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РУССКАЯ ЛИТЕРАТУРА Russian Literature
E. Glukhova (Moscow)
THE PHILOSOPHY OF VLADIMIR SOLOVIEV AS THE INTERTEXTUAL SOURCE AT VIACHESLAV IVANOV'S "THE TALE OF TSAREVICH SVETOMIR"
Abstract. The article considered the various aspects influence of Vladimir Solo-viev philosophy on Ivanov's novel "The Tale of Svetomir Tsarevich". There is not only the conception of the Theocratic utopia and All-Unity, but also Soloviev's metaphysical idea of gnostic Sophia. It is assumed that the Gnostic level the Ivanov's "Tale of Svetomir" goes back to the articles of Soloviev devoted to the history of Gnosticism. We considered that gnostic ideas of Soloviev are present in the "Tale" in a form of transformed plot about Simon Magus/Semeon Hors and Zoe/Helen. Gnostic and biblical binary light/darkness which is characteristic of main personages (Svetomir, Otrada, Gorislava) is detected. Androgynity is a feature peculiar to Gnostic Sophia, and is found in unrealized conception of the end of the story, according to which Svetomir will transform and become the androgynous Tsar-Devitsa - the ruler of the White Kingdom and personage from Slavic folklore and myth. The method of relevant contexts applied to study Ivanov's novel.
Key words: Viacheslav Ivanov; Vl. Soloviev; Gnosticism; Sophia; sophianic mi-fologema; androgyny; method of relevant contexts; binary opposition; Epistle of Prester John; Tsar-Devitsa.
Е.В. Глухова (Москва)
Философия Владимира Соловьева как интертекстуальный источник «Повести о Светомире Царевиче» Вяч. Иванова
Аннотация. В статье рассматриваются различные аспекты влияния философии Владимира Соловьева на «Повесть о Светомире Царевича» Вячеслава Иванова. Среди этих аспектов - не только концепция теократической утопии и всеединства, но прежде всего метафизика гностической Софии. Очевидно, что гностический слой повести Иванова восходит к статьям Соловьева, посвященным истории гностицизма. Предполагается, что следы гностических идей присутствуют в повести в форме трансформированного сюжета о Симеоне Маге/Симоне Хорсе и Зое/Елене. В характеристике главных персонажей (Светомир, Отрада, Горислава, Симон Хорс) обнаруживается бинарная оппозиция свет/тьма, присущая гностическим и библейским текстам. Андрогинность, свойственная гностической Софии, проявляется в неосуществленном замысле окончания повести, согласно которому Светомир претерпевает трансформацию и превращается в правителя Белого Царства, андрогинную Царь-Девицу, персонажа славянской фольклорной мифологии. Методом исследования повести Иванова служит метод релевантных контекстов.
Ключевые слова: Вяч. Иванов; Вл. Соловьев; гностицизм; София; софийная мифологема; андрогинность; метод релевантных контекстов; бинарная оппози-
Новый филологический вестник. 2016. №4(39).
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ция; Послание Пресвитера Иоанна; Царь-Девица.
Vyacheslav Ivanov, the famous poet of Russian symbolism, had been working on his "Tale of Tsarevich Svetomir" (further as "Tale"), his spiritual testament, for the last twenty years of his life; it is possible that he dwelled on some themes and motifs of the novel even longer, beginning his work already in the last years of the 19th century. The "Tale" - is a confession of the writer, which reflects his mystical experience in understanding of the supernatural world through visions and dreams, this book also reflects his personal biographical experience. The text is quite unique in its genre and design, and can be regarded as historiosophical meditation on Russia's mission. As noted by Sergei Ma-kovsky, Ivanov's contemporary: "the ancient Russian life here is only a vague, artistically-inspired background <...> The symbolism of the story appeals to all mankind and has also eschatological meaning..."1.
The building of the text continued during Ivanov's work at the Collegium Russicum and the Pontifical Oriental Institute. He was writing the "Tale" until his death, but did not have time to fulfill his plan. Father Philippe de Regis, rector of the Collegium Russicum, emphasized in his letter to Pope Pius XI from 20 January 1938, that the Ivanov's novel connected with the book of Vladimir Soloviev Russia and the Universal Church and would have great impact on Russian thought2. In his response letter to the Pope from February 19, 1938, Iva-nov thanks for the financial support that allowed him to continue working "on a vast book, conceived as the spiritual testament of a poet and Christian thinker with the intention to appeal to the turbid and devastated soul of the Russian people, which ingemiscit etparturit usque adhuc, asking it to gain clear look of its true position, gain understanding of the fate of Christ's Church"3.
