Wiener Slawistischer Almanach ∙ Sonderband ∙ 3 (eBook - Digi20-Retro) Verlag Otto Sagner München ∙ Berlin ∙ Washington D .C. Digitalisiert im Rahmen der Kooperation mit dem DFG- Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Horst Lampl, Aage A. Hansen-Löve (Hrsg.) Marina Cvetaeva Studien und Materialien Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access i _ i : H > \ X \ 1 r 1 \ H a í i : > x L L S I A V \ J G C й а к щ і л ѵ Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access pilli ll-s pnļs ѵлн^ннло^^I tí ^w Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access WIENER SLAWISTISCHER ALMANACH SONDERBAND 3 (LITERARISCHE REIHE/ HERAUSGEGEBEN VON A• HANSEN-LÖVE) W ien 1 9 8 1 REDAKTION Horst Lampi A age k . Нгтвеп-Löve ADRESSE In s titu t fü r Slawistik der U niversität Wien, A-1010 Wien, Liebiggasse 5, Tel. (0222) 4300-2934 DRUCK Offeetschnelldruck Anton Riegelnikf A-1080 Wien, Plaristengasse 1 9 Z u beziehen über: Wiener Slawistiecher Almanach, In s titu t fü r Slawistik der U niversität Wien, A-1010 Wien, Liebig- gasse 5 О W IE N E R S L A W IS T IS C H E R A L M A N A C H A lle Rechte Vorbehalten V u Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access Ю064773 L• A • M N U C H IN (Moskva ) 9 M • 1• Cvetaeva• B ib lio g ra fic e s k ij ukazatel9 lite ra tu ry о ž iz n i i deja t e l1 nosti (1910 - 1928) I N H A L T A U F S Ä T Z E (Sante Cruz, USA), Tsvetaeva1 s Poetic Toward a N e w Perspective World (Warszawa ) 9 I z zametok po poétìke Cvetaevoj (Moskva ) 9 Struktura poētičeskogo teksta как Anya M • K R O T H on Marina Jerzy F A R Y N O 0• G . R E V Z IN A dom inirujuščij fakto r v ra s k ry tii ego semantiki 0• G . R E V Z IN A (Moskva ) , Znaki prepinanija v poétiöeskom jazyke: Dvoetočie v poèzii M • Cvetaevoj Marie-Luise B O T T (Konstanz ) ę Studien zu Marina Cvetaevas P o e m 1 *Krysolov” • Rattenfänger• und Kitež-Sage• S • P 0LJA K 0V A (Lausanne), Poēzija i pravda v c ik le sticho• tvoreni j O vetaevoj ” Poâruga” Vladimír S M E T Ā Č E K (Praha), Ponjatie 1 1 ž iz n i” v w P o é m e Gory Mariny Cvetaevoj 1• V• K U D R O V A (Leningrad), Polgoda v Pariže (К b io g ra fii Mariny Cvetaevoj) M A T E R I A L I E N V • M • V O L O S O V (Moskva)f 1• V. K U D R O V A (Leningrad), Pis9 m a Mariny Cvetaevoj Evgeniju Lannu Efim E T K IN D (Paris ) 9 Marina Cvetaeva• Französische Texte• Marie-Luise B O T T (Konstanz), Ein weiteres M • Cvetaeva ge• widmetes Gedicht R • M , Rilkes Serafima P O LJA N IN A (W arszawa ) ę Neopublikovannoe p is 1 то M • 1• Cvetaevoj к N « S. Tichonovu Véronique L O S S K Y (P aris), Marina Cvétaeva« Souvenirs de contemporains• Drei zeitgenössische K ritik e n : Vladislav C H O D A S E V lC , Zametki о stichach• M • Cvetaeva, 1 1 Molodec" • D • S V JA TO P O LK -M IR S K IJ, ״Krysolov1 M ״ • Cvetaevoj 0»A N IS IM O V # Marina Cvetaeva 5 29 4 9 6 7 8 7 113 123 129 1 6 1 195 207 209 213 262 266 269 273 Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access S e i t s e i n e n A n f ä n g e n h a t d e r 1 9 W i e n e r S l a w i e t i e o h e A l m a - n a o h n dem Werk M a r i n a C v e t a e v a s i m m e r w i e d e r b e s o n d e r e A u f - m e r k e a m k e i t g e w i d m e t : B a n d 1 u n d 2 e n t h i e l t e n e i n e S t u d i e ,,Zum W o r t s c h a t z dee 9K r y e o l o v 9 d e v M a r i n a C v e t a e v a n v o n G ü n - t h e r W y t r z e n e ^ B a n d 3 u n d 4 d i e e r s t e n A b e c h n i t t e e i n e r m e h r - t e i l i g e n A r b e i t t9 0 n e k o t o r y a h d e r t a o h p o è t i ö e e k o g o m i r a M. C v e - t a e v o j n v o n S. E l , n i a k a j a ( d e r d r i t t e u n d v i e r t e T e i l d i e s e s B e i t r a g s f o l g e n i n B a n d 7 u n d 8 ). Im w e i t e r e n kam e8 z u r A n - Sammlung e i n e r g r ö ß e r e n Z a h l v o n C v e t a e v a ^ B e i t r ä g e n ^ e o d a ß ее r a t e a m e r e o h i e n , d i e s e i n e i n e m S o n d e r b a n d - dem z w e i t e n i n d e r l i t e r a r i e o h e n R e i h e d e s A l m a n a c h a z u s a m m e n z u f a e e e n « E8 h a n d e l t e i c h d a b e i e i n e r s e i t s um p o e t o l o g i e o h e A r b e i t e n ^ a n d e r e T 8 e i t 8 um S t u d i e n u n d " M a t e r i a l i e n " b i o g r a p h i s c h e n C h a ^ r a k t e r e ^ v o n d e n e n e t w a d i e B r i e f e C v e t a e v a s a n E v g e n i j L a n n e i n h e e o n d e r e e I n t e r e s s e b e a n s p r u c h e n d ü r f e n . I m Rahmen d e r M a t e r i a l i e n w e r d e n a u c h z e i t g e n ö 8 8 i 8 0 he R e z e n s i o n e n n a o h g e - d r u c k t . Am Ende dee Bandee f o l g t e i n e d e t a i l l i e r t e S e k u n d ä r - b i b l i o g r a p h i e f ü r d i e J a h r e 1 9 1 0 - 1 9 2 8 . F ü r d i e E i n r ä u m u n g v o n P u b l i k a t i o n e r e c h t e n - d i e s b e - t r i f f t d i e B e i t r ä g e v o n R e v z i n a ^ K u ä r o v a ^ V o l o s o v / K u d r o v a u n d M n u o h i n - tat d i e R e d a k t i o n d e r S o w j e t i e c h e n A g e n t u r f ü r A u t o r e n r e c h t e ( M o s k a u ) zu Dank v e r p f l i c h t e t . Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access AUFSÄTZE Anya M • K R O T H (Santa Cruz, U S A ) TOWARD A NEW PERSPECTIVE ON MARINA TSVETAEVA,S POETIC WORLD Although Marina Tsvetaeva1 s scholarship has advanced con- siâerably during la s t few years# i t s t i l l suffers from certain misconceptions with regard to important aspects of her work• A recent study by Svetlana E lnitskaya/ ce rta in ly a most in te r- estin g single e ffo rt to analyze Tsvetaeva•s poetics, is repre• senta tiv e both of the tremendous progress m a d e toward a better understanding of the inner workings of the poet1 s world and of a fa u lty methodological and theoretical premise underlying e xi- sting approaches to her a rt• Elnitskaya, lik e several lite ra ry c r it ic s before herf maintains that Tsvetaeva1 s poetic world can be described via a series of antitheses• These antitheses repre- sent the cardinal antinomy which d iffe re n t c r itic s varyingly c a ll the earth versus heaven, the world of the body versus the world of the spirit, byt versus by t i e 9 and so forth• Elnitskaya terms th is cardinal antithesis the 1 1 nonauthentic" world versus the "authentic" world« S h e lis t s a lengthy series of representative oppositions 9 for example : m a te ria l/id e a l , c a rn a l/s p iritu a l 9 cor- poreal/incorporeal 9 lim ited/unlim ited, transient/eternal, m ortal/ immortal# heavy/light, dark/bright/ moist/dry, hot/cold, confused/ cle a r , d ir t y / clean 9 contaminated/pure 9 impresonal/personal 9 and so fo r th .2 The aggregate of the rig h t m em bers of each pair of the oppositions constitutes, according to Elnitskayaÿ the "authentic״ world, the sumtotal of the l e f t m em bers of each pair constitutes the ” nonauthentic" world• leva V itin e , fo r example, points out the earth/heaven antithesis as essential fo r the understanding of Tsve• taeva9 s work and concludes that the poet sought to escape from earth: ” I t is aw ay from th is all^too-m aterial earth, th is place of e xile and confinement# that the poet continually strove to escape and f ly back to her o rig in a l hom e, to the other worlds of poetry# cor- respondence and timelessness•9 9 3 The representation of Tsvetaeva9 s a rt in terms of such opposi• tions results in the conclusion that her world view is d u a lis tic : 9 , Marina Tsvetaeva has a d u a lis tic world view: everything fo r her Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access is either in the realm of b y t or b y t i e . The former is m undane li f e , and the la tte r includes everything exalted that transcends i t • This d u a lity (which can, roughly and inadequately, be translated as L i f e and B e i n g ) is so essential to her nature that w hen Prince Volkonskii wrote a book at her in s tig a tio n and in sp ira tio n , he called i t , in her honor 9 B y t i B y t i e .t f i > The "dualistic" nature of the cardinal opposition stated d ire c tly , as in the above illu s tr a tio n , or implied has becom e a c o m m o n point of contention a m o n g scholars w h o deal with Tsvetaeva1 s work• There have been but few attempts to challenge the method of • 1 d u a lis tic " oppositions« These attempts cannot be considered syste• » matic scholarly investigations, but as pattern-breaking and path- opening commentaries they are valuable• Ariadna Efron, Tsvetaevaf s daughter and the author of very interesting memoirs, recognizes , for example, the existence of opposite elements in Tsvetaevafs outlook, but emphasizes th e ir "balance" and 1 1 mutual a ttra c tio n • " 5 Elsewhere Efron is even m ore specific stating that dualism is alien to Tsve- taeva1 s nature: 1 1 Tsel1 nost1 ее kharaktera, tselostn ost1 ее che love- cheskoi lich n o sti byla zam eshana na protivorechiiakh; e i byla p r i- sushcha d v o i a k o 8 t ^ (no otniud1 ne d v o i e t v e n n o s t ^ ) v o s p riia tiia i samovyrazheniia1 1 ("The in te g rity of her character, the wholeness of her personality w as based on contradictions ; the t w o - f o l d n a t u r e (but not at a ll duality) w as inherent in her perception and se lf-e x- pression״) •e The real nature of Tsvetaevaf s oppositions, however, must be properly described as "dichotomous" rather than "dualistic..1 7 T h e adoption of the "dichotomous" point of view of Tsvetaeva1 s work helps to explain certain p e c u lia ritie s of her a rt, fo r exampleÿ the androgynous nature of her persona• Androgyny is consistent with the poetf s dichotomous vision, fo r, the poet