The article scrutinizes a poem by Olga Berggolts named Babye Leto correlating the said text with its rhythmic prototype, poem Bezglagol’nost Konstantin Balmont. The rhythmic and semantic structures of both texts are analyzed. The prosodial sameness indicates a formal relation, yet it also motivates a relation of the contents. This permits Babye Leto not just to preserve the rhythmic image of Bezglagol’nost, but also to correspond with the latter in thought development. Catch-ing up the rhythmic impulse of Balmont’s poem, Berggolts inherits its elegiac mood, theme, key motives.
|
