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ничтожная, а большая,—всегда слабее любви. 135 Thus she held up Solveig, for whom faith and love are equally unshakeable, as a spiritual model. Another personal aspect of Gippius is found in the androgynous language of lines 11 and 12: Твоим—твоей от начала/Хочу пребыть в себе. Stemming from Plato's Symposium, the idealization of the androgyne fascinated Russian writers at the turn of the century. Decadent and symbolist writers explored androgynous relationships in their poetry and prose; Merezkhovsky purported a belief in the androgynous nature of Christ and God. Beyond these poetic and metaphysical explorations, however, Gippius acknowledged androgyny in her own life, viewing herself as inherently both masculine and feminine—one of the seemingly unresolvable splits in Gippius's psyche. In the September 14, 1900 entry of Contes d'amour she wrote: "I do not desire exclusive femininity, just as I do not desire exclusive masculinity. Each time someone is insulted and dissatisfied within me; with women, my femininity is active, with men—my masculinity! In my thoughts, my desires, in my spirit—I am more a man; in my body—I am more a woman. Yet they are so fused together that I know nothing." 136 In "Вечноженственное," the poet attempts to resolve this divide, to fuse both aspects of her being within herself. Both her masculinity and femininity stem from the Eternal Feminine (твоим—твоей от начала), and can be resolved in Her presence. This fusion will take place in her heart, not her head—it will be a pure spiritual moment rather than an intellectual one, and it will lead her towards new paths, a new love and a new life. 135 Ibid., 512. Emphasis, Gippius's. This tendency to rely on faith over love is also typical of Teresa, who wrote of her spiritual crises throughout Histoire d'une âme. 136 Temira Pachmuss, Between Paris and St. Petersburg: Selected Diaries of Zinaida Hippius (Urbana: University of Illinois Press, 1975), 77. 105
This emphasis on the future is also typical of Gippius. She writes of what she desires, of what will be. Her poetry is guided by what Olga Matich calls "dynamic faith"—the constant journey towards God, without ever realizing Him fully. It is only after death that God can be fully known. In her article "Влюбленность," she wrote: Так же, как мир, Бог, правда, жизнь—никогда нами не могут быть познаны, но лишь все более и более познаваемы, так не узнаем мы и этой тайны. Знание есть конец, смерть, или порог безвременья, иной жизни; познавание—жизнь мира, движение во времени. 137 In the journey from "Рождение" to "Вечноженственное," God has indeed become more knowable to Gippius. Now approaching Him from her own personal experience by means of her private trinity of Mary, Teresa and Solveig, she has moved from the impersonal announcement of the birth of a new faith to her own private quest for God—a quest which, she knows, will never find resolution on earth. Not only is it unrealizable, but in seeking it, Gippius will continuously face obstacles, primarily in the form of doubts. 138 In Сияния Gippius often expresses this alternation between doubt and faith in the placement of her poems, one of the clearest examples being the separation of "Рождение" and "Вечноженственное" (the fifth and seventh poems in the book respectively) by a poem of worldly despair and cynicism, "Женскость." After proclaiming the birth of the religious ideal in "Рождение," Gippius falls back to earth in "Женскость" before embarking upon her personal quest for godliness in "Вечноженственное." 137 Gippius, Dnevniki, vol. 1, 265. Matich contrasts Gippius's dynamic faith to Merezhkovsky's static solutions: "Unlike Merežkovskij, who views such notions as vlublennost' and consecrated flesh as static philosophical concepts or as mysteries which must be solved, Gippius emphasizes the significance of the process involved." Matich, Paradox, 74. 138 Her "dynamic faith can be characterized by the alternation of doubt and hope that the divine revelation will take place." Matich, Paradox, 37. 106
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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
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heart. His frenzied tone and hatred
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"Вариация" In the 1921 edit
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An unclear noise rumbled, like the
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This sense of cyclical entrapment i
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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 and 102: suggests the reciprocity of the rel
Page 103 and 104: her unknown, unworthy self. 117 Spi
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: pronouns она and ты. She can,
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
Page 153 and 154: Плещет, пляшет и ст
Page 155 and 156: central one being the metaphor of L
Page 157 and 158: граничить Россия с
Page 159 and 160: an attempt to attain spiritual enli
Page 161 and 162: 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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