Collection Of Poems Research Articles

Полигенетическая природа поэтики К.Д. Бальмонта и культурные традиции древнего Китая

The article discusses the polygenetic nature of K.D. Balmont's poetics on the basis of underinvestigated materials related to ancient Chinese cultural traditions by using the principles of comparative studies, historical poetics, hermeneutics and the mythopoetic method. The object of the analysis is the “Chinese” cycle, consisting of five sonnets included in Balmont's collection of poems “Sonnets of the Sun, Honey and Moon. Song of the Worlds” (1917). Special attention is paid to the analysis of the mythological images, motives and plots in these poems, identifying their sources and revealing the poet's creative intention. It is taken into account that S.M. Georgievsky's book “Mythical beliefs and myths of the Chinese” (1892) had a significant influence on Balmont's perception of Chinese mythology and it is an important basis for the creation of these sonnets. It is claimed that the source of this cycle is the Chinese treatise “Huainan Tzu” (Philosophers from Huainan, no later than 139 BC), which is essentially a Taoist philosophical work. It is noted that Balmont's reference to “Huainan Tzu” testifies to his continuing attention to Taoism, which turned out to be one of the main sources of the poet's spiritual exploration. The theme of the Eternal Femininity in this cycle is considered as a point of contact between the Silver Age culture and ancient Chinese culture, primarily Solovyov's doctrine of Sophia and Lao Tzu's philosophy. It is concluded that, firstly, Balmont's sonnets can be perceived not only as an attempt to stylize ancient Chinese myths, as researchers often assume, but also as a phenomenon indicating the transformation of the semantics of the myth created by the poet and its deepening on the basis of mythological traditions of ancient China. Secondly, the use of common motifs in Eastern and European mythology and the combination of Chinese mythology with the European poetic form reflects the polygenetic nature of Balmont's poetics and the contamination of traditions.

Behind a cold wall. Evgenia Jen Baranova. Where There Is Golden, There Is White [Gde zolotoe, tam i beloe]

Batalov reviews a new collection of poems by the contemporary author and editor of the Formaslov publisher Evgenia Jen Baranova. The critic traces the principal motifs of Baranova’s lyrical poetry and considers the evolution of her work through the prism of Tsvetaeva’s concepts of ‘poets with history’ and ‘poets without history.’ He believes that, from the very outset, Baranova has sided with the latter, being mostly interested in low-key lyrical poetry with its emphasis on experiences and anxieties of the inner self rather than the outside world. In contrast to her previous collections also briefly discussed in the review, her new book Where There Is Golden, There Is White [Gde zolotoe, tam i beloe] includes poems that contemplate the poet’s attitude to reality. According to Batalov, Baranova seems to have developed a better understanding of the current period with its chronological and geographical circumstances and has the power to engage in a dialogue with time on virtually equal terms, all of which makes her new book a showcase for her impressive poetic talent and versatility.

A Typical Case of "Cross Time" Revision

Wang Jingzhi's The Winds of Cymbidium is the first true collection of love poems since the May 4th Movement, and it has had a tremendous impact on the new poetry scene. The poetry collection has changed in the 1922 version, the 1957 version, and the 1992 version. Among them, the texts from the 1922 version and the 1957 version have strong changes. Through reading the complicated variant texts in the original text and the auxiliary text of these two editions, this paper deeply analyzes the important influence of new literary contexts such as social ideology and literary policies and norms on the "cross-time" revision of poetry collections, and analyzes the poets' aesthetic mentality trajectories in different periods, the ways of coping with The Times, and their gains and losses.

MARIAM AL-ZAROUNI: CRYSTALLIZING DIVERSITY

Mariam Al-zarouni is a prolific writer and artist in UAE: she is a poet, a novelist, a short story writer, a painter, and a sculpture. Her literary and artistic genre diversity has duly attracted the attention of both readers and critics due to the relatively brief span of time during which she has emerged as a female renown writer who has enjoyed a Pan-Arab fame, in addition to her connections with literary societies abroad. Interestingly, she embarks on a variety of contemporary issues that are related to her society. This paper is devoted to the study of Al-zarouni's literary works: selected poems from her two Poem Collections. The selected poems mainly focus on her feminist criticism of the outcomes of the Masculinity ancient societal structure. Her one novel A Letter from Harvard is a fiction work that has been granted the A'wees award, and it has been written to discuss Juveniles' issues. In her novel, the novelist\poet elegantly introduces a great lesson that the basic way to improve and develop her society is that of science. She really displays poignant knowledge of the Juveniles' mentalities

