{"id":1775,"date":"2023-08-10T18:52:17","date_gmt":"2023-08-11T01:52:17","guid":{"rendered":"https:\/\/live-usc-dornsife.pantheonsite.io\/alexander-zholkovsky\/?page_id=1775"},"modified":"2024-01-04T14:06:30","modified_gmt":"2024-01-04T22:06:30","slug":"gasp-bunin","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/gasp-bunin\/","title":{"rendered":"IN MEMORAM M. L. GASPAROV: A POETIC OFFERING"},"content":{"rendered":"\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n

Ivan Bunin\u2019s \u201cWithout Me\u201d; 1916)<\/em><\/p>\n

Alexander\u00a0 ZHOLKOVSKY (USC, Los Angeles)<\/p>\n

 <\/p>\n

What follows is an analysis of an infinitive poem by Bunin, from 1916, about death \u2013 my poetic offering to the memory of M.L. Gasparov, who often used Bunin’s poetry in his work.<\/p>\n

In Bunin\u2019s oeuvre infinitive writing is rare. But in this poem, three infinitive fragments (\u0437\u0430\u043b\u0435\u0442\u0430\u0442\u044c, \u043f\u043e\u0440\u0445\u0430\u0442\u044c, \u0448\u0443\u0440\u0448\u0430\u0442\u044c \u0438 \u0442\u0440\u0435\u043f\u0435\u0442\u0430\u0442\u044c \u2014 \u0441\u043c\u043e\u0442\u0440\u0435\u0442\u044c \u2014 \u043c\u0430\u043d\u0438\u0442\u044c<\/em>), connected by an anaphora (\u0418 \u0442\u0430\u043a \u0436\u0435 \u0431\u0443\u0434\u0435\u0442…<\/em>),comprise two of the three quatrains. In fact, the anaphoric leitmotif starts forming already in the 1st quatrain (\u0412\u0441\u0435 \u0442\u043e \u0436\u0435 \u0431\u0443\u0434\u0435\u0442:…<\/em>); it comes to dominate the 2nd and the 3rd quatrains and is then tactfully elided in the ending (\u0418 \u043c\u043e\u0440\u0435 <…> \u043c\u0430\u043d\u0438\u0442\u044c<\/em>…). Thus it accompanies the central theme of death, which is characteristic of infinitive poetry in general, but is presented here from a special angle, emblematized by the poem\u2019s original title \u2013 \u201cWithout Me.\u201d<\/p>\n

The infinitives of the 2nd quatrain describe the lively movements of a butterfly that will continue after the death of the lyrical persona. Butterflies can symbolize the human soul as well as the fleeting nautre of life; in infinitive poetry they often embody the object of the lyrical persona\u2019s metamorphic longing. Here the butterfly, alive and clinging to the blue ceiling \u2013 in a foreshadowing of the azure of the sky and the sea in the next quatrain \u2013 is a link, a mediation between the soul of the freshly departed \u201cI,\u201d still within the confines of his room, and the completely uninhabited outer expanse into which everything in the poem eventually dissolves.<\/p>\n

In the 3rd quatrain, the physical movement dies down. On the formal plane, this change is paralleled by the switch from alternate rhymes (abab) to couplets (aabb) and from contrastive vocalization in\u00a0A-O, A-U<\/em>\u00a0to the stabilized monotonous vocalization in\u00a0O<\/em>. At the same time, the activity of looking,\u00a0\u0441\u043c\u043e\u0442\u0440\u0435\u0442\u044c<\/em>, one of the favorite verbs of infinitive poetry, is predicated on one of its favorite nouns (\u043d\u0435\u0431\u0430 \u0434\u043d\u043e<\/em>) \u2013 but with a drastic difference: what has usually been the object of wistful gazing becomes its subject. The final infinitive\u00a0\u043c\u0430\u043d\u0438\u0442\u044c<\/em>\u00a0plays with the human yearning for the virtual other mode of being, characteristic of infinitive poetry, even more provocatively: by predicating it, because of the persona\u2019s passing, on the external inanimate object of attraction turned grammatical subject (\u043c\u043e\u0440\u0435<\/em>), while pointedly omitting the implied animate grammatical object (\u043c\u0430\u043d\u0438\u0442\u044c\u00a0\u043a\u043e\u0433\u043e<\/strong><\/em>).<\/p>\n

