The following abbreviations have been adopted:

IV- N. Gumilyov, Collected works in four volumes, vol. IV, Washington, 1962;
joint venture — Collection of works by R. Khlebnikov, vol. 1-5, Leningrad, 1929 - 1933;
NP- V. Khlebnikov, Unpublished works, Moscow, 1940;
BS — Blok's collection, 2, Tartu, 1972;
Livshits— Benedikt Livshitz, One and a half eyed archer, Leningrad, 1933;

RSP- Yu.I. Levin, D.M. Segal, R.D. Timenchik, V.N. Toporov, T.V. Tsivyan, "Russian Semantic Poetics as a Potential Cultural Paradigm" ( Russian literature № 7-8, 1974);
PZHRF — The first magazine of Russian futurists, Moscow, 1914;
RM- and. Russian thought;
Northwest- and. northern notes, St. Petersburg;
NW — vs. Modern notes, Paris;
SEER — The Slavonic and East European Review.

Notes

* No. 1 in Russian Literature 7/8, 1974.
1 SEER, London, 1972, vol. 50, no. 118, p. 103. (My dating is somewhat different from that given by the publisher Amanda Haight). In a footnote to the Acmeist manifesto, Gumilyov promised a special article on the Futurists ( IV, 171). Even in a letter dated March 28, 1913 to Bryusov regarding Bryusov's article on the Futurists ( RM 1913 No. 3) Gumilyov remarked: “Your analysis of their “discoveries” is truly brilliant. God grant that they learn it ‹...› in No. 4 Apollo my article will appear, where I will partly touch on the same topic. No such article has appeared.
2 Published posthumously (apparently inserted in the proof - date: July 1921) in: Almanac of the Workshop of Poets, Petrograd, 1921, p. 85. Cf. comic Gumilyov's futurology in the memoirs of G. Ivanov: “I'll buy myself an airplane then. I’ll say: “Pasha, give me my airplane” ( NW, 1931 No. 47, p. 315). Brega's project dates back to 1920: an airplane with a pressurized cabin for space travel.
3 Shklovsky wrote: “Gumilyov's blue leaves are a poetic metaphor. He was an excellent poet, but he could not foresee the emergence of a new science - astrobotany. According to the founder of this science G.A. Tikhov, “blue leaves” should have Martian plants that have adapted to the harsh conditions of this planet over long epochs of evolution. And on Venus, precisely because the “Sun is more fiery and golden” there, the foliage of trees, according to Tikhov, should be orange and even red ‹...›” ( News, 1961, February 13, evening. issue). Modern science fiction for Gumilyov usually interpreted this subject in a more “earthly” way - see, for example, the chapter “Flora of Venus” in the “astronomical novel” by B. Krasnogorsky and D. Svyatsky Islands of the ethereal ocean(Petersburg, 1914): flora of the Carboniferous period, horsetails, club mosses and “a plant similar to our Kuzmichev grass or “steppe raspberry”.
4 "Descendants of Cain" ("Pearls"). Wed to possible associations with Venus in this poem: ‹...› a sad, austere spirit, who took the name of the morning star.
5 "Eagle" ("Pearls"):

He died, yes! But he couldn't fall
Entering the circles of planetary movement.
The bottomless mouth gaped below,
But the forces of attraction were weak.

