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А.А. Шунейко ORCID iD: 0000-0001-5467-2214
комсомольский-на-Амуре государственный университет, г. комсомольск-на-Амуре, Россия
О.В. Чибисова ORCID iD: 0000-0002-2709-2465
комсомольский-на-Амуре государственный университет, г. комсомольск-на-Амуре, Россия
УДК 821.161.1
ПОЭТИЧЕСКОЕ НАСЛЕДИЕ МАКСИМИЛИАНА ВОЛОШИНА И БУДДИЗМ DOI: 10.29025/2079-6021-2018-4(32)-156-163
Цель статьи состоит в выявлении того, как именно представлена трансляция констант буддизма в поэтическом наследии Максимилиана Волошина. Для реализации этой цели было осуществлено несколько задач. Определена совокупность текстов, содержащих отсылки к константам буддизма. Эти тексты сгруппированы и охарактеризованы с точки зрения того, какие именно буддийские идеи они транслируют. Выявлен набор актуальных для поэта максим буддийского понимания мира, установлены типологические способы их трансляции. Материалом для работы послужили все основные поэтические тексты Волошина за исключением его юношеских стихотворений и подписей к акварелям. Для достижения цели и задач использовались семантический, сопоставительный и интертекстуальный анализ. Они позволили выявить однозначные соответствия между содержанием определенных семантических комплексов буддийских текстов и поэтических текстов Волошина. Проведённый на различных уровнях анализ поэтического наследия Максимилиана Волошина в своём результате позволяет с уверенностью констатировать, что буддизм занимает существенное место среди его эстетических и мировоззренческих ориентиров, воспринимается им как неизменно актуальный компонент мировой культуры и личностно ориентированного восприятия мира. Это проявляется в том, что множество текстов различной жанровой принадлежности содержат прямые и опосредованные отсылки к константам буддийского восприятия мира. Совокупность этих отсылок складывается в модель восприятия реальности, демонстрирующую противоположность стереотипам европейского рационализма. Обнаруживается, что функции отсылок к буддийским константам не ограничиваются прямыми изолированными номинациями или чисто изобразительными задачами; они играют гораздо более широкую и существенную роль. Они являются одним из компонентов творчества, определяющим его общую структуру и раскрывающим существенные черты восприятия мира поэтом. Органическое включение констант буддийского восприятия мира в тексты показывает не только их глубокое понимание, но и то, что они находились в активном поле осмысления поэта.
Ключевые слова: Максимилиан Волошин; буддизм; амбивалентность; акт творения; молчание; огонь; пустота; реинкарнация; человек.
1. Introduction
The aesthetic heritage of Maximilian Voloshin contains such significant artistic discoveries that it cannot be evaluated as a traditional fact of the history of literature. It is constantly updated in various aspects. In some cases, the symbolic paradox of perception of the subject of violence proves to be important [9]. In other cases, the new identity of the Russian society comes to the fore in connection with the annexation of the Crimea [10]. Or the poet is perceived as one of the demiurges of the Soviet intelligentsia [15] and a "traveller in the Universe" [4]. In studying Voloshin's poetry the researchers dwell on its form and rhythmical structure [7; 14] and on its semantic contents such as the trajectory of light [12] or death-immortality [3]. The list can be continued, but this enumeration is enough to understand that the multifaceted demand is directly dependent on the polyphonic nature of the poet's legacy, reveals it and explains it. Voloshin's creativity accumulates in itself an exceptional diversity of mankind's stored ways of comprehending and interpreting all the hypostases of the world. This titanic work can be interpreted as an aesthetically perfect search for truth, carried out within the boundaries of irreproachably strict forms and possessing an exceptional heuristic potential. Voloshin's artistic insights invariably include a fusion of strict logical analysis of formalized objects with the synthesis of unstructured flows of amorphous ephemeral forms. In this kaleidoscope, Buddhist colors (white, yellow, green, orange, red, blue) occupy a very significant place.
The interaction of Voloshin with Buddhism has already been analyzed [1, 13, 8], but it is still far from full coverage. It is embodied in the translation of the constants of Buddhist perception of the world, represented through a set of references to the conceptual sphere of Buddhism, realized by various pictorial means.
2. Methodology
To find out the totality of these references is possible with the help of semantic and intertextual analysis, which allow determining which texts and their parts contain semantic complexes referring to Buddhism. At the same time, it should be borne in mind that for all their semantic community in the functional plan, these references should be perceived differentially. They are consistently and clearly revealed on three different levels of the poetic world: surface, deep and sub-textual. As a rule, they are organically interlinked, but can be described separately. Further each of these three levels is subjected to an independent analysis.
