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Reference:
Muromtseva A.O.
Representation of the lyrical "I" in the poetry by A. Podgornova
// Litera.
2024. № 3.
P. 205-208.
DOI: 10.25136/2409-8698.2024.3.70105 EDN: HPKHCI URL: https://en.nbpublish.com/library_read_article.php?id=70105
Representation of the lyrical "I" in the poetry by A. Podgornova
Muromtseva Alena Olegovna
Student, Department of Finno-Ugric Philology,
National Research Mordovia State University
430005, Russia, Republic of Mordovia, Saransk, Bolshevistskaya str., 68, office 513
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alena.muromczewa@yandex.ru
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DOI: 10.25136/2409-8698.2024.3.70105
EDN: HPKHCI
Received:
11-03-2024
Published:
09-04-2024
Abstract:
The multidimensional study of women's poetry is one of the promising strategies of modern Russian literary criticism, which allows us to reveal not only the tools of women's writing, but also the female mentality, feminine identity, and the peculiarities of reflection by a female author of the natural and social world. Among the female authors, a special place is occupied by the Erzya poet Alina Podgornova, whose works trace postmodern trends. The subject of the research in the article is the means of representing the lyrical "I" in the poet's poems. The purpose of the work is to analyze a number of the author's works, to determine the system of images through which the lyrical "I" is represented, to trace their conditioning by the postmodern worldview of the poetess. The material was composed of poems from the collections "Except rhymes", "Stranded" ("Thought"). The methodological basis of the work is determined by the structural and semantic analysis of the lyrical text, through which the structural components of the poetic image, its semantic organization, and symbolic semantics are described. The scientific novelty of the study is determined by the fact that, in the stated aspect, A. Podgornova's lyrics are for the first time considered and introduced into the context of Russian literary criticism. The article argues that the emotional and psychological state of the lyrical heroine A. Podgornova is due to the author's worldview and axiological concept, his perception of the world as chaos, moral apocalypse. The poetess's worldview is filled with negative social manifestations that destroy the spiritual and moral essence of a person, leveling universal values. The conclusions and provisions presented in the article expand the understanding of the state and development of modern Mordovian literature.
Keywords:
modern Mordovian poetry, women's poetry, lyrics, poem, Alina Podgornova, lyrical heroine, image, symbol, metaphor, representation
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In modern Mordovian literary studies, the problems of women's poetry do not appear on the periphery of research interest, they are studied in dissertations [Dyachkova E. N. The figurative system and genre originality of Rai Orlova's artistic creativity. Saransk, 2018. 220 p.], monographs [1; 5], scientific articles [2; 3; 4; 8-11]. At the same time, as a dynamic system, it needs deep scientific reflection, constant monitoring, and description of the main trends and directions of development. A special place in the national women's discourse is occupied by the work of Alina Podgornova, whose poetry books "Except Rhymes" [6] and "Stranded" ("Thought") [7] were highly appreciated by literary critics [2, 9]. The researchers note that the author's poems "trace the features of postmodernism – a tragic worldview, dissatisfaction with reality, ironic reflection of the world, gravitation to allegorical thinking, ... the search for new ways of lyrical understanding of the world and man, an original solution to classical themes, experimentation in style and language, a kind of synthesis of various artistic techniques – detailing, subject imagery, allegory, intertextuality" [9, p. 123, p. 129]. Of course, the problems poetically realized by A. Podgornova, the images depicted do not fit into the strict thematic framework, motif-shaped clusters, traditional for Mordovian poetry of previous decades. Her work is conditioned by time itself, complex, contradictory. She offers a new, critically emotional view of the world, an implicit disclosure of disharmonious relationships in society, while creating a kind of communication with the reader, "appeals to his aesthetic memory" [11, p. 152]. The lyrical heroine of A. Podgornova is a complex nature, on the one hand, strong, energetic, active, categorical, capable of protest, on the other – vulnerable, defenseless, sensitive, but in any case causing a variety of emotions, forcing the reader to reflect. The images through which the lyrical "I" is realized are interesting – a chick that has fallen out of the nest, a restless atom, a trumpeter musician, a young man, a mythological character, etc. Let us trace them by the example of the analysis of a number of works. The poem "Eleada, or Anti-Reincarnation" is built in the form of a dialogue between the heroine of ancient Greek mythology, Helen of Troy, the wife of Menelaus, and a modern woman. Through irony, the author manifests the difference in their