Lyrical Plot Research Articles

Лирическая поэтика романа И. Бунина «Жизнь Арсеньева»

The paper examines such features of the lyrical poetics of the novel “The Life of Arseniev” in terms of its thematic and motivic repetitions, fragmentary and variegated style, and overall sense of ambivalence and uncertainty. An emphasis is placed on how various settings are described, including manor and urban locales and on the punctuated lyrical narrative of the Fifth Book of the novel. Ivan Bunin depicts several manors near Arseniev’s residence characterized by their similarities and significant historical connections to renowned Russian writers. The lyricism of the manor theme is enhanced by various variations, lending it a substantial semantic richness. The transitions between different spaces, the layered descriptions, and the concentration of similar plots within each chapter are all points of interest. The urban space is built under the same laws as the manor. The technique used to depict cities entails the repetition of similar characteristics, with the images of the provincial city of Orel gradually merging with those of an unnamed county town in Book Five. The lyrical plot of Book Five is structured around the multiplication of similar situations, with several climaxes. The spatial and plot structures exhibit duplication, complementarity, and induction elements. The multiplication of similar motifs and plot situations skillfully confuses the reader, introducing a subject ambiguity underlying the lyrical poetics of the novel. The lyrical poetics of the novel shares similarities with the classical Russian elegy, including specific details and a melancholic tone.

The Сonsonance of Saryan and Armenia in the Perception of Russian Poets

In the local text proper names are always marked, especially if they have
 a high frequency. For the Armenian text of Russian poetry, such a name, the
 bearer of the cultural code is the name of the outstanding Armenian artist Martiros Saryan (1880–1972). Saryan and Armenia are forever «rhymed» in the perception of others. This «consonance» is played out many times in the mass consciousness, in memories, in criticism, in poetry. Saryan is usually perceived by representatives of other nationalities as the creator of the image of Armenia –unusual, but real. At the level of a lyrical plot, there is often a motive of discovering this country for the lyrical subject or a motive of insight. Rhymes in poems
 serve as the keynote of this plot. The artistic potential of Saryan's surname, which turned out to be in the position of rhyme, lies in his characteristics as an artist: his expression, creative manner, colors, visual effects, ability to grueling work.

The soul and the mask: linguopoetic analysis of V. Bryusov’s poem "If you could not guess yourself..." (to the 150th anniversary of the birth)

The article analyses one of the late V. Ya. Bryusov’s little-known poems. The research focuses on the composition, key semantic fields and oppositions, spatial and temporal organization of the text. The article pays meticulous attention to the ways of presenting the lyrical hero and the linguistic means of expressing agent-object relations. The semantic-stylistic analysis of the text and the method of slow reading show how the lyrical plot unfolds, what accent the linguistic form brings to the interpretation of the figurative and semantic content of the poem, as well as to its subtext formation. Componential analysis is used to characterise the complex of meanings of the lyrical text core units. The research highlights the originality of the mask image and the presentation of the lyrical subject of the poem. The article concludes that the seemingly brief and simple plot conceals a complex intertwined subject-object structure.

Phebi claro...: the multilayered ambivalence of the “bilingual alba”

The author presents the history of the most significant interpretive transcriptions made by European linguists and medievalists for the monument of early Romanesque lyrics of the 10th century, the anonymous song Phebi claro.. , known under the a posteriori title imposed on it Alba Bilingue . Paying attention to the transcriptions of the text in general, and especially of the refrain, presumably written in Occitan, makes it possible to see the materialized views of their authors on the specifics of the language of the monument, in particular the assignment of word forms to a certain language and the sphere of a certain stylistic coloring (literary speech vs. vernacular speech). This, in turn, makes it possible to understand how each of the researchers saw the whole reconstructed meaning of the song. Attention to the existence of two options for interpreting the text - as a continuation of the Ambrosian allegorical tradition of religious poetry and as a pretext for the secular alba genre in the love lyrics of the troubadours - is drawn, and these options are evaluated. Separately, the verse forms of the monument, to which not enough attention was paid by polemical researchers, are described, and the unity of euphony techniques is stated, which is an important conclusion in the light of the fact that the vast majority of studies usually present Latin couplets and the Romanesque refrain in opposition, reaching the assumption of a late insertion of the refrain. The author pays attention to the lack of unity in the lyrical plot of the monument in view of the fact that the interpreters passed this plot as an obviously important layer of the text by. Also the author points out that in one way or another all interpretations were aimed at simplifying, narrowing the meaning of the monument, which seemed achievable as a result of conjectures, and suggests that contradictions at all levels of the text could be initially set by anonymous author of this song, and linguistic, rhythmic, plot, etc. ambivalence is its essential state, which does not require simplifying, one-sided interpretations.