in possession of such vision seeks to rest his creation upon a series of dichotomous antitheses , of which androgyny m a y be one, and searches fo r m eans of generating dichotomous pairs• Thus the n e w approach, although not denying the existence of various antinomical phenom ena in Tsvetaeva1 s universe# stresses the close connection and mutual in te rre la tio n between any two a n tith e tic a l poles• D istinctio n between the terms 1 1 d u a lis tic 1 1 and "dichotomous" used interchangeably in c o m m o n parlance is cru cia l and needs to be reiterated• Both terms address the issue of opposition; however# the nature of opposition associated with each term is quite d iffe re n t Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access and is evident in the usage of these terms in philosophy and logic• A s a philosophical term, "dualism" is defined as the 9 1 doctrine that recognizes two ra d ica lly independent elements $ as mind and matter, underlying a ll know n phenomena•w 8 The radical independence of two elements is an important part of th is d e fin itio n « The d e fin itio n of the term ”dichotomy" in lo g ic, on the other hand, is "a d is tin c tio n or a separation of ideas by pairs; the division of a class in to two subclasses opposite to each other by contradiction•9 ״ This d e fin i- tio n says nothing about the ra d ic a lly independent nature of two ele- ments• O n the contrary, i t assum es that both elements belong to one class 9 hence, related. Consequently, a "dichotomous1 1 a n tith e sis# as opposed to a "d u a lis tic " a n tith esis, is viewed as opposition of two kindredf even though contradictory 9 elements, In describing Tsvetaeva•s poetic world via a series of opposi- tions 9 lite ra ry c r itic s react to a very essential q u a lity of her a rt• Not rejecting the method of oppositions altogether, I maintain that Tsvetaeva1s oppositions must be viewed as dichotomous• If these oppositions are interpreted as dualistica the resultant impression of Tsvetaevafs universe one can argue, is aberrant and fa u lty in several respects• O n e of the most important shortcomings of the m e- thod of ,1 d u a lis tic " oppositions is that i t leaves no room fo r a characterization and evaluation of yet another segment of Tsvetae- va1 s poetic world, the one that intervenes between the low realm of the body and the high realm of the s p ir it• This central section, or the intermediate world, is defined as the native habitat of Tsveta - evaf s ly r ic a l persona. Perceiving the lower world as in fe rio r and the higher world as superior/ the ly r ic a l persona views only the in_ terroediate world as commensurate with her personal stature• Tsveta- eva herself id e n tifie s th is world as the world of the soul« A fa i- lure to subject this world to c r it ic a l scrutiny results in a dlstor- ted perspective of Tsvetaeva•s a rt and in an inaccurate description of her ly r ic a l heroine• Tsvetaeva1 s persona appears to be in transit between the worlds of the body and of the s p ir it not so m u ch due to it s 1 ״ d u a lis tic 1 1 orientation ascribed to the poet by the 1 1 d u a lis ti• c a lly 1 1 oriented c r itic s • Interpreting Tsvetaeva1 s antitheses as H du- a lis tic " oppositions, that is to say, seeing any two poles of an an• tithesis as two radically independent elements 9 these critics squeeze the intermediate world rig h t out of existence• In 80 doing, they de- prive the ly r ic a l persona of the realm where she could pause to take Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access a breath• Tsvetaeva # i t is true, depicts her heroine as often suf fe- ring from 1 , s p iritu a l asthma1 9 in the lower world; however, there is no need to turn her in to a chronic asthmatic and m a ke her breathless w hen she is not out of breath• F in a lly , an exclusion of the in te r- mediate section from Tsvetaeva1 s universe results in a distorted eri* tic a l perspective of the poet's e th ics9 The purpose of th is study is to describe certain features of Tsvetaeva's intermediate world and to demonstrate it s re la tio n to several p e c u lia ritie s of Tsvetaeva•s poetics 9 s p e c ific a lly # her pre- d ile c tio n fo r oxymoron and the ambiguous nature and behavior of her ly r ic a l personae* Furthermore, these important stru ctu ra l elements are viewed as inherent in Tsvetaeva•s dichotomous poetic vision• T w o thematic cores# H love1 1 and "poetry", are analyzed with p a rticu la r attention given to the investigation of the nature of th e ir opposi- tio n . A n analysis of the flloveff/ t,poetrytl pair s p e c ific a lly serves as a vehicle fo r obtaining information about the intermediate world• The opposition H lovew / 1 1 poetry1 1 is a very conspicuous feature in Tsvetaeva9s art even