6 "Nature" ("Bonfire").
7 Wed. K. Mochulsky: “The master - Gumilyov in “Bonfire” concluded the task of new poetry in a strict formula: Only virgin names Poets are allowed to leave. The task is clearly impossible, but dazzlingly audacious” ( NW, 1922 No. 11, p. 371). Such a program is the property not only of acmeists, but of all those who “overcame symbolism”. Khlebnikov wrote to Kruchenykh: Ardent words in defense of Adam find you together with Gorodetsky. It makes sense: we write after “Tsushima” (NP, 367) . As for the languages ​​\u200b\u200bof the "inhabitants of the planets", then again the representatives of the Flammarion tradition were not very inventive - for example, in the novel by Le Fort and the Countess (Russian translation - 1926) the language of the "Venusians" is very similar to ancient Greek.
8 Wed. Charles Nodier's onomatopoeic explanation of the word 'catacombes'. This example used Nyrop ( Grammaire historique de 1a 1angue francaise, IV: Semantique, Copenhagen, 1913). In Russian translation by Vlad.B. Shklovsky: “It is impossible to find a chain of more picturesque sounds to convey the echo of death, which goes and hits sharp stone corners and suddenly freezes between the graves” ( Collections of no theory of ethical language, issue. I, Petersburg, 1916, p. 65). Vl. Shklovsky translated ‘cercueil’ as ‘death’, but cf. translation of ‘coffin’ (S. Ullmann, Semantics. An Introduction to the Science of Meaning, Oxford, 1967, p. 89).
9 In the same place, Mandelstam speaks of the "Stone Age" of the existence of the word. For the problems of these formulas, see the works of E.A. Toddes and Omri Ronen.
10 A. Bely, Symbolism, Moscow, 1910, p. 619. In the late 1900s, Gumilyov experienced a fascination with theosophy.
11 Prof. A.L. Pogodin, Language as creativity. Kharkov, 1913 ( Issues of the theory and psychology of creativity, vol. 4), p. 502.
12 Wed. e.g. there, p. 280 (about words that sound like ia in one of the Polynesian languages).
13 This interjection had already appeared in Gumilyov before, causing surprise among poets of the same age: “‹...› naive, touchingly naive, so strange in Gumilyov’s lips, such a sincerely lyrical “ah”, fluttered into the formula: The sun of the spirit, ah, sunsetless, / It is not for the earth to overcome it”(A. Polyanin (S. Parnok), Northwest, 1916 No. 6, p. 218).
14 Yu. Lotman, B. Uspensky, Disputes about the language in early XIX V. as a fact of Russian culture. Works on Russian and Slavic Philology, XXIV, Tartu, 1975, p. 283.
15 Gumilyov's acquaintance with this article is very likely because his poems and Bryusov's reviews of "Evening" and "Alien Sky" are printed in the same issue.
16 “Things like ‹...› ауо are pronounced with tension, regardless of the strain of hearing when they are perceived” (L. Sabaneev, Music of speech. Aesthetic research, Moscow, 1923, p. 105) .
17 It is appropriate to recall that the "counter-feeling" inherent in a number of aesthetic theories to every literary text was brought to the surface of the text by the acmeists. N. Sredin (E. Nedzelsky) wrote about the “two-dimensionality of the topic” among the acmeists ( Central Europe, 1929, No. 48, p. 8).
18 A.M. Peshkovsky, " Principles and techniques of stylistic analysis and evaluation of fiction» ( Ars poetica, I, Moscow, 1927, pp. 35-36).
19 Wed. words by A.A. Smirnov that Gumilyov’s “some pretentiousness with a touch of mannerism” turned into “a fully matured original manner” ( Creation, Kharkov, 1919. No. 3, p. 27).
20 N. Khardzhiev, V. Trenin. Mayakovsky's poetic culture, Moscow, 1970, p. 75.
21 I.A. Baudouin de Courtenay, of course, responded to this place in the declaration with the remark that ‘e’ is “not a vowel, but only a combination of a consonant with a vowel” ( Responses, 1914, No. 8, February 27). Did Gumilyov remember this when he proposed “a language of only vowels”?
22" dead moon» (1913). Here we give according to the second edition (Moscow, 1914, p. 79). "Heights" was discussed by Bryusov in the article "Common Sense Tartarara" ( RM, 1914 No. 3, reprinted in: Valery Bryusov, Collected Works, vol. 6, Moscow, 1975, pp. 425-426), calling into question the “hidden meaning of vowels”, since “vowels are pronounced differently in every language.”
23 Wed. o "euy" - "rough, unpronounceable word" (N.P. Rozanov, ego futurism, Vladikavkaz, 1914, p. 22). “Words” of some vowels are also in other verses of Kruchenykh, for example, in “Go osneg kaid ...”: “Sinu ae ksel".
24 A. Kruchenykh, The abstruse language of Seifullina, Vs. Ivanov, Leonov, Babel, I. Selvinsky, A. Vesely and others. Moscow, 1925, p. 24.
25 Wed. in his letter to Akhmatova in the summer of 1912: “I am already reading Dante, although, of course, I grasp only the general meaning and only some expressions” ( SEER, 1972, No. 118, p. 101). Gumilyov was a student of the Romano-Germanic department. Wed memoirs Vlad. Shklovsky about meetings with him ( Book and revolution, 1922, No. 7(19), p. 57). Lozinsky already had a cult of Dante at that time - see his memoirs of travels to Florence and Ravenna in 1911 and 1913: Neva, 1965, No. 5, p. 202.
26 Translation by A.G. Gabrichevsky ( Dante Alighieri. Small works, Moscow, 1968, pp. 213-214).
27 Especially should be reminded of the "magic of vowels" among the Gnostics. From the scientific literature of the 10s, see: Franz Dornseiff, Das Alphabet in Mystik und Magie, Leipzig-Berlin, 1922.
28 Viktor Shklovsky. Lived once, Moscow, 1964, p. 259. Shklovsky was then opposed by V.K. Shileyko (V. Piast, Meetings, Moscow, 1929, pp. 250, 278).
29 Wed. widely known, cited by I.P. Sakharov ( Tales of the Russian people, St. Petersburg, 1885, p. 99) so-called. "Song of the Witches on Bald Mountain":