СМЫСЛОВОЙ ПОТЕНЦИАЛ КОНЦЕПТА «ГОРЕ» В ПОВЕСТИ М. ГОРЬКОГО «ГОРЕМЫКА ПАВЕЛ»

The analysis of thefunctions of the concept «woe», its role in shaping the perception of the ideological and philosophical content of the story are carried out. A semantic series of lexemes that actualize the main content of the basic concept of «woe» is revealed, and a description of the ways of explicating the concept is given. As a result of the study, the author comes to the conclusion about the importance of the image of the author-narrator and the lyrical plot associated with it in revealing the idea of the story, determining the style of the work, its rhetoric and the peculiarities ofpoetics in general.

ЛИРИЧЕСКАЯ СИТУАЦИЯ В ЛИРИЧЕСКОМ СЮЖЕТЕ

The article aims mostly to define terminologically the lyrical situation as one of the main components of the lyrical plot. To achieve the intent, the article addresses the following objectives. First, analyzing the earlier writings on the subject, from “Aesthetics” by Hegel to modern works on the plotology and poetics of lyricism (B.V. Tomashevsky, V.M. Zhirmunsky, L.Ya. Ginzburg, T.I. Silman, Yu. Lotman, V. Grechnev, V.I. Tiupa, N.D. Tamarchenko and others). Secondly, formulating our own definition of the lyrical situation as a static state of the inner world of a lyric verse. Third, showing the relationship of the situation with other important components of the lyrical plot. It is a spatiotemporal structure, which largely determines the lyrical situation, as well as the category of event, which is connected (or opposed) to the situation on the principle of dynamics / statics. Fourth, proving the correlation between the lyrical situation and the title of the poem. Finally, conclusions are drawn about the place of the lyrical situation in the lyrical plot of the poem, understood as a system of event-situational elements of the lyrical work, given from the position of the lyrical subject in the process of his reflection deployment.

ВИЗУАЛЬНЫЕ ОБРАЗЫ ПАМЯТИ В СТИХОТВОРЕНИЯХ Ю. ЛЕВИТАНСКОГО "НУ ЧТО С ТОГО, ЧТО Я ТАМ БЫЛ…" И "ПАМЯТЬ"

The article considers two poems by Yury Levitansky, “So what if i was there...” and “Memory” (both of them are included into the book of poems, “Letters to Katerina, or A walk with Faust», 1981), from the perspective of the representation in them of the memory visual images. In both texts, memory is not a mere motif, but a structure-forming category in the lyrical poem’s imagery and plot structure. It’s so because the abstract category of memory is conveyed through sensual, primarily visual images, such as space and its various patterns (such as vertical/horizontal, widening/shrinking), colour, light, etc. Visual imagery combines with the direct and transgressive vision of the lyrical subject. Through the visual images of memory, the lyrical subject experiences and reinterprets traumatic experiences are experienced and reinterpreted. In turn, the representation of visual images of memory not only organizes the lyrical event and the lyrical plot, but also makes it possible to appeal to the reader’s imagination and his/her historical memory

Мистериальный метатекст в стихотворении А. Тарковского "Полевой госпиталь"

