experienced again and again. A. Akhmatova, returning the torment, also experiences liberation from it. The main thing in the experience that is recreated here is the rejection of the hero’s lyrical irony (which allowed V.V. Vinogradov to talk about the semantic duality of the work). Perhaps this is where this happens for the first time in Akhmatova, and this is not just liberation from love, but also from the attraction of things associated with feeling.
Horses are led along the alley.
The waves of combed manes are long.
Oh, captivating city of mysteries,
I'm sad, having loved you.
It’s strange to remember: my soul was yearning,
She was suffocating in her death delirium.
And now I've become a toy,
Like my pink cockatoo friend.
The chest is not compressed in anticipation of pain,
If you want, look into the eyes.
I just don’t like the hour before sunset,
Wind from the sea and the word "go away."
Thingfulness, “toy-ness” has another important semantic connotation. The theme of toys is closely related to destruction: the lyrical heroine finds herself on the verge of destruction.
The result of this poem is the birth of a word. Both in the literal sense (“the word “go away”), and in the poetic sense. After all, the last two lines are a clear description of the past, selected external realities. Liberation from love experiences in this poem occurs in the word and for the word, as well as for the acquisition of poetic memory , understanding the passage of time.
The theme of memory gives rise to the theme of duality - throughout the entire cycle. The heroes of all three poems in the cycle can be considered doubles.
In the second poem, the theme of duality is already clearly heard. Here is its beginning for all of Akhmatova’s poetry, and the appearance of this theme is dictated by a special view of time. As we comprehend the passage of time, we become more and more aware of the changes that it makes not only to the world around us, but also to the personality of the poet himself. This is how a split arises: the “I” in the past and the “I” in the present are connected, like a portrait and an original. In fact, the theme of the portrait is a hypostasis of the theme of duality, and Akhmatova’s relationship between the portrait and the original is determined by the passage of time.
...And there is my marble double,
Prostrate under the old maple tree,
He gave his face to the lake waters,
He listens to green rustling sounds.
And the light rains wash
His clotted wound...
Cold, white, wait,
I, too, will become marble.
This portrait is a mirror in which you can see the future, a fortune-telling portrait, a prophecy portrait that comes true as inevitably as the passage of time is inevitable. Hence the inevitability of what is said in “Epic Motives”:
As if in a mirror, I looked anxiously
On a gray canvas, and with every week
The resemblance became more and more bitter and strange
Mine with my image is new.
In general, Akhmatova’s portrait continues to live and change without the original (“As a man dies, / His portraits change”).
In the cycle “In Tsarskoe Selo” the double is marble, that is, a statue. In the poem there is a counter-movement between the heroine and the double: the statue “listens to the green rustling”, and a person can become a statue. (“...I, too, will become marble”).
It is interesting that the revival of the statue accompanies its dying and destruction (the statue fell). The lyrical heroine also speaks about her impending death. These two processes do not occur separately, but simultaneously; the main law of the passage of time is the consubstantiality of death and rebirth.
The rapprochement of the lyrical heroine (she is also a poet) and the statue prepares the appearance of Pushkin in the third poem - a personality whose death turned into a rebirth for all times. It is characteristic that the poet’s word appears in the cycle earlier than the poet himself, because the second poem is clearly allusive in relation to Pushkin’s “Having dropped an urn with water, the maiden broke it on a cliff...”. The point is not only the commonality of the theme, its interpretation is important: for both, the statue is both dead and alive (“The Virgin, above the eternal stream, sits forever sadly”).
"...He gave his face to the lake waters, / Hears the green rustlings"). But in Pushkin the moment is frozen, we are talking about a living maiden, and the exclamation “miracle!” in the next line is due precisely to the fact that the moment when the living became inanimate and plunged into eternity was captured. For Akhmatova, this transition is no longer a miracle and a moment, but a way of existence (“...And there is my marble double...”). In addition, the time situation here is different. Pushkin shows the moment of transition of the living into the inanimate, into eternity, and the miracle of this transition. In Akhmatova, on the contrary, eternity exists initially, the double is already marble, and the moment that has sunk into eternity is extracted from it and restored. In essence, this poem is the answer to the question of what happened to the Pushkin statue in the passing of time: the statue is resurrected in the poetic word.
Therefore, the “marble double” is, first of all, the embodiment of memory, that is, a monument. Monuments in Akhmatova’s work are a fairly common occurrence, and they appear, as a rule, on the verge of life and death, in the unity of the fates of the poet and time, at the most painful moments of a temporal rift (the early and late cycles of “Three Poems”, the Fifth of the “Northern Elegies” ", "Requiem").
In the context of the cycle, the meaning of the poem is determined by its middle position, its mediating function between the poet’s “I” and Pushkin. So the entire spatial complex of this poem is repeated in the third (“...He gave his face to the lake waters” - “...At the sad lake shores...”; “He listens to the green rustling”; “...The needles of the pine trees are thick and prickly.. ").
The living past is the hero of the third poem. Pushkin here is the pinnacle personification of the past, he embodied it in words. The image of Pushkin in this poem is double. On the one hand, he is removed in time and space (“And we cherish the century / The barely audible rustle of steps”). On the other hand, it is as close as possible through material and everyday details (“Here lay his cocked hat...”). That is, Pushkin for Akhmatova is truly an ideal perspective, something unconditionally close and at the same time infinitely distant, constantly being embodied, but completely unrealizable. With the appearance of Pushkin, time moves backwards, from the future to the past. At the same time, the dead poet is spoken of as if he were alive: “...The barely audible rustle of steps” is heard after a century.
Thus, the space of the first quatrain is the space of the past. However, the realities of space in the second quatrain are not only signs of Tsarskoe Selo. All these realities have survived a number of cultural eras, and therefore they are timeless and universal. This creates a certain spatial context that is common to Pushkin, the poet, and the statue.
