Осколки того витража: преломление еврейских мотивов Мандельштама в поэзии Александра Еременко и Михаила ЩербаковаChapters from a term paper in Russian Lit (Harvard, Spring 2004)
Mandelshtam's poetics deeply affected the creativity of many Russian poets. The phenomenon of Mandelshtam's overarching influence on young poets was noted by Anna Akhmatova in the early 1960s: "Два поэта породили целые полчища учеников — Гумилёв и Мандельштам. [...] Второй — сейчас (1961); им бредит почти вся начинающая молодежь Москвы и Ленинграда". Young poets continued to fall under Mandelshtam's spell long after Akhmatova's observations in 1961. To what extent did the Jewish elements in Mandelshtam's texts play a role in his influence? I will try to examine this issue using examples from two Russian poets, Aleksandr Eremenko and Mikhail Shcherbakov. They came of age in the 1970s and 1980s respectively, and it is important here that they are both ethnic Russians and did not face intrinsic Russian-Jewish dilemmas like many of their Jewish peers in Russia. Both Eremenko and Shcherbakov are among the leading Russian poets of their generations, and both have made very important literary contributions. Both poets apparently share Mandelshtam's view that "Цитата не есть выписка. Цитата есть цикада. Неумолкаемость ей свойственна. Вцепившись в воздух, она его не отпускает. Эрудиция далеко не тождественна упоминательной клавиатуре, которая и составляет самую сущность образования" ("Разговор о Данте") and liberally use direct (Eremenko) or hidden (Shcherbakov) quotations in their verses . In the poem "Samizdat-80" (Eremenko 247) the author describes the clandestine copying of a banned poetry book by two young poets: За окошком свету нету. Who is the poet in question, the author of the banned book? A key to the answer is contained in the following lines: Эту книжку в ползарплаты This is not yet the answer, but just a key. By three keywords the reader may recognize that these lines allude to a poem with a telling title, "Поэт" by Arseny Tarkovsky: Эту книгу мне когда-то Tarkovsky, in turn, never names the protagonist of his poem either; however, the description unmistakably suggests to those "who know" that he talks about Mandelshtam: Говорили, что в обличьи By including other similarly hidden quotations from other poets, Eremenko recreates the cultural landscape where most quoted poets (Mandelshtam, Yunna Morits, Evgeny Rein) are Jewish. The enterprise of copying the banned book does not go well. The young poets are arrested and jailed, because "the light between the lines" of the book they copied is way too bright for the authorities to tolerate: И за то, что много света The light between the lines (in black type) of a book immediately reminds us Mandelshtam's poetic alternations of light and darkness: "Кремня и воздуха язык, / С прослойкой тьмы, с прослойкой света" ("Грифельная ода", I, 150) as well as his strong affirmation of a light-carrying mission:"От меня будет свету светло" ("Стихи о неизвестном солдате", I, 242). At the same time, the light in a book may suggest a reference to Cabbala, whose main book is called Zohar, which means "splendor". And according to cabbalistic principles, the act of reproducing a sacred text does not pass without consequences. Indeed, something "shifted above" the protagonists in the heavens, the banned poet was published, and they were released from prison. In this poem we see that Mandelshtam's poetry possesses a serious power that affects the course of events in the real world, and that this power is somehow related to the Jewish religion or at the very least to Jewish mysticism. This motif is further developed in the poem "Идиотизм, доведенный до автоматизма:" (Eremenko 314). Mandelshtam's poetry is a no-man's land, "the dead zone," and the entrance there can be hewed through only via a special effort of "active reading": И в "Восьмистишия" гения, в мертвую зону This effort is directly related to one's Jewishness, a "recessive trait" from the preceding stanza: Русобородый товарищ, насквозь доминантный, The dominant culture (which is here a synonym of all things primitive) is personified by "русобородый товарищ", a stereotypical Russian, who beats the "frizzy" Jew. But in the next two