for a cursory reader« Poems where Tsvetaeva1s ly r ic a l persona quick-temperedly proclaims her in v u ln e ra b ility to the power of love are numerous: У ж е л и в раболепном гневе З а м и л ы м поползу ползком ■ вы рощ енная во чреве Н е материнском, а морском!1 0 Тщ етно, в ветвях заповедных кроясь. Н е ж н а я стая твоя гремит• С ластолю бивы й роняю пояс. М ноголю бивы й роняю мирт•יי Есть на свете поважней дела Страстных бурь и подвигов любовных•1 2 Ч то сам одерж цем вас признав на веру# Ах, н и едины й миг, прекрасный Эрос, Б ез вас м н е н е б ы л пуст! Ч то по ночамf в торжественных туманах, И скала я у неж ны х уст рум яны х • Р и ф м только, а не уст•1 3 As may be seen from these examples, the lyrical heroine is invincible to the arrows of Eros. The la s t example m akes one point s p e c ific a lly clear: she is protected from love by her poetic g i f t ； thus the oppo• s itio n "love” /"p o e try1 1 is established. This opposition can also be seen in the following examples : *9 D o l i a z h e n e k a i a ^ e l y k h a t 9 д t i a z h e l a ! Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access A ne г п а і и ~ па ѵ е в у ne b r a t a ! O t t e b i a u m e n i a k l e k o t - t o t - k h r i p /Lira^ lira^ lebedinyi гадгЪ ! 1 1 ג f t Tiazhkorazia8hohei stre^ l o i t u p o i u / 0 8 v o b o d i l m e n i a t v o i z h e в у п . / — T a k s о p r e e t o l moego p o k o i a , / P e n n o r o z h d e n n a i a , p e n o i 8 g i n s ! H 1 5 and in the p o e m "Liubov1! Liubov11и (H Lovel Love!” ) tłI ne na t o mne p a r a k r y l p r e k r a e n y k h / D a n a s o h t o b na e e r d t s e d e v z h a t 9 p u d y . / S p e l e n u t y k h ^ b e z g l a z y k h г b e z - g l a 8 n y k h / I a ne um nozhu z h a l k o i e l o b o d y 9 1 1 6 To lim it the present discussion to these examples and to accept the flaunting declarations of the ease with which Tsvetaeva1 s perso- na shakes o ff the thongs of love is to present an overly sim plified treatment of th is issue« Looking closely at these examples, one re- cognizes that the nature of the "loveV й poetry" opposition is dia- le c tic a l, i . e . , that love# even though rejected, is viewed by the ly r ic a l persona as a substitute fo r poetry• Even in the p o e m s where love is d e fia n tly rejected, i t is hard to accept the proclaimed e f• fortlessness of the ly r ic a l persona's victo ry over love• For l o v e , as is evident from other examples 9 is a concept which is very dear to the poet• In order to understand the depth and in te rn a l dynamics involved in the ly r ic a l persona's a ttitu d e towards love and also to see at what price she transcends love, i t is necessary to turn to those works where one detects a near-equivalence of the them es w love" and "poetry" and the personals m ovem ent aw ay f r o m love• O n e such work and perhaps the only instance where near-merging of the antino- mical centers ••lovew and 1 1 poetry״ is observed is Poema G o r y (The Poem o f t h e H i l l ) • This p o e m begins with the following dedication: Вздрогнеш ь и горы с плеч, И д уш а - горе• Д а й м н е о гбре спеть: О м оей горе ! 17 By using the divice of paronomasia# that is to say, by relating the two words ftg o r é n ( r9t o t h e h i l l * 9 ) and ,,g o r e n ( ,,g r i e f n ) , sim ilar in spelling and sound, Tsvetaeva achieves a double meaning based on a certain semantic correlation which she thus creates between the words 1 1 h i l l 1 1 und 1 •g rie f", which are redefined and infused with m ean- ing other than those found in a dictionary• The word 1 , h i l l ״ in Poèma G o ry becom es synonym ous with ”g rie f" ; ”g r ie f1 1 , in turn, is cle a rly "love” , that i s f love coining to an end• T he ambiguity of the ly r ic a l personaf s a ttitu d e to love# per Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access 00064773 meating the entire poem , is evident in the s a m e four lines of the dedication. The end of love is not only grieved; i t is welcomed by the ly r ic a l persona« Manifested im p lic itly , the r e lie f f e l t by the ly r ic a l persona on the account of loveי s end can be seen through the associations engendered by the saying "gora a p l e o h n. According to a dictionary d e fin itio n , th is saying is ״an expression of s a tis • faction that a painful worry has passed•1 8 מ Thus the end of love is depicted simultaneously as "g rie f" and as 9 1 deliverence from a burden•w T he them e of love as a burden resounds time and again in Poema g o r y 參 fo r example, 9,Ta g o r a b y l a ^ к а к g o r b / A t l a 8 a 9 t i t a n a e t o - ą 9 n u s h o h e g o n and in other poem s 9 fo r example, 9 9 No8 h i ne b u d e t и e t i k h p le o h /K ro m e b o z h e e t v e n n o i n o e h i ~ M i r a ! / N e z h n u i u r