The creative legacy of Vyacheslav Ivanov (1866-1949) includes a large corpus of original and translated poetic works, journalism, philosophical essays, literary and antiquarian monographs. Ivanov created an original version of Russian Symbolism, which combined two general trends of the Silver Age: first, to return Russian culture to the spiritual foundations of Christianity; second, to reinterpret and recreate the artistic archetypes of Antiquity, the Middle Ages, and the Renaissance. In 1900-1920 V. Ivanov actively preached the "choral" beginning of culture. He set the task of overcoming individualism through myth-creative willful art to "sobornost" — to the over-individual religious community of people. These tendencies intensified during World War I and the Russian Revolution of 1917. At the same time, Ivanov was engaged in educational activities, expressed in particular in translations of the tragedies of Aeschylus, the poetry of Dante, Petrarch and Michelangelo. His antiquarian works, devoted mainly to the cult of Dionysus, are closely connected with his spiritual and literary quest.

After his emigration to Italy, Ivanov took a marginal position in European thought, minimizing his communication with Russian emigrants. In 1926, he joined the Catholic Church, without breaking with Orthodoxy, and tried to convey the meaning of Fyodor Dostoyevsky's works to a Western audience. Towards the end of his life, Ivanov wrote the epic "The Story of Svetomir the Tsarevich", which was to summarize his entire work and reflect the complexity of the spiritual life of man as God's creation and the coming resurrection of Russia, "which has gone to the rest of the Lord".

The archival heritage of Vyacheslav Ivanov has been preserved in its entirety, but is concentrated in several research centers in Moscow, St. Petersburg and Rome. The Vyacheslav Ivanov Research Center, which has digitized 95% of all the materials preserved in his apartment museum, is located in the Italian capital. In 1971-1987, thanks to the efforts of his heirs: his son Dmitry Vyacheslavovich (1912-2003) and the poet's last companion Olga Alexandrovna Shor (1894-1978): four volumes of his collected works were published. The publication of Ivanov's extensive correspondence and other materials left by him continues.

Ivanov as a symbolist poet

"Lodestars"

Ivanov's first collection of poems, "Lodestars", was long in preparation: it contained sketches and texts written before leaving for Germany and then in Berlin. The collection, "blessed" by V. S. Solovyov, was dedicated to the memory of Ivanov's mother, who had prophesied a poetic path for him. The book was published by the Suvorin's printing house in 1902, although the title page on the majority of copies is dated 1903. In literary studies, this book is placed on the same level as "Gold in Azure" by Andrei Bely and "Verses on the Beautiful Lady" by A. Blok — it was a transition to the aesthetic contemplation of the highest sphere of the spirit in Russian poetry. The poetic intentions in this book go back to the European quests of the scientist Ivanov, but his own theoretical insights are presented as deeply intimate inner experiences, in which mind and sensual flash are indistinguishable. This is where the fusion of the "native" and the "universal" comes into play. Ivanov lamented the inadequate reception of his first book, the accusations of "bookishness", "deadness", and the difficulties of language. In fact, broadening the range of lyrical experience required new means of poetic expression - a symbolic language capable of conveying religious and aesthetic universals. Ivanov immediately declared: "Poetic language must be distinguished from everyday language and approach the language of the gods - the primordial Logos. As a result, the main images-symbols of "Lodestars" are taken from the cultural baggage of "departed cultures": ancient, medieval and renaissance, while the syntax and lexicon were strongly influenced by the 18th century, and especially by Trediakovsky.^[2]

The German-American researcher Michael Wachtel separately raised the question of when and why Ivanov became a "symbolist".^[3] From the point of view of literary criticism, Ivanov belonged to the "young symbolists" (he was seven years older than Bryusov — the head of the Symbolist movement in Russia), but in the correspondence of Vyacheslav Ivanovich and Lydia Dmitrievna Zinovieva-Annibal this word is almost never found. From this M. Vachtel concluded that the author of "Lodestars" did not consider himself a "Symbolist" and became a Russian Symbolist when he fully defined the meaning of this concept for himself. "Lodestars" (1902-1903) and "Transparency" (1904) (Ivanov's first collections of poems) were created and prepared for publication outside any literary environment against the background of a wandering life.^[4][5] At the same time, the first thinker who pointed out the closeness of Ivanov's poetry to Symbolist movement was its implacable enemy — V. S. Solovyov, who read one of his parodies of Brusov in his presence. Ivanov himself, with undoubted respect for Valery Bryusov, who introduced him to the world of Russian literature and began to print, was rather skeptical of his ideals of the innovator. Ivanov respected Brusov as an enterprising cultural figure. Ivanov also rarely used the term "decadence", and always in the sense of a negative phenomenon. The discrepancy between Ivanov and Brusov in their views on symbolism and art in general was important for the development of Russian culture in the early XX century as a whole. For example, neither Ivanov nor Zinovieva-Annibal were interested in the "new" for the sake of novelty alone. In 1902, when Vyacheslav Ivanovich was introduced to the work of Verlaine, Lydia Dmitrievna emphasized that they were "beautiful poems"; on the same basis Ivanov then praised Minsky and Balmont: he liked them for themselves, not for their "novelty". In creativity, the 30-year-old Ivanov saw (as he did much later, as an 80-year-old emigrant in Rome) the expression of universal truths rather than self-expression.^[6]

To the fantasy!

O fantasy, thou are like a miser,

who, when he hoards his money, increases it by leaps and bounds,

and turns the little weight of copper

     into heaps of gold.

And so you grow in long life.

A seasoned tribute to a world without measure or facet;

Where the measured order of the Pierides, the driver.

     The concordant one sits.

Sitting on the wave of abundant sources,

You weave chains of your treasures,

And with golden ligature you knit for your beloved.

     Wings of desire.

