Echoes of Solovyov's Apocalyptic Myth in Andrei Bely's Symphony (2nd, Dramatic)

The article examines the “Symphony (2nd, dramatic)” by A. Bely in the intertextual aspect, from the point of view of the reception of eschatological ideas and forecasts of V. Solovyov, expressed by the philosopher in the “Short Story of the Antichrist”. There are signs of the influence of this work on different levels of the artistic whole of the “Symphony”: a sense of cultural decline and a premonition of a catastrophe equal to the Apocalypse; thoughts about the decisive role of Russia in deciding the fate of the world, as well as about the divine feminine (Sophia) as a pledge of world unity and harmony. Figurative similarities are noted in Solovyov's “Tale” and Bely's “Symphony”, which go back to the “Revelation” of John the Theologian, however, it is noted that Bely transforms biblical and Solovyov allegorical images, including their context of modernity. The continuity between the “Tale of the Antichrist” and the “Symphony (2nd, dramatic)” emphasizes the image of Vladimir Solovyov himself, introduced by Bely into the narrative as a reasoner, endowed at the same time with the attribute of an apocalyptic trumpeting angel. There is also a continuity in the method of constructing the artistic world in Bely's “Symphony” by introducing a mystical meaning into everyday life, and in the ironic intonations of the narrative, dating back to Solovyov. It is concluded that Solovyov's influence became the organizing, structuring beginning of the “Symphony (2nd, dramatic)”, which translates the philosopher's mindset into the space of Russian symbolism.