‹...› A.a.a. - ooo. — i.i.i. — uh. - w.w.w. - e.e.e.

Wed also in Faycte Goethe:

Den Laffen mussen wir erschrecken
A, a! E, e! I,i! Oh! U!
(“Aufführungen des Fürsten Radziwill in Berlin”).

30 One of the Russian translations of The Vowels belongs to Gumilyov:

A - black, white - E, U - green, O - blue,
And - red ... I want to open the birth of vowels.
A - a mourning corset under a flock of terrible flies,
Swarming around, as in carrion il mud.

The world of darkness; E - peace of fog over the desert,
The trembling of flowers, the rise of dangerous glaciers;
And - purple, a clot of blood, a smile of beautiful lips
In their fury or in their madness before the shrine.

U - marvelous circles of greenish seas,
The meadow is variegated with beasts, the peace of wrinkles crumpled
Alchemy on the foreheads of thoughtful people;

Oh - the ringing of a copper deaf ending,
A comet pierced by an angel silence:
— Omega, the ray of Her lilac eyes.

31 N. Khardzhiev, V. Trenin, cit. op., page 33.
32 Spring counterparty of muses, Moscow, Spring 1915, pp. 95-96. To the question of the reliability of Gumilyov's acquaintance with the almanacs of the futurists - in a note of 1913, he abstracts Khlebnikov's works from "Slap in the Face of Public Taste", "Dead Moon", "Union of Youth" No. 3 ( IV, 324-325), he specially reviewed both "Judges' Cage" ( IV, 260-261, 318-319), an excerpt from Khlebnikov's "Death of Palivoda" ("battle of the Cossacks"), published in "Roaring Parnassus", he intended to include, according to the project of 1915, in an anthology of new Russian prose; The first magazine of Russian fymypucts was received by the editors Apollo(1914, No. 5, p. 78), where Gumilyov took all poetry collections for review; about the reaction to Spring counterparty of muses(i.e., on Pasternak's poems placed there) see the memoirs of G. Adamovich and N. Otsup.
33 See. RSP, page 48.
34 It is unlikely that Khlebnikov (and perhaps Gumilyov) was acquainted with the following text - in the novel by Wilhelm Heinse Hildegard von Hoenthal(1796) one of the heroes expounds his teaching:
„Fur alles, was aus unseren Innern unmittelbar selbst kommt, ist der Vokal der wesentliche Laut. Der Wilde sieht etwas Schones von weitem, und ruft: A! Er nahert sich, erkennt es deutlich, und ruft: E! Er beruhrt es, wird von ihm beruhrt, und beide rufen: I! Eins will sich des andern bemachtigen, und das, welches Verlust befurchtet, ruft: O! Es unterliegt, leidet Schmerz und ruft: U!” — „Die funf Vokale mit ihren Doppellauten sind die Tonleiter des Alphabets aus der gewohnlichen Aussprache” (quoted no: F. Dornseiff, op. cit. , S. 51).
However, we note that Kuzmin, with whom Khlebnikov met intensively in 1909 and whom he called a teacher ( joint venture, 5, 287), was an attentive reader of Heinze (G.G. Shmakov, Blok and Kuzmin, BS, p. 352). It is possible that Geise, whom Khlebnikov included in the enumeration German thinkers (PZHRF, p. 80; SP, 5, p. 191, cf. SP, 5, p. 188) is a typo instead of “Heinse”. If we are talking about the famous philologist Heyse, we note, just in case, his reasoning about vowels (Gustav Gerber, Die Sprache als Kunst., Berlin, 1885, Bd. I, S. 206).
35 Northwest, 1914 No. I (reprinted in: N.O. Lerner, Stories about Pushkin, Leningrad, 1929, pp. 180-189).
36 “The glory of the word, shattered by the “left” — Zaumem and the “right” — by every Acme, is resurrected by the power of Brentano (Troll, Trilltrall, aus dem Grabe) and Khlebnikov” (Boris Lapin, 1922 book of poetry, Moscow, 1923, p. 54). Wed his poem “On the death of Khlebnikov” (ibid., p. 17) and dedicated to Khlebnikov “Yesterday his azure elbow ...” (B. Lapin, E. Gabrilovich, Lightning, Moscow, 1922, p. 18).
37 According to N.Ya. Mandelstam, especially remembered the lines:
There, biting the fingers of the astras, Trill-Trall kissed the flowers...
38 B. Lapin, 1922 book of poetry, p. 41. “Forest” often appears among the Futurists as a motivation for zaumi vowels and playing on interjections (“Finland” by Elena Guro and others). In his first article on the Futurists (RM, 1913 No. 3, 2 pg., p. 129), Bryusov cites the verses of “Josephine Gant de Orsail” (V. Gnedov’s pseudonym, as A.E. Parnis pointed out to me): Ah! Ah! green twigs .../ Ah! Ah! Ah! Woo! Similar examples somewhat clarify Ivan Aksenov’s statement: “The interjection, which was so widely used by the Milanese, filling whole quatrains with it (Nodier, by the way, composed entire chapters of this kind of sayings), was adopted only by Vadim Shershenevich, and then episodically, and then in 1915 ‹...›” ( Print and revolution, 1921, No. 3, p. 91).
39 Wed. poem "Trees"

