The meaning of lyrical hero in the dictionary of literary terms.
the hero of a lyrical work, whose experiences, thoughts and feelings it reflects. The image of the lyrical hero is not identical to the image of the author, although it covers the entire range of lyrical works created by the poet; Based on the image of the lyrical hero, a holistic idea of the poet’s work is created.
Synonym: lyrical "I"
"The experience captured in the lyrics has an extraordinary capacity. It turns out to be close and consonant to a wide circle of people. The reader easily identifies himself with the lyrical hero and perceives the thoughts and feelings expressed by the poet as his own" (V.E. Khalizev).
"The image of a lyrical hero is created by the poet, just like artistic image in works of other genres, through selection vital material, typing, fiction"(L. Todorov).
Terminological dictionary-thesaurus in literary criticism. From allegory to iambic. - M.: Flinta, Science. N.Yu. Rusova. 2004.
See what a “lyrical hero” is in other dictionaries:
Lyrical hero- The lyrical hero is the subject of utterance in lyrical work, a kind of character in the lyrics. The concept of a lyrical hero, not identical to the author of the text as such, arose in the works of Yuri Tynyanov and was developed by such ... ... Wikipedia
lyrical hero- one of the forms of manifestation of the author’s consciousness in a lyrical work; the image of the poet in lyric poetry, expressing his thoughts and feelings, but not reducible to his everyday personality; the subject of speech and experience, at the same time being the main object... ... Literary encyclopedia
lyrical hero- endowed with stable personality traits, uniqueness of appearance, individual destiny, a conventional image of a person who speaks about himself “I” in a lyric poem; one of the ways of expressing the author’s consciousness in a lyrical work (see... ...
LYRICAL HERO- LYRICAL HERO, the image of a poet in lyric poetry, one of the ways to reveal the author’s consciousness. L. g. artistic “double” of the poet’s author, growing from the text of lyrical compositions (cycle, book of poems, lyric poem, the whole set... ... Literary encyclopedic dictionary
Lermontov's lyrical hero- Lermontov’s LYRICAL HERO, the image of the poet in lyric poetry, objectification of the real author’s “I” in lyric poetry. creativity. As a way of revealing the author’s consciousness with the utmost completeness, it is realized in the poetry of L. The boundaries of the term (proposed by Yu. Tynyanov), ... ... Lermontov Encyclopedia
Lyrical subject- The lyrical hero, the lyrical subject, the lyrical I, the subject of the statement in a lyrical work, a kind of character in the lyrics. The concept of a lyrical subject, not identical to the author of the text as such, arose in the works of Yuri Tynyanov and ... ... Wikipedia
lyrical- adj., used compare often Morphology: adv. lyrically 1. Lyrical is what is related to lyricism as a type of art, connected with it. Lyric poet. | Lyric poetry. | Lyric poem. | She felt lyrical poetry... Dictionary Dmitrieva
lyrical- aya, oe 1) Related to lyrics, being lyrics. Lyric poetry. Lyrical prose. Lyrical hero. ...Chekhov's plays should be staged not as lyrical dramas, but as lyrical comedies(Bitter). 2) Imbued with feelings, filled with... ... Popular dictionary of the Russian language
One of the main characters in a work of art (as opposed to a character); development of the hero's character and his relationships with others actors play a decisive role in the development of the plot and composition of the work, in revealing it... ... Terminological dictionary-thesaurus on literary criticism
lyrical hero- See lyrical hero... Dictionary of literary terms
Books
- Moscow is a hero city, Vladimir Kuleba. The story was written at the beginning of the new 21st century, but the problems raised in it are still relevant today. Sentimental Travels in time and space they always presuppose confessional...
Lyrical hero - this concept was introduced by Y. Tynyanov in 1921, and it is understood as the bearer of the experience expressed in the lyrics: “The lyrical hero is the artistic “double” of the author-poet, growing out of the text of lyrical compositions (cycle, book of poems, lyric poem, the entire set of lyrics) as a clearly defined figure or life role, as a person endowed with certainty, individuality of fate, psychological clarity of the inner world.”
There are synonyms: “lyrical consciousness”, “lyrical subject” and “lyrical self”. Most often, this definition is the image of a poet in lyric poetry, the poet’s artistic double, growing out of the text of lyrical compositions. This is a carrier of experience, expression in lyrics.
