2019 №2 (63) Article 12

A. Yu. Nikiforova

THE CHRONOTOPE OF HYMNOGRAPHY

UDC 821.111-1.09

 

The article investigates a fundamental issue of poetics, i.e. the peculiarities of creating sacred space and time in hymnography. The article researches manuscripts and printed documents belonging to different epochs to analyze the chronotope of hymnography and to show its independence of hymn types and its constancy and invariability throughout the history of liturgical poetry since early Christianity until now. The chronotype of hymnography, which, according to M. M. Bakhtin, enables one to comprehend the essence of hymnography, is the heavenly Jerusalem, the eternity. Using expressive means, poets enrich hymnography, depicting a temple as an image of heaven on earth. Poets’ attempts to express this idea through poetic means have contributed to the establishment of certain creative principles of hymnography. Hymnographers use similar texts to worship different saints, employ calques and clichés. Hymnographers neglect real time-and-space characteristics, highlighting the connection between heaven and earth, which are endowed with moral characteristics (the earth is associated with darkness, while the heaven is associated with light, Babylon and Egypt symbolize sin, while Jerusalem and Zion symbolize virtue). Due to the use of dialogues and direct speech, praying people feel involved, can experience the unity of space and time. Refrains and anaphors create the feeling of eternity. Therefore, eternity replaces real time and space. This interpretation of chronotope in its religious and moral sense is adopted by Russian classic literature. It can be found in the works of S. A. Pushkin and other Russian poets.

 

hymnography; hierotopy; liturgical writing; poetics; chronotope

 

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