As I pointed out in my previous posts, the myth of Orpheus is central to VNs story Vesna v Fialte (Spring in Fialta, 1936). While Nina (the narrators mistress who dies in a car crash) is associated with Eurydice (Orpheus wife who was bitten by a viper and died instantly), Ferdinand (as the narrator calls Ninas husband, a Franco-Hungarian writer) seems to be Lzheorfey (False Orpheus). In the second poem of her cycle Marina (1921), Tryom Samozvantsam zhena (The Wife of Three Impostors), Marina Tsvetaev curses her namesake, Marina Mnishek (the wife of three men impersonating Prince Dmitry, the youngest son of Ivan the Terrible who was killed in infancy), and, in the poems last line, calls her Lzhemarina (False Marina):

 

ӧ֧ܧߧѧ ܧӧ!
ܧݧ, ܧݧ ҧէ
ا֧էڧާڧڧ ާԧѧ ҧ ا֧ާѧڧߧ!

 

According to the narrator of VNs story, Nina hardly ever read one of her husbands books:

 

֧ާ֧ ԧէ ѧڧا ֧ԧ "Passage niveau", ҧ ֧ߧ, ܧѧ ԧӧڧ, ܧاק, ڧߧ ( ܧ ԧڧҧܧ ӧѧܧ ӧݧߧݧ ߧ֧էѧ ҧѧ٧ӧѧߧڧ) ا ӧݧ ݧ, ߧ ܧѧا ާ٧, ߧ ҧݧڧ٧ܧԧ ӧѧڧ ާا-ӧ; էѧا ҧݧ֧: ڧ ӧ֧ߧڧ, ܧ ܧݧ٧֧ ֧ԧ ܧӧ֧ߧߧ ڧ٧ӧڧݧڧߧѧ, ߧ ѧާ է֧ݧ ӧ ݧ էݧ֧ݧ էߧ ڧ ֧ԧ ܧߧڧ, ڧ٧ާڧ֧ݧߧ ٧ߧѧ ڧ ݧڧ էҧߧ ڧ ѧ٧ԧӧ ڧ٧ҧѧߧߧ է٧֧.

 

At the time we met, his Passage niveau was being acclaimed in Paris; he was, as they say, surrounded, and Nina (whose adaptability was an amazing substitute for the culture she lacked) had already assumed if not the part of a muse at least that of a soul mate and subtle adviser, following Ferdinand s creative convolutions and loyally sharing his artistic tastes; for although it is wildly improbable that she had ever waded through a single volume of his, she had a magic knack of gleaning all the best passages from the shop talk of literary friends.

 

In Canto Four of Ruslan and Lyudmila (1820) Pushkin addresses Zhukovski (the author of The Twelve Sleeping Maidens parodied by Pushkin in Canto Four of Ruslan and Lyudmila) and calls him severnyi Orfey (the Northern Orpheus):

 

٧ڧ է֧ߧ ԧ֧ߧڧ,

֧ӧ֧ ѧڧߧӧ֧ߧߧ ӧڧէ֧ߧڧ,

ҧӧ, ާ֧ѧߧڧ ֧֧,

ԧڧ ѧ ӧ֧ߧ اڧ֧ݧ,

ާ٧ ӧ֧֧ߧ ާ֧

ѧ֧ߧڧ, ֧ ѧߧڧ֧ݧ!

ާߧ, ֧ӧ֧ߧ ֧,

ӧ֧ ާ֧ ٧ѧҧѧӧߧ

֧֧ ӧݧ֧ ֧ҧ ݧ֧

ݧڧ ާ٧ ӧ֧ߧѧӧߧ

ݧا ֧ݧ֧ߧ ҧݧڧ.

 

Pushkin apologizes that he will expose a charming lie (vo lzhi prelestnoy) of the lyre of [Zhukovskis] willful muse.