Against this background, one can more fully comprehend the ending of the cycle: “Here lay his cocked hat / And the disheveled volume of Guys.” The word “here” includes a lot: this is the place where the heroine’s love experiences unfold, where she prophesies about the future and where the deep past is alive - Pushkin. Along those alleys along which horses are now being “guided” - “the dark-skinned youth wandered”, and in those places where “the soul yearned / Gasped in its dying delirium” - “... lay his cocked hat / And the disheveled volume of the Guys” . Everything exists simultaneously here in Tsarskoe Selo (hence the name). Therefore, standing in this place, you can feel yourself in all three times.
As has already been said, it is Pushkin’s word, recreated in the second poem, that contributes to the appearance of a living Pushkin in the third. A poet who appears following his word - this situation will be repeated quite often in Akhmatova (Blok’s cycle, “Poem without a Hero”, etc.), reflecting the primacy of the word in relation to reality, its magical power over it.
But the main thing: the reconstruction of the poet’s appearance and his living word is intertwined with the biography of another poet and with his word. This process is already embodied in the first word of the third poem - “dark.” The epithet is associated with the portrait of Pushkin, and with the eastern origin of Akhmatova herself, and at the same time with the skin color of her Muse. The last association introduces it into the world cultural context: “And cheeks scorched by fire, / People are already confused by their dark complexion,” Akhmatova will say about herself in a later poem. The same thing happened with Dante, whose dark complexion was associated by his contemporaries with the flames of hell. At this point of similarity (Dante - Pushkin - Akhmatova) there is already the beginning of fate, leading to "Requiem", the scene of which becomes Hell, and programming the exit from this Hell. In this regard, the “disheveled volume of Guys” at the end is not accidental.
Just as Pushkin and Dante were significant for Akhmatova, so Dante, Guys, was dear to Pushkin. And Akhmatova builds this line of predestination from the very beginning, because she “knows the beginnings and ends.”
Three poetic works made up a short cycle of 1911. Its title indicates the main theme - the memory of the beloved city in which the author spent his childhood and adolescence.
Distant memories of the hippodrome and well-groomed horses, mentioned by Akhmatova and in prose, determine the figurative structure of the opening “Horses are led along the alley...” In the literary text, a series is built, formed by the signs of childhood: the neatly combed “horses” are joined by a “pink friend,” a parrot and the lexeme “ toy”, characterizing the subject of speech.
The lyrical heroine confesses her love for the “city of mysteries,” while simultaneously hinting at the personal drama she experienced. High feeling is inseparable from sadness. Melancholy emotions also come in two forms: at first they were unbearably heavy, like “death delirium,” and then were replaced by a calm, familiar feeling of mental burden. This is how the theme of duality arises, which is developed in the following poems of the triptych.
Researchers have said a lot about the image of Pushkin, a cross-cutting image of Akhmatova’s poetics. The beginning of an extensive
The theme is based on the analyzed cycle, where the classic appears both in the role of a great poet and as a person, one of our ancestors.
The principle of ambivalence is the basis for the famous image of the “marble double” statue of the heroine from the second text of the cycle. Mentions of the coldness of the white statue frame the text, occurring in the beginning and ending. In the central episode, the statue is personified: it can feel the rustling of leaves, peer into the surface of the lake, and there is a “gore wound” on its body.
The desperate and at first glance paradoxical desire to become a statue, expressed by the emotional cry of the finale, returns the reader to the theme of love - tragic, forever separated by time.
In the third work, the image of the classic is embodied in a brooding dark-skinned young man. The links connecting the almost legendary past and present are the components of the artistic space: alleys, lake shores, low stumps under pine trees, densely covered with pine needles. The essence of the lyrical situation is based on a remarkable illusion: clearly outlining a hundred-year gap between two time plans, the author emphasizes the immutability of nature included in the artistic space of the text. The original technique creates the feeling that the lyrical “I” and the reader reverently follow the brilliant youth leisurely strolling through the park. Bright material details, which have become a characteristic feature of Akhmatova’s mastery, enhance the effect of presence.
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The structure-forming function of the “Pushkin text” in A. Akhmatova’s cycle “In Tsarskoe Selo”
Borovskaya Anna Alexandrovna,
Candidate of Philological Sciences, Associate Professor of the Department of Russian Literature of the 20th Century, Astrakhan State University.
A. Akhmatova’s appeal to the work of A. Pushkin became for her an affirmation of the inseparability of the national cultural tradition, a form of self-determination of the poetess, and had an impact on her work. For A. Akhmatova, Pushkin’s motifs become the embodiment of aesthetic and ethical principles of creativity.
In this regard, with some degree of convention, we can use the concept of “Pushkin text”, which we use by analogy with the definition of V. Toporov (“St. Petersburg text”), introduced by him in the work “Petersburg and the “Petersburg text of Russian literature””. V. Toporov considers the “St. Petersburg text” as “not just a mirror of the city that enhances the effect, but a device with the help of which the transition is made<…>material reality into spiritual values, clearly retains traces of its extra-textual substrate and, in turn, requires from its consumer the ability to restore connections with the extra-textual, extra-textual for each node of the St. Petersburg text. The text, therefore, teaches the reader the rules of going beyond its own limits, and this connection with the extra-textual lives both the Petersburg text itself and those to whom it was revealed as a reality that is not exhausted by the thing-object level.” By “Pushkin text” in A. Akhmatova’s work we understand a certain semantic unity that determines the functioning within the boundaries of A. Akhmatova’s creative system of various images, motifs, reminiscences, allusions going back to Pushkin’s works, on the one hand, and the formation of a holistic perception of A. Akhmatova’s image. Pushkin and his work by A. Akhmatova, on the other.
