1 BELYI, ANDREI. Nachalo veka [The beginning of the century]. Moscow and Leningrad: Gosudarstvennoe izdatel’stvo khudozhestvennoi literatury, 6—10, 308—28, 474 and passim. Reprint. Chicago: Russian Study Series, 61, Russian Language Specialties, 1966.
In Russian. Provides a highly subjective, anecdotal, and episodic portrait of Ivanov during the years 1904—1912. Emphasizes his multiple, often contradictory masks, from professor to poet, from mystic to academic. Three sections in the third chapter are concerned with him in detail: “Sploshnoi ‘feoretik’” [The consummate “pheoretician”] , “Viacheslav Ivanov,” and “Bashennyi zhitel’” [The inhabitant of the tower]. The first section deals with Ivanov’s return to Russia in 1904, Belyi’s first impressions of him and
Zinov’eva-Annibal during their visit to Moscow, and their impact on literary circles at the time. The second section evokes the atmosphere at the Wednesday gatherings at the tower in 1905, the regular visitors and subjects of discussion, Ivanov’s sensitivity to Blok’s poetry, and first meetings with him. Describes Belyi’s polemics with Ivanov and growing alienation in 1907. Represents Ivanov, his stepdaughter, Vera Shvarsalon, and Anna Mintslova as a “black troika.” Recounts Belyi’s visit to Ivanov in 1909 after the publication of his collection of verse, Pepel [Ashes], hailed by Ivanov as an “event.” Evokes Ivanov’s sober appearance, a cross between Tiutchev and Mommsen. The third section describes the tower in 1909—1910 — its constant visitors, overnight guests, and lodgers (including Belyi and Kuzmin). Ivanov suggests the title of Acmeism to Gumilev, and of “Peterburg” to Belyi for his novel. Ivanov, Belyi, and Blok work together with Metner for Musaget. Describes Ivanov’s visit to Belyi in Basel in September 1912. Numerous other scattered references to Ivanov can be traced through the index. Reprinted with an introduction, notes and variant readings: 1990.5. See also Belyi, 1922.3, 1923.2.
2 C. B. “15° Lunedi Letterario: La conferenza di Venceslao Ivanov su Orientamenti dello spirito moderno al Casino Municipale di San Remo.” L’eco della Riviera (San Remo), no. 31, 13 April, 1.
In Italian. Following the announcement in the previous issue of the same newspaper (1933.20), summarizes the content of Ivanov’s talk on the spiritual foundations of culture, “Discorso sugli orientamenti dello spirito moderno” (1933), given on 10 April at the fifteenth “literary Monday” of the San Remo circle. Dwells on Ivanov’s understanding of the Oedipus myth, concludes with his reference to Dante. The lecture ended with great ovations.
3 “Cenni bibliografici”; “Note.” Il Convegno (Milan), Year XIV, no. 8—12: 409—13.
In Italian. A bibliographical listing of Ivanov’s works (divided into poetry, essays and philology), followed by notes on the contributors to this issue, including a section on Ivanov.
4 CURTIUS, ERNST ROBERT. “Venceslao Ivanov.” Translated by Bruno Revel. Il Convegno (Milan), Year XIV, no. 8—12: 270—71.
In Italian. Takes the biblical verse “not for that we would be unclothed, but clothed upon” (2 Cor. 5:4) as expressing the essence of Ivanov’s eschatological hope for an integrated Christian humanism. Ivanov finds classical motifs resurfacing in unusual sources: ancient tragedy in Dostoevskii; the principle of the chorus of Aristophanes in Gogol’. Curtius distinguishes between true and false revivals of pagan intuitions, citing Nietzsche and George as examples of the false type. Ivanov has reopened a lost and subterranean
path linking humanism to Christianity and the Bible to Orphic cults. For the correspondence of Ivanov and Curtius, see Wachtel, 1992.28.
5 DESCHARTES, O. “Cenni biografici.” Il Convegno (Milan), Year XIV, no. 8—12: 384—408.
In Italian. Outlines the spiritual biography of Ivanov from his childhood upbringing through to his conversion to Catholicism in 1926. The early part of the account is closely based on Ivanov’s “Avtobiograficheskoe pis’mo S. A. Vengerovu” [Autobiographical letter to S. A. Vengerov] (1916), and also draws on Berdiaev (1916.3) for the description of the Wednesday gatherings at the tower. Concludes with a comment on Ivanov’s awareness of the beneficent influence of Saint Augustine on his life. For other essays on Ivanov’s life and literary works, see Deschartes, 1932.4, 1954.1, 1957.1 and Ivanov, 1971.3.
