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The Poetry of Anna Akhmatova

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Slavistische Beiträge ∙ Band 196 (eBook - Digi20-Retro) Sonia I. Ketchian The Poetry of Anna Akhmatova A Conquest of Time and Space Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access 00057086 S l a v is t ic h e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN t HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 196 VERLAG OTTO SAGNER MÜNCHEN Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access SONIA KETCH IAN THE POETRY OF ANNA AKHMATOVA: A CONQUEST OF TIME AND SPACE Verse Translation by F. D. Reeve “He conquered both time and space” (׳׳Anna Akhmatova, “A Word on Pushkin) "And away with time and away with space" (Anna Akhmatova) VERLAG OTTO SAGNER • MÜNCHEN 1986 Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access 00057086 Typeset by Brevis Press, Bethany, CT, U.S.A. [ Вауегівспѳ \ I Staatsbibliothek I l Mwìcfeen J ISBN 3-87690-341-6 © Verlag Otto Sagner, München 1986 Abteilung der Firma Kubon & Sagner, München Druck: D Gräbner. Altendorf Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access 00057086 Contents Preface vii Introduction 1 PART ONE Fire as the Essential Element of Life and Art 3 1 The Traditional Outlook on Fire in Literature 5 2 Fire as a Vehicle for Art 22 3 Thematics Preordained through Names 39 4 Fire Extended. Poison and Plants 56 PART TWO Poetic Expansion of Experience through Metempsychosis 73 5 The Concept of Metempsychosis 75 6 Preliminary Metempsychosis of the First Type 82 7 Preliminary Metempsychosis of the Second Type 92 8 Metempsychosis Proper 109 PART THREE The Transformation of Literary Legacy into Poetry 119 9 Imitation as Poetic Mode 121 10 The Teacher’s Lessons 138 11 Three-Tiered Edifices 150 PART FOUR The Confluence of Parts into a Whole Titles. Epigraphs and the Collections 161 12 Romanticism in Evening 163 13 Semiramis and Rosan 172 Intricacies in the Titles of White Flock. Plantain, Anno 14 Domini 1921-1922 and Reed 181 15 Number Symbolism in Seventh Book 192 Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access Contents Conclusion 201 Notes and References 205 Index 223 Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access 00057086 Preface The first segment of this book “came to me” in Widener Library in 1971 and was duly recorded, yet only upon completion of my Ph.D. dissertation on a different topic did I resume the study of Anna Akh- matova. While temporary interest in other topics would result in ar- tides, the examination of Akhmatova’s verse continued until it assumed the present form. I am greatly indebted to Sam Driver for his insightful and metic- ulous reading of my manuscript and for his numerous fine suggestions and comments that have improved this study. I am also grateful to Anna Lisa Crone for her thoughtful reading of the first version of this manuscript (Parts 1-3). I have incorporated many valuable com- ments. Thanks are due to Lauren G. Leighton who edited my first articles on Akhmatova which form the core of this investigation Ap- preciation is also due to the responsive participants of the Harvard Russian Research Center’s Literary Seminar Series, to whom many of the present ideas were initially aired, and the fine people at the Russian Research Center and Widener Library for gracious help rendered. I acknowledge with pleasure support of this project in 1982 by a Fulbright-Hays Faculty Research Abroad Fellowship and by the In- ternational Research and Exchanges Board. Furthermore, my work benefited through participation in 1983 in the IREX Senior Scholar Research Abroad Exchange Program with the Soviet Ministry of Higher Education. Finally I take pleasure in thanking the Armenian General Benevolent Union of America. Alex Manoogian Cultural Fund for a grant to defray the typesetting and publishing costs of this book. Portions of Parts 1-3 have appeared in earlier form as articles: ”.štam׳A Unique Device for Axmatova’s Tribute to Mandel“ .1 Slavic and East European Journal, vol. 20, no. 4, 1976. 2. *‘Axmatova's ‘Učitel": Lessons Learned from Annenskij,” SEEJ, vol. 22, no. 1. 1978. Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access Vill Preface 3. “Imitation as Poetic Mode in Achmatova's imitation from I. F. Annenskij,’ ” Scando-Slavica, vol. 25, 1979. 4. “Metempsychosis in the Verse of Anna Axmatova,” SEEJ, vol. 25, no. 1, 1981. 5. “Symbiosis and Dichotomy in the Names of Anna Akhmatova,” Semiotics 1981. Eds. John Deely and Margot Lenhart. New York: Plenum, 1983. Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access Introduction Emerging in 1912 as a reaction to Symbolism in Russia, the Acmeist movement in poetry accentuated its position as a continuation of the best world literature through extensive use of literary correspon- dences, allusions and subtexts. The early poetry of Anna Akhmatova (1889-1966), written just before the drawing up of Acmeist stances and manifestoes by its founders, Nikolai Gumilev and Sergei Goro- detskii, in effect, served as a model for the divergences of the newest poetry from the dominant Symbolists. That the first collection of Akh- matova’s verse Evening ( Vecher; 1912) in developing prominent Ro- mantic and Symbolist themes exemplified securement of past literary accomplishments with the novelties in doctrine of concreteness and clarity in composition, themes and imagery, was mostly overlooked by zealots of Acmeism and lovers of the poet’s verse. Indeed, her poems were easily appreciated by the general public for their beauty and craftsmanship as well as for their pellucity and taut emotion. Still, had Akhmatova wanted to be totally comprehensible and transparent to her readers, she would have resorted to a different genre, such as confessions, expository prose or even letters, which she avoided writ- ing. Instead she created verse which, as she later implied, must always contain an element of mystery. Accordingly, for the sophisticated reader, mystery and unusual intricacy were incorporated on a covert level through three main avenues: through the understated omni- presence of fire thematics, the device of metempsychosis for the poet’s speaker and the device of intertextuality: allusion, correspondences and subtexts. These are the three leading principles which underlie Akhmatova’s creative ethos in her seven collections of verse and in her numerous long poems. As a result of her personal unique inter- weaving of the three principles, her entire artistic output acquires a unity and perfect pattern found only in great literature. The under- standing of the unity and design leads to the unraveling of the mvs- teries inherent in Akhmatova’s verse. It will be the objective of this study to illuminate in three parts the pattern of the interwoven prin- ciples, never before investigated in scholarship, on the backdrop of Sonia I. Ketchian - 9783954792412 Downloaded from PubFactory at 01/10/2019 04:37:23AM via free access 2 Introduction Akhmatova’s entire poetic oeuvre. An appended fourth part, treating the interconnection between the title of each given collection of poetry with its contents as well as the thematic and structural interdepen- dence on one another of the seven collections, will conclude the in- vestigation. The first topic of discussion—the theme of fire—will show why for the lyricist Akhmatova fire comprises the basis of her poetic world, being present in life, love and art in a philosophical sense. In fact, in order to create poetry, the poet as a person must initially participate in the ebb and flow of life and love. Thereafter, in her capacity of poet she must transmute the essence of her experiences on the basis of existing literary tradition with the aid of her Muse into artistic impressions and emotions as reflected through her eyes and voice as poetic speaker. The fire of love for a beloved man, experienced by the private person Anna Gorenko (the poet’s maiden name), evolves into grief—an inevitable stage for all love. To attenuate her misery and to immortalize the events and individuals, the poet Anna Akh- matova, in contrast to ordinary mortals, worships her Muse. In the process of adulation the supplications of Akhmatova the poet trans- form into a song, which becomes a lyric pronounced by the persona who happens to be also a poet. The unusual dichotomy between Anna Gorenko the person and Anna Akhmatova the poet that is mirrored in her persona as a person and a poet derives its genesis from Akh- matova's awareness of the dual implications in the Russian words goret' (to burn) and gore (grief) inherent in the root of her inherited family name, Gorenko, and the laudatory and sighing aspects of her adopted pseudonym, Akhmatova. The second principle in the verse shows that the dramatic style and content of Akhmatova’s poetry boasts an omnipresent variable per- sona, herself often a poet. In order to substantiate rich experiences and broad knowledge Akhmatova introduces in certain poems a first- hand, eyewitness familiarity for her speaker with bygone ages, with various people and with other, nonhuman forms of life, through ele- ments of metempsychosis.
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