I know that the trees, not us
Given the greatness of a perfect life,
On gentle land sister to the stars,
We are in a foreign land, and they are in their homeland.

40 In the utopia "We are at home" ( joint venture, 4, 286; cf. litter I and E on Khlebnikov's architectural drawings - Science and life, 1976, No. 8, p. 107), in which, by the way, we also find a metaphor alphabets of consonants made of iron and vowels made of glass.

41 Wed. V. Markov, The longer roems of Velimir Khlebnikov, p. 81 ("special sonic effects").
42 "Death of Vladimir Mayakovsky", Berlin, 1931, pp. 7-8. For Khlebnikov's meetings with Gumilyov, see: joint venture, 5, pp. 286-7, 327; NP, pp. 198-9, 423-6. Personal relationships were complicated (if not broken) in January 1914 by the appearance of the "Go to hell" manifesto (cf. Livshits, p. 264). Apparently, this is why the publication of Khlebnikov’s “What are you robbing, cookies ...”, intended for No. 8, was postponed. hyperborea(Archive M. Lozinsky).
43 See. Works on sign systems, 5, Tartu, 1971, p. 280.
44 The testimony of M. Voloshin is curious: “Perhaps the first of the modern poets who began to read Dahl was Vyacheslav Ivanov. In any case, the modern poets of the younger generation, under his influence, subscribed to Dahl's new edition" ( RUssia morning, 1911, No. 129, May 25).
45 PZHF, p. 49. Another variant in Roaring Parnassus (SP, 2, 180). Apparently, in the author's pronunciation, the text was built on the antithesis of “bird sounds” and “human voice”. Wed: "Fed up with glossolalia, he went to look for wisdom in the wind, into the element of bird speech, reproducing it with virtuosity, which the “musical notation” in “Roaring Parnassus” does not give any idea of ​​\u200b\u200b” ( Livshits, p. 274). Wed also the memoirs of I. Berezark about Khlebnikov: “He knew how to imitate birds and believed that bird voices were somehow related to poetry” ( Star, 1965, No. 12, p. 173)

