On April 15, 1862, Thomas Wentworth Higginson received a letter from a beginning poetess with four poems and two questions: “… say if my Verse is alive? … Should you think it breathed- “… We  know the answer of whether her poems are alive, whether they breathe. A century and a half later, her poems still live, breathe deeply, and remain invariably attractive to readers. Poetry lovers need no reminder of who Emily Dickinson is.

Emily’s poems have been the subject of numerous translations. Among professional poets and translators working in Russian, first of all, Vera Markova, Arkady Gavrilov and Grigory Kruzhkov should be mentioned. Besides recognized professionals, many philologists, amateur poets and eager readers have attempted Russian versions of her poetry. But what is the reason for her poetry’s sorcery-like appeal?

For me, an average reader, her poems pose an intellectual challenge. Seemingly, studying dictionaries, it’s possible to define a set of meanings for each word she uses. It is possible to reproduce the most probable equivalents of her grammatical constructions — but never reach the essence, never understand why and what these verses are about. You can review dozens of existing translations and affirm that many translators have taken a formal path of maximally preserving vocabulary and poetic devices, without understanding the hidden meaning, just as I, too, might fail to understand. Emily herself describes this situation with an amazing, masterful accuracy (1101): “Between the form of Life and Life / The difference is as big / As Liquor at the Lip between / And Liquor in the Jug.” Behind an apparently unpretentious form lurks a magical drink of true essence, but how to open the vessel? Grigory Kruzhkov writes, “A translator doesn’t proceed based on words, but based on what Mandelstam called a ‘sounding cast of form.’ The translator’s task is to knead the clay of the poem so long that it becomes soft and pliable. And, from this clay, to mold a new poem.” That advice is good, but Emily is against similar methods being applied to her: (861) “… Sceptic Thomas! / Now, do you doubt that your Bird was true?”

Roman Jakobson in his article “On Linguistic Aspects of Translation” points out, “The pun, or to use a more erudite, and perhaps more precise term — paronomasia, reigns over poetic art, and whether its rule is absolute or limited, poetry by definition is untranslatable.” To agree that Emily’s poems will remain a pun for the Russian-speaking reader, an untranslatable pun, is categorically impossible. But Jakobson suggests a way out of this paradoxical situation. A translation of Emily’s poems should not be a translation, that is, an interpretation of verbal signs through another language, but an inter-semiotic transmutation. With this approach, the act of translation becomes an alchemical transformation. Direct: text to image to thought form to symbol. And in reverse: symbol to thought form to image to text.

About how this can happen in practice, Carl Jung writes, in his “On the Relation of Analytical Psychology to Poetry”: “While his conscious mind stands amazed and empty before this phenomenon, he is overwhelmed by a flood of thoughts and images which he never intended to create and which his own will could never have brought into being. Yet in spite of himself he is forced to admit that it is his own self speaking, his own inner nature revealing itself and uttering things which he could never have entrusted to his tongue. He can only obey the apparently alien impulse within him and follow where it leads, sensing that his work is greater than himself, and wields a power which is not his and which he cannot command.”

But it is well known that a philosopher’s stone is required for alchemical transmutation. And that philosopher’s stone is love. Arkady Gavrilov in a diary entry (11/12/1985) writes: “Translation by calculation cannot be happy (unlike marriage, where love can come with time). Only by love!” Grigory Kruzhkov in the essay “Translation and Eros” writes, “What is the reason (raison d’etre) for translations? “The same as in love: attraction to the beautiful.”

In presenting examples of my poetic translations to readers, I would like to conclude with the words of one of Emily Dickinson’s translators, Tamara Stamova: “She is a mystery and a secret, and we admire her because we will never solve it. She left us the joy of guessing and agonizing — of translating!”

The Brain is wider than the Sky. Best Things dwell out of Sight. A word is dead when it is said.1 Emily Dickinson often wrote such flat, declarative statements at the outset or in the first few lines of her poems, and in their authority they hint at a sense of urgency. Throughout her writing life, Dickinson investigated questions of the ineffable in her own experience through poems and letters. She often begins her writing with what looks like an answer to a question that has not yet actually been posed. An opening statement seemingly declares a truth, and is often followed by surprising alternatives: oppositions, puns, critiques, and openings of language indicate that the original statement is contingent and subject to revision.

The aphoristic statements in Dickinson’s poems, in themselves, suggest closed fact, or certainty, yet they often posit a challenge to think about topics that may never have occurred to us. Left as isolated sentences, they would be more like rhetorical sententiae or the maxims of Pascal, Joubert, or Lichtenberg. The definitive declaration used structurally by Dickinson as a framework, or a kind of beginning speculative thesis, is a key element in her poetics. Rather than logically or essayistically developing the beginning “thesis” through supportive examples, poetic metaphors, lists and variations, or spinning off into related narrative and eventually reaching closure by tying the poem into a neat package, Dickinson subverts and complicates her initial aphoristic statement, effectively opening a can of worms concerning the actual meaning of the first statement, offering reversals and negations as well as different perspectives. Dickinson develops the poem by opening to possible new meanings, preferring to modify, alter, refute, question, and mock, rather than explain, verify, or substantiate. Helen Vendler, in the book “Poets Thinking,” reminds us that “present tenses are many,” and suggests that Dickinson’s favorite is “the philosophical present tense (an ‘eternal’ present, and therefore not a true tense) appearing in axiom and definition. At the beginning, and throughout her poems, Dickinson offers reworkings of multiple “truths” through “tenseless absolutes of confirmed decision” and “epigrams of cognitive impossibility.”2 Paradox itself becomes a truth-value.

This World is not conclusion.

A Species stands beyond –

Invisible, as Music –

But positive, as Sound –

It beckons, and it baffles –

Philosophy, dont know –

And through a Riddle, at the last –

Sagacity must go –

To guess it, puzzles scholars –

To gain it, Men have borne

Contempt of generations

And Crucifixion, shown –

Faith slips – and laughs, and rallies –

Blushes, if any see –

Plucks at a twig of Evidence –

And asks a Vane, the way –

Much Gesture, from the Pulpit –

Strong Hallelujahs roll –

Narcotics cannot still the Tooth

That nibbles at the soul –

 

[Fr 373] 1862

 

The poem “This World is not conclusion.” [Fr 373] was written in 1862 and bound by the poet in a little booklet (Fascicle 18), along with 14 other poems. “This World” follows the much-anthologized “After great pain, a formal feeling comes” [Fr 372], handwritten on the same sheet of paper. Both poems deal with some unidentified existential pain.

The poem begins with a declarative sentence. The word “conclusion” is not capitalized (most of Dickinson’s abstract nouns are capitalized), so it seems it may not be intended to have extra conceptual or metaphysical weight. Since the first line ends with a period (also rare for Dickinson), making it a complete sentence, the second line, “A Species stands beyond -” cannot for sure be taken as the logical continuation of the first line, but may be read as another declaration opening a new line of investigation. “A Species” becomes the main topic in the next lines of the poem, and is described with several curious attributes, presented in not quite opposite dyads: “invisible” / “positive”; “Music” / Sound”; “beckons” / “baffles”; “Philosophy [seeking to know]” / “ dont know”. It is more a riddle and a puzzle than something available to wisdom or scholarship. Men have not succeeded in understanding or achieving it, even in the extreme practice of “Crucifixion, shown.”

But what is this “Species” for Dickinson? We may look at etymology: Webster’s 1844 Dictionary (used by Dickinson) offers two definitions: “1) A distinct sort, form, or kind of something specifically mentioned or implied; 2) A less emotive or euphemistic alternative for ‘dead person’; a deceased or departed person; an immortal human soul.” The second definition seems to have been used in that period, but it disappears entirely from subsequent Webster’s editions, and cannot be found among the 14 current and archaic definitions found in the O.E.D. But we do find older derivations: originally from Latin “appearance, kind” from specere, “to behold”; so a mental image, an object of thought correlative with a natural object.

We may consider Linnaeus’ binomial classification and naming (Genus and Species) for animals and plants, a system widely taught in Dickinson’s time and used by her in the identification and labeling of plants in her own herbarium. We may consider the new thinking about life following Charles Darwin’s “On the Origin of Species” in 1854 (the book was in the Dickinson family library), which presented life as evolutionary, or, we might say, as species evolving to “species beyond.” We might also compare her use of the term “Species” in five other poems: as a new kind of garden flower [Fr 72]; hierarchically, in which a species is more exalted than a name [Fr 294]; as a sort of person who does not die (as in Webster’s 1844) [Fr 390]; and as familiar flowers that perish and disappear with the seasons [Fr 446, Fr 843].

The word offers many possible readings, and this is consistent with Dickinson’s dealing with doubt and paradox. “Species” is not a genus or a class, let alone a kingdom or (except perhaps as noted in [Fr 294]) any kind of hierarchical category, general name, or concept of a more ideal, divine, or heavenly place.

“Faith” is introduced as a new topic midway in the poem. Personified as a waif or inexperienced traveler, faith “slips,” “laughs,” “rallies,” and “blushes” as it seems to seek its way. Reminiscent of Don Quixote, it “Plucks at a twig of Evidence” [perhaps the Cross?] and “asks a Vane, the way.” None of this seems to work, and while faith is not entirely discounted, it is presented as being comically unsuccessful in approaching or apprehending the “Species.”

Then the church offers advice and “strong hallelujahs,” but these are no less effective. Finally, “Narcotics” (Webster’s 1844: “medicine that suppresses pain”)—possibly in this case scriptural and ecclesiastical balms and promises—are not sufficient to answer or address a recurrent, nagging pain, the “Tooth / That nibbles at the soul.”

This poem has commonly been read as dealing with the existence of and belief in an after-life. It even was given the title “Immortality” when the first 12 lines (ending with “Crucifixion”) were posthumously published by Mabel Loomis Todd. Dickinson was immersed in the culture of an older Puritanism, a liberalizing Enlightenment thought including Emerson and Transcendentalism, and a new popular “sentimental or domestic religiosity.” Puritanism offered a “framework” in which “value and meaning are to be discovered by scrutinizing the soul; real life is within” (Gary Lee Stonum).3 Dickinson’s own sensibility is for a “God” deeply felt and nearly apprehended as a difference within the self as well as outward in nature, as alternately or simultaneously ephemeral moment and deep time. But God, eternity, and depth of existence are not experienced or known by contract, or as scriptural pronouncement (“Much Gesture, from the Pulpit”). This poem may then be read, somewhat straightforwardly, as a critique of conventional religion as Dickinson experienced it. Even though some kind of life, “A Species,” may stand beyond this world, it is neither adequately defined nor described by scriptures or interpreting preachers, nor are the cultural edifices of Philosophy and the Pulpit really helpful in apprehending its reality.

Alternately, and more interestingly, by the end of the poem we are in a position to read the first two lines from a different position than a simple critique of existing institutions and thought. Shira Wolosky contends that Dickinson belongs to a tradition of writing in New England she calls “theo-linguistic thought,” which also includes Jonathan Edwards and Horace Bushnell,4 and that for Dickinson “reflections on language take place in modes that are overtly theological.”5 This shifts the focus on a poem nominally about a transcendent God or the future afterlife to one of experience and expression of the present through language. Read in this light, “This World” is just that—living, being, thinking, experiencing—and is not meant to be (only) the necessary prerequisite and counterpart to another life after death. If we separate one’s personal experience of and faith in a felt immanence or transcendence from the prescriptions of institutionalized thinking, then questions, meanings, life experiences, spiritual experiences—even poems—may open to more richness than scriptural representation might provide. In this kind of reading, “A Species” can be another kind of world or something new and different and unique in this world—even, perhaps, embracing immortality. A species, rather than being general (as genus, family, and class of biology and kingdom of both biology and theology), is special and specific, and although it represents an individual or unique type, it is part of processes that are transformative.