The cycle “In Tsarskoe Selo” is one of the central ones in the collection “Evening” (1912). They discover the theme of A. Pushkin in Akhmatova’s work, one of the cross-cutting themes of her poetry. The poem “A dark-skinned youth wandered through the alleys...” concludes the cycle “In Tsarskoe Selo.” It is preceded by two poems: “They lead horses along the alley...” and “... And there is my marble double.” All parts of the triptych are inextricably linked with each other in that they are an emotional response to childhood memories spent in Tsarskoe Selo.
The title of A. Akhmatova’s lyrical cycle “In Tsarskoe Selo”, as a text-level unit, designates the location of the lyrical plot and represents a kind of coordinate of the artistic world. However, its semiotics is more multi-layered. The toponymic characteristic (Tsarskoe Selo) combines two time layers, at the intersection of which the symbolic content of the title is revealed. Tsarskoe Selo is not just the place where the lyrical heroine spent her youth and the tragedy of her first love played out, but also the Lyceum years of A. Pushkin, this is the Pushkin era as a whole. Thus, Tsarskoe Selo is introduced into the value system of the two poets as a symbol of the past and at the same time (for A. Akhmatova) timeless eternity. The title implicitly contains the main theme of the cycle - the theme of memory in its cultural and personal aspects. The title “In Tsarskoe Selo” immediately connects this text to a certain cultural environment, entering which is the path to A. Pushkin. We can talk about the phenomenon of the “Tsarskoye Selo text”. Each of the realities of everyday life is perceived as significant in literary terms, and this significance turns out to be primary in comparison with its real meaning.
Thus, at the level of the title (and, consequently, the cycle as a whole), A. Akhmatova turns to the dialogic structure as a means of communication. The position of the lyrical heroine in relation to the image of A. Pushkin appears in two forms: he is simultaneously in the past and in the present. Hence, the position of the lyrical heroine is also dual: for her, A. Pushkin is something unconditionally close (“a dark-skinned youth”) and at the same time infinitely distant (“And we cherish centuries...”). In this way, a certain degree of detachment is achieved, characterizing the attitude
A. Akhmatova to A. Pushkin throughout his entire creative life.
The lyrical plot is one of the main indicators of unity, fixing the self-identification of the lyrical cycle. His functioning in A. Akhmatova’s cycle “In Tsarskoe Selo” is determined by the existential question “What is Pushkin?” A. Akhmatova’s image of A. Pushkin appears, on the one hand, as an ideal poetic and cultural perspective, on the other, as a personality in its everyday incarnation. The lyrical plot in A. Akhmatova’s cycle is closer to the prosaic (narrative); its constituent elements are relatively independent, but do not follow each other, but interact, forming a single complex structure. The opening lines of the first poem:
Horses are led along the alley,
The waves of combed manes are long.
O captivating city of mysteries...
represent an exposition of the plot, designed in the form of a prologue. Researchers of A. Akhmatova’s work have repeatedly noted the presence of a dramatic element in her lyrics (dialogical structure of texts, the severity of depicted collisions, polyphony, etc.). The prologue in this case reflects the dramatic essence of the lyrical cycle. Semantically, in these lines, the main motif of the cycle is formed, organizing its lyrical plot - the motif of Tsarskoye Selo (“city of mysteries”). The metaphorical phrase breaks the vicious circle of intimate impressions set by the two previous phrases. The idyllic picture of the lyrical heroine’s childhood (emphasized use of the word “horses” with a diminutive suffix) turns into a mysterious, partly “enchanted place”, characteristic of literature XIX century. Thus, another cross-cutting motive of the entire cycle is declared - the motive of reincarnation. In the consciousness of the lyrical heroine, the boundaries of space are shifted, time and age boundaries are expanded. The perspective of the image includes the cultural and historical context, represented primarily by the romantic worldview. At the same time, Tsarskoe Selo is reflected simultaneously in the value systems of various subjects: a dreamy teenage girl and an already adult lyrical heroine.
Next line: “I am sad, having loved you...” [S. 169] is the beginning of the lyrical plot. Its antithetical structure denotes the internal opposition “sadness-love”, which formed the basis of the central conflict of the lyrical cycle: the conflict between the past and the present, characterized by a mosaic form, since it consists of peripheral collisions (the conflict in the mind of the lyrical heroine between the desire to leave, cross out the past and the impossibility of doing this, the conflict between the eternal and the momentary). In this regard, we can highlight personal and cultural-historical conflict and its resolution. Hence, there are two storylines in the cycle: a love microplot and a microplot about A. Pushkin. A love conflict is simultaneously “immersed” in the past (“It’s strange to remember…”) and at the same time the present is subject to its laws (“And now I’ve become a toy…”). The beginning of a love story is immediately followed by a climax:
... the soul was yearning,
I was suffocating in my dying delirium... [WITH. 169]
demonstrating the highest tension of the love feeling of the lyrical heroine. The correlation of these lines with the previous phrase “It’s strange to remember...”, denoting immersion in a different time layer, forms a contrast that serves as an indicator of the evolution of the lyrical heroine (from reflection to complete detachment), an indicator of her detached position in relation to the surrounding reality in the present (“strange "). Lines: “And now I have become a toy, // Like my pink friend the cockatoo” [P. 169] are the denouement of a love plot, which state the fact of a change that has occurred in the consciousness of the lyrical heroine. The comparison of the lyrical heroine with a cockatoo indirectly echoes the opening lines of the poem: “They lead horses along the alley...” Thus, we have before us the process of evolution of the heroine in the form of a closed spiral. However, the resolution of the conflict situation is imaginary, so the denouement can be called false: thus, the past for the lyrical heroine has not lost its significance, the theme of memory arises in A. Akhmatova’s traditional tragic perception. Hidden antithesis in the third stanza of the first poem:
The chest is not compressed in anticipation of pain...
