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by Osip Mandelstam,David McDuff

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ISBN: 0903747073
Author: Osip Mandelstam,David McDuff
Language: Russian English
Publisher: Imprint unknown (September 20, 1973)
Pages: 200
Category: Europe
Subcategory: History
Rating: 4.5
Votes: 237
Size Fb2: 1536 kb
Size ePub: 1558 kb
Size Djvu: 1538 kb
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Osip Mandelstam was a popular russian poet. Mandelstam's poetry, acutely populist in spirit after the first Russian revolution in 1905, became closely associated with symbolist imagery.

Osip Mandelstam was a popular russian poet. He was one of the foremost members of the Acmeist school of poets. In 1911, he and several other young Russian poets formed the Poets' Guild. Here are below some of his most famous poems ever written during his lifetime. Browse all poems and texts published on Osip Mandelstam. He published his first collection of poems, The Stone, in 1913. Osip Mandelstam Poems.

Osip Mandelshtam (1891- 1938), one of the three great Acmeist poets, wrote verse distinguished by classical restraint, majestic conciseness, and sonority. Much of his early poetry is embodied in his two collections Stone (1913) and Tristina (1922). Arrested in 1934, he was exiled first to the Ural region and then to Voronezh. In 1938 he was rearrested, sentenced to forced labour, and died in harrowing circumstances in Vladivostok. From "The Heritage of Russian Verse," by Dimitri Obolensky.

Two hundred sixty four poems by Osip Mandelshtam. Mandelstam’s father was a merchant, and his mother was born into the intelligentsia. He spent his youth in St. Petersburg, where he studied in a school of commerce and wrote his first verse. In 1907 he visited Paris and became enamored of the French Symbolists. In 1911 he studied at the University of Heidelberg and then the University of St. Petersburg, though he never graduated. Mandelstam is one of the truly outstanding Russian poets of his or any time, highly esteemed by such important writers as Nikolai Gumilyov, Anna Akhmatova, and Boris Pasternak.

Mandelstam, Osip (1973) Selected Poems, translated by David McDuff, Rivers .

Mandelstam, Osip (1973) Selected Poems, translated by David McDuff, Rivers Press (Cambridge) and, with minor revisions, Farrar, Straus and Giroux (New York). Mandelstam, Osip (1973) The Complete Poetry of Osip Emilevich Mandelstam, translated by Burton Raffel and Alla Burago. The Poems of Osip Mandelstam (ebook of poems in translation, mostly from the 1930s).

Osip Mandelstam ranks among the most significant Russian poets of the . Mandelstam, Osip, Selected Poems, translated by Clarence Brown and W. S. Merwin, Atheneum (New York, NY), 1974.

Osip Mandelstam ranks among the most significant Russian poets of the 20th century. Selected Poems, translated by David McDuff, Farrar, Straus (New York City), 1975. Twentieth-Century Literary Criticism, Gale, Volume 2, 1979, Volume 6, 1982.

xxiv+182 206 pp, incl. Notes, Indexes to First Lines (Russian & English). Translator's Introduction locates Mandelstam within history of Russian poetry and society. Paperback: 206 pages.

For many intellectuals in Russia today, two poets - Osip Mandelstam (1891-1938) and Joseph Brodsky (1940-1996) - have acquired a nearly sacred status

Osip Mandelstam was born into a Jewish merchant family in Warsaw and later moved to St. Petersburg where he received his secondary education at a prestigious school. He also studied at the Sorbonne and at Heidelberg University. For many intellectuals in Russia today, two poets - Osip Mandelstam (1891-1938) and Joseph Brodsky (1940-1996) - have acquired a nearly sacred status. Both are presented almost in the guise of Christian martyrs, as poets who suffered for their verse: One died at the hands of the authorities and the other was forced to emigrate.

The Selected Poems book Osip Mandelstam - Selected Poems translated by Clarence Brown and W S Merwin and published by Penguin.

The Selected Poems book. Osip Mandelstam is a central figure not only in modern Russian poetry but in world poetry, the author of some of the most haunting and memorable poems of the twentieth century. Osip Mandelstam - Selected Poems translated by Clarence Brown and W S Merwin and published by Penguin.

Mandelshtam Osip Читать онлайн Selected Poems.

Osip Mandelshtam SELECTED POEMS Selected and Translated by James Greene Forewords by Nadezhda Mandelshtam and Donald Davie Introduction by Donald Rayfield To Ron Holmes, Maxwell Shorter and Antony Wood Fine fingers quiver; A fragile body breathes: A boat sliding across Fathomless silent seas. 1909 Few live for the sake of eternity. Читать онлайн Selected Poems. Selected and Translated.

Osip Emilyevich Mandelstam (also spelled Mandelshtam) (Russian: О́сип Эми́льевич . Osip Mandelstam: "Selected Poems", translated by David McDuff.

Osip Emilyevich Mandelstam (also spelled Mandelshtam) (Russian: О́сип Эми́льевич Мандельшта́м) was a Russian poet and essayist, one of the foremost members of the Acmeist school of poets. Osip Emilyevich Mandelstam. Farrar, Strauss and Giroux (New York) and, with minor corrections, Rivers Press (Cambridge), 1973. Osip Mandelstam: "50 Poems", translated by Bernard Meares with an Introductory Essay by Joseph Brodsky. Persea Books (New York), 1977.