In this paper we cannot touch the important question of possible crucial influence of Soloviev's book on Ivanov's decision to convert to Catholicism, we only remind that during the corresponding ritual he used Soloviev's creed. This question was discussed in detail in articles by such researchers as Andrey Shishkin and Alexei Yudin4.
The "Tale" is a mythological narrative about a certain Slavic state; it is a story about destiny of its princely dynasty. Much of the narrative is devoted to the history about parents of Seraphim-Svetomir - Vladar and Otrada, and also the relationship between his grandmother Gorislava and former hypostases of Vladar named Lazarus. The main narrative should have been devoted to the history of Seraphim-Svetomir. Ivanov had written only 5 parts, while 4 or 5 more chapters were to be added. Unfortunately, it is not possible to reconstruct the entire plot of the "Tale". The surviving and completely finished parts present with a fictional story of some fantastic kingdom bearing the features of ancient Russian states. The story is rich not only with Slavic folklore themes and motifs, but also with Biblical imagery, it is filled with quotations from the Four Gospels, especially the Gospel of John and the Apocalypse. As Prof. Andrej Toporkov demonstrated in his fundamental study5 on the poetics of the "Tale", the intertextual links of Ivanov's text are extremely suggestive. His detailed scholarly commentary indicates such sources of Ivanov's novel: St. Augustine's
"Confessions", the "Epistle of the Prester John", Francis of Assisi's "Flowers", Dante's "Divine Comedy", "Monarchy", and the "New Life". There are also Nietzsche, Novalis, Russian literary tradition - Pushkin, Dostoevsky, Alexander Block. Besides, as professor Toporkov reasonably pointed out, there are references to at least three major texts by Russian philosopher Vladimir Soloviev: these are "Russia and the Universal Church", "Three Conversations" and a poem "Three Meetings", while Soloviev's poetry becomes for Ivanov the important source of hidden quotations.
We presume that for the further understanding of the complex of the symbolic imagery of "The Tale" we should turn to numerous Soliviev's articles on a variety of themes, including his dictionary entries dedicated to Gnostic sects of the first centuries of Christianity. Soloviev's articles can be considered as the most important intertextual source for revealing entire complex of the Gnostic ideas that feed on Russian symbolism as an intellectual and literary trend in the phenomenon of the culture of the Silver Age6.
We believe that the method of detection of relevant contexts can be applied to study of texts of the symbolist poet and classical scholar Viacheslav Ivanov. This method has been formulated by Valery Petroff: intertextuality involves recontextualization, that is relocation and transformation of meaning from one to another discourse, "the text is intentionally bivalent and in many cases consciously constructed by its author as referring simultaneously to the two different traditions"7. This observation is more than true when we apply it to Ivanov's heritage. Indeed, the source of particular images usually has the character of a "fan-vector". This means that the intertextuality involves a plurality of axiologi-cal equivalent (Eq in the author's system of meanings) sources that cannot be reduced, for example, only to the Gospel text as the original source, but go back to the Neo-Platonism and the Gnostics, and to the following interpretation of this tradition in a philosophy of a new time.
Ivanov did not finish, as he had originally planned, one of the main story lines of his book, the line inspired by the ideas of Soloviev concerning to Universal Church. It is known that the Brusseles edition of Ivanov's collected works contains a continuation of the "Tale" written by his close friend and secretary Olga Shor, who recorded the outline of the story from the words of Ivanov himself8. However, this sequel of the story is not authentic and is not sanctioned by the author. That is why it was not included in the critical edition of the complete novel about Svetomir Tsarevich, published in the academic series "The Monuments of Literature"9.
