К проблеме «Блок и Вагнер»
To the problem of "Block and Wagner"

Summary/Abstract: Both Blok and Wagner are artists of the “crisis”, and their aesthetics coincide in many points (Gesamtkunstwerk, Künstlermensch). In their arts neomythologism is realized in a myth concentrated in a symbol on the one hand, or in a music-drama swollen into a tetralogy on the other. The Wagnerian “Leitmotif’ plays an important composing role in the analyzed Blok-poems. Through a considerable part of the Blok-cycle the thematically also very musical “Harps and Violins” marches the duality of attraction of passion and suppression of passion, and in the end it is dissolved in the indelible memory of first love. Here, too, like in the drama “The Song of the Fate” the main role is played by the violins that symbolize passion. Considering Wagner-reminiscencies the essay emphasizes on the drama mentioned above and the poem “Retribution”. Both go back to the figure of Siegfried, who is a symbolically important hero to Blok. Retribution is the idea that connects Wagner and Ibsen — but Ibsen is also remarkable for the harp-motive (“The Master Builder”). The Wagnerian dragon from Nietzsche’s Zarathustra appears in Blok’s poem, too, and the idea common to all four authors: the motives of the child and of the new beginning is also apparent. The metaphysical music concept of Schopenhauer and Nietzsche is the key to the theoretical writings of the two analyzed authors. According to Wagner divine music that expresses the essence of phenomena combined with drama is able to come to life. It is new in Blok’s music concept that the life-changing, irresistible force of nature is also called “music” by him.

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