Голоса «парижской ноты»: Лидия Червинская и Анатолий Штейгер

Abstract

The article is devoted to one of the most significant phenomena of the Russian émigré poetry — the “Paris note”, which mainly defined the poetical atmosphere of the 1920–1930s at the space of Russian exile. The figures of two poets who have became the symbols of the “Paris note,” L. Chervinskaya and A. Shteiger, are at the centre of the work. It was obvious in the poems by L. Chervinskaya (in her poetical books “Priblizheniya” (1934), “Rassvety” (1937) and “Dvenadtsat’ mesyatsev” (1956)) the distinctive feature of the “note” — the intonation of a diary, which was exaggerated with the structure of the verse itself — syntactical repeats, a ragged, unsaid phrase. The confessions at the pages of the lyric diary were addressed to fleeting, delicate movements of the soul. An aesthetics of a diary is obvious at the poetical works by A. Shteiger (in his books “This Day” (1928), “This Life” (1932) and “Neblagodarnost’ — “Ingratitude” (1936)) with their aphoristic character of the poetical speech, rejection of big words, orientation to the tradition of the “Gumiliev’ school” (I. Annenskyi, G. Ivanov, A. Akhmatova).