By Valentina Polukhina (auth.)
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Additional resources for Brodsky through the Eyes of his Contemporaries
A language's progress and consequently the progress of its written form should be taken to mean qualitative and quantitative enrichment. Our tongue takes on form in script. All forms in time aspire to independent existence, but within the form there remains, continuing to serve the function which created it, what one might term independent substance (this is often not fully realised). The case we are dealing with is that of language. The form, in gaining apparent independence, seems to create its own rules, its own dialectic, its aesthetics, and so on and so forth.
Iz knigi 'Konets pervoy poloviny XX veka' (Moscow: Khudozhestvennaya literatura, 1989) pp. 72-3; Remembering Anna Akhmatova (London: Peter Malban, 1991) p. 6. 4. A line from a poem by Akhmatova. 5. Anatoly Naiman has in mind his introduction to Brodsky's second collection, Ostanovka v pustyne. N. (pp. 7-15). 6. Dmitry Bobyshev in his article 'Ahkmatova's Orphans' writes, 'running ahead, it ought to be said that in the course of the first phase of our acquaintance with her she did urge us every time to brevity, that was until Brodsky had "convinced" her otherwise with his long poema' (Russkaya masl', 8 March 1984, pp.
In your Muti ny2 too, the main thing is the composition. Try putting the execution at the beginning and what will you get? Something rotten. And here (forgive me again) is what you have to do. You need to shape the composition. Let's say you're writing a poem about a tree. Start by describing everything you see. Start the description at ground level and take it on up to the top of the tree. There's the sublime for you. You've got to develop the habit of seeing the picture as a whole . . There are no parts without a whole.
Brodsky through the Eyes of his Contemporaries by Valentina Polukhina (auth.)