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For some strange reason, the expression “death of poet” always it sounds like something more specific, than “the poet's life”. maybe, because, that the words “a life” and “poet” virtually synonymous in its positive uncertainty. Whereas “death” — even just a letter — almost as definite, how the poet's own work, that is, a poem, where the principal sign — the last line. Regardless of the meaning of the product tends to end, which gives it form and denied the resurrection. For the last row should not be anything, except perhaps literary criticism. In this way, poet reading, we will by participating in the death of his or of his poems. If we Mandelstam by participating twice.
A work of art always pretend, to survive its creator. To paraphrase the philosopher, can say, that writing poetry too is an exercise in dying. But apart from purely linguistic necessity motivates write not worry about corruptible flesh, and the need to free from something my world, his personal civilization, a continuum nonsemantic. Art — it is not the best, and the existence of alternative; not an attempt to escape reality, but, conversely, an attempt to revive her. That's the spirit, seeking flesh, but finding words. In the case of Mandelstam they were the words of the Russian language.
for the spirit, possibly, there is no better shelter: Russian language with the developed system of inflections. It means, noun that can easily be placed in the end of the sentence, and the ending of this noun (or adjective, or verbs) It varies depending on the kind of, number and case. All of this provides any given statement stereoscopic quality of perception and often aggravates and develops last. The best illustration of this is the development Mandel'shtam a major topic of his poetry, time threads.
Very strange to use an analytical method to a synthetic phenomenon: eg, write in English about the Russian poet. Application of this method in Russian would not be much easier, but, approach to Mandelstam. Poetry is the highest achievement of language, and analyze it — only blur the focus. This is especially true of Mandelstam, which is a very lonely figure in the context of Russian poetry, it sharpen its focus explains isolation. Literary Criticism only makes sense on the same level and the psychological, language and perception. It appears now the, Mandelstam doomed to criticism “from below” in both languages.
The impotence of the analysis begins with the very concept of threads, whether it be the theme of time, love and death. Poetry is, first of all, art association, hints, linguistic and metaphorical parallels. There is a huge gap between Homo sapiens and Homo scribens, For the writer concept of theme seems to result from the interaction of methods and techniques, if it represented at all. Scripture literally existential process: it uses the thinking for their own purposes, absorbs ideas, threads, etc.. d., not vice versa. It is the language of the poem dictates, and that, which in common parlance is called Muse, or inspiration, it actually dictates the language. And best, Consequently, not talk about the topic of time in Mandelstam's poetry, and the presence of the time as a reality and threads simultaneously, if only because, it anyway nests in the poem: a caesura.
It is because, what we do know is, Mandelstam, Unlike Goethe, not shout: “Stop, moment! you're perfectly!”, but just trying to prolong the caesura. Moreover, he does so not because, that moment well or well enough; his interest (and therefore the method) other. That sense of the existence of supersaturated young Mandelstam tried to express in his first two collections, and he had chosen his material description overloaded time. Using all possible phonetic and allusive words themselves, Mandel'shtam verse this period passes slow, viscous sensation of time travel. As he reaches the goal (what happens to him always), the effect is as follows, that the reader is aware of: the words, even their sounds — particularly vowel,– almost tangible vessels time.
On the other hand, it is not peculiar to this quest of days gone by touch, in obsessive, as a delusion, and attempt to return to rethink the past. Mandelstam in verse rarely looks back; it's all in this, in an instant, which makes it last and linger over natural limit. About the past, as a personal, and historical, made sure etymology of the word itself. But despite neprustovskuyu treatment time, its density is somewhat akin to the verse prose of the great Frenchman. In a sense, here is the same all-out war, minutes gf lobovaya attack, but in this case the attack now, and by other means. Crucially, eg, almost always, when Mandelstam happens to refer to the subject of time, he resorts to a rather difficult verse tsezurirovannomu, which mimics the size or content hexameter. Usually it is iambic pentameter, knocks on the Alexandrine, and in the poem is always a paraphrase or a direct link to one of the Homeric poems. Usually, this kind of poem composed somewhere by the sea, late summer, that directly or indirectly creates Greek Entourage. This happens partly because of the traditional relations of Russian poetry to the Crimea and the Black Sea as the only available approximation of the Greek world, for whom these places -Tavrida and Pontus Euxine — always outskirts. Take, eg, these verses: “Golden honey stream flowing out of the bottle…”, “Insomnia. Homer. taut sails…” and “There orioles in woods, and vowel length…”, with such lines:
But only once a year is spilled
In nature, duration, in Homer metric.
