Nikolai gumilev on the distant star venus. On the distant star Venus

On the distant star Venus
The sun is more fiery and golden
On Venus, oh, on Venus
The trees have blue leaves.

Free ringing waters are everywhere,
Rivers, geysers, waterfalls
Sing the song of freedom at noon
At night they burn like lamps.

On Venus, oh, on Venus
There are no offensive or overbearing words,
Angels speak on Venus
A language of only vowels.

If they say "ea" and "ai" -
This is a joyous promise
"Uo", "ao" - about the ancient paradise
Golden memory.

On Venus, oh, on Venus
There is no death tart and sultry,
If they die on Venus -
They turn into air vapor.

And golden smokes wander
In the blue, blue evening bushes,
Or, like joyful pilgrims,
They visit those who are still living.

***
Sixth Sense

Lovely wine in love with us
And the good bread that sits in the oven for us,
And the woman who was given
At first, exhausted, we enjoy.

But what do we do with the pink dawn
Over the chilling skies
Where is silence and unearthly peace,
What do we do with immortal poetry?

Neither eat, nor drink, nor kiss -
The moment runs uncontrollably
And we break our hands, but again
Condemned to go all by, by.

Like a boy, forgetting his games,
Sometimes he watches the girl's bathing,
And knowing nothing about love,
Everything is tormented by a mysterious desire,

As once in the overgrown horsetails
Roared from the consciousness of powerlessness
The creature is slippery, feeling on the shoulders
Wings that have not yet appeared

So, century after century - how soon, Lord? -
Under the scalpel of nature and art,
Our spirit screams, flesh is exhausted,
Giving birth to an organ for the sixth sense.

***
About you

About you, about you, about you
Nothing, nothing about me!
In human, dark fate
You are the winged call to the higher.

Your noble heart -
Like a coat of arms of bygone times.
Being is consecrated to them
All earthly, all wingless tribes.

If the stars are clear and proud
Turn away from our land
Yeah has two top stars:
These are your bold eyes.

And when the golden seraphim
Trumpet that the deadline has passed,
We will raise then in front of him,
As protection, your white handkerchief.

The sound will freeze in a trembling trumpet,
Seraphim will disappear above ...

About you, about you, about you
Nothing, nothing about me!

***
There are many people that, having fallen in love

There are many people who, having fallen in love,
The wise, they build houses for themselves,
Near their blessed fields.
Frisky children wander after the herd.

And to others - cruel love,
Bitter answers and questions
Mixed with bile, their blood screams,
Their ears are stung by the angry ringing of a wasp.

And some love how they sing
How they sing and triumphantly,
In the fabulous hideaway;
Others love how they dance.

How do you love, girl, answer
What languor do you yearn for?
Can you really not burn
With a secret flame familiar to you?

If you could appear to me
By the blinding lightning of the Lord,
And from now on I burn in flames
Rising up to heaven from the underworld?

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• 04/30/2014. 12 days that could change everything!
• 04/29/2014. Anna Karenina threw herself under the train
• 04/26/2014. She lives in a world undivided into north and south ...
• 04/25/2014. Happiness is family, hot hands,
• 04/23/2014. I wanted the most ordinary thing - love.
• 04/16/2014. Arye Rothman. Song of Songs Shlomo.
• 04/15/2014. Remember feelings, forget words.
• 04/13/2014. How many years love has slept in me.
• 10.04.2014. On the distant star Venus
• 04/07/2014. You are always mysterious and new Anna Akhmatova
• 04/06/2014. 15 Tips for Women Writers from Astrid Lindgren
• 04/03/2014. Good morning john donne
• 04/02/2014. Slowly the snail crawls, Along the slope of Mount Fujiyama.

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The following abbreviations have been adopted:

IV- N. Gumilev, Collected works in four volumes, vol. IV, Washington, 1962;
Joint venture — Collection of works by R. Khlebnikov, v. 1-5, Leningrad, 1929 - 1933;
NP- V. Khlebnikov, Unpublished works, Moscow, 1940;
BS — Blok collection, 2, Tartu, 1972;
Livshits- Benedict Livshits, Half-eyed sagittarius, Leningrad, 1933;

RSP- Yu.I. Levin, D.M. Segal, R.D. Tymenchik, V.N. Toporov, T.V. Tsivyan, "Russian semantic poetics as a potential cultural paradigm" ( Russian literature № 7-8, 1974);
PZhRF — The first magazine of Russian futurists, Moscow, 1914;
RM- well. Russian thought;
SevZ- well. Nordic notes, St. Petersburg;
SZ — vs. Modern scrapbook, Paris;
SEER — The Slavonic and East European Review.

