Poetical ontology and anthropology of N. Satins lyrics of 1840s

The creative work of N. Satin (1814-1873) has not been thoroughly studied by native literaturescholars,though it fits the aesthetic context of Russian Romanticism and reflects its aesthetic and spiritual evolution. Though the earlylyrics of the Russian romanticist tunes with the poetic striving of the Lubomudrs (philosophers), his late poetics is close to the works ofthe Slavophils. Like other thoughtful and talented persons, he did not accept the Russian social reality, official ideology. In Satin's earlylyrics the key image is a poet turned to the celestial world, who is trying to implement the absolute aesthetic ideal in his works. In poet'slyrics of 1840s the ideas about creativity, inspiration, and artist's mission became more sophisticated. Gained through spiritual experience,they obtain philosophical and religious deepness. It can be observed in his works "De profundis", "Christian", "Abstract from anOverheard Talk", "To the Poet-Judge", "In Memory of E. Baratinsky". These works are characterized by the desire to overcome thetraditional genre canons. Thus, "De profundis" can be defined as a lyrical requiem; "Abstract from an Overheard Talk" follows the traditionof dramatic poems of Russian romanticists; in the epistle "To the Poet-Judge" the features of epigram are manifested. In Satin'sdramatic poem "Abstract from an Overheard Talk" the inner world of the disputants is in tune with the worldview of the maincharactersof M. Lermontov's novel "A Hero of Our Time" - Pechorin and Dr. Werner. If the remarks of doctor are imbued with emotionof approval, the remarks of the young man are full of doubt. If the doctor formulates the laws of human existence, in connectionwith which the pronoun "we" appears, the young man is concentrated on his own world, that is why his speeches are abundant with thepronoun "I". The young man feels the "thirst for faith", "love", but at the same time he is in deep doubt. Such a mentality was typical forthe Russian literature of 1840s, where the type of the odd person prevailed. The artistic and spiritual quests of Satin were close to theaesthetic positions of V. Zhukovsky, A. Pushkin, D. Venevitinov, M. Lermontov. In the works of Satin, the spiritual evolution is revealed,which is characteristic for the Russian romanticist poetry: bridging the conventional notions about human, immortal soul and theuniverse through the appeal to the spiritual foundations of Christianity. Late lyrics of Satin are close in poetics and problematic issues tothe works of F. Tyutchev in the rising of ethical, aesthetical and religious problems, the same as in desire for philosophy and reflection.The figure of an exalted idealist is substituted by the image of a poet-prophet, who manifests the spiritual activity, stoic faith in the truthand in beauty through his works.

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