Ukraine: The Poetry of Arseny Tarkovsky

Arseny Tarkovsky is one of the leading Russian poets to emerge from the Soviet era. His son film auteur Andrei Tarkovsky used his poetry to profound effect in his 1975 feature film Mirror (Zrekalo).

According to Joseph Nakpil, Arseny Aleksandrovich Tarkovsky was born on June 25th, 1907 in what is now Kirovohrad, in Central Ukraine. His father, Aleksandr Karlovich, was a Ukrainian nationalist of Polish origins who was sentenced to five years in East Siberia. As a young writer, Arseny had himself had been involved in Ukrainian nationalism. He was in a group of writers who published a satirical acrostic against Lenin and was sentenced to be executed, but, somehow, he escaped.

One of the poems in Zerkalo is First Dates. The subtitles in the Youtube video above are from a translation by Tatiana Kameneva.

First Dates

Each moment of our dates, not many,

We celebrated as an Epiphany.

Alone in the whole world.

More daring and lighter than a bird

Down the stairs, like a dizzy apparition,

You came to take me on your road,

Through rain-soaked lilacs,

To your own possession,

To the looking glass world.

As night descended

I was blessed with grace,

The altar gate opened up,

And in the darkness shining

And slowly reclining

Was your body naked.

On waking up I said:

God bless you!

Although I knew how daring and undue

My blessing was: You were fast asleep,

Your closed eyelids with the universal blue

The lilac on the table so strained to sweep.

Touched by the blue, your lids

Were quite serene, your hand was warm.

And rivers pulsed in crystal slits,

Mountains smoked, and oceans swarmed.

You held a sphere in your palm,

Of crystal; on your throne you were sleeping calm.

And, oh my God! –

Belonging only to me,

You woke and at once transformed

The language humans speak and think.

Speech rushed up sonorously formed,

With the word “you” so much reformed

As to evolve a new sense meaning king.

And suddenly all changed, like in a trance,

Even trivial things, so often used and tried,

When standing ‘tween us, guarding us,

Was water, solid, stratified.

It carried us I don’t know where.

Retreating before us, like some mirage,

Were cities, miraculously fair.

Under our feet the mint grass spread,

The birds were following our tread,

The fishes came to a river bend,

And to our eyes the sky was open.

Behind us our fate was groping,

Like an insane man with a razor in his hand.

– Arseny Tarkovsky

https://honors.libraries.psu.edu/files/final_submissions/3174

https://kabiraftab.wordpress.com/2018/12/13/first-dates-by-arseny-tarkovsky/

Dovzhenko’s Mammoth Sunflowers

In Alexander Dovzhenko’s last silent film, his masterwork titled Earth (Zelmya) 1930, a tragic and violent narrative of the Soviet collectivization is set within a lyrical rural mise-en-scène and realized in profoundly poetic cinematography. In one of its many shots extolling the Ukrainian landscape, is featured the Mammoth (Russian) Sunflower. Apparently this glorious, or perhaps even monstrous, anomaly was cultivated in Russia and was brought into North America in 1880. It produces a single golden flower that grows up to 10″ across and is filled with edible seeds.

The Mammoth Sunflower is no innocent incident of nature. Being ‘man-made,’ it occupies the space between nature and culture. Despite its beauty, however, it is no mere vanity, it is a food crop. I suggest that, in Dovzhenko’s Earth, it is the perfect or complete symbol. It represents, the ethos of the narrative, at the same time, standing for nature per se as well as for its cultivation, its industrialization and even its collectivization, in the course of human civilization.

Incidentally, Dovzhenko is the only early Soviet era director whom the great Andrei Tarkovsky cites as a predecessor, “If one absolutely needs to compare me to someone (in Soviet cinema), it should be Dovzhenko. He was the first director for whom the problem of atmosphere was particularly important.” It must be said, in the context of this notion of ‘atmosphere’, that Tarkovsky himself eschewed the ‘symbol’ in cinema, and spoke instead of a more open and less intentional cinematic ‘image’ which he defined in terms of the notion of the metaphor, “A symbol contains within itself a definite meaning, certain intellectual formula, while metaphor is an image. An image possessing the same distinguishing features as the world it represents. An image — as opposed to a symbol — is indefinite in meaning. One cannot speak of the infinite world by applying tools that are definite and finite.’ (Interview Le noir coloris de la nostalgie with Hervé Guibert in “Le Monde”, 12 May 1983 )

In my own view, symbols are as malleable and as variable as the mind and worldview of a given viewer or community of viewers. As such Tarkovsky’s dichotomy, essential though it is to our understanding of art, is not an inevitable duality. An image must, in my understanding, contain many symbols that come forth as the viewer, or artist, determines, or designs. If, like Tarkovsky, the viewer finds that the ‘image’ satisfies in its latency, then it will be left unread and no symbol will arise. However, perhaps as a result of having more of an intellectual than a poetic inclination, I see symbols in all images. I see them even as I relish the ‘atmosphere’ of Tarkovsky’s own indefinite images! I suggest that, in art, the question – ‘image or symbol,’ is less about the essential quality or nature of the work and more about the perspective of the viewer or the approach of the artist.

This Sunflower was grown by Jane Frankish on our allotment in the plot shared by members of the Jonathan Rogers gardening collective in Mount Pleasant Vancouver, Summer 2021.

https://www.thedigitalfix.com/film/dvd_review/the-dovzhenko-war-trilogy-zvenigora-arsenal-earth/
https://www.smartgardener.com/plants/289-sunflower-russian-mammoth/overview
https://koboiproject.com/2020/07/26/tarkovsky-monument-4-2/
http://www.nostalghia.com/TheTopics/Symbols.html