Cycle Of Poems Research Articles

A Cycle of Poems about Armenia by R. Gamzatov

The subject of the article is the cycle of poems by R. Gamzatov about Armenia. This work represents the first detailed scientific study of the poetics of R. Gamzatov’s cycle of poems about Armenia. Using the example of the most striking works, the methods, techniques and means of expression used by the author to create the image of Armenia are identified. The poet describes the nature of this country, its song traditions, socio-political events, recreates the images of Armenian friends, sacred and iconic symbols for Armenia, its cultural objects and geographical topoi. The purpose of the article is to identify works from R. Gamzatov’s cycle of poems about Armenia, to conduct a philological analysis of the texts, to identify their genre specificity, and to determine the main motifs and images. The objectives of the work are to identify the themes and problems of poems about Armenia; their figurative and emotional-style similarities and differences from each other: determination of techniques and methods, as well as means of expression in realizing the image of Armenia. The study, carried out on the basis of the comparative method and the method of philological analysis of the text, led to the following conclusions: 1) in the cycle of poems by R. Gamzatov about Armenia, typical attributes are used, found in similar poems about Armenia by other authors (Ararat, Sevan, Matenadaran, Saryan); 2) a distinctive feature of the author’s feelings is admiration for nature, national cultural monuments and the creativity of literary and artistic figures of the Armenian people; 3) depending on the object and subject of the author’s attention, the mood and emotional tone of the works changes from lively, respectful, in love with the songs, music, and nature of Armenia to sad, sympathetic for the fate of this country and its long-suffering people. The results of the study can be used in further studying the work of R. Gamzatov. In addition, the article may arouse interest in wide circles, in particular in Dagestan-Armenian literary relations. This work can be used in teaching courses on the history of Avarian, Dagestan and Armenian literature.

СИМФОНИЗМ ПРОИЗВЕДЕНИЙ И. Л. СЕЛЬВИНСКОГО: РОМАН-ЭПОПЕЯ «АРКТИКА» И ПОЭТИЧЕСКИЙ ЦИКЛ «АЛИСА»

The article examines the interconnection of musical and verbal arts. Using the novel «Arctic» and the poem cycle «Alice» as examples, an analysis is conducted of the artistic techniques employed by I. L. Selvinsky to create verbal analogs of musical structures. It is established that the thematic depth of the works, detailed depiction of the processes of character formation and development, their spiritual quests, and the resolution of internal conflicts indicate the symphonic nature of the poet’s thinking. The reference to the symphonic works of P.I. Tchaikovsky, the disruption of the composer’s accepted symphony order, enhances the aesthetic direction of the poetic work and reveals profound meaning. The unity of thematic and imagery material, the utilization of similar principles in the development of musical and literary works allow for the poetic cycle «Alice» to be considered as a symphonic suite, with its poetic elements assessed in the parameters of musicology correlated with literary methodology.

Entelechy of the Emanational Form: Zenon Fajfer’s Poems of Potentiality

Zenon Fajfer’s introduced into poetry an original, interactive form called “the emanational poem,” in which the multilevel acrostic is generative of simultaneously coexisting dimensions of text. The poet has used it in several of his works to render simultaneity, visibility and invisibility, potentiality and actuality. The article discusses the emanational form in view of Aristotle’s concept of entelechy. Exploring affordances of the electronic and printed media, the author explicates how the potentiality for mobility and intertextuality can be actualised in Fajfer’s “Ars Poetica,” Spoglądając Przez Ozo- nową Dziurę, and Powieki, drawing attention to the role of the reader in this process. She mentions the aporetic tension between the principle of Aristotelian entelechy and postmodern concept of intertextuality, also referencing the relevance of Ned Rossiter’s network theory to the interpretation of Fajfer’s work. Focusing on Powieki, a multimodal cycle of emanational poems, published as a compound of the material book and the digital poems in the CD, the author postulates, following Pisarski (2014) and Marecki (2018), that it is an entelechy of the hypertext. Moreover, this richly hyperlinked cycle of poems can be seen as a rewriting of the Orphean katabasis. It invites contem- plation of a complex, multidimensional space that should be explored in “slow,” or close reading, which defies typical expectations of electronic literature audiences. Finally, it is argued that Fajfer’s print-born digital hypertexts activate potentialities entailed in the matter(iality) of the writing in both media, the old and the new.

