Preface
As the founder of Russian philosophic poetry, Yevgeny Abramovich Baratynsky's poetic achievement was early recognized in Russia and the West.But in China, the study of Baratynsky is a blank, and even the basic translation has not yet begun, which is totally unmatched with his status in the history of literature.In Russia, the research on Baratynsky is relatively abundant, but the problems such as the individual concept, the relationship between time and space, the dialogue between past and future of Baratynsky's poetry have not been deeply discussed and researched yet. Choosing Baratynsky's philosophical lyrics as the research object, the book probes the artistic characteristics and value of Baratynsky's philosophic poetry creation by focusing on the individual concept, the relationship between hometown and foreign town as well as the dialogue with future.
The book consists of seven parts.
The Introduction begins with a general survey of Russian study in Baratynsky's poetry and some blind research spots, then focuses on the status of translation of Baratynsky's poetry in China and points out the author's experience and insights about translation of Baratynsky's poetry, and at last produces the study tasks and solutions.
Chapter 1 deals with the individual concept in Baratynsky's poetry. Baratynsky's understanding of“people and the world”essentially differs from the dominant romantic“individual view”in the early 1820s.The decisive position in his lyric poetry is occupied by neither a person's fate, nor the personality.His individual image and personal emotion are not a part of the individuality, but deindividual, devoiced from daily life, and thus become the abstract individuality.
Chapter 2 focuses on the problems of hometow n in Baratynsky's poetry.Hometow n and foreign tow n are a pair of contradictions in Baratynsky's scenic poems.If there is no hometow n, there is no foreign town; without nostalgia, there would be no hometown.Baratynsky's hometow n and nostalgia are achieved through direct description of scenery and the four seasons scene of hometow n, and he also reflects his ow n national characteristics by exotic description.His poetry begins with homesick, does not end with life, but finally evolves into the exploration for time and eternity.
Chapter 3 focuses on the influence of Baratynsky's poetry on symbolic poetry and poetry of the 20th century.Meanwhile, the response of symbolic poetry to Baratynsky's poetry is also explored.Many symbolic poets regard Baratynsky as the direct pioneer of Symbolism.His metaphysic poetry is accepted by them in the context of Symbolism.Symbolic poets often draw direct attention to Baratynsky'poetry through the use of the frontispiece, inscription and quote, responding to Baratynsky's tradition in their ow n creative practice.Associating poetry writing and text analysis, younger readers discovered a new continent of Baratynsky's poetry on the territory of Russian literature.
Chapter 4 focuses on dialogues with the future in Baratynsky's poetry. Time in Baratynsky's poetry is not completely corresponded to the time in reality.All the seasons contain the metaphor of the past and the future. With the dialogue theory to read“Autumn”, the tragic connotation of Baratynsky's poetry may need to be interpreted again.The dialogue with future contains good wishes about reincarnation, and becomes a touch of light of pessimism at the end of the century.Baratynsky believes that his poetry is“for the future readers”, and the poets at his time can be his friends, but not his real readers.
Chapter 5 studies the modern value of Baratynsky's pessimistic poetics.Most Baratynsky's late lyrics penetrate with profound pessimism in art, based on irreconcilable antinomy.But his poetic view is very serious and positive.He thinks that poetry bears ultimate responsibility of exploring human thoughts, w hich is an important part in the development of human rationalism.
The Conclusion summarizes the main idea of the five chapters and expounds the realistic significance of the study of Baratynsky.