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It holds true until the year before his death, when he addresses his young friend Natasha Shtempel with an almost unbearable summons: ‘There are women who are natives of the sodden earth:/Their every step a hollow sobbing,/Their calling to accompany the risen’.
The Neo-classical craftsmanship of Tristia was greeted by sympathetic critics as ‘the overcoming of Symbolism’; in fact, Tristia’s precision of tone is a preparation for the more starkly expressed revelations of the poetry of the 1930s. In 1922, however, Mandelshtam’s achievement was more noticeable than a decade earlier: the Symbolists had died, emigrated or abandoned poetry; surviving Futurists, such as Mayakovsky, had lapsed for a while into versifying propaganda; the new proletarian poets were disappointing in their incompetence. Only Pasternak’s My Sister Life – ‘a cure for tuberculosis’, as Mandelshtam generously accla
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