RUSSIAN GULLIVER → NEW PROJECTS OF RUSSIAN GULLLIVER: Grimm Brothers. Integral mythology in poetry

The mythological theory emerged in Western Europe early in the I century. Its founders, brothers B. and J. Grimm, German scientists, were influenced by romantic aesthetics, especially by its thesis about the "national spirit" of every nation. For a source of the art, mythology was recognized. The scientists were the first who pointed out that the roots of national culture are associated with paganism, ancient folk beliefs.
Poetry can turn to mythology at the level of imagination and entertainment, history and archaeology, and bookish cryptology. The most constructive form of existence of this genre could be to create a personal myth. Formerly, religion and mythology made a person to feel the wholeness of being. Poetry writing might try to repeat this incredible attempt.

Poetry originates from spells, prayers, and magical rites. The further we move away from the mainland of irrationality, where the art was born, the less is our chance to understand the nature and efficacy of poetry. The objective is not writing fairy tales, but the resurrection of the mythological consciousness driven by everyday consciousness deeply into the subconscious.

Geopoetics, magic regionalism, the recreation and invention of genealogies and pedigrees, the reinstatement of giants, wonderful monarchs, and fantastic creatures, coloring contour maps of our globalized geography with colors of myths – from Zoroastrianism to the modern Game of Thrones; search for key words and names; appeal to the heart of simple things – the point at issue is about a mythometaphor, the desire to write something authentic and corresponding to the present state of civilization.

Osip Mandelstam’s Hellenism, Ezra Pound’s Romanism, the "poetic Old Belief" by William Butler Yeats, and the Great Sarmatia by Johannes Bobrowski are developmental milestones of poetry. It is not known how helpful to poetry can be Siberian tumbrels, and American mushrooms, but the historical works by R. Graves, J. Frazer, and G. Vernadsky, as well as the archaeological and expedition experience of G. Schliemann, T. Heyerdahl, and other navigators and trackers, not to speak of the Grimm brothers’ works, should certainly serve for poetry’s benefit. A modern poet is a “city madman” in the worst case or, at best, a university professor. A poet in the similitude of Erlkonig is to Russian Gulliver’s liking!

The basis of the modern European world is a myth. Homer’s PR project was at the origins of Western civilization. The feeling that Europe always wins Asia and is historically above it, was perpetuated by Hellenes and later was inherited by Alexander the Great, the Roman Empire, and Christian Europe up to the present. This phenomenon, called "Eurocentrism", consists in that European history is par exellence the history of the world.

However, as appeared during excavations, Ilion was not an impregnable fortress in the Homer time; it was destroyed by an earthquake within hundreds of years after the events described. Despite the grandeur of the efforts, “the blind singer” is the first falsifier of history. Academician M. L. Gasparov said: “You can be sure that if Homer did not win the Trojan War in poetry, the Greeks would not have won the war against the Persians in reality.” As envisioned by Russian Gulliver, “a new European myth” can be created by collective efforts of authors from various countries.



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