"Cor ardens"

Ivanov's two-volume poetry collection "Cor ardens" ("The Flaming Heart") was actually the result of a long journey, uniting five separate poetry books and over 350 poems. It was originally conceived in 1905, but due to a series of circumstances it saw the light of day in "Scorpion" in 1911-1912. "Cor ardens" is the last book for the poet Ivanov; many of the works that comprise it were part of the cycles that preceded it. If one reads the two volumes one after the other, one finds that motivic, rhythmic, and formal overlaps organize a single text with many cross-cutting plots. The title comes from the metaphor of the poem "Praise to the Sun", which opens the inner cycle "Sun-Heart". Ivanov's feelings for Sergei Gorodetsky and Margarita Sabashnikova formed the cycle "Eros", which was preceded by a small collection of the same name. However, the two-volume collection also contained a political layer (the cycle "Arcana", i.e. "Sacrament"), apocalyptically interpreted, which is set by an epigraph of Agrippa of Nettesheim. Agrippa was much favored by Brusov, to whom the cycle is dedicated. According to the German mystic, in 1900 A.D. a new world ruler, Ophiel, will begin to rule the universe. It is not surprising that the main leitmotifs of this cycle were the appearance of a new man in the new century and the characterization of this century; in a deep sense it was close to Brusov's "The Coming Huns".^[7]

The overarching theme of the cycle is the description of the experience of God, the personal mystical experience, and the transformation of the personality that is associated with it. The central image of the "Sun-Heart" belonged to several traditions, of which Nietzsche's symbolism from "Thus Spoke Zarathustra" was the leading one, but the solar theme of Russian modernism was also present.^[8] The poem "Knots of the Serpent" clearly developed Dantean imagery, when the Christian idea of resurrection after suffering is juxtaposed with the Dionysian idea of sin as a path to God (Ivanov perceived sin as suffering), all of which was hinted at in the poem "The Cross of Evil" from the previous book Transparency. In this context, the motif of "The Sun of Emmaus" appears, as well as the phrase "Cor ardens" (a quotation from the Latin Vulgate from the episode of Christ's appearance in Emmaus). The eponymous section is a collection of poems on the unity of mystical experience in Christianity and Dionysianism; most of these poems are dedicated to philosophers, including Sergei Bulgakov and Nikolai Berdyaev.^[9]

The experiences of "Hafiz circle" also found a place in "The Flaming Heart". Poems were written for the meetings, two of which were included in Ivanov's book, forming the small cycle "Hafiz's Tent"; the third poem was included by O. Shor in the notes to the cycle. Shor in the notes to the cycle. Two other poems -"Petronius redivivivus" and "Anachronism"- reflected the names of cycles (Petronius and Reenouveau by W. Nouvel, Antinous by M. Kuzmin). In the poem "Hyperion's Complaint" (Hyperion is one of Ivanov's "Haphysite" names), the lyrical hero denounces his "tormentors" - friends for being preoccupied only with eroticism and drinking wine, while Hyperion himself receives only "evil splinters" and "fierce stings" — "arrows in the inheritance of Erot". The motifs of the previous solar cycle are repeated here, including the martyrdom of the Sun.^[10]

Myth and music. Melopeia "The Man"

Vyacheslav Ivanov's interest in the mystery side of ancient and later world culture was already established during his Berlin years. In E. Zeller's book on Greek philosophy (preserved in Ivanov's library), a large section was devoted to the Pythagoreanism, whose union was defined as "an organization of mysteries" held in the form of an orgy. Zeller emphasized that Pythagoreanism was a variant of theology because its philosophy was based on mysticism and belief in revelation.^[11] This basis was fully realized in Ivanov's anti-Christian works of the 1910-1920s, including the book "The Hellenic Religion of the Suffering God" (1917) and his doctoral dissertation "Dionysus and Pradionysianism" (Baku, 1923); in addition, some of the ideas were expressed as early as 1913 in the article "On Orphic Dionysus". According to F. F. Zelinsky, Ivanov believed that the Dionysian religion revealed the internal logic of Pythagoreanism and transformed Pythagoreanism into Orphism, making it a form of theology (the "whole" was formed from the parts of Dionysus that were torn by the Titans).^[12] In modern culture, Vyach. Ivanov associated the dominance of the Dionysian principle with the ecstatic nature of musical states of the soul, and the Apollonian principle with visionarity. The synthesis of these beginnings is an analog of the harmony of the world reflected in the state of the soul. The dominance of monologism (harpsichord-piano) in European music, which has displaced choral polyphony, must be gradually overcome.^[13]

6

And a gentle whirlwind with a golden shroud

I was enveloped. Out of the net

I saw a new change.

There was no temple, but a multitude of relatives,

Community of people, like a net full of fish.

And in the multitude of faces I recognized others,

who had once been my neighbors;

And all shone in sunny garments.

7

With constellations: for I made a family.

Every free spirit had its own spirit,

And each constellation held

And each constellation held in its hollow bosom an angel with a countenance like that

to that host which the first-born prototype

The mysterious prototype of the first-born.

And the angels of the strongest uvea

Stretched out over the cathedrals of the churches.

8

There were twelve in the neighborhood.

The highest faces of angels and powers.

Above them the flashes of the spirit.

The flashes of the Spirit whirled and drew the whole line of lights.

And what I thought were the lancet arcs,

were the folds of the Spirit-bearing wings.

The wings were the blue of sapphire.