46 Wed. in "Mistake of Death": Everything from tears to lungwort / Everything earthly will be "bya" (joint venture, 4, 252), in the poem "The clouds seemed like scarlet mustaches ...": Oh!... We are exhausted in the eternal eternal greed! / And the child, mimicking us, squeaked “be!”, in "Crimean": Oh! I'm tired of walking alone! / And the child, seeing the sun, cried: swell” (joint venture, 2, pp. 284 and 47).
47 Wed. about the language of hunting life in Annensky's Pedagogical Letters ( Russian school, 1892, No. 7-8, p. 165).
48 Wed. put into Verlaine's mouth in Zenkevich's Waste of Poetry (1926): "Death has made you a bo-bo, / Oh, my boy Rimbaud!" Note that the finale of "Man" was perceived by the general public in the 1910s almost as a futurist outrageous - cf. in a newspaper report on a lecture by Gabriel Gershenkrein (one of the early and sensitive critics of Mandelstam's poetry): "quoted by Annensky's poem, a really state councilor, director of the lyceum (so! - R.T.), the district inspector, which he ends with inarticulate sounds that most closely resemble the barking of a dog, the lecturer did not seem to convince anyone of the need for this kind of “antithesis” ”( Odessa news, No. 9688, April 25, 1915). Earlier, V. Volkenstein called this poem a "curiosity" ( Modern world , 1910, No. 5, 2 p., p. 113).
49 An involuntary coincidence with Khlebnikov's self-observations: self-guided word has a five-beam structure (PZHRF, page 79; joint venture, 5, p. 191), I have studied samples of selfish speech and found the number five to be quite remarkable for her; the same as for the number of fingers (joint venture, 5, p. 185; printed in Youth Union, No. 3, 1913). Among Khlebnikov's "Proposals" were call numbers with five vowels: a, y, o, e, and ‹...› quinary (joint venture, 5, p. 158).
50 A. White, Symbolism, p. 416; A. Bely, "Aaron's Rod", Scythians, 1, Petrograd, 1917, pp. 179, 196.
51 Perhaps Gumilyov is slightly parodic here - “an extremely characteristic of Balmont and, perhaps, his only technique - translation. He names the word - and either reveals its etymological meaning, or simply translates into another language:
‹...› And now the dew is called Shang-Chi-Shui / What does it mean: Witchcraft of higher jets. ‹...› The exclamation “Who is like God!” is the name of Michael”(D. Vygodsky, chronicle, 1917, No. 5-6, p. 254).
52 See for example: M. Grammont, Traite de phonetique, Paris, 1933, p. 406. Attributing both to the future, and about to the past, perhaps, has something in common with Khlebnikov's internal declension of words (joint venture, 5, pp. 171-2, 205), which Gumilyov expounded in 1913 - "he believes that each vowel contains not only an action, but also its direction" ( IV, 324), and Khlebnikov himself summarized in the article "Our Foundation": As for the vowels, with regard to O and N, we can say that the arrows of their meanings are directed in different directions, and they give the words the opposite meaning. ‹...› But vowels are less studied than consonants. (joint venture, 5, p. 237). Apparently, later Khlebnikov abandoned his constructions of 1913: And connects, A against, O increases growth, e decline, fall at obedience. So the poem is full of meaning from some vowels (joint venture, 5, p. 189).
53 Wed. F. Schlegel's metaphor: consonants are the body, vowels are the soul of the language (Gustav Gerber, cit. Op.., p. 201).
54 "For the depiction of the world of angels ‹...› he also found a completely suitable color scheme, tender and joyful, consisting of light blue paint, jubilant red, blond, glowing like copper, and finally, gold, dousing the celestials with a radiant sheen ” (R. Muter, History of painting, part I. Per. with him. ed. K. Balmont, St. Petersburg, 1901, p. 44)
55 Compare: “I remember how in the first issue ‹...› hyperborea(1912) Sergei Gorodetsky was indignant at N. Gumilyov for his unexpected and eccentric for an acmeist love for the humble art of Fra Beato Angelico. ‹...› No, you're wrong, hungry for revelation! / Do not expect the appearance of Adam from Beato.‹...› Acmeist, “hungry for revelations” and loving “humble simplicity” fra Angelico is above the terrible perfection of Buonarotti and the magical hops of da Vinci ... Yes, this might seem like a whim. In fact, there was something more here” (B. Eichenbaum, RM, 1916 No. 2, 3 p., p. 17). Perhaps Gumilyov looked at Fra Angelico as a candidate for the Acmeist pantheon in connection with the idea of ​​“balance”; cf .: "possessed a rare uniformity of creative power" (Robert Zaichik, People and art of the Italian Renaissance, St. Petersburg, 1906, p. 230).
56 Compare: “This old position of Maurice Grammont, to our surprise, is also found among the latest students of verse: “Nasal vowels predominate among the French mainly in erotic poetry. The pronons here conveys the nasality that occurs during salivation caused by love yearning (I. Fonagy) "" (Jiri Levy, The art of translation, Moscow, 1974, p. 325).
57 Lef, 1923, No. 1, p. 144.