LITERARISCHE VISIONEN EMANZIPIERTEN HANDELNS: EMANZIPATIONSPOLITISCHE ZUSAMMENHÄNGE IM WERK LOUISE ASTONS

AbstractLouise Aston's work during the 1840s is usually read within the context of the author's life and biography. This paper differs from this reading. Instead, I explore the extent to which a reading fixated on the author's life runs the risk of overlooking the perspective of behaviours and gender roles that Aston portrayed in her fictional worlds. Using Aston's poem cycle Wilde Rosen (1846), her 1846 pamphlet Meine Emancipation, Verweisung und Rechtfertigung and the three novels Aus dem Leben einer Frau (1847), Lydia (1848) and Revolution und Contrerevolution (1850), I analyse some of the central motifs of her work. Furthermore, I examine Aston's analysis of socio‐economic violence against women and the intersectional perspective in the context of the situation of the proletarian workers of her time. Finally, my focus lies on Aston's gender practices, as can be seen particularly in her character Alice von Rosen. It is precisely Aston's intersectional connection between gender, and sexual and socio‐economic violence that make her literary works so intriguing up to this day.

Attributive Features of F. I. Tyutchev’s Poetics

The article substantiates the idea of Tyutchev as a recipient of the Orthodox ideals of East Slavic literature. Four of the eight attribute properties inherent in it, which are of particular importance for Tyutchev’s poetry, are considered in detail: knowledge of God, grace, religion, conciliarity. As in ancient Russian literature, Tyutchev’s author appears as an instrument of the Creator, which is manifested in the practical absence of a lyrical hero in Tyutchev’s works and the activity of an epic narrator. For Tyutchev, the poet is a student of the Russian poetry school. The highest authorities for Tyutchev are Pushkin, Karamzin, Zhukovsky and Lomonosov, who, like himself, are only an instrument in God’s hands. The property of the knowledge of God for Tyutchev is associated with the image of a secret-seer, a contemplator of elevated spectacles: natural, historical, spiritual. In this regard, Tyutchev’s poetry abounds with natural, airy, heavenly images. Tyutchev’s image of the temple is also connected with the property of God-knowledge, which comprises the whole complex of dogmatic, historical and liturgical meanings. The property of grace in Tyutchev is especially manifested in love lyrics, acting as poetry of spiritual and moral self-exposure. Wounds inflicted in a personal relationship can only be healed by the gift of divine grace. Suffering and sacrifice for Tyutchev are the means of acquiring godlike properties: patience, meekness, humility, love. In Tyutchev’s mature lyrics, the property of religion manifests itself to a special extent, visibly appearing in the cycle of poems about Slavs and in polemical poems directed against Catholicism and Protestantism. They also actualize the category of sobornost’, which reveals itself in Tyutchev’s address to a fellow poet, a Slav poet. Tyutchev’s poetry thus appears as the place of struggle for the Truth, for Orthodox ideals, for his native word, native faith, and for his soul. It is a decisive refutation of Western individualism and secessionism and the affirmation of the ideals of Orthodox sobornost’.

Поэтический цикл С.А. Есенина «Москва кабацкая» и его оценка в критике 1920-х гг.

