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a duality author's "I" P.A.Vjazemskogo and duality of poetic time

Duality poetic "I" Vjazemsky, from the modern point of view, doubts any more do not cause. Ordinary representation about Vjazemsky, dominating throughout practically one and a half centuries, kontsentrirovanno was expressed by V.D.Nabokov in «Comments to“ Evgenie Oneginu ”» (chapter 1 "Onegina", as is known, opens an epigraph from «kn.

Vjazemsky» «Both to live hurries up, and to feel hastens»):

«... The insignificant poet It was the virtuoso of a word, the thin stylist - the prose writer, brilliant (though at all always reliable) the memoirist, the critic and the sharp fellow. The prince was pupil Karamzin, the godson of Reason, the singer of Romanticism and the Irish on mother» [Nabokov 1998: 101]. Bright labels in the ending of the quoted characteristic, it appears, motivirovany obvious unwillingness of the author to peer at a being of the person and creativity Vjazemsky which to these verbal labels has rather remote relation.

«The sharp fellow.». Really, the poetry Vjazemsky associated first of all with epigrams which as modern biographer Vjazemsky V.V. Bondarenko writes, «.ochen quickly, it is literally for five years, have created Vjazemsky reputation“ the wittiest Russian writer ”, the jury satirist,“ the minister of police ”(Voejkov) Russian poetry. This reputation was fixed to it for some decades.“ Be to me the instructor in a derisive science. ”- Vjazemsky Pushkin in 1821 asked
To year, and it meant, that the authority of the prince as “the venomous poet, the funnyman intricate” for it is indisputable. »[Bondarenko 2014: 55].

Deeper perusal of the person and creativity Vjazemsky - up to a boundary of the XX-XXI-st centuries - was faster an exception, than a rule. N.V.Gogol in «the Chosen places from correspondence with friends» has given till now not surpassed in a subtlety and accuracy the generalised characteristic of creativity Vjazemsky, including features of its individual art style: « In it the abundance unusual all qualities has gathered: mind, wit, nagljadka, observation, unexpectedness of conclusions, feeling, cheerfulness and even grief; its each poem - the motley Pharaoh only together. . Absence of the big and full work is illness of the prince Vjazemsky, and it is heard in its poems. In them absence internal harmonious soglasovanja in parts is appreciable, the dissonance is audible: the word was not combined with a word, a verse with a verse, near a strong and firm verse what is not present at one poet, another is located, anything on it not the similar; that will be jammed suddenly by it something pulled out alive from the heart suddenly will push away from itself a sound almost alien to heart, distributed at all in a step with a subject; the full life by own strength is audible nesobrannost in itself, not; something is heard at the bottom of all pressed down and oppressed »[Gogol 1992: 245-246].

If to take advantage of the term mentality, perhaps, the excessive will not tell, that in this Gogol characteristic creativity Vjazemsky appears as bright expression of key features of Russian mentality in whole in which depth - it is valid, there is «something pressed down and oppressed», «nesobrannost in itself».

What there, in depth, "at the bottom"? Modern perusal of creativity Vjazemsky reveals Orthodoxy as a deep basis of its person and creativity about what convincingly write not only wordly researchers (for example: [Motorin 2002]), but also clergymen (for example: [Shabanov 2019]).

Grief bogoostavlennosti - on own fault, - so it is possible
To define a deep orthodox dominant of lyrics Vjazemsky, in those diverse perusals of sense of this word which it is found in V.I.Dalja's connecting this noun with to be baked and mourn Dictionary, pechalovatsja in values «to care, radet; taking to heart to do, that you can, on advantage of whom or that; to strive, be zealous, be jealous», and further - actually grief in values «care, grebta, pecha, assiduous and warm efforts about what, eagerness on whose advantage, stagnation, protection» [the Distance. T. 3: 107].

Tserkovnoslavjano-Russian polisemanty, including a semantic component ‘ time ’, can act as markers deep lingvomentalnyh senses not only the separate poem making (rather complete art world, but also lyrics Vjazemsky as a whole. The problem in this second case consists in revealing of features of the time organisation of deep semantic structures not separate product, but a personal picture of the world, «poetic philosophy» Vjazemsky in its bases developing as synthesis sekuljarnyh and is sacral-religious motives and representations. Hence, in the attention centre there are not separate products or their sets (the author's or "scattered" cycles, steady motives, etc.), but obviously not formulated «poetic philosophy», an art world view.

Author's "I" appearing as the lyrical hero / heroes, fork, and, unlike V.S.Vysotsky's creativity [Volkova 2006], the various parties lyrical "I" Vjazemsky are displays, a projection author's "I", instead of the "masks" deducing to the lyric poet on a side epiki.

The duality of art consciousness in a case of lyrics Vjazemsky is not connected with splitting «concepts whole» («lichnostno the focused art philosophy» [Wolves 2013: 48]) on

Separate characters - poetic "masks", - the duality appears organic property complete lyrical "I" of the author. SekuljarnoYO
To sacral duality lyrical "I" correspond also variety (two-planned character) to "poetic philosophy of time», a way «perceptions / time experiences», without a detailing binding to the concrete historical periods, biographic events, dates, etc.

The distinction being sekuljarnogo and is sacral-religious perception / time experiences appears from specificity tserkovnoslavjano-Russian polisemii lexemes with time value, that is such lexemes / word usage which, in diahronicheskom the relation being slavjanizmami, in synchronism act, on the one hand, as carriers especially sekuljarnoj (wordly, "secular") semantics, as elements

sekuljarnoj national language forms, on the other hand, as carriers is sacral-religious (Christian, orthodox) semantics, as elements of the is sacral-religious (Church Slavonic) form

National language.

3.1.2.

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A source: Borodina Ekaterina Jurevna. SLAVJANIZMY In the POETIC DICTION of the Item And. The VJAZEMSKY. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Tver — 2019. 2019

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