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https ://doi.org/10.29013/ESR-20-1.2-113-120
Sokolova Galina Pavlovna, senior lecturer, Department (Faculty) of Ukrainian and Russian languages as foreign (UkrRKl), Beketov's Kharkov National University of Municipal Economy (KNUME named Beketov), Kharkov city, Ukraine E-mail: [email protected]
SYMBOLS-IMAGES AND SPATIAL DOMINANTS IN THE GEOMETRICAL POETIC UNIVERSE OF ANDREI BELY: A HORIZONTAL VECTOR
"I'm happy only when I travel..." / Andrei Bely
Abstract. The article is devoted to the organization of the space of the poetic model of the world by Andrei Bely, as well as to the studying of a number of spatial images (and not spatial - floristic and faunistic, which perform the function of organizing space) and geometric symbols in the context of "travel literature"; the ways of comprehending and overcoming the space of Bely are analyzing through the prism of the author's "life text", spiritual searches, the idea of the synthesis of "East-West". Keywords: spatial images, symbols, geometry of "meaning", path, travel, "East-West" synthesis.
In modern literary criticism, a lot of attention goal to determine the main e spatial parameters and
is paid to comprehending and studying the life and work of Andrei Bely, the brightest representative of the Silver Age literature: his individual works, the author's idiostyle and motives (the idea of synthesizing East and West, "spiritual pilgrimage", about the connection of the Russian idea with the West, and also consider philosophical and aesthetic issues of culture and literature in the "transitional" periods, the stages of "cultural breakdown" (as, for example, in the "travel literature"): [2, 7, 28, 18, 16, 20, 24, 11, 12, 14, 13, 22, 19, 30, 15, 17]. However, in the region studies of the spatial model of Bely's poetic world, the relationship of these two complex and contradictory phenomena, mysterious and inexplicable -Space ("Topos / Aristotle seems to be something great and elusive) and Andrei Bely ("There is neither Time nor Space"; "And there will be new times and new spaces" / Andrei Bely) - there are practically no full-fledged scientific works and monographs. Turning to one of the constants of the "Bely poetic Universum - the" horizontal "vector - we set as our
images-symbols that allow us to perform tasks: using the "travel literature" as an example, we reveal the urgent orientation in the work of the leading representative of Russian symbolism (the symbolic component of the "vertical" sphere of space and the futuristic code of "mixed" space were considered by us in other articles) [24, 25, 26]. The material of the study is individual works of Andrei Bely prose related to the literature of travelogues (African Diary, Orfeira, Traveling Notes ...). As basic methods are used: structural-semantic and interpretive.
The literary text can be considered as "a device to the input of which texts circulating in the culture, which, having crossed its internal borders, are transformed into new messages, are sent" [18, 105]. So, any works, "turning out to be the object of research attention, can be better and more correctly understood if their understanding begins with the work of textual" [1, 4]. The most interesting material of literature is "travels" ("travel literature", from the French. Voyage -travel) or "travelogue" (from the English travelogue -
description of the trip), being a literary text and space of culture, at the same time carries information about countries, cultures, events and people, and also represents a dialogue of cultures ("a dispute between the possibilities of culture", "logic of the dialogue of logics"), expressed in the text [9, 131]) . It is known that "a traveler seeks to expand his personality, to something that he hopes to achieve through increasing and diverse sensations from external reality" (according to Schonle) [Cit. By: 22, p. 44-45]. We see that external movement is impossible without correlation with the internal movement, and any external landscape immediately turns into a "landscape of the soul", composed of impressions, experiences, memories, appeals to previous cultural impressions.
In studies on semiotics (Y. M. Lotman), travel is perceived as a situation of "cultural breakdown", a clash of cultures; and in this regard, literary travels represent the basic material for applied linguistic and cultural studies, which was originally based on a comparative (contrastive-comparative) basis).
On the one hand, almost all of Bely's works in the context of "travelogues" represent a single metatext in which the motive of pilgrimage and spiritual quest (including the synthesis of East and West) is dominant. On the other hand, the text model of "literary travels" - both fictional and real - is often constructed by Bely by analogy with the author's life context model; and then it becomes difficult to separate a life biography from any fiction and fantasy, "Having denied the name of "autofiction" (S. Du-brovsky, M. Darr'ssek ta in.) [8, 8]. Many literary figures whose creative production was not limited to writing poetry or prose (just refer to the works of V. Rozanov, A. Remizov, M. Tsvetaeva, V. Kamensky and others) involved life forms in their sphere (cf. Rozanova: "Every person in his lifetime must write at least one book - the book of his life").
