Akhmatova. Dante. Crimea. (To setting of problem)
The paper investigates parallels and analogies between A. Akhmatova’s lyrical poetry of the 1910–1920-ties and Dante’s «Commedia Divina». New biographical and poetological research strategies have been suggested and probed. On the referential level Dantean motives are implemented in Bakhchisarai topos, both textual (locatives) and extra-textual (Bakhchisarain valleys and rocks). The ring of these rocks, their ledges bring forth direct associations with Dante’s Inferno. In the same way Akhmatova’s symbolic images of «valley», «gate», «stairs» etc. resemble similar Dante’s imagery. On the whole «golden» Bakhchisarai of Akhmatova’s short poem appears both as an infernal and a celestial town. On the plot level Dantean motives are manifested in temporal imagery and in the plot of magic love meeting, with parting for ever. Among these temporal images we can see «stars» for night, «golden» for sunny day, «red» (the sunset colour) and «the reign of shadow» for evening. In space, the meeting-and-farewell plot may works as a dream of eternal happiness (Paradise), turning into waking up for eternal departure (Inferno). On the characterological level Dantean motives transform all personages in Akhmatova’s poem into a projection to those of Dante’s Commedia Divina. Thus, Akhmatova’s «He-She» lyrical pair can be projected upon Paolo and Francesca, just as pairs of Poets (Vigil-Dante, or Derzhavin-Poushkin, or Akhmatova-Niedobrovo). These projections are crowned with Muse (or Muses) – Dantean, Poushkin’s and Akhmatova’s spiritual symbol.