58 See verse. Gumilyov "The sacred ones swim and melt the nights ..." (end of 1914)
59 L. Reisner, review of "Gondla" ( chronicle, 1917, No. 5-6, p. 364). The author of the review seems to be the prototype of the main character, and the pseudonym "Lera-Laik" phonologically encrypts the name Larisa (not without recollection of Pushkin's Laisas).
60 Sagittarius, 1, Petersburg, 1915, p. 58.
61 Mandelshtam's formula is possibly related to the ideas of V.V. Rozanova ("except for consonants, nothing in Holy Scripture!”).
65 Vladimir Gippius, The face of a human. Poem, Petrograd-Berlin, 1922, p. 189. One can see here (“counted in full”) an attack on Gumilyov, who wrote about the book of Vl. Gippius Return: “It seems that the poet is most captivated by the overflow of vowels ‹...› Four ‘and’ in a row in two lines ‹...› unpleasant for hearing” ( IV, 310-11).
66 K.D. Balmont, Poetry is like magic, 1915, pp. 57-58. It is noteworthy that B. Eikhenbaum in his review of this book brings together the aspirations of the symbolists and futurists: “If the sound-letter in itself, taken separately, is “guessing”, then words are not needed, because then they are simple accumulations of these sounds that can live separately. Then words can and should be composed mechanically, combining individual sounds - outside the traditions of the language, outside its forms. Another step - and the sound will be superfluous, and the “guessing” will be a letter or a punctuation mark ”( RM 1916, No. 3, 4 pages, p. 2). In the last phrase, there is a hint at the reading of Khlebnikov on January 10, 1914 in the Poets' Workshop, which Eikhenbaum witnessed, about which he probably told Yu.N. Tynyanov (“The problem of poetic language”, note 21).
67 See: I. Postupalsky, “On the Question of Scientific Poetry” ( Print and revolution, 1929, No. 2-3). Wed G. Arelsky’s late declaration “On the Problems of Poetry of the Future”: “Acmeism, which must be understood solely as a transitional step from symbolism to scientism”, “Science gives us the opportunity to get an idea of ​​​​the conditions of life on the planets, and scientistic poetry should draw pictures of this life‹ ...›” ( Herald of knowledge, 1930, No. 2, p. 54).
68 In a note to Lev Gornung: “He wanted to be only the “conscience” of poetry. He is a judgment on poetry, and not poetry itself ‹...›” Paraphrasing Mandelstam’s well-known confession, one can say that in his dying poem, Gumilyov “speaks for everyone with such force‹...›”
69 Compare: "stars, the meaning and truth of which is that they are inaccessible" ( IV, 304). Wed "inaccessible, alien stars" in the finale of "Star Horror", written shortly before "Venus".
70 Wed. correction prof. I. Shklovsky. To a possible parody - cf .: “Balmont for the sake of rhyme carelessly calls the stars planets” (Prof. P. Bitsilli, Sketches about Russian poetry, Prague, 1926, p. 78).
71 See at least the poems of P. Shirokov: “And we wish the best achievements / Then what is now an aero-plan”, as well as the Northern “couch on a bleriot”, the aeroplane poems of K. Olimpov, the stylization of egofuturism by Nelli-Bryusov: “If what else I like, / It's a free airplane. / It would be good, as he is, to go / To the infinity of the blue countries, ”etc. In July 1910, Gumilyov wrote to Bryusov: “I believe, more than that, I feel that the airplane is beautiful, the Russian-Japanese war is tragic, the city is majestically terrible, but for me it is too connected with newspapers, and my hands are too weak to tear it all off.” from everyday life to art”. Simultaneously with "On Venus" Gumilyov sketched the poem "Airplane":
Poetics 78 Cf. about the same arch at B. Livshits ("Palace Square"): Hooves in the air, and arch / Crimson larynx. The convergence of architectural and landscape "gaping" (space, absenteeism) with articulatory (non-closing of lips) is found in a number of Mandelstam's texts.
79 We venture to suggest that the initial gaping in the word aonida determines the nature of the voice-leading attributed to the Muses - predominantly vocalized “sobbing” (with a possible, however, subtext - Baratynsky’s poem “When your voice, o poet ...”: And over the silent Aonida / Sobbing, your ashes will honor), just like the nature of the beginning of the word ‘airplane’, the pronunciation of which was discussed in the 10s (Kn. Sergey Volkonsky, expressive word, St. Petersburg, 1913, pp. 46, 49) partly led to a predilection for vowels on Venus (cf. Poetics and stylistics of Russian literature. In memory of acad. V.V. Vinogradova, Leningrad, 1971, p. 416). Wed V glossalolia A. Bely (Berlin, 1922, p. 46): “Actually, the pre-consonant stage of sound is “a-e-i”: - “Aei” - forever". Excerpts from this "poem about sound" were printed in the almanac The Dragon(Petrograd, 1921) and, therefore, are known to Gumilyov, - for example: “In ancient, ancient Aeria, in Aer, we once lived, sound-people” ( The Dragon, page 64).
80 See about this: Kiril Taranovsky, Essays on Mandel"stam, Harvard University Press, 1976, p. 46.