I just don’t like the hour before sunset,
The wind from the sea and the word “go away.” [P. 170]
exacerbate the contradictions in the consciousness of the lyrical heroine, despite its formal completeness. The result of this poem is the birth of a word. Both in the literal sense (“the word “go away”), and in the poetic sense. After all, the last two lines are a clear description of the past, selected external realities. Liberation from love experiences in this poem occurs in the word and for the word, as well as in acquiring poetic memory and understanding the passage of time.
The second poem is a kind of bond between the two storylines of the cycle. At the same time, it continues the development of the action in a micro-story about A. Pushkin: “...And there is my marble double...”. The presence of “there” correlates, on the one hand, with the title of the cycle, and on the other hand, it is directly related to the metaphor “city of mysteries.” The metamorphosis that occurred in the first poem with the lyrical heroine predetermines the appearance of the image of the marble double (and the theme of duality in general), the meaning of which in the cycle is ambiguous. The epithet “marble” emphasizes the soulless coldness of the statue, thereby symbolizing the changes that have occurred in the heroine herself. However, A. Akhmatova’s image of the statue is personified: “Listen to green rustlings...”. Thus, a double portrait of the lyrical heroine appears, which is endowed with ambivalent characteristics. Hence: “And the bright rains wash // His clotted wound...”[P. 171] . Based on this, we can conclude that there is a mirror relationship between the lyrical plot of the first and second poems. The “marble double” is associated with the monument to A. Pushkin and is the embodiment of the theme of memory. The destruction of the statue is understood in the context of the death of A. Pushkin: this is both the physical death of the poet and an irreparable loss for the entire Russian culture:
Cold, white, wait,
I too will become marble... [WITH. 171]
can be commented as follows. Firstly, this is a textual echo of a line from the first poem: “And now I have become a toy...”. The discrepancy between temporal forms (past in the first case, future in the second) is due to the formal gradation: “toy - marble” without changing the content side (cold, lifeless). Secondly, predicting her death, the lyrical heroine in her own way comprehends the “running of time” - the main link in the concept of the cycle. The passage of time brings changes not only to the world around us, but also to the consciousness of the lyrical heroine. Thirdly, a kind of prophecy actualizes the motif of a “living monument”, symbolizing the eternal recognition of the poet by the people. But this recognition does not last forever (“The statue fell and broke”). There is an allusion to the famous poem by A. Pushkin “I erected a monument to myself not made by hands.” The true love of the people is in eternal memory. This theme is developed in the third poem. The rapprochement of the lyrical heroine and the statue predetermines the appearance in the cycle of the image of A. Pushkin - the poet whose death turned into a rebirth for all times - the culmination of the lyrical plot (“The dark-skinned youth wandered through the alleys”). Pushkin personifies the living and eternal past, thereby the past in the mind of the lyrical heroine is rehabilitated and deprived of its tragic coloring. The motif of sadness and sadness connects the first and third poems: “At the sad lake shores.” It is characteristic that the poet’s word appears in the cycle earlier than the poet himself, because the second poem is clearly allusive in relation to Pushkin’s “Having dropped an urn with water, the maiden broke it on a cliff...”. It’s not just the commonality of the theme, its interpretation is important: both have a statue that is both dead and alive (“The Virgin, above the eternal stream, sits forever sad”).
“...He gave his face to the lake waters, / Listens to green rustling sounds”). But in A. Pushkin the moment is frozen, we are talking about a living maiden, and the exclamation “miracle!” in the next line is due precisely to the fact that the moment when the living became inanimate and plunged into eternity was captured. For A. Akhmatova, this transition is no longer a miracle and a moment, but a way of existence (“...And there is my marble double...”). In addition, the time situation here is different. A. Pushkin shows the moment of transition of the living into the inanimate, into eternity, and the miracle of this transition. In A. Akhmatova, on the contrary, eternity exists initially, the double is already marble, and the moment that has sunk into eternity is extracted from it and restored. In essence, this poem is the answer to the question of what happened to the Pushkin statue in the passing of time: the statue is resurrected in the poetic word.
The interpenetration of two time plans in A. Akhmatova’s text refers to the poem “Fisherman”. A. Zholkovsky first noticed A. Akhmatova’s borrowing of the symbolism of A. Pushkin, who wrote his poem in 1830. In it he portrays M. Lomonosov as a boy, the son of a fisherman in 1730. A. Akhmatova writes a series in “In Tsarskoe Selo” in 1911, talking about Pushkin, a lyceum student in 1811: “And we cherish the century.” Moreover, subtracting another century from 1811, we get the year of M. Lomonosov’s birth. This kind of game over time is symbolic in nature. A century as a time cycle, on the one hand, indicates the cyclical and spiral nature of cultural development. On the other hand, it is recognized as a timeless category of eternity. Finally, A. Akhmatova proclaims, on the basis of a similarity with Pushkin’s pretext, the principle of a mystical, sacred connection between times and the continuity of literary generations. The game with time is carried out not only at the semantic, but also at the grammatical levels: the line-by-line alternation of past and present is replaced by the future tense in A. Pushkin’s text and is closed with the help of a ring composition by the past in A. Akhmatova’s cycle:
The dark-skinned youth wandered through the alleys...
Here was his cocked hat... [WITH. 171]
This is due, first of all, to the search for an ideal in the past. The past in A. Akhmatova’s aesthetic concept manifests itself in the present not through the entire series of listed events, but as if by chance is resurrected in small details (hence the image of the cocked hat). At the same time, history is also a kind of memory, therefore, the goal of creativity is the resurrection of the past, its cultural traditions in the present for the sake of the future.
The mirror relationship of eras gives rise to a symbolic understanding of the toponym Tsarskoye Selo, which is introduced into the value system of Pushkin and Akhmatova as a symbol of childhood, youth and the past in general. Tsarskoe Selo is located on the border of the intersection of two worlds - the “golden” age of Russian culture and the modern “silver” age of A. Akhmatova. That is why the voice of the lyrical heroine Akhmatova sounds so tragic in the late cycle “To the City of Pushkin” (1957): “Oh woe is me! They burned you!..”
