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Introduction: The Book of Poems “You have a book in you,” said Charents, listening to M.’s poems about Armenia. (This was in Tiflis—in Erivan he would not have dared to come see us.) M. was very pleased by these words: “Perhaps he’s right—I may really have a book in me.” A few years later, at M.’s request, I took a sheaf of his Voronezh poems to Pasternak, who, after looking at them, suddenly spoke of the “miracle of a book in the making.” With him, he said, it had happened only once in his life, when he wrote “My Sister Life.” I told M. about this conversation and asked: “So a collection of verse doesn’t always make a book?” M. just laughed.—Nadezhda Mandelshtam, Hope Against Hope (New York: Atheneum, 1970), p. 190. The Russian book of poems, 1 in Mandelshtam’s conception, is a relatively recent phenomenon. Well into the nineteenth century, poets compiled their poems chronologically, grouped them loosely according to genre, or paid no attention at all to their arrangement. Tiutchev, for example, never took part in the organization of his poems into books. Batiushkov left such work to his friend Gnedich. While some scholars point to Pushkin’s alexandrines of 1836 as part of the first consciously constructed modern cycle of verse, 2 the first generally acknowledged “book of poems,” Baratynsky’s Сумерки, appeared in 1842. 3 In a period when most collections were titled simply “Стихотворения” or “Собрание сочинений,” Baratynsky’s title, which reflects the consistent mood of the book’s poems, and his singular subtitle “Сочинение Е.Б” (as against Сочинения) immediately point to a new kind of intentional unity. While Fet’s collections show a similar type of thematic organization, it was not until the advent of the 1 In this dissertation, the phrase “book of poems” will specifically refer to a consciously constructed poetic book, typical of the twentieth century. It will be contrasted to “collection” and “compilation." 2 David Sloane, Aleksandr Blok and the Dynamics of the Lyric Cycle (Columbus, Ohio: Slavica, 1987), 26- 39. 3 See Ronald Vroon, "The Renaissance of the Lyric Cycle in Russian Modernism: Sources and Antecedents," in Zyklusdichtung in den slavischen Literaturen. Beiträge zur internationalen Konferenz, Magdeburg 18.-20. Marz 1997, ed. Reinhard Ibler (Peter Lang, 2000), 567-8. 1
Symbolist movement that Russian poets paid consistent and particular attention to the organization of their individual poems into integral collections. Ronald Vroon has claimed Balmont’s В безбрежности (1895) as the first book of poems to constitute a closed, unified sequence. 4 Bryusov quickly follows with Chefs d’oeuvre (1895) and Tertia vigilia (1900). In the introduction to his 1903 book Urbi et Orbi (1903) Bryusov explicitly addresses the new conception of a book of poems: Книга стихов должна быть не случайным сборником разнородных стихотворений, а именно книгой, замкнутым целым, объединенным единой мыслью. Как роман, как трактат, книга стихов раскрывает свое содержание последовательно, от первой страницы к последней. Стихотворение, выхваченное из общей связи, теряет столько же, как отдельная страница из связного рассуждения. Отделы в книге стихов—не более как главы, поясняющие онда другую, которых нельзя переставлять произвольно. 5 The compositional principles outlined in this book, tremendously popular and influential in its time, quickly became accepted guidelines for the majority of the symbolist poets. 6 One poet particularly excited by Urbi et Orbi, Aleksandr Blok, took these principles to a new level, organizing his entire life’s work into a “trilogy of incarnation”—a three volume Собрание сочинений which forms the lyric biography of the poet. This trilogy was conceived well before the majority of the poems that were to go into it had been written. In his 1911 introduction to the collection Blok describes the basic structure the trilogy was to take: Тем, кто сочувствует моей поэзии, не покажется лишним включение в эту и следующие книги полудетских или слабых по форме стихотворений; многие из них, взятые отдельно, не имеют цены; но каждое стихотворение необходимо для образования главы; из нескольких глав составляется книга; каждая книга есть часть трилогии; всю трилогию я могу назвать «романом в стихах»; она 4 Ibid., 576. 5 V.Ia. Briusov, Sochineniia (Moscow: Khudozhestvennaia literatura, 1987), vol. 1, 493. 6 A.V. Lavrov, "Briusov," in Russkie pisateli 1800-1917: biograficheskii slovar' , vol. 1, (Moscow: Sovietskaia entsiklopediia, 1989), 334. 2
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: Acknowledgements When I arrived at
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 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
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
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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
Page 141 and 142:
This stanza echoes "Сложнос
Page 143 and 144:
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
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
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