시인의 죽음: 푸슈킨과 마야콥스키
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While the whole Europe was mourning over Byron’s death, Puskin made a quite ironic remark that he is glad to have a sublime subject for a poem. Thus composed “To the Sea” is an elegiac poem which mourns not only for the loss of two iconic Romantic figures – Byron and Napoleon – but also for his own separation from the southern sea. However, as it turns out in the poem, this mourning is but an excuse to commemorate his renewed relationship with the sea, now revived through his new poetic voice. As Tsvetaeva interpreted, Puskin had taken a leave from the sea, but he had never really said goodbye to the real Sea(stikhiia), i.e., to poetry(stikhi). When poets write poems on the death of a fellow poet, they say something beyond the actual death: mourning could be a ceremonial form of poetic succession; it could be a conscious or unconscious way of self-mourning; it could be a perpetuating act of the generic tradition itself, the tradition of the “death of a poet” poetry. Indeed, the “death of a poet” poem in Russian literature has a strong convention of its own. Regardless of its nature and cause, a poet’s death in Russia is considered a public loss and a civic event, and calls for a collective anger and revenge. Set forth by Lermontov’s famous poem on Pushkin’s death, this distinctive poetic tone continues to prevail the Russian “death of a poet(strong poet)” poems up to the modern period. In Russia, a poet’s death is a “literary fact” par excellence. A poet's death is envisioned upon the archetypal portrayal of Pushkin's death, as it was created by Lermontov and Zhukovsky, among others. Pushkin, who had de-sentimentalized a poet's death through the realistic and prosaic deliverance of Lensky's death in Evgenii Onegin, dies himself the same way as his poet-character died. When Pushkin's fellow poets record the poet's death, they incorporate Pushkin's literary text with his biographic text to create a mystified “literary fact,” which will function as the archetype of a great poet's death in Russian literature. A close look at the death-related texts of Mayakovsky, Tsvetaeva, Pasternak, Mandelshtam, and Brodsky reassures how and why the death of a great poet cannot be an end in itself.
Abstract
While the whole Europe was mourning over Byron’s death, Puskin made a quite ironic remark that he is glad to have a sublime subject for a poem. Thus composed “To the Sea” is an elegiac poem which mourns not only for the loss of two iconic Romantic figures – Byron and Napoleon – but also for his own separation from the southern sea. However, as it turns out in the poem, this mourning is but an excuse to commemorate his renewed relationship with the sea, now revived through his new poetic voice. As Tsvetaeva interpreted, Puskin had taken a leave from the sea, but he had never really said goodbye to the real Sea(stikhiia), i.e., to poetry(stikhi). When poets write poems on the death of a fellow poet, they say something beyond the actual death: mourning could be a ceremonial form of poetic succession; it could be a conscious or unconscious way of self-mourning; it could be a perpetuating act of the generic tradition itself, the tradition of the “death of a poet” poetry. Indeed, the “death of a poet” poem in Russian literature has a strong convention of its own. Regardless of its nature and cause, a poet’s death in Russia is considered a public loss and a civic event, and calls for a collective anger and revenge. Set forth by Lermontov’s famous poem on Pushkin’s death, this distinctive poetic tone continues to prevail the Russian “death of a poet(strong poet)” poems up to the modern period. In Russia, a poet’s death is a “literary fact” par excellence. A poet's death is envisioned upon the archetypal portrayal of Pushkin's death, as it was created by Lermontov and Zhukovsky, among others. Pushkin, who had de-sentimentalized a poet's death through the realistic and prosaic deliverance of Lensky's death in Evgenii Onegin, dies himself the same way as his poet-character died. When Pushkin's fellow poets record the poet's death, they incorporate Pushkin's literary text with his biographic text to create a mystified “literary fact,” which will function as the archetype of a great poet's death in Russian literature. A close look at the death-related texts of Mayakovsky, Tsvetaeva, Pasternak, Mandelshtam, and Brodsky reassures how and why the death of a great poet cannot be an end in itself.
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