The article is devoted to the study of the specifics of the artistic world of K. D. Balmont as a secondary reality that projects the author’s worldview and value system. In the course of the study, the implementation of the mental opposition “top — bottom” is considered as the construction of an axiological vertical that determines the nature of the artistic space in general and its main varieties (real, astronomical, oneiric, mythological, folklore and syncretic) in particular. The symbolism of the “top” appears in the early lyrics of K. D. Balmont not only as a spatial, but also as a value guideline, reflecting the lyrical subject’s desire for higher truths and understanding of the integrity of the universe. “Bottom” is associated with a gloomy “wordlessness” and generates a desire to change space. At the same time, the author’s model of the world, which includes “upper” and “lower” spaces, is a dynamic system within which their confrontation occurs. The intentions of the “bottom” tend to spread to the world of the “top,” however, the axiological comprehensiveness of the latter, overcoming the opposition “temporary — eternal,” makes it possible to draw a conclusion about the author’s ideological attitudes. The spatial vertical is explicated through images of human habitation, plains, forests, swamps, on the one hand, and the sky, mountain and tree peaks, moon and sun, on the other, as well as solar and lunar rays connecting the “poles” of the poet’s artistic world.
artistic world, artistic space, mental opposition, axiological vertical, top, bottom
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