This species is changeable, and knows itself as such. As Dickinson wrote (letter to Otis Lord 3:728, 1882): “we both believe, and disbelieve, a hundred times an hour.” Although he eventually maintains that Dickinson “held on to Trinitarian categories in her thinking about God and the self,” Roger Lundin allows that she “both doubted and believed,” and was “intensely focused on her inward life.”6

Jennifer Leader, also placing Dickinson in a tradition of thinking and writing that includes Jonathan Edwards, shows how Dickinson constructs “typological equations pointing toward a God outside of known being” through her meditations on nature and the ineffable in which “nature as experienced through language is an always-bygone-and-yet-to-be encounter with present completion and totality.”7 The notion that this world is not conclusion indicates that this encounter with intensity, which Dickinson elsewhere characterizes as “White Heat8 and “the Hour of Lead,”9 is not a finished transaction and is not completed, although it may have been felt before and exists as real possibility in the future. Each “next” in this world is, and leads to, a particular experience of the self, of the world, perhaps even of God.

 

In the short poem “Of Paradise’ existence” [Fr 1421], the uncapitalized oxymoron “the uncertain certainty” reiterates the multiplicity of possible readings for “A Species” in [Fr 373].

 

Of Paradise’ existence

All we know

Is the uncertain certainty –

But it’s vicinity, infer,

By it’s Bisecting Messenger –

 

Whether Paradise here is heaven or earth, this poem at least demonstrates what Elisa New has termed Dickinson’s “commitment to the unknown.”10 Not only does the poet here express pervasive unknowing about the most significant issues, but the one thing that IS known can only be inferred by some kind of mysterious personified geometrical go-between. The questions of what is bisected here—the self, time, the Gordian knot of ignorance, dualities of different kinds—and that of the curious Bisecting Messenger—offer many creative possibilities for speculative reading.

I take the notion of speculative reading from the process philosophy of Alfred North Whitehead, via one of the best speculative readers of his writings, Isabelle Stengers. In her essay “A Constructivist Reading of Process and Reality” she states that “the value of concepts is to lure new feelings, to induce a ‘sheer disclosure’ as a new way for experience to come to matter. Each abstraction is mutely appealing for an imaginative leap” where what is at stake is “the implementation of the possibility of relevant novelty.”11 In this not-concluded world and its species (or “sequel”, Dickinson’s variant for “species”), the focus is on the nexts: next moment, next identity, feeling, stage of process, meaning, transformation, certainty, confusion, loss, birth, death. The real of this world is always creatively becoming that of the next. It is always much more than its show at any one time, place, or perspective. That this world is not concluded leaves all the room in this world and the next for opening to awareness of possibilities and participating in the coming-to-be.

One can imagine Dickinson composing certain of her poems with an attitude of “What If?” We can also read with that attitude. Looking briefly at just a few ways one could inquisitively approach several other poems in this adventurous frame of reading and thinking opens interesting possibilities.

  • Against the “too minute Area” and “too concluded show” in “This Dust, and it’s Feature” [Fr 866] is the stake of the real of this world, in all its depths, extensions, relationships, and existential affects. What becomes important beyond the constrained world is the apprehension of multiple layers of time and myriad untimely immortalities.
  • “No life . . . nor any death . . . nor tie to Earths to come . . . nor action new . . . except through this extent” in “I have no life but this ” [Fr 1432] relates suspension of investment in the given rhetorics of identity and belief, substituting immersion in the unqualified connections of love. As Michel Foucault provocatively puts it: “The target . . . is . . . to refuse what we are. We have to imagine and to build up what we could be . . . We have to promote new forms of subjectivity through the refusal of the individuality which has been imposed on us.”12
  • The declaration that “But just the Primer to a life . . . suits me so” in “Not in this World to see his face” [Fr 435] affirms the strong feelings of greater value in choosing this life of uncertainty by learning the rudiments of intense experience and the always creative language of being alive, over the finality of some definition of an afterlife, “a Book to know.”
  • Similarly, “Sweet skepticism of the heart” [Fr 1438] is chosen over “the delicious throe of transport filled with fear,” and is, like the choice of “the Primer,” an affirmation of the questions (“that knows – and does not know”) of finite living and loving, over dead certain answers.

Patrick J. Keane identifies three generic views of Dickinson’s readers towards her religious life. Either she was “essentially a traditional believer” so her skepticism is occasional and passing; “essentially a rebel” so her quasi-orthodox poems are aberrations; or her “spiritual longings were genuine” but she “keeps believing nimble”, so her variety allows range as speculative artist and thinker. Athough I am sure there are many pleasures and insights to be had from the first two viewpoints (Keane seems to occupy all three), I am clearly in the latter category. In a hermeneutic mode, Keane further states “we may still, in venturing an interpretation, only approximate an absolutely definitive reading. Nevertheless, there is a considerable difference between utter verbal indeterminacy (the deconstructionist’s play of infinitely diverse readings) and a reasonably determinate meaning—even if, in some instances, the latter will prove to be a meaning determinately ambiguous.”13 While I agree, I take that “ambiguity” in Dickinson’s poems to stretch not into infinite diversity, but into a plurality of meaning and states of being, into that place where “A Species stands beyond” and where for the poet, as well as for the reader, “Of itself / The Soul should stand in Awe.”14

Dickinson’s temporary closures and frequent imaginative disclosures leave doubts and unanswered questions while affirming the reality of something sensed or intuited beyond. With the divided subjectivity, in-betweenness, and permanent fissures in the paratactic lines of her poems, one challenge in reading Dickinson is to find in the poet and in oneself, in the words of Lyn Hejinian, “The secret that sits at the core of one’s singularity.” Each flight of language is eccentrically singular, yet new compositions are continually suggested and formed. The poem is a paradoxically “closed” reminder that the universe is open-ended: “I / could probe more deeply / here // is true of anywhere.”15 As Jennifer Leader has observed, Dickinson “explores both immanence and transcendence.”16 Something has been touched, and opened, in the poem, but perhaps nothing has been completely reached. What looks like negative theology or skeptical (perhaps ironic) philosophy of the sublime may actually be positive speculation: the actual presented alongside the virtual, possibility and poetry dwelling in spiritual transit and traveling in an eternal present or residing on the circumference of deep time. And always, perhaps standing beyond, there is “internal difference, / Where the [significantly plural] meanings are.”17­

 

References and Notes

  1. These are the first lines from three Dickinson poems: Fr 598; FR 1012; Fr 278. All references to poems by Emily Dickinson are to R.W. Franklin / The Poems of Emily Dickinson: Reading Edition. Cambridge: Belknap Press of Harvard University Press, 1998.
  1. Helen Vendler / Poets Thinking: Pope, Whitman, Dickinson, Yeats. Cambridge: Harvard University Press, 2004.
  1. Gary Lee Stonum / The Dickinson Sublime. Madison: University of Wisconsin Press, 1990.
  1. Jonathan Edwards (1703 – 1758) was an American revivalist preacher, philosopher, and Congregationalist Protestant theologian. Horace Bushnell (1802 – 1876) was an American Congregational minister and theologian.
  1. Shira Wolosky / “The Metaphysics of Language in Emily Dickinson (As Translated by Paul Celan)”, in Leonard (ed) Trajectories of Mysticism in Theory and Literature. Cross-Currents in Religion and Culture. London: Palgrave Macmillan, 2000.
  1. Roger Lundin / Emily Dickinson and the Art of Belief. Grand Rapids, Mich.: William B. Eerdmans, 1998.
  1. Jennifer L. Leader / Knowing, Seeing, Being: Jonathan Edwards, Emily Dickinson, Marianne Moore, and American Typological Tradition. Amherst: University of Massachusetts Press, 2016.
  1. Fr 401, phrase underlined in Dickinson’s autograph manuscript
  1. Fr 372
  1. Elisa New / The Line’s Eye: Poetic Experience, American Sight. Cambridge: Harvard University Press, 1998.
  1. Isabelle Stengers, “A Constructivist Reading of Process and Reality” in The Lure of Whitehead, Nicholas Gaskill and A.J. Nocek, editors. Minneapolis: University of Minnesota Press, 2014.
  1. Michel Foucault / “Afterword” to Hubert L. Dreyfus and Paul Rabinow, Michel Foucault: Beyond Structuralism and Hermeneutics. Chicago: University of Chicago Press, 1983.
  1. Patrick J. Keane / Emily Dickinson’s Approving God: Divine Design and the Problem of Suffering. Columbia: University of Missouri Press, 2008.
  1. Fr 579
  1. Lyn Hejinian / Positions of the Sun. Berkeley: Belladonna, 2018.
  1. Jennifer Leader, ibid.
  1. Fr 320
Pallas Athena

Pallas Athena

In the bosom of the One, in His inscrutable depths, is born being, or, rather the Very One posits Himself as Himself. This is an act of the One’s  pure positing of Himself, as the One by His will posits no one other as himself, or, in other words, it is an act of His self-positingThe moment of discernment of being, a moment immediately after the first positing, “appears” here in the form of the selfnegation of discernment – as nothing other than Himself: discernment, not having “time” to appear, instantly disappears and does not exist. The latter “exist” is used here as a connective, because there was no “exists” except the being of the One. Therefore what did appear here together with being was purenot.” If you try to somehow capture, capture this moment of the disappearance of the distinction of being, together with the pure “not,” then you will soon become convinced that it is completely elusive for thought, or higher than thought, because it is impossible to apply such thought categories as equality or inequality, identity or difference. It (this moment) is not available for these categories; it is impossible to linger in for even an instant. It is illogical – just as elusive and illogical as the transition of pure being into pure nothing and vice versa in Hegel’s Logic (see Remark 1 below). Thus, here, together with being, there was only an elusive moment of repulsion or pushing out – the pure “not,” “retracting” together with being (since the latter without the “not” – the “other” – loses its distinguishability), back to the One. This is the “life-giving” moment, a living “breath” emanating from the One and returning to Him, closing a process that “quivers with life.” This “not,” finally, is an analog of the other in Losev’s model of dialectics, but here this moment of the other is structured in a threefold processself-positing (origin), self-denial and return (closure).

NOTE: auto-translation edit in progress.

So, the threefold process has disappeared into the One. What happened to the One Himself and with the moments of self-determination of the One Himself and the return of these moments to the One through self-denial ? The One itself remained the same impregnable apophatic darkness (the principle of Abraham !). And the manifested moments of self-positioning, self-denial and return merged into an inseparable unity – inseparable due to inseparability, absence of any parts and, therefore, “gaps” between parts of the One. Does this mean that the ternary process has “dissolved” in the One? If this were only the case, then everything would return to the beginning, and this process would not lead to anything. Along with being “involved” in the Unified processdefinitely the fact of the “course” of the process itself “highlighted” against the background of the apophatic abyss of the One. Is this fact itself one? – Of course no! Is there anything different from the One in this fact? – Only the One! The One itself is not a fact. Therefore, a fact in itself (without the One) is nothing! He is the result of the action of the One Himself. The “highlighted” fact of self-determination by the One Himself, which has enclosed (see below “Analysis of the resulting result” below) in itself the entire completeness of the One, is called the energy of the essence of God.

