The reception of the image and creativity of Aleksey Kruchenykh in the poetry dedications of Tatiana Tolstaya (vechorka)

The article is devoted to the reception of the image and creativity of Aleksey Kruchenykh in the dedications of Tatiana Tolstaya (Vechorka) - the poems “Sketch” (“Jeskiz”), “Ecclesiastes” (“Jeklesiast”) and ‘Accidentally” (“Nechajanno”). In the poem “Sketch” the poetess comprehends the futurist’s creation of the zaum language, as well as the duality of his character. In “Sketch” and “Ecclesiastes”, Vechorka uses Christian motifs, indicating the religious aspect of her artistic reception of the Kruchenykh’s creativity. In the second poem, the futurist is compared with an Old Testament prophet; the prophetic word of Kruchenykh is again understood as zaum. The most detailed portrait of the futurist was created by the poetess in the poem ‘Accidentally”. The text of the poem is full of references to the cultural life of Tiflis at the turn of the 1910s and 1920s and allusions to the Kruchenykh’s poems. In the first part of the text, Vechorka describes Aleksy Kruchenykh’s acquisition of fame as the zaum poet in Tiflis. The introductory part is a description of one of the Kruchenykh’s public appearances in the “Fantastic Tavern” (“Fantasticheskij Kabachok”). Vechorka turns to the spitting motif often used by the futurist and quotes his poems “Ho bo ro” and “Deimo”. Using the technique of personification, the poetess creates an image of the Kruchenykh’s glory, that understands as the poet’s muse Sofia Melnikova. Vechorka uses Kruchenykh’s neologisms (stihiny, poyuzgi) and Igor Terentyev’s neologism (zijatel’stvo). The final part of the poem has common motifs with the Kruchenykh’s poem “Again, he accidentally said in love inappropriately...” (“Opjat’ vljublen nechajanno nekstati proiznes on.”). All these details allow us to draw a conclusion about the creative Kruchenykh’s influence on Vechorka’s creativity. However, in the poem the poetess also gives a critical assessment of the limitations of the futurist’s poetic method.