At the edge of the universal chalice.^[14]

In his own poetic work, Ivanov reflected these initial positions in accordance with A. N. Veselovsky's theories of the lyric as an alloy of melos, logos, and word. Veselovsky introduced the problem of harmony into this series: poetry, according to him, develops from the choral beginning. It is not surprising that the principle of organizing a lyric text on the basis of dialogical choral parts is highly characteristic of Ivanov. His favorite genres were odes, hymns, psalms, and dithyrambs, which have a melodic basis and use the practice of ecstatic rapture, dialogicity, and the sound of choruses. Ivanov introduced the concept of the symphonic principle, by which he understood the architectonics of the whole, organized by the variation of themes, leitmotifs, sound repetitions, and the creation of rhythmic dynamics with the dominance of the collective choral beginning or the leading "voice" in the dialogue, as in ancient tragedy or lyric.^[15]

Vyacheslav Ivanov's way of connecting and realizing myth and logos is melos-harmony. A related concept is pneumatology, the doctrine of the all-penetrating and all-forming spirit-pneuma (Greek: πνεύμα). In his books on Dionysianism, Ivanov wrote about transcending reality through various forms of ecstasy; the latter allows one to reach a state of divine inspiration, as Euripides and Plato wrote ("Ion": 533e-535a, 542a), "Phaedrus": 244b-e, 245a-b). The idea of melos-pneuma was fully realized in "Lodestars": in the principles of architectonics, rhythmic-melodic laws, and versioning strategies. The further development of these principles was Melopeia, as Ivanov called his philosophical poem "Man", the main part of which was written in 1915. S. Titarenko called Melopeia one of his greatest experimental creations. It is noteworthy that in Ivanov's aesthetics the concept of melopeia never received a definite justification and remained conventional.^[16] This concept comes from ancient musical aesthetics and goes back to the roots of μελοποιία - "composition of songs" and at the same time music to songs. The root μέλος has several meanings: the first is "song, lyric, melody, harmony"; the second is "member". Related is the verb μελíζω, "to dismember, dissect".^[17] Plato and Aristotle used these words in the context of thinking about rhythm and structure.^[16] In Plato's "Pyrus" there is a judgment that the Eros of the muse Urania requires the art of melopeia, and when structure and rhythm have to be conveyed to people, either by composing music or by correctly reproducing harmonies and sizes already composed, this task is also called melopeia, requiring extreme labor and great art (Symposium, 187c). Something similar is treated in the "Republic" (III, 398d).

Vyacheslav Ivanov worked on his melopeia in parallel with his scientific works on Dionysus and Pradionysianism and Orphism. The poem was built on a Pythagorean-Orphic musical basis, which is indicated by the transformation of individual poems into strophes designated by Greek letters, with the allocation of acme (ακμή) according to the principle of sound order, based on rising and falling tones. He wrote about the same to S. K. Makovsky and depicted it in special schemes: two polar rhythmic-melodic lines of verses are organized by correspondence and symmetry according to the principle of strophe-antistrophe (12 verses). The following 17 verses with counterpoint are symbolized by a triangle, and the сrown of sonnets (15 verses) is based on the circle as a principle of return. The circle embodies harmony, wholeness and completeness in the epilogue. The poem "Man" is based on the parallel conduct of the theme, its intertwining, in the second part they unite and reach acme, and in the third and written in 1919 the fourth part of the leitmotif themes "rotate" and lead to a circular epilogue — a chorus that completes the symphony of the whole.^[18]

Winter Sonnets

The impossibility of soborny way of creating and living a world of mystery in a godless reality became clear to Ivanov in the first post-revolutionary years. The lyrical result was a cycle of twelve "Winter Sonnets", which later critics recognized as one of the highlights of his work. Their external content reflected the hardships of life under the conditions of civil war and devastation, the illness of his wife and son. The reason for writing the sonnets was the hospitalization of his wife Vera and son Dmitry in the sanatorium "Serebryany Bor", which was located outside the city at that time, and Vyacheslav Ivanovich had to travel a considerable distance by sleigh in the winter cold and off-road to visit them. The central image of the sonnets was the "winter of the soul" - the existential state of the lyrical hero, in which he begins to perceive his own physical body only as his double. Only the God-seeking "I" can overcome the gap between the physical and spiritual bodies and find the way to himself. The journey through the winter landscape is a metaphor for the soul's search for a higher meaning; movement on the plane of life has no meaning, or its meaning is not true; the element of the soul is vertical.^[19] D. P. Svyatopolk-Mirsky in his history of Russian literature referred "Winter Sonnets", as well as correspondence with M. O. Gershenzon, to "the most important monuments of the epoch".^[20] At the same time, he contrasted the sonnets with Ivanov's earlier poetic work: unlike the inaccessible "Alexandrian" poetry, the "Winter Sonnets" are less metaphysical, more simple and human in language. Cold and hunger appeared as elemental enemies of the undying spiritual fire, which, however, has yet to survive.^[21] In an article written in 1922, Svyatopolk-Mirsky said that if Vyach Ivanov wrote only "Winter Sonnets", it would be enough to consider him "the most precious poet of our time." In terms of perfection he compared this cycle to Blok's "The Twelve," but it is perfection of a different order — high asceticism and purity of the individual spirit. "This is the courage of a man purified to the last purity, facing death, Nonexistence and Eternity".^[22][23] Anna Akhmatova much later claimed that Ivanov was able "in 1919, when we were all silent, to transform his feelings into art, now that means something".^[24]

12

Is it life or is it a pre-morning dream when

Fresh air cools the sheets of the bed,

When the chill of wings creeps over your skin.

And builds a dream kingdom of ice?

A deceptive sequence of phenomena:

Where is the mist, where is the substance, O God?

Are not dream and reality one and the same?

You are Being, but there is no trace of You.

Love is not an illusion: I believe it, oh, I believe it!

But I love even in the dream of my dreams,

I tremble for my loves, I suffer, I wait and I meet...