Can the moments of this process be considered as energies of the essence? – No, because they are BEFORE the “highlighted” fact. The return to the One, as it were, “fused” them into ONE inseparable unity, energetically manifesting (“highlighting”) them outside (in another, in fact!), As un merged in it (the process). This first unity – the triune process – is what was called the Holy Trinity .

Note_1 . To touch on the understanding of the term “illogical,” let us see how the transition of pure being to pure nothing arises and back in Hegel’s Logic. We already spoke about this in AB No. 17, but we did not finish the matter there. Let’s try to fill this gap here.

So, Hegel begins Logic with the category “being” or, in the words of the author, Logic itself begins with this category as the most direct and therefore the most indefinite , i.e. most suitable for the beginning of Logic (any definition is already a departure from the beginning!). “ Being , pure being – without any further definition. In its indefinite immediacy, it is equal only to itself, and also not unequal in relation to the other, has no difference either within itself or in relation to the external. ” Here the thinker calls us mentallycompare the “object” in front of us internally with himself or externally with his surroundings. But it turns out that there is nothing to compare it with, since there is no longer an “object” and there is no external environment either — we have nothing before us . Further, “ nothing , pure nothing ; it is simple equality with oneself, perfect emptiness, lack of definitions and content; no difference in oneself. ” And thinkers here encourages us mentally with equally ivat and variousThere is something from pure nothing. But when we begin to “consider” nothing so different from something from all sides, we are convinced that this nothing is the same empty content as pure being.

What happened here? – situated directly in front of our mind’s eye the pure existence also disappeared directly lo even before we began to consider. Disappeared in its result – into nothing . Now it resides directly pure nothingness , which also immediately disappears (or rather, was gone lo ) in its result – in existence . And here Hegel captures in reality the result obtained here in the following sentence: “ pure being and pure nothing are, therefore, one and the same“. But if this were only so , we are developing Hegel’s thought, then there would be no disappearance of one in the other, because this identity between them would go on and on. So, the previous sentence fixes only “half” of the result. Therefore, in order to express all the truth that has manifested itself here, Hegel fixes the following “half” of the result in the sentence: “… that they are not the same thing , that they are absolutely different … ”. This “ absolutely ” here simply “knocks out” our thought, because completely contrary to the previous sentence. Reconciles this contradiction process(Hegel calls it the word movement, which is not entirely appropriate for a given moment of Logic, – inappropriate, since each movement is a process, but not every process is a movement, as in this case) of the direct disappearance of pure being in its absolute opposite, but also the inseparability – in pure nothing , and vice versa , – formation .

Where is illogism here, you ask me? – In the immediate disappearance of one in the other, which we are not able to grasp in any way mentally due to this immediacy, it happens to be “behind the back” of our thinking completely illogical and contrary to our “desire” to somehow grab it, hold it. And the process of becoming appears in our thinking now as a “ticking” back and forth in complete silence (hese; for a brief analysis of this term, see below in the section “Subtle analysis of the result”). Was he before we discovered it? – Of course it was, is and will be. This means that regardless of whether we have opened already for themselves the process, or even no, he’s somewhere in “flows”, “functions”, “tick”!

But what happened to the elements of this process – with being and nothing? – And they, following the author further, “… losing their independence [immediacy], which, as originally seemed , was inherent in them, are reduced to moments that are still distinguishable , but at the same time removed.”

Here is just the time to talk a little bit about the concept of “withdrawal,” which Hegel introduces into his Logic as “one of the most important concepts of philosophy.” It is one of the most difficult, if you do not imagine it as follows. At the time of Hegel, photography was not yet discovered, which is a physical realization of the concept of “removal.” Indeed, we are shooting some momentary moment in the photo. It is saved in the photograph, but at the same time it disappears as momentary, immediate , because this moment is already a thing of the past and goes farther and farther. Alas. This is especially noticeable if you look at the photo in ten years! Thus, the concept of “withdrawal” contains both the moment of conservation and the moment of disappearance. “Somethingremoved only to the extent that it entered into unity with its opposite; for him, taken in this more precise definition as something reflexed, the name of the moment is suitable . ”

Our “familiar characters” – being and nothing – in the process of becoming ceased to act directly or independently; we still distinguish them, as filmed in this process, they “flash” before moments of thought in our eyes, but this is an illusion of our memory, our idea (our reflection!), because we cannot directly notice the actual flicker due to the alogism of transitions. What is immediately in front of our mind’s eye? – The process of formation itself resides as a sustainable process. This sustainability is based on unstoppable the disappearance of being into nothing and vice versa.

This stable process is that immediate (1) – that result (2), to which Logic arrived (only “ajar” by Hegel!). As a result of (2) he left behind the immediacy of being and nothing, i.e. mediated , removed their immediacy ; both direct (1) it (the process) pre happens now as a being – booked arrival (of Dasein means “here being” – “being in a certain place , but the idea of space is inapplicable”), which became – but not indefinitely clean being, as before, and being,containing the unstoppable process of the disappearance of pure being into nothing – the disappearance, and pure nothing into being – the emergence .

One can only guess why Hegel further “kills” the process of becoming (see “§3. The removal of the becoming” of his Logic as follows: “becoming is the disappearance of being into nothing and nothing into being, and the disappearance of being and nothing at all.” This “In general” there is great bewilderment as a great thinker could admit and miss this: being disappears into nothing, nothing into being, therefore, they do not disappear “generally” – at once, at the same time, if you like! Disappearing being and nothing at allit simply cannot be here), it seems that he could not imagine, figuratively speaking, how to do an “operation” on a “working heart”, and therefore he “attracted” the formation to this result. After all, he also appears as a result of the stay (Dasein), but the stay is “one-sided”, as he himself defines it, “dead”, as I myself expressed it, already without a stable process inside. And living Logic (in the form of an unstoppable process) only momentarily appeared in his Logic and went into oblivion for a long time.

The physics of microparticles is a good example of the implementation of such processes in our physical microworld. For example, light is the process of the transition of the electrical component E of an electromagnetic wave to magnetic H and vice versa. And at the same time, as a whole, it is a particle, a photon.

At the end of the previous paragraph, we said that living Logic only appeared for a moment in Hegel’s Logic, but this only highlighted one of its aspects – the created aspect (take at least the previous example with a photon), because its beginning actually unfolds differently (see. See below “Subtle analysis of the result”). What is the difference? – In order to outline the answer to this question, let’s see what happened at the end of Hegelian Logic, when the Absolute Idea (God) was fully revealed in its concept , promotingthe process of its unfolding from the beginning, in which She (He) manifests itself as a completely abstract pure being, to the complete “dissolving” (like a lotus bud) of its inner content. And what – all the mystery, all the mystery of God now appeared before our mental gaze? God now has nothing to “hide” from our thinking, God “revealed” before us the incomprehensibility, the infinity of his limitless and unremitting being? – According to Hegel, it turns out that so – absolute rationalism ! “God died,” Friedrich Nietzsche will say 40-50 years after this, because God has nothing more to reveal – everything is revealed. In our case, the incomprehensibility of the essence of God remains impregnable (the principle of Abraham is absolute apophatism!), it is, by the way, the basis of alogism – the inability to grasp, keep separate the ternary process, in other words, it is the basis of “life” – the inseparability and lack of merits of the ternary process. This is the essence of the difference between Hegel’s Logic and living Logic – in accepting the principle of Abraham about the incomprehensibility of God’s being, which is the basis of His comprehension as a living, not diminished in anything!

Geometrically, this difference could be represented as follows:

рис. 1  Логика Гегеля без «остановки» становления

fig. 1 Hegel’s logic without “stopping” the formation

and

рис. 2  Живая Логика

fig. 2 Living Logic

Is it possible, then, to dwell on absolute apophatism? In this case, we go to the other extreme – the extreme of Kantian agnosticism – the unknowability of the “thing in itself.” The Absolute does not remain in its closed inaccessibility, but reveals itself in its energies (Himself, by its own will!), Remaining inherently incomprehensible – mystical symbolism ! End of Remark_1 .

Note_2 . To somehow touch the understanding of the phrase “mystical symbolism”, I will give a “neutral” example.

Probably many of you are familiar with Homer’s poem, The Iliad. In the poem, there are frequent episodes of the appearance, for example, of Athena Pallas (in the Greek pantheon – the goddess of wisdom) at critical moments of this or that hero, of a particular situation. How to relate to these episodes? For example, as a fairy tale, then the understanding of the Iliad will pass by and it will be completely incomprehensible why this poem worried the ancient Greek for more than a thousand years. But if you treat them with reverence, how the mythical consciousness of the ancient Greek (and I have no doubt whatsoever), it’s easy to imagine how the whole being of Homer’s audience shrank when it came to melodious ones (and Homer, as you know, sang during narration) of retelling of these episodes, as if the Divine was present at these momentsinvisible here. The feeling of the “presence” of the Divine here at the moment is absolutely invisible, and there is a mystical moment of perception (if the word “perception” is suitable for such moments).

And in what, further, is the symbolism of this phrase manifested ? – In order to arouse the listeners feeling of the “presence” of the Divine, it is necessary, as we said above, a certain state of their consciousness (mythical), a certain culture of their perception, a system of images fixed in mythologems – canons of religious thought, in short, a system of expression of mythological image. Such a system was brought to ancient Greece by Orpheus. In the “Iliad” of Homer, she found only her poetic embodiment. In the concept of a symbol , an entity is synthesized , in this case a living Deity, and a phenomenon, in this case, a poetic image. Hence, the presence of the living Deity in the symbol is revealed by the side of its manifestation, – in a poetic way, as in the case of the Iliad, by the semantic sculptural character of this manifestation. Therefore, in the phrase “mystical symbolism” the essence and manifestation of the symbol merge together, and the manifestation is not physical (it would be too rude), but (as here) artistic and semantic .

“I hear the silent sound of divine Hellenic speech

The great old man I feel the shadow of an embarrassed soul. ”

(Pushkin’s comment on Gnedich’s translation of the “Iliad” of Homer).

End of Remark_2 .

Analysis of the result . The trinity process disappeared into the mysterious depths of the One. All that the “ternary process” manifested “is a” highlighted “fact. The One itself “remains” in the “state” of a non-existent or super-existent. The “highlighted” fact is different in relation to the One. Therefore, we have here the fifth and seventh hypotheses about the relationship of the One and the other, as they are presented in Plato’s Parmenides (see 135e – 136b, 137b of this dialogue). Namely, the fifth hypothesis is formulated as follows (formulations by A.F. Losev): conclusions for the One with the relative negation of the One, and the seventh hypothesis: conclusions for the otherwith the relative denial of the One. Before using the conclusions of these hypotheses made by Plato in his dialogue, we will make sure that the result we have obtained does correspond to these hypotheses.

The first hypothesis of conclusions for the One with the absolute position of the One (137s – 142b) was considered in detail in my article in AB No. 17 in the section “The First Beginning”. It turned out that if you accept this hypothesis, the One cannot even be considered existing! This result – the super-existent One – is accepted here as the foundation (foundation) of living Logic!

