Article

Name: The Variations of Archaic Plot about Calling the Singer at the End of Mousikē Tradition («Ballada» by Vl. Khodasevich and Poem «Na Krasnom Kone» by M. Tsvetaeva)

Authors: T. I. Podkorytova

Omsk State Pedagogical University

Abstract: 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.

Keywords: the Muse, the Genesis of poetry, a traditional sample of poetic initiation, the historical mission of the singer, the crisis of mousikē tradition, poetology of the beginning of the 20th century, Khodasevich, Tsvetaeva

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