The apocalyptic symbolism of Andrej Belyj

217 Pages·1973·6.106 MB·English

by  Samuel David Cioran

SLAVISTIC PRINTINGS
AND REPRINTINGS
edited by
C. H. VAN SCHOONEVELD
Indiana University
274

ANDREJ BELYJ (1880-1934)
THE APOCALYPTIC SYMBOLISM
OF ANDREJ BELYJ
by
SAMUEL D. CIORAN
McMaster University
Hamilton, Ontario, Canada
1973
MOUTON
THE HAGUE · PARIS
© Copyright 1973 in The Netherlands
Mouton & Co. N.V., Publishers, The Hague
No part of this book may be translated or reproduced in any form by print,
photoprint, microfilm, or any other means, without written permission from
the publishers
LIBRARY OF CONGRESS CATALOG CARD NUMBER: 72-94451
Printed in Hungary
For Sharon

PREFACE
Of all the Russian symbolists, Andrej Belyj offers the greatest challenge
for interpretation. His problematic manipulation of enigmatic language,
cosmic imagery and aesthetic theory presents untold problems for exeget-
ical study. Yet, in spite of the differences, both aesthetic and ideological,
which separate Belyj from others of his era, he shares with them the
eschatological mentality of the pre-revolutionary period—the search for
the new Adam in a resurrected spiritual paradise on earth. In a crisis-
ridden age obsessed with religious symbolism, the Apocalypse, that most
symbolic and mystical of biblical texts, had an enormous effect on both
writers and thinkers alike. Belyj was among those who, like Vladimir
Solov'ev, Dmitrij Merezkovskij, Yasilij Rozanov and Aleksandr Blok,
borrowed freely from both the atmosphere and archetypes of this biblical
source.
Belyj's widespread use of these apocalyptic symbols was perfectly con-
scious. Inasmuch as he constantly employed them with an awareness of
their content and sphere of significance, they must be viewed as extremely
meaningful for both his personal philosophy and his aesthetic creativity.
His acceptance of the two primordial principles of order and chaos, or
good and evil, influenced him towards a patterning of dualistic concepts
and directed him to that fertile source of archetypal opposites, the Book
of Revelation. Thus, the pairing of Christ and Antichrist, Virgin and
Harlot, Heaven and Abyss, deeply impressed itself upon his aesthetic
mentality. In fact, the basic dramatic tension in his works arises from his
unsuccessful attempt to reconcile this opposition.
Belyj and Blok, in particular, experienced not only the historical apoc-
alypse of their generation, but more poignantly than the others they were
aware of their own individual or personal apocalypse. This personal
feeling of being crucified at the intersection of two ages gave an undeni-
ably eschatological turn to their work. Thus, Belyj's eschatological symbol-
ism is not a mere stylistic feature of his work, but reflects the author's