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Durham E-Theses Durham E-Theses Mandelstam's Egipetskaya marka: its relationship to his other prose and to his poetry from 1912 to 1933 West, Daphne M. How to cite: West, Daphne M. (1978) Mandelstam's Egipetskaya marka: its relationship to his other prose and to his poetry from 1912 to 1933, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7909/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Man de 1 s t am.'s Egipetska3ra raarka; its relationship to his other prose and to his poetry from 1912 to 1933 by Daphne M, West Trevelyan College The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. A thesis presented for the Degree of Doctor of Philosophy in the University of Durham, 1978 Abstract Mandelstam's reputation as a poet is now firmly established, but his critical and 'creative' prose (i.e. that which is based on autobiographical experience, rather than literary or historical subjects) has received little attention. The purpose of this thesis is to assess the nature of Mandelstam's creative prose which deserves more than the superficial approach thus far devoted to it. Egipetskaya marka is chosen as the focal point of this discussion since its position in Mandelstam's oeuvre is rather special. It was the only creative work to emerge during the years 1925-1930, when the pressures of material and physical conditions, combined with Mandelstam's sense of isolation in the new Soviet society, had the. effect of 'drying up' his poetic voice. Egipetskaya marka reflects Mandelstam's state of mind during the 'silence'. In essence it is an attempt to define his position in the new society. Since he considered himself to be primarily a poet this definition involves a concern with artistic and especially with poetic creativity. An appreciation of Egipetskaya marka can therefore assist in the understanding of Mandelstam's work in general. The often very indirect allusions to creativity in Egipetskaya marka are concerned overwhelmingly with the nineteenth century. Mandelstain considered the influence of this period to be pernicious to human life and artistic creation alike, and his persistent allusions to it in Egipetskaya marka reveal how deeply disturbed he was at the direction in which Soviet society was moving, Egipetskaya marka is analysed in terms of characters, geographical and historical settings, central themes and structure, and this analysis is conducted with constant reference to Mandelstam's poetry and other prose. This comparative approach is doubly beneficial, for it highlights certain thematic and stylistic features in the other work and facilitates an appreciation of the difficult and intriguing product of the 'silence'. Acknowledgements t I express my gratitude to Dr. Jennifer Baines for her constructive criticism and careful attention to my manuscript and also for her constant encouragement during the preparation of this thesis. My thanks go to Helen Whitington and to Tony Edwards of the Department of Russian Studies, University of Bristol, for their interest and friendship during my period of study in the South West. I am most grateful to Gillian Hunter for typing the manuscript and to Pat Taylor, Heather Summers and Felicity O'Dell for their help with Inter-Library Loans. Finally, I thank my husband, Ian, whose help and encouragement have been invaluable. » » • Xll A Note on Abbreviations and Transliteration References are given within the text of the thesis to the following: O.E. Mandelstam, Sobranie sochineniy v tryokh tomakh, (volume I, 2nd edition, New York, 1967; volume II, 2nd edition, NRW Yorkj 3.971; volume III, Nev? York, 1969) referred to as I, II, III respectively. O.E. Mandelstam, Stikhotvoreniya (Leningrad, 1973) referred to as Sov. ed. N.Ya. Mandelstam, Vospominaniya (New York, 1970) and Vtoraya kniga (Paris, 1972) referred to as N.Ya. I and N.Ya. II respectively. All other references are to be found at the end of the thesis in the Notes. The transliteration system used is that recommended by the Slavonic and East European Review (Rules for Style and Presentation of MSS, University of London, 1975, pp. 13-14), although 'y' nas not been used before the soft vowel _e either initially or when it follows another vowel. Certain proper names are excepted and the accepted usage employed, e.g. Mandelstam, Gogol, Dostoevsky. Proper names from Egipetskaya marka are transliterated according to the above system, with the exception of Krzyzanowski. This name is clearly intended to strike the reader as specifically Polish (see Chapter Two) and is therefore spelt according to Polish