A unique literary context serves as a kind of connecting link between two historical eras: “And the disheveled volume of Guys.” The French poet is at the same time a value guide for both A. Pushkin and A. Akhmatova. In the poem “A dark-skinned youth wandered through the alleys...” we can talk about a biographical quotation, that is, the inclusion of autobiographical elements in the text. But the main thing: the reconstruction of the poet’s appearance and his living word is intertwined with the biography of another poet and with his word. This process is already embodied in the first word of the third poem - “dark.” The epithet is associated with the portrait of A. Pushkin, and with the eastern origin of A. Akhmatova herself, and at the same time with the skin color of her Muse. The last association introduces it into the world cultural context: “And cheeks scorched by fire, / People are already frightened by their dark complexion,” A. Akhmatova will say about herself in a late poem. The same thing happened with Dante, whose dark complexion was associated by his contemporaries with the flames of hell. At this point of similarity (Dante - Pushkin - Akhmatova) there is already the beginning of fate, leading to the “Requiem”, the scene of which becomes Hell, and programming the exit from this Hell. In this regard, the “disheveled volume of Guys” at the end is not accidental.
Thus, the space of the first quatrain is the space of the past. However, the realities of space in the second quatrain are not only signs of Tsarskoe Selo. All these realities have survived a number of cultural eras, and therefore they are timeless and universal. This creates a certain spatial context, common to A. Pushkin, the poet, and the statue.
Against this background, one can more fully comprehend the ending of the cycle “Here lay his cocked hat / And the disheveled volume of Guys” [P. 171]. The word “here” includes a lot: this is the place where the heroine’s love experiences unfold, where she prophesies about the future and where the deep past is alive - A. Pushkin. Along those alleys along which horses are now being “guided,” “the dark-skinned youth wandered,” and in those places where “his soul yearned, / Gasped in his dying delirium,” “lay his cocked hat / And the disheveled volume of Guys.” Everything exists simultaneously here in Tsarskoe Selo (hence the name). Therefore, standing in this place, you can feel yourself in all three times.
The lyrical plot in A. Akhmatova’s cycle can be attributed to the “chronicle” type (G. Pospelov). Its functioning is based on the relationship between the past and the present in the life of the lyrical heroine, the past as historical memory. The movement of the plot is subject to the antithetical laws of duality: the lyrical “I” in the past and the “I” in the present, “I” and the “marble double,” “I” and the “swarthy youth.” The lyrical plot, endowed with narrative intonation, is outlined with a dotted line - only events and episodes that are significant for the lyrical consciousness are highlighted.
Analysis of the rhythmic plot unfolding in the alternation of the dolnik and anapest shows that at this level there is an interpenetration of the past and the modern metrical point of view.
The relationship between historical eras is reflected, as in a mirror, in the creative relationship of the two authors: they can be understood as a prophecy and a response to it. That is why A. Pushkin for A. Akhmatova is a kind of ideal perspective, Pushkin’s world for her is an ideal of inviolable harmonious balance.
It is characteristic that the general meaning of the cycle is not given initially, but gradually emerges as it unfolds, and not from a simple juxtaposition of poems, but from their comparison. The composition of the cycle implies the need to return to the beginning; there should be both forward and reverse reading. Only in this bidirectional movement is the fullness of meaning achieved. When reading directly, the following triad is built:
1) the human “I”, loving, suffering and liberated from love and suffering;
2) a double as a certain archetype from the world cultural context;
3) comprehension of this context through living individuality.
But if we stop here in the interpretation of the cycle, then the lyrical “I” will turn out to be superfluous and unnecessary; it will appear only as ballast, from which the poet is freed in the process of creativity, and the movement of poetic consciousness will be simplified (“I” - “double” - “Pushkin”) , it turns out that the main thing is to understand A. Pushkin. With the reverse movement, a very important semantic nuance becomes clear: A. Pushkin in the cycle is presented not only in a poetic, but also in an everyday form, and the “I” of the lyrical heroine is the same here. That is, the proportionality and mutual correspondence of two poetic individualities is revealed, not only the significance of A. Pushkin for the formation of a new poetic personality is comprehended, but also the significance of this poetic personality as an enlivening container of culture, literature, and A. Pushkin
The cycle contains, in a condensed form, the pattern of organization of A. Akhmatova’s entire work as a single book, in which the meaning of the whole is in the eternal return of already written poems, in reviving them in a new literary and cultural context.
Literature
1. Akhmatova A. A. Lyrics. - Rostov-on-Don, 1996.
2. Akhmatova A. and Russian literature of the early twentieth century: Abstracts. conf. - M., 1989. - 106 p.
3. Akhmatova readings. Vol. 2. Secrets of the craft / Ed., comp. N.V. Koroleva, S.P. Kovalenko. - M., 1992. - 281 p.
4. Babaev E. G. “... One magnificent quote”: Quotes in the works of A. Akhmatova // Russian speech. - 1993. - No. 3. - P. 3-6.
5. Zhirmunsky V. M. Creativity of A. Akhmatova. - L., 1968. - 250 p.
6. Zholkovsky A.K. Wandering dreams: Word and culture. - M., 1992. - 431 p.
7. Kikhney L.G. Poetry of A. Akhmatova: Secrets of the craft. - M., 1997. - 321 p.
8. Luknitsky P. Early Pushkin studies of A. Akhmatova // Questions of literature. - 1978. - No. 1. – pp. 185-228.
9. Musatov V.V. Lyrics by A. Akhmatova and the Pushkin tradition // Musatov V.V. Pushkin tradition in Russian poetry of the first half of the twentieth century. From Pasternak to Annensky. – M., 1992. – P.116-148.
