Orphic myth in the poetry of I. Brodsky and B. Ryzhy

The article analyzes the peculiarities of incorporating the Orphic myth in I. Brodsky and B. Ryzhy's poems. Using two I. Brodsky's works as an example, the authors prove that the myth of Orpheus can be incorporated into the poem structure not only directly, but also through the details of the myth without mentioning particular names. It is often not so much the proper names as the cultural context that is important for understanding cultural images. In his works, Brodsky can slightly modify the classical myth, deviate from the canon, and use variations of certain episodes; in Brodsky's poetry, the Orphic myth is sacralized. Certain excerpts from the poem Zophia were the basis for analyzing Brodsky's understanding of Orphism and the peculiarities of interpreting Orpheus' image through the image of Jesus Christ. In turn, the analysis of the poem “Singing without Music” proves the thesis that it is possible to “tell” the Orphic myth without mentioning Orpheus. The Orphic myth was studied in B. Ryzhy's work on the basis of the poems Orpheus, Over the Houses, and Remember the Rain on Titov Street. In B. Ryzhy's lyrics, the myth of Orpheus undergoes no changes, its integrity is intact; the poet uses the story of Orpheus to convey the strongest feelings of love. Whoever the subject of the poetic statement is in Ryzhy's verses, the themes of the works, incorporating the Orphic myth into their structure, remain unchanged. Using mythological imagery in the lyrics of Brodsky and Ryzhy helps to reveals eternal themes significant to either poet. It is necessary, however, to realize that different motifs in the Orpheus story prove to be important to these two authors. For I. Brodsky, closeness between the images of Orpheus and Christ, the divinity of the creative gift is significant; for B. Ryzhy, the love motif of the myth, the eternity and sincere love between two people, comes to the fore.