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

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That they themselves were simple God. When on the hillocks amidst the forests Stand, resting their foreheads low, The forgotten ones. […] Instead of aspiring to a godly nature, Lavinia has forgotten that she is "simple God." She has managed to achieve godliness by forgetting it. 253 This achievement is fleeting, however. In the final lines of the poem, signaled by an enjambment which follows "Забытые," she is brought back to the world, suddenly aware of a field vole dashing by: […] Вдруг из боков Полевка прыснет с тихим писком. […] Suddenly from the sides A field vole spurts with a quiet chirp. By the end of the book, however, Lavinia begins to assimilate these lessons, no longer requiring the external instruction of the Abbess. In the seventy-fourth poem, "Воспитание тихих глаз," Lavinia herself describes the training of quiet, monastic eyes: О, монастырские глаза! Как будто в них еще глаза, А там еще, еще... И за Последними стоят леса, И на краю лесов—огни. Сожжешь платочек, подыми. Они горят и не мигают, Они как будто составляют Бок треугольника. Вершина Уходит в негасиму печь. Там учатся томить и жечь. Окатные каменья вроде, От слезной ясные воды. В саду очей, в павлиньем загороде Они созрели, как плоды. O, monastic eyes! As if in them were other eyes, 253 This paradox of forgetting recalls the book's sixth epigraph: Поймав зайца, забывают про ловушку... 189
And there still more, and more… 254 And behind The last are forests, And on the edge of the forests—fires. Burn a handkerchief, raise it up. They burn and do not flicker, They seem to form The side of a triangle. The peak Goes out into an everburning stove. There they learn how to stew and burn. Like rounded stones, Clear from the water of tears. In the garden of eyes, in the peacock's enclosure They ripened, like fruits. While a flickering flame would evoke disruption and turmoil, the constant fires described in this poem suggest the same sort of strength and solidity found in "Огненный урок." The eyes, which learn how to languish and burn, are eventually rounded off and made clear by the water of tears. They mature, as Lavinia does, on their way to enlightenment. This poem is immediately followed by "Сатори,"—Lavinia's experience of a "sudden flash of enlightenment." After a series of lessons, she achieves a true revelation of Christ's suffering, as opposed to her earlier vain attempt in "Уроки Аббатиссы." While this experience is again transitory, it leads the way for a more lasting resolution in the book's final poem, "Скит." From "Ипподром" to "Скит": the lyric links While the narrative thrust of the book is found in Lavinia's imitation of Christ, several of Lavinia's poems fall outside of this narrative. Instead, they are linked to other 254 These additional eyes could be a reference to the Buddhist concept of the vertical third eye, which, unlike the horizontal physical eyes, is the vehicle for true sight and enlightenment. Lavinia explicitly mentions the "third eye" in the book's forty-second poem: С тела жизни, с ее рожи/Соскользну—зовут. Сейчас!/Как ошметок наболевшей кожи,/Под которым леденеет третий глаз. Here, too, Lavinia emphasizes the eternal nature of the third eye which is frozen solid beneath the temporary, mortal covering of her sore skin. 190
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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
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Silently I walk up And help her, an
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Молодость. At the time of
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The newspaper hawker’s indifferen
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could have supported a life cruelly
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group. They address a point in the
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How many times have flown to you In
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Сладко после дождя
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Не плеснется рыбиц
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Within the context of Путем з
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Your hand grows stiff on the wheel,
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O, steel, passionless bird, How can
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There's a stick in his hands, he's
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traveled by his ancestors. Similarl
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Chapter Two: Zinaida Gippius's Radi
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“the given time,” that is at th
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This "summational" quality of Си
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adiance—and the fall to reality o
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As yet the addressee has not been d
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livre, au lieu de la »Vie«—»L'
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suggests the reciprocity of the rel
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her unknown, unworthy self. 117 Spi
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lows of her spiritual journey in С
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помнит,/Что эта ноч
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she is more concerned with her own
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pronouns она and ты. She can,
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This emphasis on the future is also
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tender" treatment ironically echoes
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This enslaved "creature" of both "
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................ Give back to me th
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does now, in exile, but it is seemi
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in "За что?," can now release
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Through their links to the past and
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Безвременность и Ч
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The phrase "trembling eternity" per
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oth "В черту" and "Час п
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Do you want to look into your neigh
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state of "равнодушие"—a
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в желтой волне тума
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Скажу, что рая не пр
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This stanza echoes "Сложнос
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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
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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: том, что не совсем я
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
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