Abstract
Balmont’s only contribution to Russian Symbolist Drama is discussed in the
forthcoming article as an attempt of quitting narcissistic “lyrical solitude”, which parallels
Blok’s situation upon staging the play Balaganchik. Motifs of the mythologeme of Narcissus
scattered all over Balmont’s poetry and prose, given narcissistic features of his individual
character seem to reinforce that a subtle decoding of the myth as a sujet of semiosis,
constitutes one of the chief constructive principles of the play. By means of contrasting
allusions to the Blue Flower of Novalis Balmont accentuates metamorphosis via dematerialisation
and transmutation coded in the myth. The pattern of colour and fl oral imagery
juxtaposing the complementary yellow and blue is meant to reveal the harmony of universal
correspondences shown through the omnipresent principle of the Eternal Feminine.
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