The following article examines the poem written by a Russian-speaking poet Bella Akhmadulina The Vision of a Rose (1977) as an example of the emotional empathy, the ability to dive into the psycho-emotional spheres of an artist. The poem is a complex synthesis of intertextual (recognized through the fusion of two plots, poetry and ballet, both influencing the present text) and metatextual nature (the lyrical character dreaming both the Vatslav Nijinsky’s dream in the hospital, and the dream of the Théophile Gautier’s character – a girl coming back from the ball), supported by the metamodernist immersion in the empathic state of Akhmadulina’s alter ego. As for the intertextual and the metatextual nature, they highlight the post-modern period contemporary to the moment in which the poem was written, while the reference to Théophile Gautier’s poem follows the XIXth century poetic tradition and, further, the worldwide poetic system of old times.
The following article examines the poem written by a Russian-speaking poet Bella Akhmadulina The Vision of a Rose (1977) as an example of the emotional empathy, the ability to dive into the psycho-emotional spheres of an artist. The poem is a complex synthesis of intertextual (recognized through the fusion of two plots, poetry and ballet, both influencing the present text) and metatextual nature (the lyrical character dreaming both the Vatslav Nijinsky’s dream in the hospital, and the dream of the Théophile Gautier’s character – a girl coming back from the ball), supported by the metamodernist immersion in the empathic state of Akhmadulina’s alter ego. As for the intertextual and the metatextual nature, they highlight the post-modern period contemporary to the moment in which the poem was written, while the reference to Théophile Gautier’s poem follows the XIXth century poetic tradition and, further, the worldwide poetic system of old times.