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INITIATION DRAMA IN RUSSIAN SYMBOLISM The tragic conclusion of the etude, which fits in the Symbolist canon of oneact plays, can be viewed as related to a notion of death as a path for initiation and knowledge of the self. This notion, modelled in The Pythagoreans, is to some extent related to Bryusov’s early definition of the ultimate function of Art. The isolation of the individual is overcome via Art. As Rice says, The soul is ordinarily isolated because each man’s perception of the world around him is unique. From an awareness of this isolation comes the need to communicate one’s vision to the souls of other men, and, ideally, to find a unity with them. According to Bryusoy, such a unity of souls is possible only through art.”° Alongside aspects of initiation implicated in the history of the secret community, the tragic play resurrects the antique genre of the tragic rite, which results from the masked authorial intention to depict a conflict between the individual and the community. The antagonism anticipates a tragic conclusion, thus creating suspense. Regardless of stylization and verisimilitude in reconstruction of the realia of the era of Antiquity, and in spite of the all too obvious topical messages encoded in dialogues, Bryusov’s dramatic etude is positioned on the borderline between the dialogue of adept and mystagogue, and the Ancient Greek genre of the philosophical dialogue. Sinaret’s conflict with his brethren turns out to be a short-lived revolt against hierarchy, which actually masks a ritual. Apart from engaging in a systemized reconsideration of various stages of human culture, Bryusov is in search of an answer to the ever-present question of the purpose of art, and he ventures to arrive at a final version of his creed. Instead of surveying the process of creating a work of art, the author in The Pythagoreans, as was so frequently the case in earlier writings by this maitre of Russian Symbolism, focuses on the future fate of the artefact accomplished. More precisely, Bryusov is intrigued by the specific question of the ontology of belles-lettres. As we see in the conclusion, Sinaret is deprived of the manuscript, which he himself has discovered and ventured to decipher, and he dies speaking the words: Having lost the manuscript Now what am I to live for??’ 25 In her research on the play Putnik (Traveller), Kabargerova, comparing one-act Symbolist plays, indicates the popularity they enjoyed and draws a parallel between Blok’s lyrical plays and the Bryusovian work of art. The theme of all three centred on the approach and expectation of death. E. B. Kapa6erosa, IIveca B. A. Bprocosa «IIymnuk» B Konmekcme s3anaöHoesponeückoü odHOaKmHOK Opamamypeuu, in C. T. 3oaaH (ed.), Bpwcosckue umenus 2006 2. Epepan, Auursa, 2007, 289. Rice, Valery Briusov, 73. Baaepui Bprocos, 3apa Bpemen, MockBa, IlaHnopama, 2000, 442. 26 27 + 267 ¢ Daréczi-Sepsi-Vassänyi_Initiation_155x240.indb 267 6 2020.06.15. 11:04:23