u k u k l a d u na m e o h : / N a l e b e d i n u i u e h e i u L i r y n 20 or f,I ne na t o mne p a r a k r y l p r e k r a e n y k h / D a n a ^ o h t o b na e e r d t e e d e r z h a t J p u d y 9 9 Usually the reader accepts without d if f ic u lt y the allegiance to poetry proclaimed by the ly r ic a l persona, especially i f she takes on a m ask closely id e n tifie d with the poet herself • The reader m a y only re lucta ntly acknowledge the ly r ic a l persona1 s g ra v ita tio n to - ward love• The reluctance m a y be due to a less e x p lic it expression of th is gravitation• A nd yet, i t is precisely the commensurate na- ture of the concepts "love״ and 1 1 poetry1 1 which m akes Tsvetaeva1 s ly r ic a l persona behave "inconsistently" in the v ic in ity of love and fluctuate between these two centers. Their close proxim ity and in - te rre la tio n can be observed in the s a m e work• Poema G o r y is narrated in the f i r s t person. The p rin c ip a l hero of the p o e m is the H ill. The H ill is animated, personified, endowed with the a b ility to act ( o f . ^ " G o r a k h v a t a l a z a p o l y ^ ffnG o ra v a l i l a n a v z n i o h n a s s n 9,G o ra g o r e v a i a о naehem g o r e " ) and t a l k ( ,,G o r a g o v o - r i l a à o h t o k o e m u z h d y / S b u d e t a i a — p o 8 le z a m e g o 9 ,f ,,G o ra g o v o r i I . My b y l i n e m y . / P r e d o s t a v l i a l i e u d i t ^ g o r e . n) • The H ill t e lls about the sad end which awaits the male hero and the heroine• The Hill n a r r a t e s the w ork Poema Gory: Е ш е говорила, что все по эм ы Гор - пишутся • т а к . 22 This example reveals the two-fold meaning of the phrase " v 8 e p o e m y g o r p i s h u t e i a t a k n ( 1 1 a ll p o e m s of the h ills are w ritte n so")• The reader perceives th is phrase as na l l l o v e 8 t o r i e 8 p r o c e e d t h e same way a s t h e l o v e 8 t o r y d e e o r i b e d i n t h e g i v e n poem . 9 9 This is the f i r s t and primary meaning because i t activates and engages poetic - 10 ^ Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access !0 0 6 4 7 7 3 - וו - semantics already at work in the poem The part of the phrase ,9 poemy g o r 9 t in the Singular is interpreted according to the associations already created in the p o e m as ” the sad story of love coming to an end1 1 ? the word np i 8 h u t 8 i a ה ("w ritte n ") , in addition to it s usual meaning, is understood as "w ritten in to the fa te w9 that is to say# that love1 s end is predestined and prescribed« I t is only a fte r a thorough reading that the secondary meaning becom es revealed to the reader and the phrase nv 8 e poemy g o r p i e h u t e i a t a k " acquires the meaning " a l l p o e t i o w o r k s a b o u t l o v e a r e c r e a t e d s i m i l a r l y t o Poema G o r y . n This second in te rp re ta tio n is engendered by a dictionary meaning of the word ,9 p o e m a 9 9 as a lite r a r y genre ♦ These two d is tin c t- ly d iffe re n t interpretations of the phrase supplement and enrich each other. Their super imposi tio n in the semantic center ffp o e m a n points to the id e n tific a tio n of the two thoughts 9 "poem as a love sto ryH and и р о е л 1 as a poetic work•1 1 Therefore, that which is narra- ted is id e n tifie d with that which narrates• In the given context# the narrator, the H ill, is id e n tifie d with the narrated, the P o e m of the H ill• The content of the p o e m is id e n tifie d with the creator of the poem , and the love e v e n tw ith the poetic event• The p e cu lia ritie s of Tsvetaeva1 s poetic language and it s com - pact expressiveness, as seen from the previous example, allow the word " p o e m a 9 9 to become a semantic center for the two different, even contradictory 9 notions и10ѵеи and ״poetry"• They coexist on c o m m o n ground in th is center• In Tsvetaevaf s work the construct w lovew is also, one can arguef a semantic crossroads• A n analysis of the pro-״ nominal system in the p o e m "Vozle liu b o v i" (, 1 Near to Love” ) substan• tia te s th is point and demonstrates the delicate balance between the a n tith e tic a l poles of the love1 1 / 1 1 poetryn opposition• В озле лю бови Т е м н ы е смуты: Р овно б ы л ю тн ю К то ненароком К р а е м плащ а• (Ровно б ы руки К ва м на плеча ф ) К ак паутиною Перепутан Воздух - чуть ступишь••• К ак паутиною Перетянут Голос - чуть вскличешь••• Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access 00064773 Возле лю бови - Тихие вихри : (Н а ш или ихний?) Возле лю бови • Ц е л ы е сонм ы : (Н а ш или тем ны й?) Возле лю бови Ш опот и шелест• Возле лю бови - Ш епчут и стелят••• Туш ат и светят. С п у щ е н ы векиг С путаны вехи, С м уты и смехи••• Гей , подстреленыш і П леть м о я хлестка I Вся некреценность! Н а - перекресток 