American Association of Teachers of Slavic and East European Languages

Annenskij and Mallarm: A Case of Subtext Author(s): David Borker Source: The Slavic and East European Journal, Vol. 21, No. 1 (Spring, 1977), pp. 46-55 Published by: American Association of Teachers of Slavic and East European Languages Stable URL: http://www.jstor.org/stable/306733 . Accessed: 06/09/2013 17:17
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ANNENSKIJ AND MALLARMiE: A CASE OF SUBTEXT

David Borker,The Ohio State University

The termsubtext to mostSlavistsas one used by Kiril Taranovis familiar in i v and otherstudies.1 to Mandel'"tama" sky "PNely osy pobzii Although in elaborated notion nowhere a of my knowledge rigorousdetail, general the termcan be posited. A subtextwould seem to consist of a general or allusionwithina givenwork to a priorexisting reference text, literary to the meaningof the the knowledgeof which is presumablyimportant workcontaining to the actual occurthe allusion.In additionto referring one text,the termis also used to indicate rence of such an allusionwithin of the textalluded to, viewed as the source or referent forthat the identity allusion.Hence, forexample,a poem by Tjutiev alluded to in a poem by Blok would be identified as a subtext of the Blok poem. consider certain criteria as crucial in would seem to Taranovsky The the existence of a subtext. subtext mustof course precede establishing and the author of the main text must, at least the text chronologically, withthe earlierwork.It would seem also have been familiar conceivably, thatthe work alluded to mustto some degree be known or knowable,if cultureor subculture, a givenliterary the relanot popularwithin although would presumably tivedegreeof its availability with the of vary exclusivity the intended audience. As to the surfaceevidencewhichmay indicatethe presence of an allusion to an outside text, Taranovskyprovides in the Mandel'"tamarticleand otherstudiesvariousexamplesof correspondences on different levels of poetic structure. These include lexical overlapping witha priortext of one or more key words or phrases,markedthematic parallelismor paraphrase,and even the direct citationof one or more verses.In addition, ifwe take intoaccountTaranovsky's studies pioneering of metrical it is clear thateven theoccurrence of a particularly conventions, markedmetricalor otherformalpatternwithinthe poem may similarly or secondaryevidenceof a subtext.2 serve as either primary On theultimate allusionfunctions within questionofhow thesubtextual the meaningand structure of the workin whichit appears, it is somewhat moredifficult to elaborateTaranovsky's pointof view. He would appear to 46 SEEJ, Vol. 21, No. 1 (1977)

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thatthe subtext contributes to the meaning accept the generalassumption of the main text.One of his suggestedformulations of this assumptionis thatthe intrusion of the outside artistic contextincreasesin principlethe total"information" work the (1974). In practiceTaranovsky's conveyed by of subtextual allusions interpretations suggestthat the term "subtext"is used to referto a range of textualphenomena.This can be seen in his article"Piely i osy v poezii Mandel'"tama"when one considersthe diverse actual subtexts. he has used to interpret Some of his descriptive terminology such as assume the existenceof an interterms, "poetic polemic,"clearly active (dialogue-like) relationship betweentextand subtext, it is although whether not specified this is based on parody or otherdynamicformsof as well (1974). Similarly, interaction to as a conthe subtextis referred textual"background"againstwhichthe poem's total significance is modified (1974). Other terms,however,such as "pastiche" and "montage," emphasize the notion of subtextsas fragmentary buildingblocks of the main poem's compositionused more to echo or evoke a general poetic thanthe existenceof any particular text (1982, styleor typeof textrather 1977-78). Still other of Taranovsky'sreadingsappear to place primary images-that is, followinganother emphasison the fact of "borrowing" of function in and of itself.This poet's model-as an adequate assessment with its exclusive focus on the question of origin,reflects last tendency, in reconstructing the writer's own perhapsthe critic'sequally greatinterest creativebiography(the "genesis"of the work), in additionto his concern forliterary (1984). analysisor interpretation A finaltermwhichmight is theword "za'ifrovannyj" or be mentioned the way in "coded," used throughout Taranovsky'sarticleto characterize which subtextscomplicatethe process of understanding or deciphering the Mandel"tam'spoetry.Although of way subtextual generally suggestive references add to a work'scomplexity, itwouldseem thattheimpliedoperationof decodingis often used primarily to designate the difficulty of locating and identifying rather than subtextual to as address references, possible well the subsequentand more fundamental of their problem deciphering within the poem. Such a notionof the value of deciphering forits meaning own sake, while elitist,is no doubt a legitimateliteraryobjective (the of Nabokov and othersindicate to what degree this value can writings dominate a work), yetone wonderswhether therole of subtextual allusions of identification be limited to thefunction riddles. can ever entirely of the subtextare or functions These problemsof the basic function work in this area. The of future direction and for the quality important and on identification the of to discovery emphasis tendency place primary seek ever more obscure to researchers and subtexts encourages poetic sources which demand greaterheightsof detectivevirtuosity. challenging