. 1973, 182pp

Comments:

doesnt Do You
These translations of Mandelstam's poems are not so much Mandelstam as they are W.S. Merwin channelling Mandelstam. I prefer Clarence Brown's translations in his critical study of 1972, Mandelstam. The problem with Brown's book is that it doesn't include any of Mandelstam's poems written in the 1930s. This book, on which Brown and Merwin collaborated, does, and for that reason it is valuable. It is valuable for another very good reason. It includes Mandelstam's very interesting long critical essay on "The Divine Comedy," "Conversation About Dante," translated by Clarence Brown and Robert Hughs. This essay struck me as being important, not because of what it says about Dante whom I have not read, but because it seems to me to offer insight into understanding Mandelstam's own poetry or at least his method. Here are a few suggestive quotations:

Poetic speech is a crossbred process, and it consists of two sonorities.
The first of these is the change that we hear and sense in the very
instruments of poetic speech, which arise in the process of its impulse.
The second sonority is the speech proper . . . . (103)

Understood thus, poetry is not a part of nature . . . . Still less is it
a reflection of nature, . . . but it is something that . . . settles down
in a new extraspatial field of action, not so much narrating nature as
acting it out by means of its instruments, which are commonly called
images. (103)

In poetry only the executory understanding has any importance, and not
the passive, the reproducing, the paraphrasing understanding. (104)

External explanatory imagery is incompatible with the practice of
instruments. (104)

I hope these few quotes give you some idea of what Mandelstam was doing or trying to do when he created poems and will inspire you to want to read more of what he had to say in this essay. I will leave you with one last tidbit, which Mandelstam applied to Dante, but which I will apply to Mandelstam: "The labor of reading [Mandelstam] is above all endless, and the more we succeed at it the farther we are from our goal." (107)
SkroN
Having read with much frustration the translations by Andrew Davis (NYRB, 2016), Bernard Meares (Persea, 2000), and the present work by Brown and Merwin, I chanced upon a book entitled The Moscow and Voronezh Notebooks, translated by Richard and Elizabeth McKane and found it significantly more intelligible. Mandelstam is said to be difficult to understand even in Russian; so translating him must be a nightmare. I find the McKanes to be more successful with the poems from the Notebooks.
Priotian
I like Merwin's Mandelstam more than that of five other translators with whom I've compared Mandelstam translations. It often takes three readings of a Mandelstam poem to get why it was written---not what it is about, please---but WHY it was written. That is what you look for. After that the sense of the poem will appear. Well, Robert Lowell's imitations of Mandelstam are impressive, especially of the Stalin poem. However, in THE COMPLETE POEMS OF ROBERT LOWELL, there are only a dozen or so Mandelstam poems while the Brown/Merwin book has 97 pages of poems, along with a long forward. If you have any sense you will leap from this book to Nadezhda Mandelstam's HOPE AGAINST HOPE and HOPE ABANDONED---the story of her husband Osip's murder by Stalin. These two books have an inner light beyond praise and are two of the last century's greatest prose works---and they are marvelously translated by Max Hayward (who elsewhere has been battered for his early first English translation of ONE DAY IN THE LIFE OF IVAN DENISOVICH; nonetheless his Nadezhda Mandelstam works could not be bettered). A warning: once you get into twentieth-century Russian poetry and especially Marina Tsvetaeva and Anna Akhmatova you will find yourself drunk with agonies. These poets lived through societal horrors under Stalin that you can't grasp without reading Nadezhda Mandelstam. We have nothing in English like twentieth century Russian poetry. By the way, you will want the New York Review of Books Classics paperback edition of OSIP MANDELSTAM: SELECTED POEMS (by Merwin/Brown expanded). Well, while I'm at it let me say THE COMPLETE POETRY OF OSIP EMILIEVICH MANDELSTAM in English by Burton Raffel and Alla Burago from State University of New York Press (353 pages) has literal translations---perhaps closest of anyone's to Mandelstam's Russian originals---and yet the least poetic versions. But I should tell you as well that when Mandelstam himself translated Petrarch's sonnets, the Russian reader couldn't find any Petrarch after the first lines, the poems had been so Mandelstamized in Russian. So Mandelstam would have nothing against Merwin's Merwinized English versions (or Lowell's imitations). Here are a few lines of Merwin for you to compare with the Raffel/Burago literal verses. This poem is called "The Last Supper" and is about Da Vinci's great fresco:

The heaven of the supper fell in love with the wall.
It filled it with cracks. It fills them with light.
It fell into the wall. It shines out there
in the form of 13 heads. (Merwin/Browm)

Supper-sky adoring the wall--
wounded, scar-bright sky--
falling into her, flaring,
turned into 13 heads. (Raffel/Burago)

This is just the first stanza of the poem. I am happy indeed to have the COMPLETE MANDELSTAM from Raffel/Burago but I find the literal short lines too crowded; like fruitcake, enough's enough---although as I say these sharp-cut lines may be closer to the original. And the WHY of why did Mandelstam write this poem may come through more strongly in these brilliant little facets rather than in the longer lyrical line of Merwin/Brown. Take your choice!--although it's grand to have both. And let me end on one last note: Nadezha Mandelstam, who admireed Solzynitsin's IVAN DENISOVICH thought the death camp described in this work (drawn from Solzynitsin's imprisonment in the middle forties) is a day at the beach beside the camp Mandelstam was sent to in the late thirties.

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