Iranian Poets and Poetry in the Vision of Russian Poets (Linguoimagological Aspect)

In the article on the material of works of Russian poets who wrote about Iran / Persia ("Persian motives" by SA Esenin, "Death of Vazir-Mukhtar" by YN Tynyanov, the fundamental work of Iranian colleagues Marzieh Yahyapour and Janollah Karimi-Motahhar "Saadi and Russian poets”), the image of this country is recreated, which is the goal of linguoimagological research. On the one hand, there is a deep immersion in the classical poetry of medieval Persia (the work and personalities of Saadi, Ferdowsi, Omar Khayyam, Hafez), on the other hand, masterpieces of Russian poetry have been created over the course of two centuries (from A.S. Pushkin to S.A.). In our country, classical Persian poetry has been known since the ۱۹th century. Getting to know her and Persia, Russian poets showed themselves as educated, erudite, benevolent and sensitive to creativity. None of them have been to Persia, but the image of the country through the prism of poetry has formed a multifaceted, interesting and mysterious.Extended abstract:The purpose of the article is to reveal their vision of the personalities and works of the outstanding Persian poets Saadi, Ferdowsi, O. Khayyam, Hafiz, who personify their homeland, based on the material of the work of Russian poets and writers. The study was carried out within the framework of lingual imagology, designed as a result of linguistic-stylistic and ethno psycholinguistic analysis to form the image (image) of the country in the linguistic consciousness of another people or country, in our case - the image of Persia for the Russian linguistic consciousness. Thus, the research method is linguo-magological. None of the Russian writers and poets, whose work we refer to, have not been to Iran, all their impressions and assessments are conditioned by the perception of the work of these poets, therefore the second most important postulate of lingual imagology comes into force - the assessment characterizes not so much the evaluated, but the evaluating. Russian poets and writers showed themselves as educated, erudite, benevolent and sensitive to creativity. The article presents both direct and indirect perception of Persian poetry: the hero of Yu.N. Tynyanov's novel "The Death of Vazir-Mukhtar" - the outstanding poet-diplomat A.S. Griboyedov, who died tragically in Persia, that is, Yu.N. Tynyanov saw Persia through the eyes of A.S. Griboyedov. The Russian poet-diplomat plunged into the life of the host country: Saadi's poems sounded in his mind in the original, the novel shows an exam for translation from Persian in one of the universities of Russia, in which A.S. Griboyedov took part. Upon direct perception, Russian poets wrote about Persian poets. These fragments are structured as follows: biographical information about the poet in question, a general description of his work according to an authoritative source - "Brief Literary Encyclopedia", dedicated to one or another author. So, Saadi was called the singer of Iran (N.S. Gumilyov), traditionally compared with a nightingale (N.S. Gumilyov, P.S. Obodovsky, A.N. Delvig), a lark (D.K. Shchedrin), they evaluated him as brilliant (D.B. Kedrin), sweet (P.G. Obodovsky), emphasized his wisdom (G.A. Sannikov), but for some reason they saw him only as old, gray-haired (G.A. Sannikov). Saadi - "Alla's necklaces diamond" (N.S. Tikhonov), the embodiment of tenderness ("Tenderness is like Saadi's songs" - S.A. Yesenin). The appeal to his work was carried out in four forms: translation, retelling, quotation, imitation. Ferdowsi is the personification of Persia (S.A. Yesenin), he is known as the author of the poem "Shahnameh", in which the foundations of the figurative system of all subsequent Persian poetry were laid.The poem in the ۱۹th century was translated by V.A. Zhukovsky, in the ۲۰th century by M. Lozinsky, S. Lipkin, V. Derzhavin, Ts.Banu, M. Dyakonov. Omar Khayyam, despite his wide and multifaceted activity, for S.A. Yesenin is primarily a poet. The relationship of O. Khayyam with Hafiz is presented in the poem "Coffee House" by D.B.Kedrin. For A.N.Delvig, G.A. Sannikov, Hafiz and Saadi are equal singers of Iran - nightingales. The fate of Persian poetry as a whole worried AA Surkov, which is reflected in the poem "Shiraz". Thus, Persian poetry in our country has been known and revered since the ۱۹th century, the traditions were continued in the ۲۰th century by S.A. Yesenin. Our contemporaries must continue