Mandelshtam Osip Emilevich (1891─1938) is an outstanding Russian and Soviet poet, translator, prose, essist. Thanks to its high lyrics and attempts to rethink world history And the culture in a single context he became one of the largest magnitudes of the Russian poetry of the 20th century. His poems are permeated with deep associative symbols, which are coming from the ancient traditions. Often, architectural images, emphasizing the harness and the clarity of his verbal forms, are visible in the work of the poet. Collections of verses Mandelstam "Stone" and "Trisyia" are well known to the wide circle of readers, as well as a collection of prose "Noise of Time.
Childhood and youth
Osip Mandelstam was born 3 (15) January 1891 in Warsaw. His father Emil Veniaminovich was engaged in a leather business, then turned into a successful merchant, becoming a merchant of the first guild. The mother of Flora Osipovna was a relative of the historian of Russian literature S. Wengerov and taught music. A year after the birth of the boy, the family moved to Pavlovsk, and in 1897 he moved to St. Petersburg.
Living in the capital Russian Empire and having a persistent desire of parents to give their sons a good life start, Mandelshtam got a beautiful humanitarian education. Since 1899, he studied at the prestigious Tenishevsk Commercial School, the director of which and at the same time the literature teacher was a poet symbolist V. Hippius. It was during the years in his stay in him he was carried away by theater, music and, of course, poetry.
Thanks to the teacher in the consciousness of the future poet there is a fracture. Potted at first the revolutionary style of S. Nadson, Mandelstam discovers the work of symbolists. The greatest influence Poems were verses F. Sologuba and V. Brysov. Therefore, the first adult samples of the pen echoes them with their works.
At the end of the school in 1907, Mandelstam leaves for Paris in order to listen to the course of lectures on the verbal faculty in Sorbonne. In many ways, this trip was facilitated by the family who was frightened by the revolutionary sentiment of the Son. There, he managed to penetrate the depth of the StaroFronzuz epic and became interested in the work of the famous French poets Sh. Bodler, P. Vilan, F. Viyon. In 1910─1911, the poet studied two semesters at the University of Heidelberg in Berlin, comprehending the wisdom of philosophy. He also lived in Switzerland for some time. In 1911, he was baptized in the Vyborg Methodist Church.
In connection with the deterioration of the material situation of the family, the poet interrupts training. After returning to Russia, he entered the Historical and Philology Faculty of St. Petersburg University, where he was trained at the Romanesque language department. In 1911, Osip Emilevich met Anna Akhmatova and N. Gumilev, with whom he would have a close friendship. For the first time he became close to people who were talking about the word "we" with confidence. Later he admitted a great poetess that he could lead an imaginary conversation with two people - with her and her husband N. Gumilev.
On poetic field
During training in Europe, Mandelstam came from time to time to St. Petersburg, where he had ties with the local literary community. He gladly listened to the course of lectures in the most famous citadel symbolism - the famous "tower" theorist's symbolism of V. Ivanova. In his apartment on the top floor, the whole color of Russian art "Silver Century" - A. Block, A. Akhmatova, N. Berdyaev, M. Voloshin and others. Many great works were here for the first time, for the first time, for example, "Stranger" A. Blok.
The first five verses of Mandelstam were printed in 1910 in the Russian Illustrated magazine "Apollo". These poems were largely antsyimvolic, in them " deep peace"It is opposed to a prophetic pathos. Three years later, I saw the light printed in the publishing house "AKME" the first poetic compilation of the poet called "Stone". It contains works written in the period 1908 - 1911.
A certain spirit of symbolism is traced in them, but without inherent on its authentic form of otherworldness. Now the symbolic skills were to display three-dimensional realities who were delivered through some architectural content in which he sees a clear filling and structure. From here a completely non-efficient name of the collection. With the advent of the "stone", Mandelstam immediately took a place in a number of the largest Russian poets. In 1915, the Publishing House "Hyperbori" reprinted the book by adding her verses of the last two years.
Mandelstam entered into a group of acmeyists created in 1912, opposing themselves with symbolists and defending the materiality of images expressed using accurate words. In addition, he was a member of the St. Petersburg Association "Platzheh Poets", founded by O. Gorodetsky and N. Gumilev. One of the main goals proclaimed here was an attempt to distance themselves from symbolism. True, for Mandelstam, staying in these communities was more dictated by the motives of friendship, rather than commitment to the ideas of aqmeism. Therefore, during this period, the most optimistic poems of the poet, for example, "casino", in which there are such lines:
I'm not a fan of joy biased
Sides nature - gray spot
I, inxication light, destined
Giving life paints poor
From the very first years of creativity, Mandelstam felt part of the world cultural space and saw the manifestation of his own freedom. In this imaginary world was Pushkin and Dante, Ovid and Goethe. In 1916, the poet meets M. Tsvetaeva, which turned into friendship. They even dedicated to each other several works.
TRISTIA period
Poems written in the midst of revolutionary events and Civil WarThe basis of the new collection, which was called Tristia. In it, the core of the poetic world of Mandelstam was the antique style, which turned into the author's speech, reflecting his intimate experiences. Actually the word "Triastia" is found at Ovid and means parting. As in the "stone", poems here are also cyclical, but even more closely related to each other. Mandelshtam loved to repeat the words in poems, filling them with a special meaning. During this period, the author's more complex attitude towards the word and images that are irrational are traced. Interestingly, the collections themselves also have in touch: the "stone" ends, and Tristia begins rows about Fedre.
Such expressive care to the ancient model of being, serving a kind of cultural code, became the result of serious political change and, above all, coming to power of the Bolsheviks. Like many representatives of the Russian intelligentsia, Mandelstam at first did not accept new power And even wrote a poem in support of the overthrown chapter of the temporary government of A. Kerensky. It has such multivalued lines:
When Oktyabrsky was preparing a temporary
Yarm violence and malice
The new revolutionary idea personified himself with the destruction of the order and the establishment of chaos. And this led the poet to the real horror. But the ideological pendulum of the contradictions, of which was woven the worldview and creativity of Mandelstam, darted toward and soon he accepted the Soviet power, which was reflected in writing the poem of the Twilight of Freedom.