The article interprets the mystery codes in the poem “Field Hospital” by Arseny Tarkovsky. The research is based on the principles of mythopoetic and structuralsemantic analysis of the text, and provides a systematic approach to the work, taking into account the specifics of its plot-genre paradigmatics and figurative-symbolic language. The inner world of the poem is organized by the logic of the mystery topos with its key coordinates: frontier ontology; the evolving character of time and the reflection of its dynamics in the “dialectic of the soul”; existential self-reflection and detachment of the hero’s consciousness. The motivic complex of the border, repeatedly manifested in the text and culminating in the symbolism of the limb, becomes a meta-image, in the semantic field of which all the named parameters of the mystery continuum intersect. The model of reality recreated in Tarkovsky’s poem goes beyond mythological monism, but it clearly correlates with the mystery organization of the chronotope: the mystic is aware of the multidimensionality of the universe and the existence of boundaries between different spheres of reality – primarily profane-everyday and sacred – as well as the possibility of moving across these boundaries, which, ultimately, is one of the results of mystery initiations. The plot-forming meaning in “Field Hospital” is acquired by allusive references to the mystery texts of culture: the ancient Egyptian, Christian, alchemical mysteries are dialogically integrated in the act of birth – transfiguration – resurrection experienced by Tarkovsky’s hero. The central place in this paradigm is given to the mystery of Osiris and Isis, the symbolic codes of which are reflected in a number of iconic motifs, images, and details. The key among them are the motif of dismemberment and the semantic complex of the victim associated with it; the symbolism of death – resurrection; the archetypal dyad of a newborn – infant; a tree-natural code associated with the lyrical hero; the allusively designated image of Isis, personifying the female harmonizing principle of the universe. If the motif of dismemberment contains a specific reference to the theme of Osiris, then the other elements in this series also relate to the mystery of Christ and, accordingly, to the texts of culture associated with it, including the mysteries of the alchemists. The study leads to the conclusion that Tarkovsky’s “Field Hospital” is read as a metatext, where in a situation of semantic dialogue different culturological modes of mystery coexist, and the mystery consciousness itself enters into a relationship of mutual reflection with the mythological and tragic worldview. The logic of the myth is intertwined in the development of the lyrical plot with the logic of tragedy, which in turn is overcome through a detached view of the tragic situations experienced and the mystery-conscious acceptance of fate and life in all their manifestations.

К. Коровин –эмигрант: родной край в воспоминаниях художника

Konstantin Korovin is a famous Russian artist, one of the first Russian impressionists, as well as a theater decorator. The artist was highly sensitive to the beauties of the nature of his native land, and his oeuvre consists mostly of landscapes. In 1922, being at his senior age, Korovinwas forced to move to one of the centers of Russian emigration –Paris. Life away from his motherland becomes one of the reasons for the painter’s artistic crisis. It was during these difficult years that Korovin began to engage in literary work. Korovin writes memoirs, significant part of which is memories of the abandoned but much beloved motherland.The article provides a comparative study of pictorial and verbal figurativeness in Korovin’s works. The cycle On the Huntincludes a short story Frost, where the landscape plays a key role in the plot. Ananalysis of the poetics of figurativeness in this story reveals the features of pictorial impressionism in the verbal images. The article analyzes the techniques that the memoirist employs to create the image of his motherland. The key words-leitmotifs, color palette, lighting effects, and other means of creating a lyrical landscape are also analyzed. There are found to be some parallels between Korovin’s literary descriptions of landscapes and his landscape paintings of winter forest. The paper draws a conclusion about the similarity of impressionistic techniques in paintings and the story by Korovin; the features specific to literary (verbal) fig-urativeness are noted, for example, folklore traditions and allusions to Russian poetic classics, the change in the narrator’s points of view, changes in emotional tonality, which forms the basis of the lyrical plot in the story Frost.The methodological framework of the study is based on comparative-typologicaland system-semantic principles of analysis, with elements of genre and style analysis.

Роль экфрасиса в создании иеротопии «Мирожских стихов» Всеволода Рожнятовского

The article is devoted to the analysis of Vsevolod Rozhnyatovsky’s “Mirozhsky poems” (2013), which demonstrates the sacralization of the place described therein. The author shows how the title toponym exists in the cultural consciousness of the Pskovites (the name of the river is absorbed by the name of the temple, which has been turned into a museum). Its composition outlines a peculiar lyrical plot: the subtitles of the book indicate the author’s path from museum work through contact with the Christian religion and art to his own poetic creativity in line with the Christian idea of the Logos. The motif of leaving the temple allows the poet to spread the received in it “knowledge” about the creatureliness of the world to the entire city, which is perceived as a city-temple; the acquired poetic gift turns his book of poems into a kind of prayer for a person of the 20th century, shocked by the meeting with the Christian artistic tradition. The article pays particular attention to the specifics of the poetic ekphrasis, which represents the descriptions of the frescoes of the Transfiguration Cathedral of the Pskov Mirozhsky Monastery. There is the analysis of the position of the subject of the speech (inside the temple but at the same time inside the frescoes plot) based on the contributions of three poems containing the ekphrastic descriptions. This is seen as a kind of illustration to the Pavel Florensky’s ideas of about the icon and church art. The article also indicates to the connections of the 20th century author’s perception of frescoes with the 12th century icon-painting program, which reflects the theological controversy about the union of divine and human God the Son’s nature. The poet’s fascination with this topic attested to the relevance of hierotopy even for the end of the 20th century.

