American Association of Teachers of Slavic and East European Languages

Some Observations on Allegory in Akhmatova's Early Poetry

Author(s): Paul M. Waszink
Source: The Slavic and East European Journal, Vol. 46, No. 4 (Winter, 2002), pp. 743-761
Published by: American Association of Teachers of Slavic and East European Languages
Stable URL: https://www.jstor.org/stable/3219910
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SOME OBSERVATIONS ON ALT. FGORY IN
AKHMATOVA'S EARLY POETRY

Paul M. Waszink, Royal Library, The Netherlands, emeritus

This article will study aspects of the allegorical character of Akh

poetry. Allegorical styles, in contrast to most others, demonstrate co
tions of different codes. In all definitions of the concept, emphasis i
on the fact that the technique of allegory deviates from that of
code. In allegorical texts a reader's attention continuously shifts
forth from a general code to a personal one which deviates from it. I
allegory is the most elusive of all literary devices. It reveals the p
fluctuating status of the world it depicts and therefore offers a perf
for depicting such a world (Whitman 13). For a definition of al
texts, Coleridge's classical statement serves well:
We may safely define allegoric writing as the employment of one set of agents and
actions and accompaniments correspondent, so as to convey, while in disguise, e
qualities or conceptions of the mind that are not in themselves objects of the sense
images, actions, fortunes, and circumstances, so that the difference is everywhe
to the eye or imagination while the likeness is presented to the mind. (Coleridge

Coleridge's definition emphasizes that equal importance is given

literal and figurative meanings of allegorical words, whereas w
allegorical words the literal meaning is considered essential. Put s
allegorical texts a separation is consistently made between what
says (the "fiction") and what it means ("the truth") (Whitman 2 an
dix I: "On the History of the Term 'Allegory"'). In Quintilian's t
word A, which has an allegorical character, does not directly re
meaning "A," but rather to that of another word "B" (Quintilia
ch. 2: 46 (Lausberg 895ff.)).1 In modern definitions, an allegoric
expresses both A and B (Kurz 34). The specific character of a
texts is due to the equivalence of their literal (A) and figurative
ings (see also Jahn 20, Wilpert 15ff.). Contemporary scholars con
idea that the literary and figurative meanings of allegorical tex
equal value (Kurz 31). This definition of allegorical texts implies
trope-like metaphor is not typical of them. In a metaphor there is a

SEEJ, Vol. 46, No. 4 (2002): p. 743-p. 761 743

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744 Slavic and East European Journal

ship of similarity between two living beings or objects sharing one or more
common traits. However, an allegory shows a total identification between a
represented person or object and its underlying idea, which has been trans-
ferred into the palpable world. In other words, allegorical texts show a
tendency to express all elements from represented reality (even those
which are temporally determined) in terms of space. The fact that in alle-
gorical works total identifications are a result of abrupt changes rather than
of metaphors means that metamorphosis is a typical feature of allegory.
An allegorical text does not presuppose exegesis beforehand. It contains
a literal level which makes perfect sense by itself, without exegesis. How-
ever, such a text becomes more interesting and richer if given further
interpretation (Fletcher 7). What is essential in allegorical texts and works
of art is that, the more divergences there are between their apparent and
actual meaning, the more allegorical they are felt to be. Conversely, the
fewer the divergences between their apparent and their actual meaning, the
less allegorical they are felt to be (Whitman 2). When texts are minimally
allegorical, they merely confirm the represented reality. Through the use of
non-allegorical words an author suggests that the text renders a realistic
world (Culler 267 and nn. 12 and 13). If, however, a text is maximally
allegorical, the writer's role will consist in trying to provide an effective
representation both of the modeled world and of himself. In that case,
during the reading process, each successive sentence of the written text will
offer the reader an allegory of the writer trying to order his world. In other
words, on the one hand, the essence of such a text lies in the fact that it
reveals its own characteristics; on the other hand, it presents a writer who,
in the process of writing, precisely by trying to model a world, will destroy
that world in his endeavor to model it (Culler 267ff.). In short, the specific
character of allegorical texts suggests that the process of writing itself also
becomes a part of the fluctuating status of the world described.
These observations show that no text is either entirely allegorical or
entirely non-allegorical. Texts which are completely non-allegorical would
become mere parts of reality. A minimally allegorical text is based on a
recognizable code. Such a code provides the tools for the identification of
the reality represented in the text as such. Completely allegorical texts, on
the other hand, would become incomprehensible, since the specific char-
acter of such texts implies that the writer and reader are completely in-
cluded in the reality that is expressed and perceived by them. It is com-
pletely left to them to model their world and they are not supposed to have
any further social obligations. In short, the texts as well as the reality
represented by them seem to be made real in the process of their own
production and perception. Thus, an allegorical text seems to "devour
itself" in the process of producing and reading it. Consequently, the text of
an allegorical work would become incomprehensible, and a writer's activity

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 Some Observations on Allegory in Akhmatova's Early Poetry 745

in an allegorical text would end in chaos. In fact, however, a maximally

allegorical text provides tools for the identification of the outward reality
represented in a text as a part of that text rather than a part of the reality
represented in it. In sum, reality represented in an allegorical text is trans-
formed into an allegory of writing, since writing is meant to transform the
real world into language.
Since an allegory visualizes abstract concepts, it is a perfect means to
express Akhmatova's ideas as they were formulated in her earlier collec-
tions of poetry. These early books, written between 1912 and 1922, consti-
tute a more or less homogeneous whole, while the later books vary greatly
in regard to genre and themes (Eng-Liedmeier 205). The first works in-
clude the books entitled: Vecher [Evening] (1912), Chetki [Rosary] (1914),
Belaia staia [White Flock] (1917), Podorozhnik [Plantain] (1921), and Anno
Domini XXII (1922). In all these books the motifs of "seeing" as well as all
motifs associated with visibility or eyesight (mobile persons or objects,
flames, sun, colors, etc.) play a key role. However, the later works, (i.e.,
those written after about 1925), are dominated by the motifs of 'hearing'
and 'memory' (see Tsiv'ian 173ff.). One example of the domination of the
element of sight in Akhmatova's early poems is the following poem from
Vecher (1: 216):

