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Птичий Рай: о судьбе райских птиц на Руси в Новое время

100%

Кузнецова О.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

2021

issue 14

9-16

The article discusses the model of synthesising literary images (eclecticism) with reference to the history of birds of paradise in Early Modern Russia. In medieval Russian books, legendary birds (Sirin, Alkonost, Phoenix, Gamayun, etc.) are depicted and described with their individual characteristics. Some of them have human features (anthropomorphism), others have no legs and never sit on the ground; some can heal, others can be reborn; some fascinate with their singing, others control the elements. In medieval culture, the images of these miraculous birds almost never merge. In the Early Modern Russian culture, a new “bird pantheon” is being created, the representatives of which are united on a twofold basis: external splendour and special properties of voice. The pantheon includes both characters of medieval legends and real-life birds, especially exotic ones, with which the Russian people begin to get acquainted then, mixing truth and fiction in stories about them. Birds of the “paradise pantheon” replace each other and are being combined. The symbolic paradise in folk culture becomes a space in which their various features are permitted to interact. The hyperbolisation of brightness, beauty and magical properties is perceived in this context as natural and harmonious, and various birds, getting into the “pantheon”, lose their individual characteristics and acquire features of their “neighbours”. In a drawing a parrot is called a peacock. A canary and a parrot in a wood carving look like a rooster. Gamayun and Alkonost become anthropomorphic (like Sirin) and acquire peacocks’ tails. The Sirin’s images bear the inscription “Pharaoh”, because the siren (sirena) is called “faraonka” in the Russian culture. However, the same eclecticism of images and features receives an ironic interpretation in fables and journalistic genres of the 18th century. The enumeration of beauties and wonders turns into grotesque, the multiplication of birds’ names, where a peacock and a crow, a parrot and an eagle appear alongside, leads to ridiculing the overall image. The parrot and the raven can replace each other in different translations of a fable because both of them have the ability to speak, but the expectation of a beautiful singing from the crow is a subject of a comic story. Alexander Shishkov enhances the confusion, naming not only well-known allegories (the parrot as a stupid chatterbox and imitator; a crow in peacock’s feathers), but also turning the narrative (a peacock in a crow’s feathers). Beautiful and great things become comic and ridiculous in the new culture, but remain relevant in modern kitsch.

Статья посвящена истории образов чудесных птиц в русской культуре XVII-XVIII веков. На стыке Средневековья и pаннего Нового времени сирин, алконост, феникс, гамаюн и дру- гие райские птицы претерпевают метаморфозы: они сближаются, приобретают общие черты и в конечном счете начинают смешиваться в текстах и визуальной культуре. Кроме того, в круг райских птиц включаются реально существующие виды с ярким оперением или необычным го- лосом: павлины, канарейки, попугаи, снегири. Этот новый «птичий пантеон» возникает под вли- янием перехода от средневекового книжного мышления к новому, рационалистическому, и од- новременно при переходе образов из элитарной культуры в массовую. Народное воображение создаёт идеализированный топос рая с лубочно-яркими персонажами и их диковинными свой- ствами: гротеск в этом художественном пространстве служит для усиления экспрессии. В то же время в литературе гиперболические описания птиц уходят в сферу комического: с помощью чрезмерных характеристик персонажи басен и публицистических произведений высмеиваются (ворона с «ангельским» голосом, в павлиньих перьях и др.).

Obraz ptaków mitycznych (Stratim i Gamajun) w wybra-nych wierszach Konstantina Balmonta i Aleksandra Błoka

80%

Potyrańska A.

Acta Polono-Ruthenica

2020

vol. Tom 3 Nr XXV

41-58

W twórczości modernistów rosyjskich często spotykamy mitopoetyc-kie obrazy rajskich ptaków, występujących pod różnymi postaciami i imionami: Alko-nost, Sirin, Stratim, Gamajun, Żar-ptak. Niekiedy określa się je ogólnie: „rajski ptak”. Przedmiotem badań są wybrane wiersze Konstantina Balmonta i Aleksandra Błoka, w których pojawia się motyw Stratima i Gamajuna. Naszym celem jest prześledzenie, w jakim stopniu rosyjscy poeci wykorzystują słowiańskie tradycje ludowe i odzwierciedlają je w swoich utworach oraz w jakim stopniu modyfikują odwieczne motywy. Rozpatrywanie motywów zaczerpniętych z mitologii i folkloru w wielu kontekstach dąży do ich herme-neutycznej interpretacji. Analizie poddany został poetycki język analizowanych utworów. W wyniku przeprowadzonych badań wykazano, że tradycyjny obraz ptaków mitycznych w wielu przypadkach ulega poetyckiej transformacji, a ich podstawowa semantyka ulega przekształceniu.

In the works of Russian modernists, we often find mythopoetic images of paradise birds, appearing in various forms and names: Alkonost, Sirin, Stratim, Gama-jun, Firebird, and they are sometimes generally described as “paradise birds”. The subject of the study are selected poems by Konstantin Balmont and Alexander Blok. The goal is to trace to what extent Russian poets use Slavic folk traditions and reflect them in their works and to what extent they modify eternal motifs. Consideration of motifs taken from mythology and folklore in many contexts strives for their hermeneutic interpretation. The poetic language of the given works is analysed and, as a result of the conducted research, it was shown that the traditional image of mythical birds undergoes a poetic transformation, and their basic semantics are transformed.

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1 Acta Polono-Ruthenica

1 Acta Universitatis Lodziensis. Folia Litteraria Rossica

1 2021

1 2020

1 Potyrańska A.

1 Кузнецова О.

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Птичий Рай: о судьбе райских птиц на Руси в Новое время

Obraz ptaków mitycznych (Stratim i Gamajun) w wybra-nych wierszach Konstantina Balmonta i Aleksandra Błoka