3. Discussion and results
The surface level presupposes the presence of direct nominations of Buddhist realities, the reading of which is initially determined by their initial semantics, although they can add additional meanings. It includes a set of lexical markers or pointers. These are the situations where the author formally and meaningfully speaks of Buddhism. This is the most obvious and easily readable level, the relevance of which for Voloshin is not very high.
The poem "Along the footsteps of Cain" has the following lines: (here and below all the quotes in Russian are from the poems by M. Voloshin [2], the translation of the poems into English, unless otherwise indicated, is made by the authors of the article): И под напевы огненных Ригвед / Праманта - пестик в деревянной лунке, / Вращавшийся на жильной тетиве, / Стал знаком своеволья ... (Conducted by the fiery Rigveda, / Pramantha - pestle in a wooden mortar, / Rotating on a tendon string - Became a sign of willfulness ...). Here the Rigveda is one of the four Hindu religious texts known as the Vedas which systematize the concepts and their performance in Vedic religion; Pramantha is a stick which the Brahmins used to kindle the fire. The same poem contains a phrase "Настало / Великое молчанье (A great silence set in)". The great silence of the Buddha presupposes a total disregard for secondary or non-essential questions of salvation. "... the pure equanimity of avoiding worldly talk, talk that is not of nirvana, <.> and in general all talk that obstructs the Path of enlightening beings [6, p. 1091].
In "The Gnostic Hymn to the Virgin Mary" there are the words: "Дремная грёза / Отца Парабрамы. / <.> Майею в мире / Рождается Будда. (The drowsy vision / Of the Father of Parabrama. / <.> In the world Maya / Gives birth to the Buddha)". Similar nominations are also presented in prosaic texts.
Each of these and similar contexts, firstly, contains shifts in the original semantics of the mentioned Buddhist terms, and secondly, joins the mechanisms of interactions that take place at a deep level.
The deep level does not imply any direct nominations of Buddhist realities, but it includes the use of such semantic components in the organization of text which through their meaningful qualities directly refer to the Buddhism. They are direct embodiment of its relevant constants, although superficially they may not be associated with it at all. These are situations where the author formally talks about anything, but meaningfully embodies (translates) Buddhist constants (ideas). The relevance of this level for Voloshin is very high. The poem "Along the footsteps of Cain" is used further as a focus of consideration.
It is not limited to the transfer of the Buddhist worldview transformed by the author's beginning and modified according to the inclusion in other cultural traditions. But it takes an essential place in the semantics of the work and completely determines its composition. The main semantic complexes organizing the poem directly refer to Buddhism and can only be interpreted through its system of views. Among these complexes there are: higher power, the act of creation, man, fire, reincarnation and shunyata.
Higher power. The first four lines of the poem record the act of creation. The form of the embodiment sends the reader to Christian ideas, while the content sends the reader to Buddhist ones. В начале был мятеж, / Мятеж был против Бога / И Бог был мятежом. / И все, что есть, началось чрез мятеж. (In the beginning was rebellion. / It was directed against God, / And God Himself was a rebellion; / And everything, that is, began as a revolt [11, p. 409]).
In both cases, the central category is God, but its semantic content is fundamentally and unambiguously opposite. In Christianity, exclusively identified with the Word, likened to it or merged with it, God is characterized as an object which is static, anthropomorphic, possessing an informed will and realizing it, localized, definite, carrying out purposeful actions, internally discrete, included in the integrity of the world, oriented towards harmony. 1. In the beginning was the Word, and the Word was with God, and the Word was God. 2. He was
with God in the beginning. 3. Through Him all things were made, and without Him nothing was made that has been made. 4. In Him was life, and that life was the light of men. Voloshin's God, identified with the rebellion and simultaneously opposed to it, is characterized as an object which is dynamic, non-anthropomorphic, not possessing a conscious will and not realizing it, un-localized, indefinite, not carrying out purposeful actions, internally continual, included in the integrity of the world and at the same time including it in itself, focused on chaos. "The Buddha has realized true nature / As bodiless, utterly quiet, nondual; / His physical body, adorned with marks of distinction, / He manifests throughout the world. / The body of Buddha is vast, inconceivable, / Filling the entire cosmos" [6, p. 1298].
