By Lev Loseff, Valentina Polukhina (eds.)
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Extra info for Brodsky’s Poetics and Aesthetics
Persephone is to be understood (as Kerenyi has argued) as constituting the uniqueness of the individual and the enthralment to not-being. (See Burnett, 'The Survival of Myth', in T. ) The Manipulation of Literature London, 1985, pp. 187-8). ') (K 19-28), but not as a constructional factor, as it is used in Mandelstam. Compare Isenberg's discriminating analysis of Mandelstam's poetic development from Kamen' to Tristia in Substantial Proofs of Being: Osip Mandelstam's Literary Prose: pp. 25-28 (note 10).
Sisters - heaviness and tenderness, your signs are the same ... '] (1920). Here the 'tenderness' and the 'heaviness' are represented by the green world of 'transparent spring' and, in the last line of the poem, 'emerald' water. The 'black' or 'night' sun image of Tristia has been discussed by several critics. See, particularly, Taranovsky Essays on Mandei'Stam, pp. 54-5; 150-2. The phrase 'reversed commonplace' ('protivopolozhnoe obshchee mesto') is borrowed from Bazarov in Turgenev's Fathers and Children.
Isenberg, Substantial Proofs of Being: Osip Mandelstam's Literary Prose (Columbus, Ohio, 1987) pp. 17-23. There is a good translation and discussion of this poem in Peter France, Poets of Modern Russia (Cambridge, 1982) pp. 198-202. 'It was the sense of an oversaturated existence that the young Mandelstarn was trying to convey in his first two collections, and he chose the portrayal of overloaded time as his medium' (L: 125). Unless otherwise indicated all translations from the Russian are my own.
Brodsky’s Poetics and Aesthetics by Lev Loseff, Valentina Polukhina (eds.)