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such an approachcan become primarily or genetic Ultimately biographical funcnotionof subtextual in nature,no longerdealingwiththe structural tion.Furthermore, in the relativedeemphasisof interpretive favor analysis of intensified simplistic sleuthingcould encourage rather half-hearted, at interpreting all possible subtextual references without attempts exploring connections betweenthe textand subtext. Within the terminology the termalluof pragmatic Englishcriticism, sion providesa model whichmore or less corresponds to aspects of Taranovsky'sgeneralnotionof subtext.The process or occurrenceof literary allusion assumes, accordingto E. Miner in the Encyclopedia of Poetry and Poetics: 1) The existenceof "an establishedliterarytraditionas a source value," of "an audiencesharing withthepoet," thattradition 2) the existence in of familiaryet the of "an echo the text 3) presence sufficiently distinctive and meaningful and elements," 3 of the new context." 4) "a fusionof theecho withelements Such criteriadeem as less likelyhighlyobscure sources which have not lefta mark on literary tradition. generally Naturally,one must avoid too a on this in view of the point veryprivateassociationsthat rigid position in some been discovered the works of have poets. As to the natureof the fusionof text and echo, which is essentially the problem of interpreting Miner between a to function, clearlyparodisticrelationship distinguishes an and a allusion" even more the textalluded to "metaphorical entailing To Taranovsky'scatalogue of complex and richersemanticinteraction. types of surfaceindicatorsof subtexthe adds the notion of "structural of parallelorganization or composition. allusion,"the existence A dynamicunderstanding is suggestedwithin of subtextualfunction theframework viewof modernstructuralist poetics.From the structuralist all elements of thepoetictexthave to some Lotman,virtually pointof Jurij of textualaspect (as partof theclosed organization degreebothan internal the poem) and an extratextual a kinshipto elementsand aspect reflecting outsidethe text.Justas the internalplan of the text is complex systems so do the materialbuilding blocks of the textreflect and multi-leveled, the connecof the world outsideof the text.Essential extratextual complexity and subsystems of naturallanguage,all tionsincludeaspectsof the systems the subsystems socio-cultural of the arts and systems, impinging including as well as othershared physiological and environmental literature, givens. of extratextual Withinthis complex network an awarenessof complexity, whichis sharedto some degreeby all authors and readers,thecultural suband literary conventions systemof literature operatesas an essentialsubFor the poet the possibility stratum of literary communication. of dialogue

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and self-comparison is essential withthegreatworksand normsof tradition in the for personal growthas an artist.For the reader, who participates the of this communication, knowledge literary system, gained by exposure to literary textsalong withsome formaleducation,is essentialin orderto acquire the literary competencenecessaryto read and enjoy an aesthetic text.4 Within the literary coexistswithotherextratextual the subtext system charreferences: allusionsto a generalstyle, or ideationalsystem thematic acteristic of a givenauthor, group.These may be period,genre,or literary evoked by the use of characteristic words,phrases,images, or any other connections of thepoem's structure. element Lotmansubsumessuch literary underthe generalterm"'uioe slovo" (or alien word). along withsubtexts of thisnotionfortextualanalysisin the importance Lotman characterizes the following metaphorical analogy:
Such is the structural of the "alien word."Justas a foreign body introsignificance thatis, duced into a hypersaturated of crystals, solutionbringsabout the formation out the inherent so the "alien word" of the material structure undersolution, brings . . .A withthe structure of the textactivatesthatstructure. by its incompatibility or violated. is not perceivable structure until it is juxtaposedto anotherstructure text. (107.) the verylife of the esthetic These two means of activization constitute

