{"id":606,"date":"2023-07-18T11:02:25","date_gmt":"2023-07-18T18:02:25","guid":{"rendered":"https:\/\/live-usc-dornsife.pantheonsite.io\/alexander-zholkovsky\/?page_id=606"},"modified":"2024-01-03T13:24:36","modified_gmt":"2024-01-03T21:24:36","slug":"bib242","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/alexander-zholkovsky\/bib242\/","title":{"rendered":"MORE KEYS TO THE LAMARCK PUZZLE AND RELATED THEORETICAL ISSUES"},"content":{"rendered":"\n\n \n \n\n\n\n\n\n\n\n
\n\n \n \n
\n\n \n

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

<\/a><\/a><\/a><\/p>\n

\u00a0<\/strong><\/p>\n

It so happens that the paper I meant to give has been published in\u00a0Voprosy literatury<\/i>[1]<\/a>\u00a0and thus needn\u2019t be presented. The advantage being that it can be used in discussing some theoretical issues that underlie my reasoning there as well as in another piece of mine on Mandel\u2019shtam[2]<\/a>\u00a0— and which also have been raised in a recent essay on Pasternak by Oleg Lekmanov and Anna Sergeeva-Kliatis in\u00a0Novyi mir<\/i>.[3]<\/a><\/p>\n

<\/a><\/strong><\/a><\/p>\n

\u00a0<\/strong><\/p>\n

1.<\/strong><\/p>\n

I will use their stance as a point of departure \u2013 a foil for my own. They argue that whereas for Mandel\u2019shtam and Akhmatova the clarifying subtexts are best sought in the world of literature, for Pasternak we better focus on facts of real life.[4]<\/a>\u00a0And they proceed to deploy three impressive cases of such\u00a0real\u2019nye komnmentarii.[5]<\/strong><\/a><\/a><\/i>\u00a0Remarkably, however, many of the adduced\u00a0realia<\/i>, are, at least in part, \u201cliterary and\/or textual facts\u201d: a biblical passage, a newspaper article, a political tract and a little-known short story by Gorky, and an infamous Soviet telegram on the occasion of an earthquake in Japan. This does not diminish the heuristic validity of looking for facts, but does remind us of the\u00a0basic textuality of written-up experience.<\/strong><\/p>\n

Also, they seem to assume that the obscure passages that need clarification by the same token hold the keys to the text\u2019s elusive meaning. A famous textbook example of such an analysis is, of course, Cleanth Brooks\u2019[6]<\/a>\u00a0reading of two puzzling images in\u00a0Macbeth<\/i>:\u00a0a naked new-born babe,\/ Striding the blast\u2026<\/i>\u00a0and \u2026the murderers,\/ Steep\u2019d in the colors of their trade, their daggers\/ Unmannerly breech\u2019d with gore.\u00a0<\/i>Each of these fragments is not just dense but actually does encapsulate, in an enigmatically paradoxical nutshell, the central theme of the play: the conflict between appearances and substance (I won\u2019t elaborate). Thus they exemplify,\u00a0avant la lettre<\/i>, Michael Riffaterre\u2019s\u00a0ungrammaticality,<\/strong>\u00a0which challenges us, by its very opacity, to uncover the in-depth\u00a0significance\u00a0<\/strong>of the poetic text.<\/p>\n

But obscurity, ungrammaticality, lack of factual data, and signals of hidden design are four logically independent phenomena and do not always coincide.<\/p>\n

Thus, Brooks\u2019 passage from\u00a0Macbeth<\/i>\u00a0is obscure, but not factually, and the solution comes from a close reading of the entire text, not from a\u00a0realnyi kommentarii\u00a0<\/i>as to the historical make-up of breeches and daggers.<\/p>\n

The two coauthors\u2019 convincing and structurally relevant interpretation of a quatrain from Pasternak\u2019s\u00a0Vakhanaliia<\/i>\u00a0cycle is, indeed, based on an illuminating fact-finding by the authors, but the passage itself is not obscure \u2013 it seems transparent on first reading.<\/p>\n

On the other hand, their\u00a0realnyi kommentarii<\/i>\u00a0to a fragment of Pasternak\u2019s\u00a0Vysokaia Bolezn\u2019<\/i>\u00a0is quite solid in itself but doesn\u2019t add much to the overall reading of the rather transparent text; nor, in fact, is it obscure to begin with, as the telegram in question is adequately paraphrased in the poem for the readers\u2019 benefit.<\/p>\n

To add a fresh example of my own, it\u2019s hard to figure out the hidden design of Mikhail Kuzmin\u2019s short stories. In one of those, \u201cShelkovyi dozhd\u2019\u201d (1918), I have been intrigued by the strange references to a horse-drawn\u00a0povozka<\/i>\u00a0and a\u00a0voznitsa<\/i>\u00a0in connection with a scene at the beach. But a couple of weeks ago the solution unexpectedly came from reading some memoirs. In light of which the\u00a0povozka<\/i>\u00a0turned out to be\u00a0kupal\u2019nia na kolesakh,<\/i>\u00a0or,in Victorian English, a\u00a0bathing machine,–\u00a0<\/i>the kind that was used to get bathers, especially women, across the shallows and out to deeper places convenient for swimming; they also provided a private space for changing.<\/p>\n

\n

\"\"<\/div>\n

\n

The mystery was gone \u2013 but this did not bring me any closer to cracking the code of the story as a whole. A fascinating\u00a0real\u2019nyi kommentarii\u00a0<\/i>in the making, which I will probably write up and publish, but, alas, no Riffaterrian cigar.<\/p>\n

In a word, in order to be\u00a0good<\/strong>,\u00a0khoroshimi<\/i>, our approaches should probably remain\u00a0different<\/strong>,\u00a0raznymi,\u00a0<\/i>fashioned for the task at hand. To open the lock, whatever fits is the key.<\/p>\n

That is my general stance. More specifically, I would also challenge the claim that Pasternak is all that different from Mandel\u2019shtam in the intertextual department.<\/p>\n

\u00a0<\/strong><\/p>\n

2.<\/strong><\/p>\n

Let me start with a \u201cfactual\u201d finding about a Mandel\u2019shtam poem, in fact, about one memorable but little studied line \u2013 in \u00ab\u0415\u0449\u0435\u0434\u0430\u043b\u0451\u043a\u043e\u043c\u043d\u0435\u0434\u043e\u043f\u0430\u0442\u0440\u0438\u0430\u0440\u0445\u0430…\u00bb (1931; \u0432\u043f\u0435\u0440\u0432\u044b\u0435 \u043e\u043f\u0443\u0431\u043b. 1961, \u043d\u0430 \u0440\u043e\u0434\u0438\u043d\u0435 1966):<\/p>\n

\n\n\n\n
\n

\u041a\u043e\u0433\u0434\u0430 \u043f\u043e\u0434\u0443\u043c\u0430\u0435\u0448\u044c, \u0447\u0435\u043c \u0441\u0432\u044f\u0437\u0430\u043d \u0441\u00a0\u043c\u0438\u0440\u043e\u043c<\/strong>,
\n\u0422\u043e \u0441\u0430\u043c \u0441\u0435\u0431\u0435 \u043d\u0435 \u0432\u0435\u0440\u0438\u0448\u044c: \u0435\u0440\u0443\u043d\u0434\u0430!
\n\u041f\u043e\u043b\u043d\u043e\u0447\u043d\u044b\u0439 \u043a\u043b\u044e\u0447\u0438\u043a \u043e\u0442 \u0447\u0443\u0436\u043e\u0439 \u043a\u0432\u0430\u0440\u0442\u0438\u0440\u044b,
\n\u0414\u0430 \u0433\u0440\u0438\u0432\u0435\u043d\u043d\u0438\u043a \u0441\u0435\u0440\u0435\u0431\u0440\u044f\u043d\u044b\u0439 \u0432 \u043a\u0430\u0440\u043c\u0430\u043d\u0435<\/strong>,
\n\u0414\u0430 \u0446\u0435\u043b\u043b\u0443\u043b\u043e\u0438\u0434 \u0444\u0438\u043b\u044c\u043c\u044b \u0432\u043e\u0440\u043e\u0432\u0441\u043a\u043e\u0439.<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

My analysis has already appeared in print (see\u00a0Fn. 2<\/strong>), so I\u2019ll briefly state how what I discovered supports my point.<\/p>\n

