Филологический класс (Oct 2022)
The Lyrical Works of Lydia Khaindrova: Motif Specificity and Artistic Genealogy
Abstract
The article deals with the lyrical works of Lydia Khaindrova, a poetess whose poetic activity was in full swing in the first half of the twentieth century in Harbin and Shanghai. The urgency of the study lies in identifying the specific features of the poetics of Khaindrova’s collections, which can help clarify the ideas about the literature of the eastern branch of the Russian emigration. The cultural-historical, phenomenological, typological and comparative approaches serve as the methodological basis of the study. The purpose of the article is to present Khaindrova’s lyrical works in their unity with Russian culture and, in particular, with the Silver Age, from which emigrants, despite the circumstances, were not cut off either during the era of the revolution or in subsequent years. The article presents the responses to Khaindrova’s lyrical works and creative activity from “Poem Without an Object” by Valery Pereleshin, a famous oriental emigrant who ended his days in Brazil. In addition, the study notes the special links of Khaindrova’s poetry with Anna Akhmatova’s works (up to imitative elements) and analyzes individual poetic parallels. The poetic and human affinity of Khaindrova with Larissa Andersen is also indicated – the mentions in the “Poem” by Pereleshin, the letters, and Andersen’s review of the poem “Topolikha”. The study considers the lyrical cosmos of Khaindrova – the main motifs and images that fill her poetic collections: apocalyptic motifs, the clash of “flowers of evil” and “gospel thunderstorms”, floristic images, garden as a metaphor of fate, the metaphor of love and in some cases loneliness, etc. The author demonstrates the romantic orientation of the poetess: many motifs of her lyrical works are borrowed from the romantics (thunderstorms, mountains, road, way up, fall), but at the same time, there is no sharp opposition in her works, no distinct antitheses, no strong emotions of denials. Khaindrova does not make experiments in poetry, does not taste various meters and rhythms, and does not shock the reader with frightening images – her poetry is quiet, calm and unsophisticated.
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