worldview and value priorities. The wayward, self-loving and selfish "daughter of the gods" calls herself "the most beautiful of women", regardless of moral norms, openly declares that she wants a new love, passion: "I don't want Menelaus. I'm waiting for Paris!" [6, p. 44]. Elena dreams of eternal beauty and youth, but her dreams are in vain. She has lost touch with reality, does not realize the truth – she cannot exist in a modern society based on other values. Her opponent ironically throws at her: "Elena, your statues are in the hollows of cracks" [6, p. 44]. The heroine suggests that she take the modern name Alina, get used to a new body, which Elena perceives as an insult, shame, shame, afraid that Zeus and Hades will not find out about it. The woman sneers at the annoyed Elena: "If you don't like the body, you can take a Nyurka..." [6, p. 44]. Having never chosen a body for reincarnation, the vain heroine is forced to leave the earthly world and return "to the boarding house of Hades." The representation of the image of a mythological character in a comic perspective testifies to the critical worldview of the poetess, her desire to actualize issues of moral and ethical content, to correlate the value system of different eras. Comparing the antinomian worldview of the heroines, the author implicitly answers the question of what is valuable for each of them. A rational heroine, formed in the conditions of modern reality, understands that it is not a name that makes a person beautiful, but a person is a name. She is guided by moral and ethical principles, while the Beautiful One is governed by vanity and self-love. Of course, the author's sympathies are on the side of a modern woman, Elena evokes ironic and critical emotions. The poem "The Trumpeter's Monologue" clearly traces the feeling of dissatisfaction and disappointment characteristic of postmodern consciousness. The work contrasts the musician and the crowd. The author positions himself as a trumpeter, whose musical gift is wasted, because people who do not understand the essence of true art come to listen to him, who want to satisfy boredom and melancholy: "I played for you. To me, someone else's husband, / You went for the satisfaction of longing" [6, p. 57]. The musician's self-sacrifice is conveyed through an extended metaphor: "I played for you. / I opened my soul to you. / I took the doors and locks off their hinges..." [6, p. 57]. The realization that people want to get only pleasure from music, without delving into the nature of art, without thinking about its emotions, brings disappointment and heartache to the trumpeter. The communication between the crowd and the musician is limited, which is conveyed through non-extended sentences: "Excitement. Pain. The hall" [6, p. 57]. For a trumpeter, music is a state of mind, a kind of connection with the world, the greatest value, therefore, he does not ask for praise for his playing ("Do not buy a flower for me" [6, p. 57]), but wants one thing – not to play for those who do not understand music. Positioning himself as a trumpeter, the author seeks to implicitly reveal the dramatic worldview of the musician: sometimes the audience does not perceive the true value of high art. The lexical dominance of the verb "played" in the text creates a certain sound tonality of the text, while at the same time exacerbating the effect of misunderstanding between the musician and the crowd. In the poem "I am a chick born outside the nest..." the poetess's postmodern worldview is reflected through the image of a newly hatched chick. He symbolically correlates with the modern generation, which was also born "outside the nest" (does not have its own home). A defenseless creature finds itself in apocalyptic realities: "Not a single star is burning above me, / My house lies in ruins below me, / Trouble is circling above me. / The Earth creaks under me like an axis" [7, p. 9]. He understands that he cannot fight the world order and external destructive manifestations, so he comes to a disappointing conclusion: "My life is meaningless and stupid" [7, p. 9]. The dramatic, existential nature of the situation is enhanced in the lines: "My world has collapsed. He was terrible at the end. / I couldn't see it then, / But the ruins around are the main result" [7, p. 9]. Ruins become a sacred symbol of all-destroying time and at the same time conditional immortality. Experiencing an emotional shock, the chick realizes with horror the meaning of its existence in this world, its responsible mission: "It falls to me to lift everything from the ashes" [7, p. 9]. He wants to "gain strength" a little more, but time is merciless, especially since "the bird does not have an extra life in reserve" [7, p. 9]. In the last stanza, tragic pathos is replaced by notes of positivity and hope for a better future: "I see your fate in my hands" [7, p. 9]. The chick is ready to fulfill its destiny, it wants to be reborn from that "weightless ashes" over which "emptiness hung like a cross." Positioning himself as a defenseless chick without a nest, the author implies the idea of cruelty, ruthlessness of the surrounding world, while asserting human strengths – the ability to revive, take responsibility, act for the benefit of people.
