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Gippius expresses this paradox of closeness and distance most explicitly in the poem "St. Thérèse de L'Enfant Jésus" which accompanies the article "Любимая" and "24 декабря" in За свободу! and which follows "Втайне" in Сияния: Девочка маленькая, чужая, Девочка с розами, мной не виденная, Ты знаешь всё, ничего не зная, Тебе знакомы пути неиденные— Приди ко мне из горнего края, Сердцу дай ответ, неспокойному... Милая девочка, чужая, родная, Приди к неизвестному, недостойному... Она не судит, она простая, Желанье сердца она услышит, Розы ее такою чистою, Такой нежной радостью дышат... О, будь со мною, чужая, родная, Роза розовая, многолистая... Little girl, a stranger A girl with roses, unseen by me, You know everything, knowing nothing, Untraveled paths are familiar to you— Come to me from the mountain region, Give my troubled heart an answer… Dear girl, stranger, relative, Come to an unknown, unworthy one…. She does not judge, she is simple, She will hear the desire of my heart, Her roses radiate such pure Such tender joy… O, be with me, stranger, relative The rose-colored rose, many-leafed…. Teresa, a stranger (чужая), is again physically distant, invisible to the poet and inhabiting a higher realm. As in the epigraph in which Teresa is described as mountain water (горная вода), the poet calls her down from the mountain region (из горнего края) to 95
her unknown, unworthy self. 117 Spiritually, however, the poet feels a close connection with Teresa, her relative (родная). She is inspired by her childlike simplicity and purity, her ability to know without knowing, to hear the call of another's heart instinctively. In a letter to Georgii Adamovich dated September 5, 1928, Gippius described her constant desire for a similar simplicity in her poetry. Hindered by her time and her struggle against the prevailing "isms" of her day, she realized she would never achieve such simplicity, but she strove for it all the same: с самого начала (допотопно) я стремилась прочь от всякого «декадентства», отрекалась от него, издевалась над ним, объявляла и проповедовала «простоту» (историческая информация для вас). Мое время было, однако, очень трудное, бороться за простоту приходилось на два фронта, т.е. прежде всего, против П.Я., Надсона и т.д., а тут же и против фиолетовых рук на эмалевой стене. [...] Так вот, время и школа не могли не повредить моей сознательной воле к «простоте», которой я уже теперь не достигну, хотя стремиться к ней не перестану. 118 This struggle for simplicity in poetic form is a symptom of her larger quest for spiritual simplicity as embodied by Teresa: даже моя влюбленность в маленькую Терезу—а у нас с ней свои отношения— из того же источника: влечение к «простому» и простоте, к сиянию «enfance spirituelle», к самому высокому, потому что в малом. Да, тут не Толстой вам, с его сложнейшей вязью и пере-пере-вывертами,—до опустошения и боговыгона, в конце концов (прекрасная статья Маклакова а Совр. Зап.), самообманная простота; тут иное. 119 Here Gippius equates Teresa's simplicity with the "radiance of 'spiritual childhood," directly connecting the word "сияние" to Teresa. Her life-long journey toward radiant simplicity, both in her poetry and her spiritual life, defines the progressive movement of Сияния, where radiances and Teresa are again closely linked. 117 Сияния includes other poems about mysterious feminine figures from the mountains, for example the two poem cycle, "Ей в горах," originally dedicated to Berberova. 118 Pachmuss, Intellect, 382. 119 Ibid., 383. 96
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THE BOOK OF POEMS IN TWENTIETH-CENT
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© Copyright by Sarah Clovis Bishop
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In my conclusion, I pose the questi
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Acknowledgements When I arrived at
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Symbolist movement that Russian poe
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из ордена обрезани
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Other critics who have discussed th
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кончилась. Она длил
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movement, he did manage to "breathe
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personal elements, of course, remai
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Khodasevich’s lyric persona is no
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The final gifts of your earthly car
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description of Moscow on the eighth
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ноября," but the historical c
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Open to all, having exhausted all t
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символизм, ставший
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Unfortunately, with the failure of
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Still seething, runs out of a water
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however, it still retains vibrant s
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to show his growth from an unseeing
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Rachel weeping for her children and
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idylls (Слава Богу, зде