The term arose due to the fact that it is impossible to equate the poet with the bearer of consciousness. This gap appears at the beginning of the 20th century in Batyushkov’s lyrics.
The remark of L.Ya. is fair. Ginzburg on the universality of lyrics: “...lyrics have their own paradox. The most subjective type of literature, it, like no other, strives for the general, for the image. mental life as universal... if lyrics create a character, then it is not so much “particular”, individual, as epochal, historical; that typical image of a contemporary that is developed big movements culture."
The image of the lyrical hero is created on the basis of the poet’s life experience, his feelings, sensations, expectations, etc., enshrined in the work in an artistically transformed form. However, complete identification of the personality of the poet himself and his lyrical hero is unlawful: not everything that the “biography” of the lyrical hero includes actually happened to the poet himself. For example, in the poem by M.Yu. Lermontov's "Dream" the lyrical hero sees himself mortally wounded in the valley of Dagestan. This fact does not correspond to the empirical biography of the poet himself, but the prophetic nature of the “dream” is obvious (the poem was written in 1841, the year of Lermontov’s death):
Midday heat in the valley of Dagestan
With lead in my chest I lay motionless;
The deep wound was still smoking,
Drop by drop my blood flowed.
The lyrical hero is not present in all the works of the lyric poet, and the lyrical hero cannot be judged by one poem; the idea of the lyrical hero is formed from the cycle of poems of the poet or from his entire poetic work.
A lyrical hero is a special form of expression of the author’s consciousness:
1. The lyrical hero is both a speaker and the subject of the image. He stands openly between the reader and the world depicted; we can judge the lyrical hero by what is close to him, what he rebels against, how he perceives the world and his role in the world, etc.
2. The lyrical hero is characterized by internal ideological and psychological unity; in different poems a single human personality is revealed in its relationship to the world and to itself.
3. Biographical unity can be combined with the unity of the internal appearance. In this case, different poems can be combined into episodes from the life of a certain person.
The definiteness of the lyrical hero is characteristic, for example, of the poetry of M.Yu. Lermontov (to whom the discovery of the lyrical hero in Russian literature belongs, although the term itself appeared in the twentieth century), N.A. Nekrasov, V. Mayakovsky, S. Yesenin, A. Akhmatova, M. Tsvetaeva, V. Vysotsky... From their lyrical works grows an image of a whole personality, outlined psychologically, biographically, and emotionally, with its characteristic reactions to events in world, etc.
The lyrical hero in poetry, although he does not completely coincide with the author’s “I,” is accompanied by special sincerity, confession, “documentary” lyrical experience, introspection and confession prevail over fiction. The lyrical hero, and not without reason, is usually perceived as the image of the poet himself - a real person.
- HERO in the Dictionary of Analytical Psychology:
(Hero; Held) - an archetypal motive, which is based on overcoming obstacles and difficulties and achieving certain goals. “The main feat of the hero is ... - HERO
SOVIET UNION - in 1934-1991. honorary title, highest degree distinctions for services to the Soviet state and society related to ... - HERO in the Dictionary of Economic Terms:
RUSSIAN FEDERATION - in Russia since 1992, an honorary title, a sign of special distinction; awarded for services to the state and people... - HERO
A hero is a son or descendant of a deity and a mortal in the myths of the ancient Greeks. In Homer, a brave warrior was usually called a hero... - HERO in the Character Reference Book and places of worship Greek mythology:
in Greek mythology, the son or descendant of a deity and a mortal man. In Homer, G. is usually called a brave warrior (in the Iliad) or ... - LYRICAL in the Lexicon of Sex:
pertaining to the realm of the sensual... - HERO in the Literary Encyclopedia:
see “Image... - HERO in big Soviet encyclopedia, TSB:
("heroine"), 1) central character plays. 2) Stage role. In the 18th century performer of leading roles in tragedies. Later the role of "G." became... - HERO V Encyclopedic Dictionary Brockhaus and Euphron:
(Heros). - The Greeks meant by the name G. the heroes of ancient, prehistoric times: these are ideal images human strength and heroic spirit... - LYRICAL
having a lyrical character; prone to emotional outpourings... - HERO in the Encyclopedic Dictionary:
I, m., shower. 1. a person who has accomplished a feat, outstanding in his courage, valor, and dedication. heroes of the partisan underground. monument to the hero. heroic -... - LYRICAL in the Encyclopedic Dictionary:
aya, oh 1. Related to lyrics1. Lyric poetry. 2. Sensitive, with a predominance of emotional experiences over the rational principle. Lyrical mood.||Wed. SENTIMENTAL... - HERO in the Encyclopedic Dictionary:
I, m., shower. 1. A person who has accomplished a feat, outstanding in his courage, valor, and dedication. Heroes of the partisan underground. Monument to the hero. Heroic - ... - LYRICAL in the Encyclopedic Dictionary:
, oh, oh. 1. see lyrics. 2. O singing voice: soft, gentle in timbre. Lyric soprano. L. ... - HERO in the Encyclopedic Dictionary:
, -i, m. 1. A person who performs feats, unusual in his courage, valor, dedication. Heroes of the Great Patriotic War. G. labor. 2. ... - HERO
HERO OF LABOR, in the USSR in 1927-38 honorary title, awarded for special merits in the field of production, scientific. activities, government or societies. ... - HERO in the Big Russian Encyclopedic Dictionary:
HERO OF SOCIALIST LABOR, in the USSR in 1938-91 honorary title, highest. degree of distinction for labor merit. G.S.T. were awarded to the hordes. Lenin, medal... - HERO in the Big Russian Encyclopedic Dictionary:
HERO OF THE SOVIET UNION, in 1934-91 honorary title, highest. degree of distinction for services to the Soviet Union. state and society associated with the commission of... - HERO in the Big Russian Encyclopedic Dictionary:
HERO OF THE RUSSIAN FEDERATION, in Russia since 1992 an honorary title, a sign of special distinction; awarded for services to the state and the people related to... - HERO in the Brockhaus and Efron Encyclopedia:
(Heros). ? The Greeks understood by the name G. the heroes of ancient, prehistoric times: this? ideal images of human strength and heroic spirit, ... - LYRICAL
lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical logical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, lyrical, ... - HERO in the Complete Accented Paradigm according to Zaliznyak:
hero"y, hero"i, hero"I, hero"ev, hero"yu,hero"yam,hero"I,hero"ev,hero"em,hero"yami,hero"e, ... - HERO in the Dictionary of epithets:
1. A person who has accomplished military or labor feats. Selfless, fearless, brilliant (obsolete), daring (obsolete poet.), valiant, glorious (obsolete), famous, famous, true, ... - HERO in dictionary Great Russian language business communication:
leading manager, project, inspirer... - LYRICAL
-aya, -oe 1) Related to lyrics, being lyrics. Lyric poetry. Lyrical prose. Lyrical hero. ...Chekhov's plays should not have been staged... - HERO in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
-i, m. 1) Outstanding man, famous for his exploits on the battlefield or exceptional achievements in the work field. Hero of Labor. ...AND … - HERO in the Dictionary for solving and composing scanwords:
Maestro... - LYRICAL in the New Dictionary of Foreign Words:
1) related to lyrics; imbued with lyricism; 2) sensitive, hyper… - LYRICAL in the Dictionary of Foreign Expressions:
1. relating to lyrics; imbued with lyricism; 2. sensitive, hyper… - HERO in Abramov's Dictionary of Synonyms:
hero, knight, demigod; winner. Hero of the novel. Hero of the day. The heroine (queen) of the ball. Hero of Samarkand. Wed. . See hero, figure, person || ... - LYRICAL
lyrical, soft, gentle, poetic, ... - HERO in the Russian Synonyms dictionary:
Augeas, Avsen, Role, Amphitryon, Antaeus, Argonaut, Atlas, Achilles, Ajax, Bellorophon, Viy, Ganymede, Hector, Hercules, Hercules, Herostratus, Geser, Deucalion, Daedalus, Diogenes, ... - LYRICAL
adj. 1) Correlative in meaning. with noun: lyrics (1,2), associated with it. 2) Characteristic of lyrics (1,2), characteristic of it. 3) ... - HERO in the New Explanatory Dictionary of the Russian Language by Efremova:
m. 1) a) One who accomplished a feat, showing personal courage, perseverance, and readiness for self-sacrifice. b) Demi-god (in ancient myths, epic... - LYRICAL in Lopatin's Dictionary of the Russian Language.
