A refugee to God. Aleksandr Vvedensky’s spiritual parables

Abstract

The perception of A. Vvedensky’s work is prone to controversy: he is considered a precursor to absurdist literature; at the same time, his close friend, the poet Y. Druskin, insisted that Vvedensky was religious, and believed his absurdity, instead of representing a lack of meaning, points to a different kind of meaning. The article suggests an approach to the hermeneutic reading of the poet’s private symbolic language that helps to revise certain traditional assessments. The author argues that Vvedensky’s mature oeuvre consists of religious and philosophical allegories written in a most extremely absurdist form. At the core of the poet’s brilliant art of the cryptic portrayal of his innermost beliefs is the aesthetics of the absurd. Hence the alogical nature of his poetic dialogues and plays, semantic inversions and contaminations, paradoxes, allusions, aposiopeses, extended metaphors, etc. Subjected to ‘sweeping incomprehension’ are stereotypes of thinking and everyday language practices – from substandard vernacular and colloquialisms to philosophical discourse. Vvedensky’s ‘star of absurdity’ is seen as a symbol of revelation.