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There is no Nietzschean climbing into the stratosphere, no Zarathustran ascent, the aim of which is to leave earth behind, so that even the return to earth has as its purpose the telling of what is above the earth, what belongs to the heights. For Mandelstam, space is empty and takes on significance only insofar as it can be populated—“colonized,” he wrote—with earthy images by the human imagination. Of the two aspects of earth, building and burial, Mandelstam emphasized the earth as material crying out to be built: stone as potential sculpture.
If earth and the materials of earth are his “ground bass,” the poetic process of building out of the materials of earth is inextricably connected with the Christian music of redemption. Mandelstam’s Christianity was by no means a decorative, that is to say, a purely esthetic phenomenon. Nor was it merely the form taken by his deep resistance to barbaric Stalinism. It was more
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