Notes (edit)

* No. 1 in Russian Literature 7/8, 1974.
1 SEER, London, 1972, vol. 50, no. 118, p. 103. (My dating is somewhat at odds with the one given by the publisher Amanda Hate). In a footnote to the acmeist manifesto, Gumilev promised a special article about the futurists ( IV, 171). Back in a letter dated March 28, 1913 to Bryusov about Bryusov's article on the futurists ( RM 1913 # 3) Gumilev remarked: “Your analysis of their“ discoveries ”is truly brilliant. God grant that they learn it <...> in No. 4 Apollo my article will appear, where I will partly touch on the same topic. " No such article appeared.
2 Published posthumously (apparently inserted in the proof - date: July 1921) in: Almanac of the Guild of Poets, Petrograd, 1921, p. 85. Cf. comic Gumilev's futurology in the memoirs of G. Ivanov: “Then I'll buy an airplane for myself. I will say: "Pasha, give me my airplane" ( SZ, 1931 No. 47, p. 315). By 1920, Brega's project dates back to: an airplane with a pressurized cabin for space travel.
3 Shklovsky wrote: “Gumilyov's blue leaves are a poetic metaphor. He was an excellent poet, but he could not foresee the emergence of a new science - astrobotany. According to the founder of this science G.A. Tikhov, "blue leaves" must have Martian plants, which have adapted for long epochs of evolution to the harsh conditions of this planet. And on Venus, just because there the “Sun is more fiery and golden”, the foliage of trees, according to Tikhov, should be orange and even red ‹...› ”( News, 1961, February 13, p.m. issue). Modern science fiction for Gumilev usually interpreted this subject in a more “grounded” manner - see, for example, the chapter “Flora of Venus” in the “astronomical novel” by B. Krasnogorskiy and D. Svyatskiy Etheric Ocean Islands(Petersburg, 1914): flora of the Carboniferous period, horsetails, lyes and "a plant similar to our Kuzmich grass or" steppe raspberry ".
4 "Descendants of Cain" ("Pearls"). Wed to possible associations with Venus in this poem: ‹...› a sad and austere spirit, Taking the name of the morning star.
5 "Eagle" ("Pearls"):

He died, yes! But he couldn't fall
Entering the circles of planetary motion.
The bottomless mouth gaped below,
But the forces of attraction were weak.

