Get One less hope : essays on twentieth-century Russian poets PDF

By Constantin V. Ponomareff

ISBN-10: 1423791339

ISBN-13: 9781423791331

ISBN-10: 9042019794

ISBN-13: 9789042019799

ISBN-10: 9401202885

ISBN-13: 9789401202886

This selection of essays, which should still charm either to Slavists and scholars of comparative literature, bargains with twelve significant twentieth-century Russian poets who, for numerous purposes, grew to become estranged from the Soviet kingdom. a few stayed in Russia to turn into internal emigres, others selected to enter exile within the West. One much less wish, yet one more track (Akhmatova’s words), stands either for his or her pain and sometimes their deaths, but in addition for his or her humanity and poetic fulfillment. The poets in query are Anna Akhmatova, Osip Mandelshtam, Vladimir Mayakovsky, Alexander Blok, Sergey Esenin, Nikolay Gumilev, Vyacheslav Ivanov, Marina Tsvetaeva, Vladislav Khodasevich, Boris Poplavsky, Boris Pasternak and Joseph Brodsky. the complete assortment is by means of a cultural point of view of the Russian nineteenth and twentieth centuries. Contents: advent judgment of right and wrong in Anna Akhmatova’s Poetic paintings Marina Tsvetaeva’s Mystic course Vladislav Khodasevich’s Nightmare international Boris Poplavsky: Poet of Unknown vacation spot The Ebb of Joseph Brodsky’s Poetic proposal the quest for the Cosmic Connection in Twentieth-Century Russian Poetry Nikolay Gumilev’s 'The Pillar of fireside' Alexander Blok’s 'The Twelve' Alienation in Sergey Esenin’s Poetry Osip Mandelshtam’s 'Stone' and 'Tristia'. Poet of Loneliness Epilogue A Cultural standpoint

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A green fish swam up to me,/ A white gull flew up to me,/ And I was daring, vexed and merry,/ And completely unaware that this – was happiness) In “Putem vseya zemli” (The Way of all the Earth, II, 374-82) which she finished in 1940, her existential tragic awareness had deepened so that she could now see how life could suddenly turn nightmarish and become filled to the brim with choked up screams, broken mirrors and pain (II, 378, 380, 382). Nadezhda Mandelshtam, whose objectivity as regards Akhmatova has been – rightly – questioned,41 was, however, at times, quite perceptive as to Akhmatova’s poetic vision.

158. , pp. 170-71, 212, 224. See also Bettina Eberspächer, Realität und Transzendenz – Marina Cvetaevas Poetische Synthese (Munich, 1987). 83 There have of course been other noteworthy critics of Tsvetaeva’s work who have, however, not dealt with her transcendental side at all. See Gleb Struve, Russkaya literatura v izgnanii. Opyt istoricheskogo obzora zarubezhnoy literatury (New York, 1956), pp. 149-54. Michael Makin was primarily interested in the function of an inherited literary tradition in Tsvetaeva’s poetry and the creative use she made of it.

Marina Tsvetaeva’s Mystic Path Und wenn dich das Irdische vergass, zu der stillen Erde sag: Ich rinne. Zu dem raschen Wasser sprich: Ich bin. [And if earthly life has passed you by, to the tranquil earth declare: I’m flowing. ] (Muzot, February19/23, 1922) Rainer Maria Rilke: The Sonnets to Orpheus48 For a year I have been trying on death. I don’t want to die, I want not to be. 49 Marina Tsvetaeva is the exception. For Tsvetaeva the poetic process was always primarily a special kind of intuitive love reaching out for nature and the eternal.

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One less hope : essays on twentieth-century Russian poets by Constantin V. Ponomareff

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