Миф о земле в поздней лирике О. Э. Мандельштама (на материале «Первой воронежской тетради»)

Mandelstam’s creative thinking is similar to the mythological one. This is reflected in his lyric poetry as an artistic whole and in individual author’s myths. The article presents the analysis of some features of the author’s myth about the earth, which was formed in the “First Voronezh Notebook” by O. Mandelstam. The following tasks are set: to identify the features of the poetics of the mythological type in the complex of elements associated with the image of the earth; to show their semantic and figurative unity, as well as their role in the poetic attitude of Mandelstam in later years. The analysis is carried out mainly at the level of the figurative-motivic structure. The article also reflects intertextual connections, special features of the lyrical plot, artistic space and other elements of poetics. Combinations of elements, their modifications, intertextual connections, including those within cyclic structures, are taken into account. The analysis has shown that the author’s myth about the earth is one of the foundations of the poet’s worldview in the “First Voronezh Notebook” and is closely related to both his ideas about the Word, poetry, the poet’s fate, and his understanding of the roots of national existence in their relation to the modern era. The myth of the earth largely determines the originality of the artistic space and optics of the poems of the “First Voronezh Notebook”. Having considered this phenomenon, the author of the article was able to clarify the idea of the most controversial points of the ideological position of Mandelstam in his later years.

The semantics of sea imagery in R. I. Rozhdestvensky’s poem "Czar Peter House in Zaandam" (to the 90th anniversary of the birth)

The article presents a linguo-stylistic and poetic-philosophical analysis of R. I. Rozhdestvensky’s poem "Czar Peter House in Zaandam". This piece of poetry is one of the key texts in the ideological and artistic structure of the "City’s Voice" collection of poems as it links the present with the landmarks in our national history in a single artistic continuum. The paper aims to identify the potential of the imagery in the poem for representing sociocultural and historiosophical problems of a twentieth-century person’s state and personal existence. The study also seeks to reveal the formal and semantic system of the realisation of the figures of speech and expressive means employed to represent sea imagery as a cultural and semantic marker of the poet’s world, which is seamlessly integrated into the national semiosphere. To accomplish the declared aim, the research used cognitive-semantic, systemic-holistic, structural-typological, and historical-functional methods and approaches. Additionally, elements of mythopoetic literary text analysis were employed in the unity of paradigmatic and syntagmatic relations. The sea imagery in the poem by R. I. Rozhdestvensky is not only a poetic leitmotif that constitutes the lyrical plot of the piece, but it also integrates the concepts associated with natural phenomena symbolising the space of freedom, irrational impulses, and creative life. The key image-symbol of the poem, i. e. the ship – has been identified. The artist envisaged that both "Czar Peter House in Zaandam" and Russia rushing to its great future were a ship.

EROTIC ASPECT OF NOSTALGIA IN THE LYRICS OF P. BARSKOVA

The article presents a reading of the semantic potential of the phenomenon of mirroring and «musical eroticism» in the nostalgic discourse of Polina Barskova. It is presented interpretation of the lyrical plot of the poem «Reflection» in accordance with the inheritance and transformation of P. Barskova's traditions of the image of the intimate as a factor of nostalgic worldview. In a lyrical plot is revealed the authorial point of view on correlation of themes of intimacy and musicality. Transformations of erotic codes are analysed in accordance with actualization of musicality by authorial consciousness of the poetess. The study is comprehended the author's view of the world in the text of «Reflection». An interpretation of the lyrical plot is presented in accordance with the inheritance and transformation of P. Barskov's traditions of the image of the intimate using the semantic potential of mirroring. The magical nature of the object turned into a mirror is due to the originality of the female view in the lyrical plot of P. Barskova, reflecting both the memory of the erotic experience and the ability to transform the surrounding space, their personal memories and feelings. The semiotization of personal erotic experience carried out in the consciousness of the lyrical heroine, correlates with the reflection and mythologization of intimacy, modeling the nostalgic discourse of the palimpsest consciousness of a modern emigrant poet. The field of study included such indicators of the poetess's nostalgic discourse as author codes, erotic connotations, phenomena of mirroring and musicality and their symbolic potential, semiotization of passions.