lines, the poem's protagonist, who is apparently also a Jew, but only by virtue of being a poet, is unreachable to the blows. Furthermore, from the following stanza we learn that according to Purishkevich, one of the notorious ideologues of Russian anti-Semitism, the Jewishness of a poet can be recognized by his look, which is also a "mug" of Mandelshtam's universe. However, while Mandelshtam's universe peacefully sleeps in the cradle of a small eternity ("Большая вселенная в люльке / У маленькой вечности спит"), Eremenko, from his vantage point, sees how space and time have traded their positions, the Universe now is clamped in the lathe, and for quite a long time — Eremenko's eternity is by no means small, with the cataclysms as the milestones, it is being measured in world wars with no end in sight: Как Пуришкевич сказал, это видно по роже In 1935, Mandelshtam, feeling as though he writes from the grave, asserts his tie to the emerging center of the Universe (I, 308): Да, я лежу в земле, губами шевеля, Two generations later, Eremenko bitterly acknowledges that the center is still there, and that he, by accepting the baton in the form of Mandelshtam's line "На Красной площади всего круглей земля", is doomed to be trapped there his whole life as the Eternal Jew guarding the eternal zero — the universal point of origin: На Красной площади всего круглей земля! Such is the price of being a poet in Russia.
Mikhail Shcherbakov invokes Mandelshtam's imagery in a much more subtle and nuanced and, at the same time, more involved way than Eremenko. By analyzing Mandelshtam's influence on Shcherbakov, not only is it possible to acquire insight into Shcherbakov's poetic laboratory, but in some cases it may help to better understand or interpret Mandelshtam's poetry, because Shcherbakov frequently brings together like pieces of a puzzle seemingly unconnected images from different poems by Mandelshtam. One of the centerpieces of Shcherbakov's Mandelshtamiana is the poem "Волк" (1996), where the relationships between poetry and Jewishness are interwoven in virtually every line, and all of these lines are deeply rooted in Mandelshtam's poetics.
ВОЛК Ты - черный волк. В должный час вспомнит о тебе 1
Lines 1-6 The image of a wolf as a poet hunted by his epoch is traced to Mandelshtam easily ("Мне на плечи кидаетсявек-волкодав, / Но не волк я по крови своей"). The origin of the wolf's blackness is less apparent, but also goes back to Mandelshtam's texts, in this case mainly to a poem written in 1915 (I, 105): Обиженно уходят на холмы, Here we meet the old sheep - the black Chaldeans (they are, of course, the folks of Abraham, the "proto-Jews"). The connection of the sheep to the Jews can also be seen in a stanza from a manuscript version of this poem (I 371): Они покорны чуткой слепоте, Inarticulateness and darkness ("косноязычной ночи") are both strongly associated in Mandelshtam's vocabulary with Jewishness, and phosphorescent eyes suggest the presence of a wolf. Indeed, a dark chaotic force, which is migrating into exile in a "sacred disorder" ("Они идут в священном беспорядке"), needs an ordered counterbalance ("Им нужен царь и черный Авентин"). Aventinus is one of the seven hills of Rome, where Romulus and Remus were nursed by a she-wolf, and where later they founded the city. This is the reason why the black wolf is promised in the same line of Shcherbakov's poem that in due time Hell will call on him. The Hell here is Dante's inferno from Mandelshtam's "Разговор о Данте": "Городолюбие, городострастие, городоненавистничество — вот материя inferno. Кольца ада не что иное, как сатурновы круги эмиграции. Для изгнанника свой единственный, запрещенный и безвозвратно утраченный город развеян всюду — он им окружен. " So, we learn that the black wolf is an exile, an outcast, and a shepherd for other exiles. Meanwhile, the wolf should be getting used to bristling his hair, just like the hero of another of Mandelshtam's poems, written seven years later, in 1922, who again faces the very same dichotomy of "ancient chaos" and "Eolian marvelous order", and sings "against the hair of the world": Я по лесенке приставной An extremely interesting metamorphosis can be noted here that happened in these seven years, between 