The poem\u2019s infinitive structures iconize its central theme: \u2018After [my] death the world will seem to remain the same but will actually be different.\u2019 All six infinitives are brought under a common frame (\u0418 \u0442\u0430\u043a \u0436\u0435 \u0431\u0443\u0434\u0435\u0442..<\/em>) and thus seem to form one homogeneous series,\u00a0<\/strong>as is the rule in infinitive writing. But they actually refer to \u2013 are grammatically linked to \u2013 different subjects(\u0431\u0430\u0431\u043e\u0447\u043a\u0430, \u0434\u043d\u043e \u043d\u0435\u0431\u0430, \u043c\u043e\u0440\u0435<\/em>). This sequence of subjects begins as early as the 1st quatrain (\u0441\u0442\u043e\u043b, \u0441\u043a\u0430\u043c\u044c\u044f, \u0414\u0430 \u043e\u0431\u0440\u0430\u0437, \u0434\u0440\u0435\u0432\u043d\u0438\u0439 \u0438 \u043f\u0440\u043e\u0441\u0442\u043e\u0439<\/em>). And these subjects are quite tangible and graphic physical entities, rather than the implied, unnamed, grammatically disembodied subject of the usual infinitive series.<\/p>\n

In other words, under the pressure of the theme the poem mutates, as it were, into a certain opposite, anti-infinitive mode. Bunin could have adhered to the archetype of Khomiakov\u2019s \u201cZhelanie\u201d (\u201cA Wish,\u201d 1827):<\/p>\n

\n\n\n\n
\u0425\u043e\u0442\u0435\u043b \u0431\u044b \u044f\u00a0\u0440\u0430\u0437\u043b\u0438\u0442\u044c\u0441\u044f<\/strong>\u00a0\u0432 \u043c\u0438\u0440\u0435,
\n\u0425\u043e\u0442\u0435\u043b \u0431\u044b \u0441 \u0441\u043e\u043b\u043d\u0446\u0435\u043c \u0432 \u043d\u0435\u0431\u0435\u00a0\u0442\u0435\u0447\u044c<\/strong>\u00a0<…>
\n\u0418\u043b\u0438 \u043b\u0443\u0447\u043e\u043c \u0437\u0430\u0440\u0438 \u0440\u0443\u043c\u044f\u043d\u043e\u0439
\n\u0421\u043a\u043e\u043b\u044c\u0437\u0438\u0442\u044c<\/strong>\u00a0\u043f\u043e \u043f\u043b\u0435\u0449\u0443\u0449\u0435\u0439 \u0432\u043e\u043b\u043d\u0435 <… >
\n\u0416\u0438\u0442\u044c<\/strong>\u00a0\u043b\u0430\u0441\u0442\u043e\u0447\u043a\u043e\u0439 \u043f\u043e\u0434 \u043d\u0435\u0431\u0435\u0441\u0430\u043c\u0438,
\n\u041a \u0446\u0432\u0435\u0442\u0430\u043c\u00a0\u043b\u0430\u0441\u043a\u0430\u0442\u044c\u0441\u044f<\/strong>\u00a0\u043c\u043e\u0442\u044b\u043b\u044c\u043a\u043e\u043c <..>
\n\u041a\u0430\u043a \u0441\u043b\u0430\u0434\u043a\u043e \u0431\u044b\u043b\u043e \u0431\u044b \u0432 \u043f\u0440\u0438\u0440\u043e\u0434\u0435
\n\u0422\u043e \u0436\u0438\u0437\u043d\u044c \u0438 \u0440\u0430\u0434\u043e\u0441\u0442\u044c\u00a0\u0440\u0430\u0437\u043b\u0438\u0432\u0430\u0442\u044c<\/strong>,
\n\u0422\u043e \u0432 \u0433\u0440\u043e\u043c\u0430\u0445, \u0432\u0438\u0445\u0440\u044f\u0445, \u043d\u0435\u043f\u043e\u0433\u043e\u0434\u0435
\n\u041f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u043e \u043d\u0435\u0431\u0430\u00a0\u043e\u0431\u0442\u0435\u043a\u0430\u0442\u044c<\/strong>!<\/td>\n		I would like\u00a0to spill\u00a0<\/strong>[myself]\u00a0out\u00a0<\/strong>into the world,
\nWould like\u00a0to flow<\/strong>\u00a0with the sun in the sky <..>
\nOr as\/like a ray of the rosy dawn
\nTo\u00a0glide<\/strong>\u00a0on a wave lapping [upon the shore] <…>
\nLive<\/strong>\u00a0as\/like a swallow in the skies,
\nTo\u00a0caress\u00a0<\/strong>flowers as a moth would <…>
\nHow sweet it would be in nature
\nNow to\u00a0spill<\/strong>\u00a0life and joy,
\nNow in thunders, whirlwinds and storms
\nTo flow round\/across the expanse of the sky!<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