The Poetics of Folk Love Songs of the Crimean Tatars

The author of the article investigates the poetics, genre, and style structure of the folk love songs of the Crimean Tatars. Based on the works by such folklorists as Oleksiy Olesnytsky, Asan Refatov, Yahya Sherfedinov, Fevzi Aliyev, Ilyas Bakhshysh and others, but primarily on authentic texts, she allocates two main genres of folk lyrics of the Crimean Tatars, in which love motifs dominate. The most ancient is maqam. Characteristic of these lyrical compositions, a deep dramatic quality dictates a special emotional expressiveness. It is clearly shown with the help of exquisite figuration, such as wide chants in singing. Philosophical meditation is also a typical feature of these folk works. The other lyric genre, tiurkiu, is very widespread in the folk songs of Crimean Tatars, especially from the 19th century to our time. It covers laconic songs, which have easy lively rhythms. In the love tiurkiu, apart from the most widespread songs about unhappy love, it is also possible to distinguish two more genres: songs about overcoming alarms and troubles and songs about happy love. The perceptive description of the sadness and happiness of love, expresses a wide range of feelings, delicate shades of mood, an abundance of outstanding intonation, picturesque metaphors and symbolic concentration of the laconic imagery, the dynamic development of the lyrical plot, where the shapes of the narrative plot can often be guessed, the coherence and liveliness of the composition (line, retrospective, mosaic), the system of expressive repetitions, which reinforces the ornamental quality and, simultaneously, the clear coherence of the narration, the sophisticated sound and rhythmic organization: these are the main peculiarities of the poetic world of the Crimean Tatar folk love song.

Образ Бенвенуто Челлини в сверхтекстовом единстве И. А. Бродского

The aim of the paper is to determine what semantic and symbolic meaning Benvenuto Cellini’s image and the semantic-symbolic complex associated with it (Perseus, Medusa Gorgon, Florence, etc.) carry as a part of the study of the semantic centre of supertextual unity in I. A. Brodsky’s creative work. The material of the research is the poem “Burning” as it is a potential representative of the selected non-traditional cyclic formation. The proposed work is considered in the unity of its content and poetological characteristics, as well as special functions. The scientific novelty of the study lies in the clarification of a number of Brodsky’s texts that implicitly develop Cellini’s image, as well as in the analysis of the figurative-motive complex associated with it in “Burning”. The main results of the presented work are the identification of the subtextual presence of Cellini’s image in the selected poem; the definition of its role in the subjective structure and lyrical plot; the assumption about the connection between the Italian and St. Petersburg texts in “Burning”.

"And in the first plane the second plane breathes deeper": a linguopoetic analysis of Yunna Morits’ poem "Just a sound shining through the leaves…" (to the 85th anniversary of the birth)

The article is devoted to a linguopoetic analysis of one of those poems by Yu. Morits that are hard to understand. The main features of the literary work under consideration are the allegorical and "coded" nature of the depicted situation. The paper traces how the lyrical plot and the semantic structure of the text unfold using the method of "slow reading" and examining various aspects of the text organisation (its composition, word semantics, syntax, and the image of the lyrical hero). Careful attention is given to the auto- and intertextuality interplay in the poem. The paper suggests possible ways to understand the keywords and images; at the same time, it is noted that the complex semantic structure of the text permits ambiguous interpretations.

«Восточный» триолет Константина Липскерова («Азия»)

Konstantin Lipskerov’s sonnetized triolet “Asia” from the book of the poems about Turkestan “Sand and Roses” (1916) is considered in the article. The composition of the extended triolet “Asia” is a descriptive picture of the East. The genre supports the meditativeness and emphasized nominative nature of the poems, which don’t have even a single verb (there is only a single gerund “murmuring”). The non-linearity of the lyrical plot of the poem, “reversed moves, radial features, centrifugal and centripetal” (Yu. N. Chumakov) are analyzed. The initially given symmetry of Lipskerov’s 14-line triolet with the refrains removed from each other turns into asymmetry: two verses from the second part are eliminated, repetitions become an ornament framing the lyrical plot. At the same time, they intrude into the main course of the narrative, weaving their own line into it. An intermedial analogy of triolet colouristics with V. Vereshchagin’s Turkestan paintings is carried out. On Vereshchagin’s oriental canvases, and especially in his “Turkestan Series”, as in Lipskerov’s poem, the leading colours are yellow (desert, soil, floor), various shades of pink and blue (sky, temples, palaces, clothing details, etc.). These colours become the symbols of Turkestan.

