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

More documents

Recommendations

Info

раскуривает трубку. Апахи похищают белых девушек. Потом—месть, груды золота и скальпов! It's all because it's hot, or because there's no external plot in my life. I'll have to invent one. It'll have to be very complicated and intricate with frequent unexpected events requiring resourcefulness and energy. Some sort of redskin Mexican novel with gaming-houses, treacherous caballeros, and a love-struck Indian girl. Noble mustangs fall in the pampas from exhaustion. Chingachgook takes a draw on his pipe. Apaches kidnap white girls. Then—revenge, heaps of gold and scalps! Critics have noted this textual connection 68 but have not elaborated on the poem's relation to the larger context of Muni's story. Both Khodasevich's lyric persona and Pereyaslavtsev want to plunge into the intricate fiction of a bad Western full of Apaches and violence. These adventures will rid them of earlier selves—will create new identities and new worlds in which to live. They will arouse the purely sensational fears of old, childhood days, not the complicated psychological battles experienced by Bol'shakov. The third and final stanza of Khodasevich's poem encapsulates Pereyaslavtsev's desire to escape his tender, passionate adolescence filled with romantic songs and affairs: Я устал быть нежным и счастливым! Эти песни, ласки, розы—плен! Ах, из роз люблю я сердцем лживым Только ту, что жжет огнем ревнивым, Что зубами с голубым отливом Прикусила хитрая Кармен! I am tired of being tender and happy! These songs, caresses, roses are imprisonment! Ah, of roses I love with my deceitful heart, Only the one that burns with a jealous fire, The one that with her blue-tinted teeth The crafty Carmen bit! Khodasevich's lyric hero feels trapped in romantic clichés (songs, caresses, roses), yet he suggests that these clichés may be truer than his new, cold character with his deceitful 68 See N.A. Bogomolov's commentary in Khodasevich, Stikhotvoreniia, 382-3 and Andreeva's in Kissin, Legkoe bremia, 186. 43
heart. His frenzied tone and hatred for all things tender and happy recall Pereyaslavtsev's self-hatred, or more accurately, hatred of Bol'shakov. He buried Bol'shakov along with his stupid passion, with his love (Я похоронил его с его глупой восторженностью, с его любовью (125)). Like Pereyaslavtsev, Khodasevich's persona takes pleasure only in the violent ends of others—others as remote and exotic as American settlers and Carmen. Khodasevich published "За окном…" in "Утро России" in February 1916, shortly before Muni's suicide. He chose to republish it in the second edition of Счастливый домик (1921) rather than the earlier first edition of Путем зерна (1919- 20). This decision suggests that Khodasevich associated the Pereyaslavtsev voice with his youthful, more decadent poetry and biography. The poem is irresponsible, and, in light of Muni's suicide, cruel. Still he feels it is significant enough to add to his second book. The symbolist experiments with двойничество and жизнетворчество are too important to ignore. By 1919, when he wrote "Рыбак," Khodasevich realized the danger of these experiments. He returns to the original self—to the voice of Bol'shakov, the "true" side of the double—and relieves the fisherman/Bol'shakov/Muni of his psychological struggle and thus his responsibility. The final darkness in Khodasevich's poem is thus bleaker than in Muni's skazka—it is entirely hopeless, inevitable, fatal. Khodasevich excised "Рыбак" from the 1927 edition of Путем зерна, severing ties to Muni, to his previous book, and to his youthful symbolist experiments. He gradually turned to an entirely different form of двойничество—a potentially positive form. Instead of escaping outside of himself to create a new identity, he struggled with the split between body and soul within himself. While the first edition of Путем зерна seems more heavily weighted towards frustration with this split ("В заботах каждого 44
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: Плотные спусти, Тем
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 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
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?