Abstract

This article focuses on Alexei Losev’s literary texts that embrace his mythology of music: “I was 19 years old,” “A meteor,” “A woman-thinker,” “The Tchaikovsky trio,” and “An encounter.” It is shown that Losev’s musical mythology developed from his early musical-critical works—through the artistic-mythological episodes of his philosophical works per se —to his fiction of the 1930s. Losev’s intentionally abstract philosophy of music required to be complemented by the artistic, emotional, socially and historically specific expression. The main idea of Losev’s musical myth in its historical-cultural aspect is to reflect the relevant self-consciousness of an individual. The epoch of religious super-individualism and “prayerful delight” is replaced by the epoch of “musical delight” and professed idealization of an individual. This change was a reason of the extreme ambivalence of music, which, on the one hand, expresses the highest order and harmony and, on the other, is a continuous evolvement and chaos, a substantive uncertainty. The novelty of the article consists, firstly, in the analysis of correspondence between musical ambivalence and drama in the lives of the heroes, especially heroines symbolizing music itself; and secondly, in identifying the constant features of Losev’s musical myth, as well as its specific features that emerge at different stages.