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Symcity 1 (2007) 1 the Images of Town and Countryside in the Poetry

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Symcity 1 (2007) 1 the Images of Town and Countryside in the Poetry authors who tried to be, as it was said, close to life and among whom quite many wrote The images of town and countryside in the in accordance with the official propaganda poetry of Heiti Talvik of Estonian government, praising physical Katrin Ennus labour and the brave farmers and in this Tartu Ülikool way trying to strengthen national con‐ sciousness of Estonians. It is quite arguable how justified it is to see Heiti Talvik (1904‐1947) was a member, of‐ in Heiti Talvik and his adherents only the ten even called the intellectual leader of a pupils of the French Parnassian poets such circle of young Estonian poets called Arbu‐ as Théophile Gautier and others striving to jad (the Soothsayers). Arbujad were not uni‐ perfect, sculpturally calm forms as, despite ted by an explicit literary manifesto but of Talvik’s unconditional subjection to the considered themselves modestly a group of severe demands of art, he nevertheless friends who – regardless of their in some starts to see the aims of art outside the art aspects quite different literary production – itself. For him art becomes sort of an shared some basic principles on the nature epistemological tool to sense the true mea‐ of literary art, its functions and the role of ning and depths of life and being a poet poet. They mainly stressed that a poet must acquires so an ethic value. be completely free in his expression, he But even more frequent and obviously more should neither follow the subjects of daily justified are the cases of comparing Heiti politic life nor should he put himself at the Talvik with another legendary French poet, service of some distinct ideology. The only Charles Baudelaire; so far the most exten‐ rules the poet must obey are the intrinsic sive, although too general treatment of this rules of poetry itself. In the name of perfect subject is Aleksander Aspel’s lecture aesthetic achievement the poet may even “Baudelaire and the poetry of Heiti Talvik” sacrifice his life, as has written Betti Alver, held in the academic year 1968‐1969. Talvik another distinguished poet of this circle: in himself has admitted that when he started one of her poems she depicts an artist who to write he was under great influence of in a desire to get a perfect painting of a lion, Baudelaire, but later his interests changed, decides to enter the lion cage not knowing if as he himself said, his preferences turned he will survive or not.1 from decadent authors to classics, for e‐ In those aspirations this group of poets is by xample Dante.2 This evolution and Estonian literary critics sometimes consi‐ movement in his thought and expression – dered somewhat of an equivalent to the from decadent anxiety and self‐torturing to European art for art’s sake movement and a much more balanced and harmonious an opposition to another tendency in the view of life – is also traceable in his poetry. Estonian literature of the 1930s, namely to the more or less realistic or naturalistic 1 ALVER 2005, 132. 2 KAELAS 1936, 8. SymCity 1 (2007) 1 Katrin Ennus, The images of town and countryside in the poetry of Heiti Talvik Talvik and the other members of Arbujad 1912 when he wrote that the time of realism are considered to represent in Estonian depicting the farm and village life is over literature the same phenomenon which in and a new, urban and intelligent culture is Europe is called modernism, but it stems about to be born, but he admitted that Esto‐ from quite different contexts. Modernism is nians are only theoretically Europeans unanimously seen as being essentially because the urban atmosphere and city related to urban and industrial environment moods are here known indirectly, through but we can’t speak of real cities in Estonia in education and foreign literature.4 During the 1920s and 1930s. The urbanization had the next decades the situation changed of taken place and was slowly continuing (in course noticeably, both with regard to the 1934 29 % of Estonian population lived in socio‐economic sphere as well as the towns) but Estonian towns, which didn’t respective developments in the artistic have high buildings and consisted mostly of sensibility, psychology and use of language, 1‐2–storeyed wooden houses, are not but still it is obvious that Estonian towns comparable with the European cities with did not reach the same intensity of virtues populations of several millions, for example and vices accompanying urbanization in in 1934 Tallinn was the only town in Estonia great cities like Paris, London or New York. that had more than 100, 000 inhabitants, in What concerns Heiti Talvik, it is not known