10. Timenchik R. D. “Someone else’s word” by A. Akhmatova: About language // Russian speech. – 1989. - No. 3. – pp. 33-36.
11. Toporov V.N. Petersburg and “Petersburg text of Russian literature” // Collection of articles. articles. – M., 2004.
Key words: lyrics; Akhmatova; cycle; plot; "poetry on the go";
intersubjectivity; intertextuality.
The article concerns the problem of the poetological plot “poetry on the go” in A. Akhmatova’s cycle “In Tsarskoe Selo”. Sequential Analysis
The three-part plot is carried out in the light of the intersubjective connections of the heroine’s image and the intertextual connections of the second and third poems of the cycle. The “toy” lifelessness of the heroine, her desire to gain immortality in the form of a marble statue is replaced in the finale by a description of the Tsarskoye Selo walk of the “swarthy youth” - Pushkin, who, as the only “moving character” in the cycle (Yu.M. Lotman), carries out the event "poetry on the go."
In this article we will try to substantiate the understanding of Anna Akhmatova’s three-part cycle “In Tsarskoe Selo” (the poems of 1911 were combined by the author into one work in the book “Evening”, published in
1912) in the light of the metaphor “poetry on the move”, realized in the final part of the cycle. The theoretical basis of the analysis is the ideas of S.N. Broitman about the poetics of artistic modality with its inherent principle of subject-figurative complementarity, as well as the scientist’s conclusions about the “internal measure of non-canonical lyrics.” According to his observations, it is determined by subjective neosyncretism (or intersubjectivity as the relationship between “I” and “other”) and the intertextual level of imagery (the relationship between “one’s own” and “the other’s”).
Let's turn to the cycle and analyze each of the poems. In the first -
“They lead horses along the alley...” - the heroine confesses her love to the “captivating city of mysteries”: “I am sad, having fallen in love with you.” This is the addressee of the heroine, after her story in the second stanza about how “the soul was yearning, // Choked in its dying delirium,” and the address in the third stanza: “The chest is not compressed with a premonition of pain, / If you want, look into the eyes,” – is specified to an individual person. In the love plot of the first poem of the cycle, YOU the city was not simply personalized into YOU the beloved. In the lines:
I just don’t like the hour before sunset,
The wind from the sea and the word “go away” -
in one row of listing the characteristics of the general “I don’t like” the heroine, there are such characteristics that belong to both YOU the city (“the hour before sunset,” “the wind from the sea”) and YOU the person (“the word “go away””). This second YOU of the man becomes the third character of the poem, but thanks to the intersubjective integrity of YOU the city and YOU the man, the dialogic balance “I – YOU” is maintained in the poem.
Love suffering did not kill the heroine, but made her lifeless:
And now I've become a toy,
Like my pink cockatoo friend.
This is the state of feeling nothing, like a dead heroine in the second
The rum of the poem cycle transforms into a new form.
...And there is my marble double, Prostrate under the old maple tree, Gave its face to the lake waters, Hearing the green rustles.
And the light rains wash His clotted wound... Cold, white, wait, I, too, will become marble.
Here, dialogical balance in the image of the heroine is realized by the relationship “I am a Double.” But if in the first poem the creation of the intersubjective YOU involved the different poles “city” and “man”, then in the second poem the same quality of the heroine’s I is created in a more complex way: the motive of the heroine’s duality with the Tsarskoye Selo statue is complicated by intertextual connections .
Having experienced the mortal danger of love in Tsarskoe Selo, Akhmatova’s heroine in the same place finds the opportunity to gain immortality. The plot of the heroine’s unhappy love in the first poem of the cycle is balanced in the second by the plot of immortality, embodied in the image of a “marble double” - both a deity and a work of art.
Akhmatov’s description of the Tsarskoe Selo statue in the lines “And the light rains wash / His clotted wound”, “Cold, white, wait” goes back to the poem “PACE” by I. Annensky. Statue of Peace" (from "Shamrock in the Park", book "Cypress Casket"; the poem is dated based on a letter from the poet A.V. Borodina dated August 2, 1905).
Between gilded baths and obelisks of glory
There is a white maiden, and there are thick grasses all around.
The thyrsus does not amuse her, she does not beat the tympanum,
And the white marble Pan doesn’t love her,
Some cold mists caressed her,
And black wounds remained from wet lips.
But the maiden is still proud of her beauty,
And the grass around it is never mowed.
I don’t know why - a statue of a goddess
Sweet things have a charm over the heart...
I love the resentment in her, her terrible nose,
And the legs are clenched, and the rough knot of braids.
Especially when the cold rain falls,
And her nakedness turns white helplessly...
Oh give me eternity - and I will give eternity
For indifference to insults and years.
If the lyrical heroine speaks of her “marble double,” then for the author, Akhmatova, this motif of “doubleness” makes it possible to create an intertextual structure: the image of the Tsarskoye Selo statue in her poem repeats the features of the “statue of peace” in Annensky’s poem. It's double
“doubleness” does not mean the external identity of the heroine and the “statue”: in Akhmatova’s description, it is as if the feminine features of the sculptural image are deliberately hidden. We are talking about internal “doubleness”: the suffering heroine finds the same “suffering” statue (“prostrate”, with a “caked wound”).
The final line of the second poem - “I, too, will become marble” - is a development of a fragment from another work of Annensky - his lyrical tragedy “Laodamia” (first published in 1906). The rapprochement of these two fragments is justified both thematically and grammatically: in Akhmatova, the image of the “marble double” is perceived as a male being (“my double”, “defeated”, “gave”, “his wound”, “cold”, “white”) , which corresponds to Annensky’s character Hermes:
When the darkness of centuries passes and I become
I am marble and forgotten by God, not spared by the rains, somewhere in the north, among the barbarians, in a neglected and dark alley, sometimes
On a white night or a July afternoon, shaking off the sleep from my dimmed eyes, I will smile at a flower or a maiden in love,
Or I will inspire the poet with beauty
Brooding oblivion...