H ManIbqHK, 'TO HrpaeT Ha BOJIbIHKe,

HI ReBOqKa, mTO CBOfi I TeTeT BeHOK,
H Be B jecy CKpeCTHBEHXCS TponHHKH,
H B aanabHeM none AanbjHHA oroHeK, -

X BHxKy Bce. I Bce 3anoMHHaio,

JIio6oBHo-KpoTKO B cepu;e 6epery,
JIHIub onHoro a HHKorga He 3Haio
H ga)Ke BCHOMHHTb 6ojiboe He Mory.

i He npomy HH MyRpOCTH, HH CHnbI.

O, TOnbKO RafTe rpeTbcS y orrA!
MHe XOJIOHO ... KpbInaTbIt HJIb 6ecKpbIJIbIa,
BeceJibif 6or He noceTHT MeHI.

The boy who plays the bagpipes,

And the girl who twines herself a wreath,
And two paths crossing in the forest,
And a distant fire on a distant heath -

I see everything. I remember it all.

Gently, lovingly, I preserve it in my heart.
There's only one thing I will never know,
And can no longer recall.

Neither wisdom nor strength do I desire.

Oh, just let me warm myself by the fire!
I am cold ... Winged or wingless,
The merry god will not come to call. (217, emphasis added)2

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746 Slavic and East European Journal

The lines contain an inventory of the world the constituent elements of

which are presented sequentially, and the reader perceives these in the
course of the reading process. The presentation is characterized by the
conjunction i [and]. The inventory of all elements in this world is com-
pleted with the word vse [everything] in the second stanza: "Ia vizhu vse,"
exhibiting the essential function of 'seeing' with all its associated motifs. In
this context, the element of space dominates over that of time.
What has been called avtometaopisanie [autometadescription] is a per-
fect tool to implement the concept that poetic texts are spatially deter-
mined. Timenchik has stated that it lies at the base of all poetry. The term
indicates that the expression- and content-planes of a poetic text are in
balance. Thus the word suggests that a poem writes itself and, by doing so,
conditions its own existence. It implies that the planes of expression and
content in the poetic text do not come into conflict. Avtometaopisanie in
Akhmatova's early poetry often manifests itself in the fact that, when an
old theme is finished and a new theme is introduced, a new text segment is
also introduced. Thus it often happens that a line often breaks off in the
middle (see Timenchik 214ff. and 217).
This process of creating the aforementioned spatial character of Akhma-
tova's poems will be studied in an analysis of selected poems from Belaia
staia. In several of the poems from this book the dash plays a major role in
emphasizing the avtometaopisanie. A dash is a non-verbal, non-semantic
sign which indicates on the expression-plane that the poet is going to dis-
cuss a different theme. Consider the following short poem:

JyMajH: HHIRHe MbI, HeTy y Hac Hmqero,

A KaK CTaJIH OAHO 3a RpyrIM TepsTb,
TaK WTO cRenaincs KaxKbIf RAeHb
rIOMHHanIbHbIM JHeM, -
HaqaJIH necHH cnaraTb
O BeJImKoIf mrepocTH Boacbeft
)Ja o HameM 6bIBmeM 6oraTCTBe. (1: 374)

We thought: we are beggars, we have nothing,

But as we lost one thing after another,
So that each day became
A Remembrance Day -
We began to compose songs
About God's great munificence
And about how rich we once had been. (375)

Here a development takes place on the content-plane which simulta-

neously goes from the past to the future and vice versa. The development
from 'richness' to 'poverty' is counteracted by a development from 'pov-
erty' to 'richness.' First, the poet presents herself and all her fellow hu-

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 Some Observations on Allegory in Akhmatova's Early Poetry 747

