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UDC 821.161.1-1
DOI 10.20339/PhS.6-25.100
The article is devoted to the conceptual element of L.N. Martynov’s poetics — the image of air frigates. The study indicates that the genesis of the image is driven by the intentions of L. Martynov’s creative dialogue with predecessor poets (K. Balmont, I. Bunin, N. Gumilev, D. Burliuk, G. Maslov), and is also shaped by L. Martynov’s autobiography and the overarching logic of his creative path. The analysis establishes how the semantics of the image was transformed during the creation of the poem’s editions “Air Frigates”. In the early text editions (1922–1924), the poet emphasized historical-political allusions, thanatological and Gothic motifs, as well as motifs of freedom and wanderings. In the 1970s edition, the motif of the frigates’ freedom was preserved; however, the image of the ships, along with the text’s overall concept, acquired greater universality and generality. This later version made discernible the motif of freedom and geographical discovery, an admiration for the sailors’ vibrant life, and, furthermore, introduced the possibility of poetological allusions — a reflections on the nature of inspiration. It is noted that by choosing a single title (“Air Frigates”) for a poem, a short story, and a book, Martynov linked his early poetic experiments and his mature work into a single chain, creating a hypertext that allows tracing the trajectory of his authorial path. The poetic world of the poem “Air Frigates” showed that the poet was engaged with the heritage of both Russian and foreign literature. The book of short stories “Air Frigates” demonstrated that the sphere of his creative communication had expanded — now encompassing not only literary classics but also a cross-cultural dialogue with his contemporary, the Kazakh poet O. Suleimenov.
Keywords: L.N. Martynov, Siberian literature of the 20th century, image of air frigates, O.O. Suleimenov, cross-cultural dialogue
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