the important work of their predecessors.In the article on the material of works of Russian poets who wrote about Iran / Persia ("Persian motives" by SA Esenin, "Death of Vazir-Mukhtar" by YN Tynyanov, the fundamental work of Iranian colleagues Marzieh Yahyapour and Janollah Karimi-Motahhar "Saadi and Russian poets”), the image of this country is recreated, which is the goal of linguoimagological research. On the one hand, there is a deep immersion in the classical poetry of medieval Persia (the work and personalities of Saadi, Ferdowsi, Omar Khayyam, Hafez), on the other hand, masterpieces of Russian poetry have been created over the course of two centuries (from A.S. Pushkin to S.A.). In our country, classical Persian poetry has been known since the ۱۹th century. Getting to know her and Persia, Russian poets showed themselves as educated, erudite, benevolent and sensitive to creativity. None of them have been to Persia, but the image of the country through the prism of poetry has formed a multifaceted, interesting and mysterious. Extended abstract: The purpose of the article is to reveal their vision of the personalities and works of the outstanding Persian poets Saadi, Ferdowsi, O. Khayyam, Hafiz, who personify their homeland, based on the material of the work of Russian poets and writers. The study was carried out within the framework of lingual imagology, designed as a result of linguistic-stylistic and ethno psycholinguistic analysis to form the image (image) of the country in the linguistic consciousness of another people or country, in our case - the image of Persia for the Russian linguistic consciousness. Thus, the research method is linguo-magological. None of the Russian writers and poets, whose work we refer to, have not been to Iran, all their impressions and assessments are conditioned by the perception of the work of these poets, therefore the second most important postulate of lingual imagology comes into force - the assessment characterizes not so much the evaluated, but the evaluating. Russian poets and writers showed themselves as educated, erudite, benevolent and sensitive to creativity. The article presents both direct and indirect perception of Persian poetry: the hero of Yu.N. Tynyanov's novel "The Death of Vazir-Mukhtar" - the outstanding poet-diplomat A.S. Griboyedov, who died tragically in Persia, that is, Yu.N. Tynyanov saw Persia through the eyes of A.S. Griboyedov. The Russian poet-diplomat plunged into the life of the host country: Saadi's poems sounded in his mind in the original, the novel shows an exam for translation from Persian in one of the universities of Russia, in which A.S. Griboyedov took part. Upon direct perception, Russian poets wrote about Persian poets. These fragments are structured as follows: biographical information about the poet in question, a general description of his work according to an authoritative source - "Brief Literary Encyclopedia", dedicated to one or another author. So, Saadi was called the singer of Iran (N.S. Gumilyov), traditionally compared with a nightingale (N.S. Gumilyov, P.S. Obodovsky, A.N. Delvig), a lark (D.K. Shchedrin), they evaluated him as brilliant (D.B. Kedrin), sweet (P.G. Obodovsky), emphasized his wisdom (G.A. Sannikov), but for some reason they saw him only as old, gray-haired (G.A. Sannikov). Saadi - "Alla's necklaces diamond" (N.S. Tikhonov), the embodiment of tenderness ("Tenderness is like Saadi's songs" - S.A. Yesenin). The appeal to his work was carried out in four forms: translation, retelling, quotation, imitation. Ferdowsi is the personification of Persia (S.A. Yesenin), he is known as the author of the poem "Shahnameh", in which the foundations of the figurative system of all subsequent Persian poetry were laid.The poem in the ۱۹th century was translated by V.A. Zhukovsky, in the ۲۰th century by M. Lozinsky, S. Lipkin, V. Derzhavin, Ts.Banu, M. Dyakonov. Omar Khayyam, despite his wide and multifaceted activity, for S.A. Yesenin is primarily a poet. The relationship of O. Khayyam with Hafiz is presented in the poem "Coffee House" by D.B.Kedrin. For A.N.Delvig, G.A. Sannikov, Hafiz and Saadi are equal singers of Iran - nightingales. The fate of Persian poetry as a whole worried AA Surkov, which is reflected in the poem "Shiraz". Thus, Persian poetry in our country has been known and revered since the ۱۹th century, the traditions were continued in the ۲۰th century by S.A. Yesenin. Our contemporaries must continue the important work of their predecessors.