THE QURAN IN THE METAPHYSICAL UNIVERSE OF DANIIL ANDREEV: MOTIFS, RECEPTION, TRANSFORMATION

The article examines the Eastern poetry cycle of Daniil Andreev, specifically the works "The Prophet's Silver Night" and "Palestinian Melody" from the collection Voices of the Ages. The study focuses on the mechanisms by which the Russian poet assimilates the Muslim religious and cultural tradition and transforms it into an individual authorial artistic system. The relevance of the work is determined by the need to reassess imagological approaches in literary studies and to identify the role of poetry as an instrument of civilizational dialogue within Russia's multicultural space.

In contrast to previous scholarship, which has concentrated on biographical or general religious contexts, this study offers a systemic-conceptual analysis of Andreev's Oriental texts. This approach allows them to be interpreted not as exotic Orientalist stylizations, but as the outcome of a profound metaphysical fusion of the "native" and the "alien" material. The novelty lies in identifying the specific devices of poetic adaptation of Qur'anic meanings, whereby borrowed imagery ceases to be external and becomes an organic component of the author's worldview. The article analyses how Andreev overcomes the external "otherness" of the Eastern source through his handling of rhythmic-syntactic verse structures, systems of repetition, and caesuras, which produce an effect of confessionalism and epic grandeur. Particular attention is paid to the means of conveying Qur'anic meanings, as well as to the reconstruction of the Eastern worldview at the level of figurative imagery and spatio-temporal relations. The analysis highlights the key metaphysical constituents of Andreev's literary text, examines the specific embodiment of Oriental and Qur'anic motifs in his poetry, and emphasizes the value of the poet's engagement with the core meanings of the Muslim Holy Book.

The material is presented sequentially: from the formulation of the imagological problem and methodological foundations (grounded in the theory of the systemic-conceptual approach) to a detailed poetic analysis of the two key texts, and thence to a synthesis of the identified mechanisms of the metaphysical chronotope, which Andreev constructs at the intersection of Russian and Eastern cultural traditions.

The findings demonstrate that Andreev's poetic interpretation of the Qur'an does not reduce to thematic quotation but instead generates an independent artistic model that expands the boundaries of space and time. The resulting synthesis of Eastern and Russian culture possesses significant heuristic value for understanding intercultural dialogue, and the revealed principles of adapting "alien" material may be applied to the analysis of other instances of Oriental poetry. Further study of Andreev's creative dynamics in this respect appears both scientifically and practically warranted.

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