In a winter night I catch the Easter bell,

I knock on coffins and hurry the dead,

Until I see myself in the coffin.^[25]

"Roman Sonnets"

On December 31, 1924, Vyacheslav Ivanov wrote to Mikhail Gershenzon from Rome that his "rhymes have awakened. The poet had long been aware of the connection between his fate and that of the Eternal City, which he probably thought of in terms of an entrance into eternity. He repeatedly said that he had come to Rome to die. According to A. B. Shishkin, this formula should be understood not literally, but as a declaration of renunciation of modernity, the end of the era or transition to a new stage of existence.^[26] In November-December 1924, in Rome, Ivanov wrote a cycle of "Roman Sonnets", which was conceived as a continuation and contrast to the most tragic of the cycle "De Profundis amavi", written in the summer of 1920, during the death throes of Vera Shvarsalon-Ivanova. The cycle of "Roman Sonnets" occupied an exceptional place in the mature work of Ivanov himself and in the entire Russian poetic tradition: neither before nor after the "Roman" poetic cycles were created. However, this cycle, to a certain extent, summarized the whole of Ivanov's poetic work. For example, the phrase "Rome" — "pilgrim", which opens the first stanzas of the I "Roman Sonnet" and is repeated in the stanzas of the tercets of the concluding VIII Sonnet, was already found in the early sketches about Italy and Rome in 1892.^[27][28]

In the spirit of Vladimir Solovyov, the image of the ancient Roman arches that open the stanzas of the first sonnet is mythopoetically conceived as a symbol of universality. In the following poems of the cycle, the names of the real objects that open up to the traveler from the Appian Way and the Aurelian Walls itself refer to a higher meaning, which Ivanov himself called "the most real. The play of reality and higher meanings hierarchically superimposed on it is characteristic of the entire cycle. In the sonnet "Regina Viarum" (which opens the cycle), the lyrical hero appears to the reader on the Appian Way, "the queen of paths," then on the Quirinal Hill ("Monte Cavallo"), from where he walks, passing the "Street of the Four Fountains" ("L'acqua felice"), where Ivanov rented an apartment nearby, in house 172, to the Spanish Square to the fountain tower ("La Barcaccia"); from there to Piazza Barberini to the Fontana del Tritone, then to the Roman medieval Ghetto to the Fountain of the Turtles ("La Fontana delle Tartarughe"), up to the Temple of Asclepius, reflected in a lake ("Valle Giulia"), descends to the Trevi Fountain ("Aqua Virgo"), and finally climbs again to the Pincian Hill, where the view of Rome and the St. Peter's Basilica is magnificent. The description of a real, albeit long, journey is intended to be read in different ways. Biographically, it is the completion of the earthly wanderings and the acquisition of Rome, the Queen of Ways ("Regina Viarum"). Textually, this is emphasized by the movement from the arches to the basilica, the last word of the cycle with capital letter. The path leads to the symbol of unity and Christian universalism. More profoundly, the Virgilian myth of the founding of Rome by the people of Troy is alluded to, and the multitude of wells - the element of water, the Dionysian beginning.^[29] The image of the fountain concealed other meanings: in Rome, fountains were often decorated with ancient sarcophagi - containers for ashes. By combining the sarcophagus with the Slavic treasure-house fountain, Ivanov gave the image of the tomb the meaning of both depth and vital movement. As usual for a symbolist poet, in "Roman Sonnets" a great semantic load was carried by the color scheme. The symbol of Golden Rome is the dominant color of gold and the sun and its shades: honey, fire, fire, as well as blue, green, orange, red, blue, bronze and silver — all associated with sacred space.^[30]

The rhymes of the cathedrals in the first sonnet form the name of the Eternal City in Russian ("Rome", lines 1, 3, 5, 7) and Latin transcription ("Roma", lines 2, 4, 6, 8). The solemn tone of the rhymes, according to A. Shishkin, indicates that the enemies were trying to destroy not only the Eternal City, but also its name; that is why the apotheosis of the Roman name is contrasted with the "word war" of the barbarians and emphasized by the shades of vowels and consonants. Ivanov was also generous with mythological-poetic palindromes: Latin "Roma"-"Amor", and Russian "Rome"-"World". The rhyme "Roma" — "domo" is significant for the whole cycle: in Italian domo means "dome", "cathedral", as well as "heavenly vault"; probably the last word of the IX, the concluding sonnet, "Dome", serves as the last word of this band.^[30]

Regina Viarum

Again, true pilgrim of your vaulted past,

I greet you, as my own ancestral home,

With evening ‘Ave Roma’ at the last,

You, wanderers’ retreat, eternal Rome.

The Troy of your forebears we give to fire;

The chariots’ axles crack from furious churning

In this hippodrome of the world entire:

Regina Viarum, see how we are burning.

And you went down in flames and rose from embers;

The mindful blueness could not blind the eye

Of space in your unfathomable sky.

Your cypress, standing sentinel, remembers

In the caresses of a dream of gold

How strong was Troy in ashes lying cold.^{[Note 2]}

Ivanov's symbolic aesthetics

In his theoretical works, Ivanov was consistent, rigorous, and scientific in his consideration of the essence of symbolism in general and of Russian symbolism in particular. He worked with the concepts of dialectics: "thesis", "antithesis" and "synthesis". For Ivanov, the essence of the first point lay in the infinitely diverse reality of another, higher being suddenly revealed to the artist's inner gaze in a series of correspondences (Baudelaire's correspondences), i.e. in a symbol. Russian Symbolism, according to Ivanov, did not want to and could not be "only art", its mission is theurgy, but before the realization of the theurgic task the symbolists will have to test "antithesis" (the sensitivity of Vrubel's nature in general led him to madness). Ivanov himself, as Berdyaev put it, "without a sense of the catastrophic," had a vision of the highest stage of symbolism — the synthetic stage. In order to understand this stage, Ivanov significantly introduced the concept of the "internal canon", which, as in the Middle Ages, should significantly discipline the modern artist (i.e. the symbolist) and bring him to a fundamentally new level not only of art and not so much of being.^[31] Ivanov followed Solovyov: at the synthetic stage of symbolism, the artist transcends traditional art and becomes a theologian. On the basis of deep contemplation of the integral and unified essence of being (the soul of the world, the flesh of the word, i.e. in the flesh of Christ who remains after the Resurrection), the theologian creates a new being, more sublime and spiritual than the existing one. In terms of aesthetics, this is the "great style," and its true embodiment is the coming sacred artistic mystery, which will emerge on the basis of the traditional epic and tragedy. Mystery is the ultimate goal and meaning of the entire Symbolist movement, the basis of a new level of human culture. When Ivanov expressed this idea in 1910, it frightened both Brusov and Blok. Ivanov himself saw no real prospects for the realization of the mysterious promise. Blok, after the revolution of 1917, according to V. V. Bychkov, associated the mystery theology with the Russian revolution and placed Christ in a "white wreath of roses" at its head. The other thinkers of Ivanov's circle (Andrei Bely, Merezhkovsky, Frank) perceived his ideas skeptically and even ironically.^[32]