The pages of Ivanov's novel contain no open exposition of Soloviev's ideas; there are no direct references to his writings, which are obvious: the "Tale" has no political agenda, it's the piece of artistry that lives by its own laws. Soloviev layer of "Tale" is manifested through the number of implicit motives. The main core of Soloviev's theocratic ideas concerning the coming City of God, the New Kingdom and the universal Church, which will reunite the Eastern and Western branches of Christianity, can be read out in the outline of the unrealized plot10. As Andrej Toporkov pointed out, one of the central ideas of the Tale is the problem of the balance between the secular and divine power, formulated in a
paraphrase of the famous Gospel words of Christ: "Render to Caesar the things that are Caesar's; and to God the things that are God's" (Mat 22:21). In his conversation with Simeon Hors the prince Vladar says: "Pagan nations worshipped Caesar as God. But the faithful were told to render Caesar the things that are Caesar's, and and to God the things that are God's". Simon Magus replies to this: "This was told when Caesar was prince of this world, and the whole world lied in wickedness, being an image of King of darkness. Light-bearing Caesar is to come, and will come: and all that is Caesar's are God's, and all that is God's are Caesar's"11. That is: the Ruler of Light is coming, who will bring different laws: that which belonged to Caesar, will belong to God, and that which belonged to God will belong to Caesar. This interpretation goes back to Vl. Soloviev's book "Russia and the Universal Church": "Some Gospel texts were so many times interpreted that a passage could mean almost anything... The commandment "Render to Caesar the things that are Caesar's; and to God the things that are God's" had been restlessly repeated to consecrate the order of things according to which Caesar received everything, and God - nothing"12.
The final part of Ivanov's "Tale" is crucial, which describes the kingdom of Prester John13. The "Epistle of Prester John" is written with sophisticated grammatical forms of the Old Slavonic language, unfamiliar to the modern reader, and thus deliberately obscures the narrative and intentionally hides numerous evangelical allusions. This part of the Tale is imitating the well-known medieval story of an Indian kingdom, a kind of a Theocratic utopia. At the same time, the "Epistle of Prester John", written by Ivanov, is a hermetic text, almost totally closed, requiring special interpretation and allowing absolute understanding only to the reader equal in his spiritual experience and intellectual background.
The "Epistle" repeats the legendary story about ever alive John the Theologian, who is the true ruler of Prester John's Kingdom. It can be assumed that, at least in this part of the Tale the plot contains obvious and clear references to the "Three Conversations", another Soloviev's book, which tells the story of the three representatives of Western and Eastern Christianity - John the Elder, Pope Peter, and a Protestant Professor Paul. John the Elder, who unmasked the Antichrist previously acting as a representative of the secular power, was killed by the lightning, but then came alive, and followed with the others the heavenly sign of the "Woman clothed with the sun, with the moon under her feet, and a crown of twelve stars upon her head" (ibid, 759; see also Rev. 12:1). Besides, according to Ivanov, the legend describing John who came alive had its parallels in the story of the resurrection of Lazarus, that established the basis of the tale about Vladar, the ruler of the Slavic Kingdom.
Sergei Makovsky, a literary critic and Ivanov's contemporary, in his memories renders Ivanov's plans which he learned from Olga Shor. According to Makovsky, there had to be the story about Svetomir's spiritual transformation into the being of another world and the ruler of transformed Kingdom.
Indeed, if we take that kind of suggested continuation of the "Tale", in which the protagonist would be Svetomir Tsarevitch, his further fate will be closely linked to his transformation - both spiritual and corporal. The two crucial twists of the fabula will correspond to the death of the hero, who at least
twice dies and comes alive.
In the first part of the continuation of the story it was planned that Svetomir would falsely die and be saved from the tomb by the elder and monk Parthe-nius, who then sent him to be educated and trained by the wisest Prester John in distant India. In the next part he dies for real, having passed symbolically the magic arrow of St. George, the fabulous attribute of powerful hero, to the Queen of Heaven. However, the story does not end there, because Svetomir comes alive in transfigured form of a righteous ruler, Tsar-Devitsa, who is a heroine of folklore and myth. She derived her wisdom from the other world and now rules on earth cleansed of all evil.
This plan was originally implied in the name of the protagonist, Svetomir. The personal name Svetomir is combined from two stems: svet- (light) and -mir (the world)14. It is necessary to draw particular attention to the fact that the opposition light / darkness take a special place in the linguistic paradigm not just in the Gospel vocabulary, but also in the preserved Gnostic texts15. It should be noted, that the semantics of "Light" is extremely significant for Ivanov's poetic morphology; his last book of poems was entitled "The evening Light". Besides, the "light" is a frequent lexeme in his poetry during the 1900s and 1910s; this feature was pointed out by Andrei Bely in his 1917 study of verse and meter, dedicated to Ivanov16.