6 "Nature" ("Bonfire").
7 Wed K. Mochulsky: “The Master - Gumilev in his“ Fire ”concluded the task of new poetry in a strict formula: Only virgin names Poets are allowed out... The task is clearly impossible, but dazzlingly daring ”( SZ, 1922 No. 11, p. 371). Such a program is the property of not only Acmeists, but all those who “overcome symbolism”. Khlebnikov wrote to Kruchenykh: Ardent words in defense of Adam find you two together with Gorodetsky. It makes sense: we write after Tsushima (NP, 367). As for the languages ​​of the "inhabitants of the planets", then again the representatives of the Flammarion tradition were not inventive - for example, in the novel of Le Fora and the Countess (Russian translation - 1926), the language of the "Venusians" is very similar to the ancient Greek language.
8 Wed Charles Nodier's onomatopoeic explanation for 'catacombes'. This example used Nyrop ( Grammaire historique de 1a 1angue francaise, IV: Semantique, Copenhagen, 1913). In Russian. translated by Vlad B. Shklovsky: "You cannot find a chain of more picturesque sounds to convey the echo of death, which goes and hits sharp stone corners and suddenly freezes between the graves" ( Collections of no theory of noethical language, no. I, Petersburg, 1916, p. 65). Vl. Shklovsky translated ‘cercueil’ as ‘death’, but cf. 'coffin' translation (S. Ullmann, Semantics. An Introduction to the Science of Meaning, Oxford, 1967, p. 89).
9 In the same place, Mandelstam speaks of the “stone age” of the existence of the word. On the problematic of these formulas, see the works of E.A. Toddes and Omri Ronen.
10 A. Bely, Symbolism, Moscow, 1910, p. 619. In the late 1900s, Gumilev experienced a passion for Theosophy.
11 Prof. A.L. Pogodin, Language as creativity... Kharkov, 1913 ( Questions of theory and psychology of creativity, vol. 4), p. 502.
12 Wed e.g. in the same place, p. 280 (about words that sound like ua in one of the Polynesian languages).
13 This interjection had already appeared in Gumilyov's work, causing the surprise of his peers-poets: “‹ ... The sun of the spirit, oh, sunsetless, / It is not for the earth to overcome it”(A. Polyanin (S. Parnock), SevZ, 1916 No. 6, p. 218).
14 Yu. Lotman, B. Uspensky, Disputes about language at the beginning of the 19th century. as a fact of Russian culture. Works on Russian and Slavic Philology, XXIV, Tartu, 1975, p. 283.
15 Gumilyov's acquaintance with this article is very likely because in the same issue his poems and reviews of Bryusov about "Evening" and "Alien Heaven" are printed.
16 "Things like <...> ayo are pronounced with tension, regardless of the tension of hearing when they are perceived" (L. Sabaneev, Music of speech. Aesthetic research, Moscow, 1923, p. 105).
17 It is pertinent to recall that the “opposition” inherent in a number of aesthetic theories to each literary text was brought to the surface of the text by the Acmeists. N. Sredin (E. Nedzelsky) ( Central Europe, 1929, no. 48, p. 8).
18 A.M. Peshkovsky, " Principles and Techniques of Stylistic Analysis and Evaluation of Fiction» ( Ars poetica, I, Moscow, 1927, pp. 35-36).
19 Wed words by A.A. Smirnov that Gumilyov's “some pretentiousness with a touch of mannerism” turned “into a fully matured original manner” ( Creation, Kharkov, 1919. No. 3, p. 27).
20 N. Khardzhiev, V. Trenin. Poetic culture of Mayakovsky, Moscow, 1970, p. 75.
21 I.A. Baudouin de Courtenay, naturally, responded to this part of the declaration with the remark that ‘e’ - “is not a vowel, but only a combination of a consonant with a vowel” ( Feedback, 1914, No. 8, February 27). Did Gumilev remember this when he proposed “a language of only vowels”?
22 " Dead moon"(1913). Here we quote from the second edition (Moscow, 1914, p. 79). "Heights" was discussed by Bryusov in the article "Common Sense of Tartarara" ( RM, 1914 No. 3, reprinted in: Valery Bryusov, Collected Works, v. 6, Moscow, 1975, pp. 425-426), questioning the “secret meaning of vowels”, since "Vowels are pronounced differently in each language."
23 Wed o "eyy" - "a rough, unpronounceable word" (N.P. Rozanov, Ego futurism, Vladikavkaz, 1914, p. 22). “Words” from some vowels are also found in other Kruchenykh's poems, for example, in “Go osneg kaid ...”: “Sinu ae xel ".
24 A. Kruchenykh, Seifullina's abstruse language, Vs. Ivanov, Leonov, Babel, I. Selvinsky, A. Beselogo and others... Moscow, 1925, p. 24.
25 Wed in his letter to Akhmatova in the summer of 1912: “I’m already reading Dante, although, of course, I grasp only the general meaning and only some expressions” ( SEER, 1972, No. 118, p. 101). Gumilyov was a student of the Romano-Germanic department. Wed memories of Vlad. Shklovsky about meetings with him ( Book and revolution, 1922, No. 7 (19), p. 57). Lozinsky already had the cult of Dante at that time - see his memoirs of travels to Florence and Ravenna in 1911 and 1913: Neva, 1965, No. 5, p. 202.
26 Translated by A.G. Gabrichevsky ( Dante Alighieri. Small works, Moscow, 1968, pp. 213-214).
27 Especially it is worth recalling the "magic of the vowels" among the Gnostics. From the scientific literature of the 10s, see: Franz Dornseiff, Das Alphabet in Mystik und Magie, Leipzig-Berlin, 1922.
28 Victor Shklovsky. Once upon a time, there were, Moscow, 1964, p. 259. Shklovsky was then opposed by V.K. Shileiko (V. Piast, Meetings, Moscow, 1929, p. 250, 278).
29 Wed widely known, cited by I.P. Sakharov ( Legends of the Russian people, SPb., 1885, p. 99) so-called. "Song of witches on Bald Mountain":

‹...› A.a.a. - OOO. - I. and. and. - e.e. - u.y.y. - e.u.