- HERO in Lopatin’s Dictionary of the Russian Language:
hero,... - LYRICAL full spelling dictionary Russian language.
- HERO in the Complete Spelling Dictionary of the Russian Language:
hero... - LYRICAL in the Spelling Dictionary.
- HERO in the Spelling Dictionary:
hero,... - LYRICAL
About the singing voice: soft, gentle in timbre, Lyric soprano. L. tenor. lyrical<= … - HERO in Ozhegov’s Dictionary of the Russian Language:
the one who attracted attention (often about the one who evokes admiration, imitation, surprise) G. of the day. hero is a person who embodies... - HERO in Dahl's Dictionary:
husband. female heroine hero, knight, brave warrior, valiant warrior, hero, miracle warrior; | a valiant companion in general, in war and in peace, ... - LYRICAL
lyrical, lyrical. 1. Adj. to lyrics in 1 and 2 meanings. (lit.). Lyric poetry. Lyric poet. Lyrical delight in itself... - HERO in Ushakov’s Explanatory Dictionary of the Russian Language:
hero, m. (Greek heros). 1. A person exceptional in courage or in his valor. || Notable for his bravery in war. Hero... - LYRICAL
lyrical adj. 1) Correlative in meaning. with noun: lyrics (1,2), associated with it. 2) Characteristic of lyrics (1,2), characteristic of it. ... - HERO in Ephraim's Explanatory Dictionary:
hero m. 1) a) One who accomplished a feat, showing personal courage, perseverance, and readiness for self-sacrifice. b) Demi-god (in ancient myths, ... - LYRICAL
adj. 1. ratio with noun lyrics 1., 2., associated with it 2. Characteristic of lyrics [lyrics 1., 2.], characteristic of it. ... - HERO in the New Dictionary of the Russian Language by Efremova:
m. 1. One who accomplished a feat, showing personal courage, perseverance, and readiness for self-sacrifice. Ott. Demigod (in ancient myths, epic poems... - LYRICAL in the Large Modern Explanatory Dictionary of the Russian Language:
I adj. 1. ratio with noun lyric I, associated with it 2. Characteristic of lyric [lyric I], characteristic of it. ... - LYRICAL SUBJECT in the Dictionary of Literary Terms:
(in contrast to L. g.) is any manifestation of the author’s “I” in a poem, the degree of presence of the author in it, in fact, ...
The article “lyrical hero” is present on Wikipedia in several languages: Armenian, Belarusian, Kazakh, Polish, Russian and Ukrainian. All of these are languages that were in the area of influence of the language policy of the former USSR. Of course, this fact in itself does not characterize the term in essence, but indirectly indicates the area of its distribution in philology.
The term “lyrical hero” was coined by Yu. Tynyanov and A. Bely (“lyrical subject”). Apparently, the term was originally supposed to describe the theme and drama of duality, understood as the relationship between the “role” played by the poet and “himself” (whatever the phrase “himself” means; here we are actually talking about the paradox of the actor Diderot and the meaning so-called “reality”).
A clear trace of this use of the term can, of course, be read in modern serious philological literature: for example, the behavioral model that I. Brodsky asked himself “in life” is being built.
At the same time, I cannot find any trace of lyrical hero in English. And a Google search, for example, does not produce many complete matches - only 6, and one of the hits is a presentation of M. Bakhtin’s concept in English.
It is difficult to judge why the sharp increase in the frequency of use of the word “lyrical hero” in the Russian language is happening right now, and whether the latest additions to the National Corpus of the Russian Language reliably reflect lexical reality.
The figure shows the frequency of use of the phrase “lyrical hero” per million word forms (according to NKR):
There are no disputes about the boundaries of the term in the NKRJ sample, but there are reproaches from some writers to others that they do not distinguish the “lyrical hero” from the “author”. They compare the “Lermontov” lyrical hero with some other, non-Lermontov lyrical hero (thus presuming the presence of lyrical subjective unity in all of Lermontov’s poetry).
“Baratynsky’s lyrical hero hangs between vigil and sleep,” - here, obviously, the phrase is used as a synonym or metaphor for reader perception.
There is also such a wonderful usage of words: “Like the lyrical hero of the commedia dell’arte who does not wear a mask...” - news for theater experts. It turns out that the commedia dell'arte had lyrical heroes.