Mandelshtam in the 1920s
The period relative to the liberal NEP coincided with the active literary work Mandelstam. In 1923 it is published new collection "The second book", and his poems begin to be published abroad. The poet writes a series of articles dedicated to key issues of culture, history and humanism, "about the nature of the word", "Wheat of Human" and others. In 1925, an autobiographical collection "Noise of Time" is published, which has become a peculiar speaker of the era with deeply personal memories. At the same time, several children's collections were released.
At this time, Osip Emilevich is actively engaged in translation activities, Adapting into Russian, the works of Petrarca, O. Barbier, F. Verpel and many other foreign authors. During the persecution, it was this work that became a creative inventory where it was possible to express yourself. It is no coincidence that many critics note that the poems translated by the poet sounds sometimes better than the author.
In 1930, Mandelstam visited Armenia and was impressed with seen. This desired (so spoke the poet himself) Country has long been manilate its history and culture. As a result, "Journey to Armenia" and the cycle of poems "Armenia" were written.
Conflict with power
In 1933, Osip Emilevich wrote a poetic exercise, directed against I. Stalin. She began with the following lines:
We live, under no si-country
Our speeches for ten steps are not heard
Despite the perplexity of others (according to B. Pasternak, it was suicide) caused by the reckless courage of the author, he said: "Poems now have to be civilians". This work of the poet read many friends, relatives and acquaintances, so it is now difficult to determine who reports. But the reaction of the Soviet authorities was lightning. By order of the then chapter of the NKVD, Mandelstam was arrested on his own apartment in May 1934. During this procedure, a total search was produced - it is difficult to name the places where the inspections did not look.
True, the most valuable manuscripts were kept in relatives. There is another version of possible opals. Shortly before these events, during a tense conversation, the poet hit the cheek of A. Tolstoy and he promised that it would just not leave.
Behind the great poet, B. Pasternak and A. Akhmatova, tried to help the Osip and prominent party figure N. Bukharin, highly appreciated his work. Perhaps, thanks to his protection, Mandelstam was sent first to the Northern Urals to the city of Cherdin, and where it was transferred to a three-year link to Voronezh. Here he worked in the newspaper and on the radio, leaving his spiritual confession in the form of three notebooks of poems.
After liberation, he will be banned to live in the capital, and the poet will go to Kalinin. But he did not stop writing poems and was soon again arrested, receiving 5 years of camps for allegedly counter-revolutionary activities. The new turn of the fate of the patient and weakened Osip Emilevich no longer stand. He died on December 27, 1938 in Vladivostok in a hospital barrack.
Personal life
Osip Mandelstam was married to Hazin's hope with which he met in 1919 in the Kiev cafe "H.L.M.M.". After the wedding, held in 1922, she will be the faithful companion of the freedom-loving poet and will survive with him all the difficulties of the optocrous period. In addition, the Mandelstam was not at all adapted, and she had to take care of him, as for the child. Nadezhda Yakovlevna left brilliant memoirs, despite the contradiction of estimates that have become an important source of study creative heritage Mandelstam.
Name: Osip Mandelshtam (OSIPH Mandelshtam)
Age: 47 years old
Place of Birth: Warsaw Poland
Place of death: Vladivostok.
Activity: poet, Prose, Translator
Family status: Was married
Osip Mandelstam - biography
The last name of this is now the world famous poet at the very beginning of his career was not so familiar and popular in literary circles. Now his poetry memorize him, read its translations and critical articles. He is not only loved and quoted, he imites him.
Childhood, family poet
In school in the literature lessons, the biography of Osip Emilevich Mandelstama is studying in more detail. A boy was born in the capital of Poland Warsaw in the family of strict Jewish rules. Its real name Joseph, which clearly squeezed its origin. Father - the merchant of the first guild, was a master of gloves.
And the mother was engaged in music, taught, therefore he sounds in many works of the poet extraordinary musicality. But this connection to music and poetry Osip Emilevich realizes only to mature age. The genus of his surname is rooted in deep old, to the 8th century.
In the genus Mandelstam were doctors, physics, rabbis, historians of literature and Bible translators. Having lived in Warsaw for six years, the family moves to Petersburg, and the future poet learns in the famous Tenishevskaya school. It was the best, and many celebrities attended this school. At the end of the educational institution, Osip goes to Paris to Sorbonne to continue his studies. Nikolai Gumilyov during this period becomes another for him. Two years he is located in the city of all lovers, sometimes coming to the northern capital of Russia. And, without spending time in a gift, the laws of resentment at the lectures of Vyacheslav Ivanova studying at the homeland.
First works, poems Mandelstam
Somehow little poet had works about love. It feeds the most tender feelings to M. Tsvetaeva, as he speaks in his most delicate poem.
Due to financial difficulties, Europe for Mandelstam becomes inaccessible. Overcoming some obstacles in their faith, he enters the capital University at the Historical and Philology Faculty, but does not show much adjacent to study.
During this period, he gets closer to Gumileva's family, getting acquainted with his friend's wife. It is starting to actively print in several magazines. Three wonderful poets were absolutely different and unlike people, but poetry and the truth of life firmly connected Nikolai Gumileva, Anna Akhmatova and Osipa Mandelstam.
The first book was "stone", which was reprinted many times. The revolution glorified the poet, now he travels a lot around the country, reads his poems. But Mandelstam scares the revolution and the first World War. In the twenties, he devotes his creative biography of works for children. Money poet bring translations and prose. But, despite all financial problems, the poet writes a lot of articles in which he describes their travels in Armenia.
Osip Mandelshtam - Biography of Personal Life
Osip Mandelstam fell in love with the girl of his origin hope Hazin. It was formed, raised. The girl immediately conquered an ardent young man. He read her poems, gave flowers. And she, as a sign of gratitude and love, accompanied his beloved everywhere. Three years later, the young got married.
All the lifestyles, arrests and the link Hope experienced with her husband. It is she who managed to go through all the instances and raise the permission to leave the Ural Links to Voronezh.