mans as poor, then as possessing even less, i.e. as having nothing at all
[nichego]. The process takes place gradually. This is evident from the lines
2-4: "A kak stali ODNO ZA DRUGIM teriat' I Tak chto sdelalsia kazhdyi
den' I POMINAL'NYM DNEM-" [capitalization mine]. The motif of
'memory' plays a key role in the process. First, in line 2 the speaker's
material goods decrease every day. This is represented on the expression-
plane by the fact that the process goes on until the middle of the text. In
the fourth line the days are presented as having become mere memories of
preceding ones in which the motif of 'possessing' still played a role. The
words "pominal'nym dnem" are not important primarily for their specific
sense. Rather, their meaning lies in their general referential function. On
the one hand, they presuppose the existence of the motif 'a day in which
normal time-indicators still play a role.' On the other hand, they indicate,
on the expression-plane, a moment which introduces a turning-point on
the content-plane. From that moment, the development described in the
text which went from richness to poverty begins to go in reverse, from
poverty to richness.
The dash in the fourth line indicates this turning-point. It makes the role
of the avtometaopisanie in the poem visible. In other words, it is similar to a
verse line which breaks off in the middle. On the content-plane it indicates
the moment at which the process of losing material richness is transformed
into one of acquiring spiritual richness. The avtometaopisanie is also evi-
dent from the word bogatstve in the last three lines: "We began to compose
songs / About God's great munificence / And about how rich we once had
been" [italics mine]. The transformation manifests itself in the fact that,
after the turning-point (i.e. at the moment when the poet has lost all
material goods), she begins to compose songs. Whereas thus far all her
activities dealt with her former (material) richness, from now on they will
deal with her poetic gifts. The motif of 'richness,' which she enjoys now
and which has an eternal character (contrary to the ephemeral possessions
she formerly had), is also suggested by the words Bozh'ei shchedrosti in the
penultimate line. The word Bozh'ei, which emphasizes the eternal char-
acter of the poetic process, consequently suggests that it will go on forever.
The last word (bogatstve) links the end of the poem to its beginning. It
indicates both the present spiritual richness of the poet (realized in the
motif 'poetry') and her material richness of former days. The word
bogatstve reveals the avtometaopisanie in this poem since it is its last word.
On the other hand, it shifts the reader's attention from the end of the text
to its beginning. Consequently, the poem seems to move in a circle on both
its expression- and content-plane. In other words, these seem to keep each
other in balance. As soon as the poem seems to be complete on the
production-plane, the production-plane seems to start again. The same
holds for the perception-plane: the reader also seems to begin the reading

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748 Slavic and East European Journal

process anew. The fact that the expression-plane and the content-plane
keep each other in balance shows the allegorical character of the poetic
text.

The effect of avtometaopisanie seems to result from the fact that the
reality of the text appears to fall together with the reality represented in it.
This is also evident from a poem of 1913:

SI TaK MOnJIJIacb: "YToJIH

rnyxyIo xcaxKy necHoneHba!"
Ho HeT 3eMHOMy OT 3eMJIH
H He 6bIJo OCBO6o0aKeHba.

KaK nbIM OT KepTBbI, WTO He MOt

B3sjeTeTb K npecroJIy CHJI H CJnaBsI,
A TOJIbKO CTeJIeTCS y HOr,
MOJIHTBeHHO rieJiy TpaBbI, -

TaK, I, rocnolb, npocrepTa HHU:

KOCHeTCS JIH OrOHb He6ecHbIA
MOHX COMKHyBIIIHXCS pecHHR
H HeMOTbI MOefi 'qyecHoif? (388-90)

This was my prayer: "Slake

The dull thirst of singing!"
But the earthbound cannot leave the earth
And there was no setting free.

Like the smoke of a sacrifice that cannot

Fly up to the throne of power and glory,
But only float at its foot,
Kissing the grass beseechingly-

So I, Lord, am prostrate:
Will the heavenly flame touch
My sealed eyelashes
And my astonishing muteness? (emphasis added, adapted from 389-91).

The first two lines express the poet's desire for the gift of poetry. Singing, of
course, presupposes the ability to hear. The motif 'deafness [glukhuiu]'
contradicts her ability to perceive poems. In the last stanza 'deafness' is
associated with the motif of 'inability to see' (in fact, the word glukhoi has
the connotation 'blind,' as in the expression glukhaia stena [literally a 'blind
wall,' or blank, dead-end wall]). Consider, in this regard, the last two
stanzas. The word nemoty [muteness] emphasizes that the poet, in addition
to being deprived of her sense of hearing, has also become unable to utter
sounds. Moreover, lines 10-12 emphasize that the poet is also deprived of
her viewing abilities, i.e., all her senses. In that case, she will have become
unable to make use of her other poetic gifts either. It has been observed

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 Some Observations on Allegory in Akhmatova's Early Poetry 749

that it is typical of Akhmatova that she uses a kind of double-code. That is,
in her poetic language she uses a blend of normal, generally understand-
able language and a personal code (see Farino 380).
Akhmatova's personal code manifests itself in the way she uses dashes.
On the expression-plane, the transition to the total inability to experience
feelings and thoughts and to transform them into poems is made visible by
the dash which separates the penultimate stanza from the last stanza. Lines
7-8 suggest that the poet must be lying beseechingly on the grass. Only
then might there be a chance for her wish to be fulfilled. In the first stanza a
starting-point is presented which is maximally negative: no man can leave
the earth. Not even a poet with a poet's specific gifts is able to do so, since
she is deprived of all her senses. The second stanza is one step more
positive, insofar as it presents a condition which has to be fulfilled in order
that the poetic gifts may be retrieved. The question-mark at the end of the
poem has a function similar to the dash. Rather than indicating that its
meaning is essential, it indicates the place at which the expression- and
content-plane come together. Let us, in this regard, assume that the poet
operative in the poem would be deprived of her poetic gifts forever. In that
case, she would have become unable to compose a poem similar to the one
that the reader right now has before his eyes. If there could not be any
more poems, then the poem would have "eaten" itself. In short, the reader
would have a maximally allegorical, i.e. incomprehensible, text (A) before
his eyes. That the text is still understandable indicates that it is still not
allegorical. The second stanza, which is separated from the last by the non-
verbal sign of the dash, expresses the speaker's burning desire for the gift
of poetry. In the last stanza this gift threatens to be suffocated by muteness
and blindness. Again, the dash indicates a turning-point in the poem as it
shows that the negatively judged theme of 'a lack of poetry' expressed in
the first two stanzas is transformed into the positively judged theme of 'the
presence of poetry.'
The opening poem of the book demonstrates an allegorical character by
the specific use of time indicators:

HIonb 1914

rIaxHeT rapblo. IeTbIpe Heaeen

Top4 cyxoit no 6onoTaM ropHT.
Jax:e ITHIabI cerorHa He enJH,
H OCHHa yxe He ApoKHT.

