By Valentina Polukhina (auth.)
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Extra info for Brodsky through the Eyes of his Contemporaries
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. 8-9). 7. Naiman's paper, 'Analysis and Interpretation of Anna Akhmatova's 28 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. Anatoly Naiman "Tvorchestvo''', presented at the Akhmatova Centenary Conference, University of Nottingham, 11-14 July 1989; published in W.
I refer to it very frequently. Everything that came later is really a reworking of that poem; the passionate heart and the cool head. 18 24 Anatoly Naiman I haven't come across that remark of Loseff's, but, of course, that is the case. The only thing he says that's new is the word 'early' because, in general, each and every poet rewrites the same poem again and again; any poet, any poet you care to mention. When you look closely it turns out to be a variation on the same theme he's already touched upon at some time or other in the past.
There are no parts without a whole. The parts can be left till last. As for the rhymes -leave them till last; metaphor - leave it till last. The metre is there, A Tragic Perception of the World 35 somehow or other, right from the very first - and thanks be for that. Or here's a method of composition: the sudden break. Let's say you're singing the praises of a girl. You sing, you sing and then - in the same metre - a few lines about something else. And please, no explanation of any kind to anybody ...