Метареализм Алексея Парщикова и Аркадия Драгомощенко: сходство и отличие

Abstract

The article aims to analyze the similarities and differences between the poetic systems of the major metarealist poets Alexey Parshchikov and Arkady Dragomoshchenko. Both poets left very favo-rable reviews about each other.Despite belonging to the same literary movement, these poets are different, though united by contact communications and typological convergences. A comparative analysis of Parsh-chikov’s and Dragomoshchenko’s poetics reveals the following differences: the verse form; the corporeality of Parshchikov’s poetry, with visualization tending toward tactility (the representation of visual images from the eye to the hand); the cinematographic nature of Parshchikov’s texts; Parshchikov’s humor as a means of reducing pathos; the principle of ‘neutralization of the word with the word’, Dragomoshchenko’s passive return of things to the world; abstract landscape in Dragomoshchenko’s poetry; the similitude of Drago-moshchenko’s lyric poem to the essay; Dragomoshchenko’s alternation of the poetic and prose;baroquepoetic thinking of Dragomoshchenko; Dragomoshchenko’s diffuse complex of Buddhist and Hindu motifs. Thecommonality of the authors’ poetics is created by: metametaphor as a constant; the manifestating nature of poetic works, their metalyricism as dominants; the poet as hearing, not voicing; ideogram; implicit con-nection of phenomena and objects; weighty value of the poem; conceptually complicated syntax; inclination toward emptiness as a space of bliss; portraying the outside as the inside.The power that determines the cor-relation of objects and phenomena and directs them to a metaphysical continuum, close to an incomprehen-sible absence, is also largely due to the corporeality of Parshchikov’s writing. The poets converge each other in terms of typological similarities (V.Zhirmunsky’s term), contact connections, and genetic relationship. Between them was personal sympathy, correspondence, and communication. Among their sources of creati-vity there also were common ones, for example, interest in the ‘American language school’ –strong for Dra-gomoshchenko, moderate for Parshchikov.