Fromsuch a viewpoint is seen connections thestudyof extratextual literary as something moredynamic thana mereexercisein culturaland biographical footnoting. It is, rather, to be weighedin the analysis an essentialfactor and evaluationof the poetic text. connections Withinthis broader and more generalnotionof literary one may questionthe need to singleout the subtextas such a special pheto the nomenon.The subtextis a unique and important type of reference of in the two that it in equivsystem implies principle juxtaposition literary of textand structures. That is to say,thejuxtaposition alentclosed aesthetic interforthemeaningful subtext is a situation a maximum potential offering of and it may thus generatethe greatest action of structures, density new of a proof In such the information. terms, subtextuality degree poetic as the of be defined subtext density poetic informafunctionally may posed the of two a tiongenerated poetic structures. By usingsuch by comparison we may findthatanothertext,whichon the basis of surfacecorrecriteria as a subtextto a givenwork,may promising spondencesseems extremely to the meaningof to be further unimportant relatively analysis proveupon is that the the work. What may actuallybe happeningin such situations or of another a text not so much as has employed fragment fragments poet thewholeof the otherpoem (subtextualallusion) in its a meansof evoking as a more generalsortof literary fullest allusion,perhaps sense,but rather or of a particular to an aspect of the author'sstyle, genreor poetic system

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we may find that subtextual many writers.Furthermore, characterizing allusionsneed not always be limitedto the most surfaceand immediately discernible connections between butlike otheraspectsof poeticmeantexts, ing may onlybe realizedforthe reader aftermuch reflection. The presentstudyconsists of an interpretive analysis of a specific occurrence of subtextual allusionin which,as it happens,interpretive rather a connection thanobvioussurface criteria play a crucialrole in establishing betweentextand subtext. The two textsare Innokentij Annenskij'spoem "Ledjanaja Tjur'ma" ("Ice Prison,"first publishedin 1909) and an untitled "Le vierge,le vivace et le bel sonnetby Stephane Mallarm6 beginning more on a aujourd'hui" (first publishedin 1885). In orderto concentrate discussionof textualinterrelationship, the resultsof a rather struclengthy tural analysis of the Annenskijpoem, excludingthe issue of subtextual are givena highly condensedinterpretive reference, reading.Beforeentering into the main analysis,I shall briefly address the problemof Annenskij's of Mallarm6. withFrenchSymbolism, and specifically thepoetry familiarity It is clear thatAnnenskij had a good generalknowledgeof FrenchParnassian and Symbolist in the original.Out of seventy-six poetry poetictranslationsappearingin the mostrecenteditionof Annenskij's works,a fullsixty are taken fromFrench literature, the majorityfromthe Parnassians and It shouldbe notedthatAnnenskijcompletedonlytwo translaSymbolists. tions of Mallarm6poems as comparedwithseven of Baudelaire,fourteen of Verlaine, twelve of Leconte de Lisle, and nine of Sully Prudhomme. Althoughthese figures mightseem to suggesta relativecoolness toward Mallarm6'spoetry, it should be kept in mind that poets oftenhesitateto themasters translate theyreveremost.The two Mallarm6poems translated are "Le Tombeau d'Edgar Poe," a monument to a poet Annenskijrevered and "Don freetranslation of with the du French, Poeme," the fairly along as Setchkarev the theme of the of the notes, which, plays up hopelessness finished creationeven more so than does Mallarme.5 artist's fortheformal To judge from felt a greataffinity hiswritings, Annenskij for of of the well as much Parnassian as school, Symbolist poetics, emphasis to a factwhichis corroborated work.In the introduction by his translation Russian poetryin 1909 a series of articleshe wrote on contemporary indicatesthe unitybetween beforehis unexpected death,Annenskij shortly the great French Symbolisttraditionand early Russian Symbolism-as essentiallyone literaryculture for the Russians.6 In this early period, Euroas the two Western Annenskij singlesout Mallarm6and Maeterlinck the movement. The of poems cited only foreign pean poets representative are by Mallarm6.One of theseis "Don du poeme." Another passage is from of a general the earlypoem "L'azur," offered as a statement symptomatic such The of a citation toward art. attitude appearance Symbolist suggests,

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withMallarm6'spoems, as well as generalfamiliarity perhaps,Annenskij's themes. an awarenessof the poet's pronounced metapoetic The poem "Ledjanaja tjur'ma" appeared in the same number of articleon contemporary Apollon as Annenskij's poetry(No. 1, 1909, first issue). The poem was publishedalong with two otherpoems composing the "trislistnik ledjanoj," the last poems publishedby Annenskijduringhis in Fedorov's 1959 editionof lifetime. The poem is incorrectly reproduced singular) Annenskij'sworks,wherein line 13 "svidetelem"(instrumental appears as "svideteljam"(dative plural):
IIaITHo sepaa creHolo orl6as, MIIHyTHOae TyMaHHbIHi Hos3jameH... MeITa BecimI, IorAa-To rojy6afa,

