1 ERENBURG, IL’IA. Liudi, gody, zhizn’: Kniga pervaia i vtoraia [People, years, life: Books one and two]. Moscow: Sovetskii pisatel’, passim.
In Russian. The memoirs include passing references to Ivanov. Mentions his presence at Maiakovskii’s reading of his poem “Chelovek” [Man] at a gathering at the home of the Tsetlins in 1918. Compares Ivanov at his home on Zubovskii boulevard in Moscow to a pastor from Ibsen, frozen rather than burning, unable to cope with real events. Describes Makkaveiskii, a Kiev poet, as a replica of Ivanov. Reprinted: 1966.4, 1990.19.
2 GALLARATI SCOTTI, TOMMASO. “Disputa al Borromeo.” In I quattro secoli del Collegio Borromeo di Pavia: Studi di storia e d’arte pubblicati nel IV centenario della fondazione, 1516—1961. n.p., n.d. 379—82.
Reprint of 1960.5.
3 GNESIN, M. F. “Stranitsy iz vospominanii” [Pages from memoirs]. In Stat’i. Vospominaniia. Materialy [Essays. Memoirs. Materials]. Compiled and edited by R. V. Glezer. Moscow: Sovetskii kompozitor, 140, 142, 149—50.
In Russian. Describes a Wednesday gathering at the tower in 1906 at which Gnesin presented two songs set to words by Bal’mont, “U moria noch’iu” [By the sea at night] and “Vse mne grezitsia more” [I keep dreaming of the sea]. Records the comments of Nuvel’ and Karatygin, and the influence the tower had on his musical development. Relates his performance of “Gimn chume” [Hymn to the plague] at the tower, characterized by Ivanov (one of the few attentive listeners) as a “nastoiashchii difiramb!” [real dithyramb!].
4 PASCAL, PIERRE. “Trois poètes russes à Venise au début du XXe siècle.” Venezia nelle letterature moderne. Atti del Primo Congresso dell’ Associazione Internazionale di Letteratura Comparata (Venezia, 25—30 settembre 1955). Civiltà Veneziana, 8. Edited by Carlo Pellegrini. Venice and Rome: Istituto per la collaborazione culturale, 219—29.
In French. Considers the Russian “renaissance” at the turn of the century and its links with Italy and Venice in particular, with reference to three poets, Ivanov (pp. 219—22), Blok, and Gumilev. Cites in a French translation Ivanov’s “Laguna” [Lagoon] from the Italian sonnets cycle of Kormchie zvezdy [Pilot stars] and two poems on Venice from Cor Ardens, the last verse of “Kolybel’naia Barkarola” [Lullaby barcarole] and “Sobor sv. Marka” [St. Mark’s basilica]. Links the image of Venice and St. Mark’s to the union of the churches and to Ivanov’s conversion to Catholicism.
5 POGGIOLI, RENATO. “Simbolismo russo e occidentale.” Letterature Moderne (Bologna), no. 5 (September — October): 586—602.
In Italian. Sets up a scheme for the classification of various types of European and Russian symbolism. Relates Ivanov to Stefan George, analyzes his understanding of symbolism “a realibus ad realiora,” links its “philosophical pretensions and metaphysical ambitions” to the ultimate and inevitable failure of symbolism (pp. 590—93).
6 POGGIOLI, RENATO. “Venceslao Ivanov.” In Il fiore del verso russo. Biblioteca Moderna Mondadori, 694—697. Milan: Arnoldo Mondadori Editore, 82—85, 241—49.
7 VERIGINA, V. P. “Vospominaniia ob Aleksandre Bloke” [Memoirs of Aleksandr Blok]. Edited by D. E. Maksimov and Z. G. Mints. In Uchenye zapiski Tartuskogo gosudarstvennogo universiteta [Academic proceedings of Tartu state university]. Vol. 104: Trudy po russkoi i slavianskoi filologii. IV
[Papers on Russian and Slavonic philology. IV]. Tartu: Tartuskii gosudarstvennyi universitet, 310—71.
In Russian. Includes various passing references to Ivanov (pp. 312, 320—21, 331—32) in the context of memoirs of the theatrical world. Notes his reading of “Difiramb” [Dithyramb] at Komissarzhevskaia’s literary Saturday. Describes a visit to a Wednesday gathering at the tower, Ivanov’s comments on Voloshin’s talk on Sophia, and the eternal feminine and Zinov’eva-Annibal’s skilful deflection of a speaker from Odessa. Records Blok composing verse in parody of Ivanov’s “Menada” [The maenad]. Reprinted: 1980.11. For a later, fuller version of these memoirs, see Verigina, 1974.11.