Consistently and without alternative, semantics is antonymous in all respects. Voloshin gives Buddhist characteristics to the creative principle. The concept of God as the creator of all micro- and macrocosm in its monotheistic understanding is absent in Buddhism. For Buddhism, the analogue of this category is an unstructured self-organizing process, the embodied quality of all possible states, existing independently of carriers, capable of generating carriers, absorbing them and distributing them in the infinite duration of their immanent translation. "And due to the spiritual power of the Buddha, in the ten directions, past as many worlds as atoms in ten thousand buddha-lands, there were as many enlightening beings as atoms in ten buddha-lands" [6, p. 389]. It is this idea that Voloshin implements when describing the God-rebellion.
The act of creation. The poem contains two different descriptions of the origin of the Universe: in Chapter I "Rebellion" and in Chapter XI "Cosmos". In the latter case, there dominate the Masonic views [5] with elements of esoteric Christianity and Buddhism. In the former case, the description of the act of creation consistently reflects Buddhist cosmogonic views. From the standpoint of Buddhism, the actual act of creation as a starting point does not exist or has never existed. Within its framework, the questions about when and how the world arose are completely meaningless. "Enlightening beings know all things are empty / And all worlds have no existence; / There is no creation and no creator" [6, p. 638].
It is accepted that the world always was, is and will be as a fact of the incessant (unstoppable) and cyclical transmission of itself. This translation presupposes the constant emergence, transformation and disappearance of internally identical and at the same time mutually opposite essences that are the consequence of these processes and simultaneously subjugate them: they create and are created in the cyclical rotation of mutual transitions that cancel the notion of any boundaries. Accordingly, the self-organizing world is itself the creator, the reason, the material, the product, the way and the result of creativity. But not in the sense of a self-creating person, but in the sense of an entity containing in itself all the sources and finals of processes that organize it and the space that is external to it, which, in the long run, turns out to be this entity. It is most conveniently to describe these representations apophatically, through the absence of root causes, temporal and spatial boundaries in the global understanding of these concepts, organizing centers and opposition of consciousness and matter.
It is this idea that Voloshin embodies in the first chapter of the poem: "Из вихрей и противоборств возник / Мир осязаемых / И стойких равновесий. (From whirling strife there was begotten / The world of tangible / And stable equilibria [11, p. 409])". Equilibrium, matter, substance, fusing fire, the points of the world appear in the text as different nominations of the same beginning which contains itself in itself and at the same time is not identical to itself, distributed in cycles: "Не жизнь и смерть, но смерть и воскресенье - / Творящий ритм мятежного огня. (Not life and death, but death and resurrection / Is the creative rhythm of the rebellious fire [11, p. 409])." The overlapping semantics of all these units turns them into synonyms, which create the effects of the dissimilation of the similarity and its superposition, as assumes the juxtaposition of mutually dependent, relative and essentially undifferentiated quantities.
The whole poem is the description of the cycle. It begins with "Rebellion" and ends with "Court", where it is not the judgment of God that is affirmed, but the judgment of oneself in strict accordance with the Buddhist dogma: "И сам себя судил (He was his own judge)." Two absolutely strong textual positions (the beginning and the end) are marked with Buddhist semantics. Within the text, this semantics develops, becomes concrete and modifies itself in the meanings, the nature of perception and the way of translation of all the main objects.
Man. Buddhism completely excludes both anthropocentrism in any of its manifestations and the theocen-trism in any of its hypostases. Man is one of the components of an infinite series that includes the forms of an immanent entity that interact in its totality. In the multiplicity of these forms and transmission, man does not fundamentally differ from fire, steam, God, state, etc. "The reality-body is like space; / Unobstructed, without differentiation. / Physical forms appear like reflections, / Manifesting myriad appearances" [6, p. 174].
It is in this sense that man is represented in the poem. On the one hand, through whirlwinds of his own spirit he confronts the traps of equilibrium and does not allow the universe to fall into ancient chaos. On the other hand, his freedom of will is essentially limited: "Что человек, освобождая силы / Извечных равновесий вещества, / Сам делается в их руках игрушкой. (That man, releasing the forces / Of the eternal equilibria of substance, / Becomes a toy in their hands). He is in constant dependence not upon external conditions, but upon himself: "Вы - узники своих же лабиринтов! (You are the prisoners of your own labyrinths!)"; "Вы мыслите разрушить динамитом / Все то, что прорастает изнутри - / Из вас самих с неудержимой силой. (You intend to destroy with dynamite / Everything that sprouts from within - / From yourselves with unstoppable force)." Man is the source and center of everything that is dispersed beyond him: "Твой Бог в тебе, / И не ищи другого / Ни в небесах, ни на земле. (Your God is in you, / Don't seek another / Either in heaven or on earth)."