TBoeRi

TIOpMOi

rop JneiiIR cMymeH.

cBepRaHHeM HanpacHMM, HJCTo0eHa H pBse0rbca SHJa niaem , TMI, Tpenenea, Ho AJI KpacHO ~Jye abIy nB Hno.yAH HeTno6eAHoro y coJIHAha JIyxa.
CBeTHIa, HO HHOrO, TI HOMHHIIIIb JIHIK B Te6H He TOe I ABeTbI, raejHC

H TBOI OHeIHa cepOge y 60JIbHOrO, TM. 3aAOXHeMHICH eAeae nHe Ioia H noH
Ho He 6eaaii CBHAeTeaeIM 6e3MOJiBHlIM

Ao ap BecMic6epenr, CBOIcHHfI IIHieH...

H PacKEOBaHHlm rpoMO3ByIHHOjIHaM.7
TaI He MOexTa, Tbi 6ygemb
TOJIaO TJIeH

after about Annenskijshortly Vjadeslav Ivanov, in an articlewritten of "associhis death,describedAnnenskij's a form method as being poetic ative symbolism," like thatof Mallarm6,in whichthepoet takes as a startconcrete,and without ing point something physicallyor psychologically connectedwith it, associations a of it, produces range directly defining which once understoodproperly,allows one to realize the multifaceted concrete Such an underlying spiritual meaningof the poet's experience.8 in or setting can be uncovered situation (or deciphered) "Ledjanaja tjur'ma." The setting is a hole in the ice over water ("pjatno ierla") momentarily illuminated gazes into the opening apparently by the sun. The poet-speaker water of whilestanding overit.The rippling (hence "rvetsjatrepeisa") patch like to see himself, the face of the poet, who is perturbed perhapsreflects the water, encircledby the enclosing ice ("tvoej tjur'moj gorja'sej ja stanza of thepoem thatthe status smuven"). It is alreadyclear in thefirst of thepoet's addresseeis a central problemof thepoem and thebasis of the The addressee,"mecta vesny,"unifiesa significance. poem's multi-leveled on the open of from, the level of concretesetting, variety values, ranging

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wateritself, whichonce reflected thespring of skies,to the spiritual longing the poet-speaker whose face is reflected in the water. The object of this is expressedin terms of theconcretesetting as the liberation of the longing waterfromthe ice prisonby the springthaw. Stanzas one and two can be seen as depicting the water's figurative torment over the and frustration of the winter which will not illumination sun momentary accomplishthis. this on three stanza the spring level, Continuing begins by contrasting in the water with the snow flowersor flowers that were once reflected of winter. crystals The personification of theice hole setting the speaker'sgrowsuggests of This can be seen in the identification the water. with ing feeling open As a double and for liberation he shares with the addressee. anguish longing forthepoet'sspiritual as well as his creative the self, inspiration, addressee's for from the be seen on variouslevels as liberation ice can longing prison from liberation and death in the ice, spiritual escape paralysis encroaching or fromphysicalbonds in general, the unfettered, infinite expansionof the In foresees the actual consciousness. thefinalstanzathepoet poet's creative of threatens to coming springas a destructive deluge which symbolically of the self. Thus the dream-addresseeis obliteratethe very definition rejectedas a false longing("ty ne meEta"), while the poet's spiritualand and thus perishable creativeself are seen as incapable of transcendence, in stanza fourof the roaringunleashedwaves ("tlen"). The finalcontrast withthe silentaddressee,alreadyseen as much as a creatureof the ice as of the water,assertsthe muteness of the poet's own longingforexpression in the face of the furyof the naturalcycle. thedominant themeofthisrather poem is perhaps pessimistic Although selfagainstthe material of the hopelessstruggle of the spiritual a rejection of death,thepoem can also be takenas dealingin partwiththeprobforces This is evidencedby thetraditional resonances lem ofpoeticselfexpression. as well as Annenskij's of "meita" in Russian and FrenchSymbolist poetry, use of the significant auditorycontrastwhich closes the poem. Even the negationof "meita" in the finalstanza introducesa poet's contradictory aboutthepoem's preceding observation associations, metaphoric metapoetic on the poem's structure. in the sense thatit comments of the poet as a creaturetrappedin the The symbolicself-portrayal to free itselfis reminiscent of Mallarm6's celewinterice and struggling le vivace et le bel aujourd'hui": bratedsonnet"Le vierge, Le vierge, le vivace et le bel aujourd'hui d6chirer nous avec un coup d'aile ivre Va-t-il Ce lac dur oubli6que hantesous le givre Le transparent glacierdes vols qui n'ont pas fui!

