Сравнительный анализ ранних и поздних рукописей Хлебникова

Résumé En

The materials of the research are two main Khlebnikov’s manuscripts : the convolute of the early notebooks (RGALI, f. 527, № 60 ; 1907-1908, about 250 pp.) and the so-called “Grossbux” (RGALI, f. 527, № 64 ; 1919-1921, about 200 pp.). The manuscripts mentioned reflect the very process of creating poetry at the early and late stages of the poet’s life. In both cases in addition to these representative collections we have their “essences” : the cycle of 17 poems sent to Vjacheslav Ivanov in March 1908 (The Russian National Library) for the early manuscripts and “Zangezi” for the late. The main topics of the talk will be comparisons between the early convolute and the cycle sent to Ivanov, “Grossbux” and different variants of “Zangezi”, the early convolute and “Grossbux”, and the cycle sent to Ivanov and different variants of “Zangezi”. The main hero of the convolute is the word itself. The poet invents his own vocabulary on the basis of Russian, observes different stems, different suffixes and different ways of their combination. His studies have something in common with mathematical experiments. While creating new words he often draws specific abstract pictures composed of small homogeneous elements. There are a lot of linguistic notes and hundreds of poems (many of them are still unpublished) in these notebooks. The poems from the notebooks were the main source of Khlebnikov’s books edited and published by D. Burljuk and A. Kruchjonykh in 1913-1914. At the same time the only cycle composed not by his editors but by Khlebnikov himself -the cycle sent to Ivanov -has never been published in its original form, though both the choice of the poems and their sequence seem remarkable : they give new light, new stylistics to themes and images common for the symbolism. “Grossbux” is a collection of Khlebnikov’s post-revolutionary poetry. In this notebook neologisms are not the aim, but only a means : by this time he has mastered the art of coinage. Neither abstract ornaments nor vocabulary notes can be found there. Instead we see some realistic drawings (portraits, a sketch “Zangezi on a cliff’), and a lot of lists (such as “The types of languages”) and plans. Most of the plans are devoted to the composition of “Zangezi”. One of the main differences between preliminary plans of “Zangezi” and the final realization is the omission of personal motives. But in all versions of “Zangezi” dominates the idea of contrasts, of oppositions of separate “planes”, which creates a new type of text -“supertext”.