The desire for spiritual knowledge of the East, which swept Russia in the late XIX - early XX centuries, when it was time for new discoveries, reassessment of values and changes in the country's life and
public consciousness, manifested itself in a special way in Russian literature. And, of course, one of the main intellectuals of the Silver Age, Andrei Bely, a vivid representative of the "conquerors" of space and lovers ofwanderings and travels, "strange wanderers" (A. M. Remizov), could not leave his mark in the literature of the "travelogue", associated with travels in the East. Andrei Bely is not attracted to the journey as such, but to spiritual pilgrimage as a religious and philosophical idea.
The ideas and images of the East were for the poet and philosopher Andrei Bely a way of "world-experience." The peculiarity of Russian literature, which is based on the principle of the struggle of two principles - "homesickness" and "homesickness" (in Kant's terms) was manifested in the fact that at the turn of the century a large number of works with "foreign" oriental themes appeared in Russian literature. "Travel Literature" is an attempt to find "homesickness" in a "welcome foreign land", the desire for the synthesis of "one's own" and "another's", eastern and western in a "single country of his personality" [2, 31].
The journey of Andrei Bely (whose relationship with space was based on the formula "I love you, but with a strange love") through the countries of the Mediterranean and North Africa becomes a key moment in his life and creative pursuits. In 1910 he and his wife Asya Turgeneva went to Italy, and from there -to Tunisia; Having left cozy Rades, they head to Egypt (with a stop in Malta), then to Palestine and return to Odessa. Bely prepared his travel notes back in 1912, however, for the first time they were published only in 1922 under the title "Ofeira" (later a second, enlarged edition entitled "Travel Notes" and "African Diary" was also published). In one of the Glossolalia essays, the author talks about the heavenly Aeria (Ofeira or Zephyra), emphasizing that there is no "on earth" this desired ancestral home of mankind, and does not clarify where the "golden earth", formed from a substance "invisible to ordinary eye ("oko").
An important role in organizing the artistic space in Notes and the African Diary, Andrei Bely,
endowed with the special gift of "keenly seeing the world in lines and colors" [5], assigns light and color (as the foundations that form spatiality) that are involved in creating storylines and motives." "Tunis la blanche!" - that inscription was thrown clearly from all the windows of Tunisia; and white spots are thrown again when I recall Tunisia; he is the snowiest, he eats unbearably eyes with the spots ofhouses, ... I only know that these are white days, and that white Tunisia; yes, it is internally white; and at the same time it is white for the outside eye. So he first appeared; and so he stands before me. "This color" -a symbol of the embodied fullness of being" [6] -and this image of the "white city" receive a special cultural and semantic content in the work of Bely. Thus, the Tunisian "snowballing" takes on its bright (sometimes excessively geometrized) shape: bizarre-ly built squares of houses, "pot-bellied" domes and minarets, turrets and "white burnus" (national men's clothing). Light and color, the brightness of colors are refracted in the "Notes ..." in the decorative elements of architecture, in national clothes, the tunic of Tunisia: "I open a window on the Arab street; colorful spots - where is white tunisia? He - parted on a rainbow of colors, he published white; near - glossy, earthenware, rainbow <...> So is the Arab: how to throw a burnus - a ghost, whitish fog; it will open - it is orange, blue, bluish and pink; and Tunisian street: from a distance - white; if it comes closer, it's a motley evidence" [3, 178]. A diverse atmosphere of the work is created by the diverse characters found in Bely's book - representatives of almost all ranks and professions, with different religious backgrounds -bei, qadi (judge), dervish, lawyer, sheikh, merchants and merchants, "silver-wandering" old man, Monsi-neur Epinat, Mahmoud, Ali Jalluli and others. The national color is reproduced by the writer through the names of national clothes, local names of certain things, etc. (Burnus, Chechi, Litam, grandmothers, there and there), and the national diversity and multicolor of Tunisia (which goes back centuries), hiding behind the external "snowy" whiteness, the large and
diverse population of the country (Berbers, Moors, Arabs, Sudanese, Tuaregs, French, Italians, Sicilians, Jews), is transmitted in "Ophira ..." sound recording of speech of different peoples. So Bely, (fully mastering the art of musical instrumentation of the text) through the means of visualization of sound recreates the feeling of what is depicted: "... the Arabic language sprinkles around a wooden-laryngeal fraction, from which an Italian-French solo emerges, like a violin amid a swarm of deaf drums: - "Dha - dharb-abab! "... then the Arabs drum with their larynxes. "Zen-zen-zen," the thin-legged Frenchman hummed with a mosquito.- "Jare-jare-majare" - then two Italians met [3, 178].
