상징주의의 피그말리온 신화 콘텍스트: 안넨스키의 「라오다미아」, 솔로구프의 「현명한 꿀벌의 선물」, 브류소프의 「죽은 프로테실라우스」에 인용된 프로테실라우스와 라오다미아 신화 분석에 기대어

Abstract

This paper examines symbolists' interpretation of the idea of "lifecreation(жизнетвоорчество)", which has been the cornerstone of symbolists' aesthetic and their creative activities, through three different reinterpretations of the ancient greek myth about lovers, Protesilaus and Laodamia. This myth was considered to embed the ideal type of artist for symbolists, "Pygmalion", who is conceptualized as the Dionysian artist who could realize the idea of "lifecreation", transforming a statue into an living woman, and was rewritten under the context of "lifecreation" by three representatives of the symbolist era. I. Annensky, F. Sologub and V. Brjusov show their own perspectives for the ides of "lifecreation" and the ideal type of lifecreating artist in their metatexts of the myth of Laodamia. Annensky, who is called as the artist of "marble", denies the possibility and reliability of the idea of "lifecreation", supporting as the essence of artistic "creation" the substantiality and the durability of material being more than of the metaphysical. He finds realization of "lifecreation" in constant remembrance of object which woul be aroused by material and tangible symbol. For Sologub, who has believed the superiority of art to real life, "lifecreation" of the myth is subverted by his pessimistic worldview. Sologub adapts Vjacheslav Ivanov's theory of lifecreation in itself and idealizes artistic creation as the only possibility of existence, but he denies any possibility of its realization in this, terrestrial world. Artistic creation can be effective only within the internal world of its subject and valid only as a play inside its mind. At this point, lifecreating artistic activity degenerates into pure "simulacre."Brjusov's metatext demonstrates he perceives artistic creation in perspective of epistemology. Regarding to interpretation of lifecreation, Brjusov Pygmalion's deleted metamorphosis and brought to surface existence of artist, metamorphosis in his right. For him, the ideal of lifecreation about unification of art and life denies theurgy, which aspires to transfer artistic illusion to reality, to transform a statue to Galatea, a living lover. Absence of a statue and Protesilaus' failure to life in Brjusov shows that Brjusov's lifecreation means epistemological transformation of artist's existence, not the transformation of a statue. The major premise of symbolism, the idea of lifecreation, finds its concrete realization in their artists' reinterpretation, like many other myths and esthetic principles of other epochs revived through symbolism.