In the poems "I am locked up, in four walls ...", "Tragic triangle", "You are my little King, singing bird ...", "Life lessons are for nothing for me ..." the lyrical "I" positions itself as a man. In the first work, the psychological state of the hero is caused by parting with his beloved. He compares himself to a monk ("Like a gray-haired monk blinded in prayer" [7, p. 55]), because he reflects in a confined space, leads an ascetic lifestyle. The hero seems to renounce the whole world, his soul "does not find peace", he spends days alone with his own thoughts, but does not find a way out of the current situation: "I could move, change my place, / But I find it in myself" [7, p. 55]." The vivid author's metaphors "tearing layers and pieces from the heart", "went headlong into the poisonous smoke" are designed to convey the drama of the hero's position. However, in the last stanza, "I know that I lost all your trials, / That there is not love in the blood, only traces of it, / That shoots will sprout in places of injury, / But I still did not understand what I was wrong about [7, p. 55]" the true face of the hero is revealed. He quickly squandered his love, his "suffering" lasted only a few days. His male inadequacy lies in his egocentricity, inability to listen to his beloved. The ironic representation of a modern man, a "suffering monk" who did not understand the reason for parting with his beloved, is due to the author's feminist concept. A. Podgornova's lyrics are distinguished by the actualization of ethnocultural problems associated with the destruction of national identity, the leveling of the traditional cultural principle, and the rejection of the native Erzya language by society. The voice of the poetess is especially critical in the poem "I am a part of the people, a restless atom...", which depicts a picture of the decomposition of the national world. The lyrical heroine positions herself as a "restless atom": she is constantly in motion (not only physically, but also psychologically), cannot live calmly and steadily, there are many problems and negative emotions around her. The most terrible thing is that she realizes herself to be a "museum exhibit", to whom "a finger is pointed after hearing speech in a "strange" language..." [7, p. 60]. The Erzya language, which is not spoken even by the Erzya themselves, is considered "strange" in modern society. Therefore, the heroine sincerely worries about the fate of poems written in her native language: "And there is no place for my wandering poems / Not on any terrestrial continent" [7, p. 60]. She positions herself as a part of the people, a carrier of the ethnic code, but every day she has to "prove that she is still alive / Prove that the word is alive..." [7, p. 60]. Despite her physical weakness ("little bird"), the heroine is strong in spirit, she decides to "carry, love, defend" her native word. She does everything to avoid an existential ending when "a museum plaque / With a dozen words about extinct Erzya is threatened" [7, p. 60]. The lyrical "I" clearly and uncompromisingly manifests its internal responsibility and civic position on the national issue. Thus, it can be concluded that in the analyzed poems of A. Podgornova, the lyrical "I" is represented through various images (a chick "outside the nest", a man, a restless atom, a trumpeter, a mythological character, etc.), expressive (metaphor, symbol, irony), lexical, syntactic means of imagery. Tragic worldview, reflection of negative manifestations of reality, leveling of the universal value code dominate in the works. The images and motifs realized in A. Podgornova's poetry testify to her creative search, her desire to go beyond traditional poetics.
References
1. Antonov, Yu. G., Levina, N. N., & Sheyanova, S. V. (2018). Mordovian literature at the turn of the XX–XXI centuries: the search for national identity. Saransk, Russia: Mordovian University Press.
2. Antonov, Yu. G., & Sheyanova, S. V. (2017). Modern Mordovian literature: synthesis of traditions and innovations (based on the materials of the 2016 editions). Finno-Ugric World, 2(31), 20-29.
3. Katorova, A.M. (2020). The specifics of Lyudmila Ryabova's artistic and aesthetic thinking (using the example of the analysis of the collection "Ki Ton?" ("Who are you?"). Bulletin of the Scientific Research Institute under the Government of the Republic of Mordovia, 3(55), 213-223.
4. Naldeeva, O. I., Azyrkina, E. I., & Dyachkova, E. N. (2019). Artistic features of R. K. Orlova's love lyrics. Philology. Theory and Practice, 12(1), 217-221. Retrieved from https://www.gramota.net/articles/issn_1997-2911_2019_1_44.pdf
5. Naldeeva, O. I. (2013). Modern Mordovian poetry: the main directions and artistic guidelines. Saransk.
6. Podgornova, A. (2016). Besides rhymes. Saransk.
7. Podgornova, A. (2021). Think. Saransk: Red October Publishing House.
8. Sheyanova, S. V. (2018). The model of interaction between the world and the lyrical subject in L. Ryabova's poetry (collection "Who are you?"). Bulletin of Ugric Studies, 8(2), 317-327.
9. Sheyanova, S. V., Yusupova, N. M., & Gabidullina, F. I. (2022). The specifics of the poetic system of Alina Podgornova (collection "Mel" ("The Think")). Bulletin of Ugrovology, 12(1), 123-132.
10. Sheyanova, S. V., Yusupova, N. M., & Maskayeva, A.V. (2023). The genre of the message in the work of Marina Slugina. Bulletin of Ugrovology, 13(1/52), 159-168.
