Micropoem "Glory" Automatic translate
The poet and philosopher Taras Rakin makes a mythopoetic experiment, combining in the word the image of Russian nature with the moment of Russian history, until the complete transition of one into another and constitution in the eternal present. Thus there is a transformation of the word itself.
Preface to the poem of the Japanese critic Kawabari Nagaisu
Material prepared by the project
Center for Russian Culture Studies
About Taras Rakin’s microdrama “Glory”: a storytelling technique about what is happening but not existing.
I will present in this article not the substantive side of the poem by Taras Rakin, but some formal aspects of these verses, which, using my acquaintance with the author, are easier for me to explain here than to many others. Of course, the formal aspects are closely related to the substantive, they are a kind of commentary on how you can talk about what the author spoke about in this poem.
The conversation between Yuri Dolgoruky and Andrei Bogolyubsky was recorded in poems, and only in this way could be recorded. I will explain. The fact is that in fact no conversation is taking place and neither the one nor the other prince is here. Before us is just the countryside: a field sown with cereals, a muddy river with a sand channel and hilly shores overgrown with bushes. A poetically transformed ear is required in order to hear the voices of the talking princes in the murmur of water on underwater snags and the sound of wind in the grass and hawthorn. And after the hearing, vision is reorganized, which in the same as before, now sees also those who otherwise could not be seen, that is, the speakers themselves. The language of the little dramatic poem is just adapted to tell about what is happening here besides what is here.
In some places, this language could be defined as a semantically motivated idea. I mean that the words that flash in the author’s remarks to the characters’s remarks at the first reading or hearing may seem insane, but in fact they are derived from fairly transparent Slavic roots, such as “stroking the dog” - it’s just “stroking the sand”, and the "Sun is the measure between the ears" - this is just the fading of the sun, sitting down outside the field. Why do words come down to the roots? Probably the point is to see the roots of things, and not just their surface properties. The thick concentration of these words, reduced to the old root, simply marks the reconfiguration of the view on the vision of the root reality common to nature and language.
In a similar direction, the restructuring of the verb works: “take off” in the sense of “seeing in a dream”, more precisely, “giving rise to something as a dream”. Finally, the “muse sweet buzzing” is easy to read in connection with flies and bees hovering in the wildflowers and worn over the field, however, as in the previous case, the additional meaning of the creative muse, which appeared directly among plants and insects, is obvious, and if to speak for sure, it’s not among, but it was them who appeared.
Well, and another example of a semantically motivated zaum, which comes down to a return to root reality, is striking already from the first two lines, where “three unities” (apparently, the theological “trinity” heard by a child’s ear) are named, which are named as “ Harvest, Empty and Erysipelas ”and which personify just the unity of nature, the human race, the national language.
To summarize these short observations, here’s how. Just as Yuri Dolgoruky and Andrei Bogolyubsky did not completely disappear, continuing the conversation, as if adapting their nonexistence to the forms of actual events and using them to compensate for their death, the roots of nature, people and language, which themselves do not exist, can sound and speak only by adapting to the surface phenomena of today. We are talking about the presence of a nonexistent and even long dead victim, like “chilling corpses” in the night darkness, which in reality are discarded old rags, using the forms of which dead people think in the field.
“I’m afraid to even think…” - says Yuri Dolgoruky in the finale. In the technical methods of organizing speech in Glory, the very thing that happens is thinking about these things - not only about the presence, but also the impact of a non-existent and nonetheless living one.
"Glory"
Three unities entered the field:
Harvest, Empty and Erysipelas.
The hot sea boiled
Muse sweet buzzing.
Blinking dry cheeks
Stroking the song with the waves of the heels,
Sleeping Yuri Dolgoruky
A long channel flowed into the creek.
Wooden roots
His skeleton was gossip
And read in yellow herbs
Tina bottom sway words:
- Gracious Harvest! High Empty! Golden Erysipelas!
To the distance Andrei Bogolyubsky
He sang anapaest marvelous.
Bloomed hawthorn hat
On a big head.
Fish and growl, top and fuck
Horse wagon on the road,
The sun is merk between the ears
Removing like a finger of emptiness:
- Like thunderstorms, vigorous and pahuchi lakes,
But lightning deep like a Chechen dagger…
The earth is God’s cube and the stars are falling,
But I escaped complete decay!
And again the black-blue clouds came together.
From the bottom, Dolgoruky answered them.
- We praise Salvation for doom return,
But thoughts, like moons, are flawed here too.
And in the rhythms of breathing and heartbeat
Caesures of the cold wind are growing.
Damask the batyrs of the bylina
But in the horse’s nostrils, the swaying of the mist.
And the dark faces are not stars bleached
And Fear and Madness, Enmity and Hula.
How vast the night is for chilling corpses
What in the field, like ragged rags, do not sleep.
No one will offer them hats and sheepskin coats
And stellar years weigh on their brain.
Union indestructible loamy hungry
Great Russia rallied forever!
May the will of the lost peoples come true,
Which I’m even afraid to think…
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