Osip Mandelshtam Silentium. Analysis of the poem of Mandelstam Silentium (Silentium)

/ Analysis of the poem "Silentium!" O.E. Mandelstama

In the second half of the 20s, Mandelstam poems does not write that it is experiencing extremely difficult. He is engaged in newspaper pionery, much and without pleasure translates, produces a collection of articles "On poetry" in 1928, the book of autobiographical prose "Noise of Time" (1925), the story "Egyptian Mark" (1928). It is possible to correctly name this period of creativity of the poet "silence".

By the beginning of the 1930s, the poet realized that if everything was against one, then the wrongs were all. Mandelstam began writing poems and formulated his new position: "All works of world literature I am divided into permitted and written without permission. The first is a scum, the second - flavored air. "

At the Moscow period of its work 1930 - 1934. Mandelstam creates poems full of proud and decent consciousness of their mission.

Since 1935, the last Voronezh period of the poet's creativity begins.

Even the hottest fans of Mandelstam in different ways are evaluated by Voronezh poems. Vladimir Nabokov, who called Mandelstam "LIGHT", believed that they were squeezed by madness. Critic Lev Anninsky wrote: "Poems these recent years - ... an attempt to repay the absurd absurd of pseudo-existence ... wheezing of an extravagant, cloth deaf down, whistling and booze." Most poems are not over or not decorated, rhymes are inaccurate. Speech of feverish and chipping. Mandelstam's metaphors here, perhaps, more bolder and expressive than before.

"Silentium" - a genuine literary debut

O. E. Mandelstam, despite the fact that his first poetic publications appear since 1907. The poem "Silentium" along with other four verses was venge-chatano in the ninth issue of Apollo magazine and later became famous.

Silentium.
She was not born yet
She and music and word
And because of the life
Undighted connection.

Calmly breathe the sea of \u200b\u200bchest

And foam pale lilac
In a black and looser vessel.

May you get my mouth
Initial Lote,
As a crystalline note
What is from the birth of chista!

Stay foam, Aphrodite,
And, the word, back to music,
And, heart, hearts are ashamed,
From the primary life merged!
1910, 1935

It seems that the poems of Mandelstam arise from nothing. Likewise, poetry begins with love, with the thought of death, from the ability to be silence, and music, and the word, with the ability to grab the moment began.

Mandelstam begins his poem from the pronouns "she": who or what "she"? Maybe the rally is lighted in the words "just impudent communication". Everything in the world is interconnected, but, interdependent.

The poet says: "She and music and the word." If Nature is for Tyutchev - this is the second name of life, then for Mandelstam the beginning of everything - music:

You can not breathe, and the trummers are sisite,
And no star says
But God sees, there is music over us ...
("Concert at the train station", 1921)

Mandelstam music is an expression of the state at which poetic lines are born. Here is an opinion

V. Shklovsky: "Schiller confessed that poems appear in his soul in the form of music. I think that poets have become victims of accurate terminology. The words denoting the inner sounding, no, and when I want to say about her, then the word "music" is supposed to be the designation of some sounds that are not words; In the end, they are poured word-like. Of modern poets About this wrote O. Mandelshtam. " In the last quatrain, this image appears again: "And, the word, back to music."

The serene pattern of nature begins the second stanza: "The chest breathes calmly ...", then this rest is almost instantly interrupted:

But, like insane, light day,
And foam pale lilac
In the Black-Lazorus vessel.

Here is the opposition: "Bright Day" and "Black and Lazorus Vessel". The Tyutchev eternal confrontation of the "Day" and "Night" comes to mind.

For me, difficult in understanding was a string: "But, like a mad, light day." Why day - insane? Maybe it's about the bright blow of creativity, because the poetry of the WINDER from madness in the highest sense of the word.

The third stanza is the poetic interpretation of the Tyutchevsky "The thought is exhausted there is a lie":

May you get my mouth
Initial Lote,
As a crystalline note
What is from the birth of chista!

A man is born unable to talk to the baby, Mandelshtam calls it "initial notch." Maybe the poet, recording these lines, remembers his children, spent in St. Petersburg.

The word merges with music; As life itself, with her undent connections, is included in our consciousness of the idea of \u200b\u200bholiness, inviolability inner world man.

Stay foam, Aphrodite,
And, the word, back to music,
And, heart, hearts are ashamed,
From the primary life merged!

Aphrodite is the goddess of love, beauty, fertility and eternal spring in Greek mytholo-gia. According to myth, she was born from a sea foam, which was formed by the blood of loose uranium.

Mandelstam was interested in antiquity. The poet had his own way to antiquity, like all major European poets that had antiquity search for lost harmony.

Osip Mandelstam was a purely urban poet, or rather the poet of the northern capital of Russia. The most significant poems are addressed to St. Petersburg. "Stone" arms and "yellowing of government buildings", and the Admiralty "With Lord Air and Mast Ladrog", and the great creation of Russian in Rome - the Kazan Cathedral.

From the Cold St. Petersburg, the poet mentally goes into the beautiful, light allad, and together with her in the world of "stone" the sea is included:

Quietly breathe the sea of \u200b\u200bchest ...
Stay foam, Aphrodite ...

Love, beauty, word and music is the harmony of the world, "Total Living Understanding Communication."

If Tyutchev in his "Silentium!" An unusually stingy trails, then Mandelstam them more than enough. Metaphors: "Sea of \u200b\u200bBreast" and "Mad, Little Day", "Foam Pale Lilac", - Everyone is concentrated in the second stanza; Very expressive epithets: "black-lazoye" or "crystalline note".

The poem is written by Yack, no disagreement on this occasion, I think no:

She was not born yet
She and music and word
And because of the life
Undighted connection.

No matter how much the poet say about silence, he does not do without a word.

The word is a bridge from the heart and land on the sky. The ability to go through this bridge is not given to everyone. "Read poems is the greatest and most difficult art, and the title of the reader is no less honorable than the title of the poet," wrote Mandelstam.