11. Sheyanova, S. V., Yusupov, A. F., & Maskayeva, A.V. (2023). Intertextuality as a way of embodying the author's worldview in A. Podgornova's poetry. Bulletin of Ugric Studies, 13(1/52), 150-158.
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The modern literary process is increasingly disintegrating into private formations, separate ethnic literatures, topographically explicable. The text submitted for publication is thematically aimed at analyzing the representation of the lyrical "I" in the poetry of the Mordovian poetess Alina Podgornova. I would like to note that the research perspective is really relevant, new, and the material is clearly fresh, ontologically appropriate. At the beginning of the work, it is noted that "in modern Mordovian literary studies, the problems of women's poetry do not appear on the periphery of research interest, they are studied in dissertations [Dyachkova E. N. The figurative system and genre originality of Rai Orlova's artistic creativity. Saransk, 2018. 220 p.], monographs, scientific articles. At the same time, as a dynamic system, it needs deep scientific reflection, constant monitoring, and description of the main trends and directions of development. A special place in the national women's discourse is occupied by the work of Alina Podgornova, whose poetry books "Except rhymes" and "Stranded" ("Thought") they were highly appreciated by literary critics." The work has a fairly complete appearance, the basic / component parts are thought out, the assessment methodology corresponds to current trends. I believe that the main line of research is supported: such scientific overtones as "the lyrical heroine of A. Podgornova is a complex nature, on the one hand, strong, energetic, active, categorical, capable of protest, on the other – vulnerable, defenseless, sensitive, but in any case causing a variety of emotions, forcing the reader to reflect. The images through which the lyrical "I" is realized are interesting – a chick that has fallen out of the nest, a restless atom, a trumpeter musician, a young man, a mythological character, etc. Let's trace them by analyzing a number of works." The effect of the dialogue, which is expressed in the article, is, for example, legitimate, attractive. The author's point of view is built "as if from" what has already been said, but clearly not in tracing paper / repeat mode. The constructiveness of the researcher's position is understandable, partly simple, but verified: "the poem "Eleada, or Anti-Reincarnation" is built in the form of a dialogue between the heroine of ancient Greek mythology, Helen of Troy, the wife of Menelaus, and a modern woman. Through irony, the author manifests the difference in their worldview and value priorities. The wayward, self-loving and selfish "daughter of the gods" calls herself "the most beautiful of women", regardless of moral norms, openly declares that she wants new love, passion...", or "in the poem "Monologue of the trumpeter", a feeling of dissatisfaction and disappointment characteristic of postmodern consciousness is clearly traced. The work contrasts the musician and the crowd. The author positions himself as a trumpeter, whose musical gift is wasted, because people who do not understand the essence of true art come to listen to him, who want to satisfy boredom and melancholy: "I played for you. To me, someone else's husband, / You were going to quench your longing." The musician's self-sacrifice is conveyed through an extended metaphor: "I played for you. / I have opened my soul to you. / I took the doors and locks off their hinges..." etc. The style of work correlates with the scientific type itself, even the so-called "conversational tone" is sometimes appropriate, situationally justified: "A. Podgornova's lyrics are characterized by the actualization of ethnocultural problems associated with the destruction of national identity, the leveling of the traditional cultural principle, the rejection of the native Erzya language by society. The voice of the poetess is especially critical in the poem "I am a part of the people, a restless atom...", which depicts a picture of the decomposition of the national world. The lyrical heroine positions herself as a "restless atom": she is constantly in motion (not only physically, but also psychologically), cannot live calmly and steadily, there are many problems and negative emotions around her...". The conclusions of the text correspond to the main part, there are no discrepancies, no actual fragmentation; terms and concepts are introduced into the fabric of the article, taking into account connotations. I think that the conclusion from the text is correct: "in the analyzed poems of A. Podgornova, the lyrical "I" is represented through various images (a chick "outside the nest", a man, a restless atom, a trumpeter, a mythological character, etc.), expressive (metaphor, symbol, irony), lexical, syntactic means of imagery. Tragic worldview, reflection of negative manifestations of reality, leveling of the universal value code dominate in the works. The images and motifs realized in A. Podgornova's poetry testify to her creative search, her desire to go beyond traditional poetics." The material has a pronounced practical novelty, it is advisable to use it in the mode of mastering data on the history of modern literature and the culture of Mordovia. The general requirements of the publication are taken into account, no serious editing of the text is required. I recommend the article "The representation of the lyrical "I" in the poetry of A. Podgornova" for publication in the journal "Litera" of the ID "Nota Bene".
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