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Annenskijand Mallarm6 Un cygned'autrefois se souvient que c'est lui mais qui sans espoir se d1livre Magnifique Pour n'avoirpas chant6la regionouivivre hivera resplendi Quand du st6rile l'ennui. Tout son col secoueracetteblancheagonie a l'oiseau qui le nie, Par 1'espace infligee du sol ouile plumageest pris. Mais non l'horreur Fant6me qu'a ce lieu son pur 6clat assigne, de m6pris au songefroid Il s'immobilise le vet inutile Que Cygne.9 parmil'exil

53

As in Annenskij's is trappedin the surfaceof theice. The poem,thevictim ice itselfis describedas painfully and oppressively bright(". . . du st6rile hivera resplendil'ennui./Tout son col secouera cette blanche agonie"), like thehopelessgleaming of theice prisonwhichis a sourceof anguishfor the speaker and addresseein the Russian poem. Though obviouslyhighly Mallarm6's swan and Annenskij's"meita vesny" divergent protagonists, froma happierpast in whichtheywere free are bothdepictedas creatures with"Meita theice's confinement. from (Compare "Un cygned'autrefois" vesnykogda-togolubaja.") Both are consciousof theirpast. The encircled the warmsun, and the flowers waterremembers its former unboundedness, and the whileMallarm6'sswan would seem to recall past flights of spring, factthathe shouldhave flown away to the south ("la r6gionoiuvivre") at The swan,like Annenskij's thefirst addressee,strugsignsof cold weather. to free gles helplesslyand vainly,althoughperhaps more energetically, ". . . sans espoir se d6livre. . . Tout son col itselffromits entrapment: secouera cette blanche agonie." Escape, however,proves impossiblefor both.The swan willno morebreakthehold of the ice "avec un coup d'aile meltthewater'sice prison.The sun willmiraculously ivre" thanthewinter swan, like thatof the addressee,is to freezeand plightof the earthbound du sol oP le plumageest pris . .. I s'immobilise die: "Mais non l'horreur au songe froid... ." A thoughtful of Annenskij's poem withtheMallarm6text comparison in distinguishing whichare revealing shows significant thematic differences differthe two poets' divergent viewsof the poet. One of the moststriking of the two imprisoned attitudes ences can be foundin the contrasting proas a swan is Mallarm6's noble, figure, independent tagonists. depicted in the face of its fate.Annenskij's dream, magnificently proudand scornful as a more passive, on the otherhand,is, in spiteof its struggling, portrayed overitsfate.Annenskij's and anguishing feminine creature pining plaintively addresseehas no past or presentcontrolover its condition.All hope of

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liberation is seen in the sun and theforcesof spring. Its sole emotionis its and salvation. desperate hope forspring Mallarme'sswan on theotherhand is by no means a passive victim of winter. On the poem's mostliterallevel is viewed as the resultof choosingnot to migratesouth in the captivity winteras swans normally it do. Even where it gives up active struggle, forthe an attitude of prouddignity, scornand contempt maintains showing is figuratively space thatbindsit. As it growsstillupon the ice, its freezing as the "cold dream" of contempt it "dons" in exile. portrayed two To be sure,the swan and the "dream of spring"are intrinsically the of each as and The selection verydifferent images. development poetic content. Mallarm6's in centralimagereflects differences symbolic profound to create,represented by the poem treatsthe themeof the poet's inability the locked in a ice. The swan of swan the elegant symbolizes poet, allegory and soaringof poeticinspirawhilethe act of flight is equated withwriting, the tion. The sterilewinter, in whose ice the swan is trapped,symbolizes alleWithin this to and "ennui." create his resultant own poet's impotence against the goryits struggle againstthe painfulwhite space is a struggle fill creative void. Althe of blank and a to the page challenge emptiness in a new it in its end offers the seems to defeat, magnificence though struggle within the The proud spiritual value in place of the poetic flight. struggle offered would is as the that his of negate him, space proud negation poet, thepreeminence of the innervalue of poetic cona spiritual value in itself, work. In his "dream of sciousness over the outer value of the finished as a self-contained himself thepoet affirms scorn"in thefinaltercet, value, the ice aroundit. Thus, in the illuminates theradianceof whichfiguratively "le Cygne,"now capitalizedto mark finalline of thepoem theprotagonist, the finalrhyme its transcendence, position. occupies weighty set of associationsaround different an Annenskijconstructs entirely in a wall theimageof theice hole. The personified patchof waterencircled that contains the ofice suggests an amorphous creature, icyspace shapedby or peron the for and color it and dependent its pattern objects reflected, own its which Mallarm6's swan, pure assigns haps refracted, upon it. Unlike to the surrounding Annenskij's"dream of spring" is setting, brightness defined itself by the values aroundit. For Annenskijthe soul of the poet, of reflected ice like the hole, is a sortof emptycontainer images whichis ice prison.The the within contained the physicalbody symbolized itself by is container as a bare self or consciousness of the image poet's amorphous in a recurring poetry.1' image pattern Annenskij's to the Mallarmd The Annenskijtext,when viewed in juxtaposition as values. Its on to take additional thematic can be seen subtext, significance to of the poet's inability about art,as a metaphorical a statement portrayal a themewithinthe poem whichcoexists achieve transcendent expression,