1 Рознь - на 110 ᄆ 0 東 61 < ! Гордость - в околы ш ! Ревность - под полог! Щ екот и щ елок• Н о круговая • Сверху - порука К р ы л • 23 The very genre of the ly r ic a l p o e m prepares the reader to per- ceive the ly r ic a l W I H of th is p o e m as belonging to the poet• In this p o e m s p e c ific a lly , the id e n tific a tio n of the subject with the poet is aided by the m ask assum ed by the ly r ic a l persona• The mask, that of a Iute-player, is consistent with the associative sequencemusi• cian, singer, poetengendered by the word " l i u t n i a 9 1 ("the lu te 1 1 ) and is confirmed in the fo rth stanza by the re a liz a tio n of a kind^ red m otif- ■ f9 g o l o e 9 9 (1 •the voice1 1 ) : ,9 К ак p a u t i n o i u / P e r e t i a n u t / G o 108 c h u t , V 8 k l i a h e 8 h s •״ Here, ,,g o l o a 9 9 is t cle a rly "the poetic g i f t M ( o f . ג fo r example ÿ f,E8 l i b O r f e i ne a o s h e l v A id / S a m ^ a p o s t a l b y g о 106, n zą and " I b o r a z доЪоъ t e b e s p o è t ^ / D a n , o s t a l ^ n o e v z i a t o , 9 f 2 5 and " G o l o s t o t / Nad k r o v n o i u p o k o i n i t s e i , / N a d M u z o i u poet,,2e> • The ju s t established id e n tific a tio n of the poet with the sub- je c t is , nevertheless, undermined in the second stanza• The personal pronoun f,v y 9 9 (1 1 you1 1 ) se e m s at f i r s t to re fe r to the lute^player, but is interpreted differently upon further reading• In this poem " v y ח actually functions as an impersonal pronoun• As such, it does not discriminate between the poet and anyone else• A s referent, the poet, therefore, is equated with everyone• The word "everyone", in turn. - 12 • Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access !064773 has only to do with those who are "near to love1 ״ and constrained by it. The use of the second person singular and plural verbal forms ( f98 t u p i 8 h J ״V 8 k l i 0 h e 8 h 9 \ M8 h e p c h u t u 9 1 9 s t e l i a t ' " t u s h a t a n d ,,e v e t i a t " ) also points to their impersonal nature (in the context of this p o e m ) , thereby indicating s t i l l greater weakening of the poet1s association with the subject and intensification of his iden^ tific a tio n with the ”multitudes" ( t9 80 nmyn) vanquished a n d enslaved by love• The position of the subject, then, must be occupied by some- one else because the poet loses his position of the subject just as quickly as he acquires it• Indeedf one soon discovers that there is another contender for the subject9 s exceptional position• In the fifth stanza, for example, the possessive pronoun f9 n a 8 h " ("ours"), in the line, ,fNa8h i l i i k h n i i ^ u is , a s i t were, yet another indica- tion of the lack of clear distinction between the poet and the wmul■ titudesH because the pronoun refers equally to both. However, thejuac- taposition, un a e h " / ni k h r x i i 9 n representative of the juxtaposition "tho־ ״ se w h o are in love י 1 / ״ those w h o are not in love1 1 reveals at the s a m e time an important selective principle underlying this division love. E ve n m o re importantr the use of the pronoun w oursw can essenti• ally be interpreted as indicative of the identification of the sub• ject with love its e lf• Then, the lines ę "Na8h г l i i k h n i i ח a n d Naeh i l i t e m n y j j 9 9 are love1 s first utterance, love1 s direct speech• From such a perspective# the fifth stanza becomes a place where the lyri• cal " I й of this p o e m changes ״hands n or, better yet, ״vocal cords" and is identified not with the poet but with love• This interpreta- tion is substantiated in the ninth stanza where the most direct re■ ference to the subject i h the form of the first person singular pos• sessive pronoun " m o i a " (t f myw) appears for the first and only time: "Piet9 тога khleatka!f f The pronoun nmo ia r / can correctly relate either to the poet or to love. As a reference to the poetÿ it must be ruled out, for this stanza and the following relate essentially to love. In the opening line of the stanza, łfpode t r e l e n y 8 h ff (1 1 the wounded one") provokes a n association with Eros because in this p o e m i t is only those w ounds , a fflictio n s of his arrows which are relevant to the topic in question. In the eleventh stanza yet another breach in subject identifi• cation is observed. Here the tendency of the poet to isolate himself, to single himself out from the 1 1 multitudesw around love a n d from - 13 - Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access love i t s e l f , is obvious• The adversative conjunction 9 ,n o t$ (1 1 but1 1 ) , in strong p o s itio n ~ a t the beginning of the lin e and at the begin•״ ning of the sta n z a ~ in te n s ifie s the ch ara cte ristic which sets the poet apart from m any of those he