YAKOV POLONSKY. “AFTER THE FEAST”, 1849: TEXT AND OFF-TEXT

Abstract

Georgia left a bright trace in the life of the outstanding Russian writer, poet, novelist and playwright Yakov Polonsky (1819-1898). His five years in Tbilisi became crucial in his creative fate: published in Tbilisi collections of poems created in the Caucasus (“Sazandari” 1849, “Several Poems”, 1851) were appreciated and made him famous. The aim of our study was to reveal the connection between the Georgian reality and specifics of its comprehension and refraction in the romantic discourse of the poet. The study material was the discourse of the text of the poem “After the Feast” (1849), Polonsky's realistic essay and excerpts from the poet's letters to friends. Such a study was carried out for the first time. The results of the analysis allow us to analyze the poet's personal relations with representatives of Georgian intelligentsia and the accepted at the time socio-cultural behavior of Georgian aristocracy at the time.

Extended abstract:

Georgia left a bright trace in the work of the outstanding Russian writer — poet, novelist and playwright Yakov Polonsky (1819-1898). Years spent in Tbilisi turned out aspivotal in the poet's creative fate: in Georgia Polonsky realized his calling as an artist, and his poems published in Tbilisi (“Sazandari”, 1849, “Several Poems”, 1851) were appreciated and brought recognition of his contemporaries.

The purpose of our research was to establish the correlation between the Georgian reality and the characteristics of its perception and interpretation in the romantic discourse of the poet. The study material is composed of the discourse of the poem "After the Holiday" (1849), Polonsky's essay "A few words about Georgian holidays in general and on the occasion of Martkopi" (1848), published in the "Transcaucasian Bulletin", and extracts from letters to friends, where Polonsky illustrated his impressions of visiting Martkopi holiday.
The poem's poetics align fully with the romantic traditions of the Caucasian text in Russian literature. Descriptions of wild nature, such as "ruins" and "uninhabited gorge," are present, as is the militant local population with their "shooting, and a drum, and howl of a zurna." The poem creates an oriental feast atmosphere, "hundreds clapped hands" and "from mouth to mouth went azarpesha" are mentioned, and local realities such as zurna, azarpesha, arba, katiba, and bicho are incorporated into the text. Additionally, the romantic hero, disillusioned with love, is present. The portrayal of Maiko, a young dancer, whose pair of buffalos struggle to pull her arba, blends smoothly with the overall imagery. The specificity of the artistic realism lies in the fusion of romantic themes and realistic particulars. The allusion to pure young love serves as a key element in conveying meaning. Taking into account the relevant facts, it can be construed that the opposition between the "cold fervor of the heart" and "un-cold blood" represents a contrast between the elevated, romantic love of the past and the earthly passion of the present.
The visit to Martkopi is linked to a biographical event from J. Polonsky's life. P. The tradition of celebrating Christian holidays (including those observed in temples) has endured in Georgia up to the present time. The poem depicts a jovial and hospitable atmosphere. By contrasting the realistic portrayal of Martkopi holiday and Polonsky's musings on Georgian folk festivals with the emotional experience conveyed through the romantic language of the poem, the additional semantic layers of the poem in relation to reality were revealed. By contrasting the realistic portrayal of Martkopi holiday and Polonsky's musings on Georgian folk festivals with the emotional experience conveyed through the romantic language of the poem, the additional semantic layers of the poem in relation to reality were revealed. By contrasting the realistic portrayal of Martkopi holiday and Polonsky's musings on Georgian folk festivals with the emotional experience conveyed through the romantic language of the poem, the additional semantic layers of the poem in relation to reality were revealed. This study marks the first of its kind.
The findings enabled analysis of the poet's interpersonal connections with Georgian intelligentsia and the socially prescribed conduct of the Georgian aristocracy during that era.