Tartu this number was 58, 876 and in Pärnu, that he had travelled abroad. He lived the hometown of Talvik, 20, 334.3 Besides, if mostly in two Estonian towns: in Pärnu, a to rely on contemporary fiction, moving beautiful small resort town by the Baltic Sea from the countryside to the towns didn’t where he was born, and in Tartu where he always have the most enviable reputation came to study in the university and where among the farmers: for example in one of he staid for the rest of his life. Bernard the most important epopee in Estonian lite‐ Kangro, one of Talvik’s fellow young poets, rature, A. H. Tammsaare’s “Tõde ja õigus”, remembers that Talvik liked hiking very written at the same epoch, one of the leit‐ much. For example in the beginning of motives is the ironic assertion that sending summer he often walked from Tartu to his one’s son to town means that he will beco‐ hometown Pärnu, which is 178 km away, me a horse thief. and not always choosing the most direct Consequently, when speaking of moder‐ way.5 Impressions gathered from those nism in Estonian literature from Noor‐Eesti tours have inspired some of his most to Arbujad the intertextual contexts, as optimistic poems. reading Baudelaire for example, have an In Talvik’s first poems the representation of important role, the experience of the real location is more concrete than in his later city life comes more through the texts than poems, it means, when speaking of his early through personal experience. The fact was poems – poems written before 1934 – the already claimed by Friedebert Tuglas in 4 TUGLAS 1996, 445. 3 PULLAT 1978, 78; 81‐83; 118. 5 KANGRO 1981, 77. SymCity 1 (2007) 2 Katrin Ennus, The images of town and countryside in the poetry of Heiti Talvik question “where it takes place” has an dary” (“Legendaarne”, 1925)) physical answer and makes more often sense then movement and openness. For example in when speaking of his later poems. the poem “Spring song” (“Kevadelaul”, Regarding the aspect of location and its 1924) he says that while in the woods and connection with the moods of lyrical I, we mountains the pain inside of him abates.7 can in general distinguish 5 types of poems. Or when describing the girl who he loved First the poems which give us no indication so much the source of all the metaphors or of location, they treat several more or less comparisons is nature: the girl’s limbs smell abstract themes without putting them in like white birches, her look is clear as a concrete surroundings. The number of that spring where the lyrical I can still his thirst sort of poems in Talvik’s creation grows in like a lark etc.8 time. These poems don’t contain explicitly the Secondly the poems which are near to the opposite negative pole, the freedom and first group, namely, in quite a lot of poems hope felt walking in the countryside is not we can from some hints deduce that the directly opposed to anything although it is speaker isn’t a farmer or a miner but quite easy to add this negative counterpart somebody who lives in the town, for implicitly because in his most depressed example in the poem “Pihtimuskilde” texts – so to say – the “action takes place” in (“Fragments of a Confession”, 1928) it is the town. But in this group of poems, which mentioned that when looking out of his would be the fourth in my division, we window he sees the roofs of other would neither meet the trivial, perhaps buildings,6 sometimes the lyrical I is positio‐ even expected town‐countryside ned in a town by the sea, like in “Before the opposition. In fact, in one of his earliest Thunderstorm” (“Eel äikest”, 1924 ) – it poems “Dusk” (“Videvik”, 1924) which is seems to be a similar person to the real not included in either of his collections of Talvik himself –, but in this group of poems poems but what is in this aspect very the town is only the modest and discreet exemplary, Talvik dismisses this as too decoration, it is not thematisized and naive. The lonely, physically sick and doesn’t acquire independent importance. extremely sad speaker is positioned in the Thirdly, some poems which are written in a park somewhere in the suburbs from where youthfully light and cheerful mood. They he glances at the gloomy town down in the are few because young Talvik is mostly valley and depicts it, mentioning the noise tormented by decadent spleen and anguish, of the factories covered with fog that re‐ but if there are some optimistic moments, sembles to a snake, the stench of the alcohol which are only slightly touched by melan‐ store and the screams of drunkards. This choly, then such moments are always introduction is followed by the existential connected with the countryside (often question whether he should return into the specially with the sea, like in the “Legen‐ 7 TALVIK 1988, 11.
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