To the lyrical communication of Mandelshtam and Tsvetaeva: from the dialogue of poets to the dialogue of texts

In this article, the poems of Marina Tsvetaeva and Osip Mandelshtam addressed to each other are considered as a single dialogical complex, permeated with related topics and common narrative elements. The specificity of this dialogue lies in its “concealment” and enigmatism. In the course of the analysis, the mechanism of meaning generation is revealed - in the context of lyrical addressing (in the presence of Another). It is shown that the texts of the poets dedicated to each other contain, in addition to personally biographical, poetological and historiosophical subtexts revealed at the cultural-associative, intertextual and phonosemantic levels. The article analyzes the common topological, chronotopic and motif-plot patterns that lead to the formation of a double figurative plot code common to both Tsvetaeva and Mandelshtam. So, Tsvetaeva, in an unassembled cycle of dedications to Mandelshtam, creates an author’s version of the myth of the Poet, which, projecting onto the real image of the addressee, is simultaneously projected onto the hero of the Time of Troubles - False Dmitry. In the “Moscow” dedications, Mandelshtam, entering into a dialogue - not so much with Tsvetaeva as with her texts addressed to him, picks up the historical associations present in Tsvetaeva’s subtexts, and brilliantly embodies them. At the same time, Tsvetaeva’s unnamed name becomes a secret dedicatory index and at the same time a cipher key to the plot, played out simultaneously in the present and the distant past. Mandelshtam puts forward his version of the events of the Time of Troubles and anticipates the possibility of their repetition in the future. Tsvetaeva’s name, according to the author of the article, is encoded in the poetic semantics and phonetics of Mandelshtam’s Crimean poem “Insomnia. Homer. Tight sails...”, which gives reason to see in it another hidden address by Tsvetaeva. The conclusion of the article shows that the lyrical communication of the poets was not limited to attributed dedications: it continued after their separation, but it was no longer a roll call of “two voices”, but an intertextual echo of the texts.