Humanities & Social Sciences 7 (2015 8) 1419-1426 ~ ~ ~ УДК 821.161.1 Poetry as Bargaining in Osip Mandelstam’s and Marina Tsvetayeva’s Moscow Texts Svetlana Y. Kornienko* Novosibirsk State Pedagogical University 28 Vilyuiskaya Str., Novosibirsk, 630126, Russia Received 06.03.2015, received in revised form 09.04.2015, accepted 12.06.2015 The paper concerns metaphorical representations of the image of Moscow in Osip Mandelstam’s and Marina Tsvetaeva’s poetry and prose where themes of the open market bargaining play a signifi cant role. <...> Mandelstam’s negative view on Tsvetaeva’s poetry collection “Mileposts. <...> Vol. 1” is driven by his desire to distance himself from the chaotic and frightening city, personifi ed in Tsvetaeva’s poetic person. <...> Mandelstam’s essay “Sukharevka” is closely analyzed (in the context of Baudelaire’s poem “The Flowers of Evil”) in which the poet interprets this space as a precedent one (“a market in the middle of the city”), and bargaining itself is presented as permanent violence. <...> While Mandelstam’s narrative voice is frightened by the crowded Russian market, Tsvetaeva’s lyrical self immerses in the market crowd and makes poetry, her only goods, a subject of commerce. <...> Tsvetaeva’s poetic space is universalized, but the composition of imaginative complex that is important for the poetics of the book “Mileposts. <...> Vol. 1” (black art – khlysts – market bargaining) is localized in the space of the Sukharevsky market. <...> Vol. 1”, which was published in December 1922, without any doubts refers to the heights of M. Tsvetaeva’s poetic creativity, and it was it that included such a canonical text as a cycle of “Poems about Moscow”. <...> The fi rst review that preceded publication of this collection of poems was the negatory article “Literary Moscow” by Osip Mandelstam, published in the September issue of the “Russia” journal in 1922: “The saddest sign for Moscow is Marian handiwork by Marina Tsvetaeva that is correlated © Siberian Federal University. <...> Experience of the recent years has shown that the only woman that entered into the circle of poetry as the new muse is the science of Russian poetry brought to life by Potebnya and Andrei Bely <...>