Apparently, the modern Russian reader or poet (not a scientist) is accustomed to the fact that “lyrical hero” generally means everything that can somehow be attributed to the area of the “internal”, to the area of the so-called psyche of the subject: to experiences, feelings, intimacy, to an indefinite unity of an imaginary subject.
These ideas have found a place in textbooks, articles, notes - we are no longer talking about a sample of the NKR.
The Encyclopedic Dictionary of a Young Literary Critic (M., Pedagogika, 1987) gives the definition: “A lyrical hero is an image ... of a hero in a lyrical work, whose experiences, thoughts and feelings are reflected in it.” Note the recursion. The image of a hero whose thoughts are reflected. And further: “He is by no means identical to the image of the author, although...” Here the “image” of the lyrical hero differs from the “image” of the author, and the enfilade of mutual unequal reflections of images of images goes into the foggy distance.
The literary encyclopedia says that a lyrical hero is one of the forms of manifestation of the author's consciousness. Has this formula made it any easier? What other forms of manifestation of the author's consciousness are there?
You can find the following passage: “Pushkin, Nekrasov, Tyutchev, Fet are lyricists without a lyrical hero. The author's image in their lyrical works seems to be merged with a real personality - the personality of the poet himself. It is inappropriate to call this a lyrical hero, because a lyrical hero, as researcher L.Ya. Ginzburg accurately noted, “is always a reflection, separated from the reflected.”
I do not present the confusion of these quotations for entertainment.
Indeed, we could probably get approximately the same picture for the phrase “dark energy”: Blavatsky, cosmological physicists, and the notorious Vasya would be included in the sample. But in the case of energy, we at least imagine nests of meaning where people using the word think they know exactly what they are talking about (physicists will give a definition and propose mechanisms for reproducible measurements).
In the case of the “lyrical hero,” I do not see not only a foothold on some semantic nest of meanings, but also no prospects for clarifying the term. It seems to me that this phrase is a purely regional, intra-tribal tradition, which speaks more about the users of the term, their history and traditions, than about the subject that the speakers are going to describe.
Probably, we are talking about the social linking of thought on the sentimentalist, romantic and (or) Hegelian attitudes of the 18th-19th centuries, moreover, of the Russian model. Probably, this is also related to the surge in the use of the term “lyrical hero” in the NKR in the early 10s of this century. In any case, I will not be surprised if further updates of the NKRJ do not smooth out this strange graphic surge of Russian spiritual depth just on the eve of the catastrophic political events for Russia in 2014-2016.
Of course, the statement about the sentimentalistic and romantic conditionality of the use of the “lyrical hero” is not scientifically provable. But this is not the only philological problem that is exclusively regional. As an example, let us point out the still living tradition of interpreting several famous characters in Russian literature of the 19th century as “superfluous people.” This tradition is completely imposed by later (second half of the 19th century) ideological deposits; it is unable to see the extra-artistic kinship of the heroes of Pushkin, Lermontov or Turgenev with the general background of European cultural development (with the characters of de Sade, for example).
A quick survey of three poems is offered in order to demonstrate an approach that has nothing to do with the use of the term “lyrical hero” and, it seems, without losing the scope of the “lyrical”.
Ekphrasis Gumilyov
Poem by N. Gumilyov “Perseus. Sculpture of Canova" was first published in Monthly Literary and Scientific Supplements to "Niva", 1913, No. 1. Here is a photograph of the sculpture and Gumilyov’s text.
The muses have long loved him,
He is young, bright, he is a hero,
He raised Medusa's head
A steel, swift hand.
And he won’t see, of course,
He, in whose soul there is always a thunderstorm,
How good, how humane
Once upon a time scary eyes
The features of one tormented by pain,
Now a beautiful face...
- Boyish willfulness
There is no barrier, no end.
There awaits naked Andromeda,
A dragon coils before her,
There, there, victory is behind him
Flies, winged like him.
Let's imagine a metaphorical or real film projector, from the lens of which a narrative (image) is presented on the screen.
The poem, as it seems obvious, changes the point of view and focus of the frame several times.
The first two lines are the opening credits. We then see Gumilyov's beautiful cinematic montage. Watch the camera move.
Close-up of the face, hand of Perseus and the head of Medusa raised by him.
Then two lines of motivation for switching focus. And four lines of close-up of the Gorgon's face.