usage. Titles of prose works and poems have been transliterated, but first lines of poems appear in Russian, since these are often rather long. Quotations are transliterated only where they involve no more than a few words. List of Contents Abstract i Acknowledgements ii A Note on Abbreviations and Transliteration iii Introduction 1 Chapter One; Egipetskaya marka in the Context of Mandelstain's Other Work: General Principles and Influences 6 (i) Mandclstam's situation in the twenties 6 (ii) The nature of Mandelstam's critical prose and of his poetry 8 (iii) The nature of Mandelstam's creative prose 19 (a) Early pieces 19 (b) 'Kholodnoe leto' and ' Sukharyovka' 21 (c) 'Men'sheviki v Gruirii', *Vozvrashchenie* and 'Batum' 22 (d) Shum vremeni and 'Feodosiya' 24 (e) 'Kiev1 28 (f) 'Chetvyortaya proza' and Puteshestvie v Armeniyu 29 (iv) The influence of the work undertaken immediately prior to and during the Pjpetic silence 32 (a) Children's poetry 33 (b) Reviews and articles 35 (c) Translations 36 (v) The influence on Egipetskaya marka of Mandelstam's views on the nineteenth century 41 Chapter Two; Characters and Characterisation in Egipetskaya marka 47 (i) Parnok 48 (ii) The crowd 66 (iii) The mosquito 67 (^-v) The Jewish characters 68 (v) The Lutherans 71 (vi) Krzyz'anowski; the cabby 72 (vii) Krzy&mowski and the personification of abstract concepts 75 (viii) Mervis and Shapiro 77 (ix) Relationships between the characters 80 Chapter Three; The Geographical Setting of Egipetskaya marka 85 (i) Petersburg's influence on Mandelstam 85 (ii) The construction of Petersburg and its influence on historical events 86 (iii) The end of Petersburg •90 (a) Images of disease and death 90 (b) The image of fire 96 (c) The image of dying woman 98 (d) The image of woman from the classical world 99 (iv) Petersburg and other cities 100 (a) Paris 100 (b) Jerusalem 102 (v) Mandelstam's alienation from Petersburg 106 (vi) The guilt of Petersburg 109 Chapter Four: The Historical Setting of Egipetskaya marka 112 (i) Mandelstam's method of viewing historical events 112 (ii) The nature of the revolutionary events alluded to in Egipetskaya marka and their historical implications 114 (a) 1905 and 1917 114 (b) 1830 and 1917 116 (iii) Treatment of the revolutionary setting in Egipetskaya marka; the political scene 118 (iv) Treatment of the revolutionary setting in Egipetskaya marka; everyday conditions 124 (a) The concept of revolution in everyday terms 124 (b) Disruption of living conditions: transport and food supply 126 (c) Disruption of law and order 128 Chapter Five; The Treatment of Art Themes in Egipetskaya marka 131 (i) Background to the treatment of art forms 131 (a) Title 132 (b) Epigraph 137 (c) Literary influences 139 (ii) Art forms 140 (a) Poetry 140 The distortion of poetry 141 The disappearance of poetry and its replacement by prose 144 (b) Music 157 (c) Painting 165 (d) Literature 169 Nineteenth-century literature and litterateurs 169 Twentieth-century literature and litterateurs 171 (e) Dance 175 (f) Theatre 179 Chapter Six; The Structure of Egipetskaya marka 183 lo Fragmentation 184 (i) Fragmentary tendencies in Mandelstam's poetry and other prose 185 (ii) Fragmentation in Egipetskaya marka 187 (a) Layout 191 (b) Plot construction 192 (c) Chapter division 195 (d) Narrators 197 (e) Temporal and spatial displacement 199 (f) Transfer of epithet 201 2o Contrast ' 202 (i) Contrast in individual phrases in Egipetskaya marka 204 Simile and metaphor 206 (ii) Contrast sustained in individual sections 208 (iii) Contrast expressed in the mixing of disparate styles 212 (a) Balanced style 212 (b) Folk-tale style 214 (iv) Contrasting sentence structures 216 (a) Sentence structures in fragmentary passages 220 (b) Contrasting structures within individual sections 221 (c) Contrasting structures between sections 223 3o Obrashchaemost' 224 (i) Obrashchaemost' in the 'Marginalia' 226 (ii) Obrashchaemost* between individual sections 228 (iii) Continuity effected by leitmotifs 230 (iv) Continuity effected by 'formulae' 234 (v) Linguistic continuity 236 (vi) Associative and phonetic preparation 240 4, Conclusions on the structure of Egipetskaya marka 243 Conclusion 246 Notes 252 Bibliography of works cited in text 267 Bibliography of works not included in American edition 273 Appendix 278 Notes on the translation 318 - 1 ~ Introduction Mandelstam*s reputation as a poet is now firmly established: during the last five years it has become more, and more frequent to hear him spoken of as one of Russia's greatest twentieth-century poets.
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