6 GANCIKOFF, LEONIDA. “A realioribus ad realia.” Il Convegno (Milan), Year XIV, no. 8—12: 352—62.
In Italian. Relates Ivanov to the problem of creating a “realist metaphysics” first tackled in Russia by V. Solov’ev. Quotes from Perepiska iz dvukh uglov [A correspondence from two corners] to illustrate Ivanov’s attempt to transcend an immanent view of life through faith in the integration of religion and culture based on a “hierarchy of Eros.” Comments on Ivanov’s work on Dostoevskii (1932). Considers the application of these ideas to the sphere of aesthetics and the idea of theurgic art with particular reference to Ivanov’s essay “O granitsakh iskusstva” [On the boundaries of art] (1914).
7 LIVSHITS, BENEDIKT. Polutoraglazyi strelets [The one and a half-eyed archer]. Edited by N. S. Tikhonov with a preface by Tsezar’ Vol’pe. Leningrad: Izdatel’stvo pisatelei v Leningrade, passim.
In Russian. The memoirs of the Futurist poet Benedikt Livshits (1887—1938) contain a few passing allusions and references to Ivanov. These include a line paraphrasing Ivanov’s poem to Verkhovskii, “Vyzdorovlenie” [Recovery], comments on the relations of the Symbolists, Acmeists, and Futurists and on the “duel” of Ivanov and Kruchenykh, a reference to Ivanov’s high opinion of Khlebnikov’s poetry, and a note on his poem “Ognenostsy” [Torchbearers], contrasted with the nondemiurgic views of the Futurists. Reprinted: 1989.40. For an English translation, see Livshits, 1977.5.
8 L[O] G[ATTO], E. “Ivanov, Vjačeslav Ivanovič.” In Enciclopedia Italiana di Scienze, Lettere ed Arti. Vol. 20. Rome: Istituto della Enciclopedia Italiana fondata da Giovanni Treccani, 71.
In Italian. An outline of Ivanov’s life and works with a short bibliography.
9 MARCEL, GABRIEL. “L’interpretazione dell’opera di Dostoevski secondo Venceslao Ivanov.” Translated by Lorenza Maranini. Il Convegno (Milan), Year XIV, no. 8—12: 274—80.
In Italian. Outlines Ivanov’s approach to Dostoevskii as a creator of myths and bearer of a secret message, with particular reference to the development of the Augustinian principle of “Transcende te ipsum” as the central principle of self-definition. Reserves special praise for Ivanov’s analysis of Dostoevskii’s demonology. Marcel’s essay is followed by an Italian translation of a section of Ivanov’s work on Dostoevskii dealing with Prestuplenie i nakazanie [Crime and punishment] as an instance of rebellion against Mother Earth (pp. 281—90). See also Bem, 1932.2; Höntsch, 1932.5, 1932.6; Review, 1932.9.
10 MEDYNSKII, G. A. “V poiskakh uteriannykh real’nostei: Bogoiskatel’stvo i simvolizm” [In search of lost realities: God-seeking and symbolism]. In Religioznye vliianiia v russkoi literature [Religious influences in Russian literature]. Tsentral’nyi sovet Soiuza voinstvuiushchikh bezbozhnikov SSSR. Moscow: Gosudarstvennoe antireligioznoe izdatel’stvo, 85—128.
In Russian. The chapter includes several sections attacking Ivanov’s system of religious aesthetics from a Marxist and atheist perspective. Contrasts his views with Belyi’s and quotes from his essays and poems. Notes the link between Ivanov’s “mystic energetism” and the “cosmism” of proletarian poets in the early years after the revolution.
11 M[IKHAILOVSKII], B[ORIS]. “Ivanov, Viacheslav Ivanovich.” In Bol’shaia sovetskaia entsiklopediia [Great Soviet encyclopedia]. Edited by O. Iu. Shmidt. Vol. 27. Moscow: Sovetskaia entsiklopediia, 338.
In Russian. A short article on Ivanov, emphasizing his decadent tendencies and reactionary views, and characterizing his verse as dominated by the “hieratic stagnation of feudal church art.” Includes a brief bibliography of works by and about Ivanov.
12 OTTOKAR, NICOLA. “Dioniso e i culti predionisiaci.” Il Convegno (Milan), Year XIV, no. 8—12: 363—64.
In Italian. A brief synopsis of Ivanov’s monograph Dionis i pradionisiistvo [Dionysus and predionysianism] (1923), drawing attention to the novelty of Ivanov’s central thesis on the origins of the cult of Dionysus.
