National Research Ogarev Mordovia State University, Saransk, Russian Federation, sveta_gud@mail.ru
ABSTRACT
Introduction: the article is devoted to the study of the features of the artistic representation of the image of Stepan Erzya in the genre of poetry by Russian-speaking lyricists of Mordovia and continues a number of similar studies in the field of Russian Erzya studies. The subject of consideration is the ways and techniques of creating the image of Erzya in lyrical and epic works.
Objective: to identify the specifics of representation of the image of the Erzyan sculptor and artist in the works by Russian-speaking poets of Mordovia using the example of the poem genre.
Research materials: the poems by V. Yegorov “The Deep Light” (1968), E. Simdyanova “The Future” (1969), V. Gadayev “The Destiny” (1968–1974), V. Yushkin “A Thousand Lines About Erzya” (1985), Lana Vetochka “Erzya’s Farewell to His "Children"” (1997).
Results and novelty of the research: in recent decades, there has been an increased interest to the personality of Stepan Erzya in the literature of Mordovia. The image of the Erzya sculptor is presented on the largest scale in the genre of a poem by Russian-speaking lyricists of Mordovia. The genre specificity of the poem as a major poetic form made it possible to comprehensively present the fate, character, and inner experiences of the Mordovian artist, who throughout his creative career felt indissoluble ties with his small homeland. The scientific novelty of the article is due to the fact
that for the first time in Mordovian literary criticism the specifics of the representation of the image of S. Erzya in the poem by Russian-speaking authors is considered. The research revealed that a distinctive feature of the works about the great sculptor is the synthesis of documentary and artistic principles. The poets recreate the facts of his biography, national origin, stages of his creative way, and significant life events. The poems “The Deep Light” by V. Egorov and “The Future” by E. Simdyanova reflect on the Kazan period of study of icon painting by a Mordovian young man. The appeal to documentary and biographical details, the use of national vocabulary and toponymy helps to reveal the image of a hardworking Erzya artist on his way to world recognition. The motif of remembering his native Mordovian land becomes a plot-forming in the V. Gadaev’s poem “The Destiny”, which tells about the Argentine period of Erzya’s life. The poet creates the image of an exile longing in a foreign land. Unlike the predecessor poets, V. Yushkin in his poem “A Thousand Lines About Erzya” focuses on the importance of the artist’s social role. Using the techniques of polyphonism, the play of the author-narrator, the poet reveals the personality of the inspiring creator of all Mordovian people. The lyrical component distinguishes Lana Vetochka’s poem “Erzya’s Farewell to His "Children"”. The first person narrative helps the author to convey the tragedy of the sculptor ’s soul.
Keywords: Stepan Erzia, Russian-language poetry of Mordovia, genre, poem, artistry, Erzia studies
For citation: Peculiarities of representation of Stepan Erzya’s image in the poetry of Mordovia in the second half of the XX century // Vestnik ugrovedenia = Bulletin of Ugric Studies. 2025; 15 (1/60): 19–28.