Call
Osip Emilevich was out of politics, but in 1933, officially read his poems, which obviously did not praise Stalin. The poet wrote a clean truth about hunger in the Crimea, who he himself witnessed. Incened on Mandelstam, and the arrest followed immediately, and behind him and reference to the Urals. Then poverty in Voronezh until the end of the reference period. The family returned to the capital, departing. But the poete poems continued to disturb the public. Followed the next arrest and stage on Far East. This link did not survive this link, he infected with a typhoid.
Osip Mandelshtam - the death of the poet
He was buried in the general grave, and still unknown, where the dust of Osip Mandelstam is resting. Of course, the biography of a talented person, poet, publicist and translator developed tragically. His character did not fit the poetic warehouse of his soul. The rejection of Lie largely determined the fate of Mandelstam. Strong rulers did not like when they were started to withdraw clean water. The power was in the hands of those who did not know how to appreciate talented people. Prisons were crowded, people lived in references in the most severe conditions. After all, Osip Emilevich even wanted to commit suicide.
The poet was extremely talented. He himself studied a beautiful, but difficult language of Italy and read " Divine comedia"In the script. But he did not know how to get out and easy to converge with people. He managed to quickly make enemies because of impulsive character. It is good that there was a faithful shoulder of his wife's hope, which fully fulfilled its destination. The thing is that he understood the revolution in his own way and believed that the existing power is undertaking the wrong revolutionary actions. To the great regret, Mandelstam did not perpetuate the autobiography. Therefore, so far some pages of his biography are empty.
Osip Mandelshtam is truly considered one of the greatest poets of the twentieth century.
His creative way Literary critches are divided into three main stages. The first stage of "stone" was characterized by the depth and seriousness of those that he covered in his verses with ease and immediacy.
The second stage of Tristius was marked by the poetry of associations. In this period, Osip Mandelstam considered his main weapon and a bunch of ideas. Often, in verses of Mandelstam, at the end of writing, the meaning changed radically unlike the initial concept of the work.
The final stage in the work of Osip Mandelstam was the period of the 30s of the twentieth century. It was the time of the creative gust of the poet. By this time, Osipa Mandelstam has formed a manner of writing poems, which became mature, significantly different from his early creativity.
Topics of poems of Osip Mandelstam:
Despite how difficult was the creative path of the poet, he wrote about love, life, his verses are very easily read and learn. On our site you can read the best poems of Osipa Mandelstam, granted to the list below.
Osip 1 Emilevich Mandelstam was born on January 3, 1891 in Warsaw, his childhood and his youth passed in St. Petersburg. Later, in 1937, Mandelstam will write about your birthday:
I was born on the night of the second on the third of January in ninety one unreliable year ... ("Poems about an unknown soldier")Here "on the night" contains an ominous omnosis of the tragic fate of the poet in the twentieth century and serves the metaphor of the entire twentieth century, by definition of Mandelstam - "century-beast".
Mandelstam's memories of the children's and youth years are restrained and strict, he avoided to disclose himself, comment on himself and his poems. He was early ripe, more precisely - a twisted poet, and his poetic manner is distinguished by seriousness and rigor.
That is a little that we find in the memoirs of the poet about his childhood, about the atmosphere that surrounded him, about the air, which he had to breathe, rather painted into the dark tones:
From the waters of the evil and viscous, I grew up, Costainka Ruffle, and passionately, and languidly, and gently forbidden the life of breathing. ("From the waters of the evil and viscous ...")"Forbidden Life" is about poetry.
The Mandelstam family was, according to him, "difficult and confused", and this with a special force (at least in the perception of Emilevich's Osip himself) manifested in the word, in speech. The speech "element" of the family was peculiar. Father, Emily Veniaminovich Mandelstam, self-taught, merchant, was completely deprived of sense of language. In the book "Noise of Time", Mandelstam wrote: "The father had no language at all, it was kosonasching and inflexible ... A completely disturbed, invented tongue, suitable and twisted self-taught speech, the fancy syntax of the Talmudist, artificial, not always a contract phrase." The speech of the mother, the flora of Osipovna, music teachers, was different: "Clear and ringing, literary great Russian speech; Her Poofer and compressed, the turnover is monotonous - but this is a language, there is something indigenous and confident. From Mandelstam's mother inherited, along with predisposedness to heart disease and musicality, the acute sense of the Russian language, the accuracy of speech.
In 1900-1907, Mandelstam studies in the Tenishevsk Commercial School, one of the best private educational institutions Russia (V. Nabokov, V. Zhirmununsky), were studied in it.
After graduating from the school, Mandelstam leaves three times abroad: From October 1907 to the summer of 1908, he lives in Paris, since the autumn 1909 in the spring of 1910 studies Romanesque philology in Heidelberg University in Germany, from July 21 to the middle of October he lives in the suburb of Berlin Cenendorf. Echo these meetings with Western Europe Sounds in the poems of Mandelstam right up to the latest works.
The formation of the poetic personality of Mandelstam was determined by his meeting with N. Gumilev and A. Akhmatova. In 1911, Gumilev returned to Petersburg from the Abyssinian expedition, and all three were then often met on various literary evenings. Subsequently, after many years after the shooting of Gumileva, Mandelstam wrote Ahmatova that Nikolai Stepanovich was the only one who understood his poems and who he talks to, leads dialogues and so -na. On the attitude of Mandelstam to Akhmatova brighter testify his words: "I am a contemporary Akhmatova." To publicly declare this during the years of the Stalinist regime, when the poetess was Opened, it was necessary to be Mandelshtam.
All three, Gumilev, Akhmatova, Mandelshtam, became the creators and the most prominent poets of the new literary flow - aqmeism. Biographers write that they first embarrassed friction between them, because Gumilev was despotic, the Mandelshtam is quick-tempered, and Akhmatova is coordinated.
The first poetic collection of Mandelstam came out in 1913, he was published at his expense 2. It was assumed that he would be called "sink", but the final name was chosen another - "stone". The name is quite in the spirit of aqmeism. Ambheans sought to re-open the world, to give everything a clear and courageous name, devoid of an Elegy foggy flash, like symbolists. Stone - natural material, durable and solid, eternal material in the hands of the wizard. Mandelstam has a primary building material of spiritual culture, and not just material.