The paper addresses Sergei Yesenin’s poem cycle Tavern Moscow, characterized by a set of motifs and images which dominate his 1921–1923 poems, and its critical reception in the 1920s. It looks into the history of the creation of the cycle as the poet’s fictional autobiography and enumerates the main principles of cyclisation Yesenin used. The author analyses multidimensional and controversial protagonist figure, whose mask (the poet-ruffian) is a form of protest against everyday life. Tavern Moscow, as an incarnation of the Russian rebellious soul, also acts as the document of a spiritual crisis caused by the clash between the romantic ideal and current life, and the overcoming of this crisis. No other work by Yesenin caused such an animated discussion and controversy as Tavern Moscow. The study analyses literary and critical material presenting mixed reviews, which can be explained by political and group preferences. The critical responses fall under three large categories: critics praising Tavern Moscow as “having a high aesthetic value”; critics speaking favourably of the cycle as an important step in Yesenin’s work but at the same time warning of their “corrupt influence”; critics describing the poem cycle as a “sinister drunken poem sequence”.

G.R. DERZHAVIN’S POEM GLIMPSE: AN AUTOBIOGRAPHY IN THE LIGHT OF THE GOSPEL BEATITUDES

The article analyzes Derzhavin’s poem Glimpse [Problesk] (1810, ed. 1816), which is mistakenly considered a translation from L. Kosegarten, and proves that this is an original work. Only the first and last stanzas of it (5 out of 14) have partial correspondences in Kosegarten’s poem Aussicht, which deals with posthumous retribution for earthly suffering, the bliss of eternal life that awaits the one who does not completely lose faith in it. Derzhavin, in contrast to Kosegarten, who proceeds from the doctrine ‘sola fide’, writes about his deeds, for which he deserves heavenly bliss. The central stanzas in Glimpse are autobiographical, they contain an apology for Derzhavin’s life, especially his official activities. He applies the Gospel Beatitudes to himself in order (Mt 5:3-11), dedicating a separate stanza to each, and proves that he has fulfilled them (everywhere using the implicative construction ‘if ... then ...’) and deserves ‘eternal blessings’. The article comments on all these stanzas, notes correspondence with other texts of Derzhavin, including his memoir and business prose, hints at the political circumstances of 1810, when, while on Zvanka, he created a cycle of spiritual poems, which began with Hope, and finished with Glimps (the Beatitudes refer specifically to Hope as one of the three Christian virtues: Faith, Hope and Love). In two of those stanzas that have a correspondence with Kozegarten, Derzhavin also refers to his literary work. Glimpse is among such his poems as Monument (1795), My Idol (1794), Swan (1804), etc., where Derzhavin speaks of his rights to ‘immortality’ and the gratitude of posterity, and should be considered in this series as well.

«ҚЫРЫМНЫҢ ҚЫРЫҚ БАТЫРЫ» ЖЫРЛАР ЦИКЛІНДЕГІ ТАРИХИ ТОПОНИМДЕР

Annotation. In determining the general civilizational and national nature of the ancient Turkic song tradition, which has been going on since ancient times, the sequence of songs "forty heroes of Crimea" has a special place and importance. The song chain was sung orally among the Volga, North Caucasus, West Siberian Turks, as well as on the territory of Kazakhstan, Karakalpakstan. But not in the form of a whole, but individual songs are preserved in different versions. Mangystau region is the most fully preserved homeland of the zhyr chain compared to other regions of Kazakhstan. Because in this region there is a Special School of poetry, which promotes the "forty heroes of Crimea", through the representatives of the school, the text of the song has continued from teacher to student for centuries without interruption. This article presents the results of research on toponomastic names in the cycle of poems "forty heroes of Crimea", their relation to the history of Mangystau. Tomonomastic names in the text of the song indicate the exact location of the events in the song and provide data on the historical events that formed the basis of the plot of the song. Key words: forty heroes of Crimea, Nasir zhyrau, epic epic, epic science, toponomastic names, Serikbol Kondybay, nogayli.