In his report from 1909 "The Evangelical meaning of the word the Earth" Ivanov examined in detail the Gospel passages in which Christ was called the holder of light and the world: "Christ is in the world as the Light in the darkness, and "the darkness did not comprehend Him". <...> The light is the Sun that is to shine on at midnight, the Bridegroom approaching at midnight. For the light symbolizes the Bridegroom". Indeed, philological erudition of Ivanov encourages researchers of his creative heritage to finding more and more sources for themes, motives and plot lines of the "Tale". As a philologist, Ivanov offers his reader a new type of fabula based on archaic folklore and myth; the crucial role here is given to his emphasis on extreme polysemantics of symbol.
The semantics of the struggle between the forces of light and darkness in the "Tale" presents an aspect of spiritual transformation that personages are experienced. In particular, the semantics of the "darkness" includes a specific paradigm of symbolism "she-serpent / he-serpent". The legend about the origin of the ancestors of Vladar-Lazarus goes back to two founders - Egor / Gregory and Serpent Dragon; this duality is incorporated into the nature of the main characters, which experience the constant dialectical struggle between good and evil forces. A sharp negative connotation of the "serpent" quality is associated with witchcraft, and is especially evident in Gorislava's tendency to sorcery and witchcraft. At the same time, one of Gorislava's characteristics is light, especially when she is manifested after her death in Lazarus' visions. Her daughter Otrada is also the bearer of Light, which suggests that female characters of the "Tale" possess ambivalent features pertaining rather to the dual nature of gnostic Sophia - as the embodiment of Prunikos or Achamoth and the illustrious Virgin.
One of the female characters, the bearers of the sophianic principle in the
"Tale" is Queen Zoe, who enters together with the magician named Simeon Hors. She is also called Helen. It can be shown that Ivanov uses the entries written by Vladimir Soloviev for the Brockhaus and Efron Encyclopedic Dictionary. It is obvious that the pair Simeon Hors and Zoe/Helen corresponds to the gnostic legend of Simon Magus accompanied by a woman Helen, a former prostitute, whom he bought out and who followed him everywhere he went. Simon Magus witnessed that this was his Soul and the World Soul, and he himself was the Holy Spirit that came to the world to free her. This story is narrated in details in Soloviev's entry dedicated to Simon Magus. On the other hand, the double name of the Queen, Zoe-Helen, refers in "The Tale" to a version of Valentinian gnostic interpretation of the myth of the Primal Creation, which is based on the idea of the absolute fullness of God's Being God, Pleroma, consisting of a pair of Eons. One pair is Reason (Лоуод) and Life (Z®n), they, in turn produces another pair - Man and Church. Exactly this interpretation occurs in Soloviev's entry "Valentin and the Valentinians".
The entrance of the magician Simon Hors in the "Tale" is crucial for the understanding of the formation of the inner journey of Lazarus-Vladar, Svetomir's father. In the scene of Vladar's visiting the witch tent of Hors, the latter tells him the meaning of the symbolic image of the illustrious Virgin, explaining him the meaning of the Gnostic myth of Sophia, the Light. The illustrious Virgin is probably Tsar-Devitsa herself, the person who should be introduced at the end of the story.
So, according to author's intention, the young Svetomir, who is metaphorically the Bearer of Light, was to be transformed into a Bearer and Keeper of the Arrow which belonged to St. Egory (George), and then into folklore character Tsar Devitsa. It should be noted that the name "Tsar Devitsa" is ambivalent and has two-gender formula, combining male (tsar) and female (devitsa) parts united in one person. This name seems to render the idea of androgynous nature of gnostic Sophia, who was usually portrayed as a Fiery Angel in the iconography of Orthodox Church, and whose iconography had common features with the images of Christ and the Virgin Mary, but was never identical with them. At the same time, it is possible to point out the frequent juxtaposition of the images of St. Egory (George) and Sophia in the folklore tradition.
