Abstract
ABSTRACT Spanish motifs are present throughout Marina Cvetaeva’s work, from her early texts until the end of her life. Amongst them, the axis associated with the figures of Don Juan and Carmen is thoroughly integrated. Indeed, the development of both mythical figures reveals Cvetaeva’s process of creative recombination of plot, together with her invention of the unique story of Don Juan and Carmen, setting their relationship within a specific chronotope that allows the rebirth of both protagonists. In the cycle “Prince of Darkness” (1917), the plurality of incarnations of Don Juan and Carmen is transformed into a hierarchy of characters: Prince of Darkness – Don Juan – Carmen. The “eternal” nature of this process is emphasized by the transfer of the characters to Russia. Further, the conceptual basis of the plot – which was intended to be performed on stage, as Cvetaeva stated in notebook dated 1918 – was partially used in other dramatic works with similar characters (Lozen, Casanova, Cupid, Henri-Henriette, Venus, etc.). Hence the broad intertextual background of our analysis of the texts pertaining to the 1910–1918 period of Cvetaeva’s production.
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