First off, a\u00a0fact of life<\/strong>: namely, that in 1931 the Soviet \u201cdime\u201d coin changed its look, becoming less silver, more copper and nickel-like, yellowish. As a result, Mandel\u2019shtam (and others — I cite relevant testimony) were nostalgic for the disappearing silver piece and — through it — for the silver dime of prerevolutionary yore.<\/p>\n

Secondly, a related\u00a0literary fact:<\/strong>\u00a0the existence of a venerable \u201cgrivennik topos\u201d \u2013 the tradition of writing texts about \u201cgrivennik\u201d with quite specific thematic connotations and entitling them accordingly. (I skip the details.)<\/p>\n

And, thirdly, a relevant\u00a0cultural and literary fact<\/strong>: the expression \u201caround the world with a dime in the pocket\u201d that entered Russian vocabulary in 1910s, after the French novel\u00a0Les cinq sous de Lavar\u00e8de<\/i>\u00a0[\u201cThe five sous of Lavarede\u201d] by H. Chabrillat & Paul d’Ivoi (1894) appeared in Russian translation in 1908 — under precisely that title: \u00ab\u0412\u043e\u043a\u0440\u0443\u0433 \u0441\u0432\u0435\u0442\u0430 \u0441 \u0433\u0440\u0438\u0432\u0435\u043d\u043d\u0438\u043a\u043e\u043c \u0432 \u043a\u0430\u0440\u043c\u0430\u043d\u0435\u00bb.<\/p>\n

Thus, the proverbial underwater seven eights of Mandel\u2019shtam\u2019s textual iceberg are in this case one third factual and two thirds literary, — just like in the Pasternak examples discussed by the coauthors. Adding up all these parts we get the idea of how this memorable verse line plays into the Mandel\u2019shtam\u2019s invariant theme: his famous \u201cnostalgia for world culture.\u201d<\/p>\n

<\/a><\/p>\n

Incidentally, the line doesn\u2019t appear obscure at first glance and that\u2019s probably why it hasn\u2019t attracted the attention of commentators. The art of naturalization \u2013 of making art artless \u2013 succeeded in obscuring the very obscurity of the image. The upshot being that our commentaries should elucidate not only the patently opaque passages but also the deceptively transparent ones. And the focus should be on whatever facts are relevant, whether of life or literature.<\/p>\n

\u00a0<\/strong><\/p>\n

3.<\/strong><\/p>\n

Staying with Mandel\u2019shtam \u2013 and his predilection for literary subtexts, a few words about the promised\u00a0new keys<\/strong>\u00a0to his \u201cLamarck.\u201d[7]<\/a>\u00a0My article is available, so I\u2019ll focus on its theoretical gist. The fact that the poem remains an extremely popular \u201chit\u201d among readers and scholars, calls, I believe, for a special type of approach. This kind of success cannot be accounted for by references, on one hand, to Lamarck\u2019s science and, on the other, to little-known poetic subtexts, such as the poetry of Kuekhelbeker (brought up in one influential article on the subject), even if these links are plausible. A \u201chit\u201d is usually rooted in major types of poetic discourse.<\/p>\n

\u201cLamarck\u201d reworks motifs from such magisterial texts of Russian poetry as Pushkin\u2019s \u201cThe Prophet\u201d and Lermontov\u2019s \u201cVykhozhu odin ia na dorogu\u2026\u201d With the latter it shares the meter \u2013 the trochaic pentameter, so relevant to the theme of \u201cjourney\u201d that informs the entire narrative structure of \u201cLamarck.\u201d\u00a0The poem is not only replete with verbs of motion, but is designed as a journey down the evolutionary ladder into the past — the origins of man and life itself. As a result, it taps the powerful energies of the corresponding types of narrative: Mark Twain\u2019s\u00a0A Connecticut Yankee in King Arthur’s Court<\/i>\u00a0(1889),<\/i>\u00a0H. G. Wells\u2019\u00a0The Time Machine<\/i>\u00a0(1895), Sir Arthur Conan Doyle\u2019s\u00a0The Lost World<\/i>\u00a0(1912), and the like. These are in turn rooted in the archetypal folktale and adventure-novel narratives, with their paradigms of departure, travel and (problematic) return etc., as well as more specific motifs of ladder, bridge, and others. An additional archetypal motif underlying the plot of \u201cLamarck\u201d is the journey undertaken by a disciple, often a little kid (or a grown-up transformed into a kid or a dwarf), on the orders and under the guidance of a magical Mentor\u2026<\/p>\n

All of these and some others add up to the fascinating drama of the failure to get back from the fateful journey, with which the reader easily identifies. In my article, I also document other relevant influences, among them the poetry of Mandel\u2019shtam\u2019s fellow-Acmeist Mikhail Zenkevich \u2013 his \u00ab\u0414\u0438\u043a\u0430\u044f \u043f\u043e\u0440\u0444\u0438\u0440\u0430\u00bb (1912), which was big on the time travel into earlier periods of human and animal life on earth.<\/p>\n

To repeat the theoretical point: Even when looking for relevant literary subtexts, one should focus on those that promise to explain the main thrust of the poem\u2019s esthetic effect. A Mandel\u2019shtam poem is not an encyclopedia of quotations, it\u2019s a structure, a design, a message, in this case, a powerful \u201chit,\u201d and should be commented on accordingly. (For reasons of time, I completely omit the role played by the poet\u2019s invariant motifs.)<\/p>\n

\u00a0<\/strong><\/p>\n

4.<\/strong><\/p>\n

Let\u2019s now move into Pasternak territory and produce an obscure passage that is clarified strictly and solely by identifying the right poetic subtext.<\/p>\n

Here is a fragment from his openly Pushkinian \u00ab\u0422\u0435\u043c\u0430\u00bb (\u00ab\u0421\u043a\u0430\u043b\u0430 \u0438 \u0448\u0442\u043e\u0440\u043c\u2026\u00bb, the opening poem of the cycle \u201c\u0422\u0435\u043c\u0430 \u0441 \u0432\u0430\u0440\u0438\u0430\u0446\u0438\u044f\u043c\u0438\u201d):<\/p>\n

