"Someone dawns upon you"

    It should be mentioned that creatures of parallel world prefer to chose for serious work people quite gifted naturally, with artistic potentialities and, let us say, constitutional bias similar to that of their own. This, on the one hand, makes the collaboration more fruitful, and, on the other hand, helps to conceal their implication (which is usually too evident in their self-express through children).
    Many eminent poets' biographies bear witness to the fact that a certain collaboration with non-human minds was present in their lives. Rather typical in this sense and very illustrative for the discussed topic are some views, recorded from the words of the renown Russian poetess Marina Tsvetaeva (1892-1941) by her less known contemporary and admirer, Olga Kolbasina-Tchernova. The fate decreed for the two women to rent one and the same flat in the emigrant Prague in 1923. They had much in common - the passion for poetry, the emigre position, and even the somewhat extravagant choice each had made giving her daughter the rare name of Ariadna. The kitchen was also common, and it was there, in that 'communal' kitchen, that Marina shared with Olga her views on literary work, which the latter kept for us.
    M. Tsvetaeva: "The state of creation is the state of obsession <>. Something, someone dawns upon you, your hand is but a performer - however, not of your own will, but of the one willing to be through you. <> The tempest of inspiration is a poet's own element.
    O. Kolbasina-Tchernova: "Her work indeed was each time a 'tempest of inspiration', a storm of elements, by the power of which she created, expressing not her own will but the will of the elements, though with her own rhythms and rhymes. She considered a genius to be an extreme measure of openness to inspiration. That was the first thing for her. And conducting this inspiration - the second.
    M. Tsvetaeva: "Sometimes artistic creation is in a sense the atrophy of conscience. A certain moral lapse that makes the very art possible. <> All my literary pieces are elemental and, as such, sinful. <> I obey the inevitable necessity. Who has called me? I must name, that is create, the one who has just called me. I feel it as if my works choose me themselves, I have often created them against my own will".
    O. Kolbasina-Tchernova: "Her element was the tragedy of fortitude and willingness to sacrifice, of penury and pride, the inimitable Marina's pride: I am - and I am not to be stopped". [?"I am - hence I'm going in the teeth of the wind"( - )]
    Let us not, however, rejoice too much at hearing about the 'willingness to sacrifice', for this Marina understood in her own way, and quite differently from our convenient Philistine understanding. She meant not sacrificing herself - but rather sacrificing everything and everybody for the sake of poetry or, more exactly, for the sake of that ambitious satisfaction which her poetry brought her. The proud consciousness of being "beyond the crowd", the "genius complex" was the very thing that helped her to live through all the vicissitudes of fate. The same understanding of 'sacrifice' she fostered also in her friend Olga K.-Tch.: "Until you master the art of letting down the bars, until you learn to step over all obstacles, even if it makes somebody harm, until you assimilate the full and absolute selfishness asserting your right for writing, there will be no great work".
    The quoted passages show the critical view of the great poetess upon her mental state during writing. Here we deal with a strong and completely formed personality capable of reflecting and analysing her creative work, in contrast with the infant and adolescent cases described in Previous page chapters. M. Tsvetaeva speaks quite deliberately of the autonomous character of some of her works which she does not view as her own production ("I have often created them against my own will"), which points at the fact of some other mind's influence. The already familiar to the reader phenomenon of "forced thinking" here takes the form of "the tempest of inspiration" which the daring poetess' mind tries to "control", that is to collaborate with.
    What unites Tsvetaeva's poetry with all CPW-influenced artistic works is its more or less barefaced enmity towards God, its "hubris" (in the Biblical sense of the word). And, in Marina's case, it constitutes her free choice, which she realised quite clearly having been brought up in the Orthodox country. When she says that "artistic creation is in a sense the atrophy of conscience", she means it. Her deliberate credo of poetising and life, united with the also deliberate collaboration with CPW led her quite logically to suicide. However tragic and meaningless such end were for such an exclusively talented woman, it was paradoxically ordinary for a great number of artists allying themselves with CPW.
    Life shows that collaboration with the creatures of parallel world just too often leads to either physical self-destruction or mental insanity in its various forms (cf. the last years of Alexander Blok, V. Briusov, S. Essenin, Vroubel, Modigliani, Van Gogh, S.Dali and many others). A well-known Italian psychiatrist Lombroso in the second chapter of his "Genius and Madness" (St-Petersburg, 1892, p.59) expresses the same views and adds that during their whole life span, such people are usually inclined to many grave vices, the main of which are an exorbitant, morbid pride, sexual laxity and hard drinking. All this makes their society far from pleasant: "Their permanent features are extreme self-centredness, indifference to other people's feelings, neglect of their family and civic duty" (p.15). "Everybody who happen to be 'lucky' enough to dwell among men of genius were bitterly stricken by their acute disposition to evilly misinterpret every step of their neighbours, to complain constantly on the oppression from everybody and to see everywhere occasions for infinite sadness" (p.24).
    The creatures of parallel world use to prepare their collaborator for a violent death or a suicide in advance, informing their victim (often in a poetic form) of the impending death sometimes in several years as if forecasting it. Thus W.-A. Mozart was prompted by visions to compose his famous and really great Requiem and M.Tsvetaeva two and a half years before her suicide wrote in her poetical series "Poems to Czechia" (March 15 - May 11, 1939):
    [, . 104 ]
    Blank despair, utmost pride, a challenge to the Creator and, certainly, calumny are united here. The latter is felt in the accusation: "Your insane world", as if it were God who is to blame for the evil that entered the world as a result of man's fall. It is rather strange that having spent her childhood and youth in the still Orthodox Russia the poetess failed to understand that the man's Godlike freedom includes his ability to choose either the evil, 'hubris', or standing in God's will offering resistance to evil. In spite of the evil around, each man is given the power to choose the good and persevere with God's help. Though, certainly, for this one needs faith.
    Another gifted Russian poet, Nikolay Rubtsov (1936 - 1971) was likewise warned of his death. His mistress (also a poetess) smothered him in a quarrel with a pillow. Several years before he predicted the month: "I will die at the Twelfth-night frosts". And, indeed, the terrible end came at the frosty night of January 19, 1971 -the very night of the Epiphany.
    One cannot help remembering Nika Turbina's "prophesy" uttered in the early childhood, and the Crimean newspaper report on this: "As early as at the age of four Nika versed a prediction of her murderous fate. Now it came true".

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