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written over the years 1920-1923, looks back at this period—specifically the trip to Italy. The lyric persona claims that his worldview has radically changed as a result of this trip, but he does so without an emotional expression of the personal anguish experienced by Khodasevich at the time. Khodasevich writes from a distant perspective—far enough separated from the real events of his biography both to simplify and generalize them. He presents his trip to the river Brenta not as a moment of personal crisis, but as a general awakening from romantic youth to prosaic maturity: Адриатические волны! О, Брента!.. Евгений Онегин [гл. 1, XLIX, 1-2] Брента, рыжая речонка! Сколько раз тебя воспели, Сколько раз к тебе летели Вдохновенные мечты— Лишь за то, что имя звонко, Брента, рыжая реченка, Лживый образ красоты! Я и сам спешил когда-то Заглянуть в твои отливы, Окрыленный и счастливый Вдохновением любви. Но горька была расплата. Брента, я взглянул когда-то В струи мутные твои. С той поры люблю я, Брента, Одинокие скитанья, Частого дождя кропанье Да на согнутых плечах Плащ из мокрого брезента. С той поры люблю я, Брента, Прозу в жизни и в стихах. Adriatic waves! O, Brenta!.. Evgenii Onegin Brenta, you little red stream! How many times have your praises been sung, 65
How many times have flown to you Inspired dreams— Just because your name rings, Brenta, you little red stream, False image of beauty! I too hurried once To glance into your ebb-tides, Happy and moved By the inspiration of love. But bitter was the reward. Brenta, I looked once Into your turbid waters. Since that time, Brenta, I have loved Solitary wanderings, The trickling of steady rain, And on my hunched shoulders A cloak of wet canvas. Since that time, Brenta, I have loved Prose in life and in verse. Following in the tradition of Byron's and Pushkin's romantic extolments of the Brenta, the young poet travels to the majestic river but, instead of a magnificent source of inspiration, discovers only "a rust-colored, mean little stream." 82 The love which drove him there rewards him only with bitterness. His affair has crumbled, and, more importantly, his blind trust in romantic images has been broken. All Brenta can offer is a resonant name, fitting for a poetic line but perpetuating a false image of beauty. Bethea sees evidence of Khodasevich's poetic maturity in this poem—an emergence of ironic word-play which will play a central role in his later poetry. By rhyming Brenta, whose name has been glorified as resonant and ringing, with brezenta 82 In his commentary to Eugene Onegin, Nabokov writes: "In a curious poem, the great poet Vladislav Hodasevich (1886-1939), a century later, described the kind of therapeutic shock he experienced when, upon visiting the real Brenta, he found it to be a ryzhaya rechonka, a rust-colored, mean little stream." Aleksandr Pushkin, Eugene Onegin: A Novel in Verse (Princeton: Princeton University Press, 1975), vol. 2 (Commentary and Index), 186. 66
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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
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: group. They address a point in the
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
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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
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But there is only malevolence. Guis
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Chapter Three: Elena Shvarts's Work
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приключается. Пово
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circumcision of the heart. This com
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Плещет, пляшет и ст
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central one being the metaphor of L
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граничить Россия с
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an attempt to attain spiritual enli
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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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