This is a poem O.E. Mandelstam entered the debut compilation called "Stone". It was first published in a popular "Apollo" published at that time. The work attracted the attention of the public with its easy submission of such a serious and philosophical theme. Among the debut works of the poet, it is precisely different from the rest of the subject, showing the whole depth of thought and the author's idea.

From the name of the verse, there is a reference to the same name of Tyutchev, which was one of the inspirations of Mandelstam. In the poem, Tyutchev expresses the importance of precisely the silent observation of the outside nature and the inner gusts of the human soul.

Mandelstam serves a softer and mysterious. The name of the poem does not contain a loud call, there is no exclamation mark. The serum feed is melodic, cyclical and easy. The work begins with the sea, it ends. There are still no disputes who are the mysterious "she", about which the poet is so enthusiastic.

Many see love in it, based on the mention of the Greek Goddess Aphrodite. Someone suggests that it may be thought. Beautiful and comprehensive in the head, and losing her versatility when trying to clothe her in words.

However, the answer to this question is more global and independent concept. This is harmony. Thin binding thread between all phenomena of the world. She is at the same time all and nothing. And the person can disrupt its fragile equilibrium. In this, the work of Mandelstam relies on the poem of Tyutchev about the silent love of nature, which does not violate its pristine.

The author calls everyone to find the purity given from birth, giving the opportunity to see and enjoy the harmony of the world. At the same time, he asks nature to be more indulgent to a person. The desire to leave Aphrodite simple foam is due to the highest degree of its ideality, such which ordinary person make no power. The goddess itself in the creation of the poet personifies not just love, but to achieve excellent harmony between the forces of nature and spirituality.

Subsequently, Mandelstam repeatedly used in his work ancient Greek and Roman themes, in particular the image of the Aphrodite. According to the poet, the myths of the ancient peoples were inexhaustible sources of inspiration for him, as well as the work of art created on their basis.

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She was not born yet
She and music and word
And because of the life
Undighted connection.

Calmly breathe the sea of \u200b\u200bchest
But, like insane, light day,
And foam pale lilac
In a black and looser vessel.

May you get my mouth
Initial Lote,
As a crystalline note
What is from the birth of chista!

Stay foam, Aphrodite,
And come back to music,
And the heart of the heart is ashamed,
From the primary life merged!

Analysis of the poem "Silentium (Silentium)" Mandelstam

Osip Emilevich Mandelshtam in early youth grave to symbolism. A typical example of such poetry is the "Silentium" poem.

The poem was written in 1910. Its author at this time was 19 years old, he is a listener of the lectures of Heidelberg University, enthusiastically examines the medieval poetry of France and himself begins to publish. This year - last year The material well-being of his family. Its poems in this period are not free, elevated, musical.

According to the genre - philosophical lyrics, size is a four-stranded yam with a ring rhyme, 4 stanza. The lyrical hero is the author himself, but not as a person, but as a poet. "Silentium" is translated as "silence". Poems with the name (but with an exclamation mark at the end). However, O. Mandelshtam in its work is investing other meanings. Of course, he considers the merger of words and music. In the world of people, these concepts are divided, but if you guess about their uniform entity, you can penetrate the secrets of being. To connect the word and music, you need to plunge into silence, remove the bustle, everyday life, stop the stream of thoughts in the head. The poet encourages Aphrodite "Not Burning", does not acquire a specific form, but to remain sounding and whispering marine foam. He himself puts the same task: the mouth must be silent, and music will sound in this deep silence.

Young O. Mandelshtam believes that such a merger is a matter of the future that all people will ever find such an ability, but he, as a poet, wishes to become the first owner of the sound. He believes that the lives of people after returning to the "primary" will change completely, because it is "all the lively impudent communication." The vocabulary is elevated, solemn. Epitts: Black and Lazorov (that is, with blue), pale, crystalline, initial. Comparisons: like insane, like a note. Protecting: Breathe Sea Breasts. Metaphor: Pale Lilac Foam. Inversion: Breathe breasts will acquire mouth. The intonation of the poem is similar to the spell: you will find my mouth, stay, come back. The poet seems to also reflect on, including ancient Greek Aphrodite. The expression of the last two stanza is emphasized by exclamation marks.

In the work of "Silentium" O. Mandelshtam assumes that all the troubles of mankind are due to the abandon from the primancy of being, which he saw in combination of sound and words. The current split reality is the consequence of this refusal.

One of the most famous and at the same time the most controversial poems that Osip Mandelstam - Silentium was written. This article contains an analysis of the work: What influenced the poet than he was inspired and how these famous poems were created.

Poems Mandelstam "Silentium"

Recall the text of the work:

She was not born yet

She and music and word

And because of the life

Undighted connection.

Calmly breathe the sea of \u200b\u200bchest

But, like insane, light day,

And foam pale lilac

In a black and looser vessel.

May you get my mouth

Initial Lote,

As a crystalline note

What is from the birth of chista!

Stay foam, Aphrodite,

And come back to music,

And the heart of the heart is ashamed,

From the primary life merged!

Below will present the analysis of this product of the Great Poet.

History of creating a poem and its analysis

"Silentium" Mandelshtam wrote in 1910 - poems entered his debut collection "Stone" and became one of the brightest works of the other than the beginning of the nineteen-year-old writer. During the writing of Silentium, Osip was trained in Sorbonne, where he visited the lectures of the philosopher Henri Bergson and the philologist Josepha Bedje. Perhaps it was under the influence of Bergson Mandelstam that the idea came to write this poem, a philosophical depth distinguished from earlier works of the author. At the same time, the poet became interested in the work of Vilan and Bodler, and also began to study Starofranzz Epos.

The work of Silentium, crowded with enthusiastic and elevated mood, refers to a lyrical genre in free form and philosophical theme. The lyrical hero of the work tells about "those who have not yet been born," but is already music and a word, intensely connecting all the living. Most likely, "she" Mandelstam is the harmony of beauty, which unites both poetry and music and being an apogee of everything perfect, which is in the world. The mention of the sea is associated with the goddess of beauty and love Aphrodite, which was born from sea foam, combining the beauty of nature and the height of the feelings of the soul - she is harmony. The poet asks Aphrodite to remain foam, implying that the goddess is too loud perfection.