Wed also in Facte Goethe:

Den Laffen mussen wir erschrecken
A, a! E, e! I, i! O! U!
("Aufführungen des Fürsten Radziwill in Berlin").

30 One of the Russian translations of the Vowels belongs to Gumilev:

A - black, white - E, U - green, O - blue,
And - red ... I want to reveal the birth of vowels.
A - a mourning corset under a flock of terrible flies,
Swarming around like falling or mud.

The world of darkness; E - peace of fog over the desert,
Trembling of flowers, rise of dangerous glaciers;
And - purple, blood clot, smile of beautiful lips
In their rage or in their madness before the shrine.

U - wondrous circles of greenish seas,
The meadow is motley from the beast, the rest of the wrinkles, crumpled
Alchemy on the foreheads of pensive people;

Oh - the ringing of the brass deaf ending,
Silence pierced by an angel like a comet:
- Omega, a ray of Her lilac eyes.

31 N. Khardzhiev, V. Trenin, cit. op., p. 33.
32 Spring contracting agency muses, Moscow, Spring 1915, pp. 95-96. On the question of the reliability of Gumilyov's acquaintance with the almanacs of the futurists - in a note from 1913 he abstracts the works of Khlebnikov from "Slap in the Face to Public Taste", "Dead Moon", "Union of Youth" No. 3 ( IV, 324-325), he specially reviewed both "Saddle of Judges" ( IV, 260-261, 318-319), an excerpt from Khlebnikov's "Death of Palivoda" ("Battle of the Cossacks"), published in "Roaring Parnassus", he intended to include, according to the 1915 project, in an anthology of new Russian prose; The first magazine of Russian products was received by the editors Apollo(1914, no. 5, p. 78), where Gumilyov took all the collections of poetry for review; about the reaction to Spring contracting agency muses(that is, on the poems of Pasternak placed there) see the memoirs of G. Adamovich and N. Otsup.
33 Cf. RSP, p. 48.
34 It is unlikely that Khlebnikov (and maybe even Gumilyov) would get acquainted with the following text - in the novel by Wilhelm Heinze Hildegard von Hohenthal(1796) one of the heroes expounds his teaching:
Fur alles, was aus unseren Innern unmittelbar selbst kommt, ist der Vokal der wesentliche Laut. Der Wilde sieht etwas Schones von weitem, und ruft: A! Er nahert sich, erkennt es deutlich, und ruft: E! Er beruhrt es, wird von ihm beruhrt, und beide rufen: I! Eins will sich des andern bemachtigen, und das, welches Verlust befurchtet, ruft: O! Es unterliegt, leidet Schmerz und ruft: U! ” - “Die funf Vokale mit ihren Doppellauten sind die Tonleiter des Alphabets aus der gewohnlichen Aussprache” (quoted no: F. Dornseiff, op. cit... , S. 51).
However, we note that Kuzmin, with whom Khlebnikov met intensively in 1909 and whom he called a teacher ( Joint venture, 5, 287), was an attentive reader of Heinze (G.G. Shmakov, "Blok and Kuzmin", BS, p. 352). It is possible that Geise, whom Khlebnikov included in the enumeration German thinkers (PZhRF, p. 80; SP, 5, p. 191, cf. SP, 5, p. 188) is a slip of the tongue instead of “Geynze”. If we are talking about the famous philologist Heyse, then we note, just in case, his reasoning about vowels (Gustav Gerber, Die sprache als kunst., Berlin, 1885, Bd. I, S. 206).
35 SevZ, 1914 No. I (reprinted in: N.O. Lerner, Stories about Pushkin, Leningrad, 1929, pp. 180-189).
36 “The glory of the word, shaken“ from the left ”- Zaumiem and“ from the right ”- by Every Acme, is resurrected by the power of Brentano (Troll, Trilltrall, aus dem Grabe) and Khlebnikov” (Boris Lapin, 1922th book of poetry, Moscow, 1923, p. 54). Wed his poem "On the death of Khlebnikov" (ibid., p. 17) and dedicated to Khlebnikov "Yesterday his azure elbow ..." (B. Lapin, E. Gabrilovich, Lightning, Moscow, 1922, p. 18).
37 According to N.Ya. Mandelstam, I especially remember the lines:
There, biting the fingers of the asters, Trill-Thrall kissed the flowers ...
38 B. Lapin, 1922th book of poetry, p. 41. “Forest” often appears among futurists as a motivation for vowel sounds and playing on interjections (“Finland” by Elena Guro and others). In his first article about the futurists (RM, 1913 No. 3, 2 pag., P. 129) Bryusov quotes the verses of "Josephine Gant de Orsail" (V. Gnedov's pseudonym, as AE Parnis pointed out to me): Oh! Ah! Green shabby branches .../ Ah! Ah! Ah! Ooh! Such examples somewhat clarify Ivan Aksenov's statement: “The interjection, which the Milanese used so widely, filling in whole quatrains with them (Nodier, by the way, composed whole chapters of this kind of utterances), was adopted only by Vadim Shershenevich, and then occasionally, and then in 1915 ‹...› ”( Print and revolution, 1921, no. 3, p. 91).
39 Wed poem "Trees":