1915 and 1922. There is a similar set of props (with minor modifications: "руно косноязычной ночи" turned into "косматое руно"), but a much more positive connotation of an "ancient chaos," and the hero is actually questioning whether it is worth to keep trying to catch the "marvelous order". The striking answer is contained in the next two stanzas. The goldfinch (and it is well-known from a number of poems that the goldfinch frequently serves as a substitute for Mandelshtam himself) has fallen from the nest and plans a homecoming, back to the "native sound scale": Из гнезда упавших щеглов The meaning of "the blood tie" is clear, but what is "травы сухорукий звон"? The key is in Mandelshtam's "О природе слова": "Неспособность Анненского служить каким бы то ни было влияниям, быть посредником, переводчиком, прямо поразительна. Оригинальнейшей хваткой он когтил чужое и еще в воздухе, на большой высоте, надменно выпускал из когтей добычу, позволяя ей упасть самой. И орел его поэзии, когтивший Еврипида, Малларме, Леконта де Лиля, ничего не приносил нам в своих лапах, кроме горсти сухих трав." Therefore , the dry grass is an uprooted poetry . Virtually all of Shcherbakov's images in this poem lead us to Mandelshtam, e.g. "письменам не внимать" — cf. "У меня нет рукописей, нет записных книжек, архивов. У меня нет почерка, потому что я никогда не пишу. Я один в России работаю с голосу, а вокруг густопсовая сволочь пишет. Какой я к черту писатель!" ("Четвертая проза"); "верить осязанью" — cf . "Слепой узнает милое лицо, едва прикоснувшись к нему зрячими перстами, и слезы радости, настоящей радости узнавания, брызнут из глаз его после долгой разлуки. Стихотворение живо внутренним образом, тем звучащим слепком формы, который предваряет написанное стихотворение. Ни одного слова еще нет, а стихотворение уже звучит. Это звучит внутренний образ, это его осязает слух поэта. " ("Слово и культура"). The "огнь, ореол, океан" refer to the three traditional trials by "огонь, вода и медные трубы". In this case, however, Shcherbakov selects synonyms that all start with letter "O", and it is not by accident. Mandelshtam liked this letter, the first letter of his name, and used words with o's frequently in his poetry. It was extensively discussed by Andrey Voznesensky, among others, and there is an interesting new confirmation from the N.D.Volpin memoirs. Her and Sergey Esenin's two-year old son addresses Mandelshtam: ""Дядя О!". Это Мандельштаму ужасно понравилось. "Он очень точно определил. Я - О! Ода! Звук торжественной оды - О. Значит во мне что-то одическое есть." " (Osip i Nadezhda Mandel'shtamy 93). Subsequently, the wolf is shown the proper path by "бизань" — a sail. A key to the sail that shows the way during thestorm can be found in "Разговор о Данте" ( II , 231): "Для того чтобы прийти к цели, нужно принять и учесть ветер, дующий в несколько иную сторону. Именно таков и закон парусного лавированья. : Дант Алигьери жил во времена расцвета парусного мореплаванья и высокого парусного искусства." It is also safe to assume that the "мертвый Голландец" is an allusion to the "летучий голландец", a ghost ship doomed to wander the seas for eternity and a synonym for another mythological wanderer, the Eternal Jew.
Lines 7-12 If the path is shown to the "wolf" by the eternal Jew, it is unsurprising that the main character of the poem ends up walking through the gates of Jerusalem. He enters the Temple just in time for the stained glass to burst and shower him with sparkles. This may be a reference to Mandelshtam's poem, written when his mother died in 1916: "У ворот Ерусалима / Солнце черное взошло... В светлом храме иудеи / Хоронили мать мою... И над матерью звенели / Голоса израильтян. / Я проснулся в колыбели, / Черным солнцем осиян " ( Mandelshtam I 114). In both cases, the protagonist goes through Jerusalem's gates to enter the temple; the ringing of the voices in the temple is reminiscent of the sound of the temple's shattering glass (звон); and Mandelshtam's narrator is covered with the light of the black sun, as the "wolf" is covered with the sparkle of the multi-colored glass. Both the death of the mother and the bursting of the glass can be seen as involuntary phenomena, affecting the inactive recipient.