Perhaps in the second quatrain the author hints at the biblical story of creating peace: sushi appeared from the sea, and under the light, barely separated from darkness, became visible beautiful shades Among the overall black of the ocean. Upon day, which "leveled, like insane," can imply some moment of inspiration and inspiration tested by the author.

The last quatrain again refers to the biblical theme: Affected by each other heart most likely hints at shame tested by Adam and Eve, after they tasted the fruit from the tree of knowledge. Here Mandelstam calls back to the initial harmony - "primary life."

Name and expressive means

Analyze "Silentium" Mandelstam is impossible, without understanding what the name means. The Latin word Silentium means "silence". In this title, a clear reference to the poems of another famous poet - Fedor Tyutchev. However, his work is called Silentium! - Exclamation mark gives the form insecurityIn connection with which the name is correctly translated as "silence!". In these verses, Tyutchev urges to enjoy beauty external world Nature and inner world of the soul without unnecessary words.

In his poem "Silentium", Mandelshtam feeds the words of Tyutchev, but avoids a direct call. From this we can conclude that "silence" or "silence" - and there is a harmony of beauty, which "has not yet been born", but this should appear in the minds and hearts of people, allowing them silent, in the "initial genth" to enjoy others Life magnificence of natural feelings and emotions.

The main expressive means of this poem are syncretism and cyclic repetitions ("and music and the word - and a word to music come back", "and the foam pale lilac - remain foam, aphrodite"). Scenic images, such as "pale lilac in a black and loyal vessel", characteristic of the entire poetry of Mandelstam are also used.

Mandelstam uses a four-stranded yamba and his favorite method of cyclical rhymes.

sources of inspiration

By writing Silentium, Mandelstam first reveals as a serious distinctive poet. Here, for the first time, it uses images, which then again and again will arise in his work. One of these images is the mention of the ancient Roman and ancient Greek topics - the poet has repeatedly recognized that it was in the plots of myths that he sees such a harmony for him, which he is constantly looking for him in the surrounding things. "Birth also pumped Mandelstam to use the image of Aphrodite.

The sea became the main phenomenon that the poet was inspired. Silentium Mandelshtam surrounded by sea foam, likening the silence of Aphrodite. In structurally, the poem begins with the sea and the sea ends, and thanks to the sound organization, a harmonious splash is heard in each row. The poet believed that sealand You can feel how badly and small man against the background of nature spontaneousness.

Silence of Osip Mandelstama

The thought is taught there is a lie.
"Silentium!" F.I Tyutchev

No, everything is clear
But what exactly ...
"What did you mean" A. Kortnev

Silentium.

She was not born yet
She and music and word
And because of the life
Undighted connection.

Calmly breathe the sea of \u200b\u200bchest
But, like insane, light day,
And foam pale lilac
In a black and looser vessel.

May you get my mouth
Initial Lote,
As a crystalline note
What is from the birth of chista!

Stay foam, Aphrodite,
And, the word, back to music,
And, heart, hearts are ashamed,
From the primary life merged!

The "Silentium" poem belongs to the number of the most famous and most incomprehensible poems of Mandelstam. To prove it, it is enough to verify comments in various publications, setting up the question, key to understanding this poem: who is "she"? In each commented edition, we will find the answer to your question - and in each of this answer will be new. She - and Aphrodite, and music, and beauty, and not a little (?) ... Isn't the versions for such a small poem?
Meanwhile, attentive reading of the text, as it seems to us, it might remove this question. The key to the poem is its composition. K.F. Taranovsky, who devoted to the analysis of this text, part of his special article believes that the poem is blessing: each part consists of two stanza, and the main means of opposing parts - syntax. The first part in the syntactic plan is a sequence of indicative proposals, which make up a static description; The second is a number of imperative proposals forming rhetorical appeal.
All this is true, but there is another level of text membership - thematic. The poem is not at all so uniform in terms of content, as it seems, and we see it already in the first stanza. This structure is a chain of appearances (since they are united by an explicit or implied connecting link) definitions that named by the pronoun "she": "not yet born"; "And the music and the word", "all living unwielded communication"; A peculiar matrix of equations with one common unknown variable. However, these definitions clearly do not have any more thematic intersections: only a living being, "and the music and the word" can be born more about creativity, and the "connection of all living things" at all towards natural philosophy. So what is this "x"?
The most obvious answer is contained, as expected, in the last stanza: it is Aphrodite. But here's a strange thing: the connecting bond between the "matrix" elements is not only persisted, but also intensifies: now it links not only predicates of definitions, but the expressions themselves! Thus, "Aphrodite" is the name obtained by an unknown variable only in one of the expressions, whereas in other expressions it is not applicable, it cannot be substituted in them! But is there any common name for "x"? We look at the text carefully.
If we establish the relationship between the first and fourth stanza, it is logical to assume that the remaining stuffs are also related to each other, that is, a composite scheme of the poem is similar to the rhyme scheme used in it: ABVA. At first glance, there is no thematic connection between the second and third stanza: there is a sea, here you can mouth ... However, the connection exists. These stanzas are the "scan" of the two first rows of extreme stanza: the second develops the topic of an ancient myth about the birth of Aphrodites from the marine foam, and the third is the name of the word of music.
So, two definitions get their development, but why is there no development in the third definition? And what, generally speaking, are we talking about this third definition? The absence of stanza dedicated to him, thereby turning it into a labeled element of the system, makes it thinks that it is here that the "main name" of our "X" lies.
I am fingered again. "First Esnival of Life" is a frank reference to natural philosophy. Since the EmPedocle, it remains the doctrine of the presence of two forces organizing space: the hostility - the beginning of the separation of all things, and the love - the beginning of the universal connection, communications. But after all, the heart mentioned in the fourth stanza was also always a symbol of love! And Aphrodite is a goddess primarily love, and only in the second place of beauty, whatever I thought one of the commentators! "Called the word found?"
Another one, no less famous poem "Stone" can be confirmed by this version: "Insomnia. Homer. Tight sail ..." We find in it most of the "silence" motives: antiquity, Black Sea (existing discrepancies - "black and laurous" Or "muddy-looser", it seems to be more correct to resolve eleventures in favor of the first, silence, "divine foam" - but in this case the theme of the poem does not cause any doubts: this is love.
But why does Mandelstam choose in the "Silentium" such a complex way to naming his topic? Here it is worth remembering the only compositional element of the text, not included by us while the analysis is the title of poem. It is a undoubted reference to the famous poem of Tyutchev - however, it is a reference, and not a quote. The difference between the two names is in the sign. In Tyutchev, at the end of the title - an exclamation mark; Mandelstam - the absence of a sign. Titchev's title - call for silence; The title of Mandelstam - an indication of something significant in the text itself. But what? On the topic? But the topic is love! Or not?
Let's go back to the poem of Tyutchev. Any thoughtful reader can notice one contradiction between the thought and speech of the author. Tyutchev calls on to hide his feelings, referring to the inevitable felt of any expression, but it does in lush and verbal rhetorical forms. The poem of Tyutchev essentially represents a kind of version of the "Liaz Paradox": the author calls to be silent, so as not to fall into the inevitable lie, but since he himself says, he lies.
It is this paradox that is trying to bypass Mandelstam: he, like Tyutchev, is aware of all the inability of human speech to express the innermost human feelings, but can not do without it. Therefore, he also appeals to rhetoric, but no longer in search of new arguments: he uses the default figure, which one can help the "heart express itself," without calling feelings by name.
You can see in this manifestation of fear before the love that has owned young Mandelshtam. But this is only part of the explanation.
In this method, overcoming the "liar paradox" lies even and unchanged for Mandelstam the desire to overcome the conventionality of human culture, break through to the vital basis, which gave rise to these cultural forms. The poet, the origin itself devoid of access to "high" Russian and world culture, tried to establish a connection between her and his own lives. It is in this that the secret of his "Hellenism" lies. Mandelstam is looking for life in manifestations of life; In the discoveries of the past - traces of the revelations generated these traces.

