The Piano, the Tablet and the Bell Were Dragged... (On the Axiological-Semantic Organization of Space in B. Pasternak’s Poem “Music”)

Purpose. In the article, the space of the artistic world of the poem “Music” is considered as the embodiment of the value-semantic attitudes of the work. The purpose of the article is to clarify the subjective organization of the work, to reveal the distance between the lyrical hero and the portraying “voice”, to reveal the value-semantic nature of the spatial organization in the poem. It is established that the “voice” of a lyrical subject actively participates in the construction of this space, which highlights the most everyday events in comparison with legendary, religious and mythological, with works of art (music and literature) or references to them. Results. The result of this convergence is the expression of the following value-semantic situations: the path of the human creator; the converging power of art; overcoming spatial and temporal limits; the revival of meaning. The change in the fact of Old Testament history introduced by the author of the poem can be considered the key to reading and realizing the role of a human creator, whose work does not consist in conflict with life, but is its organic continuation and expression. The imperious plastic gesture of the hero is the theme of the power of art. Conclusion. At the same time, the ridiculous and serious perspective of the image of the “tenant” and the creator is evidence of the completeness of this image of the world. The spatial and at the same time metaphorical position of the top and bottom is revealed – they change places at any moment, provoking associative rows in the reader's mind. Thanks to this, the principle of “translatability” between different “languages” is realized – sound and visual, music and noise, art and life.