On the pages of the Traveling Notes and the African Diary, Bely represents several spaces that are comparable to each other, endowed with completely opposite characteristics, with different color schemes. One of the spatial oppositions is the eastern and European quarters in Tunisia: The contrast between the two cities (the eastern whiteness of the Arab quarters and the yellow, dirty color of the European quarter) smoothly switches to a comparison of two nations: on the one hand, the Frenchman has neurotic gestures, a funny figure, he is "Mouse stallion", not strong in body, not proud, but on the other hand, the Arab has beautiful lazy leisurely movements, "delicate gestures", he is proud and noble, old people are "white worthy"; (Compare: "the pale moor in a luxurious turban", "the white marbles of the moor ... emitting smoke rings") [4, 353].
Another comparable pair of spatial images can be considered the images of two countries - Tunisia (through eastern exoticism) and Egypt (through the prism of the West): "Tunisia has sprouted for centuries; he built the body from ancient times: the Arabs of Tunisia made up of Carthaginian, strong stone: the whiteness of its walls is gray, it is whitened with lime: old age ..." [3, 233]. Passing through the "boring" streets of Port Said ("a town sticking sadly above the sea among the sands <.> and overflowing with the hubbub of all the dialects where Europe, Asia,
Africa sends its crooks") Andrei Bely disappointedly remarks: "a strange country; there is one remarkable phenomenon: a pile of ash; a pile of ashes - old Egypt", while noting the beauty and originality of Egyptian landscapes [23, 172].
These models of spaces, the difference in images, and the incompatibility in the guise of two peoples (and cultures) are a kind of opposition between two cultures, a confrontation between Europe and Africa, West and East. On the one hand, condemning the "cultural" colonization of Africa, the writer is outraged: "Tunisia - where is Tunisia? Not Tunisia, but Paris; <...> why did they pollute Tunisia here, off the coast?" [3, 175], believing that Europeans are appropriate in Europe, and the Moors and Berbers are harmonious in Africa. On the other hand, as if anticipating today's realities, Andrei Bely wrote: "Bely compares Africa and France, believing that Africa is the "twenty-two" of France, which over time can conquer France itself: "France is gaining weight quickly, she is a black woman; not a Galician cock her symbol; and - not the square dance of her dance, rather her symbol is a giraffe, her dance is a cancan; and one does not have to be a subtle seer in order to clearly understand: even in the 20th century, the muffled, wailing sound of a drum, tam-tama, will enter into the subtle sounds of the "piano culture" of Europe; "La-la" will turn into a sound: "boom". And the sound of the booming boom space of Europe. Oh, poor France" [4, 330]. Bely sought the true path of development of his country not in the East and not in the West, but in their synthesis, striving, as usual, to "unite the unconnected".
