LOMONOSOV’S BAROQUE IN GOGOL’S MIRROR

Abstract

The author’s position in “Dead Souls” was based on the “lyrical “invocation” to Russia, that was personified in the forms of Lomonosov’s “female ode”. Meanwhile Gogol showed the semantic base of baroque, where the tropes did not express the “ideal of the being” (J.V. Mann), but transfigured the world according to this ideal. While Pieter I in the ode had renewed Russia, Elizaveta Petrovna had embodied it in herself as the set of the ideal properties. Having been personified as the allegories, these properties would become the new persons, made of flesh and blood. The idea of Lomonosov’s baroque was the constant and ordered mutual transfer of the bodily and the spiritually in the area / “body” of the equal to each other empress and empire. The energy of such Russia’s transformation to its key meaning of the eternal moving (having been materialized in the flying carriage) shows the final of the poem’s first volume, programming the content of the two upcoming volumes.