Article

Name: Marina Mnishek in the Self-Determination of Marina Tsvetaeva: From Robbery to Metapoiesis

Authors: Svetlana Yu. Kornienko

Novosibirsk State Pedagogical University, Novosibirsk, Russian Federation

Abstract:

The article is devoted to the representations of the image of Marina Mnishek in the lyrics of Marina Tsvetaeva in 1916. The image of the famous impostor is considered in the context of the modernist and neo-romantic cultural paradigm. The methods of collaboration between the lyrical heroine and the crowd (the people), including the resolution of the plot of the poet's journey into the abyss of folk life, demonstrate a variety of author's strategies – from modernist disappearance in the crowd to Bonapartist (romantic) leadership. Particular attention is paid to robbery and tavern poems in the book of poems “Milestones. Issue 1”, which contain numerous historical allusions referring to the last period of the life of Marina Mniszek (the poem “If only fate brought us together...”). This poem will present a spectacular image of the Cossack freemen and popular unrest, at the epicenter of which was the “beautiful Pretender”. In contrast to the historical Marina Mnishek, who, according to Tsvetaeva, was looking for “legal power”, her heroine revels in robbery, lawlessness, as well as spraying her own sacred body in space and people. For Tsvetaeva, imposture is not associated with gaining the fullness of existence by capturing the symbolic body of the queen (according to cultural researcher I. Kalinin, the impostor is always “the ghost of the natural king”), but with building, using the dialectics of this cultural and social phenomenon, a specific author's myth. In the lyrics of 1916, her heroine is the bearer of the true name (unlike False Dmitry I), whose nature is extremely simultanious: in her image, paradoxically, a proud Pole who seized the Moscow throne and a recognized national queen merge. The cultural hypostasis of the “people’s ruler” is maximally realized not only in the “tavern” poems of the poetic book, but also in the textbook cycle “Poems about Moscow”, which does not directly appeal to this historical plot.

Keywords: Tsvetaeva, imposture, Marina Mnishek, author's identity, personal myth, metapoetics

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