"I tomorrow to ten," I thought,
And loud said:
I tomorrow to ten ...
"I believe it" A. Kortnev

Actually, the whole "stone" can be perceived as a gradual movement from external Forms Cultures, primarily ancient, to their inner meaning. This is also reflected in relation to the poet to ancient picture. If you accept the proposed B.I. Brogo and reborn M.L. Gasparov Separation of independent images having " real existence In proposed by this product of reality, "and auxiliary, employees" to strengthen the artistic effectiveness of the first ", then you can trace how gradually images of the ancient world are moving from the discharge of the auxiliary in the category of the main ones. In some early poems" stone "(for example," why Pevich ... "," Tennis "and others) The poet uses antique images only to create a specific aesthetic effect: these images are called to create a feeling of greatness, the pretties of the described. So, in the poem" Tennis "a number of" antique "epithets appear on the background of expanding Spaces: Starting with the description of the tennis party, the poem "increases" to the level of "peace":

Who, who humbled rough dust
Sleeping in the snow alpine,
With a long girl joined
In the Olympic duel?

LIR strings too stuck.
Golden rocket string
Strengthened and threw in the world
The Englishman is eternally young!

Thus, an antique topic in this poem remains a purely auxiliary, but it turns out to be associated with the ideas about the special significance of what is happening. Similarly, according to the function, the comparison of the frigate with the Acropolis in the admiralty poem:

And in the dark greenery frigate or acropolis
Shines from published, water and heaven brother.

While the image of the acropolis performs auxiliary function, its presence is a certain prediction of the future development of an antique theme. Another important fact is drawn to: mixing the plans of "reality" and "myth" in the form of jellyfish:

Capricious jellyfish appear angry ...

On the one hand, we recognize the mythical image of the jellyfish, and at the same time we clearly goes about primitive marine animals that stick standing ships. Such a visibility of the image can be explained by the idea of \u200b\u200bpoem: if we assume that the "fifth element", which man created, is the time that time is the strongest of elements capable of breaking the three-dimensional space, then with such an understanding of the fifth element, the motive of eternity, life in Eternity in which all real and past times fit (as well as the future). Images of acropolis and jellyfish are organically included in the structure of the poetic "today", permeated cultural "always".
Apparently, it is "Admiralty" and "Tennis" it is possible to consider as swivel for an antique theme in the works of Mandelstam. It is here that Mandelstam opens the opportunity for "recognition" in the day of today's "Ancient Day", it is here that an alloy of antiquity and modernity arises. At the same time, the border between the main and auxiliary images is erased: antiquity ceases to be exclusively the source of "jewelry" and becomes the subject of the close attention of Mandelstam.
The process of "recognition" (term S.A. Oshherov) is becoming the "Optional" poem in the poem "On the times of simple and gross" mainstreaming the main character in the surrounding world of the antique epoch. The noise of horse hoofs reminds the poet "On the times of simple and coarse"; Entering the "Auru" of this memories, the poet "learns" in the yawning of the gatekeeper image of a Scythian, which, as it were, clarifying to characterize the time that Mandelsht says: this is the links of Ovid. Thus, although externally, the poem speaks of the world, modern Mandelstam, but the meaningful severity is clearly transferred to the "auxiliary" reality of the Ovid era. In the consciousness of the poet, the meaningful association arises, the poet "recognizes" the semantic fragments close to him and "puts" them into reality, while more extending to the "to" the world:

Recalling your image, Scythian.

This poem is close to the thought of the poem "I did not hear the stories of Osian ...", written, however, on the "Celtic-Scandinavian" material (1914):

I got a blissful inheritance -
Other people's singers wandering dreams;
Your relationship and boring neighborhood
We despise obviously free.

And not one treasure, perhaps,
Bypassing grandchildren, to the greatness of the
And again scald someone else's song will put
And how to say her own.