id e n tifie s with at the beginning of the poem • A id# salvation from love, the w garanteeH ( 9 ,p o r u k a " ) of his in v u ln e ra b ility to the arrows of love c o m e from ,,above1 1 ( n8 v e r k h u 9f) 9 from the force incarnated in the ״wingsw ( nk r y l J i a " ) . The semantic saturation of the word-motifs ,9k r y l ^ i a u and " e v e r k h u ח in the large context of Tsvetaeva•s a rt leads the reader to the realm of poetry and soul, to the poetf s strongest a llie s • ( C f ^ ^ fo r example, nV8em p r o r o k o o h e t / G o 108 т о г k r y l a t y i ^ tf ,,E 8 H d u e h a r o d i l a 8 9 k r y l a t o i , / 2 Ѳ C h t o e i k h o r o m y i o h t o e i k h a t y ! ח and "A m e n i a p o l o z h a t g o l u i u , / Dva k r y l a p r i k r y t i e m " 2 9 ) • The analysis of the pronominal system in th is ly r ic a l p o e m shows tha t the p o sitio n of the subject# conventionally assigned to the ly r ic a l 1 ,I й of the poetr here is p ra c tic a lly vacant u n til the ninth stanza where i t is occupied by love• In th is p o e m the balance in the struggle between the poet and love is tipped in favor of love. The ly r ic a l persona9 s s u s c e p tib ility to the power of love, evident in vacating the p o sitio n of the subject, is m u ch greater than to any other force of the lower world. These are simply brushed aside, fo r example r " T e l o ? / M n e n e t u d e l a 9 9 3 0 Entering the realm of love is a l• together d iffe re n t because i t leaves Tsvetaeva1 s ly r ic a l persona wounded « Even i f one assum es th a t in the end of the p o e m she escapes the thongs of love, she does so not because love is defeated, but because she, wounded and weak but not forsaken, is rescued by the force from и aboveи, higher than both Tsvetaeva•s persona and love, her captor• The p o sitio n of the thematic cores, "love” and 1 •poetry", as previously established, is not fixed in Tsvetaeva•s poetic universe. They appear now disparate and mutually d ista n t, n o w kindred and in - tim ately related« These themes are disparate and d is ta n t, one can argue, w hen the constructs ״love״ and "poetry" belong cle a rly to the realm of the body and to the realm of the s p ir it , respectively• O n the other hand, they becom e in tim a te ly related w hen they are con_ strue ted in such a way as to be id e n tifie d with the intermediate re- aim of Tsvetaeva1 s poetic world• To demonstrate th is , one needs to bring to bear additional information pertaining to these themes , namely, th e ir lexico-semantic composition• Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access - 15 - Tsvetaeva1 s reader is able to attach p a rtic u la r importance to certain reoccurring words and phrases by drawing necessary oorrespon־ dences and associations with other more expansive notions• In other words f the reader recognizes numerous variations of one and the s a m e m o tif, im age and situation• For exampleÿ w hen the reader com es across the lin e , ,,Как p a u t i n o i u p e r e t i a n u t g o l o 8 ~ c h u t * v e k l i a h e s h ^ ^ 9 9 the word 9 9 g o t o 8 f9 activates an e n tire segment of Tsvetaeva1 s poetic world and becom es imbued with Tsvetaevan significance, thereby a le rtin g the reader to it s primary m eaningthe poetic g if t • This illu s tra tio n demonstrating one instance of a reconstructive e ffo r t on a micro scale, is exemplary of a m ore general p rin c ip le • Description of an a r t i s t 1 s poetic world, according to I u r i i Shcheglov, is a task that ultim ately involves "the 1 inner reconstruction1 of most general 9 deeply hidden, semantic figures or values (themes) underlying an a rtis te s entire creative output and a demonstration of th e ir corre- spondence to the them es and constructs (the in va ria n t m otifs) ob- served s u p e rfic ia lly and to the multitudes of s p e cific te xtu al frag•״ 31 ments where each one of them is re a liz e d •מ In Tsvetaeva•s work, 1 1 love1 1 and n poetryH are represented by a series of constituent elements or va ria n t m o tifs • The most charac- t e r is t ic motifs of fllove1 1 are lis te d below: (1) L o s e o f i n d i v i d u a l i t y . Tsvetaeva1 s ly r ic a l persona loses her in d iv id u a lity in the v ic in ity of love• Sometimes th is is ex- pressed through her id e n tific a tio n with the "multitudes" fo r example: Э2 " V o z l e l i u b o v i ᅳ / T s e l y e 8 0 nmy, ״ " S k o I 9к о i k h 9 8 k o I • к о i k h e s t i z r u k j / B e l y k h г s i z y k h ! / T s e l y e t e a r s t v a v o r k u i u t v k r u g / U 8 t t v o i k h ^ H i z o Q t , 3 3 and uVa8h n e z h n y i r ő t 8 p l o 8 h n o e t a e l o v a n f e • • •/J e t o ѵве^ i i a 8 0 v 8 em к а к n i e h o h i i . / K t o г а t e p e r 9? E d i n a i a ? N e t j t y 8 h - a