In his 1936 article "Symbolism" for the 31st volume of the "Treccani", Ivanov finally crystallized his theory. In this article he characterized his symbolism as subjective (Italian: simbolismo soggettivistico). Ivanov wrote that "in its aspiration from the externally visible and objectively existing reality to a higher reality, more real in the ontological sense (lat. a realibus ad realiora), realistic symbolism in its own way realized the "anagogic precept of medieval aesthetics" — the elevation of man from the sensual and through the medium of the sensual to the spiritual reality".^[33] Subjective symbolism prevailed in Western culture, which recognized the objective as less attractive than the artist's fiction. Realistic symbolism, Ivanov believed, was the only form of preserving and developing myth as the deep content of the symbol understood as reality. Myth as a sacred reality is revealed to the collective consciousness in the act of mystery (in antiquity: Eleusinian, Samothrace, etc.). After being passed on to the folk-historical heritage, the myth becomes a myth in the full sense of the word. A true myth is devoid of the personal characteristics of the creator or the listener, because it is an objective form of storing knowledge about reality, acquired as a result of mystical experience and believed until, in the act of a new breakthrough to the same reality, a new knowledge of a higher level is discovered about it. Thus the old myth is replaced by a new one. That is why Ivanov said that the supertask of symbolism is myth-making. We are not talking about the artistic processing of ancient myths or the writing of fiction, but about true myth-making - a mental achievement of the artist.^[34]

According to Ivanov, the artist is not able to create outside of the connection with the divine unity, and he has to educate himself to the realization of this connection. Myth is an event of inner experience, "personal in arena, suprapersonal in content," and only then, through the artist's mediation, is it experienced by all. Ideally, myth-making should be realized in a special form of art — a new mystery. Ivanov thought that it would arise and develop on the basis of the theater, but it would outgrow the ramp and the stage. Ivanov assumed that theater arose from the Dionysian mysteries as an artistic embodiment of the mystical experience of sobornost. The chorus in the ancient theater played the role and function in its principle. According to Ivanov, it was in the folkloric memory of the soul that the sobornost's religious experience was preserved in modernity. That is why Vyacheslav Ivanovich was particularly interested in the origins of Slavic peoples.^[35]

Ivanov saw the paradigm of the coming mystery as a sacred action uniting actors and spectators as full participants; the liturgical service is a direct analogy. Already in 1914, several years before P. Florensky, in an article on Čiurlionis, Ivanov wrote about the liturgical service as a historical realization and prototype of the future synthesis of the arts. The closest, according to Ivanov, was Scriabin. In other words, Ivanov's aesthetics was entirely in the sphere of the religious and constantly led him to considerations of a new religious consciousness and spiritual and an adequate aesthetic practice.^[36]

Vyacheslav Ivanov's religious and philosophical searches

Ivanov and the Religious and Philosophical Society

The Road to Emmaus

Now has the third day’s red sail come

To haven on its westering way;

In the soul — Golgotha, the tomb.

Dispute, and riot, and dismay.

And craftily, the cruel night

Stands everywhere on sentinel,

And though the warming sun is bright,

It has not strength the dark to quell.

Death, the inexorable, gapes;

The heart is stifled in the grave...

Somewhere are white and shining shapes,

Gold on the gloom, wrath on the wave!

And frenzied women, pale with tears,

Proclaim good tidings — but of what?

From crushing and denying fears

The lulling mist lets nothing out.

Someone, a stranger, on the road.

Stopping to speak to us, proclaims

A sacrificed and a dead God...

And the heart breathes again, and flames.^{[Note 3]}

Publications

• Venceslaus Ivanov. De societatibus vectigalium publicorum populi romani = Общества государственных откупов в Римской республике: [lat.]. — СПб. : Записки Классического отделения Имп. Рус. Археологического Общества, 1910. — V. VI. — [7], 132 p.
• Вячеслав Иванов и М. О. Гершензон. Переписка из двух углов. — Пг. : Алконост, 1921. — 62 p.
• Иванов Вяч., Гершензон М. Переписка из двух углов / Подг. текста, прим., ист.-лит. комм, и иссл. Роберта Бёрда. — М.: Водолей Publishers; Прогресс-Плеяда, 2006. — 208 p. — ISBN 5-902312-60-4.