\n\n\n\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0… \u0418 \u0433\u0443\u043b, \u0438\u00a0\u043f\u043e\u043b\u044b\u0445\u0430\u043d\u044c\u0435<\/strong>
\n\u041e\u043a\u0430\u0447\u0435\u043d\u043d\u043e\u0439 \u043b\u0443\u043d\u043e\u0439,<\/strong>\u00a0\u043a\u0430\u043a \u0438\u0437 \u043b\u043e\u0445\u0430\u043d\u0438,
\n\u041f\u0443\u0447\u0438\u043d\u044b. \u0428\u0443\u043c \u0438 \u0447\u0430\u0434 \u0438 \u0448\u0442\u043e\u0440\u043c \u0432\u0437\u0430\u0441\u043e\u0441.
\n\u0421\u0432\u0435\u0442\u043b\u043e \u043a\u0430\u043a \u0434\u043d\u0435\u043c. \u0418\u0445 \u043e\u0437\u0430\u0440\u044f\u0435\u0442 \u043f\u0435\u043d\u0430.
\n\u041e\u0442 \u044d\u0442\u043e\u0439 \u0442\u043e\u0447\u043a\u0438 \u0433\u043b\u0430\u0437 \u043d\u0435\u043b\u044c\u0437\u044f \u043e\u0442\u0432\u043b\u0435\u0447\u044c.
\n\u041f\u0440\u0438\u0431\u043e\u0439 \u043d\u0430 \u0441\u0444\u0438\u043d\u043a\u0441\u0430 \u043d\u0435 \u0436\u0430\u043b\u0435\u0435\u0442 \u0441\u0432\u0435\u0447
\n\u0418 \u0437\u0430\u043c\u0435\u043d\u044f\u0435\u0442 \u0441\u0432\u0435\u0436\u0438\u043c\u0438 \u043c\u0433\u043d\u043e\u0432\u0435\u043d\u043d\u043e.
\n\u0421\u043a\u0430\u043b\u0430 \u0438 \u0448\u0442\u043e\u0440\u043c. \u0421\u043a\u0430\u043b\u0430 \u0438 \u043f\u043b\u0430\u0449 \u0438 \u0448\u043b\u044f\u043f\u0430.
\n\u041d\u0430 \u0441\u0444\u0438\u043d\u043a\u0441\u043e\u0432\u044b\u0445\u00a0\u0433\u0443\u0431\u0430\u0445<\/strong>\u00a0\u2014\u00a0\u0441\u043e\u043b\u0435\u043d\u044b\u0439 \u0432\u043a\u0443\u0441<\/strong>
\n\u0422\u0443\u043c\u0430\u043d\u043d\u043e\u0441\u0442\u0435\u0439<\/strong>. \u041f\u0435\u0441\u043e\u043a \u043a\u0440\u0443\u0433\u043e\u043c \u0437\u0430\u043b\u044f\u043f\u0430\u043d
\n\u0421\u044b\u0440\u044b\u043c\u0438\u00a0\u043f\u043e\u0446\u0435\u043b\u0443\u044f\u043c\u0438<\/strong>\u00a0\u043c\u0435\u0434\u0443\u0437.
\n\u041e\u043d \u0447\u0435\u0448\u0443\u0438 \u043d\u0435 \u0437\u043d\u0430\u0435\u0442 \u043d\u0430 \u0441\u0438\u0440\u0435\u043d\u0430\u0445,<\/strong>
\n\u0418 \u043c\u043e\u0436\u0435\u0442 \u043b\u0438 \u043f\u043e\u0432\u0435\u0440\u0438\u0442\u044c \u0432 \u0440\u044b\u0431\u0438\u0439 \u0445\u0432\u043e\u0441\u0442<\/strong>
\n\u0422\u043e\u0442, \u043a\u0442\u043e \u0445\u043e\u0442\u044c \u0440\u0430\u0437 \u0441 \u0438\u0445 \u0447\u0430\u0448\u0435\u0447\u0435\u043a \u043a\u043e\u043b\u0435\u043d\u043d\u044b\u0445<\/strong>
\n\u041f\u0438\u043b \u0431\u0438\u0432\u0448\u0438\u0439\u0441\u044f \u043a\u0430\u043a \u043e\u0431 \u043b\u0435\u0434 \u043e\u0442\u0431\u043b\u0435\u0441\u043a \u0437\u0432\u0435\u0437\u0434?<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

<\/a><\/p>\n

It would hardly make sense to go looking for some unknown \u201cfacts\u201d of Pasternak\u2019s \u2013 or, for that matter, Pushkin\u2019s \u2013 life that would explain the image of drinking off of the kneecaps \u2013 in Russian knee-cups\u00a0<\/strong>\u2013 of some fish- or siren-like creatures. But a thorough search of Pushkin\u2019s texts does indeed yield an explanatory passage \u2013 from his unfinished poem \u00ab\u041a\u0430\u043a \u0441\u0447\u0430\u0441\u0442\u043b\u0438\u0432 \u044f, \u043a\u043e\u0433\u0434\u0430 \u043c\u043e\u0433\u0443 \u043f\u043e\u043a\u0438\u043d\u0443\u0442\u044c…\u00bb (1826? 1829?), associated with his work on \u201c\u0420\u0443\u0441\u0430\u043b\u043a\u0430\u201d:[8]<\/a><\/p>\n

\n\n\n\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u041a\u0430\u043a \u0441\u043b\u0430\u0434\u043e\u0441\u0442\u043d\u043e \u044f\u0432\u043b\u0435\u043d\u0438\u0435 \u0435\u0435
\n\u0418\u0437 \u0442\u0438\u0445\u0438\u0445 \u0432\u043e\u043b\u043d,\u00a0\u043f\u0440\u0438 \u0441\u0432\u0435\u0442\u0435 \u043d\u043e\u0447\u0438 \u043b\u0443\u043d\u043d\u043e\u0439<\/strong>! <\u2026>
\n\u0423\u00a0\u0441\u0442\u0440\u043e\u0439\u043d\u044b\u0445 \u043d\u043e\u0433,<\/strong>\u00a0\u043a\u0430\u043a \u043f\u0435\u043d\u0430 \u0431\u0435\u043b\u044b\u0445,\u00a0\u0432\u043e\u043b\u043d\u044b<\/strong>
\n\u041b\u0430\u0441\u043a\u0430\u044e\u0442\u0441\u044f, \u0441\u043b\u0438\u0432\u0430\u044f\u0441\u044c \u0438 \u0436\u0443\u0440\u0447\u0430.
\n\u0415\u0435 \u0433\u043b\u0430\u0437\u0430 \u0442\u043e \u043c\u0435\u0440\u043a\u043d\u0443\u0442, \u0442\u043e\u00a0\u0431\u043b\u0438\u0441\u0442\u0430\u044e\u0442,<\/strong><\/a>
\n\u041a\u0430\u043a \u043d\u0430 \u043d\u0435\u0431\u0435\u00a0\u043c\u0435\u0440\u0446\u0430\u044e\u0449\u0438\u0435<\/strong>\u00a0\u0437\u0432\u0435\u0437\u0434\u044b<\/strong>\u00a0<\u2026>
\n\u041f\u0440\u043e\u043d\u0437\u0438\u0442\u0435\u043b\u044c\u043d\u043e \u0441\u0438\u0445 \u0432\u043b\u0430\u0436\u043d\u044b\u0445 \u0441\u0438\u043d\u0438\u0445\u00a0\u0443\u0441\u0442<\/strong>
\n\u041f\u0440\u043e\u0445\u043b\u0430\u0434\u043d\u043e\u0435\u00a0\u043b\u043e\u0431\u0437\u0430\u043d\u044c\u0435 \u0431\u0435\u0437 \u0434\u044b\u0445\u0430\u043d\u044c\u044f.<\/strong>
\n\u0422\u043e\u043c\u0438\u0442\u0435\u043b\u044c\u043d\u043e \u0438 \u0441\u043b\u0430\u0434\u043a\u043e \u2014 \u0432 \u043b\u0435\u0442\u043d\u0438\u0439 \u0437\u043d\u043e\u0439
\n\u0425\u043e\u043b\u043e\u0434\u043d\u044b\u0439\u00a0<\/strong>\u043c\u0435\u0434 \u043d\u0435 \u0441\u0442\u043e\u043b\u044c\u043a\u043e \u0441\u043b\u0430\u0434\u043e\u043a\u00a0\u0436\u0430\u0436\u0434\u0435<\/strong>\u00a0<\u2026>
\n\u041c\u0433\u043d\u043e\u0432\u0435\u043d\u043d\u044b\u0439\u00a0\u0445\u043b\u0430\u0434,<\/strong>\u00a0\u043a\u0430\u043a \u0443\u0436\u0430\u0441, \u043f\u0440\u043e\u0431\u0435\u0433\u0430\u0435\u0442
\n\u041c\u043d\u0435 \u0433\u043e\u043b\u043e\u0432\u0443, \u0438 \u0441\u0435\u0440\u0434\u0446\u0435 \u0433\u0440\u043e\u043c\u043a\u043e \u0431\u044c\u0435\u0442\u0441\u044f,
\n\u0422\u043e\u043c\u0438\u0442\u0435\u043b\u044c\u043d\u043e \u043b\u044e\u0431\u043e\u0432\u044c\u044e \u0437\u0430\u043c\u0438\u0440\u0430\u044f.
\n\u0418 \u0432 \u044d\u0442\u043e\u0442 \u043c\u0438\u0433 \u044f \u0440\u0430\u0434 \u043e\u0441\u0442\u0430\u0432\u0438\u0442\u044c \u0436\u0438\u0437\u043d\u044c,
\n\u0425\u043e\u0447\u0443 \u0441\u0442\u043e\u043d\u0430\u0442\u044c \u0438\u00a0\u043f\u0438\u0442\u044c<\/strong>\u00a0\u0435\u0435 \u043b\u043e\u0431\u0437\u0430\u043d\u044c\u0435\u2026[9]<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

Another similar example concerns the possible underpinnings of the spectacular image of the \u201csad Diotima\u201d in Pasternak\u2019s \u00ab\u041b\u0435\u0442\u043e\u00bb (\u00ab\u0418\u0440\u043f\u0435\u043d\u044c \u044d\u0442\u043e \u043f\u0430\u043c\u044f\u0442\u044c \u043e \u043b\u044e\u0434\u044f\u0445 \u0438 \u043b\u0435\u0442\u0435…\u00bb; 1930):<\/p>\n