Again two lines with the willful face of Perseus. And the camera moves to the side, along Perseus’ line of sight (this is not in the sculpture at all): towards the waiting Andromeda and towards the dragon.
Finale, two lines: the entire figure of Perseus rushes towards Andromeda and the goddess Victory herself follows him.
We have not introduced a single - neither strict nor non-strict - concept associated with the nature of the human personality, with the structure of its psyche or the movements of the soul. In our interpretation, we relied on the intuitive machinery of cinema. And, it seems, they described the composition of the poem quite adequately - it is completely cinematic.
There is nothing in the poem that even remotely resembles the most vague of all the vague lyrical heroes. There are no “I”s here. Nevertheless, this is lyrics with a completely lyrical final pathos of victory, accessible, probably, to any “I” of any reader.
It is not known whether Gumilyov really meant film technology, but by the time this poem was written, cinema was already developed in Russia, in 1907 the Russian magazine “Kino” began to be published, in 1908 - the newspaper “Cinematograph Post”, and in 1908 cinemas , according to Birzhevye Vedomosti, there were more than 1,200 in Russia.
Below is a more complex case.
Movie camera versus epistole
Here is the famous “From Nowhere with Love” by I. Brodsky.
Out of nowhere with love, the eleventh of March,
dear, respected, sweetheart, but it doesn’t matter
even who, for the devil's face, speaking
frankly, I can’t remember, not yours, but
and no one's faithful friend greets you from one
from five continents, supported by cowboys.
I loved you more than the angels and myself,
and so further now
from you than from both of them.
Far away, late at night, in the valley, at the very bottom,
in a town covered in snow up to the door handle,
squirming on the sheets at night,
as not stated below, at least
I fluff up my pillow with a humming “you”
behind the mountains, which have no end,
in the dark your whole body features
repeating like a crazy mirror.
The first part - up to “Far away, late at night” - is the beginning of a message, an epistle. This is the beginning of a letter, which, nevertheless, immediately emphasizes the detachment from tradition: from “nowhere.” For Brodsky's fictional letters, this is a completely traditional form of storytelling. It refers to the endless variety of the epistolary genre (and not only poetic).
In the second half, the “letter-message” turns into a cinematic sketch. The movie camera gives a general shot of the night, the valley, “falls” down to the town and a close-up of the door handle of a snow-covered house. Then the subject of the image changes - a movie camera inside the house, a close-up of a body writhing on a sheet, a pillow and, finally, a crazy mirror.
The entire “epistole” with its heavy semantics “I, so alone, am unhappy, am writing to you about...” in some sense can still be reinterpreted in the terminology of the “lyrical hero”. But not the second part, where talking about the lyrical “I” is approximately the same as talking about the lyrical hero of Antonioni or Buñuel.
Changing the narrative mode - turning on a movie camera that came from nowhere - presents not so much what is happening “in reality”, but a dissection of the epistolary genre, textual descriptions of mental misfortunes, etc. Letters are read. Movies - watching. This preparation, of course, is not given in a sudden burlesque; it is lexically prepared in the first part - “out of nowhere”, “March”, inconsistency of gender (dear, dear), etc.
I fully admit that this turning point was not intended initially, but arose in the process, after some kind of everyday pause. Poems are often completed after their beginning for some reason turns out to have no ending. This change from the epistole to the movie camera corresponds to some kind of conversion, change, metanoia. But now we are not talking about the psychology of creativity and not about philological work to clarify contextual or biographical connections.
The following is stated: there is a “movie camera” of narration, where changing shooting modes, shooting objects, framing, editing present us with the result. The lyrical hero - if we take this phrase as having at least some meaning - is just one of the diverse ways of making films or taking photographs, a way of conceptually grouping all possible “unfortunate people experiencing me.” And he, the lyrical hero, is connected with letters to loved ones (I would polemically add - with letters of the 18th-19th centuries), which need to be read. But in reality, it doesn’t exist. There is a body writhing on a sheet, given to us in a crazy reflection in the background, etc. This “movie” needs to be seen.
Generally speaking, we can move the conversation from the realm of cinematic metaphors to the plane of the topological positions of the narrator, their changes in the course of the narrative, introduce some kind of topological formalism and get into the rather familiar field of formal structuralist descriptions (without any “lyrical heroes,” of course). But at the same time we will lose the opposition to read and see.
