Կարուսելային շրջապտույտը որպես կոմպոզիցիոն սկզբունք (Վ. Տերյանի «Կարուսել» բանաստեղծությունը)

Starting from the 19th century, the Merry-go- round, which entered the European urban life, by the end of the same century became one of the favorite themes of the European poets (P. Verlaine, R.M. Rilke, F. Sologoob, V. Khodasevich, etc.), to which in 1912 the great Armenian poet Vahan Teryan addressed (it was included in the cycle «Golden Fairy Taleե). By some compositional lines, Teryan’s poem is close to Verlaine’s, however, at the poetic and philosophical level, it not only sharply differs, but also opposes it (Verlaine’s intonation is «carnival-festiveե, Teryan’s is «dramatic-tragicalե). In fact, the most significant features of Teryan’s poetry can be found in the «Merry-go-roundե, that is the desire to get closer to the «soul of the worldե (which was inherent to symbolism and, in particular, to Teryan’s poetics), the metaphysical perception of time, the internal semantic-sound musical vibrations of the verbal language, which act in the «internal formե of the language and are inaccessible to its «external formե, also the unrequited nature of personal feelings in the world (the dissatisfaction with life, abandonment, loneliness, death and decline, as well as the tragic perception of national and social states).