<\/a><\/p>\n\n\n\n
\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0…\u0438 \u043f\u043e\u043d\u044f\u043b\u0438 \u043c\u044b,
\n\u0427\u0442\u043e \u043c\u044b \u043d\u0430 \u043f\u0438\u0440\u0443 \u0432 \u0432\u0435\u043a\u043e\u0432\u043e\u043c \u043f\u0440\u043e\u0442\u043e\u0442\u0438\u043f\u0435
\n\u041d\u0430 \u043f\u0438\u0440\u0435 \u041f\u043b\u0430\u0442\u043e\u043d\u0430 \u0432\u043e \u0432\u0440\u0435\u043c\u044f \u0447\u0443\u043c\u044b.
\n\u041e\u0442\u043a\u0443\u0434\u0430 \u0436\u0435 \u044d\u0442\u0430\u00a0\u043f\u0435\u0447\u0430\u043b\u044c, \u0414\u0438\u043e\u0442\u0438\u043c\u0430<\/strong>?…<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

It turns out[10]<\/a>\u00a0that, in addition to Pushkin\u2019s \u00ab\u041f\u0438\u0440 \u0432\u043e \u0432\u0440\u0435\u043c\u044f \u0447\u0443\u043c\u044b\u00bb and Plato\u2019s \u00abSymposium\u00bb (\u00ab\u041f\u0438\u0440\u00bb in Russian), where Socrates quotes a certain Diotima, a major subtext to Pasternak\u2019s love life at the time and this poem in particular was Friedrich H\u00f6lderlin\u2019s (1770-1843) life, poetry and prose \u2013 the novel\u00a0Hyperion or The Hermit in Greece<\/i>. The female protagonist of this novel is named Diotima, and Diotima is also the name of the addressee of H\u00f6lderlin\u2019s love lyrics, in real life known as Suzette Gontard.<\/p>\n

<\/a><\/p>\n

In other words, this passage of \u201cLeto\u201d is saturated with literary allusions which far outweigh the also quite significant biographical ones. Small wonder that the poem was a favorite of Mandel\u2019shtam\u2019s!<\/p>\n

5.<\/strong><\/p>\n

Pasternak\u2019s rather early poem \u00ab\u0417\u0438\u043c\u043d\u0435\u0435 \u043d\u0435\u0431\u043e\u00bb (1915)[11]<\/a>\u00a0<\/a>reads as a perfect realization of his avowed desire to have a poem contain a piece of reality \u2013 a specific landscape, the Brestskii railway station, the city of Venice etc. Hence only\u00a0realnyi kommentarii<\/i>\u00a0would seem to be called for, and in notes and commentaries, one indeed finds some information about the racing skates mentioned \u2013 the\u00a0norvegi<\/i>, that naturalize the poem\u2019s metaphorical\u00a0Norway.<\/i>\u00a0But, as has been shown in a recent study,[12]<\/a>\u00a0<\/a>\u00ab\u0417\u0438\u043c\u043d\u0435\u0435\u043d\u0435\u0431\u043e\u00bb harks back to the \u201cskating topos\u201d of the German poetic tradition, in particular, its treatment by Friedrich Klopstock (1724\u20131803). Once again, Pasternak proves to be no less intertextual than Mandel\u2019shtam.<\/p>\n

<\/a><\/p>\n

What remains missing in the notes, as well as in the two solid articles about the poem,[13]<\/a>\u00a0is any mention of the poem\u2019s whimsical metrical structure, culminating in the of the irregularly long, six foot, rather than 5 foot, line that also stands out by its ungrammatical, indeed, un-morphological, look:\u00a0\u0420\u0435\u0436\u0435-<\/i><\/strong>\u0440\u0435\u0436\u0435-<\/i><\/strong>\u0440\u0435-<\/i><\/strong>\u0436\u0435<\/i><\/strong>\u0441\u0442\u0443\u043f\u0430\u0439,\u00a0<\/i>\u043a\u043e\u043d\u044c\u043a\u043e\u0431\u0435\u0436\u0435\u0446.<\/i>\u00a0In a paper still in the press,[14]<\/a>\u00a0I show that this irregular line serves to iconize \u2013 enact rhythmically \u2013 the shift in the motions of the skater that is described verbally in this line and the next.<\/p>\n

A theoretical implication is that commentaries should contain (as they do in Western annotated editions of, say, Horace\u2019s\u00a0Odes<\/i>\u00a0or Shakespeare\u2019s\u00a0Sonnets<\/i>) \u2013 along with the facts of life and the literary facts — the relevant information regarding what we call, after Jakobson, the poetry of grammar. In a word, whatever it takes.<\/p>\n

<\/a><\/p>\n


<\/p>\n
\n
\n

NOTES<\/strong><\/p>\n

[1]<\/a>\u00a0<\/a>\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439. \u0415\u0449\u0435 \u0440\u0430\u0437 \u043e \u043c\u0430\u043d\u0434\u0435\u043b\u044c\u0448\u0442\u0430\u043c\u043e\u0432\u0441\u043a\u043e\u043c \u00ab\u041b\u0430\u043c\u0430\u0440\u043a\u0435\u00bb: \u0422\u0430\u043a \u043a\u0430\u043a \u0436\u0435 \u043e\u043d \u0441\u0434\u0435\u043b\u0430\u043d?\/\/ \u00ab\u0412\u043e\u043f\u0440\u043e\u0441\u044b \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u044b\u00bb 2010, 2: 150-182; see same article in book version\u00a0here<\/a>.<\/p>\n<\/div>\n

\n

[2]<\/a><\/a>\u00a0\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439. \u00ab\u0413\u0440\u0438\u0432\u0435\u043d\u043d\u0438\u043a \u0441\u0435\u0440\u0435\u0431\u0440\u044f\u043d\u044b\u0439 \u0432 \u043a\u0430\u0440\u043c\u0430\u043d\u0435\u00bb\/\/Lesnaia shkola: Trudy VI Mezhdunarodnoi letnei shkoly na Karel’skom peresheike po russkoi literature<\/a>\u00a0[Transactions of the VI International summer school on the Karelian isthmus on Russian literature]\/ Ed. by A. Kobrinskii et al. Pos. Poliany (Uusikirko) Leningradskoi oblasti, 2010. P. 125-142 (\/alexander-zholkovsky\/bib224<\/a>).<\/p>\n<\/div>\n

\n

[3]<\/a><\/a>\u00a0\u0410\u043d\u043d\u0430 \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u0430-\u041a\u043b\u044f\u0442\u0438\u0441, \u041e\u043b\u0435\u0433 \u041b\u0435\u043a\u043c\u0430\u043d\u043e\u0432 \u00ab\u0410\u0433\u0438\u0442\u043f\u0440\u043e\u0444\u0441\u043e\u0436\u0435\u0441\u043a\u0438\u0439 \u043b\u0443\u0431\u043e\u043a\u00bb \u0418\u0437 \u0440\u0435\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043a\u043e\u043c\u043c\u0435\u043d\u0442\u0430\u0440\u0438\u044f \u043a \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0443\/\/\u00a0\u041d\u041c<\/i>\u00a02010, 6 (http:\/\/magazines.russ.ru\/novyi_mi\/2010\/6\/kl12-pr.html\/<\/a>).<\/p>\n<\/div>\n

\n

[4]<\/a><\/a>\u00a0I am not going into their analyses but here are their two framing statements:<\/p>\n