Den Osten im Westen suchen. Ein konzeptgenetischer Weg durch Paul Celans Pariser Elegie

This essay aims to reconstruct the conceptual history of the origin and suppression of the so-called “Parisian Elegy”, a cycle of poems which Celan planned to include in his No One’s Rose until just a few months before publication (1963). The poet conceived the idea of composing an independent cycle as the closure and peak of the entire collection after he wrote the Valaisian Elegy, a long poem which articulates the arduous search for one’s self through memory and in sorrow. For the outcast poet living in Paris, this search takes on geographical and linguistic contours, as it emerges from the fourth part of No One’s Rose, conceptually and genetically in-terwoven with “Parisian Elegy”. Following the methodological path of the ‘Conceptual Genet-ics’, opened in 2010 by Axel Gellhaus, this work tries to demonstrate how deep this cycle inter-acts with the final cyclic conception of the volume and in which way it seems to predicate a relational and topographical conscience of grief.

From the search for the "quiet girl" in N. Gumilev's poetry

N. Gumilev's appeal to the theme of China can be traced in a number of his poetic texts, the pinnacle of which can be called the cycle of poems "Porcelain Pavilion" (1918). The study examines one of the dominant Chinese images in N. Gumilev's poetry – the image of a Chinese girl, clearly visible among the space of poetic texts created by the poet – both Chinese and Russian. Special attention is paid to the interpretation of poetic works, the semantics and functioning of the image of a Chinese girl in the poet's perception are analyzed. During the research, the authors of the article turn to the cultural and historical realities of China, its philosophy and mythology. China and Russia are separated in N. Gumilev's mind and, at the same time, merged into one in a number of works. The reasoning and conclusions of the authors of the article are based on critical research, a comparison of two cultures. The analysis of poetic works was carried out in the semantic aspect using the search for textual parallels. The study was carried out using the structural-semiotic method. What was new in the work was the identification and interpretation of the image of a Chinese girl in N. Gumilev's poetry. During the research, the following poetic works were analyzed: "The Queen" (1909), "I believed, I thought..." (1911), "The Girl" (1912), "The Moon on the Sea" (1918), "The Road" (1918), "The Three Wives of the Mandarin" (1918). In the cycle "Porcelain Pavilion", the image of a Chinese girl occurs nine times. The genesis of the "quiet girl" in the poems under consideration is revealed. It was found that the image of a Chinese girl corresponds to the "canons of the image" of Nothing ("The Queen"). The image of a Chinese girl symbolizes the outcome of human existence in a world without God, without being in its highest sense ("I believed, I thought..."). In the poem "Moon on the Sea", as in the subsequent poems of the cycle "Porcelain Pavilion" ("Connection", "Poet", "House"), N. Gumilev adheres to the Chinese tradition, comparing the female image with the moon.

Влияние образа России на развитие философско-религиозных взглядов Райнера Марии Рильке (по материалам сборника «Часослов»)

One of the most important works of Rainer Maria Rilke, reflecting the formation and development of the poet’s philosophical and poetic views at the turn of the 19th–20th centuries, is the cycle of poems “Book of Hours” (1899–1903), created under the influence of the image of Russia that the author developed during his travels around the country. The aim of this work is to analyse Rilke’s “Book of Hours” in the context of the influence of this image on the dynamics of the poet’s philosophical and religious views in a certain period of his work. The hermeneutical approach was chosen as the main research method, within the framework of which the texts of R.M. Rilke’s works were interpreted taking into account the socio-historical conditions existing at the time of their writing. Systematisation and generalization of the obtained data made it possible to evaluate the author’s expe-rience of Russia as a deep religious experience, expressed in a rethinking of Rilke’s attitude towards God, and to identify the contradictions of his philosophical and religious views. On the one hand, the concept of God, which occupies a central place in Rilke’s “Book of Hours”, represents an artistic refraction of the key ideas of the biblical tradition; on the other hand, God, according to the poet, manifests himself as a human creation, or more precisely, as a work of art: in the process of self-knowledge it must be discovered as the hidden “treasure” of one’s own soul. Consequently, this is not so much God the creator as a kind of internal resource, “God in man”, the idea of creation, which man must allow to arise within himself. The image of Russia as a country seeking God sets the vector for a “revaluation of values” modulated by the “Russian experience”, bringing Rilke closer to the point of view according to which spiritual journey requires a reorientation from orthodox ways of thinking and faith to an understanding of God as a path, as a “kingdom of God” that matures in the soul of an inner per-son.