But the One does not remain in its closed inaccessibility. It believes itself. From here follows the second hypothesis – the conclusions for the One with the relative position of the One (142b – 157b). Another formulation of this hypothesis – “I Am Existing” – was communicated to Moses as the Name of God (see Exodus 3.14). A more accurate translation from Hebrew of this wording is found in the English Bible: I AM WHO I AM. That is what we expressed at the beginning of this article indirectly: It goes One thinks himself as himself. Which immediately leads to the following: It is his from the will of Niemi believes no one otherlike yourself. Here, the time difference of the One Himself the One being that (moment) immediately appears after the first positing of the One, “acts” in the form of denial of differences with Himself – but nothing himself: the difference is not “having time” appear instantly disappear and not have . The instant disappearance of the difference occurred “suddenly”, and the arising “not” is simply the “aftereffect” of an accomplished fact. An attempt to think this “not” leads to the fact that the thought “bounces” from it or, rather, does not find anything that could be “hooked”, as if reflected back, but this “living” moment of the “bouncing” thought is all -so you can grab it! Along the way, we note that Plato puts forward in his dialogue an important concept of dialectical moment – “suddenly” (155е – 157b) – the moment of illogism!

What happened as a result of ours? – The Trinity process disappeared in the One, the One remains in its “inaccessibility” – this is the sixth hypothesis put forward by Parmenides (163b – 164b) – conclusions for the One with the absolute denial of the One. If this hypothesis is accepted, it turns out that the One is neither one nor the other, nor the third, nor anything at all. If this were only so, we concluded at the beginning of the article, then everything would return to the beginning of the process of positioning, and this would not lead to anything. Along with being “drawn into” the One process, the fact of the appearance of the process itself against the background of the apophatic abyss of the One was definitely “highlighted”. This fact is different in relation to the One. This does not come from the One, as manifested above ” not“, But there is the result of the accomplished action of the One, His disclosure of Himself, His energy ! (See “A subtle analysis of this result” below.) And the sixth hypothesis turns into the fifth and seventh. Indeed, we have here the relative denial of the One, if there is another .

Consider the fifth hypothesis: if the One is not in the relative sense, then what conclusions can be drawn for the One itself? – In this case, there is everything else in Him , i.e. all categories in general (see Plato’s conclusions in 160b – 163b)! And in the case of the seventh hypothesis: if the One is not in the relative sense, then what conclusions can be drawn for the other? – In this case, otherwise there is everything , everything , that is, – everything is One, because the One, to which it is opposed, is not taken absolutely, but relatively (164b – 165e). This implies that in other enclosed all the ” result ” of the threefold process, all the fullness of the One, but (!) Separate form – in the form of self-unfolding process, which figuratively (geometrically) could be imagined as a spiral emerging from a point (most of the artifacts found during excavations of the “palace” in Knossos in Crete contain this image as an ornament). But it is also twisted back to a point (and this moment is expressed in the Cretan ornament).

Way to the Absolute [and from the Absolute]. Mikhail Shapiro. 2003.

Way to the Absolute [and from the Absolute]. Mikhail Shapiro. 2003.

Just think, Plato put forward about 2400 years ago in his dialogue these hypotheses and conclusions from them, as a game of the mind, and now this game of the mind now acts as an integral result of the development of living Logic!

So, another triune process, “dived” into the incomprehensible depth of the One, is the energy of the being of God. Energy contains this being in itself , is essentially held by Him, this being is its basis . The end of the analysis of the result .

Having given His energy outside, has the One become poorer? – No, because His position returned to Him by the Spirit, having given birth to Him in another . This is the volitional impulse of the One Love , giving birth to Himself in another , i.e. a free (and love can only be free!) impulse to “give” oneself to another and in this other “reproduce oneself” , and this is exactly what happened above! This is another , containing in itself a substance (the creation of the One Himself) of ” meaning , its power ” – “this is Sofia”(See“ Personality and Absolute ”by AF Losev, p. 243 ff.). Sophia, the Wisdom of God, contains the essence of God, is “numbered” by Him, if we speak in mythological language about the “result” of this Love !

Note_3 . For the first time the theme of “Sophia” appears in Proverbs of King Solomon, VIII, Article 22: “The Lord had me the beginning of the way of his, first create your own, from time immemorial“. This and the following verses from the Proverbs until the 31st were at the beginning of the 4th century the subject of heated debate between the Arians, who were inclined to the creature of the second Person of the Trinity on the basis of this passage from the Holy Scriptures (the word “had” was translated in the Septuagint (translation of the Torah in ancient Greek, III century BC) as created, created), and, adhering to the “right” faith (hence the “Orthodoxy”), by the Holy Fathers of the Church. This dispute led to the need for the convocation of the First Ecumenical Council by Emperor Constantine in 325 AD. What is the matter? “One must clearly understand the position of Sophia between God and the world. 1. First of all, Sofia is not a creature, not a world, not a world soul. She’s up to all this . She is the body of God”(See“ Personality and Absolute ”by AF Losev, p. 244). From the previous it should be clear what kind of body we are talking about – this is the body of the born Logos, the second Person of the Holy Trinity. “2. But does [this] mean that Sophia is God? No, she is not God, but – in her there is nothing but God [she is “enlisted” by Him]. This is a fulfilled and really living God, ”who became the Holy Trinity, she (Sofia) afterHer (Holy Trinity), she is a “flash”, “packed” in itself the being of the One. Therefore, the reason for that confusion, which almost led to the split of the Church, becomes clear: Sofia, “encumbered” with the body of the Logos, was confused with the second Person. If we mean by the word “had” the word “created”, and by Sophia we mean the second Person, then the Arians obtained the creatureliness of the Logos. Losev also drew attention to this confusion: “The fourth beginning carries out the first three. This is not quadrupling, for the fourth principle in itself is nothing starting to live only as the carrier of the first three principles. “Believers” are confused here by the absence in patristics [the teaching of the Church Fathers] of a special teaching on Sofia. However, there is a complete misunderstanding. The fact is that the doctrine of the Three Persons of the Divine is formulated in the dogma so that it is resolutelycaptures the entire Sofia sphere [and, thus, obscures it!]. It is enough to point out at least one thing that the first Person is thought of as giving birth , the second as being born . Here the sophisticated characteristic appears clearer than the day , for the concept of “birth” is by no means a purely semantic concept, but it presupposes a certain material, bodily , vital fulfillment of this meaning. The doctrine that we find in dogma is formulated too concisely and whole; here, immediately and almost without any dismemberment, both semantic, and sophia [energy], and even onomatic [imyaslavsky] characteristics are given. ”

Then the idea of the “dispensation” of another – Heavenly – world was born in agony no longer within the framework of Abraham’s absolute apophatism (it seems that it was precisely in these, and only in these, frameworks that the Deity Arius thought himself, as well as Barlaam, the opponent of Palamas, and Protestantism also thinks The Divine, it seems, is the same), but within the framework of the “communion” with the Living Deity, “living” with Him, communication with Him, the desire to “dissolve” in Him, to be burned, saved, to enter the kingdom of heaven, i.e. within the framework of mystical symbolism , ajar as divine energies by Gregory PalamÓy in the middle of the XIV century, developed further in the name of Russian philosophical thought of the beginning of the XX century (and now dynamically revealing itself in the living Logic of the XXI!). “3. This is not the fourth hypostasis. This is the fourth beginning … but not consubstantialTo Three Persons. … 4. Now the connection of Sophia with the Virgin and the whole mystery of expression about Christ and the Church as a heavenly bride and groom should become clear. ” The Virgin, we continue the thought of Losev, is the earthly image of Sophia: Sophia arises, in the mythological language, “encumbered” with the body of God after the departure of the third moment of the threefold process (return) to the apophatic depths of the One, and the Virgin is encumbered with the body of Christ after the descent of the Holy The Spirit. The Church of Christ is born after the descent of the Holy Spirit (10 days after the Ascension, which was mentioned in my article in AB No. 27, on the feast of Pentecost — the giving of the Torah to the Jewish people!), Sent by Christ, as promised, to the apostles and “charged” Body of Christwhich we are “convinced” of during the sacrament at the liturgy. For Living Logic, these are different forms of the same process – the threefold!

“The church is neither a gathering of believers, nor a temple, nor society, nor authority, nor parish, nor institution, nor code of religious laws and rules. The church is neither a bishop, nor a priest, nor a synod, nor even a cathedral. All these are manifestations of the Church.

The Church is the Body of Christ! ”(Ibid., P. 245). End Remarks_3 .

Subtle analysis of the result . The One – the only God of Abraham, Isaac, and Jacob, not accessible, not visible, not felt at all, considers Himself, Himself, by His will! He his from the will of Niemi believes no one other like himself. The question is, how do I know this, or rather, on what is based in my true Nost (DOST Verne spine) in this? – firstly, the first part of the first sentence is apophatically expressed (I have highlighted all the “not”). This means that the One God does not essentially reach, do not “grasp” in any way or super-mental procedures that can proceed from the “outside” in relation to the One. My knowledge here can only be based on faith, on the mystical sensation of the presence of a living God, and apophaticism alone is not enough! Secondly , the second part of the first sentence prompts us to ask the following question: why did He “decide to go out of Himself”, i.e. to put oneself? – This is not a question of logic, and therefore living logic omits it. But she cannot, thirdly , omit another moment – the moment of the denial of anything other than the statement of Myself (“ no oneother than Myself ”). However, the denial of the other removes the statement (position) of Himself as One, since in the absence of the other the Being of the One becomes completely indefinite, as if “plunges” into the One. The result of the self-position disappears with the moment of denying another. What remains? – There remains a clear indication of this process. By itself, this indication is simple nothing . It is (if it is possible to talk about “at all” here) only as a pure indication – an indication of a process that has returned to the One. An indication of something is defined as a sign(for a study of the category “sign”, see the work of A. F. Losev “The Problem of Symbol and Realistic Art”). But there can be no question about the fact that once the “external” about znach it is an indication (refer to the difficulty of this sign will be revealed as development of our analysis). This process, or rather, the very One in relation to an indication of it or a sign , has thus become, as it were, “in itself”, i.e. as if inside a sign. It is the One, therefore, it is now becoming an entity or substantial foundation without it a completely empty sign! So behind the number ( ternaryprocess) is a sign, as a harbinger of a symbol; but in no way felt, inaccessible, invisible One receives the status of “in itself”, remains as invisible, inaccessible as before, but already felt as present mystically (see Remark_2). Here we do not raise the question: Who can feel the presence of the One here?

A note on subtle analysis . Let us try to come closer to understanding the sign that has arisen, and generally similar signs, as an example of the experience of formalizing set theory, presented in the first book, “Theory of Sets”, of the treatise of French mathematicians, united under the pseudonym Nicolas Bourbaki.

First of all, the author lists the signs of any mathematical theory

Then – the letters :

  1. x, y, z, A, B, C, etc. – Uppercase and lowercase letters of the Latin alphabet.

And that’s it! Next, various combinations of these signs and letters are built. For example, the symbolic combination is represented by a symbol and reads as “implicates” or “follows”. To make it clearer, we introduce a letter into this symbolic combination and write it like this: or, using a symbol and eliminating the prefix form of writing characters in symbolic combinations, – like this: – reads as “B follows from A” or “A implies B”. This last expression is, strictly speaking, not a combination of formal mathematical theory , because includes a character that is not on the list of its characters. This is the so-called abbreviation symbol. Without such abbreviations, which include the words of an ordinary language, reading symbolic combinations of formal theory would lead to insurmountable “mental difficulties” (according to the author himself). Introducing gradually reducing characters and words of an ordinary language, the author comes to a language familiar to mathematicians. For example, the character he entered on page 84 denotes an empty set, i.e. a set that does not contain a single element is one of the fundamental concepts of modern mathematics. This symbol is an abbreviation for the following character combination of formal set theory:

.