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"pseudonym" A. Beklemishev. 63 With
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Весь день по небу, н
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Плотные спусти, Тем
Page 51 and 52: heart. His frenzied tone and hatred
Page 53 and 54: "Вариация" In the 1921 edit
Page 55 and 56: An unclear noise rumbled, like the
Page 57 and 58: This sense of cyclical entrapment i
Page 59 and 60: description is largely colored by n
Page 61 and 62: this shines an evening star, a "gui
Page 63 and 64: Silently I walk up And help her, an
Page 65 and 66: Молодость. At the time of
Page 67 and 68: The newspaper hawker’s indifferen
Page 69 and 70: could have supported a life cruelly
Page 71 and 72: group. They address a point in the
Page 73 and 74: How many times have flown to you In
Page 75 and 76: Сладко после дождя
Page 77 and 78: Не плеснется рыбиц
Page 79 and 80: Within the context of Путем з
Page 81 and 82: Your hand grows stiff on the wheel,
Page 83 and 84: O, steel, passionless bird, How can
Page 85 and 86: There's a stick in his hands, he's
Page 87 and 88: traveled by his ancestors. Similarl
Page 89 and 90: Chapter Two: Zinaida Gippius's Radi
Page 91 and 92: “the given time,” that is at th
Page 93 and 94: This "summational" quality of Си
Page 95 and 96: adiance—and the fall to reality o
Page 97 and 98: As yet the addressee has not been d
Page 99 and 100: livre, au lieu de la »Vie«—»L'
Page 101: suggests the reciprocity of the rel
Page 105 and 106: lows of her spiritual journey in С
Page 107 and 108: помнит,/Что эта ноч
Page 109 and 110: she is more concerned with her own
Page 111 and 112: pronouns она and ты. She can,
Page 113 and 114: This emphasis on the future is also
Page 115 and 116: tender" treatment ironically echoes
Page 117 and 118: This enslaved "creature" of both "
Page 119 and 120: ................ Give back to me th
Page 121 and 122: does now, in exile, but it is seemi
Page 123 and 124: in "За что?," can now release
Page 125 and 126: Through their links to the past and
Page 127 and 128: Безвременность и Ч
Page 129 and 130: The phrase "trembling eternity" per
Page 131 and 132: oth "В черту" and "Час п
Page 133 and 134: Do you want to look into your neigh
Page 135 and 136: state of "равнодушие"—a
Page 137 and 138: в желтой волне тума
Page 139 and 140: Скажу, что рая не пр
Page 141 and 142: This stanza echoes "Сложнос
Page 143 and 144: Gippius employs two "sacred" texts
Page 145 and 146: But there is only malevolence. Guis
Page 147 and 148: Chapter Three: Elena Shvarts's Work
Page 149 and 150: приключается. Пово
Page 151 and 152: circumcision of the heart. This com
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Плещет, пляшет и ст
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central one being the metaphor of L
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граничить Россия с
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an attempt to attain spiritual enli
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forgetting will figure repeatedly i
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Где служат вместе л
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and, most importantly, the repetiti
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И луна лежит на алт
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Formally, the poem is quite distinc
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В буреющий снег пол
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В метро, в постели и
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Despite this seemingly straightforw
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God into oneself and laboring to gi
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Во тьме горящей без
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the ability to show compassion for
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And spitting out the skin of sinner
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This time, however, he takes the fo
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no more suffering. 239 In the culmi
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The poem also links Christianity an
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O God, I have been serving You For
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tenth, "Уроки Аббатисс
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том, что не совсем я
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And there still more, and more… 2
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that it will drive her mad. While t
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Along the clipped lawn toward the h
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Он мне сказал: "Коль
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Conclusion While written in distinc
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centripetal types toward more centr
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While the "endless cycle" of despai
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Bibliography -------. Bibleiskaia E
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-------. Pis'ma k Berberovoi i Khod
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Merezhkovskii, Dmitrii. Malenkaia T
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-------. Trudy i dni Lavinii, Monak
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