4차산업혁명이 낳은 융합예술 디카시의 메타포에 관한 연구

As the origin theory of Dicash, I place it in the theory of the yin and yang of the East. Therefore, while the philosophical ideas expressed in Dicash are based on the idea of Cheonji, the idea of Cheonji was verified by limiting it to the collection of Dicapoem published within three years. “Dicapoem a combination of the digital camera Digital pixel, picture element and Poem, is an independent genre of competitive fusion art that overtakes Photo Poem and walks the cutting edge of the Fourth Industrial Revolution. It has been listed as a new literary term in the Korean language spring of the National Institute of the Korean Language.” In the digital age, poetry is accepted in various ways from writing art to video language, but it can be said that decasi is unique and representative in writing poetry using digital cameras as a tool. Photographic poetry has a history of about 200 years. Dicapoem an independent genre of convergent art, has a history of over 20 years. The founder of decasi was Professor Lee Sang-ok. In addition, since the publication of the first digital poetry collection Lee Sang-ok's 『Goseonggado (Hall of Literature, 2004』 in 2004, discussions on decasi have spread not only in Korea, but also in Asia and around the world. Conventional photographic poetry is an analog method that combines photography and poetry. On the other hand, decasi is a digital method that combines digital cameras and poetry. The text was a collection of digital poems by three people, Lee Gyeong-soon, Son Gye-guk, and Kim Sun-mi. Each of their decasi collections was made in connection with the Cheon In-ji ideology. I described with an emphasis on the scalability of Dicapoem. As digital literature, Dicapoem can be said to be a gift of God born by the digital revolution, and it can be confirmed that Dicapoem expresses the metaphor of 'the sky', 'people' and 'the land'.

Form And Content Of Poetry Of Restive Regions: A Critique Of Select Collection Of Poems From The Boko Haram And Bandits’ Occupied Northern States

Modern African poetry is characterized by shifts in both its form and preoccupation. It began with a call for self-governance in an amateurish language. Then came the Soyinkas (the disillusioned poets), whose poems are crafted in a rather difficult style that suggests colonial hang-ups. A major turnaround came in the 1980s when the Osundares’, criticizing the Soyinkas for their untold difficulty, provided a staple, known as the Alter-Native tradition. It seeks to address African conditions using African allusions. They, unlike the largely Greco-Roman, Euro-centric and Biblical form of the Soyinkas, provide an enative alternative. Both Othman and Okpanachi, (then lecturers in the far North-Eastern Nigerian University of Maiduguri) belong to the latter and they write amid the terrific Boko Haram insurgency that threatened to extinct the region. This paper seeks to uncover their style in exposing some of the most horrific acts of both the Boko haram and the herdsmen’s unleashed terror on innocent souls. The paper, harping on the postcolonial discourses of the Palestinian Said, Caribbean Fanon, Indian Bhabha, and Nigerian Chinweizu, looks at the factors and motives behind the assailants’ missions as presented in the collections. It shows how they reveal the misgivings of the current African democracy as embedded in evil acts. These Poets seem to unravel the brazen incompetency of the modern African democratic governments, citing Nigeria as an example. The paper also offers a critique of some other collections of poems from northern Nigerian authors. From 1999 to the mid-2000, the region was ravaged by Boko Haram mayhem. And by 2015 to date, it has been faced with a series of terror activities that range from banditry, and cattle rustling to kidnapping. The region is absolved in fear of terror everywhere. Thus the paper also attempts to critique some of the accounts contained in the poems.

THE THOUGHT OF "INNER SAGE, OUTER KING" IN LE THANH TONG'S POEM PHONG NIEN IN VIETNAMESE MEDIEVAL LITERATURE

<p>Confucianism was introduced to Vietnam very early and its influence on Vietnamese society is relatively comprehensive. In Confucian philosophy, “inner sage, outer king” are considered an important ideological core, and are also the highest goal of self-cultivation for each Confucian scholar. Le Thanh Tong was a king who promoted Confucianism. He brought Confucianism to a unique position in Vietnamese feudal society during the Quang Thuan and Hong Duc periods. When absorbing the influence of Confucian ideology, Le Thanh Tong also thoroughly understood the content of "inner sage, outer king", thereby reflecting it through his compositions. <em>Quynh Uyen Cuu Ca</em> is known as a collection of poems including 9 excellent Chinese poems by Le Thanh Tong, and is also a very valuable poetic heritage of the author. In it, each poem expresses his views on the times, literature, and art. The thought of “inner sage, outer king” is expressed quite clearly by the author in this collection of poems. Although it does not cover all 9 poems, every time it is mentioned, the author emphasizes and boldly depicts it. The first poem and also typical for this thought is the poem <em>Phong Nien</em>.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0014/a.php" alt="Hit counter" /></p>