In 1911-1917, Mandelstam is studying at the Roman-German branch of the History and Philology Faculty of St. Petersburg University.
The attitude of Mandelstam to the 1917 revolution was difficult. However, any attempts by Mandelstam find their place in the new Russia ended in failure and scandal. The second half of the 1920s for Mandelstam is the years of the crisis. The poet was silent. There were no new poems. For five years - not one.
In 1929, the poet appeals to prose, writes a book called the "Fourth Prose". She is small in size, but it spilled in it, the pain and contempt of the poet to the writers-conjunctors ("Members of the Massolite") splashed, which was copied for many years in the soul of Mandelstam. The "fourth prose" gives an idea of \u200b\u200bthe nature of the poet - impulsive, explosive, non-advisory. Mandelstam very easily profited their enemies, her estimates and judgments did not hide. From the "fourth prose": "All works of world literature I am divided into permitted and written without permission. The first is a scum, the second - stolen air. Writers who write permitted things, I want to spit in my face, I want to beat them with a stick on my head And everyone is planted at the table in the house of Herzen, putting a police tea before each glass and giving everyone in his hands the urine analysis of Gornfeld.
This writers would have forbidden to marry and have children - after all, children should continue for us, for us the main thing to take - while the fathers are marked with a ripple line for three generations ahead. "
You can imagine how the heat reached mutual hatred: the hatred of those who rejected Mandelshtam, and who rejected Mandelstam. The poet is always, almost all post-revolutionary years, lived in extreme conditions, and in the 1930s - in anticipation of an imminent death. Friends, admirers of his talent, was not so much, but they were.
Mandelstam early realized himself as a poet as a creative person, which is intended to leave his mark in the history of literature, culture, moreover - "something to change in the structure and composition of it" (from the letter Yu.N. Tyanyanov). Mandelstam knew the price as a poet, and this manifested itself, for example, in a minor episode, which describes V. Kataev in his book "Diamond Moen":
"Having met the Nutcracker (i.e. Mandelstam) on the street, one familiar writer very friendly asked the Nutcracker a traditional secular question:
What's new you wrote?
To which the Nutcracker suddenly completely unexpectedly frightened with the chain:
If I wrote something new, I would have known all Russia for a long time! And you are ignorant and vulgar! - shouted the Nutcracker, shaking from indignation, and demonstratively turned back to the tactless Belletrist "3.
Mandelshtam was not adapted to everyday life, to settled life. The concept of the house, the house-fortress, very important, for example, in the artistic world of M. Bulgakov, was not significant for Mandelstam. For him, the house is the whole world, and at the same time in this world he is homeless.
K.i Chukovsky recalled Mandelstam the beginning of the 1920s, when the one, like many other poets and writers, got a room in the Petrogradsky House of Art: "There was nothing belonging to him in the room - not a single personal thing. And then I I understood the most striking line - freeness. " In 1933, Mandelstam received, finally, the apartment is two-room! Having visited him B. Pasternak, leaving, said: "Well, now there is an apartment - you can write poems." Mandelshtam came into rage. He cursed the apartment and suggested returning it to those for whom she was intended for: honest traitors, pictorial. It was a horror in front of the board that required for the apartment.
The consciousness of the choice, the awareness of the tragedy of his fate, apparently strengthened the poet, gave him the power, gave the tragic, majestic pathos to his new verses 4. This pathos lies in the confrontation of a free poetic personality to its century - "Age-Zver." The poet does not feel an insignificant, miserable victim, he realizes to be equal:
... I throw an eyelid on my shoulders, but I'm not a wolf in my blood, let me push me better, like a cap, in the sleeve of the frying fur coat of the Siberian steppes, led me on the night, where Yenisei flows, and pine to the star takes out, because I'm not a wolf by my blood and I will only kill me. March 17-28, 1931 ("For the rattling value of the upcoming centuries ...")In the home circle, this poem was called "Wolf". In it, Osip Emilevich predicted a future reference to Siberia, and his physical death, and his poetic immortality. He understood much earlier than others.
Nadezhda Yakovlevna Mandelshtam, which E. Evtushenko called "the greatest widow of the poet in the twentieth century," left two books of memories of Mandelstam - about his sacrificial feat poet. From these memories can be understood, "not even knowing a single line of Mandelstam that they remember this pages about a truly large poet: due to the number and strength of evil against him."
The sincerity of Mandelstam bordered suicide. In November 1933, he wrote a sharply satirical poem about Stalin:
We live, with no si-country, our speeches are not audible for ten steps, and where it is enough for a half-break, "the Kremlin Highlander will remember there. Its thick fingers, like worms, fat, and words, as puddling weights are true. Tarakanya laugh, and shine his top. And around him the challenge of thinner leaders, he plays the services of herues. Who whistles who Mopheets who are humpy, he only babbs and pokes. How the horseshoes are a knock on decree decree - to whom in the groin, to whom in the forehead, to whom in the eyebrow, to whom in the eye. That neither the execution of him is, then Malina and the wider chest of Ossetian.And this poem Osip Emilevich read many familiar, including B. Pasternak. Anxiety for the fate of Mandelstam prompted Pasternak in response to declare: "What you read to me, has nothing to do with literature, poetry. This is not a literary fact, but the act of suicide, which I do not approve and in which I do not want to participate. You me I did not read anything, I did not hear anything, and I ask you not to read them anyone. " Yes, Pasternak is the right, the value of this poem is not in his literary advantages. At the level of the best poetic discoveries here are the first two lines:
We live, do not schoy countries, our speeches for ten steps are not heard ...No matter how surprisingly, the sentence of Mandelstam was pretty soft. People at that time died and for much smaller "provinces". Stalin's resolution just said: "Isolate, but to preserve," and Osip Mandelstam was sent to the link to the distant northern village of Cherdyn. In Cherdyni Mandelshtam, suffering from spiritual disorder, tried to commit suicide. Friends helped again. N. Bukharin, already losing its influence, last wrote Stalin: "The poets are always right; story on their side"; Mandelstam was translated into less severe conditions - to Voronezh.
