The author of the article analyses this phenomenon on the example of literature based discussions among researcher provided by V. Lepahin and M. Maslova. The main subject of discussion is a poem of Nikolay Gumilyov’s Andrei Rublev. In this particular case this had led to the fact that researchers were unable to see obvious connection with the Song of Solomon in the poem by Nikolai Gumilev and came to the false conclusion of incompetence Nikolai Gumilev in biblical matters. The article helps to understand some of the trends that are popular in modern Russian literary study.
The foregoing article is an attempt at answering the question, whether Fiodor Sologub is rightly called a eulogist of evil and an apologist of devil, as well as a God-iconoclast. For this purpose the author is trying to revise the hitherto views concerning the fi gure of God in the lyric of the Russian poet. In the effect of conducted studies it was established that the myth of Sologub, “the literary Jack the Ripper”, functioning well until today was based on unjust and often prejudicial opinions of persons from the symbolist’s generation, as well as of the later experts in literature, who ascribed to them the “crimes” committed by the protagonists of his novels (sadism, erotomania, necrophilia and Satanism). The key problem of God-iconoclasty in turn, as it has been revealed, is connected with the issue of literary mask, a play with the reader. On one hand, the poet’s God-iconoclasty is an attempt of “getting inscribed” in the creative tendency that predominated in the Russian literature of that time (the “diabolic symbolism”), on the other – it constitutes one of the stages in looking for God and the development of lyrical “I”, carrying autobiographical traits.
This article presents a comparative analysis of two poems, Stéphane Mallarmé’s ‘Soupir’ (1866) and Wacław Rolicz-Lieder’s ‘To My Sister’s Smile’, published in 1891. ‘Soupir’ is one of Mallarmé’s early poems, yet in many respects, as this analysis demonstrates, looks forward to the French poet’s mature phase and foreshadows the poetics of Wacław Rolicz-Lieder. Chief among the similarities are the autothematic focus and the intent to convey feelings of emptiness and longing for an ideal in poems refined to the point of préciosité. However, for all their preoccupation with the craft of poetry, either poet believed that inspiration was absolutely vital for creativity. This article argues that Mallarmé’s poetics, especially his ideas of inspiration and originality, was taken over by Wacław Rolicz-Lieder, who adapted it to suit his own poetic project.