I know that the trees, not us
Given the grandeur of a perfect life
On a gentle land sister to the stars,
We are in a foreign land, and they are in their homeland.

40 In the utopia "We are at home" ( Joint venture, 4, 286; Wed litter I and E on Khlebnikov's architectural drawings - Science and life, 1976, no. 8, p. 107), in which, by the way, we also find a metaphor consonant alphabets of iron and vowels of glass.

41 Cf. V. Markov, The longer roems of Velimir Khlebnikov, p. 81 ("special sonic effects").
42 The Death of Vladimir Mayakovsky, Berlin, 1931, pp. 7-8. About Khlebnikov's meetings with Gumilyov see: Joint venture, 5, pp. 286-7, 327; NP, pp. 198-9, 423-6. Personal relationships were complicated (if not interrupted) in January 1914 following the publication of the Go to Hell manifesto (cf. Livshits, p. 264). Apparently, this is why the publication of Khlebnikov's "Why are you shy, pechenezha ...", intended for No. 8, was postponed. Hyperborea(Archive of M. Lozinsky).
43 Cf. Works on sign systems, 5, Tartu, 1971, p. 280.
44 M. Voloshin's testimony is curious: “Vyacheslav Ivanov was probably the first of the modern poets who began to read Dahl. In any case, modern poets of the younger generation, under his influence, subscribed to the new edition of Dahl ”( RUssia morning, 1911, No. 129, May 25).
45 PZHPF, p. 49. Another option in "Roaring Parnassus" (SP, 2, 180). Apparently, in the author's utterance, the text was based on the antithesis of “bird sounds” and “human voice”. Wed: “Fed up with glossolalia, he went to look for wisdom in the trap, into the element of bird speech, reproducing it with virtuosity, about which the “musical notation” in “Roaring Parnassus” does not give any idea ”( Livshits, p. 274). Wed See also I. Berezarka's memoirs about Khlebnikov: “He knew how to imitate birds and believed that bird voices were somewhat related to poetry” ( Star, 1965, No. 12, p. 173)