‘No pictures of you anywhere … You were alive’: Poetic (In)visibility as a Ground for Political Plurality

This paper argues that in social circumstances deformed by persistent anti-black racisms, invisibility does not necessarily constitute a failure of recognition or acknowledgment by others. Rather, it comes forth as a protective shield, to resist reductive and objectifying forms of seeing that often result in violence. But such invisibility has its limits. In this paper, I read Incendiary Art (2017) by Patricia Smith, a collection of poems set in the context of the Black Lives Matter movement in the US, to interrogate both the limits of such protective invisibility, and the responsibility of the reader to acknowledge the potential violence of their own gaze. I examine the emancipatory political value of the poetic as showing a way towards a transformative engagement with others as ‘who’ they are, and subsequently towards a mutual co-constitution that is at the very heart of actualising a democratic political plurality.

Imaginaries from the poetry book Cipango by Thomas Harris. Wastelands, repression, and violence on Orompello Street in Concepción

This study seeks to present the imaginaries of Orompello Street in Concepción, Chile, described in the poetry book Cipango (1992) by Thomas Harris. To do this, a qualitative interpretive analysis of the collection of poems was carried out through reading cards. It was compared with the historical events that occurred in the place and a semi-structured interview with the author to delve into certain meanings present in the text. The results showed that the urban space and the living present in the story make up a heterotopia transformed into dystopia, located in a timeless context, the product of primordial violence that dates back to the time of the discovery of America and that is reproduced not only by the dictatorship of Pinochet but also by the State in democracy. The inhabitants of this place are immersed in a marginal atmosphere of repression and devastation, transforming the place into a wasteland. These characteristics and events make Orompello Street an uninhabitable place but full of meaning.

The Semiotics of the Title in the Diwan (Qadas Jasad) By the writer: Mona Bint Mohammed

The title is considered an essential element of literary text; it is the first threshold through which the reader enters the text. The title has evolved in literary text to become an independent science itself, and the first way to decipher the text and interpret it. It is considered a sign among the semiotic signs that appear at the beginning of the text, indicating its content as a whole. It is like a key that refers to the world of the text and becomes a reference for it. Given the importance of the title in literary texts, my study is dedicated to discussing the semiotics of the title in the collection "Qadas Jasad" by the writer (Mona Bint Mohammed), in an attempt to answer the following questions: - What is the semiotics of the title? To what extent does the semiotic approach apply to the collection "Qadas Jasad"? -  What is the referential significance of the semiotics of the title in the collection? -  Has the semiotic approach achieved different literary critical results? Research Objectives: My research study aims to achieve a set of objectives, the most important of which are: - Clarifying the nature of semiotics and the principles of modern semiotic methodology. - Presenting the most important contemporary semiotic trends and their characteristics. -  Conducting a semiotic study of the title in the collection of poems "Qadas Jasad" and    explaining the important dimensions included in the titles of the collection. - Explaining the semantic structure of the title by presenting the structural and semantic aspects of the title and revealing the relationship between the titles of the poems and their contents. Research Literature: The idea of the project came to support the connection between literature and society, as specialized studies in Najrani literature are very few, including: -   The poetry movement in Najran during the Jahiliyyah and the early Islamic period, by Faiza Raddad Al-Otaibi, published by Najran Literary Club in 1430 AH (published master's thesis). - Games for boys in ancient Arabic poetry and their connection to games in the Najran region in modern times, Dr. Essam Mohammed Qubaisi, Dr. Zuhair bin Hassan Al-Amri, Journal of the Faculty of Dar Al-Uloom at Al-Fayoum University, 2014. -  Folk proverbs in the Najran region: An objective study, Dr. Zuhair bin Hassan Al-Amri, Journal of the Faculty of Dar Al-Uloom at Cairo University, 2016. - Yazid bin Abdul Madaan Al-Najrani: His political role and literary heritage between two eras, Dr. Awad bin Abdullah bin Nahi, Dr. Essam Mohammed Qubaisi, Journal of Bisha University for Humanities, 2022. Methodology of Research: In my research, I have adopted the semiotic approach; because the title is a semiotic sign that needs to be explored in terms of its dimensions and meanings; through: deconstruction, interpretation, and analysis. Therefore, I have relied on both: the analytical method in analyzing the structural and semantic composition of the title, and the inductive method in extracting the relationship between the content of the poem and the title. Research Plan: I have divided my study into: - The first topic: The nature of semiotic methodology, its direction, and its origin. - The first subtopic: Definition of semiotic methodology in language and terminology. - The second subtopic: Semiotic directions. -    The third subtopic: The emergence of semiotics in contemporary critical studies. - The second topic: The title and its functions. - The first subtopic: Definition of "title" in language and terminology. -  The second subtopic: The importance, types, and functions of the title. - The third topic: The semiotics of the title in the Diwan (Qadas Jasad). - The first subtopic: The structural organization of the title in the Diwan (Qadas Jasad). - The second subtopic: The semantic structure of the title in the Diwan (Qadas Jasad). -  Then the conclusion, which includes the most important results. Then the books and   references. -  The first topic: The nature of semiotic methodology, direction, and origin.