Therefore, the main task of man to recreate himself, repeated many times, is the leitmotif: "Я призываю вас к <...> пересозданью самого себя. (I call you to <...> re-create yourself)." It is opposed to all external futile actions and is perceived as the only way to harmonize the world, to restore the disturbed balance of elemental forces. This realizes the Buddhist principle "everything is in you and you are in everything", by re-creating yourself, you recreate the universe: "Все зло вселенной должно, / Приняв в себя, / Собой преобразить. (All the evil of the universe / Is vital to be incepted / And transfigured by virtue of yourself)." Compare it with the poem "The Valor of the Poet": "Быть не частью, а всем: не с одной стороны, а с обеих. (To be not a part, but a whole: not from one side, but from both)". Or with the poem "Prologue": "Один среди враждебных ратей - / Не их, не ваш, не свой, ничей. (Alone among the hostile arrays / Not theirs, not yours, not your own, nobody's)."
Man is identified with fire and is opposed to it; he is a form of its realization and the object of its activity: "И человек сознал себя огнем. (And man perceived himself as fire"); "Вы - пламя, замурованное в безднах, / Вы - факел, кинутый / В пороховой подвал! (You are a flame immured in the depths, / You are a torch, / Thrown in a powdered cellar!)."
Fire. This element is repeatedly determined in various ways and identified with various objects in the text. It is as multi-faceted as it is in Buddhism. Fire has a creative transforming power, it is similar to a deity, but being a deity, it is capable of destroying everything, including itself. He completes the former and begins a new cycle, destroying creates or creating destroys: "Костер из зверя выжег человека. (A fire burned a man from a beast)." The transformations of fire are included in an endless stream of reincarnations.
Reincarnation. In Buddhism this term refers to the constant transition of mental entities from one form to another, in an inaccurate understanding this process is identified with the transmigration of souls. It should not be confused with metamorphosis in the ancient sense of the term. Practically all objects minutely described in the poem are thought not as points, but as durations, which in the course of their existence change material appearances, thus constantly translating certain mental complexes composed of a linkage of accumulated meanings. "The common term 'birth-anddeath' <...> refers to the virtually constant fluctuation in the mental states of sentient beings. Every phase of psychological or social development, every shift in interest, attention, or mood, every physiological change, even every passing thought are all examples of 'birth-and-death'"[6, p. 1522].
All of the beings and things in the poem are aligned in the order of parallel sequences of reincarnations. Cain changes into all murderers, criminals, prophets and the state judge. The cross changes into a sword: "Он вместе с кровью напитался духом / Святых и праведников, / Им усекновенных. (It, along with blood, was filled with the spirit / of the holy and righteous, / beheaded by it)"; the sword changes into a fairy, rapier, guillotine: "Огал характером, / Учением, доктриной. (It became a character, / a teaching, a doctrine)." The robber turns into a knight; the gunpowder turns into the guises of monstrous shadows; steam, electricity and gunpowder turn into machines: "Машина - победитель человека. (The machine is the winner of man)"; machines, greed and speed turn into the state: "Из совокупности / Избытков, скоростей, / Машин и жадности / Возникло государство. (Out of the aggregate / of abundance, speed, / machinery and greed / there arose the state)." You become love, she becomes God, and he becomes a fire. The sequences are cyclical and single; they determine the nature of its translation and make up its inner essence; the sequences, are the world.
At that, Voloshin is interested not in the fixed stages of the transitions, but their process. For him, duration is important, therefore in his narrative the Cain-prophet, the cross-sword act as entities that are partitioned-in-tegral. The text contains tags for both their discrete and continual perception. The same is realized in various
poems. In the "Funeral" the cathedral-tree-man acts as a single indissoluble complex of mutual transitions. In "Sunday" the same complex is formed by the church-first parties-doves; in the poem "Wormwood" it is formed by foremother-wormwood-earth. All these transitions turn into the Void (shunyata) or are it.
Shunyata is the doctrine that phenomena are devoid of an immutable or determinate intrinsic nature. It assumes that the relative objects existing on the material plane are not entirely real; they lack the qualities of absolute constancy and beingness. "Things have no true reality; / Because of wrongly grasping them as real / Do ordinary people therefore / Revolve in the prison of birth and death" [6, p. 375]. Presenting it in a rough outline, one can say that they are purely verbal marks, devoid of meaningful correspondences, fictions and fabrications. "All philosophies in the world are mental fabrications; there has never been a single doctrine by which one could enter the true essence of things" [6, p. 300].