On distant star Venus
The sun is fiery and golden,
On Venus, ah, on Venus
Trees have blue leaves.

Everywhere free sonorous waters,
Rivers, geysers, waterfalls
Sing the song of freedom at noon,
At night they burn like lamps.

On Venus, ah, on Venus
There are no offensive or powerful words,
Angels speak on Venus
A language of only vowels.

If they say "ea" and "ai" -
It's a happy promise
"Wo", "ao" - about the ancient paradise
Golden memory.

On Venus, ah, on Venus
There is no tart and stuffy death,
If they die on Venus -
They turn into air vapor.

And golden smokes wander
In blue, blue evening bushes,
Or, like joyful pilgrims,
Visit the still living.

***
Sixth Sense

Lovely wine in us
And good bread that sits in the oven for us,
And the woman to whom it is given
First exhausted, we enjoy.

But what shall we do with the pink dawn
Above the cold skies
Where is silence and unearthly peace,
What should we do with immortal verses?

Neither eat, nor drink, nor kiss -
The moment flies unstoppable
And we break our hands, but again
Condemned to go all by, by.

Like a boy, forgetting his games,
Sometimes he watches the girl's bathing,
And knowing nothing about love,
Still tormented by a mysterious desire,

As once in overgrown horsetails
Roared from the consciousness of impotence
The creature is slippery, feeling on the shoulders
Wings that haven't appeared yet

So, century after century - soon, Lord? -
Under the scalpel of nature and art,
Our spirit screams, the flesh languishes,
Giving birth to an organ for the sixth sense.

***
About you

About you, about you, about you
Nothing, nothing about me!
In human, dark fate
You are a winged call to the heights.

Your noble heart
Like the emblem of bygone times.
Sanctified to them being
All earthly, all wingless tribes.

If the stars are clear and proud
Turn away from our land
Yee has two top stars:
These are your bold eyes.

And when the golden seraph
It will sound that the time has come,
We will raise then before him,
As protection, your white handkerchief.

The sound will die in the trembling pipe,
Seraphim will disappear in the sky...

About you, about you, about you
Nothing, nothing about me!

***
There are many people who, having fallen in love

There are many people who, having fallen in love,
The wise build their own houses,
Near their blessed fields.
Playful children roam after the herd.

And others - cruel love,
Bitter answers and questions
Mixed with bile, their blood screams,
Their ears are stinged by the vicious ringing of wasps.

And others love how they sing,
How they sing, and marvelously triumph,
In a fabulous hiding place;
Others love the way they dance.

How do you love, girl, answer,
What languor do you yearn for?
Can you not burn
A secret flame you know?

If you could come to me
The blinding lightning of the Lord,
And now I'm on fire
Rising to heaven from the underworld?

Other articles in the literary diary:

• 04/30/2014. 12 days that can change everything!
• 04/29/2014. Anna Karenina threw herself under a train
• 04/26/2014. She lives in a world undivided into north and south...
• 04/25/2014. Happiness is relatives, hot hands,
• 04/23/2014. I wanted the most ordinary thing - love.
• 04/16/2014. Arie Rothman. Song of Songs of Solomon.
• 04/15/2014. Remember the feelings, forget the words.
• 04/13/2014. How many years love slept in me.
• 10.04.2014. On the distant star Venus
• 04/07/2014. You are always mysterious and new Anna Akhmatova
• 04/06/2014. 15 tips for women writers from Astrid Lindgren
• 04/03/2014. John Donne good morning
• 04/02/2014. Slowly the snail crawls, On the slope of Mount Fuji.

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