Poems by Vyacheslav Ivanov " Vacation... Blue ... " and "Vacation, or pesya bes..." are included in the cycle "Roman Diary of 1944". In terms of the vividness of the image of Rome reflected in them, these are very "Roman" poems, and in terms of the accuracy and expressiveness of the calendar time captured in them, they are very "July"poems.

The time of writing poems is indicated by the word Vacation, which is close to the "vacation" learned in Russian (break in classes in educational institutions for summer or holiday time-Explanatory Dictionary of the Russian language. Edited by D. N. Ushakov, Moscow, 1934, Vol. I. P. 1304), here the word vacation is a Russian phonetic variant of the Latin canicula, a diminutive of Canis in the second meaning - "constellation of the Dog" (Latin-Russian dictionary. Under the general editorship of S. I. Sobolevsky, Moscow, 1949, p. 135). The dictionary explains: "the early sunrise of this constellation, in mid-July, heralded the onset of the hottest season" (our italics. - A. G. ) .

In the poem " Vacation... The meaning of heat, heat develops in the context closest to vacation, which conveys the perception of Mount Montegennaro: "The blue Mountain of Blessed Gennara Does not conjure: the dry heat has become a dull veil." In the poem "Vacation, or pesya bes...", the motivation for Vacation is explained immediately-pesya bes, the literal meaning of this Latin word is "constellation of the Dog". The second component of this image - the demon - could have arisen as a result of the convergence of the combinations "noonday heat" and " noonday demon "(see Ps. 90: "Do not be afraid from the fear of the night, from the arrow flying in the days, from the thing in the darkness coming, from the sryashcha, and the noonday demon "). Secondly, the word heat is used here, with which the word inflamed is semantically consistent in the combination hail... inflamed, which is interpreted as "painful, accompanied by fever" (Explanatory Dictionary of the Russian language. Ed. Ushakova, T. I., p. 370). Third, the meaning of the heat, the July heat, is associated in the poem with such images as: the Eden of Nature, the lizard, the cracked stones, the gentle surf of the Wave to the sloping sand, the terrace shaded.

To consider the peculiarities of poetic perception of the world and individual style of Writing. Ivanova, here are the texts of these verses:-

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works in full (quoted from the publishing house: Ivanov Vyach. Sobr. op., Brussels. 1979. Vol. III. pp. 621-622; further-only volume and pages).

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Vacation... Blue

Mount of Blessed Gennar

Does not conjure: dry heat

It glowed with a dull haze,

Draughts from the groves of Chelimontan.

Beyond the Karakall Wall

Ark turns white Lateran

With Thothmes ' needle discharged.

Near-Balbiny ancient skeleton.

And cypress trees like kings, -

Sunflowers, vacant lots:

Looks like the outskirts of the village,

The Neighborhood Housing Ring

Let the sunset expanse is built up, -

All because of the roofs and linen

I'm honored to see the dome.

July 29.

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Vacation, or pesya bes...

The nations were crowded together in herds:

Not to the free world, not to fashion.

And the old effeminate arrogance

She drove to the Eden of Nature.

Only lizard love here,

In the cracked stones and heat.

Yes to me. About the gentle surf

Waves to sloping sand

I don't dream in a corner

My shaded terrace,

Looking at the hail inflamed.

July 29.

Compared poems not only start the same way, but also have similarities in the last line. These are verb forms with the meaning of contemplation or visual perception (I am honored to see the dome and looking at the city inflamed), they generally play an essential role in the poetic language of Vyach. Ivanov, who belongs to the-

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tours of the contemplative type, as he himself says in his "Letter to Charles du Bose" (Ivanov Viach. Archival materials and research, Moscow, 1999, p. 84).

How does the Russian poet, who lived in this city for a long time in his youth and settled in it forever since 1924, see Rome?

In the first of the poems, the image of Rome is saturated with toponymic details: from the Mount of Blessed Gennara, a Catholic hieromartyr, to the dome of St. Peter, the main shrine of Rome (see note. to the text of R. E. Pomirchego in the publishing house: Ivanov Vyach. Poems. Poems. Tragedy, St. Petersburg, 1995, Book 2, P. 354). Between them are: Celimontana-a Roman villa in a picturesque area, Caracalla Wall-ruins of thermal baths, i.e. public baths built under the Roman emperor Caracalla, Lateran-papal palace, called here the ark, needle of Thothmes - meaning the Egyptian obelisk of the Basilica of van Giovanni, Balbina-ancient Christian cemetery and church in Rome. All these holy and famous places emphasize the sacredness and royalty of Rome. Hence the comparison of cypresses with kings: And cypresses, like kings, and the bookish, high coloring of the words: Blue; Zamglilas; Ark; ancient skeleton; honored; needle of Thothmes written out.

However, along with this, the poet sees the most ordinary, prosaic things in the life of the royal city: Sunflowers, vacant lots, the outskirts that Look out ... the village; A ring of neighbors ' housing; sunset, roofs and even-linen. At the same time, the greatness of the holy city is not diminished in the least, but takes on the fullness of being. Stylistically, this image of the perception of Rome is emphasized by having a colloquial coloration Near and Yet.

In the poem "Vacation, or pesya bes..." there are no toponyms at all, except for the mythological Eden. The focus is on something else. So, already in the second and third lines, the image of the peoples crowded together in herds: Not up to the freedom, not up to fashion, is connected with impressions of the presence of allied troops in the city because of the war that has not yet ended, which violates the established order of things, changes habits and customs.