CTano cojnHe HeMHJiOCTro 6ox0beA,

O:cHHK C rlacxH nojief He KponHj.
nIpHxoHJn O;HOHOrHA npOXOxCHi
H OJHH Ha ABope rOBopHJI:

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750 Slavic and East European Journal

<CpOKH CTrpamIIHbe 6IH3sTCs. CKOpo

CTaHeT TeCHO OT CBe)KHX MOrHJI.
)KAHTe rnaAa, H Tpyca, H Mopa,
H 3aTMeHba He6eCHbIX CBeTHJI.

TOJIbKO HaIuefi 3eMJI He pa3AeJIHT

Ha noTexy ce6e cynocraT:
BoropoRHlaa 6eJIbIfi paccrejeT
Hag CKop6SMH BeJIHKHMH IIaT>?. (426-28)

July 1914

It smells of burning. For four weeks

The dry peat bog has been burning.
Even the birds have not sung today,
And the aspen does not quake any more

The sun has become God's displeasure

Rain has not sprinkled the fields since Easter.
A one-legged stranger came along
And all alone in the courtyard he said:

"Fearful times are drawing near. Soon

Fresh graves will be everywhere.
There will be famine, earthquakes, widespread death,
And the eclipse of the sun and the moon.

But the enemy will not divide

Our land at will, for himself:
The Mother of God will spread her white mantle
Over this enormous grief." (emphasis added, adapted from 427-29)

In the poem the temporal indicators are equivalent insofar as they indicate
temporal elements in both a direct and an indirect way. Thus the indicator
"1914" in the title indicates a specific, unique moment. The word "July,"
however, indicates a moment that recurs periodically. In other words, the
title is allegorical, since it refers to both a unique and a non-unique mo-
ment. The title refers additionally to the days of mobilization which re-
sulted in World War I, leading in turn to disaster for Europe in general and
Russia in particular. Additional temporal meanings associated with the
motif 'disaster' are also evident in the first stanza: chetyre nedeli [four
weeks], segodnia [today], and uzhe ne [any more]. These can be said to
have even less direct reference and quality as "shifters" in Jakobson's termi-
nology. According to Jakobson shifters are indicators of time and space the
exact meaning of which depends on the speaker's identity and situation at
the time of the utterance. In particular, he emphasized the existential rela-
tionship between a shifter and the object it denotes.3 In the second stanza,
the word Paskhi [Easter] is a shifter in this sense, since the exact dating of
Easter depends on the aureus numerus of the year 1914. The intricate way
in which a lunar date has to be deciphered shows that it functions as a

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 Some Observations on Allegory in Akhmatova's Early Poetry 751

shifter serving to orient the reader to the position of the producer of the
utterance and the year in which it was made. What makes the temporal
elements essential is that they do not refer directly, but indirectly, insofar as
their connotation rather than their denotation is essential.
The motif of decay is described on the content-plane of the first two
stanzas as a process which proceeds gradually. Yet the element of time
hardly seems to play a key role in this process. For the temporal markers in
the first stanza, their meaning plays a merely secondary role and has to be
inferred from the title. In the second stanza the time indicators "Easter"
and "soon" are indirect markers which depend either on the speaker, who
determines what is to be understood by "soon," or, in the case of "Easter,"
on the position of the moon in a given year. Thus the connotation, rather
than the detonation, of "Easter" is essential and hence has an allegorical
character.
The allegorical character of the text is also emphasized in that it contains
the motifs of both 'decay' and 'non-decay.' The process of decay takes
place gradually, and the motif of 'lifelessness' gradually gains weight at the
expense of 'life.' Parallel to this development, nature and man are pre-
sented as becoming more and more lonely. They even have to sacrifice
parts of their own living organs. The marshes, in which there is typically the
presence of water, are being devoured by a peat fire. Man in turn first
becomes lonely, then he loses his limbs. This motif of the limping stranger
who marks the next step in the direction of complete ruin is particularly
illustrative. He bridges the gap between the opposing motifs of 'life' and
'death.' He stands at the turning-point from the past to the future, and
from life to death. He may be supposed to have originally been a healthy
person with two legs, but in the near future he will probably have no legs at
all. This seems to be a logical step toward the final stage in which he will be
dead. The lonely character of the stranger is also expressed on the tempo-
ral plane when he is defined as a mere prokhozhii [passerby]. This qualifica-
tion emphasizes that he also has no permanent dwelling-place and no social
life.
However, the third stanza containing the words of the stranger anticipates
a turning-point in the poem. Although the third stanza still confirms the
motif of 'decay,' the reader's attention gradually shifts toward the motif of
'non-decay' in the last stanza. By prophesying calamities for Russia, the
stranger confirms the theme of decay. But in the last stanza he introduces the
opposite theme of 'hope.' This motif is introduced by the word tol'ko [But/
only] which opens the last stanza. While the preceding stanzas deal with the
motif of destruction, the last one deals with that of redress. It is activated by
the image of the Mother of God who will cover with her mantle all of Russia's
griefs (i.e. traces of destruction). The end of the process of destruction is
expressed by the words ne razdelit [will not divide]. The two themes of