Then the poem might have ended up something like:<\/p>\n

\n\n\n\n
* O, \u0435\u0441\u043b\u0438 \u0431 \u0431\u0430\u0431\u043e\u0447\u043a\u043e\u0439 \u0432 \u0448\u0435\u043b\u043a\u0443
\n\u041f\u043e\u0440\u0445\u0430\u0442\u044c, \u0448\u0443\u0440\u0448\u0430\u0442\u044c \u0438 \u0442\u0440\u0435\u043f\u0435\u0442\u0430\u0442\u044c
\n<\/strong>\u041f\u043e \u0433\u043e\u043b\u0443\u0431\u043e\u043c\u0443 \u043f\u043e\u0442\u043e\u043b\u043a\u0443 <…>
\n\u0421\u043c\u043e\u0442\u0440\u0435\u0442\u044c<\/strong>\u00a0\u0432 \u043e\u0442\u043a\u0440\u044b\u0442\u043e\u0435 \u043e\u043a\u043d\u043e
\n\u0418\u00a0\u0432\u0438\u0434\u0435\u0442\u044c<\/strong>\u00a0\u0442\u043e\u043b\u044c\u043a\u043e \u043d\u0435\u0431\u0430 \u0434\u043d\u043e,
\n\u0414\u0430 \u043a \u043c\u043e\u0440\u044e \u043d\u0430 \u043f\u0440\u043e\u0441\u0442\u043e\u0440 \u043f\u0443\u0441\u0442\u043e\u0439
\n\u041b\u0435\u0442\u0435\u0442\u044c<\/strong>\u00a0\u0437\u0430\u043c\u0430\u043d\u0447\u0438\u0432\u043e\u0439 \u043c\u0435\u0447\u0442\u043e\u0439.<\/td>\n		* Oh, if only as\/like a butterfly in silk
\nTo flutter, rustle and tremble
\n<\/strong>Against the blue ceiling <…>
\nTo look out<\/strong>\u00a0the open window
\nAnd\u00a0see<\/strong>\u00a0only the sky’s bottom,
\nAnd into the sea’s empty expanse
\nTo fly<\/strong>\u00a0with\/in an alluring dream.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

But Bunin destroys \u2013 kills \u2013 these standard expectations, while maintaining the appearance of a regular infinitive series. Moreover, from quatrain to quatrain there proceeds a gradual dissipation of the comfortable physical \u201cthingness\u201d of the grammatical subjects (room, table, bench \u2014 icon \u2014 butterfly \u2014 sky’s bottom, sea \u2014 even azure, desert-like expanse). The idea of the persona’s disappearance is also echoed by the final ellipsis of the\u00a0\u0432\u0441\u0435 \u0442\u0430\u043a \u0436\u0435 \u0431\u0443\u0434\u0435\u0442\u00a0<\/em>formula.<\/p>\n

