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Paul temple radio echoes12/27/2023 ![]() ![]() (This vibrato is everywhere: in the interval between the words and the stanza, in the “courtyards” where rhymes and assonances stand, in the punctuation. Speaker: It is this tension of the times, between its own and the foreign, which lends that pained-mute vibrato to a Mandelstam poem by which we recognize it. Yet even in the here and now of the poem, even in this immediacy and nearness it lets its distance have its say too, it guards what is most its own: its time.Ģ. But the addressed, through naming, as it were, becomes a you, brings its otherness and strangeness into this present. In the space of this conversation the addressed constitutes itself, becomes present, gathers itself around the I that addresses and names it. Speaker: These poems are the poems of someone who is perceptive and attentive, someone turned toward what becomes visible, someone addressing and questioning: these poems are a conversation. In this sense we are permitted to understand this poet’s “Acmeism” as a language that has born fruit.ġ. Speaker: Osip Mandelstam’s poem wants to develop what can be perceived and reached with the help of language and make it actual in its truth. Speaker: “Acme”, that means the high point, maturity, the fully developed flower.Ģ. But not, or only rarely, the poems themselves. Speaker: The thoughts of the “acmeists” or, as they also call themselves, the “Adamists,” grouped around Gumilev and his magazines “The Hyperborean” and “Apollo,” move along the same (or similar) orbits.ġ. It is the language of a singular being that has taken on form it has objectivity and oppositeness, sub stance and presence. The poem – with all its horizons – remains a sublunar, terrestrial, creaturely phenomenon. The place of the poem is a human place, “a place in the cosmos”, yes, but here, down here, in time. ![]() The poem in this case is the poem of the one who knows that he is speaking under the clinamen of his existence, that the language of his poem is neither “analogy” nor plain language, but language “actualized,” voiceful and voiceless simultaneously, set free under the sign of an indeed radical individuation which, however and at the same time, remains mindful of the limits imposed on it by language and of the possibilities language has opened up. These verses, contrary to Futurism’s simultaneous expansion, are free of neologisms, word-concretions, word-destructions they are not a new “expressive” art. Their images resist the concept of the metaphor and the emblem their character is phenomenal. They are not “word-music,” they are not impressionistic “mood poetry” woven together from “timbres,” no “second” reality symbolically inflating the real. Speaker: The twenty poems from the volume “The Stone” strike one as strange. Speaker: And among all the major Russian poets who survive the first post-revolutionary decade - Nikolai Gumilev will be shot in 1921 as a counter-revolutionary Velimir Khlebnikov, the great utopian of language, will die of starvation in 1922 - this “scarety cat,” anxious Osip Mandelstam will be the only defiant and uncompromising one, “the only one,” as the younger literary historian Vladimir Markov notes, “who never ate humble pie”.ġ. He is also nearly indescribably fearful: if, for example, his route leads past a police station, he’ll make a detour.Ģ. Mandelstam is oversensitive, impulsive, unforeseeable. Suddenly you hear him break into laughter ! on occasions where a completely other reaction is expected he laughs much too often and much too loudly. Speaker: Something strange, somewhat uncanny, slightly absurd. Petersburg and Pawlowsk and about whom it is known, among other things, that he studied philosophy in Heidelberg and is presently enamored of Greek.ġ. Speaker: Something strange - as various contemporaries report - which also applies to the author of the volume, Osip Mandelstam, born 1891 in Warsaw and who grew up in St. “Something,” remembers Sinaida Hippius who was centrally involved in the literary life back then and who had a way with words, “something had gotten into them.”Ģ. Petersburg, entitled “The Stone.” These poems clearly carry weight as the poets Georgij Ivanov and Nikolai Gumilev admit, one would like to have written them oneself, and yet ! these poems estrange. ![]() Speaker: In 1913 a small volume of poetry was published in St. Translated from Celan’s German by Pierre Jorisġ. ![]()
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