How would a caesura that day yawns…
The value of this echo is multiple Greek. These things may seem like a purely technical issue, but the fact is, that Alexandrine closest relative hexameter, even if only in terms of the use of caesura. As long as we are talking about relatives, the mother of the Muses was Mnemosyne, muse memory, and the poem (small or epic, does not matter) It must be learned, to survive. Hexameter was a great mnemonic device, in particular, because of their heaviness and differences from speaking any circle, including Homer. therefore, resorting to this means a memory within another — ie inside the Alexandrine verse,– Mandelstam, along with the, which creates an almost physical sense of the tunnel of time, creates the effect of playing the game, caesura caesura in, pause pause. What is, in the end, time format, if not its value: if this time is not stopped, it at least focuses.
Not that Mandelstam does it consciously, deliberately. Or this is his main goal when writing a poem. He makes it sound like, adventitious, while writing (often about something else); He never says, to sharpen it. His poetry is not a thematic. Russian poetry in general not too thematic. Its main method — is walking around the bush, the approach to the subject from different angles. A clear development topics, so characteristic of English poetry, usually practiced within the lines, from time to time, after which the poet moves on, towards something else; she rarely fills the whole poem. Themes and ideas, regardless of their importance, similar words, just stuff, and they are always at hand. The language has names for all of them, and therefore there is the, who subdues his own tongue.
Always at hand it was Greece, how and Rome, and always biblical Judea and Christianity. The cornerstones of our culture, They interpreted the poetry of Mandelstam something like, as time itself would have cost them: as a unity — and in unity. Mandelstam an adept proclaim any ideology was (and especially the last) means not only detract from its, but distort its historical perspective or, more precisely, its historical landscape. Thematically, the poetry of Mandelstam repeats the development of our civilization: it flows to the north, wherein the parallel stream in that during mixing from the beginning. To twenty years in Roman theme gradually pushed the Greek and biblical motifs in large part due to the increased awareness of their archetypal drama “poet against the empire”. However, apart from the purely political side of the situation at the time of such a position to create their own assessment of Mandelstam's attitude to the rest of his works of contemporary literature, as well as to the moral and intellectual climate of the nation's concerns. That moral and intellectual degradation of the latter causes such imperial scale. And yet there was only the theme, fully seizing them. Even in “TRISTIA”, the Roman poem, where the author obviously quoted the exiled Ovid, you can hear some gesiodovskuyu patriarchal note, implying, that in general the situation is viewed through the prism of their kind in Greece.
TRISTIA
I have studied the science of parting
The bareheaded complaints of night.
chew oxen, and takes this idle,
Last hour Vigilius city;
And I fear the rite of the cock of the night,
When, lifting cargo traffic sorrow,
Gazing into the distance tearful eyes
And the woman crying mingled with the singing muses.
Who can know the word “parting” –
What we have to separation?
What we promise barnyard Exclamation,
When the fire is burning in the acropolis?
And at the dawn of some new life,
When the passage is lazy ox chews,
why did the rooster, herald a new life,
On the city wall has wings?
And I love the ordinary yarn:
warp shuttle, spindle hums.
Look: to meet, like a feather swan,
Already barefoot Delia flies!
ABOUT, our life is scanty basis,

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