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752 Slavic and East European Journal

destruction and redress are realized in the figures of the enemy and the
Mother of God respectively. The heading then has an allegorical character
since it explicitly expresses the theme of disaster, i.e. the destruction of
Russia in the present. However, it anticipates the theme of redress in the
future. The word plat [mantle] expresses the avtometaopisanie. This word is
both the last word of the primary voice (the poetess) and of the secondary
voice (the limping stranger). The latter pronounces, on the content-plane,
words with both a negative and a positive value. Consequently, in this final
word the content- and expression-planes coincide.
A dash also indicates avtometaopisanie in the following poem:

TBOt 6eJIbIft AoM H THXH1I caa ocTaBJIo.

la 6yAeT Xa3Hb nycrbIHHa H cBeTjia.
Te6s, Te6s B MOHX crwxax npocJiaBjso,
KaK )KeHIHHHa npocjnaBEHT He Morna.
H TbI nonpyry noMHHIIib Aoporyyo
B T060oo co3AaHHOM Anj raia3 ee paio,
A a TOBapOM peXKOCTHbIM TOpryio--
TBOiO njo6oBb H HexHOCTb npoAaio. (374)

I will leave your white house and tranquil garden.

Let life be empty and bright.
You, and only you, I shall glorify in my poems,
As a woman has never been able to do.
And you remember the beloved
For whose eyes you created this paradise,
But I deal in rare commodities -
I sell your love and tenderness. (375)

Here love is presented as spatially conditioned insofar as it is expressed in

the motifs of a house and garden (A). The outside world (-A) is depicted as
deprived of love. Temporally, love and tenderness are depicted as being
typical of the past. The absence of love, in turn, is associated with the
future. Thus the poet tells her addressee (in the present) that she will leave
the garden and enter the outside world. Therefore she will arrive at a new
situation associated with -A. The present time, which bridges the gap
between the past and the future, is associated with a transition from A to
-A which takes place gradually. Hence love is presented as a commodity
that becomes more and more rare and at the moment of this utterance the
poet and her addressee are at the transitional stage at which love is gradu-
ally decreasing. Note the last lines, in which the reversal of themes is
visualized in the dash - again suggesting that the content- and expression-
planes of the poem coincide in it. These lines indicate that the process of
decreasing love (indicated by redkostnym in the instrumental case, whose
role in Akhmatova we will discuss below) will ultimately result in a total
absence of love and tenderness in the future.

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 Some Observations on Allegory in Akhmatova's Early Poetry 753

From the above observations it is evident that negations play an essential

role in allegorical texts. They introduce a new world-model under which an
old one remains recognizable. They also play a role in the development of
literary genres since they enable a transition from an old, standard genre A
to a new genre B. A scholar studying the transition from a standard genre
A to a new genre B goes from A to -A first. The last, although being
contradictory to A, always presupposes A's existence, since it preserves
what could be called a memory of it. Thereafter, it is possible to make the
transition from -A to B (Levy 552ff.). The use of 'memory' as a motif
enables a reader to interpret other, even opposite, motifs correctly. See, in
this regard, the following poem:

KaK 6eJnbii KaMeHb B rJIy6HHe KoJIoiua,

JIe)KHT BO MHe OAHO BocnOMHHaHbe.
5 He Mory H e xoqy 6opOTbci:
OHO - Becejbe H OHO - crpagaHbe.

MHe Ka)KeTcs, T TO T, KTO 6JIH3KO B3rJIqHeT

B MOH rJa3a, ero yBHuHT cpa3y.
rnelaJibHef H 3agyMIHBee CTaHeT
BHHMaiougero CKop6HOMy paccKa3y.

5I BegaIo, MTO 6orH npespaianJI

JIioAeii B npegMeTbI, He y6HB co3HaHbsI,
ITo6 BeqHO mKHCJH AHBHbIe neqaJiH.
TbI npeBpaieH B MOe BocnoMHHaHbe. (472)

Like a white stone in the depth of a well,

A certain memory lies within me.
I can't and I don't want to struggle:
It is-joy and it is-agony.
I think that someone looking closely
Into my eyes will see it immediately.
He will become more sorrowful and pensive
Than someone heeding a tale of grief.

I know that the gods transformed

Humans into objects without killing their minds.
So that my amazing sorrows will live forever,
You've been transformed into this memory of mine. (473, emphasis added).

In other words, the motif 'memory [vospominan'e]' combines that of 'joy'

and 'agony' insofar as it justifies the metamorphosis of 'joy' (A, in Levy's
terms), via -A ('non-joy') and -B ('non-agony') to B ('agony'). The last
stanza of this poem is particularly illustrative. It shows that in a metamorpho-
sis of living beings into objects by means of a negation, at least a remnant of
their old, underlying shape (that of a living being) remains. By the word
vospominan'e the last line is linked to the second line of the first stanza. The

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754 Slavic and East European Journal

