Vyacheslav Ivanov’s Tragedy «Prometheus» and Heraclitus

Abstract

The tragedy «Prometheus» (1919) is one of the most complex literary works by Vyacheslav Ivanov (1866–1949), a Russian symbolic poet. It contains numerous references to mythology, ritual practices, ancient and modern European literature
 and philosophy. In the article the author analyzes a Heraclitian layer of Ivanov’s tragedy and relies primarily on the sources contained in the poet’s personal library. Heraclitus is one of the most beloved and highly sought philosophers by
 Ivanov. The poet repeatedly quotes or mentions individual fragments or ideas of the pre-Socratic philosopher in his lyrics, philosophical and aesthetic articles, and scientific
 works. Heraclitus’ philosophy is essential for revealing the Prometheus-Dionysian mythologeme that is the basis of Ivanov’s tragedy. The symbolism of the material elements (fire, water and earth) is reflected in the composition scheme of
 the work preceded by the text of the tragedy. Like Heraclitus’ fire, Ivanov’s one takes on a cosmogonic and anthropogenic significance. Heraclitus’ fire is identified by Ivanov with Dionysus-Zagreus and primordial Zeus (the transcendent-divine
 principle) which is opposed to Zeus-Kronid (the immanent-divine principle). Ivanov follows Heraclitus in understanding the human spirit as fire seeds, combining Christian, Eleusinian, stoic, and Heraclitian semantics in a complex way. One of the leitmotivs of the tragedy, based on Heraclitus, is understanding of
 war as the essence of the cosmogonic, metaphysical and historical-cultural process. This leitmotiv permeates the key scenes of the tragedy: creation of Pandora, the first crime, the first sacrifice. Special attention is paid to the demonstration of deep
 mythological connections between Prometheus, fire and war and the Christianization of Heraclitian philosophical mythologemes.