About the Role of the Hidden Text Equivalents in the Editions of the Poem “The Demon” by Mikhail Lermontov

The publication examines the role of the hidden text equivalents in the editions of the poem “The Demon” at the figurative, thematic, plot, compositional levels. In the editions of the poem “The Demon” by Lermontov there are various equivalents of the text: unrealized, unclaimed, having a variable character, replaced by previous and subsequent options, hidden. The listed types of text equivalents not only testify to the graphic features of Lermontov's verse, but also make it possible to identify encrypted information demonstrating the nature of the author's work in the poem, to emphasize their special productive role, indicating how “The Demon” gradually changed, how over time it turned from a romantic poem into a poetic story. This type of the text equivalents allows to emphasize the meaning of the fallen angel and the devil in love themes, the images of the main character, Tamara and the prince, to show how the plot of the poem gradually changed, to demonstrate the mirror structure of the composition, in particular, due to the motives of waiting, the kiss, death, the hand.

A. Tinyakov’s Poetry: from «Idyllic» to «Contrary»

The purpose of the article is to find out how the author’s attitude to such a genre as an idyll changes, how in A. Tinyakov’s work appears a new aesthetic phenomenon which is attractive and ugly at the same time. As a result, the study has found that there is the logic of the transition of naive texts to shocking anti- aesthetic poems. It is shown that the poems contain the key motifs for the alienation of I from its own past and the surrounding world. Nowadays A. Tinyakov’s poems are considered to be more truthful than cynical and defamatory: that is the way we wake up from the illusions. However, it is important that Tinyakov was not alien to the tradition when he created texts of authentic idylls. In his lyrics we can see «the amplitude of oscillations» from idyll to its parody. Despite A. Tinyakov’s differences with other poets, the article reveals intertextual connections with the lyrical statements of Mikhail Lermontov, Fyodor Tyutchev, Alexander Blok and Nikolai Zabolotsky. The research conducted on the basis of historical-genetic and comparative-historical approaches grounded in the concepts, methods, and results of mod- ern poetry, primarily ones of M. Gasparov and his school. In addition, we consider the scientific basis belonging to N.A. Bogomolov, the author of the only modern monographic research about the poet. The research results can be used in the research and teaching activities connected to the study devoted to the poetry formation and development in the 20th century.

A morte de um Poeta. Tradução poética para o português da estreia literária de Mikhail Iúrevitch Lérmontov (1814-1841)

O presente artigo busca introduzir e comentar a tradução inédita que aqui apresentamos do poema “A morte de um poeta”, de Mikhail Lérmontov, um dos mais importantes autores russos do século XIX. Para além de algumas escolhas feitas ao longo do processo tradutório, tentaremos apresentar os pressupostos teóricos de que nos valemos, assim como um breve panorama do contexto histórico e cultural em que se inserem a obra de Lérmontov como um todo, e sobretudo o poema em questão.

MAGDALENE, A POEM BY INNOKENTY ANNENSKY: GOSPEL TEXT AT THE CROSSROADS OF LITERARY TRADITIONS

The article offers an interpretation of Innokenty Annensky's poem Magdalene written in 1885, but published only in 1997. This early work of the poet differs significantly from his poetry, known from published collections (Quiet Songs and Cypress Box), which are not characterized by an appeal to biblical images and motifs. In the poem Magdalene Annensky offers his interpretation of the Gospel story, depicting the conflict and struggle between human feelings (Mary Magdalene) and divine vocation (Jesus) in the dialogues between Magdalene and Jesus. Analysis of the structure of the poem allows us to determine the presence of three literary traditions in it: 1) ancient Greek tragedy and the chorus as one of its main actors; 2) a romantic poem about unrequited love (first of all, The Demon by Mikhail Lermontov) and the concept of romantic duality; 3) Faust by Johann Wolfgang Goethe. The combination of antique concepts (fate, destiny, metamorphosis) with the ideas of Christianity, as well as allusions to the works of Russian romantics, allowed the author to combine three aspects in the image of Mary Magdalene: ancient fate (destiny), Christian (Orthodox) holiness and romantic alienation from the world. The combination of these three aspects in the poem by I. Annensky forms a new quality: the romantic poem did not provide for the chorus as a character, and the ancient Greek tragedy did not allow for such lyrical digressions typical for a romantic poem. The Gospel text in the poem by I. Annensky is transformed in line with the three mentioned traditions, and thus the theme “grows” into a dramatic poem.