Of course, the fate of Mandelstam was predetermined. But to severely punish him in 1933, it would mean to advertise that ill-fated poem and how to reduce the personal accounts of Tiran with the poet, which would be clearly not worthy of the "father of peoples". Every time, Stalin knew how to wait, in this case, the Big Terror of 1937, when Mandelstam was destined to kill unless with hundreds of thousands of others.
Voronezh sheltered the poet, but sheltered hostile. From Voronezh notebooks (in case of unpublished):
Let me, give me, Voronezh, - You will drop me, you will pronounce me, you will quit me or return - Voronezh - Blazh, Voronezh - Raven, Knife! 1935 Voronezh this, what street? 5 Street Mandelstam. What the surname is damova! - How neither pull it, crookedly sounds, and not right. Little in it was linear. It was not Lily, and therefore this street, or, rather, this pit is so called by name of this Mandelstam. April, 1935 VoronezhThe poet fought with approaching despair: there was no livelihood, they avoided to meet with him, further fate It was unclear, and the Mandelstam felt all his being: "the eyelid-beast" it overtakes. A. Akhmatova, attached to Mandelstam in the link, testifies:
And in the room of an optial poet, fear and muse in their turn is on duty. And the night goes, which does not know dawn. ("Voronezh")"Dejugate fear and muse ..." The poems went non-stained, "unbelievable" (as M. Tsveyev said at the same time - in 1934), they demanded a release, demanded that he heard. Memoirists show that one day Mandelstam rushed to the telephone machine and read new verses to the investigator, to which was attached: "No, listen, I have no one else to read!" The nerves of the poet were bare, and his pain was splashing in verses.
The poet was in a cage, but he was not broken, he was not deprived of the inner secret freedom, which raised it to everyone even in imprisonment:
Having deprived me of the seas, running and destroying and giving the foot the focus of violent land, what did you achieve? Brilliant calculation: you could not take away the lips of the mechanic.Voronezh cycle verses for a long time remained unpublished. They were not called political, but even "neutral" verses were perceived as a challenge, because they were poetry, unsound and unexpected. And no less dangerous for power, because "the song is a form of linguistic disobedience, and her sound questioning a lot more than a specific political system: it hesitated the whole life link" (I. Brodsky).
Mandelstam poems have dramatically stand out against the background of the total official literature of the 1920-30s. Time demanded poems that needed to him as the famous poem E. Bagritsky "TVS" (1929):
And the age is waiting on the pavement, focused as the clockwork. Go - and do not be afraid to stand up with him. Your loneliness of the century should be. Look like - and around the enemies; Hands stretch - and there are no friends. But if he says: "Larges", - Litts. But if he says: "Kill," - kill.Mandelshtam understood: he was "near the century" not to get up, his choice is another - confrontation of cruel time.
Poems from Voronezh notebooks, like many poems of Mandelstam in the 1930s, are imbued with a feeling of close death, sometimes they sound like spells, alas, unsuccessful:
I still did not die, I'm still not alone, as long as the bench-girlfriend I enjoy the greatness of the plains and the Molten, and hunger, and the blizzard. In excellent poverty, in a luxurious poverty I live alone - calm and comfortable - blessed days and nights, and sweet-minded work is sinless. It is unhappy with the one whom, as a shadow of him, scares Lai and the wind kositis, and the one who, who himself sends himself, is in the shade of alms. January 1937 VoronezhIn May 1937, the term of the Voronezh reference was expired. The poet spent another year in the vicinity of Moscow, trying to achieve permission to live in the capital. Editors of magazines were even afraid to talk to him. He was betented. Friends and acquaintances helped: V. Shklovsky, B. Pasternak, I. Ehrenburg, V. Kataev, although they were not easy for them. Subsequently, A. Akhmatova wrote about 1938: "The time was the apocalyptic. The trouble went on the heels for all of us. Mandelstam did not have money. It was absolutely no place for them. Osip was breathing badly, caught the air lips."
On May 2, 1938, before the sunrise, as it was then accepted, Mandelstam was arrested again, sentenced to 5 years of religious work and sent to Western Siberia, to the Far East, from where he will not return. The letter of the poet to the wife was preserved, in which he wrote: "Health is very weak, exhausted to extremes, stuck, they are unrecognizable almost, but I don't know things, I don't know, there is no sense. Try all the same. Very marzen without things" .
The death of the poet of the poet in the renovine camp The second river under Vladivostok on December 27, 1938 ... One of the last poems poems:
In the distance of the human heads are leaving, I decrease there - I will not notice me, but in the books of affectionate and in the games of the defensive, I will resurrect that the sun shines. 1936-1937?XX A century brought a man unheard of suffering, but also in these trials he taught him to rush to life, happiness: you start to appreciate what they eat out of the hands.
In these circumstances, with a new force, a dramatic, secret, initial property of poetry was manifested, without which all others lose strength. Property This is the ability to cause a person's idea of \u200b\u200bhappiness in the soul. So the poems are arranged, this is the nature of the verse speech.
Annensky, Kuzmin, Akhmatova, Mandelstam returned to the Word of his subject value, and poetry - a substance, colorfulness, the bulk of the world, his living warmth.
Osip Emilevich Mandelshtam - Poet, Prose, critic, translator, whose creative contribution to the development of Russian literature requires attentive historical and literary analysis.
Osip Mandelstam was born in 1891 in a Jewish family. From Mandelshtam's mother inherited, along with predisposition to heart disease and musicality, the acute sense of sounds of the Russian language.
Mandelshtam recalls: "What did the family want to say? I dont know. She was tonasized from birth - and meanwhile she had something to say. It is necessary for me and on many contemporaries of tie-up birth. We studied not to speak, but to be broken - and, only listening to the growing noise of the century and the elevated foam of his crest, we found the language. ".
Mandelshtam, being a Jew, chooses to be a Russian poet - not just "Russian-speaking", but by Russian. And this decision is not so granted: the beginning of the century in Russia is the time of the rapid development of Jewish literature, as in Hebrew and in Eidis, in part, in Russian. The choice is made by Mandelshtam in favor of Russian poetry and "Christian culture".
