Abstract

A new aspect of intertextuality research of Anna Akhmatova’s “Poem without a hero” is suggested in this article. Authors identify quotational and reminiscent layers of the J.W. Goethe’s tragedy “Faust”. They also show that each of the many references to Goethe is a structure-forming principle towards the poem’s text. It structures the poem on different layers starting from motives and images ending in its composition. Artistic functions of Faust and Mephistopheles images who were intentionally included in the poem are considered. Interconnection with “Faust” opening plot is also presented. The situation when infernal powers come to the character who summoned them by the means of magic ritual (fortunetelling) is analyzed. The motives of devil carnival in “Poem without a hero” (with its references to “Night Brocken”) are compared with the motives of “Walpurgis night” in “Faust”. Leitmotivs of “poisoned wine”, “Golden Age”, “Dark Crime”, “pangs of conscience” in Akhmatova’s poem are conformable to the main story lines in Goethe’s tragedy. It is proved that Akhmatova’s appeals to Goethe were based not only on the original text but also on the translation by N.A. Kholodkovsky.

Highlights

  • When talking about Anna Akhmatova, first that comes to mind is that she is one of the greatest Russian poets of the 20-th century, and an eye witness of the century, the “Silver Age” of Russian poetry

  • С. 29—35 editions of the poem its second part “Tail of a coin” is entitled “Intermezzo”. Akhmatova starts her poem with three dedications, the second one is the reminiscence of Goethe’s dedication

  • Further confirmation we find in the following lines by Akhmatova: «Словно та, одержимая бесом, Как на Брокен ночной неслась...» [1

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Summary

Introduction

When talking about Anna Akhmatova, first that comes to mind is that she is one of the greatest Russian poets of the 20-th century, and an eye witness of the century, the “Silver Age” of Russian poetry. Akhmatova starts her poem with three dedications, the second one is the reminiscence of Goethe’s dedication. Genre scenes included into the poem seem not to be connected with the main storyline, but they vividly convey devilish theatricality of Saint Petersburg before the First World War. the masquerade ball during Christmastide which appeared to be bacchanalia of Petersburg hellish fiends contains some interesting literary allusions, the most important of which (so called literary archetype) is J.W. Goethe’s “Faust”.

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