\u201c\u0420\u0430\u0431\u043e\u0442\u044b \u041a\u0438\u0440\u0438\u043b\u043b\u0430 \u0424\u0435\u0434\u043e\u0440\u043e\u0432\u0438\u0447\u0430 \u0422\u0430\u0440\u0430\u043d\u043e\u0432\u0441\u043a\u043e\u0433\u043e \u0438 \u0435\u0433\u043e \u043f\u043e\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u0442\u0435\u043b\u0435\u0439, \u043f\u043e\u0441\u0432\u044f\u0449\u0435\u043d\u043d\u044b\u0435 \u0432\u044b\u044f\u0432\u043b\u0435\u043d\u0438\u044e \u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u043e\u0432 \u0432 \u0441\u0442\u0438\u0445\u0430\u0445 \u041c\u0430\u043d\u0434\u0435\u043b\u044c\u0448\u0442\u0430\u043c\u0430 \u0438 \u0410\u0445\u043c\u0430\u0442\u043e\u0432\u043e\u0439, \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u043b\u0438 \u043d\u0430\u0441\u0442\u043e\u044f\u0449\u0443\u044e \u0440\u0435\u0432\u043e\u043b\u044e\u0446\u0438\u044e \u0432 \u0442\u043e\u0439 \u043e\u0431\u043b\u0430\u0441\u0442\u0438 \u0444\u0438\u043b\u043e\u043b\u043e\u0433\u0438\u0438, \u043a\u043e\u0442\u043e\u0440\u0430\u044f \u0437\u0430\u043d\u0438\u043c\u0430\u0435\u0442\u0441\u044f \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u043e\u043c \u043f\u043e\u044d\u0442\u043e\u0432 \u0421\u0435\u0440\u0435\u0431\u0440\u044f\u043d\u043e\u0433\u043e \u0432\u0435\u043a\u0430. \u0412\u044b\u044f\u0441\u043d\u0438\u043b\u043e\u0441\u044c, \u0447\u0442\u043e \u0442\u0435\u043c\u043d\u044b\u0435 \u043c\u0435\u0441\u0442\u0430 \u0443 \u0430\u043a\u043c\u0435\u0438\u0441\u0442\u043e\u0432 \u043e\u0447\u0435\u043d\u044c \u0447\u0430\u0441\u0442\u043e \u043f\u0440\u043e\u044f\u0441\u043d\u044f\u044e\u0442\u0441\u044f \u043f\u0440\u0438 \u0441\u043e\u043f\u043e\u0441\u0442\u0430\u0432\u043b\u0435\u043d\u0438\u0438 \u0441 \u0442\u0435\u043a\u0441\u0442\u0430\u043c\u0438 \u0438 \u0444\u0440\u0430\u0433\u043c\u0435\u043d\u0442\u0430\u043c\u0438 \u0442\u0435\u043a\u0441\u0442\u043e\u0432 \u0434\u0440\u0443\u0433\u0438\u0445 \u0430\u0432\u0442\u043e\u0440\u043e\u0432. \u041d\u043e \u043a\u043e\u0433\u0434\u0430 \u0431\u044b\u043b\u0430 \u043f\u0440\u0435\u0434\u043f\u0440\u0438\u043d\u044f\u0442\u0430 \u0435\u0441\u0442\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u0430\u044f \u043f\u043e\u043f\u044b\u0442\u043a\u0430 \u0442\u043e\u0442\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043f\u0440\u0438\u043c\u0435\u043d\u0435\u043d\u0438\u044f \u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u043d\u043e\u0433\u043e \u043c\u0435\u0442\u043e\u0434\u0430 \u0434\u043b\u044f \u0430\u043d\u0430\u043b\u0438\u0437\u0430 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0439 \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0446\u0435\u0432 \u0438 \u043f\u0440\u043e\u0437\u0430\u0438\u043a\u043e\u0432 \u0425\u0425 \u0441\u0442\u043e\u043b\u0435\u0442\u0438\u044f, \u0440\u0435\u0437\u0443\u043b\u044c\u0442\u0430\u0442\u044b \u043e\u043a\u0430\u0437\u0430\u043b\u0438\u0441\u044c \u0434\u0430\u043b\u0435\u043a\u043e \u043d\u0435 \u0441\u0442\u043e\u043b\u044c \u0432\u043f\u0435\u0447\u0430\u0442\u043b\u044f\u044e\u0449\u0438\u043c\u0438. \u0412 \u0447\u0430\u0441\u0442\u043d\u043e\u0441\u0442\u0438, \u043e\u0431\u043d\u0430\u0440\u0443\u0436\u0435\u043d\u0438\u0435 \u043c\u043d\u043e\u0433\u043e\u043e\u0431\u0440\u0430\u0437\u043d\u044b\u0445 \u0438 \u0443\u0431\u0435\u0434\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u0445 \u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u043e\u0432 \u0443 \u0411\u043e\u0440\u0438\u0441\u0430 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430, \u043a\u0430\u043a \u043f\u0440\u0430\u0432\u0438\u043b\u043e, \u043d\u0435 \u0438\u0433\u0440\u0430\u0435\u0442 \u0440\u0435\u0448\u0430\u044e\u0449\u0435\u0439 \u0440\u043e\u043b\u0438 \u0434\u043b\u044f \u043f\u0440\u043e\u044f\u0441\u043d\u0435\u043d\u0438\u044f\u00a0\u0442\u0435\u043c\u043d\u044b\u0445 \u043c\u0435\u0441\u0442<\/strong>\u00a0\u0432 \u0435\u0433\u043e \u0441\u0442\u0438\u0445\u0430\u0445 \u0438 \u043f\u0440\u043e\u0437\u0435, \u0445\u043e\u0442\u044f \u0438 \u043f\u043e\u0437\u0432\u043e\u043b\u044f\u0435\u0442 \u0443\u043b\u043e\u0432\u0438\u0442\u044c \u0438\u0445 \u0432\u0430\u0436\u043d\u044b\u0435 \u0441\u043c\u044b\u0441\u043b\u043e\u0432\u044b\u0435 \u043e\u0442\u0442\u0435\u043d\u043a\u0438. \u0412 \u0441\u043b\u0443\u0447\u0430\u0435 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430 \u0440\u0430\u0437\u044a\u044f\u0441\u043d\u044f\u044e\u0449\u0430\u044f \u0444\u0443\u043d\u043a\u0446\u0438\u044f, \u043a\u043e\u0442\u043e\u0440\u0443\u044e \u0443 \u0430\u043a\u043c\u0435\u0438\u0441\u0442\u043e\u0432 \u0431\u0435\u0440\u0443\u0442 \u043d\u0430 \u0441\u0435\u0431\u044f\u00a0\u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u044b<\/i><\/strong>, \u0447\u0430\u0441\u0442\u043e \u043f\u0440\u0438\u043d\u0430\u0434\u043b\u0435\u0436\u0438\u0442 \u0431\u0438\u043e\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u043e\u043c\u0443 \u0438\u043b\u0438 \u0438\u0441\u0442\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u043e\u043c\u0443\u00a0\u0444\u0430\u043a\u0442\u0443<\/i><\/strong>, \u043f\u043e\u043b\u043e\u0436\u0435\u043d\u043d\u043e\u043c\u0443 \u0432 \u043e\u0441\u043d\u043e\u0432\u0443 \u0442\u0435\u0445 \u0438\u043b\u0438 \u0438\u043d\u044b\u0445 \u0441\u0442\u0440\u043e\u043a <\u2026><\/p>\n