Reading John Scottus Eriugena’s Carmina as Devotional Poetry

ABSTRACT This paper advocates for a reading of John Scottus Eriugena’s Carmina that situates his collection of poems within the genre of devotional poetry. Although the Carmina has recently benefited from scholarship on Eriugena’s theology, typologies of his poems consistently overlook the significance of their theological themes. Most instead attribute more significance to their political themes, since Charles the Bald commissioned many of Eriugena’s poems for special occasions at his royal court. This paper argues that a textual analysis which compares the significance of theological and political themes in the Carmina reveals several reasons why Eriugena’s poems should be read as devotional poetry. First, it explains how typologies of Eriugena’s poems overlook the significance of their theological themes by overstating the significance of Charles and his royal court. Then, it offers a close reading of three poems in the Carmina to show how Eriugena uses theological themes to frame political ones.

Jaime Sabines: The Role of the Everyday and the Mortuary in Diario semanario y poemas en prosa (1961)

The poetry of Mexican author Jaime Sabines (1926–1999) is situated within a period of change in Latin America (Cuban revolution, dictatorships, and stylistic changes in literature) that linked the author to colloquialism. According to Cesare Del Mastro, this is a form marked by the use of plain and popular language rather than academicism. Using this style as a platform, two central topics presented in the collection of poems Diario Semanario y poemas en prosa (1961) are addressed in this paper: the everyday and the mortuary. Both are shown as symptomatic expressions of an affront to modernity, with signs of oppression, and the tense relationships and poetic responses are analyzed as a response to deep historical transformations.

Individualism and the Symbolic Language of Imagination (Pablo Neruda as an Example)

Pablo Neruda's artistic distinctiveness can be considered in two ideas or attitudes of romanticism. First, the imagination, which is the result of conduct and spirituality, and second, the individualism, which is a collection of mysterious mysteries from the texts of individuality based on philosophical sonnets. His collection of poems points out the ethereality and indescribability of life, employing the reality of life at the level of human perception in a symbolic language. In other words, Pablo Neruda recreates the meanings in poetry through the three ideas of reduction, interpretation, and analysis. "What is the essential connection between individualism and the symbolic language of Pablo Neruda's imagination and What are the reasons for this tendency to express symbolically in his poems?" are the main questions in this study. There is a dialectical relationship between these two components and the study of the dialectical relations between phenomena and the concepts of philosophical and historical origin has a long history. The dialectic of relationship detection is based on internal contradictions that arise with the philosophy of Socrates and Plato and conclude in Hegel's thought. In Pablo Neruda's poetry, the element of imagination moves from the social context, but eventually becomes something that has an individualistic character.

“A Volume of Manuscript Poems &c”: Phillis Wheatley Peters's Lost Book and a Found Proposal

This essay revisits the history of Phillis Wheatley Peters's “volume of manuscript poems &&.,” a collection of handwritten poems, which her husband, John Peters, advertised for its return in late 1784, just days after her death. Since no second volume of poems was published, and the manuscript has never been recovered, it has been presumed to be and lamented as lost. By taking stock of what is known about PWP's archive at the time of her death and the process of its painstaking recovery, I seek to temper this account of destruction and loss by calling attention to the discoveries of librarians, scholars, and collectors in the nearly two and half centuries since her death. It is in this spirit of continuing and collaborative recovery that this essay contributes new evidence about a final, posthumous proposal for a collection of PWP's poems and letters, printed over a five-week period, in July and August 1791, in Thomas's Massachusetts Spy; Or, the Worcester Gazette, a proposal that provides a clearer picture of PWP's archive as it existed at her death, and that can guide future recovery work.