46 Wed in The Mistake of Death: Everything from tears to lungwort / Everything earthly will be "bya" (Joint venture, 4, 252), in the poem "The clouds seemed like a scarlet mustache ...": Oh! ... We are exhausted in eternal eternal hunger! / And the child, mimicking us, squeaked "be!", in "Crimean": Oh! I'm tired of hanging around alone! / And the child, seeing the sun, cried out: “ swell” (Joint venture, 2, pp. 284 and 47).
47 cf. about the language of hunting life in "Pedagogical Letters" by Annensky ( Russian school, 1892, No. 7-8, p. 165).
48 Wed put into the mouth of Verlaine in Zenkevich's Departure from Poems (1926): "Death made you bo-bo, / Oh, my boy Rimbaud!" Note that the final of "Man" was perceived by the general public of the 1910s almost as a futurist outrageous - cf. in a newspaper report on a lecture by Gabriel Gershenkroin (one of the earliest and most sensitive critics of Mandelstam's poetry): R.T.), the district inspector, which he ends with inarticulate sounds, most closely reminiscent of a dog barking, the lecturer did not seem to convince anyone of the need for this kind of "antithesis" "( Odessa news, No. 9688, April 25, 1915). Earlier V. Volkenshtein called this poem "curiosity" ( Modern world, 1910, No. 5, 2 pag., P. 113).
49 An involuntary coincidence with Khlebnikov's introspection: a self-proclaimed word has a five-ray structure (PZhRF, p. 79; Joint venture, 5, p. 191), I studied samples of self-talk and found the number five to be quite remarkable for her; the same as for the number of fingers of the hand (Joint venture, 5, p. 185; printed in Youth Union, No. 3, 1913). Khlebnikov's "Proposals" included call numbers five vowels: a, y, o, e, and ‹...› five-fold (Joint venture, 5, p. 158).
50 A. Bely, Symbolism, p. 416; A. White, "Rod of Aaron", Scythians, 1, Petrograd, 1917, p. 179, 196.
51 Perhaps Gumilev is a little parodic here - “extremely characteristic of Balmont and, perhaps, his own technique - translation. He names the word - and either reveals its etymological meaning, or simply translates it into another language:
‹...› And now the dew is called Shang-Chi-Shui / What does it mean: Witchcraft of higher streams. ‹...› Exclamation "Who is like God!" there is the name of Michael”(D. Vygodsky, Chronicle, 1917, No. 5-6, p. 254).
52 See e.g. M. Grammont, Traite de phonetique, Paris, 1933, p. 406. Attribution to the future, but to the past, perhaps, echoes with Khlebnikov's internal declension of words (Joint venture, 5, pp. 171-2, 205), which Gumilev expounded in 1913 - “he believes that each vowel contains not only an action, but also its direction” ( IV, 324), and Khlebnikov himself summed up in the article "Our Basis": As for the vowel sounds, with respect to O and N, we can say that the arrows of their meanings are directed in different directions, and they give the words the opposite meaning ‹...› But vowel sounds are less studied than consonants. (Joint venture, 5, p. 237). Apparently, later Khlebnikov abandoned his 1913 constructions: and connects, a against, O increases growth, e decline, fall, at obedience. So the poem is full of meaning from some vowels (Joint venture, 5, p. 189).
53 cf. F. Schlegel's metaphor: consonants - body, vowels - soul of language (Gustav Gerber, cit. op., p. 201).
54 “To depict the world of angels‹ ... ”(R. Muter, Painting history, Part I. Per. with him. ed. K. Balmont, St. Petersburg, 1901, p. 44)
55 Wed: “I remember how in the first issue‹ ... › Hyperborea(1912) Sergei Gorodetsky was indignant at N. Gumilyov for his unexpected and eccentric love for the acmeist for the humble art of Fra Beato Angelico. ‹...› No, you are not right, hungry for revelations! / Not from Beato to wait for the appearance of Adam.‹...› Acmeist, "hungry for revelations" and loved "humble simplicity" Fra Angelico is above the terrible perfection of Buonarotti and da Vinci's witchcraft hops ... Yes, it might seem a whim. In fact, there was something more here ”(B. Eichenbaum, RM, 1916 No. 2, 3 pag., P. 17). Perhaps Gumilev looked closely at Fra Angelico as a candidate for the Acmeist pantheon in connection with the idea of ​​"equilibrium"; cf .: “possessed a rare uniformity of creative power” (Robert Zaichik, The people and art of the Italian Renaissance, SPb., 1906, p. 230).
56 Compare: “This old position of Maurice Grammont, to our surprise, is also found among the newest researchers of verse:“ Nasal vowels prevail among the French mainly in erotic poetry. Pronons here conveys the nasalness that occurs during salivation caused by amorous longing (I. Fonagy) ”“ (Jiri Levy, The art of translation, Moscow, 1974, p. 325).
57 Lef, 1923, no. 1, p. 144.
58 See verse. Gumilyov "Sacred nights float and melt ..." (end of 1914)