• Деяния св. Апостолов. Послания св. Апостолов. Откровение св. Иоанна. — Рим : Издание Рим.-Католической семинарии «Руссикум», 1946. — 532 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт. — Брюссель : Foyer Oriental Chrétien, 1971. — V. 1. — 872 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт. — Брюссель : Foyer Oriental Chrétien, 1974. — V. 2. — 852 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт. — Брюссель : Foyer Oriental Chrétien, 1979. — V. 3. — 896 p.
• Иванов Вяч. Собрание сочинений / Под ред. Д. В. Иванова и О. Дешарт; с введ. и примеч. О. Дешарт; при участии А. Б. Шишкина. — Брюссель: Foyer Oriental Chrétien, 1987. — V. 4. — 800 p.
• Из переписки В. И. Иванова с А. Д. Скалдиным / Публ. М. Вахтеля // Минувшее: Ист. альм. — 1990. — № 10. — P. 121—141.
• Иванов Вячеслав. Дионис и прадионисийство. — М. : Алетейя, 1994. — 352 p. — (Античная библиотека. Исследования). — ISBN 5-86557-012-9.
• Иванов В. И. Родное и вселенское / Сост., вступит. ст. и прим. В. М. Толмачёва. — М. : Республика, 1994. — 428 p. — (Мыслители XX века). — ISBN 5-250-02436-X.
• Иванов Вяч. Лик и личины России. Эстетика и литературная теория / Вступ. ст., предисл. С. С. Аверинцева. — М. : Искусство, 1995. — 669 p. — (История эстетики в памятниках и документах). — ISBN 5-210-02056-8.
• Иванов Вячеслав. Стихотворения. Поэмы. Трагедия. В 2-х книгах / Сост. Р. Е. Помирчий; вст. ст. А. Е. Барзах. — СПб. : Академический проект, 1995. — Book 1. — 480 p. — (Новая библиотека поэта. Большая серия). — ISBN 5-7331-0069-9.
• Иванов Вячеслав. Стихотворения. Поэмы. Трагедия. В 2-х книгах / Сост. Р. Е. Помирчий; вст. ст. А. Е. Барзах. — СПб. : Академический проект, 1995. — Book 2. — 432 p. — (Новая библиотека поэта. Большая серия). — ISBN 5-7331-0070-2.
• История и поэзия: Переписка И. М. Гревса и Вяч. Иванова / Изд. текстов, исследование и комментарии Г. М. Бонгард-Левина, Н. В. Котрелёва, Е. В. Ляпустиной. — М.: Российская политическая энциклопедия (РОССПЭН), 2006. — 448 p. — ISBN 5-8243-0650-8.
• Иванов Вячеслав, Зиновьева-Аннибал Лидия. Переписка: 1894—1903 / Подг. текста Д. О. Солодкой и Н. А. Богомолова при участии М. Вахтеля. — М. : Новое литературное обозрение, 2009. — V. 1. — 752 p. — ISBN 978-5-86793-733-1.
• Иванов Вячеслав, Зиновьева-Аннибал Лидия. Переписка: 1894—1903 / Подг. текста Д. О. Солодкой и Н. А. Богомолова при участии М. Вахтеля. — М. : Новое литературное обозрение, 2009. — V. 2. — 568 p. — ISBN 978-5-86793-734-8.
• Иванов В. Повесть о Светомире царевиче / Изд. подготовили А. Л. Топорков, О. Л. Фетисенко, А. Б. Шишкин. — М. : Ладомир, Наука, 2015. — 824 p. — (Литературные памятники). — ISBN 978-5-86218-532-4.
• Эсхил. Трагедии в пер. Вячеслава Иванова / изд. подгот. Н. И. Балашов [и др.]. — М. : Наука, 1989. — 589 p. — (Литературные памятники). — ISBN 5-02-012688-8.

Notes

References

Bibliography

Encyclopedic Sources

• Аверинцев С. С. Ива́нов Вячесла́в Ива́нович // Католическая энциклопедия. — М. : Издательство Францисканцев, 2005. — Т. II. — Стб. 26—31. — 1818 стб. — ISBN 5-89208-054-4.
• Гоготишвили Л. А. Иванов Вячеслав Иванович // Новая философская энциклопедия. В четырёх томах / Научно-ред. совет: В. С. Стёпин, А. А. Гусейнов, Г. Ю. Семигин. — М. : Мысль, 2010. — Т. II. — С. 65—66. — 634 с. — ISBN 978-2-244-01117-3.
• Иванов Вячеслав Иванович [Избранная библиография] // Русская литература конца XIX — начала XX века: библиографический указатель / Сост. Н. В. Котрелёв. — М. : ИМЛИ РАН, 2010. — Т. I: А–М. — С. 607–695. — 953 с. — ISBN 978-5-920-80355-9.
• Искржицкая И. Ю. Ива́нов Вячеслав Иванович // Русские писатели 20 века : Биографический словарь / Гл. ред. П. А. Николаев. — М. : Большая российская энциклопедия, Рандеву-АМ, 2000. — С. 301—303. — 808 с. — ISBN 5-85270-289-7.
• Лексикон русской литературы XX века = Lexikon der russischen Literatur ab 1917 / В. Казак ; [пер. с нем.]. — М. : РИК «Культура», 1996. — XVIII, 491, [1] с. — 5000 экз. — ISBN 5-8334-0019-8.. — С. 161—162.
• Котрелёв Н. В. Ива́нов Вячеслав Иванович // Православная энциклопедия. — М. : Церковно-научный центр «Православная энциклопедия», 2009. — Т. 20. — С. 645—652. — 752 с. — ISBN 978-5-89572-036-3.
• Михайловский Б. Иванов Вячеслав Иванович // Литературная энциклопедия: В 11 т. — М. : Изд-во Ком. Акад., 1930. — Т. 4. — Стб. 404—409.
• Печко Л. П. Ива́нов Вяч. И. // Краткая литературная энциклопедия / Гл. ред. А. А. Сурков. — М. : Сов. энцикл., 1966. — Т. 3: Иаков — Лакснесс. — Стб. 38—39.
• Русские писатели, 1800—1917 : Биографический словарь / гл. ред. П. А. Николаев. — М. : Большая российская энциклопедия, 1992. — Т. 2 : Г—К. — С. 372—377. — 623 с. — (Сер. биогр. словарей: Русские писатели. 11—20 вв.). — 60 000 экз. — ISBN 5-85270-011-8. — ISBN 5-85270-064-9 (т. 2).
• Шруба М. Общество ревнителей художественного слова // Литературные объединения Москвы и Петербурга 1890—1917 годов: Словарь. — М.: Новое литературное обозрение, 2004. — С. 156—159. — 448 с. — ISBN 5-86793-293-1.