All creativity of Mandelstam can be divided into six periods:
1908 - 1911 - these are "years of teaching" abroad and then in St. Petersburg, poems in the traditions of symbolism;
1912 - 1915 - Petersburg, acmeism, "real" poems, work on the "stone";
1916 - 1920 - Revolution and Civil War, Warming, Extraction of Aqmeism, Developing Individual Manner;
1921 - 1925 - intermediate period, gradual departure from the poem;
1926 - 1929 - Dead poems pause, translations;
1930 - 1934 - a trip to Armenia, return to poetry, "Moscow verses";
1935 - 1937 - the last, "Voronezh" poems.
The first, the earliest, stage of the creative evolution of Mandelstam is connected with his "study" of symbols, with participation in anxothic movement. At this stage, Mandelstam acts in the ranks of the writers-aqmeist. But how is his feature in their environment obvious! Without looking for ways to revolutionary circles, the poet came to the environment, in many ways to him someone else's. It was probably the only akmeist, which so clearly felt the lack of contacts with the "Mort of Horusha." Subsequently, in 1931, in the poem "With the world, I was only guadingly connected ..." Mandelstam told that during the years of his youth, he forced himself to "assimilation" in a foreign literary circle, merged with the world that did not give Mandelstam with real spiritual values :
And I don't owe him a bit of soul,
As I neither tormented myself in someone else's likely.
In the early poem "Air is cloudy and a bite ..." directly said about the alienation, transitionality, oppressive many people in the "indifferent debris", - Tsarist Russia:
I participate in gloomy life,
Where one to one alone!
This awareness of social loneliness gave rise to deeply individualistic mood at Mandelstam, led him to the search for "quiet freedom" in individualistic being, to the illusory concept of self-granting of a person from society:
Unhappy standing and quiet
I am the creator of my worlds…
("Thin delennium thinning ...")
Mandelshtam - a sincere lyric and a skillful master - finds here extremely accurate words that define his condition: Yes, he is dissatisfied, but also, Smishen and Smithy, his imagination draws him a certain illusory, a spoant peace of rest and reconciliation. But the real world beats him soul, wounds the heart, disturb the mind and feelings. And hence in his verses so widely "bottled" on their rows the motifs of discontent with reality and by themselves.
In this "denial of life", in this "self-esteem" and "self-suming" there is something relative to his early symbolists with early Mandelstam. With the early symbols of Young Osip, Mandelstam brings closer and the feeling of the catastrophicity of the modern world, expressed in the images of the abyss, the abyss, an overrunning emptiness. However, in contrast to the symbolists, Mandelstam does not give these images any ambiguous, strong, mystical values. He expresses his thought, a feeling, mood in the "unambiguous" images and comparisons, in the exact words that have a different character character. His poetic world is a real, subject, pouring "puppet". This should not feel the influence of the requirements that in search of "overcoming symbolism" nominated preeclaysist and acmersory theorists and poets - the requirements of "excellent clarity" (M.Kuzmin), the objectivity of the details, the smell of images (S. Rodetsky).
In these lines, like:
A little red wine
A little sunny May -
And, thin biscuit breaking,
Thin fingers white, -
("Inposable sadness ...")
Mandelstam is unusually close to M. Kuzmina, to the painfulness and concreteness of the details in his verses.
It was time - the years 1912-1916, - when Mandelstam was perceived as a "orthodox" aqmeist. The poet at that time himself contributed to such perception of his literary position and creativity, he behaved like a disciplined member of the association. But in fact, he shared not all the principles declared acmeysts in their scenery. It can be very clearly clearly to see the differences between him and such a poet of aqmeism, which N.Gumilev was, comparing the work of both poets. Mandelstam was alien to the underlined aristocracy of Gumilyov, his antigumanist ideas, a coldness, a soulless rationalism of a number of his works. Not only politically - in relation to war, the revolution - Mandelstam went with Gumilev, but also creatively. As is known, Gumilev, who claimed overcoming symbolism, his philosophy and poetics, capitulated in front of him, returned to symbolic mysticism and social pessimism. The development of Mandelstam was different, the opposite: religiosity and mysticism were never peculiar to him, the path of his evolution was by overcoming a pessimistic world relation.
Literary sources of Mandelstam poetry are rooted in Russian poetry of the XIX century, Pushkin, Batyushkova, Baratynsky, Tyutchev.
The cult of Pushkin begins in the work of Mandelstam already on the pages of the book "Stone". The Petersburg's theme is herself with "breathing" of Pushkin's "copper rider": here and the worship of Peter's genius, here and the image of Pushkin Eugene, sharply opposed to the "world of the Honor", the image of the pre-revolutionary, bourgeois-noblepring:
Flies in the fog of Motors Virenice,
Self-sufficient, modest pedestrian
Evgeny kartak, poverty is ashamed,
Gasoline inhales and fate swear!
("Petersburg Stragas")
Tyutchev is also one of Mandelstam's favorite Russian poets, one of his teachers. In one of his early articles "Morning Akmeism", the author "Stone" directly indicated that the headline of his first book was caused by Tyutchev's influence. "... Stone Tyutchev, that," Running the mountains from the mountain, lay down in the valley, having broken down by itself or minimize his hand, "there is a word," wrote Mandelstam.
Poet, in love with patriotic history And in the native Russian language, Osip Mandelshtam, like its great teachers, was an excellent connoisseur and receiver of a number of the best traditions of world literature. He knew well and loved antique mythology and generously used her motives and images, knew and loved the poets of ancient times - Homer, Gesiod, Ovid, Katulla.
In 1915 and in 1916, clear anti-histician and anti-war motives appeared in Mandelstam's poetry. Censorship did not give the poet to disclose the poem of 1915 "Palace Square", in which she watched the challenge to the winter palace with a full basis, a two-headed eagle. In 1916, the poet wrote two anti-war poems, one of which appeared in the press only in 1918. This poem "Hellen's war was collected ..." directed against the insidious, gravial policy of Great Britain. Another anti-war product is "Vestinets" - published after the revolution, in 1917. The peace demand that sounded in it was the mood of the broad masses, as well as the call for curbing the governments of the warring countries.