Based on the motive of turning a deity into a statue, given by Annensky, a complex identity is created: “the maiden in love”, the “poet” and the god Hermes himself, who promises through the “darkness of centuries” to become a “marble and forgotten god” - they all gravitate towards the line “I I will also become marble.” This
Subjective-figurative gravity requires special research from the field of intertextual connections “Akhmatova – Annensky”, which goes beyond the scope of the task we outlined at the beginning of the article.
“Toy” in the present and “marble” in the future - this is the equally lifeless state of the heroine in the first two poems. This refusal of the heroine from life can explain her disappearance in the third poem: her traces are found here only in the plural “we”, which includes, together with the heroine, all those subjects who were mentioned in the first two parts of the cycle (“horses” , You are the “city”, You are the beloved, the “marble double” and the double of the “double” - his “face” reflected in the lake). The “dark youth” becomes the hero here. Let us present the text of the third poem of the cycle in its original edition, as it was published in the book “Evening” (Poets Workshop. St. Petersburg, 1912):
The dark-skinned youth wandered through the alleys,
On the lake shores,
And we cherish the century
A barely audible rustle of footsteps.
The spruce needles are dense and prickly Cover the low stumps... Here lay his cocked hat And the torn volume Guys.
If in the first poem the lyrical heroine experiences her “sadness” in Tsarskoe Selo, in the second she suffers no longer as I, but as “my double,” “my other I” in the form of a marble statue; in the third part of the cycle, this accumulation of the subjective sphere ends with a new relationship: “the dark-skinned youth” who “wandered” along the alleys of Tsarskoe Selo, and “we” who listened to his “steps”.
The structure of combining figurative elements of the first and second texts in the third is obvious when highlighting the following fragments: in the first poem the heroine sees how “horses are led along the alleys”, in the second - how a statue is reflected in the “lake waters” of Tsarskoye Selo, in the third - how Lyceum student Pushkin “wandered along the alleys, along the lake shores.” These lexical-semantic repetitions create the chronotope of “our” (speaking on behalf of “we”) general festivities in Tsarskoe Selo, which have been going on for a hundred years, starting with Pushkin’s walk. In light of such a plot of “our” common walk, the three-part structure of the cycle actualizes the idea of the genre of ancient Greek choral lyrics – “prosody”, that is, a song with a “ternary structure” performed by a “public choir” on the move: “during a procession in honor of the deity when entering his temple.”
The mortal danger of love and the idea of artistic immortality are overcome in the third part of the cycle by listening to what has been heard in Tsarskoe Selo for a hundred years - to the sound of the steps of the “youth” Pushkin. The period of one hundred years is not accidental: in 1811, that is, exactly one hundred years ago, Pushkin was admitted to the Tsarskoye Selo Lyceum.
February 1829, the plot of the poet’s walk unfolds in the lines:
Once again a gentle youth, now ardent, now lazy,
Vague dreams melt in my chest, Wandering through meadows, through silent groves, I forget myself as a poet.
The description of the “swarthy youth” in Tsarskoye Selo Park in Akhmatova’s poem of 1911 enters into an intertextual relationship with the terzas of Pushkin’s unfinished work “At the beginning of my life, I remember school...” (1830), testifying to the birth of poetic inspiration in his lyceum period creativity:
And often I sneaked away
Into the magnificent darkness of someone else's garden,
Under the arch is artificial porphyry rocks.
The coolness of the shadows sheltered me there;
I dreamed my young mind,
And it was a joy for me to think idle.
I loved the bright waters and the noise of the leaves,
And white idols in the shade of trees,
And in their faces is the stamp of motionless thoughts.
The walk of the “swarthy youth” along the alleys of Tsarskoe Selo is explained in the light of the formula “poetry on the move”: O. Mandelstam uses this expression in his “Conversation about Dante” (1933) to describe the energy inherent in verse. We are talking about a situation in which a speech action indicating creativity (“speak”, “tell”, “pronounce”,
“sing”) is expressed by the physical action of the poet (“walk”, “wander”, “walk”, “wander”, “wander”, “wander”, etc.). In the history of European lyric poetry, such a model of the author’s poetic activity is evidence of its dual nature. Mandelstam distinguished his gait in Dante’s rhythms: “The question seriously occurs to me how many soles, how many ox soles, how many sandals did Alighieri wear?
during his poetic work, traveling along the goat trails of Italy. “Inferno” and especially “Purgatorio” celebrate the human gait, the size and rhythm of steps, the foot and its shape. Dante understands a step associated with breathing and saturated with thought as the beginning of prosody. He uses many varied and charming expressions to denote walking. For Dante, philosophy and poetry are always on the go, always on their feet.”
So, according to the metaphor of “poetry on the move,” “to wander” means “to write poetry,” so that “step” becomes a metaphor for the poetic foot, the poetic rhythm. The walk of Pushkin the Lyceum student in Tsarskoye Selo Park takes on the meaning of creative activity, “the beginning of prosody.” Akhmatova develops this poetological plot for the listener of her poems: in metaphor
The “rustling of steps” is distinguished by the noise from turning the pages of a book, and the sound of the steps of a walking “youth”. Let us highlight various phonemic repetitions at the end of the first and at the beginning of the second stanza: “And for a hundred years we have cherished the barely audible sh-barely-hundred steps. The spruce needles thickly and sharply cover the low stumps...” The transfer of the phoneme group barely from the first stanza to the second is reinforced by the repetition of the group st and single l, as well as the phoneme “surrounding” these alliterative elements (And the century – Barely audible – Needles of fir trees – Cover the low stumps). Centuries of attention to Pushkin’s “step” poems receive meaning from the duration of the complex sound set in the central part of Akhmatov’s poem.