“The Last Tram Has Gone”:

Jibanananda Das remains one of the major post-Tagore literary personas whose works are still open to interpretation. Torn between nurturing literary aestheticism and the responsibility to be a bread-earner, the complex dichotomy of Das’ life has shaped his writings significantly. The fictional writings also guide towards the complex labyrinth Das himself is. Like a mysterious kaleidoscope, he reflects light in the unexplored regions, and his writings bear the paradox a modern man faces when he is homeless. Likewise, according to György Lukács, the philosophical term “transcendental homelessness” expresses the yearning for a soulful and emotional home that is no longer available in this world. Nonetheless, Das’ oeuvre carries a fervent longing to be at home everywhere, and the yearning to find roots in a time of restlessness has left a permanent mark on his personal life as well. The identity crisis and alienation from society have forced him to continuously search for belongingness in a world full of fragmentation. Das’ alienation and innate desire to belong somewhere in Bengal portray the finest example of transcendental homelessness, which is evident in his collection of poems and stories. This research aims to study the inherent urge of Das to be at home everywhere and the sense of belongingness illustrated in his poems and stories.

Oh Pengdorje: The Voice of Margin for Liberation

This article aims to establish connections between the Tamang community, the Tamang people, and the poet's introspective observations of his own circumstances. It provides a comprehensive exploration of this concept and its application to the communal perception within the Tamang community. The poet achieves a heightened level of imagination, thanks to his Marxist outlook and ideology, gaining recognition in both political and cultural spheres. Furthermore, the article delves into the role of class within the literary work, examining characters, and battling oppression. The poet's discussion on oppression as a pervasive societal issue takes center stage in this paper.The reviewed collection of poems establishes a powerful link between subjective experiences and an objective world, serving as a conduit to engage readers in societal reflections. Writing, as emphasized by many previous authors in this series, serves as a means to explore, learn, and contribute. While the desire to become a writer may carry a scent of vanity and ambition, this particular writing style stands out for its focus on compassion and inquiry. The poet Raju Syangtan elaborates on his personal journey towards adopting this distinctive writing style.The narrative style in his writing revolves around themes of family, history, class struggle, departure from home, the quest for truth, return from fighting, forging a unique path, and embracing compassion and curiosity from the past to the present. The Marxist school of literary criticism serves as the guiding principle in the investigation of select poems within this framework.

Ideology in Thompson’s, Kailey’s, and Robin-Coker’s collections of poems: A psychoanalytical exploration

This study employed psychoanalytic theory to delve into the ways Sierra Leonean poets Celia Eva Beatrice Thompson, Princess Mildred Kailey, and Kayode Adesimi Robin-Coker explored themes of despair, lust, and loss in their poetry. Addressing a notable gap in literary criticism, especially regarding Sierra Leonean authors, the research sought to raise the international stature of African writers and support students facing challenges with poetry in West African public exams. Employing psychoanalytic principles, the study uncovered deeper meanings behind the unconscious drives and emotions in these poets' works. It involved analyzing the occurrence of themes, detecting psychoanalytically significant lines and phrases, and identifying central themes and literary techniques used to express complex emotions. The analysis, which combined thematic and literary analysis, focused on the language, themes, and use of figurative language, diction, and other poetic devices in Thompson's 23, Kailey's 41, and Robin-Coker's 20 poems. This approach highlighted their distinct ways of depicting despair, lust, and loss. By integrating thematic analysis, the study offered a more profound comprehension of each poet's style. Ultimately, this psychoanalytic exploration aimed to enhance critical interpretation skills and helped in understanding the deeper psychological aspects of Sierra Leonean and other African poetry.

„Romantičarska“ slika djetinjstva u stvaralaštvu Jovana Sundečića

In this paper I analyze one of the first collections of poems for children in the SCBM language, Niz dragocijenoga bisera ili Duhovne i moralne pjesme za djecu by Jovan Sundečić (Zadar 1856, Cetinje 1865). Although many have stated that it is one of the first original publications intended for children and young readers of the South Slavic area, there has been no detailed analysis of it until now. In the introductory part of the paper, I will look at the circumstances which led to creation of literature for children and young people, in the central part, through the analysis of Sundečić’s book, I will show why Romanticism in children’s literature inevitably intertwined with Enlightenment, and I will try to illuminate the socio-historical circumstances that led to the reprint. In the conclusion, I make an evaluation of the book from the viewpoint of Romanticism, as the period in which it was created, as well as the contemporary moment, which tends to mark the timeless literary qualities.

