the Asian minorities of the empire), his poem «Scythians» is addressed, of course, to the Europeans, the «enemies of Russians». However, here the poetic foresight (as in case of «The Twelve») played a bad joke with the author. He hardly could suppose that it was he and all his close friends who were doomed to die in the murderous embrace of the Scythians. He just could not realize yet that the hatred of these wild hordes infuriated by the ardent chants of the bolshevist shamans was focused already not on the «beautiful Europe» but on their fellow citizens. Therefore, «Scythians» by Block should be regarded as a kind of involuntary prophecy, a fruit of poetic insight and divine foresight. The revelation in a rational form — the understanding of the revolution as a tragedy, as a «crash of humanism» came to him later, on the verge of death.
However, his brave acceptance of the «challenge of time» never could assume a total perish of the elite culture in which the October revolution seemed to have resulted. A poet of sweat dreams and dark premonitions, Block failed to understand reality. As a matter of fact he has driven himself to the crash of his ideals followed by death, which was just another example of a strong kenotic trend in Russian culture.
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In the years of revolution and civil war, a free choice of many men of letters who preferred staying in the Bolshevist Russia to the emigration was hardy motivated by sympathy towards the ruthless new rulers but rather by their determination to «suffer together with the compatriots», «to drink the cup, prepared for Russia», «to take pain together with the country». The awful deprivations, moral torments and possible physical tortures are interpreted as peace-offerings to the Liberty in the name of the «Russian idea».
Osip Mandelstam, preparing eagerly for the martyrdom in the near future, engages in a painful dialogue with his age, which he envisages in the image of the Apocalyptical Beast. The poet cannot and does not want to resist the Beast, ready to make all possible offerings and sacrifices to the cruel idol. Not without a sigh of satisfaction, he prepares himself like a lamb for slaughter, which follows from many poems of that period. Trying to justify the cruelty and cynicism of his time as the properties of a transitional period to the new golden age of culture, Mandelstam in his «Humanism and Contemporary Time» (1922) indulges into a fervent apology of the Bolshevist dictatorship, predicting the new dawn of culture after a short period of prevailing barbarity, and his prophecy as regarded from the XXI century, seems a naive and perilous self-deception.
Boris Pasternak, who longer than others had been avoiding the storms of the epoch and who had been loyal to the new rulers, was hit by the Heavenly Revenge late in his life when he didn’t expect it. It was nobody else but Pasternak who deeply respected Stalin’s genius and approved his «right for evil deed». It was Pasternak, who shut his eyes at the bloody terror exterminating his comrades and colleagues one by one. Eventually God’s punishment hit his Christian soul when the most terrible years of terror seemed to be over.
This list can be easily continued, and it reveals a strange regularity. The poets of the great talent, who directly cooperated with the bloodthirsty rulers, paid for this with their lives. Those, who had taken a wait-and-see position, were punished in accordance with the measure of their sins. The poets who had rejected the revolution and had been living a hard life far from their native country never had to face such tragic destinies.
Very few of those who stayed in Soviet Russia managed to withstand the unbearable pressure and avoid the temptation of conformism. Maximilian Voloshin, who had survived the hurricane of the revolution in Koktebel (Crimea) during the Civil war wrote a tragic series of poems in which he mourned Russia and predicted great disasters. He honored the memory of the deceased Block and of Gumilyov executed by the Bolshevist authorities in the poem with a symbolic title «At the Bottom of the Hell». Not long before it, Khlebnikov died exhausted by wanderings and the best representatives of the Russian intelligentsia were thrown out of the country on «the ship of philosophers» (which in fact saved their lives and souls).
Analyzing thoroughly the «Russian Idea» in its historical retrospective, Voloshin makes many sharp and subtle observations. His speculations about the features of the Russian national character in many aspects coincide with Berdaiev’s and other famous thinkers’ conclusions. Moreover, it contains an amazingly actual prediction about the countries of the West considering and analyzing Russian experience to improve their own image.
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The old culture had to occupy the «last scale of the staircase» in communist Russia. Lenin who seriously had planned to eliminate representatives of the «old world» culture and Stalin who nearly managed to implement Lenin’s legacy, both needed a more flexible ideological staff than the intellectual elite of the Silver Age. Most of the artists and writers who stayed in Russia felt it very sharply. Proletariat dictatorship personified in Lenin’s totalitarian junta that assumed the monopoly right not only for power but also for thought control in an enslaved country, was not going to share the glory and privileges of the victors with anybody else.
The Bolshevist rulers did not need the renowned bards of the Silver Age. They demanded different songs — but those songs were not ready yet. Demyan Bedny and some other newly emerged poets in their rhymed pamphlets only outlined the main trends of the forthcoming poetics. For some time, while the slogans of proletarian culture revolution haven’t acquired yet the most aggressive and obscurant shape, the country like a giant laboratory was open for the avant-garde innovations. This unique artistic venture was doomed from the very beginning as it was alien to the social experiments performed