It is in this aspect that the poet considers categories relevant to culture: "Свободы нет. / Но есть освобожденье. (There is no freedom. / But there is liberation"; "Нет равенства - есть только равновесье,/ Но в равновесье - противоупор. (There is no equality - there is only an equilibrium, / But in the equilibrium there is an anti-stop)"; "Нет плотности, нет веса, нет размера - / Есть функции различных скоростей. (There is no density, no weight, no size, / But there are functions of different speeds)"; "Иссякло время, / Пространство сморщилось / И перестало быть... (The time has run out, / The space wrinkled / And ceased to be ...)". The presence of the Void is emphasized by attributing ambivalent meanings to objects: Cain's brotherhood is non-brotherhood, that is, the brotherhood is both absent and present, incarnating in its complete opposite. The meaning attributed to it by people is replaced by emptiness.
The units of the surface and deep levels construct a subtext level.
The sub-textual level assumes the interaction of units of the surface and deep levels with each other and with similar units referring to other ways of understanding the world in the format of all the creativity of Voloshin. It is constantly present in his works. The emphasized ambivalence of the semantics of Voloshin's poetic world is one of the unconditional dominants of his idiostyle. It manifests itself in a variety of local usage and oppositions organizing his works, the semantic content of which completely removes their apposition. It characterizes all important objects that fall in the field of artistic vision.
Such is the first line of the poem "Love the space of the moment" In the poem "Taiakh" the poet writes: "Ты живёшь в подводной сини / Предрассветной глубины, / Вкруг тебя в твоей пустыне / Расцветают вечно сны (You live in the underwater blue / Of the pre-dawn depth. / Around you in your desert / The dreams always blossom)"; "близкий всем, всему чужой (close to all and alien to all)". The poem "Now in the appearance of a girl, now in the image of an old woman ..." runs as follows: "Нет в мире радости светлее, чем печаль! (In the world there is no joy lighter than sorrow!)." One can find the words "Факел жизни - огненная Смерть. (The torch of life is a fiery Death)" in the poem "Death", "Затерявшись где-то, / Робко верим мы / В непрозрачность света / И в прозрачность тьмы. (Lost somewhere, / We gingerly believe / In the opacity of light / And the transparency of darkness)" in the poem "The world is wrapped tightly ..." and "И никогда -ни счастье этой боли, / Ни гордость уз, ни радости неволи,/ Ни наш экстаз безвыходной тюрьмы. / Не отдадим за все забвенья Леты! (And never - neither the happiness of this pain, / Nor the pride of ties, nor the joy of bondage, / Nor our ecstasy of desperate prison - / Shall we give up for all the oblivion of the Lethe!)" in "Corona Astralis".
These are direct reflections of the Buddhist view of reality, which assumes a constant simultaneous actualization of the opposite existentiality of seemingly identical objects, which are both themselves and their op-posites: "Ubiquitous Sound of Silence" [6, p. 1423]; "Buddha's voice thunders pleasantly" [6, p. 1298];; "The nature of all sentient beings is naturelessness; the nature of all phenomena is uncreated; the form of all lands is formlessness ..." [6, p. 462].
The European tradition names the cases of stressed ambivalence as oxymorons or paradoxes, perceives them as abnormal, connects them with stupidity, nonsense, absurdity, irony and assigns them the role of local ways of concentrating attention and stimulants of cognitive activity. But in Voloshin's works like in Buddhism, such words (constructions) are not stylistic figures with limited external functions, but constant non-evaluative statements about what actually exists. In the same case, from the standpoint of the European view, it is a funny toy, an aesthetic refinement, a sophisticated wit, and from the standpoint of Buddhist understanding of the world. It is a simple indication or evidence. This appraisal antonymity is fundamentally important that is why Voloshin seeks to withdraw it in the framework of his work. To do this, he constantly combines different points of view, calls to all possible gods for help and organizes the narrative so that it should be multidimensional, so
that the same objects can be seen through their opposite manifestations, which, in fact, constitute the essence of their inner indissoluble unity.