R. Tagore’s lyrics in composers’ interpretations: an attempt at comparative analysis

Statement of the problem. After receiving the Nobel Prize in 1912 Rabindranath Tagore faced enormous popularity among Western composers. Their attention was mainly drawn to his two collections of poems – “Gitanjali” and “The Gardener”, which were translations from Bengali made by Tagore himself and published in 1912 and 1913 respectively. Interestingly, these poetry books were soon translated into a number of European languages, among which – French, Spanish, German and Italian. These translations were used by hundreds of composers who represented different national schools. In some cases, a number of different composers chose the same poem, which gives us an opportunity to compare their ways to interpret Tagore’s text. This make it possible to better understand both, the individual vectors of composer creativity, and the possible common or different tendencies in the interpretation of the poetic primary source. In this paper, we analyse and compare three songs, written by Franco Alfano, Karol Szymanowski and Alexander von Zemlinsky to the text of the poem № 7 “Mother, the young prince…” from Tagore’s “The Gardener”. Objectives, methods, and novelty of the research. The purpose of the article is to determine the peculiarities of musical interpretations of R. Tagore’s poem by named authors focusing on the compositional, intonation and figurative-emotional aspects, for which the methods of comparative, semantic, genre and stylistic, structural and compositional analysis are involved. Attempts to make such a comparison have not been made previously. Results and conclusion. The first song from “Three Poems by Tagore” (“Tre poemi di Tagore”) by F. Alfano, the second and third numbers of “Four Songs” op. 41 by K. Szymanowski and the second part of the “Lyric Symphony” op. 18 by A. Zemlinsky were compared. It was found that all compositions show bright stylistic differences (late romantic, impressionistic, expressionistic musical complexes), along with conceptual ones, taking into account genre conditions (chamber-vocal and vocal-symphonic models). There are certain common features between the tempo solutions by F. Alfano and A. Zemlinsky, however, these solutions are aimed at different interpretations of the poetical text. The two-stage dramaturgical development laid down in R. Tagore’s text is shown most clearly in K. Szymanowski’s cycle, where the plot of the poem is embodied in two songs instead of one, with obvious tempo contrast between them. While in the impressionistic song by F. Alfano, the image of a young girl captivated by her own feelings in a state of awe-inspiring anticipation appears before us, K. Szymanowski’s music written in line with expressionist tendencies, emphasizes mournful and tragic moods and sounds almost “otherworldly”. In A. Zemlinsky’s late romantic genre concept, R. Tagore’s poem becomes the basis of a vocal-symphonic scherzo with a tragic and philosophical undertone. Taking into account these differences, we will also note an interesting common typological tendency, which is visible in a kind of “portrait of a girl with a necklace”: a departure from the usual romantic musical oriental complex, despite the “exoticism” of R. Tagore’s works.

Генезис образов посева и жатвы в батальном тексте рубежа XVIII-XIX века

<p>The article deals with visual metaphors representing military events by analogy with labor actions related to the cultivation of the land and the harvest. The purpose of the study is to identify the literary genesis, semantic component and artistic potential of the images of the battle field and the battle in the battle text of the turn of the 18<sup>th</sup>-19<sup>th</sup> century. The material for the study was the works from the «Collection of Poems relating to the unforgettable year 1812», the poetic imagery of which is studied in comparison with biblical metaphors, the tradition of the Old Russian military narrative, classical batalistics. It is determined that, like the Old Russian military story, landscape details are included in the course of military events in the works from the «Collection...», that is why natural images form a significant layer of metaphorics of battle works, endow the poetic text with additional meanings through visual symbolism. It is proved that the visual metaphor with the core «field» and the images associated with it function in the «Collection...» as symbols and emblems associated with the expression of the opposition of war and peace, a visible representation of the victory won. The most frequent plant images in the battle text are fields symbolically associated with life, and gardens allegorically representing the world as paradise. The novelty of the research is seen in the expansion of ideas about the poetics of the visual in Russian literature by considering the mechanisms of visualization of the artistic image in the battle text of the early 19<sup>th</sup> century.</p>