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Il grande volo della gru di Blok: da nome a simbolo
The Great Flight of Blok’s Crane: From Name to Symbol
Cavaion, Danilo
2024
Abstract
In Blok’s poetry the recurrence of a few lexical items is noticeable. The analysis of the text shows that frequently this is not the case of a simple repetition but, on the contrary, of a path, follow ing which a name/image can resolve into a symbol. From this perspective the author has developed an inquiry about the term “crane” (žuravl’). The term recurs in ten different situations. The first time it occurs in Kak mučitel’no dumat’ o sčast’e bylom (1898), where it has only an ornamental function. In the following poems the word “žuravl’” undergoes an oxymo ronic process. Significant steps of this “flight” are the poems Zolotistuju dolinoj (1902) and V uglu divana (1907), where the crane represents the synthesis of silence and movement: for the Russian poet, the two essential forces of artistic creation. A new development occurs in Rus’; in this poem the bird becomes the Russian coat of arms. The point of arrival of the wading bird is the seventh lyric poem, Verby – ėto vesennjaja tal’ (1914), from the collection Carmen: here it represents the highest synthesis of the previous values, a rise fostered by its involvement in History.
Nelle poesie di Blok si constata il frequente ritorno di alcune presenze lessicali. L’analisi dimostra che spesso non di una semplice ripetizione si tratta, ma di un percorso, per cui un nome/immagine può risolversi in simbolo. In questa prospettiva l’A. ha sviluppato la sua indagine sul nome “gru” (žuravl’). Tale termine ricorre in dieci diverse occasioni. La prima volta esso compare in Kak muči tel’no dumat’ o sčast’e bylom (1898) in cui mostra un valore solo esornativo. Nelle poesie successive “žuravl’” conosce un processo ossimorico. Tappe importanti di questo “volo” sono le poesie Zolotistuju dolinoj (1902) e V uglu divana (1907) in cui la gru appare la sintesi di silenzio e di movimento: per il poeta russo, le due forze fondamentali della creazione artistica. Un nuovo sviluppo ha luogo in Rus’; in questa poesia l’uccello diventa lo stemma della Russia. Punto d’arrivo del trampoliere è la settima lirica, Verby – ėto vesennjaja tal’ (1914) della raccolta Carmen: qui esso si presenta come la superiore sintesi dei precedenti valori, una lievitazione favorita dal suo coinvolgimento con la grande storia.
In Blok’s poetry the recurrence of a few lexical items is noticeable. The analysis of the text shows that frequently this is not the case of a simple repetition but, on the contrary, of a path, follow ing which a name/image can resolve into a symbol. From this perspective the author has developed an inquiry about the term “crane” (žuravl’). The term recurs in ten different situations. The first time it occurs in Kak mučitel’no dumat’ o sčast’e bylom (1898), where it has only an ornamental function. In the following poems the word “žuravl’” undergoes an oxymo ronic process. Significant steps of this “flight” are the poems Zolotistuju dolinoj (1902) and V uglu divana (1907), where the crane represents the synthesis of silence and movement: for the Russian poet, the two essential forces of artistic creation. A new development occurs in Rus’; in this poem the bird becomes the Russian coat of arms. The point of arrival of the wading bird is the seventh lyric poem, Verby – ėto vesennjaja tal’ (1914), from the collection Carmen: here it represents the highest synthesis of the previous values, a rise fostered by its involvement in History.
Journal
Source
Danilo Cavaion, "Il grande volo della gru di Blok: da nome a simbolo" in: "Slavica Tergestina 32 (2024/I)", EUT Edizioni Università di Trieste, Trieste, 2024, pp. 96-127
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it
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ru
Rights
Attribution-NonCommercial-NoDerivatives 4.0 International