first stanza contains a comparison between the motif 'memory' (typical of a

living man) and a white stone which is a lifeless object. This combination is
continued in the last stanza, where the transformation of living beings into
objects is accompanied by the idea of the immortality of consciousness. This
immortality is expressed by the word soznan'ia [minds], which is seen as
present in both human beings and objects. Hence consciousness bridges the
gap between the two. Thus, man, although transformed into a lifeless object,
nevertheless appears to be able to preserve qualities of organisms with an
eternal life (vechno [forever]). This word indicates a stage higher than man
can reach. These lines also show that there is a total identification between
men and objects in the motifs 'man' and 'stone,' which here are more than
mere metaphors. On the other hand, the motif 'memory' retains mortal
traits. If this were not the case, it could not bridge the gap between living
men and lifeless objects. Consider the concluding line: "You [i.e. living (not-
dead) as you were in the past (not now)] have been transformed into a
memory [i.e. a (mere) lifeless image of the former living self (as you are
now)] of mine [Ty prevrashchen v moe vospominan'e]." Summarizing, the
transformation of a human being into a lifeless object is activated gradually,
in the way described by Levy. The addressee (A) is transformed into a mere
memory of his former self (-A). This expresses the motif which bridges the
gap between beings and lifeless objects until, ultimately, the object (the
white stone (B)) results.
The word vospominan'e again emphasizes the avtometaopisanie by its
visible character. The reality presented in the text and its representation
(the text) fall together in the word vospominan'e, which concludes the text.
It also begins it, after the image of the "white stone" has been used as the
introduction. Repetition of the word vospominan'e causes the text to move
in a circle. This special quality of avtometaopisanie in the word vospo-
minan'e allows the planes of content and expression to coincide in it.
In this regard, somewhat more attention should be paid to the aforemen-
tioned role of the instrumental case in Akhmatova's poems. Jakobson de-
fined the instrumental case in Russian, contrary to a case like the accusa-
tive, as a case with a marginal value [Randkasus] (Jakobson 1971a, 46ff.).
The instrumental case, when used in combination with words in other
cases, is a means of creating a world, rather than of expressing a mere
comparison (Vinogradov 80ff.). Attention has been drawn to the role of
the instrumental in bringing about specific poetic effects.4 This is particu-
larly evident when motifs are expressed by means of a combination of
words some of which are in the instrumental and others in another case. By
such a presentation of motifs or elements from reality one suggests that
they are split into two equivalent elements. One of these is expressed in the
instrumental and the other in another case. By the use of this process one
visualizes them, because in describing a world by the use of the instrumen-

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 Some Observations on Allegory in Akhmatova's Early Poetry 755

tal case one suggests that it is spatially rather than temporally determined.
The famous beginning of Tolstoy's Hadzhi Murat is illustrative in this re-
gard. It shows how, by combining a noun in the nominative with one in the
instrumental and by the adverbial use of another one, one can express time
in terms of space. The two cases indicate the temporal frames of the de-
scribed situation, which are expressed in terms of space. Consider: "la
vozvrashchalsia domoi poliami [I returned home through the fields]." The
word ia, in the nominative, indicates the acting person. The word domoi
indicates the goal of the described movement. The word poliami (in the
instrumental) indicates the condition which the narrator has to fulfill be-
fore he can reach his home. That time is expressed in terms of space is
evident from the fact that, in order to reach his home, the narrator has first
to cross the fields. By presenting the action of going home as split into the
spatially determined constituent elements 'house' and 'fields' it is thereby
visualized. One clearly sees the I-figure in the process of traversing the
fields. In fact, the successive stages during which he crosses the fields seem
to be split up into spatially determined, coordinate, constituent elements of
his walk. Thus the represented world becomes an inventory of coordinate
elements.
It is illustrative that, in primitive thought, comparisons between motifs
were presented as resulting from combinations of such coordinate motifs.
This procedure resulted in a world-model which consisted of an inventory
of objects that was expected to renew itself continuously. The phenomenon
of metamorphosis played a key role in this regard. Consequently, in primi-
tive thought a perceiver's attention continuously shifts back and forth from
one element or event to another. The epic way of narrative writing in
Russian still preserves traces of similar primitive thinking. In this regard,
Old Russian texts show the process of what Ketchian has called metamor-
phosis or metempsychosis. A word in the instrumental case indicates that a
person or object in that case is the result of transformation of a person or
object mentioned in another case. Thus, the Old Russian statement
"skachi otai liutym zverem" means that the protagonist, Prince Vseslav,
becomes a real wild beast rather than that he is merely compared with such
as animal (Ketchian 96, 212, n. 78). In the spatially determined motifs
'Vseslav' and 'wild beast,' the temporal and spatial determinations of the
world are merged. Consequently, the man and the beast are presented as
being coordinate, equivalent motifs. The idea that the process of the hero's
change is spatially determined is evident from the fact that he suddenly
becomes a beast. In other words, his change is visualized and time is
expressed in terms of space. This also demonstrates how words in the
instrumental case express a condition to be fulfilled in order for the action
described in the context to realize itself. The need for a perceiver to con-
stantly shift attention gives a specific character to the work. Each time a

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756 Slavic and East European Journal

perceiver discovers a new aspect of the represented world, she has to

readjust its interpretation, and this need, as well as the perceiver's freedom
to define the exact nature of the work, determines the allegorical nature of
the text.
Akhmatova's poetical works show that forms in the instrumental express
motifs which retain traces of mythical thinking. The expression of metamor-
phoses in this way is a means to express different interpenetrant layers of
life at the same time. Her poetry therefore has an epic character in so far as
the use of metamorphoses has been a feature of epic poetry since olden
times (Ketchian 77ff., 93ff., and esp. n. 78). Forms in the instrumental help
to present an inventory of the world, since they express additions to the
predicate with its objects as a means to enliven the text, to disclose its
picturesque background (Vinogradov 80ff.). The representation of reality
in this way presents a metamorphosis of visible motifs which do not share
aspects of meaning (see also Driver 90). Note again the first line of the
second stanza of the poem liul' 1914: Stalo solntse nemilost'iu bozh'ei. This
suggests a mythical world by the presentation of two equivalent motifs. The
latter implies that the abstract idea 'displeasure' seems to become visible,
i.e., concrete. It derives its visibility from the motif of 'the sun.'
The dash again plays the role of emphasizing the marginal character of
the motifs expressed in the instrumental case. Refer to the first poem in
Belaia staia beginning with the line Dumali: nishchie my, netu u nas nichego
(374). There the words Pominal'nym dnem also have a marginal character
in Jakobson's terms. These words indicate the point at which two opposite
developments described in the text meet. This results in a sudden,
metamorphosis-like transformation of motifs into their opposites: poverty
(of material property) turns into richness of spiritual property (i.e., poetic
works), and vice versa.
It was also observed above that a form in the instrumental expresses a
condition to be fulfilled in order for the action described in the context to
be realized. This is again evident a poem dating from 1916:

A! 3TO CHOBa TbI. He OTpOKOM BJIIO)6eHHbIM,

Ho My>KeM Xep3ocTHbIM, cypOBbIM, HenpeKJOHHbIM
TbI B 3TOT ROM BOIUeJI H Ha MeHI rJIIAHEIb.
CTpamuHa Moeti Jlyme npeArpo3soas THIIb.
TbI cnpaIuHBaeImb, ITO a cAenana c To600o,
BpyieHHbIM MHe HaBeK JnIo6oBbIo H cy1b60oo.
I5 npejrana Te6s. IH TO nIOBTOpSTb -
O, ecJIH 6bI TbI MOr KOrra-HH6y6b yCTaTb!
TaK MepTBbIfi roBOpHT, y6HfiLabI COH TpeBox)a,
TaK AHrein CMepTH XAeT y pOKOBorO JInoa.
IpocCTH MeHH Tenepb. YqHji npoigaTb rocnoCb.
B Hegyre ropecTHOM MOA TOMHTCS mnOTb,
A BOJIbHbIfi Iyx y)Ke no'HeT 6e3MITeKHO.

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 Some Observations on Allegory in Akhmatova's Early Poetry 757

IIOMHIO TOJIbKO ca, CKB03HOfi, OCeHHHfI, He)KHbIi,

H KPHKH )KypaBnefi, H qepHbIe ino. ...
O KaK 6bIna c To60Ot MHe cjiagocTHa 3eMJIs! (384)

Ah! It's you again. Not as an enamoured youth,

But as a husband, daring, stern, inflexible,
You enter this house and look at me.
My soul is frightened by the lull before the storm.
You ask what I have done with you,
Entrusted to me forever by love and fate.
I have betrayed you. And to have to repeat-
Oh, if only you'd get tired of it!
This is how a dead man speaks, disturbing his murderer's sleep,
This is how the angel of death waits by the bed of the dying.
Forgive me now. The Lord has taught us to forgive.
My flesh is tormented by piteous disease,
And my free spirit already rests, serene.
I remember only the garden, tender, leafless, autumnal,
And the black fields and the cry of the cranes. ..
Oh, how sweet was the earth for me with you! (385, emphasis added)

Here the addressee is presented in the form of two autonomous images, as

he looked in his youth and at a later moment. In both cases he is depicted in
the instrumental case. Consequently, the condition has been fulfilled for
the action to be carried out: an act of treachery by the poet ("Ia predala
tebia") (lines 7-8). These lines contain the most important theme of the
poem, since they introduce the central figures (the addresser and the ad-
dressee who is specified as 'you.' First, the figure of the addressee is indi-
cated in the nominative. Thus his primary role is emphasized. However, his
secondary role is emphasized by the fact that the two extreme poles be-
tween which he is operative are presented by the two different shapes in
which he is presented: "an enamoured youth" and an adult husband. The
words in the nominative indicate either the acting person ("IA predala
tebia") or the addressee ("eto snova TY"). However, those in the instrumen-
tal are predicates of the subject (her male opponent). The lines up to and
including the dash deal with the period before the poet committed her act
of treachery. Then the addressee was still an "enamoured youth." The lines
after the dash deal with the period after that act. The dash indicates a
turning point in the poem since it visualizes a metamorphosis. In the begin-
ning the addressee was presented as being split up into the motifs of the
enamoured youth and the adult husband. As soon as the act of treachery
takes place, the motival load of the latter begins to overrule the first. The
dash makes visible the possible transformation of the lovers from the pe-
riod of adulthood back to their idyllic youth. This is presented in the image
of "a garden, tender, leafless and autumnal [sad, skvoznoi, osennii,
nezhnii]." These lines again show that a particular development of two

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758 Slavic and East European Journal

figures presented on the content-plane is reflected on the expression-plane

by the use of a dash. The development is visualized since the first part
explicitly deals with the youth of the two people and the second part - with
their life as older adults.
In a similar way, in the poem "Uedinenie [Solitude]" the words in the
instrumental indicate a condition which has to be fulfilled for the text to be
realized. Refer to the third and fourth lines:

YeAHHeHHe

TaK MHorO KaMHeft 6pomeHo B MeHB,

HTO HH OHH H3 HHX yme He cTpaiueH,
H CTpOfHOf 6amUHeft cTraa 3anaaHs,
BbIcOKOI) cpeAH BbICOKHX 6auIeH.
CTpoHTeJneft ee 6naroAapio,
Hycrb HX 3a6oTa H neqajib MHHyeT.
OTCIOAa parbrIe BHiKy s 3apio,
3necb COJIHIa Jiny nocineHHlf Top)KecrsyeT.
H qaCTO B OKHa KOMHaTbI MOeft
BnjeTaioT BeTpbI ceBepHbIX Mopeft,
H rojy6b ecr H3 pyK MOHX nmneHmny...
A He AOnHCaHHyiO MHOfi cTpaHHiy,
BoxecCTBeHHo CHOKOAHa H JIerKa,
jonHmIeT My3bs cMyrnas pyKa. (376)
Solitude

