Acmeist Traditions in A. Steiger’s Lyrical Poetry

Abstract

This article traces the evolution of the acmeist pattern in A. Steiger’s lyrical poetry, which is related to the metamorphoses of the pastoral complex in its ekphrastic expression. His early books are analysed from the perspective of the author’s focus on Saint Petersburg poetics learned through G. Adamovich. There is a clear link between Steiger’s first poetic experiments and the lyrical poetry of G. Ivanov in terms of the pastoral complex present in them as an option of manor themes; a leading role is given to ekphrasis that combines both word and painting, which fully meets the acmeist objectives. Steiger’s lyrical poetry is considered in its development, and the poet’s understanding of the basic ideas of the “unnoticed generation” (V. Varshavsky) in it. The author characterises the influence of metropolitan acmeists (N. Gumilyov, O. Mandelstam) as well as the development of the rethinking of acmeist traditions in the lyrical poetry of “senior emigrants” (G. Ivanov, N. Otsup). In addition, the article identifies the features underlying the poet’s interpretation of acmeist traditions of the Parisian Note. The author singles out the existential motifs dominating in the poet’s later works and defining the anti-pastoral trends in his last books; this can be seen as a mutual influence of Steiger and G. Ivanov, which is due to their focus on acmeism as a common cultural field.

Keywords

• А. Штейгер
• «незамеченное поколение»
• Парижская нота
• акмеистические традиции
• пасторальный комплекс
• усадебный топос
• экфрасис
• экзистенциальные мотивы.