Primary Sources

• Archivio italo-russo II = Русско-итальянский архив II / a cura di Cristiano Diddi e Andrei Shishkin. — Salerno, 2001. — Вып. 2. — 344 с. — (Collana di Europa orientalis, ISSN 0392-4580). — ISBN 978-88-6235-021-1.
• Archivio italo-russo III = Русско-итальянский архив III : Vjačeslav Ivanov - Testi inediti / a cura di Daniela Rizzi e Andrei Shishkin. — Salerno, 2001. — 574 с. — (Collana di Europa orientalis, ISSN 0392-4580).
• Альтман М. С. Разговоры с Вячеславом Ивановым / Составление и подготовка текстов В. А. Дымшица и К. Ю. Лаппо-Данилевского. Статья и комментарии К. Ю. Лаппо-Данилевского. — СПб. : Инапресс, 1995. — 384 с. — (Свидетели истории). — ISBN 5-87135-020-8.
• Вячеслав Иванов. Материалы и исследования. — М. : Наследие, 1996. — 392 с. — ISBN 5-86562-027-4.
• Вяч. Иванов: pro et contra, антология / Сост. К. Г. Исупов, А. Б. Шишкин; коммент. Е. В. Глуховой, К. Г. Исупова, С. Д. Титаренко, А. Б. Шишкина и др. — СПб. : РХГА, 2016. — Т. 1. — 996 с. — (Русский путь). — ISBN 978-5-88812-724-7.
• Вяч. Иванов: pro et contra, антология / Сост. К. Г. Исупов, А. Б. Шишкин; коммент. коллектива авт. — СПб. : ЦСО, 2016. — Т. 2. — 960 с. — (Русский путь). — ISBN 978-5-906623-17-1.
• Кузмин М. А. Дневник 1934 года / под ред. со вступ. ст. и примеч. Г. Морева. — СПб. : Издательство Ивана Лимбаха, 1998. — 408 с. — ISBN 978-5-89059-114-2.
• Лидия Иванова. Воспоминания. Книга об отце. — М. : Феникс, 1992. — 432 с. — ISBN 5-85042-038-X.

Research in Russian language

• Аверинцев С. С. «Скворешниц вольных гражданин…» Вячеслав Иванов: путь поэта между мирами. — СПб. : Алетейя, 2002. — 167 с. — ISBN 5-89329-452-1.
• Бёрд Р. Вячеслав Иванов за рубежом // Русское зарубежье: история и современность. — 2011. — Вып. 1. — С. 179—206. — ISBN 978-5-248-00613-7.
• Богданова О. А. Вячеслав Иванов и становление науки о Достоевском на рубеже 1910–1920-х годов (М. М. Бахтин, Б. М. Энгельгардт, В. Л. Комарович) // Литературоведческий журнал. — 2016. — № 39: К 200-летию смерти Г. Р. Державина. — С. 143—170.
• Богомолов Н. А. Из итальянских впечатлений Вячеслава Иванова // Europa Orientalis. — 2012. — Vol. 21, no. 2. — P. 105—114.
• Бычков В. В. Русская теургическая эстетика. — М. : Ладомир, 2007. — 743 с. — ISBN 978-5-86218-468-6.
• Венцлова Т. Собеседники на пиру: Литературоведческие работы. — М. : Новое литературное обозрение, 2012. — 624 с. — (Новое литературное обозрение. Литературное приложение. Выпуск CVIII). — ISBN 978-5-86793-953-3.
• Вячеслав Иванов. Архивные материалы и исследования / Отв. ред.: Гоготишвили Л. А., Казарян А. Т. — М. : Русские словари, 1999. — 488 с. — ISBN 5-93259-002-5.
• Вячеслав Иванов. Исследования и материалы / Ответственные редакторы К. Ю. Лаппо-Данилевский, А. Б. Шишкин. — СПб. : Издательство Пушкинского Дома, 2010. — Вып. 1. — 840 с. — ISBN 978-5-87781-015-0.
• Вячеслав Иванов. Исследования и материалы / Отв. редакторы: Н. Ю. Грякалова, А. Б. Шишкин. — СПб. : РХГА, 2016. — Вып. 2. — 512 с. — ISBN 978-5-88812-722-3.
• Вячеслав Иванов и его время : материалы VII Междунар. симп., Вена 1998 / Ред.: Сергей Аверинцев, Роземари Циглер. — Frankfurt am. M. : Lang, 2002. — 585 p. — ISBN 3-631-36768-6.
• Вячеслав Иванов — Петербург — мировая культура: материалы международной научной конференции 9—11 сентября 2002 г. — Томск—М. : Водолей Publishers, 2003. — 328 с. — ISBN 5-902312-04-3.
• Климов А. Вячеслав Иванов в Италии (1924—1949) // Русская литература в эмиграции: Сб. ст. / Под ред. Н. П. Полторацкого. — Питтсбург : Отдел славянских литератур и культур Питтсбургского университета, 1972. — С. 151—165. — VIII, 409, [5] с. — (Slavic series; № 1).
• Литература русского зарубежья (1920–1940) : учебник для высших учебных заведений / отв. ред. Б. В. Аверин, Н. А. Карпов, С. Д. Титаренко. — СПб. : Филологический факультет СПбГУ, 2013. — 848 с. — ISBN 978-5-903549-13-9.
• Литература русского зарубежья (1920—1940): практикум-хрестоматия / сост. С. Д. Титаренко. — СПб. : Филологический факультет СПбГУ, 2010. — 382 с. — (Русский мир: учебники для высшей школы). — ISBN 978-5-8465-1052-4.
• Обатнин Г. В. Штрихи к портрету Вяч. Иванова эпохи революций 1917 года // Русская литература. — 1997. — № 2. — С. 224—230.
• Обатнин Г. Иванов-мистик (Оккультные мотивы в поэзии и прозе Вячеслава Иванова (1907—1919). — М. : Новое литературное обозрение, 2000. — 240 с. — ISBN 5-86793-122-6.
• Павлова Л. В. У каждого за плечами звери: символика животных в лирике Вячеслава Иванова: Монография. — Смоленск : СГПУ, 2004. — 264 с. — ISBN 5-88018-370-X.
• Святополк-Мирский Д. С. История русской литературы с древнейших времён по 1925 год / Пер. с англ. Р. Зерновой. — Новосибирск : Свиньин и сыновья, 2005. — 964 с. — ISBN 5-98502-019-3.
• Русская литература рубежа веков (1890-е—начало 1920-х годов) / Отв. ред. В. А. Келдыш. — М. : ИМЛИ РАН : Наследие, 2000. — Кн. 1. — 958, [2] с. — ISBN 5-9208-0063-1.
• Русская литература рубежа веков (1890-е—начало 1920-х годов) / Отв. ред. В. А. Келдыш. — М. : ИМЛИ РАН : Наследие, 2001. — Кн. 2. — 765, [2] с. — ISBN 5-9208-0090-9.
• Святополк-Мирский Д. С. История русской литературы с древнейших времён по 1925 год / Пер. с англ. Р. Зерновой. — Новосибирск : Свиньин и сыновья, 2005. — 964 с. — ISBN 5-98502-019-3.
• Сегал Д. Вячеслав Иванов и семья Шор (По материалам рукописного отдела Национальной и Университетской Библиотеки в Иерусалиме) // Cahiers du Monde Russe. — 1994. — Vol. 35, no. 1—2. — P. 331—352.
• Селиванов В. В. Вяч. И. Иванов и Н. Я. Марр в жизни и творческой судьбе К. М. Колобовой // МНЕМОН. Исследования и публикации по истории античного мира / Под редакцией профессора Э. Д. Фролова. — 2006. — Вып. 5. — С. 487—510.
• Степанова Г. А. Идея «соборного театра» в поэтической философии Вячеслава Иванова. — М. : ГИТИС, 2005. — 139 с.
• Тернова Т. А. Публицистический цикл Вячеслава Иванова о революции и Первой мировой войне // Научный вестник Воронежского государственного архитектурно-строительного университета: Лингвистика и межкультурная коммуникация. — 2017. — Вып. 2 (25). — С. 29—34.
• Титаренко С. Д. От мелоса — к логосу: миф и музыка в философии искусства Вячеслава Иванова // Вестник Русской христианской гуманитарной академии. — 2014. — Т. 15, № 4. — С. 150—160. — ISSN 1819-2777.
• Топорков А. Л. Источники «Повести о Светомире царевиче» Вяч. Иванова: древняя и средневековая книжность и фольклор. — М. : Индрик, 2012. — 486 с. — ISBN 978-5-91674-234-3.
• Философия. Литература. Искусство: Андрей Белый, Вячеслав Иванов, Александр Скрябин / под ред. К. Г. Исупова. — М. : РОССПЭН, 2013. — 478 с. — (Философия России первой половины XX века). — ISBN 978-5-8243-1746-6.
• Шишкин А. Вячеслав Иванов и Италия // Русско-итальянский архив. — 1997. — С. 503—562.