Postmemory Twice: Poetic and Narrative Transformation in George Szirtes’s Biographies of His Mother

The Hungarian-born English contemporary poet George Szirtes has written several times about two traumas of his family history: the Holocaust, which both his parents survived, while several of their relatives perished, and the Revolution of 1956, which forced them into exile. My paper focuses on two major narratives about Szirtes’s mother: a cycle of poems “Metro” (1988) and a biography in prose The Photographer at Sixteen (2019). Exploring the differences in perspective and form as well as the similarities in themes and structure, I seek the answer to the questions how one’s own memories are intertwined with the past of the communities where one belongs; how these controversial sets of memories might lead to internal conflicts; and how the memory of one’s predecessors are being transformed by the process of the speaker’s own transformation in the time span of three decades. Investigating these aspects, I argue that Marianne Hirsch’s concept of postmemory not only proves to be instrumental in understanding several books by Szirtes better but also that Szirtes goes one step further than Hirsch by revealing how individual memory not only is embedded into and influenced by communal memory, but also is constructed in the form of family memories passed on from one generation to the next.

Snoilskys Svenska bilder i skolan och kulturminnets förändringar

Snoilsky’s Svenska bilder at School and the Changes of Cultural Memory: The article investigates the reception of Carl Snoilsky’s Svenska bilder (Swedish Pictures) in Swedish schools, from the 1890s until today, in the light of the concept of cultural memory. For more than half a century, Snoilsky’s cycle of poems, depicting important events and figures in Sweden’s early modern history, belonged to the literary school canon; three special school editions were published in 1894, 1931, and 1939 respectively, and frequently reprinted. In the 1960s, however, due to radical educational reforms, and the ensuing abandoning the idea of patriotic upbringing, the collection of historical poems lost its strong standing as a set reading, and it has since been more or less absent from the teaching of literature at school. It is concluded that the reception of Svenska bilder in the educational context reflects in several respects pronounced changes of Swedish cultural memory during the 20th century.

The portrayal of China in Russian poetry: "Chinese Journey" by O. A. Sedakova

The subject of the article is the reflection of Chinese culture in the poem cycle "Chinese Journey" by O. A. Sedakova. In spite of the relatively large number of studies of this cycle, a close reading of it, undertaken from the perspective of a bearer of Chinese culture, may reveal new episodes in need of commentary and evidence of Sedakova' profound knowledge of Chinese philosophy and classical poetry. Although the significance of Taoist ideas for Sedakova has been discussed, it is possible to point out images and ideas that have not been noted before and are related to Lao Tzu and the Book of Changes, also some details that can possess a symbolic meaning in Chinese culture. Thus, although the significance of the image of water for the cycle has already been noted, its connection with the ideas of Lao Tzu has not been explained; in the light of the ideas of Taoism, we understand the images of the path, heaven and earth. The study explains the symbolic meaning that Sedakova's images of willow, mountain, ladder, flute, and swallow have in Chinese culture. We conclude that Sedakova's poetry is based on the harmonious interaction of European and Chinese; this assessment has already been expressed in science, but we have reinforced it with new examples.