СВЕРХТЕКСТОВОЕ ЕДИНСТВО РОЖДЕСТВЕНСКОГО, ИТАЛЬЯНСКОГО И ЛЮБОВНОГО ПРЕТЕКСТОВ В СТИХОТВОРЕНИИ «Я БЫЛ ТОЛЬКО ТЕМ, ЧЕГО» И. БРОДСКОГО

The study was supported by a grant of the Russian Science Foundation No. 22-28-01671, https://rscf.ru/project/22-28-01671 /; Russian Christian Academy for the Humanities. The work is devoted to the study of Joseph Brodsky's poem «I was only what» (1981), part of the poetry collection «New stanzas to Augusta», compiled directly by the author himself in 1983. The article puts forward a hypothesis about the functioning of J. Brodsky's special unconventional supertext unity with a lyrical meta-plot of initiation and cognition through love, the creative work of a lyrical hero in love. In the course of the analysis the authors consider the main content and poetic features of Brodsky's chosen text as a potential semantic center of the selected supertextual unity, actualize the connections of the poetic markers highlighted at different levels of the text, establish correlations with other lyrical works of the poet that are part of a potential supertextual unity. It has been shown that in addressing his leading theme of human realization and the formation of the individual's creative potentials, Brodsky steadily synthesizes the three leading «private» texts of his own extensive metatext: Christmas, topos (in this case Italian), and love texts. The poem «I was only what» is considered as the semantic center of the designated supertext unity, embodying in a concentrated form all the main signs of the unity and integrity of the cycle. lyrical plot and the system of characters, imagery, motif and thematic structure, chronotopic originality, intertextual levels and allusive layers. The analysis demonstrates that the perspective of singling out and modeling the supertextual unity is extremely fruitful, allowing us to reconstruct the logic of the writer's artistic mindset and recreate the image of his mythopoetic world picture. Thus, in Brodsky’s poem «I was only what» the interference of the pretextual layers, «large» and «small», saturates the connotative components of the subtext and focuses the central motive line of the plot – the creation, that gives the lyrical hero the ability to gain sight, hearing, voice, that is, to speak, and potentially to create, in particular, to be a poet.

Navigium amoris and an Encounter in Mikhailovskoe (Pushkin—Zhukovsky—Florian—Cervantes)

Abstract: It is well known that Pushkin's "Ia pomniu chudnoe mgnoven´e…" ("I remember a wondrous moment…," 1825) exploits recognizable motifs from Zhukovsky's "Ia Muzu iunuiu, byvalo…" ("I used to meet the youthful Muse…," 1824). This article shows that the two poems share a lyrical plot that emerged in Zhukovsky's work twenty years earlier. Almost all the relevant elements are found in his "Lad´eiu legkoi upravliaia…" ("Steering a light boat…," 1804), one of the poems in his translation of Don Quixote , which he made from Florian's French version of Cervantes's novel. The key motif of the resurrection of the past, which forms the nucleus of "Ia pomniu…" and "Ia Muzu…," is not present in Don Luis's ballad from Don Quixote , "Marinero soy de amor…"—it resulted from a chain of step-by-step transformations of its final quatrain. Despite all the metamorphoses, the proto-source of Russia's best-known love elegy was a Spanish ballad ( romance ), even though the initial metaphor of sailing across the sea of love led by a guiding star was eventually lost.

К разбору стихотворения Виктора Сосноры «Разлука звериного лая со страхом совиным…» (1966)

The article is devoted to the analysis of Viktor Sosnora “The separation of the animal bark from the fear of an owl...”, written in 1966 and published in the USSR in 1977. The role and meaning of the concept words ‘separation’, ‘memory’, ‘prison’, ‘death’ in the poem are shown. The author’s graphic design of the poem vaguely resembles the sonnet canon, and the size (multi-foot amphibrach with a single impregnation of dactyl) reminds of imitations of ancient versification (hexameter, elegiac distich). None of the signs of the sonnet and the hexameter are reproduced sequentially, but each of them is manifested in the poem at least once. A lyrical plot related to travels to the world of dreams and the world of death has been recreated. In the first part of the poem, the lyric hero visits the kingdom of ancient Hypnos. In the second part, he addresses himself in the present, and his voice sounds as if from the domain of Thanatos. The ending of the poem expresses gratitude to the Creator in a sophisticated and saturated form with literary reminiscences and allusions. Shown are the echoes of the memory of the works of Russian poetry of the 18th – 20th centuries, both related to the textbook classics (G. Derzhavin, A. Pushkin, M. Lermontov, A. Blok, B. Pasternak) and unknown (F. Kozelsky, V. Krasov).