Isn’t it, there is a difference between this combination of symbols and a symbol ! Further – more, on page 188 is the expression:

,

the right side of which is a shorthand expression for the expression:

It is designated by a symbol “1”. “A rough assessment shows that the term [intuitively” subject “], thus designated , is a combination of several tens of thousands (!) Characters (each of which is one of the characters ).” Please note – not a single letter in this combination will be found! The author warns us, reading this part of the treatise, so that we do not mix the entered character “1” with the word “one” in ordinary language. The symbol denoting the word “one” is defined in the second book of the treatise – “Algebra”, as a single element of the multiplicative group of the set of rational numbers, and most likely contains more than one hundred thousand characters!

Imagine, further, that some mathematician would take the trouble to scrupulously write out the symbolic combination indicated by N. Bourbaki with the symbol “1”, and then publish it in the form of a book. Another mathematician would have taken the trouble to interpret this symbolic combination, sequentially disassembling it, finding in it often repeated combinations of signs and introducing abbreviations for them. If he does everything right (it’s hard to imagine how much work it will take), then ideally he will get about as many pages of mathematical text as they did in the Russian translation of the first book of N. Bourbaki. This tells us that any modern mathematical text is an interpretation.some formal mathematical text, which ideally can be written out for any mathematical expression, but no one will ever do that! Therefore, every mathematician who “reads” some mathematical text is based, firstly, on the intuitive belief that the text he reads can in principle be formalized, i.e. there is no danger in this text for the occurrence of mutually exclusive symbolic combinations, i.e. contradictions. Secondly, it is based on its intuitive experience in interpreting certain expressions – experience gained as a result of intensified, and sometimes painful, work. In other words, to read a modern mathematical text, a “live” interpreter is needed – an experienced mathematician. End of subtle analysis remark .

Turning to the sign received before the last remark, we will try to answer the following question :for whom is this sign intended, who could be its “interpreter” here? The first thought that comes to mind is considered to be such an “interpreter” of God himself, because nobody else is here! At first, this thought may seem insignificant, because God does not have the “need” to interpret its own signs. However, we will not be in a hurry, because if we stick to the communicative version of the hesychasm, which L.A. Losev states. Gogotishvili (see “The Communicative Version of Hesychasm” in Prince Losev’s “Myth, Number, Essence”, p. 878), then this sign could be considered as a “message”, “packed” in the form of a pointer to primary essence. But here it is not yet clear (!) The “address” to which this “message” would be intended. More interesting, in my opinion, is another thought.

The symbolic combinations of formal mathematical theory, which we examined in the remark, are “indifferent” to the meaning that they designate, as “indifferent” as numbers, to what they reckon. These symbolic combinations are written according to certain formal rules (or rather, interpreted according to these rules, because these rules themselves relate to meta- mathematics, and not to mathematical theory). But our sign is not like the number “three” in the phrase “triple process”. Indeed, let us recall the beginning of the article, that “the fact the flashing” flow “process” showed threefold nature ( triipostasnost) Self-disclosure of the One Self. What can be said about this fact? – Only that there are three hypostases, or rather, about the number three. This is not just a number; it cannot be divided into units without violating its nature, without destroying it. Plato called such numbers “ideal” and explained their nature to his students (not in the form of dialogue!) Shortly before his death. The same applies to the sign we received: it cannot be separated from what it indicates, or rather, this indication is “generated” by what it indicates, there is a form of this “generation”.

Another thought is that our sign contains the “ mechanism ” of its self-interpretation, or rather, its self-disclosure . If it were possible to find such signs, for example, for mathematical theory, then mathematics would become “alive” (to which I drew your attention in my previous articles), but the trouble is that such signs cannot be represented by our “created” means or, most likely, I don’t have such means yet. The same remark applies to our sign, so we can only try to mythologically express the scheme of this self-disclosure.

But first, let’s think a little more about this sign (or similar signs). Firstly, the term “self-disclosure” tells us about the energetic nature of this “mechanism”, hence the category of “energy”, which we used earlier formally in the beginning of the article, finds its justification in assuming this “mechanism”. Secondly, since Alexei Fyodorovich Losev, as you know, was a supporter of Orthodox energyism (which was defended by Archbishop Grigory Palamá against Varlaam in the 14th century), “self-disclosure” of the sign is closest to Orthodox intuition. Thirdly, the nature of such signs allows us to touch on the understanding of the practice of hesychasts (silent people). This silence should not be understood as silence, for example, etc. Andrei Rublev,words (words as symbols expressing the meaning will appear further in the sphere of the symbol (see table in AB No. 27)) to express the revelations that come to the hesychast monk in response to his ascetic feat in the search for the truth of God, when no speaking is even internal accompanying us, it would seem, constantly, is impossible when there is only one thing left – complete silence, “immersion” in the delighted contemplation of the process of self-disclosure. This process could be verbally expressed by the Hesychasts only as “illumination with the inner light”, which they identified with the light seen by the disciples of Christ on Mount Tabor. Our sign also cannot be expressed verbally. But, taking it now as a whole , which embraces itself and a pointer (1) to the One, “thus becoming “the primary essence, and the primary essence itself (2), hidden in the” depth “of the sign as a pointer to it, and the” mechanism “of self-disclosure of the primary essence (3), we are convinced that the sign turns (upon acceptance of our assumption) into a living eidos in the platonic and neoplatonic understanding of such integrity. Understanding this integrity as a Personality that is still hidden “in itself” (the side ( hypostasis ) of the primary essence (2) in this integrity), we obtain, when we interpret the wholeness as a body of God, Sofia, “encumbered” by the second Person of the Holy Trinity, which appears for the first time in Judaism in the “Parables of King Solomon.” From here “arises” and the “address” mentioned above. But let’s take it in order.

In accordance with the reasoning in the previous paragraph, you can threefold approach the verbal expression of such signs or now living eidos. First, you can approach it, as mentioned above, platonically or neoplatonically. Here I would include A.F. Loseva, because I did not succeed, unlike L.A. Gogotishvili, to find in him the development of a communicative version of hesychasm, and the form of his dialectic would also interfere with this. Perhaps in an oral conversation with her, Alexei Fedorovich developed these thoughts. Is it possible to consider this “path” as a schematic approach to the “mechanism” of self-disclosure of primary essence? In a sense, yes, if we take the dialectic in the form that we have in remark_1, i.e. developing Hegel’s approach. In this case, however, it is impossible to get rid of the feeling of oneself as an outside observer of the self-disclosure process. But have mercy, one of the readers of this place will say, because during “comprehension” we always find ourselves in the role of observer, because we comprehend, and there can be no bewilderment. Yes, of course, that’s why I would call this “path” the knowledge of “good and evil”, because in this form of “comprehension” even God himself is seen as an object that we – “observers” – are trying to comprehend (everything along this path is divided, including internal and external: “… and they learned [Adam and Eve] that nagas ”(Genesis 3: 7)). Was this what we wanted as a method of knowing living Logic? Probably not.

Secondly, another “path” indicates to us a “fruit” from the “tree of life” – a symbol of Christ (“I am the way and the truth and the life; no one comes to the Father as soon as through Me ”(John 14: 6)). For a long time I tried to understand one inscription on the gates of the Protestant cemetery: “I live, and you must also live” (John 14: 19). The translation from German is mine, as in the Russian translation is “you will live”. German translation from Greek more precisely. “Must” (sollt) means obligation by nature, in essence. “Must live” means that “you are created for this”, it’s not some kind of accident that may or may not be, no – it will certainly happen to those who are saved! To be saved is to fall into the kingdom of heaven. What does this mean for the saved? – This means that those who get there are not in a state of observer of the processes taking place “in front of his eyes”, but he is drawn into these processes, they are his new life. This life does not flow in time and space, but always here and now, i.e. always at rest , because “Here and now” lasts forever, but also, simultaneously, in a living process , which Losev called the semantic movement (in our terms, the threefold process) to distinguish it from the movement of the non-existential (ordinary movement in our physical world). Combining these two categories together – rest and movement, he called it moving rest . Further, the one who lives there is not separated from the others, but also not dissolved until the complete loss of personality. This is similar to the eidos that Losev defined as singly divided or identically different(in his own terms). If this life takes place in time and space, as in Christ, who walked in Palestine, then this is a constant stay with God, constant communication with the Heavenly Father. And again, returning to the film by A. Tarkovsky “Andrei Rublev”, I recall the dialogue between Ave Andrei and Feofan Grek, who had already rested and appeared to Andrei “from there”, in which Feofan pronounces the phrase: “Everything is different there, as you’re represent here. ” The question arises: are there means (language) for expressing the process of the “course” of such a life? One example of the expression of the course of such processes, in my opinion, is in the history of the development of the human spirit, but the language expressing this is not verbal, but musical. I mean R. Wagner’s prelude to the opera Tristan and Isolde. For comparison, to make my point clearer, I will say first a few words about the overture of P.I. Tchaikovsky “Romeo and Juliet.”

So – “Romeo and Juliet.” Who does not know the charming sounds of the love theme of this symphonic poem! She bursts in like a stream of fresh air, and captures us with a picture of a love just acquired and hitherto unknown to two young people. There is no need to talk about this work by Pyotr Ilyich, because enough has been said about him. But for our theme, it is important to pay attention to the “graphic” nature of this music: we, observers, admire this picture, we are outside it!

One of R. Wagner’s contemporaries described the impact of the musical prelude “Tristan and Isolde” on the listener. I will give this description in my own words. If you have never experienced a true sense of love that captures your whole being, but you feel the music subtly, then, listening to the prelude “Tristan and Isolde” by R. Wagner, you, immersed in the world of this music, are completely captivated by it, it does not let you go, it makes you you will be tormented by the feeling expressed by her, the music “flows” like an endlessly lasting melody. You and the author are experiencing the torment of love. But this love, I continue further my thought, is painted with carnal motives, it is not quite suitable for expressing the course of life “there.”

Closer to this expression, in theory, but not in musical embodiment, are the symphonic works of A.N. Scriabin (in progress – from the first symphony, through the “Divine Poem” to “Prometheus”). On the verge of two centuries – XIX and XX, intensely searching for his own way in music, he suddenly lights up with Wagner’s idea, but with reference to the expression and implementation of another process – the process of transforming humanity – its redemption, for entering into another, more perfect world, that- something like universal resurrection. It was supposed to be realized as a Mystery, flowing with the use of all conceivable and inconceivable musical means. It is clear how Scriabin himself reasoned. If by musical means you can “draw” a person into the living process of experiencing true love, like Wagner’s then why not go further and try, through musical and related means, to transform the whole being of a person and bring him to the kingdom of the Spirit, where he will constantly be, to live in the stream of this Mystery. These “ambitious” intentions of Alexander Nikolaevich were not destined to materialize. But what does it give us to complete the search for a language of expression of the “mechanism” of self-disclosure of a living eidos or Person? Maybe in the distant future, the language of living Logic will be expressed in the form of meditative music (an example of this is given by the statement of the ancient author Dmitry Falerius that “Egyptian priests under But what does it give us to complete the search for a language of expression of the “mechanism” of self-disclosure of a living eidos or Person? Maybe in the distant future, the language of living Logic will be expressed in the form of meditative music (an example of this is given by the statement of the ancient author Dmitry Falerius that “Egyptian priests under But what does it give us to complete the search for a language of expression of the “mechanism” of self-disclosure of a living eidos or Person? Maybe in the distant future, the language of living Logic will be expressed in the form of meditative music (an example of this is given by the statement of the ancient author Dmitry Falerius that “Egyptian priests undersinging hymns for the glory of the gods use seven vowels , which they pronounce in a certain sequence ; their singing is so harmonious that people listen to him instead of avlos or kifara. ”) But I am now interested in more suitable means of expression for our purposes.