\n\n\n\n
\u00a0\u00a0\u00a0\u00a0\u00a0<\u0411\u0435\u0437 \u043c\u0435\u043d\u044f>
\n<\/strong>\u041d\u0430\u0441\u0442\u0430\u043d\u0435\u0442 \u0434\u0435\u043d\u044c \u2014 \u0438\u0441\u0447\u0435\u0437\u043d\u0443 \u044f,
\n\u0410 \u0432 \u044d\u0442\u043e\u0439 \u043a\u043e\u043c\u043d\u0430\u0442\u0435 \u043f\u0443\u0441\u0442\u043e\u0439
\n\u0412\u0441\u0435 \u0442\u043e \u0436\u0435 \u0431\u0443\u0434\u0435\u0442: \u0441\u0442\u043e\u043b, \u0441\u043a\u0430\u043c\u044c\u044f
\n\u0414\u0430 \u043e\u0431\u0440\u0430\u0437, \u0434\u0440\u0435\u0432\u043d\u0438\u0439 \u0438 \u043f\u0440\u043e\u0441\u0442\u043e\u0439.<\/p>\n

\u0418 \u0442\u0430\u043a \u0436\u0435 \u0431\u0443\u0434\u0435\u0442\u00a0\u0437\u0430\u043b\u0435\u0442\u0430\u0442\u044c<\/strong>
\n\u0426\u0432\u0435\u0442\u043d\u0430\u044f \u0431\u0430\u0431\u043e\u0447\u043a\u0430 \u0432 \u0448\u0435\u043b\u043a\u0443,
\n\u041f\u043e\u0440\u0445\u0430\u0442\u044c, \u0448\u0443\u0440\u0448\u0430\u0442\u044c\u00a0<\/strong>\u0438\u00a0\u0442\u0440\u0435\u043f\u0435\u0442\u0430\u0442\u044c
\n<\/strong>\u041f\u043e \u0433\u043e\u043b\u0443\u0431\u043e\u043c\u0443 \u043f\u043e\u0442\u043e\u043b\u043a\u0443.<\/p>\n

\u0418 \u0442\u0430\u043a \u0436\u0435 \u0431\u0443\u0434\u0435\u0442 \u043d\u0435\u0431\u0430 \u0434\u043d\u043e
\n\u0421\u043c\u043e\u0442\u0440\u0435\u0442\u044c<\/strong>\u00a0\u0432 \u043e\u0442\u043a\u0440\u044b\u0442\u043e\u0435 \u043e\u043a\u043d\u043e,
\n\u0418 \u043c\u043e\u0440\u0435 \u0440\u043e\u0432\u043d\u043e\u0439 \u0441\u0438\u043d\u0435\u0432\u043e\u0439
\n\u041c\u0430\u043d\u0438\u0442\u044c<\/strong>\u00a0\u0432 \u043f\u0440\u043e\u0441\u0442\u043e\u0440 \u043f\u0443\u0441\u0442\u044b\u043d\u043d\u044b\u0439 \u0441\u0432\u043e\u0439.<\/td>\n

\u00a0\u00a0\u00a0\u00a0\u00a0<Without Me>
\n<\/strong>The day will come \u2013 I will disappear,
\nAnd in this empty room
\nAll will be the same: the table, the bench,
\nAnd the icon, ancient and simple.<\/p>\n

And in the same way will [there]\u00a0fly in
\n<\/strong>The colorful butterfly in silk,
\nFlutter, rustle\u00a0<\/strong>and\u00a0tremble
\n<\/strong>Against the blue ceiling.<\/p>\n

And in the same way will the sky’s bottom
\nPeer<\/strong>\u00a0into the open window,
\nAnd the sea, with [its] even azure,
\nBeckon<\/strong>\u00a0into its desert-like expanse.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":355,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1775","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nIN MEMORAM M. L. GASPAROV: A POETIC OFFERING - Alexander Zholkovsky<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/gasp-bunin\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"IN MEMORAM M. L. 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