\u041c\u043e\u0436\u0435\u0442 \u0431\u044b\u0442\u044c, \u0441\u0442\u043e\u0438\u043b\u043e \u0431\u044b \u0437\u0430\u0432\u0435\u0440\u0448\u0438\u0442\u044c \u044d\u0442\u043e \u0441\u043e\u043e\u0431\u0449\u0435\u043d\u0438\u0435 \u201c\u043c\u0438\u0440\u043e\u043b\u044e\u0431\u0438\u0432\u044b\u043c\u201d <\u2026> \u0432\u044b\u0432\u043e\u0434\u043e\u043c \u043e \u0442\u043e\u043c, \u0447\u0442\u043e \u0434\u043b\u044f \u043f\u043e\u043d\u0438\u043c\u0430\u043d\u0438\u044f \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0439 \u0411\u043e\u0440\u0438\u0441\u0430 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430 \u0432 \u0440\u0430\u0432\u043d\u043e\u0439 \u0441\u0442\u0435\u043f\u0435\u043d\u0438 \u0433\u043e\u0434\u044f\u0442\u0441\u044f \u043f\u043e\u0434\u0445\u043e\u0434\u044b\u00a0\u201c\u0445\u043e\u0440\u043e\u0448\u0438\u0435 \u0438 \u0440\u0430\u0437\u043d\u044b\u0435<\/strong>\u201d. \u041c\u044b, \u043e\u0434\u043d\u0430\u043a\u043e, \u0432\u044b\u0431\u0438\u0440\u0430\u0435\u043c \u0434\u0440\u0443\u0433\u043e\u0439 \u0444\u0438\u043d\u0430\u043b \u0438 \u043f\u043e\u0432\u0442\u043e\u0440\u044f\u0435\u043c: <\u2026> \u0438\u043c\u0435\u043d\u043d\u043e \u0441\u043e\u043e\u0442\u043d\u043e\u0448\u0435\u043d\u0438\u0435 \u043f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u043e\u0432\u0441\u043a\u0438\u0445 \u0442\u0435\u043a\u0441\u0442\u043e\u0432 \u0441\u00a0\u0444\u0430\u043a\u0442\u0430\u043c\u0438<\/strong>\u00a0\u0447\u0430\u0441\u0442\u043e \u043f\u043e\u043c\u043e\u0433\u0430\u0435\u0442 \u0438\u0445 \u043f\u0440\u043e\u044f\u0441\u043d\u0438\u0442\u044c<\/strong>,\u00a0\u0432\u044b\u044f\u0432\u043b\u0435\u043d\u0438\u0435 \u0436\u0435<\/strong>\u00a0\u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u043e\u0432<\/strong>\u00a0\u043a \u044d\u0442\u0438\u043c \u0442\u0435\u043a\u0441\u0442\u0430\u043c \u0447\u0430\u0449\u0435 \u0432\u0441\u0435\u0433\u043e \u0441\u043f\u0430\u0441\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0439 \u043e\u0431\u044a\u044f\u0441\u043d\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0439 \u0441\u0438\u043b\u043e\u0439\u00a0\u043d\u0435 \u043e\u0431\u043b\u0430\u0434\u0430\u0435\u0442<\/strong>.\u201d<\/p>\n<\/div>\n

\n

[5]<\/a><\/a>\u00a0\u00ab\u041c\u043e\u0442\u0438\u0432\u044b \u043d\u0435\u043c\u0438\u043d\u0443\u0435\u043c\u043e\u0439 \u0433\u0438\u0431\u0435\u043b\u0438 <\u2026> \u043f\u043e\u0447\u0442\u0438 \u043a\u0430\u043a \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0437\u0440\u0435\u043b\u0438\u0449\u0430 \u0438 \u043e\u0434\u043d\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e \u0431\u0435\u0441\u0441\u043c\u0435\u0440\u0442\u0438\u044f<\u2026> \u043e\u0442\u043d\u043e\u0441\u044f\u0442\u0441\u044f \u0438 \u043a \u043e\u0431\u0440\u0430\u0437\u0443 \u041c\u0430\u0440\u0438\u0438 \u0421\u0442\u044e\u0430\u0440\u0442, \u0438 \u043a \u0446\u0435\u0440\u043a\u0432\u0438 \u0411\u043e\u0440\u0438\u0441\u0430 \u0438 \u0413\u043b\u0435\u0431\u0430, \u043a\u043e\u0442\u043e\u0440\u0430\u044f, \u043a\u0430\u043a \u0433\u0440\u0430\u0434 \u041a\u0438\u0442\u0435\u0436, \u0434\u0435\u0441\u044f\u0442\u0438\u043b\u0435\u0442\u0438\u044f \u0441\u043f\u0443\u0441\u0442\u044f \u043f\u043e\u0441\u043b\u0435 \u0435\u0435 \u0441\u043d\u043e\u0441\u0430 \u043f\u0440\u043e\u0441\u0432\u0435\u0447\u0438\u0432\u0430\u0435\u0442 \u0441\u043a\u0432\u043e\u0437\u044c \u0433\u043e\u0440\u043e\u0434\u0441\u043a\u0443\u044e \u0437\u0430\u0441\u0442\u0440\u043e\u0439\u043a\u0443. \u0412\u044b\u0445\u043e\u0434 \u043d\u0430 \u0443\u043b\u0438\u0446\u0443 \u043f\u043e\u0441\u043b\u0435 \u0441\u043f\u0435\u043a\u0442\u0430\u043a\u043b\u044f \u0432\u043e\u0432\u0441\u0435 \u043d\u0435 \u043e\u0437\u043d\u0430\u0447\u0430\u0435\u0442 \u0432\u043e\u0437\u0432\u0440\u0430\u0449\u0435\u043d\u0438\u0435 \u0432 \u0440\u0435\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u044c \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0441\u0442\u0438, \u043f\u043e\u0442\u043e\u043c\u0443 \u0447\u0442\u043e \u044d\u0442\u0430 \u0440\u0435\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u044c \u0441\u0442\u043e\u043b\u044c \u0436\u0435 \u043c\u043d\u043e\u0433\u043e\u0441\u043b\u043e\u0439\u043d\u0430, \u043a\u0430\u043a \u0438 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0435 \u0434\u0435\u0439\u0441\u0442\u0432\u043e <\u2026> \u0421\u043e\u0441\u0442\u0430\u0432\u043b\u044f\u044e\u0449\u0435\u0435 \u0433\u043b\u0430\u0432\u043d\u0443\u044e \u0442\u0435\u043c\u0443 \u201c\u0412\u0430\u043a\u0445\u0430\u043d\u0430\u043b\u0438\u0438\u201d \u0441\u043c\u0435\u0449\u0435\u043d\u044c\u0435 \u0432\u0440\u0435\u043c\u0435\u043d <\u2026> \u0437\u0430\u044f\u0432\u043b\u0435\u043d\u043e \u0443\u0436\u0435 \u0432 \u043f\u0435\u0440\u0432\u044b\u0445 \u0441\u0442\u0440\u043e\u043a\u0430\u0445 <\u2026>, \u043f\u0440\u0430\u0432\u0438\u043b\u044c\u043d\u043e\u0435 \u0438\u0441\u0442\u043e\u043b\u043a\u043e\u0432\u0430\u043d\u0438\u0435 \u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u0434\u0430\u0435\u0442 <\u2026> \u043a\u043b\u044e\u0447 \u043a \u043f\u043e\u043d\u0438\u043c\u0430\u043d\u0438\u044e \u0432\u0441\u0435\u0433\u043e \u0442\u0435\u043a\u0441\u0442\u0430\u00bb.<\/p>\n<\/div>\n

><\/a><\/p>\n

[6]<\/a>\u00a0The Naked Babe and the Cloak of Manliness\/\/ Cleanth Brooks. The Well Wrought Urn. NY: HBJ, 1975. P. 22-49.<\/p>\n<\/div>\n

[7]<\/a><\/p>\n
\n\n\n\n
\u0411\u044b\u043b \u0441\u0442\u0430\u0440\u0438\u043a, \u0437\u0430\u0441\u0442\u0435\u043d\u0447\u0438\u0432\u044b\u0439 \u043a\u0430\u043a \u043c\u0430\u043b\u044c\u0447\u0438\u043a,
\n\u041d\u0435\u0443\u043a\u043b\u044e\u0436\u0438\u0439, \u0440\u043e\u0431\u043a\u0438\u0439 \u043f\u0430\u0442\u0440\u0438\u0430\u0440\u0445\u2026
\n\u041a\u0442\u043e \u0437\u0430 \u0447\u0435\u0441\u0442\u044c \u043f\u0440\u0438\u0440\u043e\u0434\u044b \u0444\u0435\u0445\u0442\u043e\u0432\u0430\u043b\u044c\u0449\u0438\u043a?
\n\u041d\u0443, \u043a\u043e\u043d\u0435\u0447\u043d\u043e, \u043f\u043b\u0430\u043c\u0435\u043d\u043d\u044b\u0439 \u041b\u0430\u043c\u0430\u0440\u043a.<\/p>\n

\u0415\u0441\u043b\u0438 \u0432\u0441\u0451 \u0436\u0438\u0432\u043e\u0435 \u043b\u0438\u0448\u044c \u043f\u043e\u043c\u0430\u0440\u043a\u0430
\n\u0417\u0430 \u043a\u043e\u0440\u043e\u0442\u043a\u0438\u0439 \u0432\u044b\u043c\u043e\u0440\u043e\u0447\u043d\u044b\u0439 \u0434\u0435\u043d\u044c,
\n\u041d\u0430 \u043f\u043e\u0434\u0432\u0438\u0436\u043d\u043e\u0439 \u043b\u0435\u0441\u0442\u043d\u0438\u0446\u0435 \u041b\u0430\u043c\u0430\u0440\u043a\u0430
\n\u042f \u0437\u0430\u0439\u043c\u0443 \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u044e\u044e \u0441\u0442\u0443\u043f\u0435\u043d\u044c.<\/p>\n