So many stones have been thrown at me,

That I'm not frightened of them anymore,
And the pit has become a slender tower,
Tall among tall towers.
I thank the builders,
May care and sadness pass them by.
From here I'll see the sunrise earlier,
Here the sun's last ray rejoices.
And into the windows of my room
The northern breezes often fly.
And from my hand a dove eats grains of wheat. ..
As for my unfinished page,
The Muse's tawny hand, divinely calm
And delicate, will finish it. (377, adapted, emphasis added)

The motif 'high' occurs twice, once in the instrumental and once in the
genitive. In both cases it refers to the motif 'tower.' The fact that the same
word occurs in two different cases emphasizes that the word which it modi-
fies can only be interpreted correctly when their combination is taken into
consideration. The poet does not say: 'the tower is higher than all other
towers' or 'the tower is highest of all.' Rather she emphasizes by the fact

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 Some Observations on Allegory in Akhmatova's Early Poetry 759

that the motif 'high' is expressed in two different cases that the motif
'tower' has a conditional character. Thus, by the combination of the two
cases the poet enables the reader to interpret the nature of the tower
correctly. This specific way of expressing motifs also fulfils the condition
that the viewer is able to see both the sunset and the sunrise (lines 7-8). In
these lines the words vizhu and luch emphasize the visibility of represented
reality. The motif of light is, in fact, associated with that of the 'open
window.' It not only enables the light to enter the room, but suggests that it
also gives access to the Muse's hand when necessary, since the Muse must
finish the poet's poem which has been left incomplete. The last three lines
illustrate the fact that the height of the tower grants a maximal amount of
light. This, in turn, enables the poet's creative activity to occur. The words
vizhu and luch suggest that a temporally determined work like a text is
spatially determined. In other words, the part of the text which was still
incomplete must be filled with readable, i.e. visible letters. This is the
condition for it to become poetic. Given the fact that a Muse is an abstract
being, the idea that this act of filling is being carried out by her indicates
that she is, in turn, visualized. The words smuglaia ruka [tawny hand] mark
the end of the poem and it is evident again that they indicate a coincidence
of the content-plane and the expression-plane. They do not merely indicate
that the Muse has finished a specific poem by the poet (indicated on the
content-plane); they also indicate that the poem, as read by external
reader, has come to an end. In this poem, too, the motif of 'eyesight'
suggests the spatial determination of Akhmatova's earlier poems. The com-
pletion by the Muse of the poet's text implies its completion on the
expression-plane also, since it brings about a coincidence of the two planes.
Akhmatova seems, by her use of avtometaopisanie, to 'freeze' the reading
process, making the text spatially determined by doing so.

In summary:

1. The constituent elements of an allegorical work refer to both their

denotations and their connotations, which are equivalent.
2. A consistent elaboration of elements typical of allegorical literary
works results in the observation that the reality represented in a work
falls together with the representation itself. Thus, ultimately, an alle-
gorical text seems to "consume" itself during the reading process.
3. Akhmatova's specific use of a double language-code makes her early
poems allegorical. She uses both a general code and a personal code.
The latter, although homophonous with the former, expresses the
poet's personal ideas. The general code means that she expresses her-
self in understandable language, the personal code that she uses a

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760 Slavic and East European Journal

personal style. The specific character of the poems lies in the fact that
the reader's attention is continuously led away from the general to the
personal code and back.
4. Akhmatova's use of a blend of codes is essential for emphasizing the
motival role of 'eyesight' in Belaia staia. All poems in this book use a
specific kind of language in which parts of the content-plane fall to-
gether with parts of the expression-plane. Therefore, the text seems to
become visible. She often makes use of stylistic means to emphasize
this element of visibility. In Belaia staia this effect is reached by the use
of what has been called avtometaopisanie.
5. The combination of repeated motifs in Akhmatova's poems often re-
sults in a circular movement. This is expressed on the content- as well as
on the expression-plane.

NOTES

1 See also: "Statt des eigentlich Gemeinten wird ein Anderes, Handgreiflicheres g
aber so, daB dieses dennoch jenes andere verstehen laBt" (Gadamer 68).
2 All quotations and translations are taken from Akhmatova 1990. However, in
places the translations were not literal enough for my purposes and in those cases I h
adapted them.
3 "Any linguistic code contains a particular class of grammatical units which Jesp
labeled SHIFTERS: the general meaning of a shifter cannot be defined without refe
to the message.
Their semiotic nature was discussed by Burks in his study on Peirce's classificatio
signs into symbols, indices, and icons. According to Peirce, a symbol (i.e. the Eng
word red) is associated with the represented object by a conventional rule, while an in
(e.g. the act of pointing) is in existential relation with the object it represents. Shi
combine both functions and belong therefore to the class of INDEXICAL SYMB
As a striking example Burks cites the personal pronoun. I means the person utteri
Thus on the one hand, the sign I cannot represent its object without being associated
the latter 'by a conventional rule', and in different codes the same meaning is assigne
different sequences such as I, ego, ich, ja etc.: consequently, I is a symbol. On the o
hand, the sign I cannot represent its object without 'being in existential relation' with
object: the word I designating the utterer is existentially related to the utterance, and
functions as an index" (Jakobson 1971b, 131-32; my italics). In other words, the exi
tial relationship between a shifter and its object manifests itself in the pronoun in as
its meaning depends upon the identity of the speaker and the time and place of
utterance.

4 On the use of the instrumental to express specifically poetic effects, particularly in Pas
nak's poetry, see: Pomorska 16ff.

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