Lines 13-18 Shcherbakov's narrator predicts that "букв не поймешь." In the "Книжный шкап" chapter of "Шум времени," when describing the Jewish books in his parents' home, Mandelshtam writes that "сюда же быстро упала древне-еврейская моя азбука,которой я так и не обучился" (Mandelshtam, II 210). Having never mastered Hebrew, the language of Jerusalem, Mandelshtam will be unable to understand the letters that spill over him from the Temple. Just as Mandelshtam as a boy "неузнавал себя" in the boy of the Hebrew primer, so too he does not recognize Jerusalem. "Но словарь втиснет и тебя"refers to Mandelshtam's dictionary of culture: "У нас нет Акрополя. Наша культура до сих пор блуждает и не находит своих стран. Зато каждое слово словаря Даля есть орешек акрополя, маленький кремль, крылатая крепость номинализма, оснащенная эллинским духом на неутомимую борьбу с бесформенной стихией, небытием, отовсюду угрожающим нашей истории " ("О природе слова"). At the same time it is the mother ' svocabulary "Речь матери - ясная и звонкая без малейшей чужестранной примеси, с несколько расширенными и чрезмерно открытыми гласными, литературная великорусская речь; словарь ее беден и сжат " ("Шум времени"), thus "втиснет". Shcherbakov's hero is hopeful that the dictionary will nonetheless find room for the addressee in its orphanage. As mentioned in the discussion about Chaadaev, Mandelshtam saw himself as a cultural orphan in Russia because of his Jewish background. The crowding of "четных и нечетных глав" may be a reference to the Torah, the five books of Moses, which is often cited by chapter and verse number. The slander "личных дел, мрачных подноготных" may refer to the Ulenspiegel affair that Mandelshtam was involved in, as well as his encounters with the security police in the 1930s. "Плоть неизвестных безвинных животных с детства навязнет в зубах у тебя" seems to be a clear reference to "Слово — плоть и хлеб. Оно разделяет участь хлеба и плоти: страдание" ("Слово и культура") and also "Слово в эллинистическом понимании есть плоть деятельная, разрешающаяся в событие. Поэтому русский язык историчен уже сам по себе, так как во всей совокупности он есть волнующееся море событий, непрерывное воплощение и действие разумной и дышащей плоти" ("О природе слова"). The flesh of the Russian word got stuck in the poet's teeth .
Lines 19-24 The "долг платежом" given at the end perhaps alludes to the passing on the baton to the next generations of poets. Theselines are closely related to Mandelshtam ' s "Сусальным золотом горят / В лесах рождественские елки; / В кустах игрушечные волки / Глазами страшными глядят. / О, вещая моя печаль, / О, тихая моя свобода / И неживого небосвода / Всегда смеющийся хрусталь!" (I, 66). Burning scripts or scriptures and burning Christmas trees, the rhyme "елку — волку", the laughing crystal of the dead dome of the sky and the shards of stained glass from the Temple in Jerusalem that are given away to everybody. These shards of glass, perhaps, represent Mandelshtam's poetic legacy, passed on to other poets, including Shcherbakov's hero. In the very end he turns into the black wolf: "я - черный волк", a quintessential poet-alien-exile, concerned with the preservation of his words, just as Mandelshtam has asked: " Сохрани мою речь навсегда"(I 175).
