The article by E. V. Kapinos and E. Yu. Kulikova analyzes the
long poem “The Open Sea” by Sergei Kolbasiev which was published in 1922
when the poet belonged to the Ostrovityane literary group. “The Open Sea” is a
valuable specimen of the scarce literary legacy left by the Ostrovityane members.
A Nikolai Gumilev subtext is easily identifiable in the poem. However, the
“post-Gumilev” poets (Kolbasiev, Nikolai Tikhonov and, to some degree, Konstantin
Vaginov and Nikolai Otsup) developed a particular style of their own
which is reminiscent of that of Gumilev in its use of motifs, but differs considerably
from it in its abundant rhythmic experimentation, colorful word use and
many other features.
The article’s main subject is the poetics of “The Open Sea”. The poem consists
of five chapters that are tied together through exact and near repetitions.
Each chapter has its own rhythmic and strophic structure, but a common feature
of all chapters is an alternation of feminine and masculine endings. Accentual
verse and trochaic pentameter that alternate from one chapter to another, free
verse stanzas and a complex composition that includes author’s lyrical digressions
and temporal leaps comprise the main features of the poetics of “The Open
Sea”.
Another important element of the poem and Kolbasiev’s poetry in general is
its autobiographical background as well as the biographies of Kolbasiev’s con“author’s persona” aspect of «The Open Sea» and comes to the conclusion that
it is structured in accordance with Yuri Tynianov’s philological theory and the
principles described and parodied in Vaginov’s novel “The Goat Song”.
The article analyzes “The Open Sea” as a Petersburg text modeled on
Gumilev’s “The Lost Tram” and having Ostrovityane’s poetry and prose as its
nearest context. In addition, the oriental motifs of Vaginov’s poetry and Nikolai
Tikhonov’s “The Horde” are relevant to the plot of the poem’s fourth chapter
which features a “saffron” Chinaman appearing on board of a Russian cruiser.
Furthermore, “The Open Sea” is analyzed in the context of Kolbasiev’s maritime
fiction, articles (“Jazz”) and translations, such as his translation of the
novel “Beau Geste” by P. C. Wren. A number of motifs and metaphors found in
Wren’s novel can be viewed as invariants of the poem’s motifs. Nikolai Ushin’s
illustrations to the translation of “Beau Geste” published in 1928 provide a stylistic
match to the poetics of Kolbasiev’s prose and poetry characterized by vividness,
contrastiveness and the avant-garde features of its color palette and
composition.
The article quotes from the critical assessments of “The Open Sea” by
Kolbasiev’s contemporaries such as Lev Lunts and David Vygodsky.
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