Information about the author:
Maxim V. Skorokhodov
Maxim V. Skorokhodov — PhD in Philology, Senior Researchук, Department of Modern Russian Literature and Russian Literature Abroad, A.M. Gorky Institute of World literature of the Russian Academy of Sciences, Povarskaya 25 а, 121069 Moscow, Russia.
ORCID ID: https://orcid.org/0000-0002-6390-5670
E-mail:
This study was carried out at IWL RAS with a grant from the Russian Science Foundation (project No. 22-18-00051), https://rscf.ru/project/22-18-00051/
Abstract:
The article examines the features of the “dacha topos” in the Russian literature of the Soviet period, traces its connection with the “estate topos”, and notes their common elements characteristic of both toposes. Special attention is paid to the garden, including the nightingale garden, referring to Alexander Blok’s poem “Nightingale Garden” (1915). The estate or dacha garden, associatively connected with the Garden of Eden, turns out to be important for both the estate and the dacha, which is reflected in the poetry of the middle and second half of the 20th century. In a number of the works under consideration, the dacha life is associated with a serene pastime, and the dacha is associated with a place where one can hide from the hectic city and everyday problems faced by man. A dacha allows one to be secluded and devote oneself to creativity. However, in some cases, such as in the lyrics of Anna Akhmatova, dacha solitude turns out to be a disharmonious factor. Not only the pages of the creative biography of a number of Russian poets of the Soviet period are connected with the dacha and the estate, but also the memory of them: Akhmatova is buried in the cemetery in the dacha Komarovo, and Yulia Drunina committed suicide in 1991 in the dacha in the village “Soviet writer”. The analysis shows that the “dacha topos” had a significant influence on Russian poetry of the Soviet period.