4. Conclusion
For the European mind, brought up within the framework of the Greco-Latin tradition, which for over two millennia aggressively translates the view of the world as a system of rigorous mechanistic dichotomies, it is difficult to understand and implement the directly opposite view of a reality that is constantly itself and not-it-self. Voloshin managed to find the means for this. He showed that staying both at the bottom of the reservoir and in the desert, being nobody's and everyone's, enjoying the hopelessness of captivity are not so much poetic images as the statements created with their help that directly reflect the Buddhist view of the world. The poet aesthetically reliably embodies the continuity of the forms of the world and the nonjudgmentalness of its ambivalent essence, the absence of external limits, the eternal conversion of forms, united in an endless series of cycles - all that constitutes the basis of the world view of Buddhism.
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Александр А. Шунейко, доктор филологических наук, доцент, Комсомольский-на-Амуре государственный университет, профессор кафедры лингвистики и межкультурной коммуникации, адрес: 681013, г. Комсомольск-на-Амуре, Россия, ул. Ленина, 27, телефон: 89141868763; e-mail: a-shuneyko@ yandex.ru.
Ольга В. Чибисова, кандидат культурологии, доцент, Комсомольский-на-Амуре государственный университет, доцент кафедры лингвистики и межкультурной коммуникации, адрес: 681013, г. Комсомольск-на-Амуре, Россия, ул. Ленина, 27, телефон: 89098975782; e-mail: [email protected].
Для цитирования: Шунейко А.А., Чибисова О.В. Поэтическое наследие Максимилиана Волошина и буддизм // Актуальные проблемы филологии и педагогической лингвистики. 2018. № 4 (32). С. 156-163. DOI: 10/29025/2079-6021-2018-4(32)-156-163.
THE POETIC HERITAGE OF MAXIMILIAN VOLOSHIN AND BUDDHISM DOI: 10.29025/2079-6021-2018-4(32)-156-163
Alexander A. Shuneyko ORCID iD: 0000-0001-5467-2214
Komsomolsk-on-Amur State university Olga V. Chibisova ORCID iD: 0000-0002-2709-2465
komsomolsk-on-Amur State university
The article is aimed at revealing how the poetic heritage of Maximilian Voloshin represents the translation of the Buddhist constants. Several tasks have been accomplished to achieve this goal. There is identified a set of texts containing references to Buddhist constants. These texts are grouped and characterized in terms of what kind of Buddhist ideas they translate. There is revealed a set of maxims of Buddhist understanding of the world actual for the poet and the typological methods of their translation. All the main poetic texts of Voloshin, except for his youthful poems and signatures to water-colors, served as the material for the work. To achieve the goal and objectives, the authors used semantic, comparative and intertextual analysis which made it possible to detect unambiguous correspondences between the content of certain semantic complexes of Buddhist texts and Voloshin's poetic texts. The semantic analysis of the poetic heritage of Maximilian Voloshin, carried out at various levels, allows stating with a high degree of confidence that Buddhism occupies an essential place among the poet's aesthetic and ideological orientations; that it is perceived by him as an invariably relevant component of the world culture and an individually oriented perception of the world. It is manifested in the fact that many texts of different genre content contain direct and indirect references to the constants of Buddhist perception of the world. The totality of these references forms a model of perception of reality, which demonstrates the opposite of the stereotypes of European rationalism. It is found that the functions of references to Buddhist constants are not limited to direct isolated nominations or purely pictorial tasks; they play a much broader and more significant role. They are one of the components of creativity that determines its overall structure and reveals the essential features of the perception of the world by the poet. The organic inclusion of the constants of Buddhist perception of the world in the texts shows not only their deep understanding, but also that they were in the active field of the comprehension of the poet.
Key words: Maximilian Voloshin; Buddhism; ambivalence; the act of creation; silence; fire; emptiness; reincarnation; man.
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Alexander A. Shuneyko, Doctor of Philology, Professor of Linguistics and Intercultural Communication Department of Komsomolsk-on-Amur State University; the address: 681013, Komsomolsk-na-Amure, Lenin Street, 27; e-mail: [email protected].
Olga V. Chibisova, PhD in Cultural Studies, Associate Professor of Linguistics and Intercultural Communication Department of Komsomolsk-on-Amur State University, the address: 681013, Komsomolsk-na-Amure, Lenin Street, 27; e-mail: [email protected].
For citation: Shuneyko A.A., Chibisova O.V. The Poetic Heritage of Maximilian Voloshin and Buddhism. Aktual'nye problemy filologii I pedagogiceskoj lingvistiki [Current Issues in Philology and Pedagogical Linguistics], 2018, no 4 (32), pp. 156-163 (In English). DOI: 10.29025/2079-6021-2018-4(32)-156-163.