In addition, another opposition of two spaces appears on the pages of the African topos of the writer, reinforced by numerical, color and sound symbols and geometric lines and figures. This is an urban space with a positive connotation - filled with "things", a cozy and cramped space of minarets and turrets, colored streets with cafes and bazaars (sukk): "The whole of Cairo is on the edge of the pyramid"; "Here is the mosque of the Three Gates, this one is a white turret, bearing
walls high above ..., the window eyes are square"; "Eight-gang Susa - the arsenal of the whole of Tunisia"; "Like fleur, black and white spots ofpeople along with arcs, cells .; white checkers on a powerful arc of the turned gate." At the same time, there is another space, natural - empty, spacious, yellow space ofsand, evil and uncomfortable: "And there is nothing but the chaos ofyellow screaming ... sand from the window"; "Look through the window: how evil, how yellow!"; "From the sands - it is planned: the deadly yellow sand of Kairouan ... <.> exactly the Kremlin <.> is strengthened by the yellowing walls of the battlements" [4, 340]. On the pages of the "trips", visual images of the perceptual, perceived space appear: old and gray-haired, shabby and rebellious, ancient and burnt Kairouan - with a clear geometry of the picture, with a dominant black and white architectural filling, repeating in the color of clothes (Compare: "turn black silk", Sudanese in a" white burnus") and young, beautiful, arrogant and proud filled with vital energy, reminiscent ofa "pale Moor", at the same time white and motley Tunisia - with floral ornaments ("arabesques"), and bright colors (Cf.: Yellow Tunisia's blue ornament", tunisia "wrapped in a glaze of silk").
In Bely's letters, a comparison of Cairo with Tunisia arises: "Tunisia is charming, cheerful, graceful; Cairo is more significant, more impressive, more amazing; Tunisia is cozy, Cairo is threatening, something is overwhelming in Cairo: the millennia of the past unwittingly stand up. <.> here everything looks predatory at a foreigner "[23]," Tunisia is assembled, Cairo is scattered; Tunisia is snow-white, Cairo is black-gray "..."; Tunisian mosques are gracefully small; Cairo - "magnificent"; "Tunisia refers to Cairo (in the sense of the Arabs) as pre-Raphaelitism refers to Rococo; . Tunisia is nice, comfortable, cheap; Egypt is majestic, terrible, monstrously dear; but, in spite of everything, this is the most beautiful country in terms oflandscape ..." [23, 165].
In the exotic of the new space and new culture, the writer finds some similarities with his native expanses, and the outlines of the Kairouan plain
remind him of the Russian plain of the middle zone: "... through the wind the same sands creep from the East in the spaces of the dashing Orenburg, Samara steppes" [4]. We have already noted Bely's special "spatial" dictionary, worked out and very rich, in a number of our other articles [25]. The number of uses of the elements of this dictionary in a number of fragments of the text is very large, which even gives the impression of some spatial "logomania" (according to V. N. Toporov):
One of the leading spatial images can be considered the "distance" locus, and this is understandable, since the road and the path are connected with the horizon line: "Next - they gave the desert; <. > further - the world of expansion of swam". But besides this, "distant distances" and the worlds of outer space contribute to the comprehension of the inner ("near" world) space of the soul, the world of the "wanderer" Images of empty spaces of the steppe and desert are often associated with thanatological motifs: "The remote steppe, not the desert ..."; "We reached the stone cubes of a dead planet, which fell sideways to the ground: and now - my head fell over on my shoulders" [4, 426]; "From the sands is outlined: the dead yellow sand of Kairouan"; "And there is nothing but the chaos of yellow, screaming, flying sands outside the window" [4, 454].
However, in Bely's "Notes ..." even the Chaos of deserts and cities, which in many medieval topographies was called the "great void", is perceived more as "the beginning of Order" (and not "mess"), carries the potential of "new places". The horizontal image of the steppe and desert is emphasized by the vertical of the spiritual world of the East: "And the whole distance came out with minarets ... ps" [4, 422].
