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00:00:03

[music]

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[music]

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hello dear listeners the topic of

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our lesson

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Osip Emilievich Mandelstam life and

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work

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lyrics Osip Emilievich Mandelstam

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was born in 1891 in Warsaw into a

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Jewish family, his father was a merchant of the

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first guild and his mother was a musician,

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she had a great influence on her son in

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adulthood Mandelstam will perceive the

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art of poetry as akin to music.

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Later, the family moves to St. Petersburg

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where Mandelstam will study at the

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Kineshma School from 1900 to 1907. In

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1908, Osip Emilievich

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goes to Paris to study at Sargon and at the

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University of Heidelberg at the Sorbonne,

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attends lectures by

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Henri Bergson and Joseph Bedier becomes interested.

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French poetry

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old French epic Francois Villon

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im Butler and Virlen, in the intervals between

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foreign trips, he visits

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St. Petersburg where he attends lectures on

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versification

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on the tower and Vyacheslav Ivanov, due to

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lack of funds, Mandelstam stops

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studying abroad and enters the

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Faculty of History and Philology of the

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University of St. Petersburg where he studies from

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1911 to 1917, Mandelstam

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got acquainted with Gumilyov

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and became a member of the workshop of

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poets. In 1913, the first

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collection of poems by the poet Stone was published, which was

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then recorded and

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republished in 1916 and 1921. At this

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time, Mandelstam took an active

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part in the literary life of St. Petersburg;

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they became acquainted with Livshits. Marina Tsvetaeva

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in 1914, in Mandelstam's brief biography, an

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important event occurred;

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the writer was elected a member of the

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All-Russian Literary Society in

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1918; the poet collaborated in newspapers; the

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country; the evening star; the banner of labor;

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worked in the People's Commissariat for Education;

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in 1922, the second collection of the poet was published; the

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first world

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war leagues on ethics of the period shake

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fragmentary and paradoxical this

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poetics of associations in 1922 the poet

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married but the artist

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hope Khazin in 1923 the

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collections the

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second book and the third edition came out to me in

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1925 the

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autobiographical story of the writer the noise of

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time was published in 1927 the story was completed

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Egyptian stamp in 1928 Mandelstam's

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last lifetime book was published, a

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poem and poetry from 1925 to

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1930, the poet makes a living from

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translations in November 1933,

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Mandelstam writes the famous

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anti-Stalin poem

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we live under us without sensing the country we

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live under us without sensing the country our speech

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and ten steps away they are inaudible, and where there is enough

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conversation on the floor, they will remember the

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Kremlin highlander, his thick fingers are

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like worms, fat and his words are like those of a

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weight, faithful cockroaches, his eyes are laughing and his

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boots are shining,

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and around him is a rabble of a tank, a sheikh of leaders, he

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plays with the services of semi-humans

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who whistle who does not teach who whines he

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only butterflies and pokes so a horseshoe

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for a given decree to someone in the groin of someone in the

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forehead toss someone in the eye

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that is not execution he has Alina there and the broad

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chest of an Ossetian, knowing full well about the

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consequences Mandelstam fearlessly read this

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poem that he called parsnips by an act of

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suicide from 1934 to 1937,

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Mandelstam lived in the poverty of exile in

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Voronezh

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but did not stop literary

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activity, he wrote a cycle of poems

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in Voronezh notebooks in 1938, Osip

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Emilievich was arrested a second time and exiled to the

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Far East. On

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December 27, 1938, Mandelstam

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died of typhus in a transit camp in in the

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vicinity of Vladivostok,

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Mandelstam's lyrics are full of bookish

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cultural associations and allusions; the early

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period of Mandelstam's work is

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characterized by motives of renunciation of life with

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its conflicts; poeticization of chamber

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solitude; a feeling of the illusory nature of

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what is happening;

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Mandelstam represents not

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just the underlying meanings, but the

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certainty of the outlines of objects in the

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real world and the clarity of the boundaries

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between them. The poem Notre Dame,

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written in 1912 and included in the

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first collection of poems on this stone,

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was published in the appendix to the

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manifesto of Acmeism as its ideal

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example of the

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essence of the poem corresponds and to the