In the article "On the interlocutor", Mandelstam wrote about what to write for himself - madness, contact the neighbor - vulgarity, it is necessary to write for an unknown long-distance reader, which fate will be sent, and it is necessary to be such a addressee of the past poets.
The place of antiquity in the semantic space of the poet is gradually changing, it becomes closer to the poet. This provision was reflected in the poem "Nature - the same Rome ...". The first phrase "Nature is the same Rome and reflected in it" Elliptic: Nature is compared with Rome, and at the same time we learn that in Rome itself you can see the reflection of nature.
Rome is a metaphor of power, power. For Mandelstam Rome, according to Richard Pshbylsky, - "The symbolic form of culture. Myth Rome is the work of the joint efforts of many generations, who wanted to free a person from the fate, drawn by the stars, and turn the dust to the source of constant revival. This victory over the fate, over time The ability to turn Rome into a fixed point of the world, to an uncomplicable Eternal Center of Being. That is why the symbolic Rome allows a person to solve the mystery of existence. "
As the poet understood this symbol, we can learn from the poem written in 1914:

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.

And in this poem, the image of Rome is in equilibrium with the "person in the Universe". These two images are equally loaded. Despite the fact that the life of Rome is denied in the first stanza, in the second stanza it turns out that the life of "without Rome" loses its meaning:

They are trying to master the kings,
Priests justify the war
And without him contempt worthy
Like pitiful litter, houses and altars!

The Roman theme develops in the poem "with a cheerful ringer to graze herds ...". It should be noted that this poem belongs to the group of poems ending the "stone", as if summarizing its result. Now Rome for the poet is the newly acquired homeland, the house. All poem is built on "recognition".

Yes, it will be in old age sorrow my light:
I was born in Rome, and he returned to me;
I was a good wolf's autumn,
And - Month of Caesar - I smiled Augustus.

In this poem, the self-defining of Mandelstam with ancient culture has gone so far, which gave the opportunity to V.I. Terrace to argue that it is written on behalf of Ovid. Numerous actual arguments made by the researcher as evidence of this point of view, still must be taken with a well-known amendment: considering the substantial biscordability of other "antique" poems of Mandelstam, it is impossible not to make a reservation: the poem is written on the face of Mandelstam, "recognizing" in itself Ovid.
This poem is adjacent in some sense and mentioned already poem "insomnia. Homer. Tight sail ...", distinguished from most of the "antique" poems "stone". Differences are several. First, in the poem, there is actually no moment of external perception of the surrounding world, etc., the moment, almost mandatory in previous poems, since it was the "recognition of ancient realities in the realities of this" recognition. Secondly, in this poem, almost the only time is the external motivation of appeal to antiquity: the poet during insomnia reads Homer. At the same time, the poem becomes a connection point to a single node of several key to the "stone" motifs: speeches and silence, seas, antiquities, love. As a result, the poem becomes reflected on the cosmic role of love:

And the sea, and Homer, - everything is moving with love.

Thus, "insomnia ..." is undoubtedly belonging to the number of final poems "stone" (along with the already mentioned "with a funny rye ..." and "I will not see the famous Fedry ..."), in which the desire is reflected The poet see the reality through the eyes of an antiquity man - the desire defining how already said this period of Mandelstam's creativity.
Interestingly, the poet seems to be refused by Homer in favor of the sea:

Who to listen to me? And here Homer is silent,
And sea black, watious, noise
And with a serious roar approaches the headboard.

This choice can be interpreted as a symbolic refusal from an unnecessary more "assistant": the fact that the Mandelstam could only see only with an antique author, it became so close to him that he no longer needs a similar intermediary. At the same time, this acquisition is associated with an acute feeling of the inaccessibility of the "classic" perception of the world, expressed in the last poem "Stone" - "I will not see the famous Fedry ...". The last phrase of the collection becomes nostalgic:

When Greek saw our games ...

How to name this sump edge? -
We will reply: Come on
Let's call him Armageddon
"Armageddon" A. Kortnev

In the collection "TRISTIA", antiquity becomes the center of the poetic world of Mandelstam. L.Ya. Ginzburg wrote: "In the collection" Tristia "" classic "Mandelstam finds its completion ... Hellenic style does not serve the image of one of historical cultures, it becomes copyright style, author's speech, accompanying the whole poetic world Mandelstam. "
Title name, according to S.A. Oshserova, "Association has caused from the Russian reader primarily from Elegy from the Ovidy book of the same name, known under the conditional name" Last Night in Rome ". On Ovida also indicates the" Science of Love "(called Elegy as an antithesis of" Love Science "), and" Proponal Complaints "(Ovida is talking about ritually dissolved in mourning of the hair of his wife), and" cock night "; the first line of Elegy" Cum Subit Illius Tristissima Noctis Imago "-" just for memory will come that night the saddest image "- Mandelstam quotes himself In the article "Word and Culture." This collection is even more cyclically, the poem is even more than in the "stone", are related to each other. The collection of the collection is explained by the special attitude of the poet by the way, to the image. Repeating from the poem to the poem, the word carries the word Already acquired meanings. Zhirmunsky wrote: "Mandelstam loved to connect in the form of a metaphor or comparison the most distant concepts." Tynanov a little later examines the emergence of these countries. MEETINGS: "Tint, coloring words is not lost from verse to verse, it is concentrated in the subsequent ... These strange meanings are justified by the passage of all poems, the move from the shade to the shade, leading in the end to the new meaning. Here, the main point of the work of Mandelstam is the creation of new meanings. "The fact that Tynyanov watched within one poem, the later researchers - Taranovsky, Ginzburg - distributed to broader contexts.
So, the word carries a certain meaning, painted from the already created contexts. Moreover, in the "stone" the poet uses the memory of "other people's" contexts, often directly called ("Charles Dickens ask.") In Tristia, the word accumulates the mostly sense accumulated in the previous poet poets.
All verses "Tristia" are somehow related to each other. It is interesting to note that the poet emphasizes the connection between the collections, ending with the "Stone" poem "I will not see the famous Fedry ..." And starting the "Tristia" poem dedicated to Fedre: "How these covered ..." This poem is a variation on The topic of the first monologue Fedra from Rasin tragedy. Three Two-Films of the Rasin tragedy translated by a yambic gecmeter are interrupted by comments by an ancient choir in eight-stranded choreans. Criminal love Fedry, captured by death and blood, concludes the basic topics of the collection. For the first time, the motif of the Black Sun, the funeral.
So the collection includes a way of death. The concept of "transparency" is bonded with the image of an ancient Aida (and wider death), and at the same time - St. Petersburg.