h a ! / Z a v o e v a t e l 9? ᅳ N e t , z a v o e v a n * e ! ,,э4 (2) Im p e a c h m e n t o f p e r s o n a l , p h y s i c a l a n d a r t i e t i o f r e e d o m . The restrained physical freedom is described in the p o e m ״Liubov 1 1 Liubov11 " (1 1 Love! Love! as tf. . . p l e c h a ^ k r y l a ^ k o l e n a / S z h a v • • •3 S ״ ( C f . ， also " Z a b i t a 8 v i n t 8 0 v 0 i u к т у в к к о г / L i u b o v e v o b o d n y r a b y ,,эв) • The most prevalent, however, is the m otif of the s tifle d poetic g if t in the v ic in ity of love as exemplified in the "silenced lu te ” in the following illustration: Vo гіе І г и Ъ о ѵ і ~ / Т е т п у е 8muty :/Rovno by liut^ Э 7 п г и / K t o п е п а г о к о т / К т а е т p l a e h o h a . / / ( R o v n o b y г и к г / К vám na p l e o h a . ) If The ״voice 9 ) ״ fg o l o 8 tr) is another v a ria tio n of the sa m e m otif as seen in "К а к p a u t i n o i u / P e r e t i a n u t / G o l o e c h u t 9 v e k l i o h e e h f 9 9 and in other exainples cited above• Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access 00064773 (3) The lo w p o s i t i o n ^ l o w l i n e s s . W h e n the ly r ic a l person in the power of love, the force lib e ra tin g her from love com es from "above"; hence, "low1 is ״ the position assigned to love, fo r exampler No k r u g o v a i a / ~ S v e r k h u p o r u k a / K r y I ^ ff The use of the fig u ra tiv e leve: of the language can also contribute to the reader's association of love with something low, with being at the bottom• Aphrodite, fo r ex- ample, is addressed as H N i z o e t 9 ״ ("Lowliness")• H e w ho is in love is com pared with up o d 8 t r e l e n y 8 h 9 9 (1 1 the wounded״) w hose m ovem ent charac- te r is tlc a lly becom es the free f a l l of gravity and p u lls the w ounded downward« < 4 ) c o n f u s i o n ^ l a c k o f c l a r i t y . Darkness is under- stood as absence of lig h t and enlightenment associated with love, fo r example, ,,V o z l e l i u b o v i ^ - / T e m n y e 8 m u ty ••• Voz l e l i u b o v i / T u e h a t i e v e t ï a t j / S p u 8 h a h e n y ѵ е к г 9/ S p u t a n y v e k h i j / S m u t y г 8 m e k h i or ,9 L i u b o v 9 l i І г и Ъ о ѵ а п 9 / P e r a p r i o h i n a ᅳ i l 9 p e r v o - p r i o h i n a , / T o m l e n f e l i p o a n g e l 98komu o h i n u ~ / I l 9 c h u t o c h k u p r i t v o r - 8 t v a ~ p o p r i z v a n 1i u • • • / / - ^ D u s h i p e o h a l \ o a h e i o o h a r o v a n f e ß/ P e r a l i T o e c h e r k - ^ A k h ! ~ n e v s e r a v n o І г ^ / К а к n a z o v u t s i e u s t a • • • ,/3 8 The above illu s tra tio n s exemplify respectively the d ire c t and fig u ra tiv e interpretations attached to th is characteristic « (5) G r a v i t y , enorm ouB m a t e r i a l w e i g h t . This ch a ra cte ristic is in part described above in the discussion of the correlation between the notions 1 • h i l l ״ and w love" created by Tsvetaeva in Poema G o r y . Sharing the s a m e meaning, מ burden и , they are thereby equated• ( C f . ג also nZ a b i t a 8 v i n t 8 0 v 0 i u k r y e h k o i / L i u b o v 9 г s v o b o d n y r a b y • 9 9 ) In th is example, the gravity of the 1 1 lead lid " , containing love w ith in , is transferee! into nl o v e H as its own characteristic• However 9 pondering over th is example, one recognizes that perhaps such transference of meaning is ille g itim a te , fo r, a fte r a ll, the lid , n o t love, is m a d e of lead• Following another associatian, i t is not unusual to imagine a v o la tile (inflaiamable, l i g h t ) substance being contained under a lead lid • This brings us to the next important point• A ll attempts to define the position of ••love" in Tsvetaeva יs poetic world, p a rtic u la rly in re la tio n to the realm of the body and/ or the realm of the s p ir it , point in one d ire ctio n . The characteri• sties of и 10 ѵен mentioned above, precisely the properties of the lo - wer world, indicate earthly origins of "love"• H a d 1 1 love" been cha- racterized by these properties aloner they would have firmly secured th is concept in the realm of the body , thus precluding it s m o b ility . - 6 ו • Horst Lampl and Aage A. Hansen-Löve - 978-3-95479-671-7 Downloaded from PubFactory at 01/11/2019 09:53:28AM via free access • 17 - This 9 in turn, would m a ke the near-confluence of иloveи and "poetry" demonstrated e a rlie r impossible« Since the opposite is true and the re la tiv e distance between these two concepts changes, i t is necessa- ry to find the moving force that m akes them now in fin ite ly close, now w orlds apart. The m obility of the thematic cores "love" and 1 •poetry" along the axis connecting the world of the body and the world of the spi• r i t is determined, one can argue, by th e ir o x y m o r o n natu