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mystical postulate that poetry

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should find the subject of depiction in the

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everyday earthly acmeism poetry of exact

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words and tangible objects as such

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subject Mandelstam chooses Notre Dame

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the poem consists of four lines the

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first stanza describes the past of

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mankind the cathedral was founded at the end of the

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12th century on the place where when -it was

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Roman to the moon

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comparing the first used

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cruciform vault design with the

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first man

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Adam Mandelstam addresses the topic 1

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new discovery in human history and

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culture

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2 3 stanzas describes the cathedral as a combination of

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three cultures

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Roman classical ancient Gallic

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pagan and Christian as the spiritual

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filling of the material creation

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of the architect The

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4th stanza is directed to the future. Mandelstam,

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who is 21 years old, strives to create a

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beautiful, similar to a harmonious

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cathedral consisting of

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monstrous ribs in the poem

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insomnia Homer tight sails was also

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included in Mandelstam's first poetry collection

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stone the formal theme of

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the poem the reflections of the lyrical

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hero when reading the so-called list

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or catalog of ships in Homer's Iliad the

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main idea of the poem is contained in

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the lines and the sea and Homer everything is moved by

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love the thought itself is not new, but the novelty

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of this thought is determined by the path of quest of the

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lyrical hero of the reflected composition of

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this lyrical meditation, composed of

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three cartridges 1 Catherine of the exposition and the

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beginning of the lyrical plot, the lyrical

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hero, tormented by insomnia, tries to enter

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in the measured rhythm of the scale of the slave, the narrative,

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however, the length of the brood of Achaean ships,

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the imagination of the modern reader

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turns into a crane train,

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exciting both with its epic scope and

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the uncertainty of the goal, the

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cranes fly south to escape the cold,

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what are they escaping from, or where are

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Homer's goals, you Achaeans, the second quatrain is devoted to the search for the answer to this

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question the answer is given in

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a peculiar way sees two rhetorical

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questions wedge ourselves into someone else's borders

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the Achaeans obey the order of their kings

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whose words are indisputable

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the goal of the kings themselves is known to us their choice of

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three is determined not so much by the strategic

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location of this important port of the Aegean

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Sea

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as by the jealousy of the Spartan king

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Menelaus and the insults inflicted pancakes 3

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Catherine unexpected the climax and

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denouement begins with an informal

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pagan understanding of love, it turns out that

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Homer and the sea element give in and

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submit to the more powerful verses of the elemental

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force of carnal love, there is something to experience

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culture shock, who should I listen to,

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even the wise

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Homer, who believes that if love, cannot give an answer to it

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so strong that it can ignite

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a war,

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this feeling deserves deep

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respect,

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even if obeying it has to

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kill and destroy,

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Osip Mandelstam cannot

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agree with such a point of view, since he is convinced that love

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should not bring destruction and creation,

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but he is not able to refute the great Homer either.

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as there is a vivid example of a

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blinding love that completely

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destroyed three in a poem in the

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thirties, the tragic tension

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reaches the motives and properties of the fear of a

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dead end, the feeling that there is nowhere to run, as for example

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in this poem from 1930,

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where how scared are you and me,

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my big-mouthed comrade, oh how our

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tobacco is crumbling, my nutcracker

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fool, but could life be about whistling

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starlings for eating nut pie, but

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apparently it’s impossible, a poem for the

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explosive valor of the coming centuries

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was created at the same time, it is built on the

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dissonance of the

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rhythm of the novel singing again and the rigid figurative

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structure of the bones in the wheel of the century of the wolfhound of the

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coward and the flimsy incisors

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is an image that unbearable

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existence that the lyrical hero is

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ready to exchange for Siberia,

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better stuff me like a hat in the hands of a hot fur coat

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of the Siberian steppes,

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so the poet prophesies his future fate by

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clicking on himself poetically, her real

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Siberian exile, Siberia dreams of the poet as a

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world where pristine natural harmony has been preserved,

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where blue

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foxes shine in its primeval beauty and the pine tree

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reaches up to the star in the center of the poem

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there is an image of the age of a wolfhound, the

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age of a wolfhound throws itself on my shoulders,

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but I am not a wolf by my blood

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[music]

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