In Petropol transparent we will die
Where the prosepine is owned over us.

At the same time, transparency can be explained and "materialist":

I'm cold. Transparent spring
In the green Pooh Petropol dresses.

"Transparent Spring" - time when the leaves are just started to bloom. These two poems are adjacent to, and therefore Prosepina turns the spring Petersburg in Aid - the kingdom of the dead, for which the transparency property is enshrined. Confirmation of this connection - in the poem "still far asphodel ...": "Asfodeli - pale flowers of the kingdom of shadows, transparent spring asphodel - care to AID, to death." (Observers); In the poem of 1918 we find:

On terrible height wandering fire
But isn't the star flickering?
Transparent star flickering fire

The named trinity is transparency - Petersburg - aid (death) - becomes a single semantic space of many works, and the motive of death is found in almost all poems of the collection.
It is important to note that death for Mandelstam - not just " black hole", End of everything. The king of death has its own cultural and semantic structure: this is also the world, although the corresponding painted in the oppressive, dark and at the same time transparent, disembodied tones; the world in which there is an antique nominal - Proserpine, summer. At that same time this world is extremely poor, in every possible way as compared to the "world of living"; the Genesis of the death of death is the existence of shadows. Due to the fact that this is still being, the thought is able to look into the kingdom of death, to imagine that there, and after To live with this idea, with the consciousness of your doom.
The revolution, as he foresaw in 1916, turns over the world, lifting it into the world of death. And in the poem of 1918, the prediction from the poems of two years ago is repeated almost literally, but already as they came true:

Your brother, Petropol, dies.

We draw attention to the fact that Petersburg is called the ancient name "Petropol". This is a symbol of a leaking high culture, a very expensive poet part of that world, of which cultural space, whose death observes Mandelstam.
In the poem "Cassandra" the poet more openly declares the loss of "total":

And in December of the seventeenth year
All lost we, loving:
One robbed the will of the people
Another robbed himself.

This poem is devoted to Akhmatova, but in the context of other compilation poems, it acquires another level of interpretation. In fact, "Farewell to Culture" continues here.
The poem "Venetian life, gloomy and fruitless ..." - about death is not only Russian, but European, world culture. It begins with a dream and death: "A man dies on the theater and at the idle evening," but it ends with the fact that "everything passes", including death, " man will be born", and in the mirror flickering Vesper, a double-lit star - the morning and evening.
The idea of \u200b\u200bthe "eternal return" cycle is for Mandelstam the last support in his opposition to chaos reality. In the center of this cycle - a timeless point, "where time does not run", the place of peace and equilibrium. For Mandelstam, it is associated with the Golden Age, Greek Islands of Blessed. Hope for a rest finds an expression in the cycle of poems, headed by two Crimean poems - "golden honey jet ..." And "on the stone spurs of Piery ..." (1919). The first poem begins with a symbol of stopped time:

Golden honey jet from a bottle flowed
So for a long time ...

A peculiar signs of the frozen time of the ancient Taurida become "White Columns", by which the characters - the poet and the owner of the estate - "went to watch grapes"; "Everywhere Bahus service", "smells of vinegar, paint and fresh wine from the basement," and nothing resembles about the twentieth century, revolution and so on. Silence is an indispensable attribute of this world:

Well, in the room white, like a spiner, stands silence ...

With the image, the appearing image of Penelope associatively connected. She, as you know, also tried to "stretch" a husband's waiting time with needlework:

Remember, in the Greek House, loved by everyone -
Not Elena - Other - how long did she embroider?

The latter phrase of the poem naturally introduces the image of Odyssey: "Odyssey returned, the space and the full time." It can be assumed that the poet identifies with a returning home of himself, who has seased after a long search of peace, who has found the embodiment of Hellenism, an obsolete space proportionate to man, "in rocky Taurida". We note and change priorities: not Elena beautiful, forcing men to fight, and Penelope, patiently waiting for her husband - here's a new ideal of a woman.
The second key poem of the cycle, "on the stone spurs of PIERE", according to the observation of M.L. Gasparova is a "set of reministences from the Rannhertic lyrics poets." There is no "external world", time and place of poem - the eternal spring poetic holiday, the poetic utopia, the "islands of blissful", or, as they say in the poem, "Holy Islands", correlated with the "archipelago", that is, islands in Ionical sea.
This poem contains many images, key to the entire collection. So, V.I. The terraces indicates the image of a hardworking bee as a metaphor of the poet, and, accordingly, on the image of poetic creativity as a "sweet honey":

To, like bees, blinds blind
We were presented with ionic honey.

The action takes place on the island of Lesbos, as evidenced by the mention of Safo and TerPandra - the first famous poet And the musician born on this island. Mandelstam depicts the era of the origin of art, and the symbol of this is the turtle-lira, lying on the sun and waiting for the terboardfore. You can not remember in connection with this the poem "Silentium", since we were again at the time of the name of the word. However, the ratio of the poet by this time is already different. If for an early Mandelstam preferably silence, then in this poem, the time when "the museum of the museum was drove on the stone spurs of Piery," perceived as a utopia, a beautiful "somewhere." This utopia is marked by a set of attributes of "Hellenism": it is "honey, wine and milk", and "cold crystal", and such lines stand out on the symbolic background of the entire poem with their earthly character:

The high house built a deck carpenter,
On the wedding of all dismissed chickens
And stretched the shoemaker awkward
On the shoes all five oxide skins.