59 L. Reisner, review of "Gondla" ( Chronicle, 1917, No. 5-6, p. 364). The author of the review is like a prototype of the main character, and the pseudonym "Lera-Laik" phonologically encodes the name of Larissa (not without recollection of Pushkin's Lais).
60 Sagittarius, 1, Petersburg, 1915, p. 58.
61 The Mandelstam formula is possibly related to the ideas of V.V. Rozanov (“except for consonants, nothing in the Holy Scriptures!”).
65 Vladimir Gippius, Human face. Poem, Petrograd-Berlin, 1922, p. 189. One can see here ("calculated in full") an attack on Gumilyov, who wrote about the book of Vl. Gippius Return: “It seems that the poet is most captivated by the play of vowels‹ ... ›Four‘ and ’in a row in two lines‹ ... ›unpleasant to the ear” ( IV, 310-11).
K.D. 66 Balmont, Poetry as magic, 1915, pp. 57-58. It is noteworthy that B. Eikhenbaum in his review of this book brings together the aspirations of the Symbolists and the Futurists: “If the sound-letter itself, taken separately, is a“ guessing ”, then words are not needed, because then they are simple accumulations of these sounds that can live separately. Then words can and should be composed mechanically, by combining individual sounds - outside the traditions of the language, outside of its forms. Another step - and the sound will be superfluous, and “guessing” will be a letter or a punctuation mark ”( RM 1916, No. 3, 4 pag., P. 2). In the last phrase, there is a hint of a reading of Khlebnikov on January 10, 1914 in the Poets' Workshop, which Eikhenbaum witnessed, about which he probably told Yu.N. Tynyanov ("The Problem of the Poetic Language", note 21).
67 See: I. Postupalsky, "On the question of scientific poetry" ( Print and revolution, 1929, No. 2-3). Wed G. Arelsky's late declaration "On the Problems of Poetry of the Future": "Acmeism, which must be understood exclusively as a transitional step from symbolism to scientism," ... ›” ( Herald of knowledge, 1930, No. 2, p. 54).
68 In a note to Lev Gornung: “He wanted to be only the“ conscience ”of poetry. He is a judgment on poetry, and not poetry itself ‹...
69 Compare: “stars, the meaning and truth of which is that they are inaccessible” ( IV, 304). Wed “Inaccessible, alien stars” in the finale of “Star Horror”, written shortly before “Venus”.
70 Wed correction by prof. I. Shklovsky. To a possible parody - cf. “Balmont, for the sake of rhyme, carelessly calls the stars planets” (Prof. P. Bitsilli, Etudes about Russian poetry, Prague, 1926, p. 78).
71 See at least the verses of P. Shirokov: “And we wish the best accomplishments / Then there is now an aero-plan”, as well as Severyanin’s “couch on blériot”, airplane poems by K. Olympov, stylization of ego-futurism by Nelly-Bryusov: “If what else I like, / This is a free airplane. / Well b, how is he, go / To the infinity of blue countries ”, etc. In July 1910, Gumilev wrote to Bryusov: “I believe, moreover, I feel that the airplane is beautiful, the Russo-Japanese war is tragic, the city is majestic and terrible, but for me it is too much connected with newspapers, and my hands are too weak to tear off all this from everyday life to art ”. Simultaneously with "On Venus" Gumilev sketched the poem "Airplane":
Poetics 78 Cf. about the same arch at B. Livshits ("Palace Square"): Hooves in the air, and the arch / Crimson larynx... The convergence of the architectural and landscape “gaping” (gap, absenteeism) with the articulatory (non-closing of the lips) is found in a number of Mandelstam's texts.
79 We would venture to suggest that the initial gaping in the word aonida determines the character of the voice-leading attributed to the Muses - the predominantly vocalized "sobbing" (with a possible, however, subtext - Baratynsky's poem "When your voice, oh poet ...": And over the silenced Aonida / Weeping, your ashes will honor), as well as the character of the beginning of the word ‘airplane’, the pronunciation of which was discussed in the 10s (Prince Sergei Volkonsky, Expressive word St. Petersburg, 1913, pp. 46, 49) partly caused an addiction to vowels on Venus (compare V.A. Poetics and stylistics of Russian literature. In memory of acad. V.V. Vinogradov, Leningrad, 1971, p. 416). Wed v Glossalolia A. Bely (Berlin, 1922, p. 46): “Actually, the pre-consonant stage of the sound is“ a-e-i ”: -“ Aei ”- forever”. Excerpts from this "poem about sound" were published in the almanac The Dragon(Petrograd, 1921) and, therefore, are known to Gumilyov, - for example: “In ancient-ancient Aeria, in Aeria, we, the sound-people, once lived” ( The Dragon, p. 64).
80 See about this: Kiril Taranovsky, Essays on Mandel "stam, Harvard University Press, 1976, p. 46.