Another one of Shcherbakov's poems built on an intense dialogue with Mandelshtam is "Какой кошмар" (1993): Какой кошмар: жить с самого начала зря, 1 The first three lines of this poem echo Mandelshtam's "Lamarck." In "Lamarck", the hero, lamenting the alleged meaninglessness of the living world, is determined to descend down the evolutionary ladder: "На подвижной лестнице Ламарка / Я займу последнюю ступень" (I, 186). On the way down he identifies with increasingly "simple" creatures, including insects with liqueur-glass eyes: "Мы прошли разряды насекомых / С наливными рюмочками глаз" (I, 186). The narrator of "Какой кошмар" counters that life on the lower ladder steps is meaningless as well, it is a nightmare to be a plant lice, an insect whose "liqueur-glass eyes" morphed into the regular glasses to make it look like a "humanist" (lines 1-3), the word "humanist" being, perhaps, a sarcastic euphemism for an intellectual or a Jew — both categories are strongly associated with wearing glasses in popular Russian culture. This insect-humanist "весь век вертясь вокруг своей оси" ("ось" being one of the shibboleth words signifying a reference to Mandelshtam) reminds one of the lines "Вокруг себя, как плющ, виясь, - / Я подымаюсь над собою" ( I , 279) and "Скучно мне: мое прямое / Дело тараторит вкось - / По нему прошлось другое, / Надсмеялось, сбило ось" ( I , 230). He does not know "ни азимута, ни аза", which suggests a chaotic ("Judaic chaos"?) trajectory, perhaps because the devolution takes away the eyesight: " Зренья нет - ты зришь в последний раз" (note also the repeated letter "з" in both lines), and at the same time reminiscent of the language of streetcar squabbles "в котором нет ни смысла, ни аза" (I, 178). "И, даже угадав орбиту, двигаться всё же поперек" (line 6) - coincides almost literally with the Sergey Averintsev's description from the foreword to the first canonical post-Soviet edition of Mandelshtam's works: "Несогласуемые между собой, несводимые воедино представления о Мандельштаме — словно проекции трехмерного тела на плоскость. : Можно понять, что поэт только и занимается восставлением <перпендикуляров>, что он весь — поперек и наперекор самому же себе (<себя губя, себе противореча...>) и что это — не только от странностей психологии, от извилин биографии, но прежде всего потому, что иначе ему не освоить полноты измерений своего мира. По крайней мере, таков поэт мандельштамовского склада. : А так как, по извечному закону, расплачивается за поэта — человек, не приходится удивляться обилию <перпендикуляров> и <углов>, разрывов и контрастов в человеческом бытии Мандельштама." ( Averintsev I , 7) Looking around at the surrounding world, the protagonist lowers his head to avoid turning into stone: "опускать лицо, / в детали не вдаваясь, чтобы не окаменеть" (lines 7-8). An interesting parallel can be drawn to Mandelshtam's lines, "Неумолимые слова... / Окаменела Иудея, / И, с каждым мигом тяжелея, / Его поникла голова" (I 279), which refer to Christ. Gregory Freidin drew interesting parallels between Mandelshtam and Christ: "Petersburg-Petrograd: assumed the role of a new Jerusalem, the place where the Revelation would be recollected, if not revealed: The one to perform the act of recollection would be the poet himself-an imitator of Christ even in those instances when he was wearing the mask of his pagan 'premonitions.' Thus Christian Russians became Jews, and Osip Mandelstam, a Jew among them, assumed the role of: one who, instead of announcing the imminent arrival of the Savior, reminded people that he had already arrived, had died on the cross, and had