Therefore, thirdly, we will try to combine our searches for expressing the “mechanism” of self-disclosure in the two previous approaches. In the latter approach, it was mainly about language, but in our case, language is inseparable from what it expresses. Hegel seems to be the first who not only emphasized, but also strive for it – find an adequate content nd themselves categories of language. Rather, he strove for the categories themselves to reveal themselves in the process of understanding them with our thought, i.e. so that our thought is “woven” into the content of categories, becoming their integral living “engine”. But the categories, as he took them in the most “pure” form, were “depersonalized” and lost their living face , inherent only to them . To verify this, just look at remark_1. The three “interlocutors” who appear, for example, in his “Phenomenology of the Spirit”, are our ordinary consciousness, the subject of this consciousness, and we, as observing the results of the interaction of the first two and making conclusions, are no longer as “depersonalized” as the categories his Logic, and one could take this idea as a basis, combining it with the “communicative version of Hesychasm” (see above). And for this you need to change everything, i.e. to consider the “Phenomenology” from the end, thereby continuing to unwind our analysis in a new circle.

Let us turn to the question posed at the beginning of a subtle analysis: why did God “decide to go out of Himself,” that is, to put oneself? – Let’s try to answer this question not logically, but mythologically. In Christian theological and philosophical literature, the fact of the absolute freedom of God (we discussed this at the beginning of my article in AB No. 27) is expressed by the phrase: “He could not have created the world,” emphasizing thereby that no need prevailed over the Absolute during creation . But in this phrase, the truth is no longer so obvious, another thought is also hidden, namely: creation does not add anything new to the disclosure of the Absolute, but rather, on the contrary, leads to its dispersal and destruction in matter. A.F. Losev in his Ancient Space and Modern Science, p. 184 ff. Not trying now (yet!and heavenly abode, i.e. to believe Himself, because all its fullness was in Him in an undifferentiated, indissoluble, in no way attainable form, and even this was not and could not be! Why did this happen? What was the point? I can only guess one thing! Missing Love ! Turns out that …

The mythological scheme of the beginning of the process of self-deployment

the essentials in the realm of heaven

The only, unrevealed, unattainable God, sacrificing (!) Himself, He, by His will, considers Himself. He has his own purpose believes no one other like himself. The moment of the denial of anything other than the statement of Himself (“ none other than Himself”) removes the statement (position) of Himself as One, since in the absence of another the being of the One becomes completely indefinite, as if “plunges” into the One. The result of the self-position disappears with the moment of denying another. There remains a clear indication of this process. By itself, this indication is simple. nothing . It is here only as a pure indication – an indication of the process of returning to the One. This process in relation to an indication of it or a sign becomes as if “in itself” (an indication is different in relation to the process, but different, generated by the process and, therefore, not separated from it), i.e. as if inside a sign. The trinity process, therefore, is now becoming the primary essence or substantial basis of a completely empty sign without it, and the sign is turning into a whole , which embraces and a pointer to the process that has becomeprimary essence, and the very essence, hidden in the “depth” of the sign, as a pointer to it, and the “mechanism” of self-disclosure of the primary essence. Understanding this integrity as the Body of God, we get Sophia – the wisdom of God, “encumbered” by the second Person of the Holy Trinity. The indication, as an energetic manifestation of the process of putting the One and removing the process of putting, is the message of the One, ” transmitted through ” the Body to the second Person, which receives the message and “transfers it back” through the Body, as received (“the baby stirred in the womb”). The Divine, having received a return message, is instantly filled with Love and begins to glow. “And God said, Let there be light. And the light became ”(Gen. I, 3). “The process of self-disclosure has begun!”. End of Subtle analysis of the result .

Epilogue

In the last scenes of the film “Solaris” by A. Tarkovsky, the central character of the picture, Chris Kelvin, falls ill. In a hallucinogenic state, his mother appears to him – young, carefully wiping his hands from the dirt. Tears streamed down Chris’s face, he pressed against his mother, an inexpressible feeling of love and longing fills his heart. And here is another scene in which Chris, recovering, leaves the hallucination and, waking up, does not find his “guest”. His co-worker Snout explains to him that the Ocean was picked up by the “guest” by annihilation. This should be understood in such a way that the Ocean, thanks to Chris’s unforgettable love at a subconscious level, understood this feeling (by means different from R. Wagner’s prelude and incomprehensible to us, the audience) and “lagged behind” the researchers, now realizing the whole depth of the state of “being human”. It seems he is ready to communicate, but in a different language! Overheard by the Ocean, a conversation between Snout and Chris, in which Snout advises Chris to return to the earth, prompts Him to create on his surface a “Father’s island of love” for Chris to keep the person he loves. Chris is again in his native corner, but looking unusual: frozen water in the pond (the Ocean does not know living water in the pond), pouring water in the form of rain, but inside and not outside the room (at the beginning of the film it rains outside, pouring tea cups ) However, Chris’s meeting with his father (their inner communication!) Is real, reminiscent of Rembrandt’s painting “The Return of the Prodigal Son”. And to top it off, everything is filling the light … Chris finds himself again in his native corner, but looking unusual: frozen water in the pond (the Ocean does not know living water in the pond), pouring water in the form of rain, but inside and not outside the room (at the beginning of the film it rains outside, pouring cups of tea ) However, Chris’s meeting with his father (their inner communication!) Is real, reminiscent of Rembrandt’s painting “The Return of the Prodigal Son”. And to top it off, everything is filling the light … Chris is again in his native corner, but looking unusual: frozen water in the pond (the Ocean does not know living water in the pond), pouring water in the form of rain, but inside and not outside the room (at the beginning of the film it rains outside, pouring tea cups ) However, Chris’s meeting with his father (their inner communication!) Is real, reminiscent of Rembrandt’s painting “The Return of the Prodigal Son”. And to top it off, everything is filling the light …

Why is this old Russian song about China so likable? I, at least, liked it right away… And I doubt that my penchant for it will ever fade. What makes this song so powerful and unique?

The first line, which serves as both a title for the song and a refrain for three of its four verses, even seems flagrantly dumb, almost a tautology, a provocation. But if it is so obvious that China is a big country, then why are there so few famous songs about it in languages other than Chinese? In a world evidently short on such songs, it’s somewhat surprising that “China’s a Great Big Country” exists at all. In any non-Chinese language. It doesn’t matter that China is Russia’s neighbor. For ages, the two countries and peoples have had many common interests, ties and opportunities to notice each other. Maybe some similarly themed songs have been written in Russian, whether by inspiration or on commission. Maybe there are many fine Chinese songs about Russia. But this Russian song about China has turned out to be truly wonderful. It has lived a long, rich life. That takes a special alchemy of conditions.

There are many versions of the lyrics for “China’s a Great Big Country.” The version I love most, to which I remain faithful and will refer to here, I first heard in the big country of America. A capella. Oddly enough, the song was spontaneously reconstructed from memory by a Russian poet who learned it in the mid-sixties. The poet herself first heard the song, along with other semi-marginal material, while accompanying a Lenconcert performer on tour in Moscow. Late one night, that performer and a forensic doctor, both of them song aficionados, informally swapped repertoires. The performer and doctor sang about urgent matters, but cheerfully and without histrionics. This mutually enriched them. As a result of that evening, which followed a common pattern of musical exchanges, the poet was also enriched. Later, I was, too.

Recently, briefly in Hollywood on business, I realized I didn’t want to go out on the first night. Instead, I wanted to sit in the motel room with a guitar and “bash out” “China’s a Great Big Country,” as the song itself puts it. Well, not merely bash out the song, but also ponder its mysterious power, its anatomy and spirit. And then refine the translation. The translation of such a marvelous song should, of course, inhabit the original melody for an authentic singing experience. This Russian “China” readily crosses cultural and linguistic borders, further proving the song’s durability.

 

… Plantations are there all over.
They raise aromatic tea,
Everywhere gardens flower.

 

Generally speaking, songs tend to arise and exist most fully in the context of specific peoples. Exoticism can seem strained. Internationalism is an elusive ideal. Yes, there are many translations of Chinese poetry into Russian, as well as into many other world languages. In general, there is a large Chinese contingent among many world cultures — not to mention the standard industrial level adapted to China’s global material needs. But somehow, such cross-pollination has engendered relatively little inspiration to sing about China itself. Admiration for China tends to be rarefied, speculative… Such qualities do not necessarily yield good songs or even any songs at all. Exotic lyrics in a compelling song, as a rule, channel pure imagination — as in the Beatles’ “Octopus’s Garden” — or stay lightweight — as in Cole Porter’s “I Love Paris.” Some worldwide hits use imaginative material based on historical subjects — “Brown Sugar” by The Rolling Stones, say, or “The Night They Drove Old Dixie Down” by The Band. Yet China is not only real and wholly non-invented. It is complex, huge, important, and physically, historically and psychologically distant from the West. The phenomena of colonialism and rapprochement formed only conditional, shaky, inconstant ties. It is perhaps harder for a non-Chinese to establish a close relationship with China than for a non-Frenchman with Paris. For the best songs to arise, the author has to have a direct, personal relationship with the material. It seems that namely Chinese people have the purest direct tie with China. Outside China, in the best cases, China is approached either from a respectful distance or with a keen research interest — which also helps reveal the essence of one country to a resident of another. But a good non-Chinese song about China is even rarer than a good non-Chinese study about China.

The song “China’s a Great Big Country” has existed for decades and still gives an impression of unsurpassed freshness and relevance, of a kind of primacy. It deserves international recognition as a masterpiece!

 

Everywhere groves of bananas,
White rice that smells so sweet.
Over there creep lianas, Alyokha!
Over there flowers maize…

 

“China’s a Great Big Country” reveals a lively sung view of China itself. The view’s authenticity is somehow palpable. What convinces, in part, is the motley everyday language, a vessel for dollops of exotic material. The song’s hero needs no sinology. He does not think deeply, does not acclimate to China. He invents nothing — no imagination is needed. He understands that the simplest observations may serve as the most profound introduction to the real China — anything more would be overkill, not an introduction but a self-proclaimed, hollow master class, a different kind of sacrilege than gross fabrication. In any case, China is such a big country that its scale is best conveyed by the fact that even a person from such a big country as Russia prefers to stick to simple observations, almost primitive clichés. The hero simply describes those impressions he considers appropriate to put in words. He is a man of few words… But a series of unforgettable miniatures somehow shines forth in the morass of stock phrases. Clichés ennobled with real poetry cease to be clichés. Laconicism turns into a standard of reliability — as if the hero knows the big country can say more for itself than he might ever wish to say of it. Great big China can do anything…

 

Down a blue river’s bends
Junks in the mist have vanished.
Poor simple fishermen,
Yellowy like bananas…

 

I. Rerberg. Illustration for “The Tale of the Captain and the Chinese Boy Lan,” 1928

 

In the song, a strong impression of China scarcely indicates the hero’s desire to become Chinese. The hero does not stand on ceremony with China, does not try to be objective — which says more about him than about China, and allows the listener to make the necessary perceptual adjustments. Especially in the song’s final couplets, the hero makes it clear that for him, Chinese life would remain foreign. Certain features of the cuisine, more extreme than sweet-smelling white rice, prove the last straw, “no grub for us Russians.” Fair enough. Why wander too far on someone else’s turf? All the same, it will lead nowhere, and it’s hard to feel up for that anyway… But foreignness doesn’t make the hero lose interest in China. His business is not to love China but to sing and convey precisely the scale of Chinese phenomena, to sing China both an ode and a blues. China is too big a country, too intriguing ever to warrant forgetting.

