Mousikē Tradition («Ballada» by Vl. Khodasevich and Poem «Na Krasnom
Kone» by M. Tsvetaeva)
The analysis of the texts of Khodasevich and Tsvetaeva was conducted
in the context of the ancient plot about the calling of the singer widely
represented in poetry since the time of its Genesis. The pattern of poetic initiation
that was established in classic (mousikē) tradition included such motifs as
Epiphany (Muse), the transformation of the very nature of the singer, the mysterious
suggestion of song gift, the revelation of the mystery of life and the vocation
of to Ministry of fulfilling the intended mission of introducing the truth to
the world. The initial form of the plot repeats in similar terms, the scenario is the
initiation of a priest-shaman. The conversion of the priestly ritual with reference
to the singer associated with the approval of the mission of the new «cultural
hero». At the stage of its Genesis the plot of the calling of the singer marks the
change demiurgic forces of culture, the transition of authoritative words of truth
from the priest to the poet. The main purpose of his calling initially and in all subsequent periods is a synthesis of disparate local elements into a coherent
system of ethno-cultural space, creating a unifying platform of cultural values.
Unlike the sacraments of the Oracle, from the closed esoteric words of the ritual,
the word of poetry is not confined from the world, and is embedded in the
world as coming from gods revelation, revealing the historical destiny here-of
being.
The Modernist century brings in the plot of the calling of the singer a semantic
bias, breaking the mousikē invariant. «Balladа» of Khodasevich's and poem
«Na Krasnom Kone» of Tsvetaeva, dedicated to the vocation of the singer, were
created in 1921, almost at the finish line – at the end of the most of the mousikē
tradition. Farewell to the Muse and music is the main theme of poetology the
Silver age. New variations of the plot of initiation is due to this feeling «last
times» classic Muse. In light of the traditional sample is well visible, what
changes are introduced Khodasevich and Tsvetaeva into the plot. Instead of the
usual phenomena of the Muse the mysterious character acts as the source of the
gift (in «Ballada», it is the music Spirit from beyond the heavens; in the poem
«Na Krasnom Kone» – the personified Eros); the vector of the communication
changes: it’s not a deity descending to the earthly world to meet the poet, giving
him creative potential, but rather a creative poetic spirit erupting from the earth
«prison» toward the transcendent realm of the gods. The plot of the vocation in
the poetic versions of Khodasevich and Tsvetaeva is reduced: both canceled
their «legislative» mission, refusing the introduction of divine truth in the world,
in both texts there is no ultimate goal of vocation – the ministration, and the
purpose of the initiation is the removal of the poet from the here-existence, his
return to the Supreme source of the creative gift. This transformation of the
plot is a consequence of eschatological reflection of «the last poets», who have
realized the exhaustion of the cultural-creative mission of the great mousikē
poetry.
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Mousikē Tradition («Ballada» by Vl. Khodasevich and Poem «Na Krasnom
Kone» by M. Tsvetaeva) // Критика и семиотика. 2018. № 1. Pp. 116–138. DOI: 10/25205/2307-1737-2018-1-116-138 .