risen" (Freidin 78). In Shcherbakov's poem, it can be argued, the main character is also a Mandelshtam-Christ figure. What the protagonist sees after looking around is a rather bleak landscape. "О, город саблезубый" evokes Mandelshtam's "О, город ящериц, в котором нет души" from the poem "Ariost", and the "тошнотное приморье" is perhaps the Adriatic from the same poem: "О, если б распахнуть, да как нельзя скорее, / На Адриатику широкое окно" (I, 195). Lines 11 and 12 describe a sandy desert and simoom, a desert wind, which recreate a landscape of Mandelshtam's "Draftsman of the Desert" (see discussion in Chapter 1). Exactly halfway through the poem, Shcherbakov hits upon a new theme, that of the Holy Grail (lines 21-23). The Grail, a Christian relic, is described in the stories of King Arthur's court, where it was the object of the quests of knights. According to legend, access to the Holy Grail was possible only for the most faithful Christians. However, since, as Marina Tsvetaeva pointed out, "В сем христианнейшем из миров / Поэты - жиды!" the Grail, who does not know whom to turn to, presents itself to the protagonist, a poet and a Jew. In the ensuing dialogue between the poets, Shcherbakov suggests, "Вот кисть, живописуй, твори" (line 24), but Mandelshtam argues, "И не рисую я, и не пою, / И не вожу смычком черноголосым" (I, 239). He succeeds in his endeavors nonetheless: "Глядишь, и впрямь - смог, создал, восхитил, снискал, / раскланялся" (lines 27-28), but the lack of acceptance is mutual, since the audience and the Grail both disappear. In the last quarter of the poem, the protagonist ends up on one side of a firewall, on the other side of which there is "некий каменщик, он же штукатур" (line 33). Mandelshtam himself clearly stated his distinction from this craftsman: "Кто я? Не каменщик прямой, / Не кровельщик, не корабельщик " ( I , 151). So , who is he ? "Двурушник я, с двойной душой, / Я ночи друг, я дня застрельщик" ( I , 151). While in the final version of Mandelshtam's poem the meaning of a "double-dealer with the double soul" may be somewhat obscured, one of the early drafts is less ambiguous, because in that draft the "double-dealer" lines are immediately followed by: "Ночь, золотой твой кипяток / Доселе обжигает горло / И ястребиный твой желток / Глядит из каменного жерла" (I, 383). This stanza is rich in black and yellow, exclusively Jewish colors in Mandelshtam's palette. As the wall is being completed, the protagonist is forewarned against complaining: "А ну, не ныть! Не так уж он и плох, твой остров. / Жители его не праздны, в том числе и ты " ( line 37-38) just like Mandelshtam himself agrees : "Чур, не просить, не жаловаться! Цыц! / Не хныкать -- / для того ли разночинцы / Рассохлые топтали сапоги, чтоб я теперь их предал? " (I, 177). Shcherbakov's hero goes through a series of metamorphoses that reflect the dichotomy between being a Russian poet and being Jewish. The presence of this theme in Shcherbakov's writing and in that of many other poets is an indication that Mandelshtam succeeded in his striving to become a Russian poet while remaining a Jew (see the discussion on the "Draftsman of the Desert" in Chapter 1). Mandelshtam left a legacy in Russian poetry, and his followers now try to capture rays of his black sun, words from his tongue-tied babble. Note: The spelling Mandelshtam is used throughout the text, and Mandel'shtam (according to the Library of Congress transliteration rules) in the bibliography.
Bibliography: Mandelshtam's quotations are from Osip Mandel'shtam, Sochineniia, v 2 tomakh, Moskva: Khudozhestvennaia Literatura, 1990.