So on the eve of the revolution in the work of Osip, Mandelstam entered a social theme, solved on the basis of communion-ceratic beliefs and sentiment. Hatred to the "Mira of Honor", to the aristocracy, to the military officer combined in the consciousness of the poet with hatred of bourgeois governments of a number of warring European countries and to the domestic bourgeoisie. That is why Mandelstam ironically reacted to the leaders of the temporary government, these enemies of the world, who stood for the continuation of the war "to the victorious end".
The historical experience of military years, perceived by the responsive heart of the poet, prepared Mandelstam to politically discontinued with the old world and the adoption of October. At the same time, an aversion to the cardiovascular intellectual elite emerged at the poet, it also facilitated its departure from an acmeistic group. The writers from the "shop of poets" became spiritually alien to him. Morally devastated aesthetes caused him irritation and indignation.
"The October Revolution could not not affect my work, as I took the" biography ", a sense of personal significance. I am grateful to her for the fact that she forever put an end to the End of Spiritual Provision and the existence of a cultural renter ... I feel like a debtor of the revolution ... ", - wrote Mandelstam in 1928.
Everything written by the poet in these rows was told with full, with marginal sincerity. Mandelstam really has been "biography" - the traditions of the family environment who were alien to him. The revolution was helped to chop off, which make his spiritual impulses. In the refusal of the sense of personal significance, it was not self-esteem, and the spiritual state of health, which was characteristic of a number of writers-intellectuals (Bryusov, block, etc.) and expressed his readiness to sacrifice personal interests in the name of the common good.
This kind of mood was expressed in the pages of the second book of the poet - the collection "Tristia", in verses written during the revolution and civil war.
The book "Tristia" is a fundamentally new stage of the aesthetic development of Mandelstam compared to the book "Stone". The structure of his poems is still architectical, but the prototype of his "architecture" is now not in the medieval gothic, but in ancient Roman architecture, in Hellenistic architecture. This feature is the most motives of many poems, the motives of appeals to the cultures of ancient Greece and ancient Rome, to the search for the reflection of Hellenistic traditions in Tavrid, in the Crimea.
The poems included in the Tristia collection are emphasized classicistically, other of them are even their size, with its poetic "guide": "Golden honey jet from the bottle flowed ...", "Sisters - gravity and tenderness, your signs are the same ...".
In "Stone", a person often appeared toy rock, fate, "felt", victim of all-consuming void. In Tristia, man is the center of the Universe, the worker, the creator. A small, eighth-strict, poem with the inherent in Mandelstam the accuracy of words - "Definitions" expresses the humanistic foundations of its world-uponymia:
Let the names of blooming cities
They caress the rumor significantly.
Not the city of Rome lives among centuries,
And the place of man in the universe.
They are trying to master the kings,
Priests justify the war
And without him contempt worthy
As a pitiful, houses and altars.
With this worship before a person, faith in him, love for him is imbued with poems about St. Petersburg, created during the Civil War. These verses are tragic, Petersburg - Petrograd - Petropol seemed to be Mandelsta in a dying city, dying "in beautiful poverty." And no longer words - "definitions", and words - metaphors expressed this time Mandelshtam faith in man, immortal, like nature:
All sing blissful wives are native eyes,
Everyone blooms immortal flowers.
("In St. Petersburg, we will come down again ...")
Love the topic takes a small place in the lyrics of Mandelstam. But she in Tristia is essentially different than in the "stone". If in the "stone" fastened sorrow, the remoteness from the world, the accuracy (the poem "tenderly gentle ..."), then in Tristia it is earthly, carnal, and love itself, - although painful, tragic, - earthly, carnal (poem "I am along with others ...").
Osip Mandelstam passed a certain path of development from "stone" to Tristia, he adopted a revolution, welcomed the new modernity, but being brought up in the traditions of the idealistic philosophy of history, not comprehended by its socialist content and character, and this certainly became a hindrance to To open the pages of your works with new topics and new images taken by a new era.
Meanwhile, the revolutionary modernity was increasingly powerful in the life of the country and the people. Osip Mandelshtam, undoubtedly, felt that his poetry, sincere and emotional, often turns out to be as well as in modern times. He became more and more, he began to think about the possibilities and paths of overcoming the well-known alienation of his poetry from modern life. There is no doubt that he seriously thought about his own spiritual growthBut this growth was inhibited by the remnants of the general-democratic ideas and illusions, overcoming which was still not given a poet with due completeness and thoroughness. He thought about the Language "restructuring" of his lyrics, about the possibilities and ways of updating the language.
The poems of the first half of the twenties are marked by the desire to "care" of the language, to the "priority" of the word, in the language, imagery, genre features and poetic ranks, they differ significantly from the verses of the Tristia collection. The update of the language went from Mandelstam in various directions - to the utmost simplicity, to truly excellent clarity and to unexpected, "unprecedented" complicated comparisons and metaphorical structures.
So, big simplicity and clarity, simplicity of the simplest narration, songs, romance:
Tonight, not Liv,
Belt in taking snow
I walked from someone else's half-hour
I look - the hut, entered the senitsa -
Tea with salt drank Chernitsa,
And with them pampers the gypsy.
Mandelshtam is a poet with an exacerbid interest in history, to historical parallels, with the desire to think with wide historical generalizations - the time it is intensively thinking about the past, about modernity, about the future, about the connections of the past with the coming, about the attitude of modernity to the last and historical perspective.
In thought about modernity, Mandelstam - the poet appears for the first time as distinctly "formulated" the theme of sharp ideological conflicts. In the poem "January 1, 1924" it appears in the form of a strong, dramatic conflict. The poet feels like a prisoner of the dying XIX century, his "sick son" with a "lime layer" with blood hardening. He feels lost in modern times, who focused him - his now "aging son":
About clay life! About the dyens of the century!
I'm afraid only he will understand you
In whom helpless man smile,
Who lost himself.
However, Mandelstam did not want to give up the "power of the loyal", to submit to the pressure of the past. He opposes this fatal power, this heavy pressure of the voice of conscience and loyalty to the oath, which he gave the new world to the winning revolution:
I want to run from my threshold.