Mystery in the poetics of romantic tragedy genre (“The Spaniards” by Mikhail Lermontov)

This paper focuses on the role of the poetics of mystery in the formation of the romantic trag-edy genre. “The Spaniards” by Mikhail Lermontov is considered as a characteristic example of this genre, manifesting “melodramatization” of tragedy and tendency towards genre-generic synthesis. The action of “The Spaniards” is based on events related to the sphere of the mysterious, which are exceptional in life and common in melodrama. Central to the plot is the motif of the loss of a child. The secret of Fernando’s birth and “ignobility” form the con-flict and organize two storylines (love and family) and two (everyday life – melodramatic, and existential – tragic) levels of conflict. Mystery also plays an important role in revealing the inner world and expressing the romantic ideal of the hero. The ability to comprehend the mysterious, to pass beyond human experience and logic is not only the motivation of his ac-tions, but it also connects the hero with the ideal sphere. The study examines how the charac-ters’ anticipation of the “terrible” motivates their moral choices. Analyzing the interaction of lyrical motifs, the author suggests the motif of mystery as important for implementing the main (tragic) conflict, unlike melodrama, where the functions of mystery are plot-forming, stimulating the spectator’s interest and maximizing the dramatic tension. Mystery in the plot and the lyrical concept of the tragedy contributes to the understanding of the essence of the romantic conflict, has a suggestive impact on the audience, and deepens the psychologism.

“War and Peace” as Dmitry Minaev’s and Mikhail Znamensky’s Pastiche: Cartoons and Parodies in the Satirical Weeklies

One of the variants of the “semantic life” of the plot of the novel by Leo Tolstoy's “War and Peace” is a poetic parody of Dmitry Minaev formally focused on the poem “Borodino” by Mikhail Lermontov. Simultaneously with its appearance, Tolstoy's novel aroused not only evaluations and interpretations in the criticism of the magazines, but also became the object of parody in satirical weeklies. The pragmatism of parodies and satirical attacks is explained by the desire to discredit the novel as a product of the “Russian Bulletin”, whose ideology and plot were allegedly due to the conservative views of Mikhail Katkov. The annexes to the article contain the text of a parody by Dmitry Minaev with commentary, as well as cartoons, allowing get an idea of the anecdotal potential of the novel, which later became an constant key text of the Russian literary canon.

“Hadji Abrek” by M. Y. Lermontov: to the question of genesis of the poem and authenticity of the folklore basis

The subject of this article is the origins of the poem “Hadji Abrek” by M. Y. Lermontov, question of location where the events take place, as well as the question of the possible impact of folk poetic oeuvres upon the work of Mikhail Lermontov. The article describes different opinions and interpretations (within the format of the article) on the topic, to the exclusion of “emphatic” commentaries and remarks. The object of this research is folklore and historical materials that contribute to revelation of idea of the poem, description of the protagonists, characterization of the Caucasian and Dagestan folklore, the echoes of which are traces in Lermontov’s poems.  The authors underline that geographical and ethnographic “nuances” were used by Lermontov to describe the forming picture in the mountain country. The novelty of this study consists in analysis of the material testifying that the inclusion of “installations” of another nation is substantiated in the poem, not just because it is somewhat of a tribute to romanticism, but it is also marks Lermontov’s comprehension of the folklore as an untouchable ”heart” of culture and ethnic uniqueness. The acquired results contribute to the scientific Caucasian studies and Lermontov studies. The conclusion is made of folklore in Lermontov's poem indicates a number of defining characteristics that allowed determining individual expression of poet's work. It is reflected in selection of the examples of folk poetry, peculiar regard to the sources, and their deflection in the poem.

Anti-theodicy narrative in the novel “Vadim” of M.Yu. Lermontovова

“Vadim” is the first experience of Mikhail Lermontov in prose. Some Russian scholars define it as ahistorical novel. The combination of themes of individual revenge with the theme of peasant revolt is a peculiar feature of “Vadim”. The author of the novel raises the question of the origin of evil, presupposed by “heocracy”, and by analyzing the hero Vadim’s revenge motive, the anti-theodicy’s narrative mechanism of the novel can be explained. The scene in which the hero abets his companion to hang the captured old man is a direct experiment of anti- theodicy and a powerful testimony of the writer's anti- theodicy standpoint. According to Leibniz’s theory, Vadim's evil belongs to moral evil. Lermontov’s view of good and evil echoes Leibniz’s theory. Leibniz believes that evil exists to show good and make it the object of opposition, and that man can achieve perfection in the process of winning good over evil. From the novel two righteous images — the nameless old man and the wife of a soldier, persisted in their beliefs in times of crisis, which showed the writer’s inheritance of theodicy’s standpoint. Before hanging, the nameless old man recalls the death of Jesus Christ and at the last moment of his life still believed that Jesus had conquered death. The scene of the torture of a soldier’s wife resembles the “martyrdom of the righteous”. For the truth, for what she believes, she is willing to sacrifice herself. This is the proof of the two repeated verses in the novel: “Come to me all you who labor and are burdened, and I will give you rest”. Lermontov’s theological view in “Vadim” is paradoxical.