Poetic Self Portrait of Anna Akhmatova in a Profile of Mythologem

Finding out the creativity of the poet as a form of “imaginative absolute” (by Y. Golosovker), revealing the leading stylistic dominants of author’s texts is our pre-eminent receptive duty. Hence, the consecutive artistic expression of poet is interpreted as poetic genre of “self-portrait”, which takes place in reception. The portrait of Anna Akhmatova is described in connotations of the paradigm of Muse, secured for the writer Marina Tsvetaeva by an expression the “Muse of Tsarskoye Selo”. This metaphor is aphoristically stated concept, still not interpreted by scientists in terms of its functionality. The role of the transitive form as crucial for Akhmatova’s poetry is considered here based on all the lifetime poetic collections of the writer with the most present observations of literary criticism regarding the indicated question. It is pointed out that in criticism of that time the name of Akhmatova appears in the context of Musaget group and that an appeal to ancient patterns and the author’s poetic manner of their working generally fit into the aesthetic canon of Silver Age poetics. Despite, in her poetic texts of different formats (from lyrical miniatures to poems) this paradigm is a passthrough, functioning as a palimpsest. The phenomenon of the specific ?mixed” syncretism of various image layers is typical for Akhmatova’s poetry. The considered examples testify to the special feature of this way of Akhmatova’s mythopoeia. Akhmatova’s Muse formed at the crossroads of ancient specimens and other spiritual experience is gradually Christianized. She acts as the activated mythologem, a guide image of a personal poetic author’s figure.