Carl Snoilsky’s Svenska bilder and Cultural Memory in the 19th Century

This article presents the research project “Searching for a New National Identity: The Construction of Swedish Cultural Memory in Carl Snoilsky’s Poems Svenska bilder”, and functions as an introduction to the four subsequent articles in this issue of Studia Litteraria, which are the result of the project. The principal aim of the project was a comprehensive analysis of the construction of cultural memory in Carl Snoilsky’s cycle of poems Svenska bilder (Swedish Pictures) for many decades being part of the core canon of Swedish literature, but which remains largely forgotten today. In part one, the article outlines the complex process of the creation and publication of Svenska bilder. It also reviews the state of research on Snoilsky’s cycle, justifying the need for new theoretical perspectives. In part two, the article analyses ways in which national memory is portrayed in Svenska bilder at different intra- and extranarrative levels, arguing that cultural memory and its preservation are among the central themes of the cycle. In part three, the article illuminates the construction of cultural memory in Svenska bilder as an example of nineteenth-century European cultural memory. The article considers three features, typical of nineteenth-century collective memory culture, to be particularly important for Snoilsky’s poems: subjectivisation, historicisation, and nationalisation. In part four, the article discusses Svenska bilder as an attempt to democratise the model of Swedish national memory created by the Romantics. The article argues that the cultural memory in Svenska bilder in many ways reflects the liberal ideas of the second half of the nineteenth century advocated by Snoilsky. In part five, the article examines the place of Polishness in the construction of Swedish cultural memory in Svenska bilder. Although Snoilsky considered himself a friend of Poland and an advocate for the Polish independence movements, in his cycle he assigns Polishness the role of the negative Other that serves to consolidate a positively characterised Swedish national identity. The article concludes with a short presentation of the four articles that are the fruits of the presented project.

Det nationella landskapet som kulturminnets medium i Snoilskys Svenska bilder

National Landscape as a Medium of Cultural Memory in Snoilsky’s Svenska bilder: The aim of this article is to illuminate, from an ecocritical perspective, the spacial aspect of cultural memory in Carl Snoilsky’s cycle of poems Svenska bilder (Swedish Pictures). According to Jan Assmann, cultural memory locates its signs in a natural space, whereby whole landscapes can also function as a medium of cultural memory. Consequently, they become semanticised, elevated in their entirety to the status of a sign. Thus, a landscape becomes a topographical text of cultural memory, a place of memory that Assmann calls mnemotopos. Drawing on one of the most important tropes of ecocritical thought, i.e. the pastoral, the article examines how Snoilsky’s collection of poems presents the Swedish landscape and how this landscape becomes a vehicle of cultural memory.

CYCLE OF POEMS «FORTY HEROES OF CRIMEA» IN THE RESEARCH OF SERIKBOL KONDYBAY

The cycle of poems" Forty heroes of Crimea" is a historical and artistic narrative of the transformation of peoples of Turkic origin into several state structures, as well as their spiritual formation. A new area of research related to the "Forty heroes of Crimea" should be considered to determine the area of formation and spiritual basis of the phenomena of "Nogai genealogy", "kazakhization, Kazakh origin" through the study of educational information in the linguistic potential of the poem. In fact, it can be seen that the study of "the historical and geographical space of the poem, the linguistic and poetic environment that gives rise to the poem " has been neglected as an open problem. The cycle of poems was born in the era of the Golden Horde, in the XIV-XV centuries, formed the scientific axiom "nogaili zhyrau tradition", which gave birth to the poem, and any of the researchers worked on further scientific substantiation of this axiom, the search for scientific and historical evidence in different directions around this truth. The cycle of poems is studied in a philological, partly historical background. In addition, the linguistic description of the cycle of the poem was limited to explaining the meaning of individual words in the text (which is also not a complete historical and etymological analysis), giving a list of toponymic, anthroponymic, ethnonymic names. A new comprehensive method of studying the cycle of poems "Forty heroes of Crimea", founded by S. Kondybay, is intended to consolidate, summarize and systematize the knowledge base in the subjects of Geography, History, Literary Studies (folklore studies, mythology), philosophy, and theology in one linguistic space. In this article, we will analyze the works of S. Kondybay, who considered the genesis of such a historical and poetic work as "Forty heroes of Crimea" in a new direction, and make efforts to reveal the methodology of his research. A new comprehensive method of studying the cycle of poems "Forty heroes of Crimea", founded by S. Kondybay, is intended to consolidate, summarize and systematize the knowledge base in the subjects of Geography, History, Literary Studies (folklore studies, mythology), philosophy, and theology in one linguistic space. In this article, we will analyze the works of S. Kondybay, who considered the genesis of such a historical and poetic work as "Forty heroes of Crimea" in a new direction, and make efforts to reveal the methodology of his research.