 

…[They] spread out their watery nets
All down the riverside…
Junks are their apartments, Alyokha,
And where they go to die.

 

The song’s words and images repeat. As a colloquial conversation, as a narrative and, it would seem, as a hodgepodge with little artistic merit. But in literature — especially in song — repetition may enhance artistry by establishing motifs. The song’s repetitions help reveal its internal structure and implications. Here, repetitions cast a spell.

 

O China’s a great big country.
Plantations there past all number.
Shanghai is a huge port city
That sits right beside the water.

 

The unity of the song “China” is forged from “plantations”, “bananas” and, of course, “aromatic tea”… from a ubiquitous flowering and growth of sometimes lucrative vegetation… from “junks” and “Shanghai”… and, of course, from “Alyokha,” whose trusted place is free for any listener. The persistent, moderately pushy and obsessive repetition of certain words facilitates apprehension of the rest of the song’s content and lets non-repeating, sometimes showy or slangy words to stand out even more, as the author’s special finds: say, “lianas,” “maize,” “gangs,” and, as a last-verse apotheosis, “promenade,” “bash out,” “trepak,” “grub,” etc.

The same can be said about the simplicity of the structure of phrases, redolent of a desire for accuracy in conveying facts. The song’s restrained lyrical permutations breathe romanticism and enable better discernment of the hero’s true motives. He does not squander himself on cheap poetry but is quite the poet when his theme requires such means. A sense of proportion is also a necessary qualification for a poet. And one senses that the hero is among those blessedly born poets and never weaned away from poetry by life. On the contrary: knowing the severity of life, perhaps in a range of countries besides great big China, he knows that singing has to come from the heart. Whether about human fates or about any of the world’s ten thousand things. Fates and things, things and fates — they coincide exactly, they are equal. Ask the poor fishermen. Ask the ships transporting great big China’s tea.

 

Shanghai meets the incoming fleets
That sail from the sea in gangs
To haul aromatic tea, Alyokha,
Right back the way they came!

 

Tea turns out to be the whole song’s locus — it appears in three of the four verses. The tea sung of is not called “rare.” Simply being “aromatic” already lends it a sturdy figurative definition, sufficiently evocative of the reverence it commands from the song’s hero. This tea may be of some very typical sort and quality or may span more sophisticated blends. But it seems that neither the hero, nor Alyokha considers subtleties the foremost thing about tea. They are not spoiled aesthetes. Tea is a reassuringly familiar phenomenon, compared to the song’s rather alarming evocations of shark fins and worm soup. The hero’s interest is excited enough by the simple fact of an aroma and, moreover, by the penchant for tea among the masters of plantations and ships, among the Chinese themselves and all those to whom the ships haul wares. Clearly, this is a case of heavy local and international tea expenditures. Maybe the hero wants to team up with Alyokha on capturing some of the alluring market. Maybe this dream is set to come true in the near future. Or maybe at some distant time, or maybe never at all. Maybe the hero and Alyokha themselves are in China at the moment of the song’s nascence. Or maybe circumstances have flung them onto a fringe where thoughts of access to a cup of tea or even boiling water already verge on the fantastic. You, the listener, don’t know, which also enhances the song’s air of mystery, the feeling of eavesdropping on someone else’s secret conversation, who knows where, in some dark place where you might accidentally be mistaken for “Alyokha.”

 

O China’s a great big country.
The Chinamen promenade,
Drink aromatic tea,
Bash out their Chinese songs…

 

The song’s language helps to better gauge the personality of its narrator, the eyewitness to China. As the song progresses, his state of mind seems increasingly limited, pleasantly enough. In the song, mental limits do not equate to blindness. On the contrary, they serve to concentrate narrative and musical movement.

The melody gives a special, impressive flavor to the repetitions in the verses, yielding a heightened experience of the song’s twists and turns. The verses and melodic structure brilliantly follow the rhetorical requirements of the lyric epic. Each verse features a well-delineated opening statement, a development of action, a climax, a denouement. The same observation can be made about the verses’ relationship to each other. The song has absolutely no superfluous moments. On the contrary, instead of linguistic polish, more often the melody plays a decisive role in the transmission of verbal nuances, making it possible to understand the hero perfectly. Repetitions of the unstable note B in the third line of each verse build up tension, quicken the pulse. When at the end of these lines the melody descends by a tone and semitone, the listener already realizes that the song is relaying something extraordinary, with hidden inner content. It is immediately clear that “tea” at the end of the third line falls into such a special category. In the same position and with the same pithy load are both “fishermen” and “Shanghai,” and again “tea” — these fundamental images will receive the song’s most profound development. And the melody culminates in the sixth line of each verse. There, “rice” resounds with at a hitherto unimaginable pitch of drama. “Riverside” expands majestically. Ships arrive, and their procession passes vividly in the mind’s eye. And “trepak” dances like circling sharks and as a quite convincing, satisfactory version of the lyrics, whatever other alternatives may exist. It’s a good description of a weird Chinese dish! Finally, the denouements — “maize,” “go to die,” “back the way they came” — ebb away into silent musings between the verses, right down to the last kiss-off with which the song ends.

Not long ago, I learned that the song’s lyrics have a source in the prelude to a 1920s work by the Soviet poet Jack Altausen. Most likely, few of those who have sung and loved this song — especially in the version that I love the most — have suspected this origin or, knowing about it, attached any special importance to it. In childhood, Altausen lived and worked in China, including in Shanghai. This pedigree, perhaps, partly explains the lyrics’ vestiges of authenticity and professional craftsmanship. But Altausen’s original has a number of differences from the song “China’s a Great Big Country.” A song directly superimposed on Altausen’s text could hardly have become such a hit, such an obvious masterpiece. The Soviet poet wrote not a song but a poem about a Chinese boy named Lan. Tracing a specific personality and plot, along with a more traditionally expressed sympathy for a people oppressed by imperialists, the poem showcases the author’s talent and subtlety: “The ships slip away in the mist, / They melt / Like the moonlight’s glint, / And the Chinese boy Lan / Looks on as each one vanishes” — but leaves the material less flexible and portable than it, thank God, would become. Besides, Altausen has no Alyokha! Yes, his song lacks Alyokha and much else that anonymous evolution would provide. Namely folk craft spun the wheels to create an unquestionable hit. It seems that Altausen, who died in the Great Patriotic War, would be glad about his poem’s fate. Although largely unknown, he remains the author of much of the wonderful poetry preserved in the song. And so many people have entered into co-authorship and empathy with him! The song “China’s a Great Big Country” is a crucible of times and circumstances that exceed the personality and intentions of one individual author. This “China” has served time in Magadan. It has served its full sentence, it has escaped from there, it has never left at all. Perhaps this “China” would fit in just as well in Alcatraz or Soledad. Countless city apartments and train platforms have managed to be this “China.” “Tea” can also be an emblem for a host of enterprises, from the noblest to the basest — yet always very tempting! The “Chinese” can also be a panoply of inscrutable characters, who determine the choice of music, food and everything else in various conditions, which may be alien yet still spark curiosity. In Moscow as well as in Hollywood.

When it comes to the words “bash out their Chinese songs,” you involuntarily think — all the more so if you yourself are singing “China’s a Great Big Country” — maybe this song is actually Chinese? Would a real Chinese song be that much different? If I like this song, does that mean I am somehow Chinese, too? Or Russian? Who am I, anyway? Borders between subjects and objects are erased — between everything at once. The hero shrugs off the Chinese, but his attitude is partly a reflection or even an encoding of how he views his own people and himself. Both listener and performer are imperceptibly drawn deeper and deeper into the “great big country.” A ruminated attachment to tea profiteering weakens the importance of more thorny personal dependencies. Suddenly it turns out that this song loosens the bonds of prejudice and partisanry, delivers a bracing shock to familiar, petrified views of reality. In its own quirky way, it works as a force of freedom from illusions. That is, it does what serious art and great spiritual masters do. It helps us live.

This song about China seems so strong, so universal, because it’s about all of us, about that united life in the big country of the world where we’d like to make our own paths — however we see and dream them. However it suits our souls.

In August of the ninety-first year of the last century, the citizens of the third Rome cast off the tiresome yoke of the party patricians from their shoulders and gained Freedom!

In the autumn of the same year, when crazy oddballs were rushing back and forth in search of whatever popped up on the scene, I made my way through Moscow’s crowds to the “Science” publishing house with the sole desire to acquire the first edition of Gaius Valerius Catullus, a poet who witnessed the sunset of a republic and the birth of an empire, a contemporary of Marius and Sulla, Caesar and Pompey, Milo and Claudius, Cicero and Catiline, Crassus, Spartacus and many others, named and nameless, whose busts and fates embody the history of the first Rome for us. Catullus knew many of them personally.

Almost all the ancient classics, Romans and Greeks, were published in the USSR quite regularly in various intellectual series and drove Soviet bibliophiles wild. The works of ancient historians, philosophers, playwrights, prose writers, poets and progressive graphomaniacs, having miraculously survived to our days, naturally belonged to the elite segment of reading and ranked as scarce and prestigious objects of property.

 

Written in a realistic manner, in language that is perfect but alien to the crowd, moderately passionate but civically responsible, these literary artifacts, describing the mythologically distant, appeared organic in the ideological context of a country with an imperial self-awareness.

Suetonius, Appianus, Plutarch, Pliny, Horace, Virgil, Ovid, Apuleius, Petronius, Seneca and his distinguished student, the singer-songwriter Nero — this is an incomplete list of the bright creative individuals who knew Catullus well.

But unlike them and many others, each in their turn with dignity accepting glory and death according to the laws of blessed stability, Catullus’ talent flourished in a terrible and wonderful transitional period between the times of oligarchic quasi-democracy and the atrocious Principate.

Since 1929, “tidbits” of Catullus had been published in Soviet Russia more than once, but namely these latest, recklessly frank translations, which saw the light beneath the scarlet curtain itself, became for me — a person who in all circumstances humbly bears a heavy burden of personal freedom — a sign of the coming changes.

Suddenly, among the spiritualized and severe faces who appeared on the historical stage of the prophets of the Soviet apocalypse, the hysterically cheerful and desperately evil face of the fossilized pagan libertine, exhausted by irregular nourishment and sensual incontinence, flashed like a ragged cartoon sketch across the peeling facade of reality.

At one time, this guy was one of those who today, as well as they can, bear the shameful stigma of “big shot” on their foreheads. His grandfather and then his father were doing business in his Verona long before the Montagues and Capulets were gnawing at each other there. And his family had a good status in Rome, by the way! Whoever ran it… Caesar himself didn’t disdain their domus and, on occasion, stopped by to visit.

Catullus and his brother Gallus faced the enviable fate of following in fresh footsteps on a beaten track. But things didn’t go so smoothly. His beloved brother died far, far away abroad, and Catullus himself and his comrades barely got back from the business trip that at first had seemed so promising.

