A. S. Pushkin’s “Autumn” as a Program Cognitive-Pragmatic Experience

Abstract

This article considers the poem “Autumn” by A. S. Pushkin. This is one of the most significant lyrical works of the poet in the 1830s, concentrating the unfolding poet’s personal mythology in the inseparability of a living person and his main work – creativity. The analysis of this text is carried out from the new positions: The “Autumn” appears as the embodiment of the program cognitive-pragmatic experience of the artist’s lingual personality, the integrity of which is built by a single conceptual matrix – the cognitive-pragmatic program (CPP), formed as a system of cognitive-pragmatic sets (CPS). The article reveals the mechanism of these two poetic “supersystems” action that formulate the poet’s unique cognitive-pragmatic experience: the poetic structure itself and the self-identified incarnations (SI) of a lingual personality. The original poetic structure is the “mirror” alternation of octaves and six-foot iambus with pyrrhies and caesura — is a program tool (realization of an instrumental CPS in its estimated and effective phase), allowing the author to play freely with an elegiac tradition and include heterogeneous elements in the text. Understanding the verse structure as a program author s “supersystem” gives us a general idea of the target, self-identification and instrumental CPS implemented in it and with its help. This happens because the “Autumn” at the same time is a result of the implementation of these sets and their reflection. For the author, this program information appears to be a complex of evaluative and productive CPS, allowing to exist a) within the reality of the text as a lyrical hero; b) above the depicted world as a subject distanced from him, controlling the storytelling event itself. For the researcher, this is a model of the creative subjectivity of the author, a unity of conceptual and personal. Since the nature of the lyrical subject is an autopsychologism that capable of instantaneous multiple incarnations within the framework of the depicted world, the entire dialectics of the interpenetration man and nature, and finite and infinite, is set and shaped by the SI system (“nobleman-landowner” – “ordinary secular” – “the philosopher” – “the poet” – “the Creator”), and the unique poetic structure makes these transitions organic. The evaluative and productive CPS of the “self-identification” profile (the convergence of the world and a man within the final “Poet” SI) reflects the estimated and effective CPS principle of the image of the world (the convergence of the poetic / non-poetic through the “co-creation” of the artist with the being).