 

Unlike Marina Mnishek (who is also a character in Pushkins drama Boris Godunov, 1825), VNs Nina is disinterested in love:

 

է ѧާԧ ѧ٧֧٧է ѧ ާ է էاܧ ߧ ֧ ߧ ݧܧӧѧݧ, ߧ ԧӧѧڧӧѧݧڧ ߧѧק ֧ ҧէڧ, ӧէѧݧ ا ߧӧڧ, ߧѧէѧ էاߧ ݧ֧, ߧѧԧا֧ߧߧ ѧާ ߧѧڧ ߧ֧ҧѧߧߧ ӧ֧, ݧ֧է ٧ ߧ֧ ݧѧҧڧڧߧ ا֧ ֧ߧ֧ ا֧, ڧ ܧ ӧ֧֧ (֧ԧ ҧڧ ٧ ާԧ ߧߧ ӧѧߧӧڧ ݧܧ էԧڧ, էҧߧ ֧ާ, ӧ֧֧ѧ, ߧ ҧ֧ ڧߧ), ҧ, ާߧڧ, ѧاק ߧ ݧܧ ֧ ߧ֧ӧߧڧާѧߧڧ֧ ܧ ާߧ, ܧݧܧ ڧ֧է֧ߧ֧֧ۧ ֧֧ӧ֧ߧߧ ԧ ߧ֧ӧߧڧާѧߧڧ, ڧҧ ֧ ԧէ ߧ ٧ߧѧ, , ܧѧا էӧ ݧӧ, ߧ ާ֧ߧڧݧ ҧ ѧ էߧ ܧѧܧ ӧ, ӧ֧קݧ, էҧ, ӧ٧ާاߧ է֧֧ݧߧ ѧڧ֧, ߧ ا֧ߧܧѧ ݧҧӧ ҧݧ էߧڧܧӧ ӧէ, է֧اѧ֧ ֧ݧ֧ҧߧ ݧ, ܧ ߧ ڧ ӧ֧ԧ ܧӧڧܧ ߧ ڧݧ ӧܧԧ, ݧܧ ߧѧާߧ.

 

And soon after, we all dispersed to our respective homes, without my having talked with Nina, nor made any plans about the future, about those fifteen itinerant years that had already set out toward the dim horizon, loaded with the parts of our unassembled meetings; and as I watched her in the maze of gestures and shadows of gestures of which the rest of that evening consisted (probably parlor gameswith Nina persistently in the other camp), I was astonished, I remember, not so much by her inattention to me after that warmth in the snow as by the innocent naturalness of that inattention, for I did not yet know that had I said a word it would have changed at once into a wonderful sunburst of kindness, a cheerful, compassionate attitude with all possible cooperation, as if womans love were springwater containing salubrious salts which at the least notice she ever so willingly gave anyone to drink.

 

Nina, who never quite became her husbands muse and who turned out after all to be mortal, is nevertheless a true Eurydice. While Ferdinand is a false Orpheus, the author of Spring in Fialta is the genuine one.

 

In The Fragments of Onegins Journey [XXVII] Pushkin calls Rossini Evropy baloven C Orfey (the pet of Europe, Orpheus) and compares Rossinis music to Ay (champagne):

 

֧ާߧ֧֧ ӧ֧֧ ڧߧڧ,
ߧѧ ֧ ܧ֧:
ѧ ڧ֧ݧߧ ڧߧ,
ӧ ҧѧݧӧ֧ߧ ֧.
ӧߧ֧ާݧ ܧڧڧܧ ӧ,
ӧ֧ߧ ا, ӧ֧ߧ ߧӧ,
٧ӧܧ ݧק ߧ ܧڧ,
ߧ ֧ܧ, ߧ ԧ,
ѧ ֧ݧ ާݧէ,
ߧ֧ԧ, ݧѧާ֧ߧ ݧҧӧ,
ѧ ٧ѧڧ֧ӧ֧ԧ ѧ
ҧ٧ԧ ٧ݧ...
, ԧէ, ٧ӧݧ֧ߧ ݧ
ӧڧߧ ѧӧߧ d-r-mi-sl?

 

But darker grows already the blue evening.

Time to the opera we sped:

there 'tis the ravishing Rossini,

the pet of Europe, Orpheus.