For poems of this cycle, the mention of certain substances is characteristic: honey, wines, wax, copper, and so on. It can be assumed that this reality for Mandelstam was opposed to the carelessness of the world of shadows, the world of death. The mention of them becomes so characteristic that some poems, in which there are no ancient names, are still perceived as associated with antiquity (for example, "sisters - gravity and tenderness - your signs are the same ...")
A peculiar point of intersection of a variety of semantic lines of the collection becomes the title poem "Tristia" ("I studied the science of parting ..."). The poem consists of two parts, externally in no way correlated with each other. The keyword of the first part is "parting", and in the context of the entire poem, it should be perceived not only as parting a person with a person, but also a person with a certain "old life". It is not by chance that a rooster is mentioned three times in two stanches. It can be said that this part of the poem is correlated with those verses of the collection, in which we are talking about the world of death, since the action takes place in the "last hour of Wigili Urban".
The second part is closer to the "Hellenistic" poems of the collection. Here we find and the image of a needlework ("shuttle snuffs, spindle buzz"), and a frank declaration:

Everything was inserted, everything will repeat again,
And sweets we only recognize the moment.

Interestingly, anti-wax and copper is deployed in this part of the poem. As already mentioned, these are peculiar primary elements of the obscene, human world. At the same time, they turn out to be involved in a different much deeper reservoir of being. So, wax, by virtue of its transparency, becomes an instrument of divination "On Greek Ereb", that is, Aida. At the same time, the wax is an affiliation of the Women's World, as opposed to copper, which acts as a male world belonging (it should be noted a thin game of the grammatical category of the genus: "Wax" - Male Rod, as the embodiment of the Women's World and "Copper" - feminine genderlike male embodiment).
Copper and wax not only opposed to each other, but also in a certain sense is identical:

For women wax - what is copper for a man.
Only in battles falls lots,
And they are given, guessing to die.

Thus, a complex system of co-and opposition is built: the wax as a weapon of fortune telling gives women the same thing that men copper as a weapon, but it is involvement in another world (for women to male and on the contrary; apparently, the morphological inversion is explained above) But for those and other touch to someone else's world means death.
So, Mandelstam hopes that the lifeful force inherent in the simple human existence will allow to overcome the carefrequency of the kingdom of Persephone. The death of culture has come, but life continues. And even if for life it is necessary to pay for oblivion, then this is a worthy price for the found land:

We will remember both the Letyan chance,
That ten heavens we had the Earth.

With the motive of oblivion, one of the most famous poems of Mandelstam "Swallow" is connected. In fact, all the poem is a complaint in the loss of ability to remember (find out). The poet claims itself to the world of shadows, because it is deprived of this ability:

And mortal power is given to love and find out
For them and the sound in the glands
But I forgot what I want to say
And the thought is infertile in the pane of the shadows will return.

But the poet leaves the world of dead, envelope ability to speak. This step is associated with the return to Petersburg:

In St. Petersburg, we will come down again -
As if the sun we buried in it -
And blissful, meaningless word
For the first time I will say.

The process of returning to life can not be not associated for Mandelstam with the myth of ORFEE and EVRIDIK, so in poems that celebrated this line, "in St. Petersburg we will reach again ..." And "a little flickering the ghostly scene ..." These names are mentioned. But simultaneously with the return to life, Mandelstam arises a feeling of theatricality of what is happening. It is significant that the Mandelstam of the "Stone" period, the circumstances of the "recognition" of the ancient world in the world in the world, at the same time came to a feeling of theatricality, artificiality of this real world.
The poem "slightly flickers the ghostly scene ..." I also wonder what Mandelstam is first talking about the special responsiveness of the Russian language:

Felichery of Italian speech
For me native language,
For it mysteriously brands
Alien Harp Spring.

A peculiar example of such interpenetration of ancient and Russian is a poem "When the urban goes to the Moon's stanits ...". On the one hand, this is the very case when there is not a single ancient name in the poem, but the motives associated with the "antique" verses of the collection are forced to perceive it as a continuation of an ancient topic. However, the first line of the second stanza "and crying a cuckoo on his stone tower ..." It makes you remember about the "Word about Igor's regiment" - about crying Yaroslavna. So the ancient Russian epos turns out to be part of his Hellenistic world for Mandelstam.
So, the antique and "barbell" poems of the Tristia compilation can be interpreted as a supertext, talking about the premonition of loss and loss by the poet of antiquity as a world of high culture and on the subsequent acquisition of the "Hellenistic" world in the simple human exement, in the elements of the Russian language.
These poems form a certain core, a collection of the collection, and other poems that are not associated with antiquity are sent to them, but using the language formed by antique verses. This feature of the poetics of Mandelstama (and on the material it is "Tristia") also noted Yu.N. Tynanov in the already quoted article "Parish": "An equivalent to each other, a well-known melody, the words are painted with one emotion, and their strange order, their hierarchy is made mandatory ... These strange meanings are justified by the passage of all poems, the move from the shade to the shade, leading in the end to a new sense. Here the main point of the work of Mandelstam is the creation of new meanings. " It is worth adding: the creation of new meanings occurs and when moving from poem to the poem.
Antiquity itself becomes the "tongue" of the poet, since Mandelstam builds albeit and not absolutely logical, but holistic personal mythology (however, no mythology, except for purely rationalistic, is not the dead, it was not logical). In this mythology there is a place for the kingdom of life and death with the inhabiting gods and heroes (Persephone, Athena, Cassandra, Orpheus and Euridic, Antigone, Psyche); Blessed Islands of Eternal Spring, belonging to poets and artisans; There is a place and people guessing about their participation in this world in accordance with the data of the lot (wax and copper myths), or who calmed themselves, who reconciled with the world around them (like Penelope and Odyssey). Time in this mythological space, in full compliance with Plato, cyclically, and the process of creativity, like love, is recognition (Wed. Platonovsky definition of knowledge as a recall).
This world is sometimes extremely cruel, the existence in it has to pay, but one cannot deny one: his vitality. There is no allegorical coldness of the antiquity of classicists, rather this is characteristic of modernism an attempt to resurrect the past, return the lost, repeat said, making it new, unusual, even incomprehensible, but alive, saturated flesh and blood. It is unlikely that the collection is hardly ends with a cycle of poems dedicated to the love of the poet to O.N. Arbenina - love is quite carnal (see, for example, a very unusual frankness and openness of the feeling of the poem "I am etiful with others ..."). Life wins; Culture leaves life, leaving the "blissful, meaningless word", which becomes for Mandelstam by the way to life. Was the time of hope of the poet for the return of "forgotten"?

