Article

Name: MOTIF OF DANCE IN THE I. ANNENSKY’S LYRIC

Authors: N. V. Nalegach

Kemerovo State University, Kemerovo, Russian Federation

In the section Literary Life of the Plot

Abstract: The article is devoted to the consideration of I. Annensky's poems, in which the images and motifs of the ancient dance, waltz and cakewalk perform an important semantic role. Historical marking in the poetic world of Annensky's ancient and modern dances allowed to suggest that in the author's worldview they become symbols of various cultural epochs: antiquity, on the one hand, and romanticism and modernity, on the other, of the past and the present, embodying deep rhythms in music and plastic, connecting man with his time. The image of dancing in the poem «The Second Piano Sonnet» is related to the past. The motifs of this poem resonate with the observations of Annensky from his work «Dionysus in Legend and Cult», whereby the dance of the keys-dancing expresses the ancient relation of man to destiny. Submission to the fate of an ancient man, metaphorically likened to the keys of a musical instrument, the ability to directly respond to the will of the higher Musician, gave him a certain spiritual independence from this fateful force. The unwillingness to notice the Musician-Fate, the substitution of her contemplation and her attention with the improvisational movements of the newfangled dance, nevertheless, does not result in freedom from fate but, on the contrary, inability to take place from within her comprehension, which gives rise to the epithet – «hollow dancers» in the poem «Cakewalk on cymbals». It is significant that the dizzying delightful waltz, to which the lyrical hero aspires in the poems «Oh no, not stature» and «Smokes», is replaced by a dynamic and rather funny cuewake, reflecting the convulsive rhythm of modern times, which, nevertheless, is still the same subordinated to fatal laws of the Musician-Fate. The dancers who perform waltz and cakewalk are united in his poetry by the fact that they do not even notice the fatal predestination of the figure of the dance. This blindness qualitatively distinguishes them from conditional ancient dancers from «The Second Piano Sonnet», gaining inner freedom from fate in external obedience to him. However, even modern dances still bear the invisible seal of Dionysius. Thus, any dance involuntarily pushes a person to face life in its immediacy, despite the urbanized reality dictating a person to self-determination as a demiurge, turning around in the process of dancing one of the masks falling in the finale of life as a dance, which is most evident in the poem «Cakewalk on cymbals».

Keywords: i. annensky, dance, cakewalk, waltz, ancient dance, motive, lyrical plot

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