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1 BERBEROVA, N. N., ed. “Chetyre pis’ma V. I. Ivanova k V. F. Khodasevichu” [Four letters from V. I. Ivanov to V. F. Khodasevich]. Novyi zhurnal (New York), no. 62: 284—89.
In Russian. Publishes the text of four letters from Ivanov to Khodasevich, written between October 1924 and January 1925, followed by
the editor’s brief commentary and notes. On 7 October 1924 Ivanov hopes to arrange a meeting with Khodasevich in Rome. In October 1924 he leaves his visiting card with a note requesting Khodasevich’s opinion on working for Gor’kii’s journal Beseda. On 29 December 1924 he replies to Khodasevich with a long letter describing his mood in Moscow before emigration and now in Rome, his loss of poetic inspiration, and sense of isolation. Compares himself and Khodasevich to Philoctetes on an island. Complains of his treatment by Beseda, and mentions writing about Dostoevskii’s Idiot for the journal. On 12 January 1925 praises Khodasevich’s collection Tiazhelaia lira [A heavy lyre] (1922), linking Khodasevich’s view of Psyche to lines from the “Zimnie sonety” [Winter sonnets]. Complains bitterly about Beseda paying him 25 to 28 kopecks for each line of “Rimskie sonety” [Roman sonnets]. See Bialik, 1959.1; Malmstad, 1987.16; Koretskaia, 1989.32.
2 BERBEROVA, N. N., ed. “Pis’ma M. O. Gershenzona k V. F. Khodasevichu” [Letters from M. O. Gershenzon to V. F. Khodasevich]. Novyi zhurnal (New York), no. 60: 222—35.
In Russian. Gershenzon’s letters (1921—1925) to Khodasevich contain a few scattered references to Ivanov of biographical interest. On 28 May 1921 refers to a letter received from Ivanov about his life in Baku. On 17 August 1924 praises Khodasevich’s verse and cites a line from it as a possible epigraph to his letters in Perepiska iz dvukh uglov [A correspondence from two corners]. Also describes Ivanov’s passage through Moscow on his way to Rome: “In Moscow he was fêted and indulged to such an extent that he got stuck like a fly in honey and is still not on his way.” On 23 October 1924 informs Khodasevich that Ivanov and his children are in Rome. For a factual correction to the first letter, see Ivanov, 1962.4.
3 BRIUSOV, V. Ia. “Pis’ma k P. B. Struve (1910—1911)” [Letters to P. B. Struve (1910—1911)]. In Literaturnyi arkhiv: Materialy po istorii literatury i obshchestvennogo dvizheniia [Literary archive: Materials on literary and social history]. Vol. 5. Edited by K. D. Muratova. Moscow and Leningrad: Izdatel’stvo Akademii nauk SSSR, 257—345.
In Russian. References to Ivanov in Briusov’s letters to Struve can be traced through the index (pp. 294, 326, 343—44). On 8 October 1910 Briusov writes that he does not wish to answer Adrianov’s essay (1910.1); his original response (1910.6) to Ivanov and Blok (1910.5) was deliberately written in the style of a joke and did not express his “true convictions.” On 14 February 1911 refers to Ivanov’s angry reproach over his rejection of a story by Remizov of doubtful content. On 17 May 1911 insists on iambic trimeter as the correct meter for the translation of Greek tragedy, plans to write his own tragedy (“Protesilai umershii” [Protesilaus deceased]) to rescue this meter from the bad reputation earned for it by Ivanov’s “Tantal” [Tantal], described
as a “remarkable but ‘awkward to read’ drama.” On the Russian use of iambic trimeter see Gasparov, 1966.5.
4 DESCHARTES, O. “Ivanov, Vjačeslav Ivanovič.” In Lexicon der Weltliteratur im 20. Jahrhundert. Vol. 1. Freiburg, Basel, Vienna: Herder, columns 1014—1015.
In German. Provides a brief outline of Ivanov’s life and literary works with reference to his religious philosophical outlook. Includes a short bibliography of primary and secondary sources. For an English translation, see 1969.2.