Boring Garden
Here is Grigory Dashevsky’s poem “The Neskuchny Garden (1)”:
To the right is an invisible river.
The streets are noisy on the left hand.
And the ant crawls over the letters
phrases: and the king, going around the troops,
I saw... The maple shadow lay down,
slits of the sky lay on the page.
You will hear a rustling sound and move
flat pattern of good and evil,
hidden in a book, if through the lines
the tread will penetrate narrow sandals
alternating between transparent and dull,
into the rustling of leaves on hard sand.
The poem, it seems, does not represent a film. And we cannot cinematize it as easily as we did with the previous two examples.
The syntax of the poem, starting from the transition from the second to the third quatrain, is difficult (difficult syntax in Dashevsky is everywhere, not only in this poem).
But an episode-by-episode analysis is, of course, possible.
The first two lines give an indefinite opening: some place in the Neskuchny Garden, where on the right there is a river, apparently obscured by vegetation, and on the left the roar of the street can be heard. Neither the street nor the river are visible. There is sound, but no obvious image.
Then a close-up shot of an ant crawling across the page of a book.
The quote on which the ant crawls - we see it on the page, it is highlighted. We don't know where this quote comes from. The king saw it.
The first two lines of the second quatrain: the frame enlarges a little, taking the page as a whole. The shadows of maple trees are visible on the page. You can hear the rustling of either leaves or the pages of a book being shaken by the wind.
The third, fourth lines of the second quatrain and half of the first line of the third quatrain: the font of the page fluctuates, trembles (“the flat pattern of good and evil moves”).
The end of the first and the second line of the last quatrain (a very difficult syntactic turn): from the fluctuations of the font appears the tread (narrow sandals) of a living person.
The last two lines of the last quatrain: feet in sandals, foliage of the garden path. Sound: the rustle of leaves on the sand under the tread of walking feet in sandals.
Who came out of the book? - Probably the king.
Who is the reader of the book? - Unknown. It doesn't matter.
Why such a complicated syntax for the entire last (long) phrase? - in order to give a picture of the transformation of the readable text of a page into a tangible reality without the words “magic”, “miracle”, etc., implying someone else’s assessment. There is no one whose assessment could be heard, there is no reader of the book. There are difficulties in the genre definition of this poem.
Conclusion
Even a cursory review of three (not randomly chosen, of course) poems gives rise to non-trivial questions.
Not being a specialist in the field of epistolary culture in Russia in the 19th and 20th centuries (and doubting that such large-scale stylistic research was ever carried out), I assume that it was the structure of a personal, individual message with a specific author to a specific addressee and the range of compositions of such epistols that formed the structural foundations "lyrical hero" The addressee can become imaginary, and the author - an actor (of course, any European literature knows such a literary form).
But could it be that these epistolary foundations, common to the entire European culture, were overlaid with the burden of an unconscious habit of censorship and perlusration? How to measure this load? A letter could become not just intimate, not just a connection between two people, but secret, hidden, valuable by virtue of the very fact of writing, valuable regardless of what happens outside the page in the real world. Without a body, even invisible. But waiting for its addressee.
In such mysticism, it would seem, there is also nothing historically extraordinary. The whole question is in the social scale of what happened, in its prospects and horizons.
Apparently, this special mysticism could and did lead to the emergence of the most wonderful phenomena in Russian literature of the late 19th and early 20th centuries. But it is clear that this mysticism did not and does not have any related relationship to the bookish religiosity of Jews or Christians; it is mimicry, imitation, simulation, convergence of external signs.
It is against this simulation that the last two poems cited carry out poetic quiet but victorious operations. And we have the right to assume that the alternative to vision - writing/reading - plays a fundamental role in such a confrontation.
It is quite possible that real ethics of such purely Russian lyrical writing are emerging. “A poet in Russia is more than a poet,” is one of them, of course. If so, then, indeed, we have the right to talk about the formation of such an imaginary subjectivity, when the acting, artificial nature of the “I” of writing becomes the supporting structure not only of writing and not only for some, but also the structure of everyday life, the life of many - with the complete oblivion of vision.
I think that the idea of a “lyrical hero” is the conceptual eye of Mordor (more precisely, one of them), the gaze of which translates a very specific cinema onto the historical screen.
The title illustration was drawn by Regina Akchurina