Where? It is dark outside,
And, as if the salt is powder with a dear,
Believes conscience before me.
At the dawn of the new decade, thirties, Mandelshtam rushed into life. He made an extremely important journey for him to Armenia, which gave an abundant "harvest" in his work - poetic and prosaic. A cycle of poems about Armenia, an essay story "Journey to Armenia" appeared. These works have become great luck of the writer, they are reading with love with love.
Much excited the poet in Armenia - her story, her ancient culture, her paints and her stones. But most of all came to his meetings with people, with the people of the Young Soviet Republic.
Mandelstam did not smell, never in anything. His poetry is increasingly, everything frankly expressed the state of his spiritual world. And she said that the tide of a cheerfulness, tested by him in Armenia, was a tide. But rather soon a wave of vigorous feelings went to the decline, and the poet again plunged into painful, nervous meditation about his attitude to modernity, to the new century.
Arrival in Leningrad at the end of 1930, - arrival in the city of His childhood and youth, to the city of the revolution - caused a very different poems from the poet: and clear, enlightened, and bitter, sorrowful. The theme of the calculation with the past was very sounded in the poem "with the world that I was only guadingly connected ...". But a few weeks earlier, Mandelstam wrote a poem "I returned to my city, familiar to tears ...", where the feeling of tragic connection with the past is the relationship of emotional memory, where there was no place to perceive the new, modern.
The poetry of Mandelstam becomes at the beginning of the 30s of the poetry of the call, anger, indignation:
It's time for you to know, I am also a contemporary,
I am a man of the era of Moscow, -
Look how the jacket will be filmed on me,
How I step and can speak!
Try to tear me off from the century -
I pass to you - he will turn her neck!
In the middle of 1931, in the poem "Midnight in Moscow ...", Mandelstam continues to talk with the epoch. He fights the thought of what may not be understood by the new century. He writes about loyalty to democratic traditions.
Chur! Do not ask, not complain, ksyz!
Do not whine!
Is the difference
Disrupted trampled boots,
So I betray them now?
In November 1933, Mandelstam was written poems against Stalin
We live, under your no si-country,
Our speeches for ten steps are not heard,
And where enough for a half break
There will be remembered by the Kremlin Highlander ...
In his memoirs about the poet Mandelstam, Anna Andreevna Akhmatova led a significant phrase, uttered in Moscow in early 1934: "Poems should now be civilians" and read her "Kramolny" poem about Stalin - "We live, without si-country ... "
On May 13, 1934, Mandelstam was arrested and sent to Cherdin. The arrest said very hard on Mandelstam, at times he had a perisage of consciousness. Without recognizing and still everyday feeling "shadow", an overwhelmed of the world of people, the poet passes through his last temptation: to give in to the illusory temptation to return to life. So arises "Oda Stalin". And yet, working on "Odoy" could not not be the perpletion of the mind and self-dissemination of genius.
The poem "If our enemies took me ..." It was also conceived into the glory of Stalin under the influence of the entire tightening loop around the neck of a living poet. However, assuming to compose something like a laudatory ODA, Mandelstam carried away the power of resistance and wrote a solemn oath in the name of poetry and folk truth. And only the final looks like in this context to be fastened and fake addition:
If our enemies took me
And people who stopped talking to me,
If you have deprived me of everything in the world,
The rights to breathe and open the doors
And argue that being will be
And that the people like a judgment judges;
If I bother me to keep the beast,
I eat my floor to throw steel b,
I will not smalch, do not stop pain,
And swinging the bell of the walls naked
And waking up the enemy darkness angle,
And he will lead the hand in the darkness of the plow,
And in the ocean fraternal eyes compressed
I fall the severity of the whole harvest,
Compression of the whole vda of the oath,
And in the depths of the watchdog
The laborer flare out the eyes of the eyes.
And flames flames flock,
Poves the ripe thunderstorm Lenin,
And on Earth, which will avoid quench,
Will be a mind and life Stalin.
Alternatively by permanent everyday unpleasuries, the ideological and aesthetic growth of the poet continued to be continued. Thoughts, feelings, images, expressed not only the determination of Mandelstam be friends with the century, but also his real, inseparable spiritual relationship with him.
The so-called "Voronezh Tetradi" (1935-1937) is certainly a major poetic phenomenon. Despite the incompleteness, fragmentary of a number of poems, "notebooks" represents us high samples of penetrated patriotic lyrics. Many of those noble thoughts and feelings that were accumulated and grew in the minds and the heart of Mandelstam, received their poetic embodiment in the lines of "Voronezh Tetradays", which remained for a long time, until the 60s, unknown to Soviet readers.
In Voronezh verses, motives are confessional, the motives of self-discharge of the spiritual world of the poet. But at the same time, the features of epic, features of the appearance of modernity illuminated by copyright appear in them.
How clearer, definitely, the lyrical recognition of the poet became politically more
I have to live, breathe and Bolshevoy ...
("Stans")
In the face of those who collapsed on him, the sick poet retains the power and courage to declare in the same "stans":
And I am not robbed, and not broken,
But just overtaken everything.
How "the word about the shelf", the string is tight ...
In March 1937, the Patient, the Counterfeit Death, the poet wrote about his friendship with life, about his loyalty to people:
And when I die, having served
All living person living friend
So that he was wider and higher
The response of the sky in my whole chest!
("I got lost in the sky, - What to do? ..")
May 2, 1938 re-arrest. In the camp under Vladivostok on December 27, 1938, Osip Mandelstam died. Everything was over.
The epoch, the eyelids were waiting for Mandelstam more than he did, - he knew about it, knew and tormented by this. He failed to quickly part with all the "Renhable Spots" of the past. But all that was written it was written, everything was created honestly, convinced, sincerely, talented. Everything was written by smart, trepidate, looking for a master.
BIBLIOGRAPHY:
1.m.L. Gasparov "Evolution of Mandelstam Metrics".
2. E.G. Gerstein "On the civilian poetry of Mandelstam."
3. Alexander Kushner "Rectifying Sigh".
4. Alexander Dymshitz "Notes on the work of O. Martelstam".
"I enter the world ..."
(Creativity O. Mandelstam)