\u041a \u043a\u043e\u043b\u044c\u0447\u0435\u0446\u0430\u043c \u0441\u043f\u0443\u0449\u0443\u0441\u044c \u0438 \u043a \u0443\u0441\u043e\u043d\u043e\u0433\u0438\u043c,
\n\u041f\u0440\u043e\u0448\u0443\u0440\u0448\u0430\u0432 \u0441\u0440\u0435\u0434\u044c \u044f\u0449\u0435\u0440\u0438\u0446 \u0438 \u0437\u043c\u0435\u0439,
\n\u041f\u043e \u0443\u043f\u0440\u0443\u0433\u0438\u043c \u0441\u0445\u043e\u0434\u043d\u044f\u043c, \u043f\u043e \u0438\u0437\u043b\u043e\u0433\u0430\u043c
\n\u0421\u043e\u043a\u0440\u0430\u0449\u0443\u0441\u044c, \u0438\u0441\u0447\u0435\u0437\u043d\u0443, \u043a\u0430\u043a \u041f\u0440\u043e\u0442\u0435\u0439.<\/p>\n

\u0420\u043e\u0433\u043e\u0432\u0443\u044e \u043c\u0430\u043d\u0442\u0438\u044e \u043d\u0430\u0434\u0435\u043d\u0443,
\n\u041e\u0442 \u0433\u043e\u0440\u044f\u0447\u0435\u0439 \u043a\u0440\u043e\u0432\u0438 \u043e\u0442\u043a\u0430\u0436\u0443\u0441\u044c,
\n\u041e\u0431\u0440\u0430\u0441\u0442\u0443 \u043f\u0440\u0438\u0441\u043e\u0441\u043a\u0430\u043c\u0438 \u0438 \u0432 \u043f\u0435\u043d\u0443
\n\u041e\u043a\u0435\u0430\u043d\u0430 \u0437\u0430\u0432\u0438\u0442\u043a\u043e\u043c \u0432\u043e\u043f\u044c\u044e\u0441\u044c.<\/td>\n

<\/td>\n\u041c\u044b \u043f\u0440\u043e\u0448\u043b\u0438 \u0440\u0430\u0437\u0440\u044f\u0434\u044b \u043d\u0430\u0441\u0435\u043a\u043e\u043c\u044b\u0445
\n\u0421 \u043d\u0430\u043b\u0438\u0432\u043d\u044b\u043c\u0438 \u0440\u044e\u043c\u043e\u0447\u043a\u0430\u043c\u0438 \u0433\u043b\u0430\u0437.
\n\u041e\u043d \u0441\u043a\u0430\u0437\u0430\u043b: \u043f\u0440\u0438\u0440\u043e\u0434\u0430 \u0432\u0441\u044f \u0432 \u0440\u0430\u0437\u043b\u043e\u043c\u0430\u0445,
\n\u0417\u0440\u0435\u043d\u044c\u044f \u043d\u0435\u0442 \u2014 \u0442\u044b \u0437\u0440\u0438\u0448\u044c \u0432 \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u0438\u0439 \u0440\u0430\u0437.<\/p>\n

\u041e\u043d \u0441\u043a\u0430\u0437\u0430\u043b: \u0434\u043e\u0432\u043e\u043b\u044c\u043d\u043e \u043f\u043e\u043b\u043d\u043e\u0437\u0432\u0443\u0447\u044c\u044f, —
\n\u0422\u044b \u043d\u0430\u043f\u0440\u0430\u0441\u043d\u043e \u041c\u043e\u0446\u0430\u0440\u0442\u0430 \u043b\u044e\u0431\u0438\u043b:
\n\u041d\u0430\u0441\u0442\u0443\u043f\u0430\u0435\u0442 \u0433\u043b\u0443\u0445\u043e\u0442\u0430 \u043f\u0430\u0443\u0447\u044c\u044f,
\n\u0417\u0434\u0435\u0441\u044c \u043f\u0440\u043e\u0432\u0430\u043b \u0441\u0438\u043b\u044c\u043d\u0435\u0435 \u043d\u0430\u0448\u0438\u0445 \u0441\u0438\u043b.
\n<\/a>
\n\u0418 \u043e\u0442 \u043d\u0430\u0441 \u043f\u0440\u0438\u0440\u043e\u0434\u0430 \u043e\u0442\u0441\u0442\u0443\u043f\u0438\u043b\u0430 —
\n\u0422\u0430\u043a, \u043a\u0430\u043a \u0431\u0443\u0434\u0442\u043e \u043c\u044b \u0435\u0439 \u043d\u0435 \u043d\u0443\u0436\u043d\u044b,
\n\u0418 \u043f\u0440\u043e\u0434\u043e\u043b\u044c\u043d\u044b\u0439 \u043c\u043e\u0437\u0433 \u043e\u043d\u0430 \u0432\u043b\u043e\u0436\u0438\u043b\u0430,
\n\u0421\u043b\u043e\u0432\u043d\u043e \u0448\u043f\u0430\u0433\u0443, \u0432 \u0442\u0451\u043c\u043d\u044b\u0435 \u043d\u043e\u0436\u043d\u044b\u0301.<\/p>\n

\u0418 \u043f\u043e\u0434\u044a\u0451\u043c\u043d\u044b\u0439 \u043c\u043e\u0441\u0442 \u043e\u043d\u0430 \u0437\u0430\u0431\u044b\u043b\u0430,
\n\u041e\u043f\u043e\u0437\u0434\u0430\u043b\u0430 \u043e\u043f\u0443\u0441\u0442\u0438\u0442\u044c \u0434\u043b\u044f \u0442\u0435\u0445,
\n\u0423 \u043a\u043e\u0433\u043e \u0437\u0435\u043b\u0451\u043d\u0430\u044f \u043c\u043e\u0433\u0438\u043b\u0430,
\n\u041a\u0440\u0430\u0441\u043d\u043e\u0435 \u0434\u044b\u0445\u0430\u043d\u044c\u0435, \u0433\u0438\u0431\u043a\u0438\u0439 \u0441\u043c\u0435\u0445\u2026
\n7\u22129 \u043c\u0430\u044f 1932<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n


<\/strong><\/div>\n

\n

[8]<\/a><\/a>\u00a0\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439.\u00a0\u0417\u0430\u043c\u0435\u0442\u043a\u0438 \u043e \u0442\u0435\u043a\u0441\u0442\u0435, \u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u0435 \u0438 \u0446\u0438\u0442\u0430\u0446\u0438\u0438 \u0443 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430<\/a>\u00a0(\u041a \u0440\u0430\u0437\u043b\u0438\u0447\u0435\u043d\u0438\u044e \u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u044b\u0445 \u0438 \u0433\u0435\u043d\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0441\u0432\u044f\u0437\u0435\u0439) \/\/ Boris Pasternak. Essays. \/ N. A. Nilsson ed. Stockholm: Almqvist & Wicksell, 1976. P.67-84.<\/p>\n<\/div>\n

\n

[9]<\/a><\/a>\u00a0See \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439. \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439 \u0410.\u041a.\u00a0\u0417\u0430\u043c\u0435\u0442\u043a\u0438 \u043e \u0442\u0435\u043a\u0441\u0442\u0435, \u043f\u043e\u0434\u0442\u0435\u043a\u0441\u0442\u0435 \u0438 \u0446\u0438\u0442\u0430\u0446\u0438\u0438 \u0443 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430<\/a>\u00a0(\u041a \u0440\u0430\u0437\u043b\u0438\u0447\u0435\u043d\u0438\u044e \u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u043d\u044b\u0445 \u0438 \u0433\u0435\u043d\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0441\u0432\u044f\u0437\u0435\u0439) \/\/ Boris Pasternak . Essays \/ Ed N. Nilsson. Stockholm: Almqvist & Wicksell, 1976. P. 67-84.<\/p>\n<\/div>\n