5 GALLARATI SCOTTI, TOMMASO. “Disputa al ‘Borromeo’.” In Interpretazioni e Memorie. n.p.: Arnoldo Mondadori Editore, 343—18.
In Italian. In April 1931 Benedetto Croce visited Ivanov at the Collegio Borromeo in Pavia, accompanied by a group of friends including Alessandro Casati, Stefano Jacini, Riccardo Balsamo Crivelli, Alessandro Pellegrini, Piero Treves, and Cesare Angelini. Gallarati Scotti relates the meeting of the “two giants” and their debate about culture, and gives a portrait of Ivanov. Reprinted: 1961.2. For other accounts of the same occasion, see Pellegrini, 1940.4; Angelini, 1966.1; Ivanova, 1990.28.
6 MOROZOV, A. A., ed. “Viacheslav Ivanov (1866—1949).” In Russkaia stikhotvornaia parodiia: XVIII — nachalo XX v. [Russian verse parody: From the eighteenth century to the beginning of the twentieth century]. Biblioteka poeta. Bol’shaia seriia. Leningrad: Sovetskii pisatel’, 639—42, 814.
In Russian. Prints the texts of parodies of Ivanov’s verse; two by L. E. Gabrilovich (1907.11), three by A. A. Izmailov (1910.12, 1910.13, 1915.5), and one by Al’vich (1908). The editorial note gives the original publication details of the parodies, and identifies the principal targets as Ivanov’s archaic language and widespread use of classical references. See also Plotkin, 1960.7, Tiapkov, 1980.16.
7 PLOTKIN, L. A., and TOTUBALIN, N. I., eds. Russkaia satira XIX — nachala XX veka [Nineteenth- and early twentieth-century Russian satire]. Moscow and Leningrad: Gosudarstvennoe izdatel’stvo khudozhestvennoi literatury, 552.
In Russian. Includes one parody of Ivanov by Izmailov, “Erota vysprennikh i stremnykh kryl’iakh na…” [On the high-flown and fleet wings of Eros…]. See also Izmailov, 1910.13; Morozov, 1960.6; Tiapkov, 1980.16.
8 POGGIOLI, RENATO. “Vjacheslav Ivanov.” In The Poets of Russia: 1890—1930. Cambridge, MA: Harvard University Press, 161—70.
An expanded English version of the Italian essay of 1949.14. Adds an overall review of Ivanov’s life and works and comments that “there is no reason
to doubt that posterity will recover Ivanov’s literary heritage from the obscurity where it still lies, as a treasure buried by the historical destiny of the generation to which he belonged, and of which he was the last survivor.” Compares Ivanov to Malherbe or Milton as a representative of the “grand style” in poetry. Suggests on the basis of Chelovek [Man] that “even when treating Christian themes and Latinate forms, he still viewed the poetry of Greece as the supreme aesthetic ideal.” Other sections of the book contain further scattered references to Ivanov. See 1949.14, 1961.6.
9 SHIRIAEV, B. “Sveta ne ugasite!” [Extinguish not the light!]. In Religioznye motivy v russkoi poezii [Religious themes in Russian poetry]. Brussels: Zhizn’ s Bogom, 34—43.
Reprint of 1959.8.
10 TSCHIŽEWSKIJ, DMITRIJ. “Unbekannte Epigramme Vjačeslav Ivanovs.” Die Welt der Slaven 5, no. 3—4: 415—17.
In German. Publishes the text of three short epigrams by Ivanov, “Novatory do Verzhbolova…” [Innovators before Verzhbolov…]; “Vam sredstvo — tsel’. Puskai!” [For you the means is an end. So be it!]; “Vse eto — gozhe i ne gozhe...” [All this — the suitable and the unsuitable — ...], together with a short commentary. The epigrams were inspired by a 1910 exhibition of modernist artists, “Venok” [The wreath]. For all their levity, they represent the first commentary by the Symbolists on the Futurists, and reflect Ivanov’s criticisms of some aspects of Futurist art. For the first publication of these epigrams and an account of their origin, see Aseev, 1919.1. For a later version of the same material see Khardzhiev, 1989.31.
© Ýëĺęňđîííŕ˙ ďóáëčęŕöč˙ ĐÂÁ, 2010.