In general, Belyi's African topos is built on the contrast, the contrast of two main defined space models that change their appearance during the trip: two different images of culture in the same space of the country and the continent (the cities of Tunis and Kairouan, the countries of Tunis and Egypt), the images of two continents Europe and Africa),
as two incompatible cultures. Tunisia has become a turning point in the biography of a symbolist writer, a "moment" that gave rise to an "adventurer, entrepreneur": "... I felt Tunisia as a base from where I could dive into the vast Africa, like a diver attached by a rope to a ship." [4, 348] Bely notes this revolution in his journey, which turned out to be not only a journey somewhere, an escape from myself ("... I came to Tunisia to relax, wait out the cold"), but also became a journey inside myself, a kind of revelation: "... They were waiting for us: Messina, Catania, Pompeii, Naples, Rome, galleries, museums; and we looked somewhere in the opposite direction; called south and east; and the voice of the Sahara was heard" [ibid]:" ... staying in a quiet Arab village in Rades was a tremendous revelation to me, expanding the horizons; from here I traveled mentally into the bowels ofAfrica, into the depths of the centuries that made up her modern life; we already feel this life, thousands of threads connect us with Africa," writes Bely in the preface to the "Diary ..." [4, 330]. That is, in this case, we can talk about the j ourney not only of the body, but also of the soul, moreover, "the journey "outside the body" is rather the plot motivation for the "journey of the soul"" [13, 174]. In "Notes ..." and "Diary ..." there is no sense of hopelessness in the perception of space; the "living soul" does not suffocate. Foreign spaces turned out to be closer and dearer to his soul. Africa for the writer was associated with the idea of a genuine "earthly paradise" (as for many Cueists), presented in the form of the primary, blessed world, the world of the natural order of things. There Bely found refuge with his rushing soul - the soul of "self-aware", his "captive spirit" [29]. It is no coincidence that in one of the letters that the writer wrote to A. M. Kozhebatkin, Bely called himself and Asya (wife) "the perfect patriots ofAfrica" [23].
Thus, in conclusion, the expressive landscape lyrics and urban topos, the sophistication and brightness of associative images and motives (landscape and architectural), their complex interweaving, in
which part of the images flow into each other or merge, are contaminated, creates the impression of multi-layer, a kind of "palimpsest" of the BelyAfrican topos. An incredible sense of space and a thirst for knowledge of the new world allowed Bely to build his geometrical spatial model of the Universe, which we examined on the example of the "African topos". The Bely's inherent love for exotic countries, for energetic overcoming and knowledge of space brings him closer to representatives of the acmeistic trend (Comp.: African diary" by N. Gumilyov). Andrei Bely, like many acmeists, overcomes emptiness, nonexistence by creating "filled places", bizarre lines, ornaments and patterns, geometric shapes.
One of the main spatial parameters of Bely's poetic world - "fret" can be considered the "Farness"-lo-cus (overcoming the external, real, perceptual - visible and felt - "space-I") and the spatial locus "Depth" (comprehension of "I-space", "The inner space of the soul; compare the expression of N. Berdyaev:" The depth of a person pulls him in height"). The image of travel and the image of the traveler, the image of a new real space (geographical and cultural) and the image of the soul, whose life, according to Bely, "is determined by internal impulse, movement to distant horizons, desire to distant" [19]. The holistic image of Africa is represented by the vast and not fully developed space, clothed in sands and steppes. And at the same time, "alien open spaces" turned out to be much more understandable, closer and dearer to his soul for his soul. In Belyi's "travel literature" (the "horizontal vector" of his model of the Universe), the acmeistic attitude of being is traced. Hence not only the material detail, visibility and tangibility of
space (its essence), dynamism and movement, but also the deduction of the category of space from the number of abstract ones and endowing it with real ontological features. Such an attitude led to anthropomorphism of a number of spatial categories, as well as to the substantialization of space, endowed with a visible, perceived materiality. In some spatial images, "faunistic" and "floristic" motifs are traced. In descriptions of the urban landscape, steppes and deserts of Africa (comp.: image-metaphor - symbol of the Sahara - gate of Africa) Bely actively uses the "organic" metaphor. A number of non-spatial images-symbols (snake, fez, burnus, etc.) perform the function of organizing the artistic space of Bely.
Spatial symbols and semantic images are extremely saturated with geometric terminology. The combination of geometric symbols of a circle (in the concept of Bely - East, nature, semicircular lines, arcs, etc.) and a square (West, city, cubes, straight lines) leads to another recognizable image - the image of a "mandala" (figures where the circle inscribed in a square, and the square is in a circle), a symbol of stability, harmony and order. One of the philosophical thoughts ofAndrei Bely reflects the writer's desire to synthesize the cultural concepts of the "East" and "West", to search for "his own way" in world culture and literature:
"Spiritual science and Christianity are synonyms for me now; and the children's song ofthe soul, turned into an orchestrated Symphony, is our way; song of the soul - East; orchestration and counterpoint - the West: and the human desire (not the man himself), leading him from the song to the Symphony, is east in the west or west in the east" (Andrei Bely).
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