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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74- 24,425 WEHRLE, Albert James, 1945- TENSIONS IN THE POETRY OF F. I. TJUT&V. The Ohio State University, Ph.D., 1974 Language and Literature, general { University Microfilms, A XEROX Company, Ann Arbor, Michigan 0 1974 ALBERT JAMES WEHRLE ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. TENSIONS IN THE POETRY OF F. I. TJUT^EV DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Albert J. Wehrle, B.A., A.M. The Ohio State University 1974 Reading Committee: Approved By Professor Frank R. Silbajoris Professor Hongor Oulanoff Professor Jerzy R. Krzyzanowski Adviser Department of Slavic Languages and Literatures Professor Frank R. Silbajoris V. VITA November 7, 1945 Born — Cleveland, Ohio 1968............ B.A. The College of Wooster (Ohio) 1970............ A.M. (Slavic Languages and Liter­ atures), The Ohio State University, Columbus, Ohio Spring 1969, Fall 1969 and 1970.... Teaching Assistant (Russian), The Ohio State University, Columbus Ohio 1969-1974, NDEA and NDFL Fellowships in Russian, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Russian Literature Studies in Old Russian Literature. Professor Frank R. Silbajoris. Professor Mateja Matejic. Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris. Studies in Nineteenth Century Russian Literature. Professor Frank R. Silbajoris. Professor Mateja Matejic. Studies in Twentieth Century Russian and Soviet Lit­ erature. Professor Frank R. Silbajoris. Pro­ fessor Hongor Oulanoff. Professor Leon Twarog. Minor Field: Polish Literature Studies in Polish Literature. Professor Jerzy R. Krzyzanowski. i* n* * TABLE OF CONTENTS PAGE DEDICATION......................................... ii VITA................................................ iii LIST OF FIGURES.................................... v NOTE ON TRANSLITERATION........................... vi CHAPTER I. THE TEXTURE OF TJUTCEV'S POETRY........... 1 II. TRANSITION AND CLOSURE IN TJUTCEV'S POETRY.................................... 32 III. PARALLELISM............................... 63 IV. THOUGHT AND EMOTION....................... 107 V. LOGIC AND STRUCTURE....................... 137 VI. ABSTRACTION AND EMPATHY.................. 162 VII. TJUTCEV AND HIS POETRY................... 192 APPENDIX: A BRIEF CHRONOLOGY OF TJUTCEV'S LIFE.. 220 SELECTED BIBLIOGRAPHY.............................. 222 LIST OF FIGURES FIGURE PAGE w V ^ 1. Rhythmic Graph of "Esce sumel Veselyj den,u ("The lively day was still making noise") — Definitive Version.............. 17 2. Rhythmic Graph of "Esce sumel veselyj den,u ("The lively day was still making noise") — Earlier Version.............. 22 3. Stress^Norm and Deviations in "Du^a moja— Elizium tenej" ("My soul is an Elysium of shades")....................... 45 4. Syllabic Norm and Deviations in "Dusa moja— fel izium tenej" ("My soul is an Elysium of shades")...................... 47 5. Structural Contours of "Predopredelenie" ("Predestination")....................... 54 6. Phonetic Diagram of "Silentium!" (Stressed Voviels)......................... 103 v N. A Note on Transliteration The Cyrillic alphabet is not used in this dis­ sertation. The Russian alphabet is transliterated ac­ cording to the system used in The Slavic and East Euro­ pean Journal. The purpose of using transliteration is to make it possible for the reader who knows no Russian to have as much an idea as possible of the sounds pre­ sent in a particular word, line, or poem. There are descrepancies between orthography and sound. These will be discussed in relation to particular points of analy­ sis. In addition, it should not be assumed that, say, Russian Crj is the same as English • But at least transliteration makes it evident that an C r} is involved, something that the Cyrillic letter "p" £r] would obscure. Certain phonemes are present in Russian that are not found in English. This makes it necessary to ex­ plain some of the transliterated letters. A groups of these letters are made by using the "hachek," (*). Thus: c — "cheese" s — "sham" z — "azure" sc — "danish cheese" Other consonants that need explanation are the trans­ literations "x" and "c." "X" is like English "h," or vi better, like the "ch" in Scottish "loch.11 "C" is like the "ts" in "cats." The letter "j" comes up often in this transliter­ ation system. It might be compared to the "y" in "boy_." After consonants, as in "Tjutcev," "j" indicates that the preceding consonant is "soft." Most Russian con- ’sonants come in pairs, one "soft" or "palatalized," and one "hard," or "non-palatalized." This difference can involve meaning, as in frat3 ("glad") vs. £ r ’at3 ("row"). In this particular phonetic transcription the apostrophe indicates that the preceding consonant is soft. Rus­ sian also has a special letter to show that the pre­ ceding consonant is soft, and this letter is also trans­ literated as an apostrophe. The "hard sign" is much rarer, and is transliterated as ("). The English letter "j" appears in vowels "ju" and "ja." This "j" is an indication that the preceding consonant is,soft. Thus £r’atj is transliterated to "rjad," while (j^&tJ ("glad") is transliterated as "rad." Going on to the transliteration of other vowels, the transliterated letter "y" is an allophone of /i/ and % follows hard consonants. "E" also follows hard con­ sonants, while "e" follows soft consonants. vii CHAPTER I The Texture of Tjutcev's Poetry When we speak of the "texture" of poetry, we are attempting to describe the impression produced by the interrelationship of the various poetic elements. By way of analogy with textiles, poetic texture may be "smooth" or "even," or it may be "coarse" or "uneven." The poetic fabric may be composed of fine and tightly- woven threads, or the weave may be heavier, its various threads more sharply defined and differentiated. The texture of Tjutcev's poetry is uneven. Defin­ ition is sharp. Elements are generally sharply differ­ entiated. This means that foregrounding is generally sharp. The poet will go to considerable, even "extreme" lengths to make certain elements and interrelationships of the various hierarchical levels of the poetic text stand out. This chapter is devoted to showing the more V important elements that make the texture of Tjutcev's poetry what it is. v Tjutcev's poems often begin abruptly. Frequently they begin with an imperative gesture, such as "Smotri" or "Vot" ("Look!"), or with a demonstrative, such as "Tam" ("There") or "Zdes'" ("Here"). This abruptness 1 produces the impression of present time; the reader finds himself in medias res. Abruptness is heightened by the fact that Tjutcev is not usually lavish with the information he gives the reader. The situation is usu­ ally tantalizingly vague. Various devices are used to make this vagueness take the form of tension between a context slightly beyond the poem and the lyric itself. One of these devices is the beginning with "And," which makes the reader wonder what has happened before: v I rasprostjas' s trevogoju zitejskoj, I kiparisnoj ros-scej zaslonjas', — And, bidding farewell to the anxieties of the world, And having screened itself with a cypress grove, — Another device, with the same effect of making the reader feel he has missed something, is the use of pro­ nouns with undefined antecedents. Not rarely this occurs in opening lines: Ona sidela na polu I grudu pisem razbirala, She was sitting on the floor And looking through a pile of letters,

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