Like the children of modern provincial aces, Catullus moved to the capital. Presumably, to some relatively decent housing corresponding to his status. Probably with the necessary, sufficient parental backing, with an obvious goal of starting and securing a successful career. To stand in a series, repeating from generation to generation, of replicas of his fathers and grandfathers. But he decided to become or stay himself. For that, all means are good — drunkenness, debauchery and, of course, Fate’s faithful companion, poetry.

Oh, those boys from “good families,” boys born with gold and silver spoons in their mouths … Some eventually get used to the fact that the spoon keeps them from speaking, and they go on licking the spoon until death. But others try to shove the uncomfortable object out of their mouths with a long and sharp tongue that doesn’t fit behind their cheeks. For them, the ability to speak out is more precious than precious metal.

These seemingly lazy pyros of life know the value of authority and the futility of ambition. They are bored and weighed down by formalities. The flipside of success is the daily routine of their lives from an exquisite diaper to a luxurious shroud. In the givers of blessings, they see not gods but only people whose moral weaknesses stick out all the more, the unbearable burden of gifts from touchy and erratic Fortune.

Neither the mob nor the rulers of the world forgive such a neglect of social stereotypes. And society responds similarly to such voluntary exiles from paradise. Rejecting their rightful place of birth under the sun and doomed not to find another, they fall. Not by the sword, but by ennui.

Let’s recall who else managed to do this, the chic superfluous men of the stagnant 19th century — Zhenya Onegin, Grisha Pechorin… The failed Decembrists, as we were taught in Soviet schools. Who degenerated into Prince Myshkins and Oblomovs — the way I see it.

In a futile search for the genuine, these purebred males are drawn through the gateway of mutts — girls and boys — dovelike Ipsitillas and sweet Juventiuses. The former do not succumb to training, and now and then bite their lovers, painfully instilling the cruel truth about the hopelessness of their situation. The latter, on the contrary, eagerly adopt the manners and lifestyle of their owners, becoming hypertrophic, mock copies of their tamers.

Seek yourself and you’ll find loneliness. And creativity is an inevitable monodialogue with yourself, your final interlocutor. Even in the crowd, at the forum or on Tverskaya; even among friends, in the tavern of the “hoodwinked brothers” or the cafe “Lira”.

Where is that barroom, that event horizon where the high and the low converge, where exemplary rhetoric turns into Latin cussing, and obscene abuse into coos of love? In what ancient garbage dump, not yet become a cultural layer, can two people find a place to love eternally?…

Catullus is not dead. He just stopped… writing? Living? There’s no evidence that he bit the dust from illness or opened his veins. Just speculation. Perhaps he just nailed everything shut. But ultimately it’s the same thing. And yet, as a sophist and cynic would say, the right to life and death must be confirmed by a piece of paper. Or at least a piece of parchment. The first is documented, but the second… Strictly speaking, it is impossible to assert with absolute certainty that Catullus ceased to exist. At least in the form of a certain archetype, forever imprinted in the unconscious.

I see you, my hapless brothers — in the shadows of university alleys, under the arches of Stalinist palazzos, at the entrances of high-rise industrial housing project insulas. Feeling foolish, you wander around with a can of Gallic swill in your hand and a bottle of something stronger than Falernian in your pocket. You have fashionable rags but perforated wallets; smart faces but empty eyes. Having killed another day, you go peacefully to bed, exhausted by chronic dissatisfaction, and fall asleep with an unextinguished cigarette on a funeral pyre of bibliographic rarities read indecently ragged…

So let me toss another volume into the fire! No need to look for a scholarly apparatus, historical materials or art criticism inside. Today you can track down anything you want, casting a wider worldwide net. But I strongly recommend, for starters, perceiving the proposed synthesis of poetry and graphics with a nude body and naked soul. I dedicate this unique art and literary publication to all of us — to you, to myself, and of course, to Gaius Valerius Catullus, whose sexual, creative and civic activity, like ours, came at a time of great change.

Ave Gaius Valerius Catullus! And … Barrra !!!

N. Yarygin. Cicero. Illustration to the poems of Catullus.

N. Yarygin. Cicero. Illustration to the poems of Catullus.

——————–

The text you have read is a preface to an unpublished book. Under existing conditions, its chances of seeing the light are very obscure, and the prospects of getting a sufficient number of copies unimpededly into good hands appear all the more doubtful.

And yet, the book I’m working on will certainly be published. This will inevitably happen when its obvious existence demands an adequate resolution of the current paradox.

St. Petersburg-based translator Vagid Ragimov tells about his work preparing a two-volume edition of “A Hundred Thousand Songs of Milarepa,” representing the work’s first-ever direct translation from Tibetan to Russian.

Due to an extremely favorable combination of circumstances, it’s been my good fortune to collaborate with the beautiful yoga community OUM.RU over the past year and a half to translate “A Hundred Thousand Songs of Milarepa” from Tibetan. I have been translating texts on the Buddhist Dharma for thirty years, and Milarepa’s songs were the first book that I translated, but at that time from English. In December last year, the first volume of the translation of these songs from Tibetan was published; now the second is being prepared. The second volume will also include songs not previously translated into Russian from English.

Jetsun Milarepa is one of the most famous representatives of the Tibetan Buddhist tradition. Tsangnyeon Heruka (1452-1507), the author of Milarepa’s most authoritative biography, tells us that he was born in the year of the water dragon (1052) and died in the year of the wood rabbit (1135). His life coincided with the second wave of the spread of Buddhism in Tibet (the first took place in the 7th-9th centuries).

 

If you believe this old man,

Listen to what he says now!

Our tradition of practice is to spread,

Many perfect people will appear in it,

In all countries of the world, people will learn about Milarepa,

And your faith in me will remain unchanged

And you will tell fables about me.

 

Thus Milarepa finishes one of his instructive songs. Today, Milarepa’s line of succession — Kagyu, or the tradition of Lama Karmapa, really has spread around the world. As have other traditions of Buddhist Dharma.

What are Milarepa’s songs?

He devoted the second part of his life to spiritual practice, becoming a hermit in the mountains. In his approach to practice, Milarepa was unstoppable, ignoring difficulties. He could go months without eating, he didn’t need warm clothes, and he felt most at ease while alone in the mountains, although he also descended to human settlements. He perfectly mastered special methods of tantric meditation. No follower of Buddhist teaching has any doubt that Milarepa was an Enlightened Buddha.

Fate brought different people to him, in different situations. No encounter with him could leave anyone indifferent. After contact was made and pleasantries were exchanged, Jetsun Milarepa would answer questions raised by the people he met and describe his spiritual experience in poetic songs.

The Buddha’s teaching is accurate knowledge, but not dry. Instead, it is beautiful and liberating. It can be explained in philosophical treatises, but best of all, perhaps, in poetry. In his songs, Milarepa sometimes speaks in simple words about deep things, but most often his songs comprise a short lecture on the Dharma, with a strict structure, using various terms. Depending on one’s degree of familiarity with the Buddha’s teaching, one can see this structure, and terms, and many other very useful things on a theoretical and especially on a practical level.*

 

Vagid Ragimov

 

* If you want to know more about the meaning of various words and phrases that might not be totally clear, write to me here: vagid@buddhism.ru. I will be glad to answer. Or perhaps a basis for more pieces for the magazine will arise from questions and answers.

 

(The Russian version of this issue includes a chapter from the “Hundred Thousand Songs” in Vagid Ragimov’s translation.)

Andrea Zanzotto

Andrea Zanzotto

Behind each of us is the story of a family. Previous generations give us their talents, their love. Someone gets a vitality that would be enough for more than one person; from someone we inherit a name. Sometimes someone from a family becomes well-known even during earthly life, and people learn about his other relatives only later.

The name Andrea Zanzotto is well known to poetry lovers in many countries.

As early as the first decades of the 20th century, several representatives of the Zanzotto family proved themselves in the field of art, science and poetry. For example, the poet’s father, the artist Giovanni Zanzotto. In Russia, not much is known about him. It might seem that the father remains in the son’s shadow. But his grandson, also Giovanni Zanzotto, a professor of mathematics at a university in Italy, disagrees: “The father is not in the son’s shadow. It’s just that he is less known. ”

The artist Giovanni Zanzotto was born in 1888 in Pieve di Soligo. His creative abilities appeared very early. Until 1915, he worked in Trieste as an artist-decorator. In his political views, he was close to the socialists. In the twenties he continued to work as a miniaturist, decorator and portrait painter, collaborating with his friend Guido Cadorin, the symbolist artist. He participated in the Resistance and in 1946 was elected mayor of Pieve. He taught at various educational institutions. He died in 1960. His creative legacy includes frescoes in churches and chapels, and his valuable portraits and drawings have been preserved in private collections both in Italy and abroad.

His son Andrea was born on October 10, 1921, in Pieve di Soligo (province of Treviso). Already by the age of seven, little Andrea felt a poetry that “grows like a body.” When in 1927 the boy began studying in primary school, thanks to his teacher Marcellina Dalto, he learned to write amazingly quickly and was enrolled in the second grade.

During this period, he felt, as he later said, the pleasure of the musicality of words.

In 1929, he lost his sister Marina, and in 1937, his sister Angela. The pain of these losses marked him for the rest of his life.

In 1936, the first publication of his poems appeared. They did not yet have a unique style.

Andrea began to publish regularly starting in 1951.

In 1939, he entered the Faculty of Literature at the University of Padua. He immersed himself in the study of the work of Baudelaire and Rimbaud, and read Hölderlin, Goethe, Heine, in their original tongue. He graduated from the university in 1942. His thesis was devoted to the work of Grazia Deledda (1871-1936), the Italian writer and Nobel Prize winner in literature. A crater on Venus is named after her.

He was a member of the Resistance. In 1946, he emigrated to Switzerland, and then to France. He returned to Italy in 1947 and began teaching.

In 1959, he married Marisa Michieli, the mother of his sons Giovanni and Fabio.

In the summer of 1976, he began collaborating with Federico Fellini (“Casanova,” “City of Women,” “And the ship is sailing”).

Andrea Zanzotto also wrote for children. “The Story of Barba Zukon” is written in the Veneto dialect.

His poems have been translated into most European languages. Andrea Zanzotto was a laureate of many literary prizes.

He died on October 18, 2011, at the age of 90.

Maybe someday a new galaxy will be named after him.

 

— Yulia Sventsitskaya

 

Materials based on: Andrea Zanzotto “Le poesie e prose scelte.” Mondadori, Milano, 2000.

 

Andrea Zanzotto (1921-2011)

 

 

***

“And you are not all-powerful,”

the pale girl says

on May’s birthday.

 

***

Dust has scattered from the last duel

between blue and green

where horizons collapsed on the grass.

 

***

The voices of wild bees are barely audible;

everything dreams of a different voyage,

breaking up into small parts.

 

***

Maybe the icy bees froze like a cloud,

in a transparent, invisible swarm —

disagreeing, the branch sways.

 

***

Frozen hail hops and skips,

but May shall rise again.

“And I am not all-powerful” —

tapping and tapping on roofs.

 

***

“May will not arrive,” hum

the insects hiding

in the icy hail, blue and gray

 

***

And in the middle of May the snowfall doesn’t end.

Who do you want to save?

Who are you stubbornly saving?

 

***

Why is it so dark every time

in the month of May in this century — in just one month

a whole hundred years of darkness?

 

Translation from Italian to Russian – Y. Sventsitskaya

Translation Editor – L. Chernyakov

Translation from Russian to English – J. Manteith