Let us summarize our observations. In the first poem, the heroine admits her lifeless state: “And now I have become a toy.”
In the second poem, she finds her “double” in one of the Tsarskoye Selo sculptures; the desire to become the same “marble” translates the motive of the heroine’s lifelessness into the future tense of an immortal work of art.
In the third poem, the heroine renounces her Self, joining the multitude of all those residents of Tsarskoye Selo (“we”) who for a hundred years now (1811–1911) have been following Pushkin’s path with her and in the literal sense -
“wandering” along the same alleys, and figuratively – reading (“cherishing”) the poems he created during those Tsarskoye Selo walks.
Lotman’s theory of plot states: “the concept of plot is based on the idea of an event,” if “an event in the text is the movement of a character across the boundary of the semantic field.” In the plot text, says Yu.M. Lotman, there are two groups of characters – mobile and stationary. If stationary characters are subject to a ban and cannot cross the border, then a moving character is “a person who has the right to cross the border.<…>The movement of the plot, the event, is the crossing of the prohibitive boundary that the plotless structure affirms.<…> » .
Let us highlight these groups of characters in the subjective organization of the cycle. The first two poems feature “stationary” characters, the third – “moving” ones. The first group includes “horses” (they are “guided” along the alleys, they are not free in their behavior), the “city of mysteries” itself, “dead and dumb”, the heroine who feels like a “toy”, her “pink friend cockatoo ”(after all, the bird is enclosed in a cage), its “marble double” is the Tsarskoye Selo statue. The second group includes the “dark youth” and “we”, who have been listening to the sound of his “steps” for the past hundred years. Thus, in the first two poems of the cycle, Tsarskoye Selo appears as the place of the heroine’s love suffering and the suffering of her “double,” that is, the equally static “toy” and the marble statue. According to Lotman's idea of plot, these images are included in the plotless layer of the text. Despite the external diversity of the motives of the first and second poems (“they are seeing off the horses”, “the soul was yearning, suffocating”, “I became a toy”, “I gave away my face”,
“listens to the rustling”, “the rains wash his wound”), the heroine remains in the world of her experiences. Hence the significance of the exposition “horses being led along the alley”: against the background of this external movement in the park, the heroine’s inaction is even more noticeable. In the third poem of the cycle, this “immobility” of the suffering heroine is interrupted by the image of a “dark youth” walking. Not finding the source of movement in herself, she finds it in Pushkin. The only one
“a moving character” in Tsarskoe Selo, he carries out the event of “poetry on the move” at the end of the cycle, “crossing the border” between the direct and metaphorical meaning of the image: a lyceum student’s walk means the process of working on a poem. In order to overcome the boundary of her own immobility as a “toy” and a “double” of the statue, the heroine must move into the sphere of the “moving” character and, following the “swarthy youth,” become his reader.
By participating in general, we, both the author’s self and her “double”, correspond to the paradigm of artistry, according to which a “tripartite communicative event: author – hero – reader” takes place in a poetic work. In Akhmatova’s cycle there is a “leap of creative reflection” - from the “author” to the “reader”, which indicates a modernist type of artistry. The image of the heroine as a “poet”, the author of her own poems, characteristic of Akhmatova’s early lyric poetry, did not take place here; the metaphor “poet – traveler” also hides Pushkin’s creative face; moreover,
The “swarthy youth” appears only as a reader of Guys’ poems.
Akhmatova’s cycle is an example of such a modernist work, the architectonics of which “is determined by the communicative situation of the meeting of mutually complementary<…>consciousnesses<…>". Three poems of the cycle provide the completeness of the events of this “meeting” on a walk in Tsarskoe Selo: the suffering of the lyrical heroine forces her to seek spiritual support in a work of art - a marble statue, but
What turns out to be salutary is only sensitivity to the “steps” of the lyceum student Pushkin, uniting in general “we” and I, and her “double”, and us - the readers of Akhmatova herself.
LITERATURE
1. Annensky I. Selected works. L.: Artist. lit., 1988. 736 p.
2. Annensky I. Books of reflections. M: Nauka, 1979. 680 p.
3. Akhmatova A.A. Evening. Reprint of the 1912 edition. M.: Book,
4. Akhmatova A.A. Collection Op. In 2 volumes. T. 1. M.: Pravda, 1990. 448 p.
5. Broitman S.N. Lyrics in historical light // Theory of literature. T. III: Genres and genres (main problems in historical coverage). M.: IMLI RAS, 2003. pp. 421–466.
6. Lotman Yu.M. The structure of a literary text. M., 1970.
7. Mandelstam O.E. Essays. In 2 volumes. T. 2: Prose. M.: Artist. lit., 1990. 464 p.
8. Pushkin A.S. Collection cit.: in 6 volumes. M.: Pravda, 1969.
9. Tyupa V.I. Non-classical artistry. Paradigms of artistry // Poetry
ka: dictionary of current terms and concepts. M.: Kulagina Publishing House, Intrada, 2008. 358 p.
10. Freidenberg O.M. Poetics of plot and genre. M.: Labyrinth, 1977. 448 p.
“Poetry on Foot” in the Cycle of Poems by Anna Akhmatova
"In Tsarskoye Selo"
Key words: lyrics; Akhmatova; cycle; plot; "poetry on foot"; intersubject-ness; intertextuality.
The article deals with the problem of the poetological plot of “poetry on foot” in the cycle of poems by A. Akhmatova “In Tsarskoye Selo”. Sequential analysis of the three-part plot is realized with the main attention paid to the intersubjective links of the heroine character and intertextual links of the second and third poems of the cycle. "Toy-like" lifelessness of the heroine, her wish to find immortality in the form of marble statue, is replaced in the final by the description of the "dark boy's" walk in Tsarskoye Selo – Pushkin's walk, who, in the capacity of the only
"mobile personage" in the cycle, realizes the event of "poetry on foot".