13 PELLEGRINI, ALESSANDRO. “Considerazioni sulla ‘Corrispondenza da un angolo all’altro’ di V. Ivanov e M. O. Gherscenson.” Il Convegno (Milan), Year XIV, no. 8—12: 291—315.
In Italian. Considers the correspondence within the broad tradition of Christian humanism and debates on the relation between culture and religion. Summarizes its themes, and relates these to the ideas of Goethe, Nietzsche, Dostoevskii, and Croce. Comments on Ivanov’s letter to Charles Du Bos
(published in the French translation of the correspondence in 1930 and 1931) and on his conversion to Catholicism. Pellegrini’s essay prompted Ivanov’s reply “Lettera ad Alessandro Pellegrini sopra la ‘Docta pietas,’” dated February 1934 and published in the same issue (pp. 316—27). Revised and expanded: 1947.2. For memoirs of Pellegrini’s meeting with Ivanov in Pavia see Pellegrini, 1940.4.
14 RAFALOVICH, V. E., ed. Istoriia sovetskogo teatra [The history of Soviet theatre]. Vol. 1: Petrogradskie teatry na poroge oktiabria i v epokhu voennogo kommunizma, 1917—1921 [Petrograd theatres on the eve of October and in the period of war communism, 1917—1921]. Gosudarstvennaia akademiia iskusstvoznaniia. Leningrad: Gosudarstvennoe izdatel’stvo khudozhestvennoi literatury, passim.
In Russian. Several scattered references to Ivanov in the essays of various authors can be traced through the index. They are mainly concerned with the influence of Ivanov’s theories of drama on the theatre of the Proletkult, with his role in TEO Narkomprosa (the theatrical section of Narkompros) and with Meierkhol’d’s debt to Ivanov. The approach to Ivanov is explicitly political; Rafalovich in his preface, for example, states that it is no coincidence that both Ivanov and Hitler drew on the ideas of Nietzsche (p. xvi).
15 STEINER, HERBERT. “Idea e Amore.” Translated by A. P. Il Convegno (Milan), Year XIV, no. 8—12: 272—73.
In Italian. Links Perepiska iz dvukh uglov [A correspondence from two corners] to Valéry’s La crise de l’esprit. Emphasizes the themes of memory and faith in Ivanov’s vision, and hails him as one of the greatest poets of Europe of the last fifty years.
16 STEPUN, FEDOR. “Ritratto di Venceslao Ivanov.” Translated by Piero Treves. Il Convegno (Milan), Year XIV, no. 8—12: 252—69.
17 TOMMASINI, ANSELMO M. “‘De Thesauro’: Due concezioni della coltura.” Vita e pensiero (Milan), 24, no. 8 (August): 517—20.
In Italian. A review of the Italian translation of Perepiska iz dvukh uglov [A correspondence from two corners] (1932). Summarizes the debate, and relates it to the ideas of Saint Augustine and Bergson and to the veneration of the Catholic church for memory (through the tradition of dogma). Concludes with a long quotation from Ivanov’s letter to Charles Du Bos (not included in the Italian edition, published with the French translation in 1930 and 1931) to clarify the reasons for the poet’s conversion to Catholicism.
18 ZELINSKII, F. [Taddeo Zielinski]. “Introduzione all’opera di Venceslao Ivanov.” Il Convegno (Milan), Year XIV, no. 8—12: 241—51.
In Italian. Presents Ivanov as a pioneer of a Slav renaissance of classical
antiquity. Traces his path from the discovery of Nietzsche onward. Comments on Perepiska iz dvukh uglov [A correspondence from two corners]. Finds his verse informed by two central ideas: Dionysiac sacrifice and the eternal all-consuming fire of Heraclitus. This last section is incorporated from Zelinskii, 1916.22.
19 ZELINSKII, F. [Tadeusz Zieliński]. “Poeta Odrodzenia Słowiańskiego: Więcysław Iwanow” [Poet of the Slavonic Renaissance: Viacheslav Ivanov]. Pion (Warsaw), no. 12 (23 December): 9.
20 “15° Lunedi Letterario: Venceslao Ivanov. Orientamenti dello spirito moderno. Conferenza al Casino Municipale di San Remo.” L’eco della Riviera (San Remo), no. 30, 9 April, 1.
In Italian. Announces the talk to be given by Ivanov on the following day, 10 April, at the fifteenth “literary Monday” of the San Remo circle (for details see 1933.2). Cites Blok’s poem of 1912 to Ivanov (mistakenly attributed to 1922), provides an outline of Ivanov’s biography, and describes him as the “greatest poet of Russia today.”