\n

[10]<\/a><\/a>\u00a0See \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439.\u00a0\u041e\u0442\u043a\u0443\u0434\u0430 \u044d\u0442\u0430 \u0414\u0438\u043e\u0442\u0438\u043c\u0430? (\u0417\u0430\u043c\u0435\u0442\u043a\u0438\u043e “\u041b\u0435\u0442\u0435” \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430)<\/a>\u00a0\/\/ Eternity’s Hostage. Selected Papers from the Stanford International Conference on Boris Pasternak, May, 2004. In Honor of Evgeny Pasternak and Elena Pasternak Ed. by Lazar Fleishman. Part I (Stanford Slavic Studies. Vol. 31). Stanford, 2006. P. 239-261 (\/alexander-zholkovsky\/bib174<\/a>).<\/p>\n

\n<\/div>\n

[11]<\/a><\/p>\n
\n\n\n\n
\u0426\u0435\u043b\u044c\u043d\u043e\u044e \u043b\u044c\u0434\u0438\u043d\u043e\u0439 \u0438\u0437 \u0434\u044b\u043c\u043d\u043e\u0441\u0442\u0438 \u0432\u044b\u043d\u0443\u0442
\n\u0421\u0442\u0430\u0432\u0448\u0438\u0439 \u0441 \u043d\u0435\u0434\u0435\u043b\u044e \u0437\u0432\u0435\u0437\u0434\u043d\u044b\u0439 \u043f\u043e\u0442\u043e\u043a.
\n\u041a\u043b\u0443\u0431 \u043a\u043e\u043d\u044c\u043a\u043e\u0431\u0435\u0436\u0446\u0435\u0432 \u0432\u0432\u0435\u0440\u0445\u0443 \u043e\u043f\u0440\u043e\u043a\u0438\u043d\u0443\u0442:
\n\u0427\u043e\u043a\u0430\u0435\u0442\u0441\u044f \u0441\u043e \u0437\u0432\u043e\u043d\u043a\u043e\u044e \u043d\u043e\u0447\u044c\u044e \u043a\u0430\u0442\u043e\u043a.<\/p>\n

\u0420\u0435\u0436\u0435-\u0440\u0435\u0436\u0435-\u0440\u0435-\u0436\u0435 \u0441\u0442\u0443\u043f\u0430\u0439, \u043a\u043e\u043d\u044c\u043a\u043e\u0431\u0435\u0436\u0435\u0446,
\n\u0412 \u0431\u0435\u0433\u0435 \u0441\u0441\u0435\u043a\u0430\u044f \u0448\u0430\u0433 \u0441\u0432\u044b\u0441\u043e\u043a\u0430.
\n\u041d\u0430 \u043f\u043e\u0432\u043e\u0440\u043e\u0442\u0435 \u0441\u043e\u0437\u0432\u0435\u0437\u0434\u044c\u0435\u043c \u0432\u0440\u0435\u0436\u0435\u0442\u0441\u044f
\n\u0412 \u043d\u0435\u0431\u043e \u041d\u043e\u0440\u0432\u0435\u0433\u0438\u0438 \u0441\u043a\u0440\u0435\u0436\u0435\u0442 \u043a\u043e\u043d\u044c\u043a\u0430.<\/p>\n

\u0412\u043e\u0437\u0434\u0443\u0445 \u043e\u043a\u043e\u0432\u0430\u043d \u043c\u0435\u0440\u0437\u043b\u044b\u043c \u0436\u0435\u043b\u0435\u0437\u043e\u043c.
\n\u041e \u043a\u043e\u043d\u044c\u043a\u043e\u0431\u0435\u0436\u0446\u044b! \u0422\u0430\u043c \u2014 \u0432\u0441\u0435 \u0440\u0430\u0432\u043d\u043e,
\n\u0427\u0442\u043e, \u043a\u0430\u043a \u0433\u043b\u0430\u0437\u0430 \u0441\u043e \u0437\u043c\u0435\u0438\u043d\u044b\u043c \u0440\u0430\u0437\u0440\u0435\u0437\u043e\u043c,
\n\u041d\u043e\u0447\u044c \u043d\u0430 \u0437\u0435\u043c\u043b\u0435, \u0438 \u043a\u0430\u043a \u043a\u043e\u0441\u0442\u044c \u0434\u043e\u043c\u0438\u043d\u043e;
\n<\/a>
\n\u0427\u0442\u043e \u044f\u0437\u044b\u043a\u043e\u043c \u043e\u0431\u043e\u043c\u043b\u0435\u0432\u0448\u0435\u0439 \u043b\u0435\u0433\u0430\u0432\u043e\u0439
\n\u041c\u0435\u0441\u044f\u0446 \u043a \u0441\u043a\u043e\u0431\u0435 \u043f\u0440\u0438\u043c\u0435\u0440\u0437\u0430\u0435\u0442; \u0447\u0442\u043e \u0440\u0442\u044b,
\n\u041a\u0430\u043a \u0443 \u0444\u0430\u043b\u044c\u0448\u0438\u0432\u043e\u043c\u043e\u043d\u0435\u0442\u0447\u0438\u043a\u043e\u0432, \u2014 \u043b\u0430\u0432\u043e\u0439
\n\u0414\u0443\u0445 \u0437\u0430\u0445\u0432\u0430\u0442\u0438\u0432\u0448\u0435\u0433\u043e \u043b\u044c\u0434\u0430 \u043d\u0430\u043b\u0438\u0442\u044b.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n

\n

[12]<\/a><\/a>\u00a0\u0420\u043e\u0431\u0435\u0440\u0442\u0430 \u0421\u0430\u043b\u044c\u0432\u0430\u0442\u043e\u0440\u0435. \u041e\u0431 \u0438\u0441\u0442\u043e\u043a\u0430\u0445 \u043e\u0431\u0440\u0430\u0437\u043d\u043e\u0441\u0442\u0438 \u0432 \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u0438 \u0411. \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430 \u00ab\u0426\u0435\u043b\u044c\u043d\u043e\u044e \u043b\u044c\u0434\u0438\u043d\u043e\u0439 \u0438\u0437 \u0434\u044b\u043c\u043d\u043e\u0441\u0442\u0438 \u0432\u044b\u043d\u0443\u0442…\u00bb \/\/ Forma formans. Studi in onore di Boris Uspenskij \/ A cura di S. Bertolissi e R. Salvatore. 2 vol. Vol. 2. P. 155-176.<\/p>\n<\/div>\n

<\/a><\/p>\n

[13]<\/a>\u00a0The other one is: B. Aroutunova. \u0417\u0435\u043c\u043b\u044f \u0438 \u043d\u0435\u0431\u043e. \u041d\u0430\u0431\u043b\u044e\u0434\u0435\u043d\u0438\u044f \u043d\u0430\u0434 \u043a\u0430\u0442\u0435\u0433\u043e\u0440\u0438\u044f\u043c\u0438 \u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u0430 \u0438 \u0432\u0440\u0435\u043c\u0435\u043d\u0438 \u0432 \u0440\u0430\u043d\u043d\u0435\u0439 \u043b\u0438\u0440\u0438\u043a\u0435 \u041f\u0430\u0441\u0442\u0435\u0440\u043d\u0430\u043a\u0430\u00a0\/\/ Boris Pasternak 1890-1960. Colloque de Cerisy-la-Salle (11-14 septembre). Paris, 1979. P. 195-224 (on this poem see pp. 211-212).<\/p>\n<\/div>\n

\n

[14]<\/a>\u00a0\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u0416\u043e\u043b\u043a\u043e\u0432\u0441\u043a\u0438\u0439. \u041e\u0442\u0434\u0435\u043b\u044c\u043d\u043e\u0441\u0442\u044c, \u0433\u0440\u0430\u043d\u0438\u0446\u0430, \u0440\u0430\u0437\u0440\u0435\u0436\u0435\u043d\u043d\u043e\u0441\u0442\u044c, \u0446\u0435\u043b\u044c\u043d\u043e\u0441\u0442\u044c.\u00a0\u0417\u0430\u043c\u0435\u0442\u043a\u0438 \u043e\u0431 \u0438\u043a\u043e\u043d\u0438\u043a\u0435 \u0441\u0442\u0438\u0445\u0430<\/i>\/\/\u00a0\u0417\u0432\u0435\u0437\u0434\u0430\u00a0<\/i>2010, 12: 217-224.<\/p>\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-606","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nMORE KEYS TO THE LAMARCK PUZZLE AND RELATED THEORETICAL ISSUES - 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