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

More documents

Recommendations

Info

In the first poem, "За что?," Gippius juxtaposes the beauty of her surroundings with the anguish of her soul: Качаются на луне Пальмовые перья. Жить хорошо ли мне, Как живу теперь я? Ниткой золотой светляки Пролетают, мигая. Как чаша, полна тоски Душа—до самого края. Морские дали—поля Бледно-серебряных лилий... Родная моя земля, За что тебя погубили? Palm fronds Rock in the moonlight. Is it good for me to live The way I do now? Like a golden thread fireflies Fly by, flickering. Like a chalice, my soul Is full of anguish—to the very brim. The expanses of sea are fields Of pale-silver lilies… My native land, Why were you destroyed? Each of the three quatrains divides neatly in half—the first two lines describing the clear and calm beauty of the southern twilight; the second two lines expressing the poet's despair in the face of this beauty. The palm fronds are foreign to her, only accentuating the poet's distance from her beloved native land. The clear skies reflected in the southern seas provide a contrast to Russia's ruin. It is not only not good for the poet to live as she 113
does now, in exile, but it is seemingly impossible. Her soul is tied to her native land, incapable of finding a place in the peaceful south. When initially published, the poem was titled "Сумерки," also suggesting the mixed nature of the poem—the light of the south and the darkness of Russia mingle together in the twilight, the convergence of day and night. The new title, however, focuses the reader's attention on the last lines of the poem which are concerned with the fate of the poet's native land. This emphasis on the final emotional, personal address connects "За что?" more directly with its antecedent, "Неотступное," and suggests that the poems which follow, while not making direct reference to Russia, are also informed by the poet's despair for her native land. In the second poem of the cycle, "Лягушка," the poet listens to a frog, imagining she might discover a new understanding of the world hidden in the frog's secret language. In the end, however, she rejects this foolish notion, blaming it on the murkiness of the southern night: Но я с досадой хлопаю окном: Всё это мара ночи южной С ее томительно-бессоным сном... Какая-то лягушка! Очень нужно! But with vexation, I slam the window shut: All this is just the murk of the southern night With its oppressively-sleepless sleep… Some frog! Very necessary! By slamming shut the window, the bridge between her internal and external worlds, 150 the poet has, in effect, closed herself off to her spiritual life. 150 Matich has described the image of the window in Gippius's poetry as a symbol of the poet's isolation or seclusion. It separates her from the rest of the world: "By virtue of the window, which is usually high above the ground, the poet is put into the position of a remote observer who looks at the outside world through her window-keyhole." Matich, Paradox, 89. While the window does indeed separate, it also 114
Page 1 and 2:
THE BOOK OF POEMS IN TWENTIETH-CENT
Page 3 and 4:
© Copyright by Sarah Clovis Bishop
Page 5 and 6:
In my conclusion, I pose the questi
Page 7 and 8:
Acknowledgements When I arrived at
Page 9 and 10:
Symbolist movement that Russian poe
Page 11 and 12:
из ордена обрезани
Page 13 and 14:
Other critics who have discussed th
Page 15 and 16:
кончилась. Она длил
Page 17 and 18:
movement, he did manage to "breathe
Page 19 and 20:
personal elements, of course, remai
Page 21 and 22:
Khodasevich’s lyric persona is no
Page 23 and 24:
The final gifts of your earthly car
Page 25 and 26:
description of Moscow on the eighth
Page 27 and 28:
ноября," but the historical c
Page 29 and 30:
Open to all, having exhausted all t
Page 31 and 32:
символизм, ставший
Page 33 and 34:
Unfortunately, with the failure of
Page 35 and 36:
Still seething, runs out of a water
Page 37 and 38:
however, it still retains vibrant s
Page 39 and 40:
to show his growth from an unseeing
Page 41 and 42:
Rachel weeping for her children and
Page 43 and 44:
idylls (Слава Богу, зде
Page 45 and 46:
"pseudonym" A. Beklemishev. 63 With
Page 47 and 48:
Весь день по небу, н
Page 49 and 50:
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 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 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: ................ Give back to me th
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
Page 165 and 166: and, most importantly, the repetiti
Page 167 and 168: И луна лежит на алт
Page 169 and 170: Formally, the poem is quite distinc
Page 171 and 172:
В буреющий снег пол
Page 173 and 174:
В метро, в постели и
Page 175 and 176:
Despite this seemingly straightforw
Page 177 and 178:
God into oneself and laboring to gi
Page 179 and 180:
Во тьме горящей без
Page 181 and 182:
the ability to show compassion for
Page 183 and 184:
And spitting out the skin of sinner
Page 185 and 186:
This time, however, he takes the fo
Page 187 and 188:
no more suffering. 239 In the culmi
Page 189 and 190:
The poem also links Christianity an
Page 191 and 192:
O God, I have been serving You For
Page 193 and 194:
tenth, "Уроки Аббатисс
Page 195 and 196:
том, что не совсем я
Page 197 and 198:
And there still more, and more… 2
Page 199 and 200:
that it will drive her mad. While t
Page 201 and 202:
Along the clipped lawn toward the h
Page 203 and 204:
Он мне сказал: "Коль
Page 205 and 206:
Conclusion While written in distinc
Page 207 and 208:
centripetal types toward more centr
Page 209 and 210:
While the "endless cycle" of despai
Page 211 and 212:
Bibliography -------. Bibleiskaia E
Page 213 and 214:
-------. Pis'ma k Berberovoi i Khod
Page 215 and 216:
Merezhkovskii, Dmitrii. Malenkaia T
Page 217 and 218:
-------. Trudy i dni Lavinii, Monak
show all

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

Create successful ePaper yourself

Delete template?

Save as template?