Real Geographical Loci and their Meaning in K. K. Sluchevsky's Cycle "Murmansk Echoes"

The article is devoted to the analysis of real geographical loci in the poem cycle "Murmansk echoes", written by the poet-pre-symbolist K. K. Sluchevsky in 1888 under the impression of a trip to the Murmansk region. The conducted research using historical, functional and comparative methods allows us to comprehend the nature of Sluchevsky's literary work and the philosophical ideas embedded in his poetry. The author of the article pays special attention to the study of landscapes, which are an expression of emotions and personal feelings of K. K. Sluchevsky, reflecting the concept of the poet's life and his philosophy; consideration of such an aspect of the topic as Sluchevsky's use of real loci to expand time and space. The scientific novelty lies in the fact that the work for the first time studied the influence of real geographical loci on the poetry of K. K. Sluchevsky, the depiction of artistic images in northern Russia, the life and customs of local pomors, investigated the changes in perspective in the real locus and the expansion of time, revealed the general "mythologeme" of the space of the real locus. As a result of the research, the author comes to the conclusion that the geographical locus allows the poet not only to convey impressions about what he saw, but also to open his inner life, and most importantly, to recreate a holistic picture of the universe through concrete and small things.

Буддийская традиция и япон­ская поэзия сквозь призму «песен радости» (на материале цикла «Сто строф о временах года» Дзиэна)

The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the exam­ples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of the genres of court litera­ture, waka poetry. The paper briefly describes the process of incorporating the forms of Japanese waka poetry into Buddhist rites, traces the appearance of “songs of joy from following the teachings of (Buddha)” (ho:raku) in ritual practice, explains the meaning of the word ho:raku, describes a stage in the development of poetic theory formulated within the framework of Japanese esoteric Buddhism, characterizes the essence and meaning of “songs of joy” in the Buddhist tradition. The authors point to the contribution of Jien to the development of poetic theory and the relevance of new forms of waka, “songs of joy” created on the basis of this theory. The textual analysis of the cycle “One Hundred Verses about the Seasons”, its structure and content allows identifying the fea­tures of the genre of spiritual poetry ho:raku. The results also display how secular themes (nature, love lyrics) are reinterpreted to convey the experience of learning the teachings of Buddha, show the functioning of waka poetry as a means of preaching Buddhist teach­ings, as a way to comprehend the truth and achieve enlightenment.

Субъективно-модальные синтагмы в лирическом дискурсе Е. А. Баратынского

The article is devoted to the semantics and functioning of introductory constructions in the poetic texts of E. A. Baratynsky. The complex syntax of Baratynsky shows that the desire for clarity and accuracy of expression, characteristic of the representatives of the “school of harmonic accuracy”, headed by V. A. Zhukovsky and K. N. Batyushkov, is not always compatible with the simplicity and clarity of the syllable: the task of embodying the “poetry of thought” required Baratynsky to complicate the poetic form at the syntactic level. Subjective-modal constructions, reflecting the conflict, the paradoxical nature of poetic consciousness, saturating the text with the intonations of a lively dialogue, were widely used in the lyrics of Baratynsky in the 1820s. The lyrical theme is often revealed by the young elegiac Baratynsky through the struggle, clash of voices, ideas, internal dispute, doubts and hesitations of the inner subject of the poem. The high activity of introductory syntagmascauses drama and "increased" dialogism, including in the form of auto-communication. Sometimes the form of conversation, dispute is in an open form. From the 1830s, the recognized author of psychological elegies turns into a "poet of thought", Baratynsky undergoes a significant creative evolution on an intensive path of saturation of a closed, "close" lyrical form with the most complex metaphysical content, when he creates the cycle of poems "Twilight" (1842). In the last lyrical cycle of Baratynsky, the activity of the introductory syntagmas is much lower than in the early elegies, the monologism of the utterance, the preaching pathos, is intensified.