By Lev Loseff, Valentina Polukhina (eds.)
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Extra resources for Brodsky’s Poetics and Aesthetics
16 Brodsky's Poetics and Aesthetics The impressionistic imagery of these lines runs through the remaining five stanzas of the poem: the sound of bells ('gul kolokolov') in the second stanza, the twilight in the third, the 'sad soul' and the reality of emptiness in the fourth, the epithets conveying magnitude in the fifth and the silent, dolorous departure taken by the lyrical persona in the final stanza, all of this is Mandelstamian and the similarity is enhanced by verbal play (between, characteristically, 'prizrachnyi' ('spectral') and 'prozrachnyi' ('transparent') and a respect for heaviness ('tiagotenie') that acquires a mystical quality.
70. The Anxiety of Influence, pp. 66, 71. It is clear from Bloom's remarks that the tessera is not the same as the subtext (which is always known to the later poet). It is certainly not the case that the erudite Brodsky 'has never read' all the poems of Mandelstam to which I refer in this essay. Indeed, he has explicitly asserted the centrality of reading in his claim that 'man is what he reads' (L: 365). Nevertheless, two salient factors remain valid: each poem by Mandelstam that I discuss is a 'central poem by an indubitable precursor' and we are 'dealing with primal words, but antithetical meanings'.
No wonder that we encounter the next mention of Islam in 'A Speech on Spilt Milk' in the context of a virulently satirical attack on Marxist political economy: 117 Th
Brodsky’s Poetics and Aesthetics by Lev Loseff, Valentina Polukhina (eds.)