Vladimir Soloviev was behind the idea of Russian sophiology in the beginning of the 20th century. And we know well, that Soloviev's life-long religious quest was not confined to the Christian dogma. He relied on the mystical experience of the Gnostic and Neo-Platonic philosophy of the first centuries of Christianity. The ancient tradition of both Eastern and Western Christian mysticism were continued in Soloviev's doctrine of Sophia. In his article "Auguste Comte's idea of Humanity" Soloviev stated that the ancient cult of the Eternal Feminine principle found its manifestation in the Russian iconography and church architecture, with the image of the "Wisdom of God that becomes close either to the image of Christ or to that of the Virgin Mary, thus preventing complete identity with them both...". Soloviev pointed out, that the according to ancient Russian views, Sophia is the "true, pure and complete humanity, the supreme and comprehensive form and the living soul of nature and the universe,
eternally united and ever getting united within the temporal order with the Divine and it connecting everything that is"17.
Mythopoetics of Russian symbolism includes the pragmatics of Sophian universal myth (ibid. "Sophian gnosis"), which was formed under the strong influence of Soloviev's philosophical sophiology18. At the same time, this universality presupposes the reception of universal mythopoetic tradition by Russian modernism. That is why we can speak not only about the traits of Gnostic philosophy or Biblical tradition, but of a certain sophiological paradigm in literary images and characters like Dante's Beatrice, Goethe's Das Ewigch Weibligch, and the Blue Flower of Novalis.
"Sophian myth" of Russian symbolism is refracted in a special way in Vy-acheslav Ivanov's work. In particular, this perspective defines the final unfinished fabula twist of the "Tale of Svetomir", where Svetomir comes alive in the form of Tsar-Devitsa. As it was already shown in Toporkov's book, this folklore image correlated with that of Sophia in Vladimir Soloviev's critical article devoted to the poetry of Yakov Polonsky. Soloviev considered Polonsky's poem "Tsar Devitsa" to belong to world poetic tradition of representation of Sophia. Soloviev believed that Polonsky "...demonstrated with clarity the superhuman, transcendental and at the same time completely valid, and even personal source of pure poetry"19.
The transformation of the protagonist of the "Tale" had to be considered in line with Ivanov's main idea, which can be comprehended through the prism of his poem "The Man". Without a doubt, the author planned the story of a man who is overcomes his sinful human heredity ("serpent's seed") through the transformation of the flesh and spirit, and is reborn after annihilating of his former "Self'. It can be stated that the idea of transfiguration of the flesh through the transformation of the Spirit was quite popular among Russian intelligentsia. The brightest parallel to this presents Andrej Bely, who developed the same idea in his numerous articles and in his novel "The Notes of an Eccentric" written after the Revolution of 1917 under the strong influence of anthroposophy.
Finely we may see, that the "Tale" was strongly influenced by transformed Soloviev's philosophy of the Theocratic utopia and All-Unity; besides we can identify, that Soloviev's metaphysical idea of gnostic Sophia is present in the "Tale" not only in a form of transformed plot about Simon Magus, but also as an androgynous being Tsar-Devitsa, a personage from Slavic folklore and myth. Unfortunately, this plan was not fulfilled by Vyacheslav Ivanov, but it seems remarkable, that until his last days Ivanov was preoccupied with the idea of the Universal Church and the Universal Man.
The article is based on materials of the report made at the conference: "Con-vegno in onore del 150° anniversario della nascita di Vjaceslav Ivanov 4-6 maggio 2016, Roma".
This study in IWL RAS was supported by Grant from the RSF (project no. 14-18-02709).
Исследование выполнено в ИМЛИ РАН за счет гранта Российского на-
учного фонда (проект № 4-18-02709). NOTES
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Elena Glukhova - Candidate of Philology, Senior Researcher at the Gorky Institute of World Literature, Russian Academy of Sciences.
Research interests: Russian literature and culture turn of the 19-20 centuries; heritage and biographies of Silver Age writers such as Andrei Bely, Alexander Block, Viacheslav Ivanov; mythopoetics of Russian Symbolism; ego-document studies; prosody.
E-mail: elenagluhova@mail.ru
Елена Валерьевна Глухова - кандидат филологических наук, старший научный сотрудник Института мировой литературы им. А.М. Горького РАН.
Научные интересы: русская литература и культура рубежа XIX-XX вв.; творчество и биография писателей Серебряного века: Андрея Белого, Александра Блока, Вячеслава Иванова; мифопоэтика русского символизма; стиховедение; поэтика эго-документа.
E-mail: elenagluhova@mail.ru