Enemies retreated to the river,
and you can easily smoke
Forget about stupid marches
and polka dust ...
"Jazz Club" A. Kortnev

The next era was reflected in verses placed in the last printed at the Life of Mandelstam Collection of poems. "Poems 1921 - 1925" retain the memory of the revelations of previous epochs, primarily about the open poet of the "Hellenistic", human-minded world. But the place of remote Taurida is occupied by the Russian village: hay, wool, chicken litter, Roger - these are the "Povnovnisters", of which human life is developing. However, the life of the village for Mandelstam is no less alien and exotic than the life of ancient Taurida. He is trying to find a way to comprehend this life, having perceived it as he perceived the forms of ancient culture, penetrating from the outside to the organizing center. But his main tool, the poetic word, increasingly brings it. Mandelshtam is sharply experiencing the inconsistency of the "Eolian wonderful building" chaos reality:

Not his scales of the furry
Against the wool of the world, we sing,
LIRUE WORK, CLOSED SPECIAL
Fold the cosmatic manroom!

The connection of all living things inexorably disintegrates; It is impossible to keep it in borrowed forms, the only hope is to find a new, "native" word:

From the nest of fallen chicks
Kosari bring back.
From burning breaking rows
And I will return to your native speaker

To pink blood communication
And grass Sukhoruki ringing
Slap: alone - staging,
And the other - in a zai dream.

This also appears another "primaryness" - blood. Sacrificial blood should be made up of "Two centuries of the vertebral";

To snatch the eyelids from captivity
To new world to begin,
Knotted knee days
You need to bind the blat.

A poet, like Hamlet, sees his mission to introduce the eyelids into the natural sequence of events from which he was broken, and at the same time he feels its impotence to perform the purpose. Mandelstam is trying to find the path to the "native speech", referring to the speech of Tyutchev and Lermontov ("Concert at the station", "Grimbal Ode"), Pushkin ("Halflaux", resembling a moment of inspiration depicted in the "Autumn"), Derzhavin ( "Styling Oda") - but more and more removed into the riddle, shortness, silence. His poetic sense of life does not find support in the establishment of centuries-lord, century-beast. Life is not even the theater, but the Gypsy Tabor; Instead of marine foam - Foam lace:

I will rummage on the Tableo Street of the Dark ...

And only the light that in the star barbed untruth!
And life sails the theater capping foam,
And no one to pray: "From the Tabor Street of the Dark ..."

Poet Osip Mandelshtam posts for five years - until 1930.

* * *

When the last bummer comes
I will go to the world and I will become a pillar.

How can I be to be yourself ...
"The last bummer" A. Kortnev

It will be returned to Mandelstam when he will leave his attempts to "become with a century on a par", when he understands that his poetic power is not in the proximity to life, but in approaching it. To find this strength, he must be removed from life, "Himself lips, a contradiction". Mandelshtam makes this last step, creating verses in which an expression finds the feeling that organizes all his life is a feeling of fear. In modern Mandelstam, this feeling is unnamed: no one decides to admit that he is afraid. Calling him, the poet simultaneously pulls himself from the flow of life and turns to him. He does not get rid of fear - he overcomes him. The energy of overcomed by fear, as ever the energy of love, gives it the power to overcome and silence.
The fear makes him dream of salvation from the "Century-Wolkodawa", hoping on the "hot fur coat of the Siberian steppes" - but, except for fear, it says the consciousness of their own superiority over the failed killer:

Because it's not a wolf by my blood
And only an equal will kill me.

He throws the age of a challenge ready to everything. "Under the Scary Secret" he reads more than dozen people:

We live, under your no si-country ...

The poet is ready for everything - but not to the fact that the eyelids. Mandelstam was preparing to die. But the living incarnation of fear will step up to kill the poet - Stalin will try to break him. In part, he will succeed: Mandelstam has never been a hardened fighter capable of a long standoff force, confrontation, most likely doomed to defeat. Man off automatism death penalty, Can't not feel confused. Such a confusion covers Mandelstam: he is trying to thank the "Savior", then provoke it to complete the case. But the feeling that fear retains his power over the epoch, and not only over the country, but also on Europe, which seemed once a refuge of culture ("in Europe is cold. In Italy, the power is disgusting, as the hands of Brand-roll"), will not leave Mandelstam to the very death; The ultimate attempt to express all the horror filling the world will become unfinished "poems about an unknown soldier." Death will not make himself wait.
All creativity of Osipa Mandelstam is a monument, no, just the memory of human courage. This is not the confident courage of a mighty person, who is not afraid thanks to his strength; This is not the insane courage of the fanatics protected from fear of his faith; This is the courage of a weak, overcoming its weakness, this courage of a coward overcoming its cowardice. Maybe none of the Russian poet knew that "fears, sorodin souls," to die from fear to fear. Silence was the lot of Mandelstam, his fate; But his speech, his poetry - evidence of the human ability to overcome his fate.
Detect your feelings - always means to take a chance. Let the heart are not given to "express themselves" in its entirety; But if you do not try to do it, no one ever learns that you had a heart. Osip Mandelshtam sacrificed life, but retained its existence for us - about many of his contemporaries, who preserved life, can we say that they existed? Let sometimes it seems that the existence of one person is insignificant; But without this little, can the great exist?
In the poetry of Osip Mandelstam a lot of riddles. But she is alive, while there is someone who is trying to solve them. Each new reader revives some new part of its world - including this part in his own world. Can we do more for a person than let it be part of us?

... and we, as a flock of fish, swim into the light,
And the fishermen of their calls by name.
We compose farce, but it remains to us
Ten more reefs, still dozen phrases ...
"I believe it" A. Kortnev

So I lie!
Waste!
"Wolf and Yagnox" I. A. Krylov