And yet it turns («Three Romes» in the Mikhail Bulgakov’s «Flight»)
The article analyzes the symbolic plot of the Bulgakov’s play «Flight» – especially the images of the three «Romes» formed in the subtext. The parody image of the “second” Rome / Constantinople / Tsaregrad is of primary importance. The dominant place in the city space is occupied by a «spinner»with a cockroach races, which is owned by the burlesque-infernal «king» Arthur. Constantinople / «second» Rome acts as the «epicenter» of earthly, historical life (of general «run») and at the same time it appears in a buffoonery theatrical, «profane» form. The connotations of the «first» (eternal) Rome in the play are connecting with Khludov, who ultimately prefers «heavenly» being to the earthly world. The associations with the «third» Rome, contrary to tradition, do not refer to Moscow (this toponym is not mentioned in the play at all), but to Kiev.