Сады в «Трилистниках» И. Анненского (к вопросу о «вещественном» и символическом значении образа)

Abstract

The development of garden space at Annensky contributes to an understanding of the individual symbolism of the poet and the principles of organizing semantic unity of the “Trilistniks” (trefoils). In the first trilistniks, the subject occupies an ambivalent position of attraction and repulsion in relation to the garden space (flowers, birds, earth). The intensity of color and smell, as well as the principle of contrast, oxymoron, are important in the description. The garden refers to biblical mythology (“Trefoil of temptation”). Nature is renewed, and man cannot get rid of the burden of the “evil” past and the idea of inevitability of death (“Sentimental trefoil”). Observing the phenomenon of light and shade in the garden, the lyrical “I” thinks about the existence of the world simultaneously outside and inside a man (“Lunar trefoil”). The garden in the “Trefoil of doomness” dedicated to the perception of time is a closed space, “the door is clogged there.” Gardens are gradually growing dim, become flatter, empty and move inside the consciousness of a lyrical subject (sleep, nonsense, fiction). The flowers on the window, the dead garden and the sky are perceived as solid, frozen surfaces (“Ghostlike trefoil”). The image of the garden takes on fantastic features: the old manor is placed in the space of a fairy tale (“Trefoil from the old notebook”), shadows in the garden turn into ghosts of the past and are condensed (“Spring trefoil”). “Trefoil of the loneliness,” the last in the series, is dedicated to the issue of alienation of a modern man from natural world and people, the bright image of the garden (lilacs, sun, bees) is located outside the personal space of the “I.”