THE BOOK OF POEMS IN TWENTIETH-CENTURY ... - TopReferat

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Падающие, падающие линии... Женская душа бессознательна, Много ли нужно ей? Будьте же, как буду отныне я, К женщине тихо-внимательны, И ласковей, и нежней. Женская душа—пустынная, Знает ли, какая холодная, Знает ли, как груба? Утешайте же душу невинную, Обманите, что она свободная... Всё равно она будет раба. Falling, falling lines… A woman's soul is unconscious, Does it need much? But be, as I will be from now on, Quietly attentive to woman, And more affectionate, and more tender. A woman's soul is empty, Does it know how cold, Does it know how crude? But console the innocent soul, Deceive her that it is free… All the same it will be a slave. The disdainful tone of "Женскость" clearly jars with the reverential announcement of the birth of Freedom in "Рождение." In fact, this birth appears to be ironized: the freedom of "Рождение" is denied the female soul in "Женскость"; woman will be deceived into believing she is free, when in fact she is forever a slave. The poet, while acknowledging the gross and empty 139 nature of the female soul, vows to treat her more tenderly and attentively, again fooling her into a sense of contentment. This "more 139 Gippius's use of the adjective "пустынная" in describing the female soul provides a sharp contrast to previously discussed comparisons of Teresa to cool, mountain water. 107
tender" treatment ironically echoes the sincere call to approach the Son of God in "Рождение" more tenderly (нежней—in both cases an end rhyme). This reversal of tone and purpose in "Женскость" is revealed formally as well. The final line of "Рождение" rises rhythmically with three and four syllables leading up to the two stresses of the iambic line: Mnogoochítaia, mnogokonéchnaia. By way of contrast, the first line of "Женскость" "falls" rhythmically from three initial stresses: "Pádaiushchie, pádaiushchie línii…" In moving from "Рождение" to "Женскость" Gippius has similarly fallen from the heavenly realms of paradise to the crudeness of life on earth. This fall, like the fall of Eve, is representative of the "falling lines" of women everywhere. 140 Their unconscious, uninhabited souls are incapable of realizing the truth of God, just announced in "Рождение." Despite their apparent freedom after the fall, they remain slaves to their incomprehension. The word "женскость," apparently a neologism created by Gippius, suggests the helplessness, incomprehension, and disloyalty of the female sex. 141 In Черное по белому, published in 1908, Gippius included a story entitled "Вечная женскость" about a student, Ivan, who is abandoned by his wife, Varya. She leaves him for a tenor who has promised to rent her a room so that she can be free. Despite her betrayal, Ivan has forgiven her and wishes to help her. He has come to the realization that it is in her nature as a woman to betray him—doomed by her женскость, she is, in fact, innocent, as is the 140 This emphasis on falling was even more evident when the poem was first published in 1927 under the title "Падающее." 141 As K.M. Azadovskii and A.V. Lavrov point out, the negative traits associated with женскость are limited to a certain type of woman.: Характерно, что объектом «ненависти» Гиппиус в ее произведениях становится далеко не любая женщина, а лишь та, что погружена в «быт», охвачена «неизменной чувственностью». И наоборот: Гиппиус создала целый ряд возвышенных женских образов, несущих символическую нагрузку. From K.M. Azadovskii and A.V. Lavrov's introductory article to Zinaida Gippius, Sochineniia: Stikhotvoreniia. Proza. (Leningrad: Khudozhestvennaia literatura, 1991), 17-18. 108
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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
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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 and 112: pronouns она and ты. She can,
Page 113: This emphasis on the future is also
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
Page 163 and 164: 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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