Journal archive

Abstract: The article considers the semantics and functions of the horse and rider images in Marina Tsvetaeva’s book of poems «Remeslo» (1921–1922) dating from the transitional, critical period of the poet’s creative work. It is shown how in M. Tsvetaeva’s creative consciousness the rider merges with the horse, forming a new mythological creature. The poems in which Tsvetaeva’s lyrical counterpart or the protagonist plays the role of a rider are analyzed. The emphasis is put on the lyrical cycles «Georgiy» and «Khan captivity» related antithetically: Georgiy is opposed to Mamai, and the «transfigured» horse is opposed to the «impenitent» horse. Polysemantic nature of the horse image in Tsvetaeva’s poetry is stressed, and different mythological, folklore and Christian allusions related to this image are traced, as well as the color symbolics. Allusions to a horse also appear in the dedication to Mayakovsky — her handicraft associate. It is concluded that the horse and rider images play the important role in the metaplot of the lyrical book, in the creation of Tsvetaeva’s myth about a poet and Russia, and in the poetic self-determination, because a horse represents a bridge between two worlds, as the symbol related to both paganism and Christianity and having deep roots in the national culture.