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Annenskijand Mallarm6

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withand complements of survival,is the existential themeof the futility intensified by such a comparison.Both Annenskijand Mallarm6 portray the metaphor of entrapment to achieve artistic the poet's inability through diverse The absence in Annenskij's expression, poem yetfrom perspectives. of the centralprotagonist of the Mallarm6 poem, the swan, underscores in each writer's differences profound poeticconceptof self.All thatremains of the setting is a hole in the ice. The emptinessof Annenskij'ssetting, devoid of the directportrayal of animatelife,is indicativeof Annenskij's general systemof imageryin which the poet expresses greatestaffinity betweenselfand theinanimate worldof objects. The above discussion of theinterrelationship of thesetwopoetic strucof comparison themanydimensions turesby no meansexhausts open to the in Annenskij's reader.Further, it should not be assumedthatthe imagery comparedwith poem (or even in Mallarm6'ssonnet) cannotbe fruitfully are merelybeyond the still other literaryworks." Such considerations thatconthisanalysisdemonstrates scope of the presentstudy.Hopefully, can be estabbetweentextand subtext and meaningful connections vincing rather criteria. thansurface lishedon thebasis of predominantly interpretive NOTES
in To Honor Roman 1 K. Taranovsky, "Piely i osy v pobzii Mandel',tama," Jakobson III, 1973-1975. (3 vols.;The Hague: Mouton,1967), American Con2 See especially ritmai tematiki," stixotvornogo "O zaimootno'enii tions (The Hague: Mouton,1963), 287-322, and Ruski dvodelniritmovi (Belgrade:Posebnaizdanja srbska akademijanauka, 1953).
tributionsto the Fifth International Congress of Slavists, I: Linguistic Contribu-

can be foundin the prose 10 Another striking exampleof theuse of such imagery stixi,wherethe poet'ssoul is Posmertnye poem "Moja dusa" fromthecollection explicitly equated with an emptysack. For other similar examples of such and "Li' tomu,cej pokoj see also the poems in "Toska mimoletnosti" imagery of theentrapped swan has richresonances thetheme theFrenchtradition 11 Within beforeand afterMallarm6, notablyin Baudelaire's"le Cygne."Related themes Russianpoetry. as well in subsequent can no doubtbe detected
taim" fromKiparisovyj larec.

(The Hague: Mouton,1963), 148. 6 I. F. Annenskij, lirizme," ApollonI (1909), 12-42. "O sovremennom 7 I. F. Annenskij, ed. A. V. Fedorov (Bibliotekapoeta, Stixotvorenija, tragedii, Bol'saja serija;L.: Sov. Pisatel',1959), 125-26. 8 Vja'eslav Ivanov,"O poezii Innokentija Annenskogo," Apollon,IV (1910), 16.
S. Mallarm6, Poesies (Paris: Gallimard, 1952), 90.

Encyclopedia of Poetry and Poetics, ed. Alex Preminger(Princeton, N. J.: Princeton Univ. Press, 1965), 18. See Ju.Lotman, Analiz poetic'eskogoteksta 1972), 106-26. (L.: Prosvelienie, Vsevolod Setschkarev, Studies in the Life and Works of Innokentij Annenskij

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