The entire second stanza of the poem is contrasted with the first one in terms of its pronounced I-subjectivity: Only the lizard is happy here, In the cracked stones and heat. But to see the intense heat of the city through an image taken from the natural world - the image of a lizard, so to look closely to feel that it is loved here, only the I-subject can. The connecting construction Yes to me directly detects it in the text. Among other manifestations of I - subjectivity in the text are the pronominal forms: I, my and verb-dream.

To describe the" content "of the lyrical "I", it is necessary to consider its predicates and the immediate meanings of the poem. Преди-

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the katas of the I-subject in this poem are: liubo (me) - one of the words of the category of state and the conjugated verb form (not) dream. They are joined by a general tendency in the poetic text - to continuous predicativity - and the adverbial participle looking. Immediate meanings are represented by groups of secondary members of the sentence that extend these predicates. See any-where? - here, In the cracked stones and the heat; I do not dream and (indirectly) any-where? - in corner of My shaded terrace, Looking at the hail inflamed. The main thing in the semantics of predicates, and in the circumstances and additions that extend them, is connected with the completeness of being experienced by the lyrical "I". What is remarkable is identification (via homogeneity and the general predicate any ) I and lizards are an image that combines in mythological representations the opposite meanings of water and fire (see Dragon in: Myths of the peoples of the world, Moscow, 1987, vol. I. P.394), correlating with coolness, moisture and intense heat.

It is interesting, in connection with the semantic structure of "I", to pay attention to the syntax of the utterance: I do not dream of the gentle surf of the Wave to the sloping sand in the corner of My terrace shaded ... - where first there are attractive images of the water element, and then, after the verb with a negative I do not dream, images describing the real situation in which the lyric subject is located. Semantic identity and contrast, polarity - this is how the poetics of this text fragment can be described in general.

The fact that the 1944 poem could reflect the author's impressions of the Roman holidays of previous years is indirectly indicated by the poet's biographer O. A. Deschart, recalling July 1928. Then Vyach. Ivanov came to Rome from Pavia, which was damp, foggy and unusually dark for Italy, after university exams (i.e., during the holidays in the literal sense of the word in Russian). Meanwhile, "the inhabitants, everyone who could, were leaving the "inflamed city", " Deschart finishes, quoting: Only the lizard likes it here, In the cracked stones and heat. Yes to me (Ivanov Vyach. Edict. soch. T. I. P. 220, 221).

The peculiarity of this poem is a fairly high frequency of attribute combinations: pesya bes'; pampered arrogance; cracked stones about the gentle surf, sloping sand, shaded terraces, hail... inflamed. There is also a noticeable increase, compared to the first poem, in the vocabulary that has an archaic or colloquial coloring: pesy (obsolete), herds (razg.), crowded (razg.), old (poet.), lubo (obsolete), corner (reduced), bes, as well as phraseological constructions: Not to the freedom, not to fashion, connecting And old, But to me. Book coloring has: Vacation, Eden, and also the city looking inflamed. And in the second poem, the poet's attitude to Rome is reverent and respectful.

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Reading both poems brings to mind lines from Dante's Paradise: All this city, calm and blissful, was filled with ancient and new crowds... I looked, loving, to one sacred dream... Once the barbarians who came from the region... After seeing Rome and how it is brilliantly decorated. They marveled at the majestic Lateran raised Above the world (Alighieri Dante. The Divine Comedy. Part three. Paradise: Song 31. Translated by M. Lozinsky, Moscow, Nauka Publ., 1968).

In the cycle "Roman Sonnets" Vyach. Ivanov said back in 1924: "I welcome you as the vault of my native home. You, wandering pier, eternal Rome." From the considered poems, it is clear that the poet felt his organic rootedness in the eternal city.

Analysis of the semantic structure, composition, and linguistic stylistics of these poems in Russian. Ivanova can be supplemented with comments about their sound organization.

The sound fabric of both poems is permeated with repetitions: Vacation... Blue, Blue Mountain, Mountain... Gennara, blessed Gennara, the sunset is built up. The key sound images of the first text are z, z and r (see Blue, the Mountain of the blessed Genara does not conjure, heat Zamglilas, Draughty, Karakallova, Laterana, Near, kings, sunset, built up, etc. The second text draws attention to the contrast of two sound patterns: "wet" l and energetic r: affectionate... the waves... sloping ... corner, terraces... hail... looking out. Unusually few here are characteristic of Vyach. Ivanov's early and middle periods of creativity (see the collection "Helmsmen of the Stars", "Posrachnost", "Cor Ardens", "Gentle Mystery") of sound condensations of consonant groups, difficult-to-pronounce combinations of consonants in words and at the junctions of words: zamglilas, dim, groves of Chelimontana, sunset expanse, looking hail (cf. An analysis of striking examples in this regard is given in our article "Pushkin's sound images in the" Bronze Horseman " Vyach. Ivanova" / / Russkaya rech. 2001. N 3. P. 14). The principle of sound organization of these poems can be defined in the words of Vyach himself. Ivanova on Pushkin's sound images: "the desire not to deliberately make visible the translucent, but as if inwardly turned pattern of sound fabric "(IV, 343).

Luhansk, Ukraine

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