Abstract:
The close attention of researchers to the epistolary heritage
of three great European poets scattered across different countries
– Boris Pasternak, Marina Tsvetaeva and Rainer Rilke, who were connected
by incredible and in many ways tragic circumstances, testifies
to how important for them, who were at odds with the existing reality and completely whelmed by creativity, was a spiritual and aesthetic
connection with each other.
In June 1926, the greatest German-speaking poet of the 20th
century, Rainer Maria Rilke, sent Tsvetaeva two of his books and a
letter: “Dear poetess, now I received a letter from Boris Pasternak
that shook me endlessly ... Excitement and gratitude – all that his
message stirred up in me – must go from me (as I understood from
his lines) first to you, and then, through your mediation, further to
him! The epistolary love triangle of the poets who never met during
this time lasted a few months – at the end of December 1926, Rilke
died. Marina found out about this on New Years Eve. And she wrote
him a posthumous letter, in which there were such words: “Beloved, I
know that you read me before I write ... Rainer, You are still on earth,
not even a full day has passed.”
The purpose of the presentation: to substantiate the assertion
that the assembly of the literary letters of three poets can be defined
as an epistolary variety of dramatic discourse, in which the participants
in the correspondence appear before each other in certain situational
and communicative roles, and their letters are perceived as
monologues-replicas of; protagonists in their fictional novel about
love, jealousy, betrayal and separation.
The letters of famous poets to each other tell not only a story
of invented love, but also real stories of everyday existence and creative
work, awareness of the processes of poetic art, the search for
clear and concise means of expression, precise wording, a critical
examination of works of art, a discussion of the creative manner of
poets of the ways of past and present.
Particular attention is paid to the semasiological analysis of a
special poetic language saturated with metaphors, in which brothers
in the poetic art communicated only with each other, and consideration
of the ways of presenting information in their messages.