Not harking to harsh criticism,

he is ever selfsame, ever new;

he pours out melodies, they seethe,

they flow, they burn

like youthful kisses,

all sensuousness, in flames of love,

like, at the fuzzing point, Ay's

stream and gold spurtles...

but, gentlemen, is it permitted

to equalize do-re-mi-sol with wine?

 

P.S. to my previous post: Zhukovskis niece Maria Protasov with whom the poet was in love, died in childbirth in 1823. Marina Tsvetaevs poem Evridika C Orfeyu (Eurydice to Orpheus) was written one hundred years later, in 1923. The action in Spring in Fialta takes place in 1932 (the two last numbers in the year have been reversed).

 

The buninagram in my previous post should be:

 

ߧڧ + ѧߧѧԧѧާާ + = ҧާѧԧ + ڧߧ + ѧڧߧ

 

ߧڧ - Bunin

ѧߧѧԧѧާާ - anagram

C Ay

ҧާѧԧ - paper

ڧߧ - Nina

ѧڧߧ C Marina

 

Ferdinand is a Hungarian author (who writes in French). In Marina Tsvetaevs story Chudo s loshadmi (A Miracle with Horses, 1934) Nina (a handsome circus performer whom her patron made the Commissar of Circuses) now and then entrusts her baby to the care of a young Hungarian horseman:

 

ѧ ܧѧ ߧ ҧݧ ܧѧڧӧ ԧݧ, ֧ ܧѧڧӧ֧, ֧ ԧݧ֧, ֧ ԧݧ֧, ֧ ܧѧڧӧ֧, ѧ ܧѧ ݧҧڧ ֧, ѧ ܧѧ ֧ާ ߧ֧֧ԧ ҧݧ էѧ ֧, ܧާ ӧѧܧѧߧߧԧ ܧާڧѧӧ, է֧ݧѧ ֧ ܧާڧѧ֧ ڧܧ.

ӧ ܧѧѧӧڧ ڧߧ ѧݧ ֧է֧էѧ֧ݧӧӧѧ ߧ ֧֧էߧ ӧߧ֧֧֧էߧ ٧ѧ֧էѧߧڧ, է֧ا ߧ ܧѧ ӧ֧ԧ ܧѧڧӧԧ ާݧѧէ֧ߧ, ܧԧ ѧݧ, ܧԧէ ֧ ڧէڧݧ ԧӧڧ ߧ֧ҧݧ ֧, ֧է ѧӧ «» ߧѧ֧ԧ ӧݧ֧ߧڧ, ֧է ݧ֧ӧ ( ߧ ֧է) ߧѧ֧٧էߧڧܧ-ӧ֧ߧԧ, ӧէӧ ާ֧ߧ֧ ާԧ֧ӧ֧ߧߧާ, ֧ ѧӧ, ٧ѧ ӧէӧ ҧݧ֧ ާݧէާ. ݧѧէ֧ߧ֧ ֧էڧѧ ߧѧ֧٧էߧڧܧ, ڧҧ ԧ ߧ ҧݧ ҧէ. ݧҧڧ ӧ֧ڧݧߧԧ ֧ݧӧ֧ܧ, ڧҧ ԧ ާ֧ էӧ֧ڧӧ ҧݧڧ٧ܧ ԧݧѧ ӧ֧ܧڧӧѧ ܧѧڧӧѧݧ ڧ٧ӧ֧ߧ ֧էާ֧, ڧާ֧ߧ֧ާ ާ֧ ѧߧ «֧ߧߧ». ݧѧէ֧ߧ֧ ڧѧ ٧ ߧ ܧާڧѧ էקԧѧ ٧ ܧѧڧӧ ӧ֧ߧԧ. ѧ էӧ ߧߧܧѧ ާاܧԧ է ާݧקߧԧ ֧ҧקߧܧ ҧݧ էӧ ݧҧڧާ ٧ѧߧڧ.

 

In VNs story Nina perishes when Segurs car runs at full speed into the truck of a traveling circus.

 

Alexey Sklyarenko

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