Averintsev, Sergei. "Sud'ba i vest' Osipa Mandel'shatma" in Osip Mandel'shtam, Sochineniia, t.1, Moskva: Khudozhestvennaia Literatura, 1990. Akhmatova, Anna. "Avtobiograficheskaia proza". Literaturnoe obozrenie, 1989, 5, 3-17. Cavanagh, Clare. "Synthetic Nationality: Mandel'shtam and Chaadaev." Slavic Review, Winter 1990: 597-610. Epshtein, Mikhail. "Esseistika. Khasid i Talmudist." Zvezda, 2000, 4, 82-96. Eremenko, Aleksandr. Opus Magnum; [sostavitel' Evgeniĭ Kasimov]. Moskva: Podkova; Dekont+, 2001. Freidin, Gregory. A Coat of Many Colors: Osip Mandelstam and His Mythologies of Self-presentation. Berkeley, Los Angeles and London: University of California Press, 1987. Freidin, Gregory. "Osip Mandelstam: The Poetry of Time (1908-1916)." California Slavic Studies 11 (1979):141-186. Ginzburg, Lidiia. Zapisnye knizhki; Vospominaniia; Esse. Sankt Peterburg: Iskusstvo-SPB, 2002. Glazova, Anna. "O. Mandel'shtam: Poiski novykh podkhodov. Vozdushno-Kamennyi Kristall. Tselan i Mandel'shtam." Novoe literaturnoe obozrenie2003, 5, 83-100. Glazov-Corrigan, Elena. Mandel'shtam's Poetics: A Challenge to Postmodernism. Toronto: University of Toronto Press, 2000. Gurvich, I. "Mandel'shtam: Tip teksta i problema chteniia (polemicheskie zametki)." Izvestiia RAN. Seriia literatury i iazyka. 2001, 5, 34-41. Harris, Jane Gary. Osip Mandelstam. Boston: Twayne, 1988. Irkhin, V.Iu. and M.I. Katsnel'son. Ustavy nebes: 16 glav o nauke i vere. Ekaterinburg : U-Faktoriia, 2000. Katsis, Leonid. Osip Mandelshtam: Muskus Iudeistva. Ierusalim: Gesharim, 2002. Lotman, M. Iu. Mandelshtam i Pasternak : Popytka kontrastivnoi poetiki. Tallinn: Aleksandra, 1996. Morderer V. and G.Amelin. "Khlebnikov i Mandel'shtam." Postskriptum, 1998, Vyp 2(10), 211-217. Musatov, V. Lirika Osipa Mandelshtama. Kiev: Nika-Tsentr, 2000. Nenashev, Mikhail Ivanovich. Petr Chaadaev: Uchenie o svobode voli i smysle istorii: Monografiia. Sankt-Peterburg: Znanie, 1999. Osip i Nadezhda Mandel'shtamy v rasskazakh sovremennikov / [vstupitel'naia stat'ia, podgotovka tekstov, sostavlenie i kommentariĭ, O.S. Figurnova, M.V. Figurnova], Moskva: Natalis, 2002. Petrova, N. A. Literatura v neantropotsentricheskuiu epokhu : Opyt O. Mandelshtama. Perm : Permskii gos. pedagog. universitet, 2001. Pollak, Nancy. Mandelstam the Reader. Baltimore: The Johns Hopkins University Press, 1995. Ronen, Omry. Poėtika Osipa Mandel'shtama. Sankt-Peterburg: Giperion, 2002. Shcherbakov, Mikhail. Drugaia zhizn'. Moskva: Argus, 1997. Sicher, Ephraim. "The 'Color' of Judaism: Timespace Oppositions in the Synaesthesia of Osip Mandel'shtam's Shum vremeni." Aspects of Modern Russian and Czech Literature. 1989: 31-54. Stebleva, I. V. "Vostok-Zapad. Kolybel'naia o Chernom Solntse Osipa Mandel'shtama." Vostok. Afro-aziatskie obshchestva: Istoriia i sovremennost' 2000, 1, 114-212. Sverdlyuk, Yana. "Antologiia." Segodnia 20 Mar. 1996, No.45. Taranovsky, Kiril. O Poezii i poetike. Moskva: Iazyki Russkoi Kul'tury, 2000. Taranovsky, Kiril. Essays on Mandel'stam. Cambridge: Harvard University Press, 1976. Tolkach, Iu. L., and D. I. Cherashniaia. "Kto i Chto Igral Naizust' v Stikhotvorenii O. Mandel'shtama 'Zhil Aleksandr Gertsevich:'?" Izvestiia RAN. Seriia literatury i iazyka, 2003, 5, 33-39. Vidgof, L. M. "O 'Chertezhnike Pustyni' O. Mandel'shtama." Izvestiia RAN. Seriia literatury i iazyka, 2002, 5, 43-51. |