Research in English language

• Bird R. The Russian Prospero : the creative universe of Viacheslav Ivanov. — Madison : The University of Wisconsin Press, 2006. — 310 p. — ISBN 0-299-21830-9.
• Creating Life: The Aesthetic Utopia of Russian Modernism / Ed. by Irina Paperno and Joan Delaney Grossman. — Stanford : Stanford University Press, 1994. — 300 p. — ISBN 0-8047-2288-9.
• Davidson P. Vyacheslav Ivanov's Translations of Dante // Oxford Slavonic Papers. New Series. — 1982. — Vol. XV. — P. 103—131.
• Davidson P. The poetic imagination of Vyacheslav Ivanov: a Russian symbolist's perception of Dante. — Cambridge University Press, 1989. — 319 p. — (Cambridge studies in Russian literature). — ISBN 0-521-36285-7.
• Davidson P. Viacheslav Ivanov: A reference guide. — N. Y. : G. K. Hall & Co. An Imprint of Simon & Schuster Macmillan, 1996. — xlii, 382 p. — (A Reference Guide to Literature Series). — ISBN 0816118256.
• Kalb J. E. Russia’s Rome : imperial visions, messianic dreams, 1890—1940. — Madison : The University of Wisconsin Press, 2008. — 299 p. — ISBN 978-0-299-22920-7.
• Kleberg L. Theatre as Action. Soviet Russian Avant-Garde Aesthetics / Translated from Swedish by Charles Rougle. — L. : Macmillan, 1993. — 152 p. — ISBN 978-0-333-56817-0.
• Plioukhanova M., Shishkin A. The Museum and the Research Centre Vyacheslav Ivanov Archive in Rome: Literature, music, art, and the city // Literature, Music, and Cultural Heritage Proceedings of the ICLM Annual Conference 2015. — 2016. — P. 90—101. — ISBN 978-5-933-22112 -8.

External link

• Bogomolov N. A. Ivanov, Vyacheslav Ivanovich. Big Russian Encyclopedia. 12 June 2019.
• Vyacheslva Ivanovich Ivanov (1866—1949). Russian Virtual Library. 12 June 2019.
• Russian Geniuses and Villains. Vyacheslav Ivanov: Documentary. TV channel "Russia - Culture". Date of circulation: 12 June 2019.
• Доклад А.Б. Шишкина «Вяч. И. Иванов: русский европеец между Востоком и Западом». «РУССКАЯ МЫСЛЬ»: Историко-методологический семинар в РХГА. Исследовательский центр Вячеслава Иванова в Риме (21 сентября 2012). Дата обращения: 20 июня 2019.
• Творчество Вячеслава Иванова в библиотеке Максима Мошкова
• Иванов Вяч. Эллинская религия страдающего бога. 1917. Факсимильное воспроизведение корректуры книги. Опись 6, картон 1. Электронный архив Вяч. Иванова.
• Исследовательский центр Вячеслава Иванова в Риме. Дата обращения: 12 июня 2019.
• «ОБНИМАЮ ВАС И МАТЕРИНСКИ БЛАГОСЛОВЛЯЮ…» Переписка Вячеслава Иванова и Лидии Зиновьевой-Аннибал с Александрой Васильевной Гольштейн. Публикация, подготовка текста, предисловие и примечания А. Н. Тюрина и А. А. Городницкой. Новый Мир 1997, №6. Журнальный зал. Дата обращения: 12 июня 2019.
• Pellegrini a Roma: Venceslao Ivanov. Il soggiorno romano del poeta russo Ivanov e della figlia del celebre scrittore Tolstoj. Istituto Luce Cinecittà (22 декабря 1948). Дата обращения: 20 июня 2019.