1 BELYI, ANDREI. Vospominaniia ob Aleksandre Aleksandroviche Bloke [Reminiscences of Aleksandr Aleksandrovich Blok]. With an introduction by Georgette Donchin. Letchworth, Herts.: Bradda Books, 112—13 and passim.

Reprint of 1922.4.

2 FOTIEV, K. “Ierarkhiia blagogoveniia: Zametki o tvorchestve Viacheslava Ivanova” [A hierarchy of reverence: Notes on the art of Viacheslav Ivanov]. Grani, no. 55: 222—28.

In Russian. Considers the poetry collected in Svet vechernii [Vespertine light] (1962) from the perspective of an overall view of Ivanov’s development from “the light of culture to the unfading light of religious revelation.” Cites “Ispoved’ zemle” [Confession to the earth], the third sonnet of “Zimnie sonety” [Winter sonnets], likened to the experience of Pasternak’s Zhivago in Siberia, “Palinodiia” [Palinode], and the last of the “Rimskie sonety” [Roman sonnets]. Comments on Ivanov’s image of Rome in the light of his conversion to Catholicism.

3 GINZBURG, L. O lirike [On lyric verse]. Moscow and Leningrad: Sovetskii pisatel’, 257—58, 267, 342—43.

In Russian. Includes comments on Ivanov’s essays on symbolist aesthetics with special reference to his awareness of the split between the decadents and the symbolists and of the link between poetic method and individualist ethics. Discusses his theory of language, Blok’s closeness to Ivanov during the period of his search for absolutes, and the difference


between Annenskii’s poetics and those of Ivanov and Belyi. Reprinted in an expanded edition: 1974.3.

4 RANNIT, ALEKSIS. “O Viacheslave Ivanove i ego ‘svete Vechernem’: Zametki iz kriticheskogo dnevnika” [On Viacheslav Ivanov and his Vespertine light: Notes from my critical diary]. Novyi zhurnal (New York), no. 77: 74—94.

In Russian. Pays tribute to Deschartes’s deep understanding of Ivanov, and quotes from her letter of 19 January 1964 on the history of Svet vechernii [Vespertine light] and the choice of its title, taken from a prayer spoken at vespers. Describes “Zimnie sonety” [Winter sonnets] and “Rimskie sonety” [Roman sonnets] as the “pillar and foundation of the book,” belonging to “the most perfect poetry written in the Russian language.” Comments on Adamovich’s view (1955.1) of Ivanov’s verse as lacking in the humane element that this depends on whether “humane” is defined in terms of sentiment or spirit. Defines Ivanov’s simplicity as a delicate “balance between the elements of the natural and the spiritual, between the heavenly and the earthly.” Compares his verse to the Corinthian style of Greek architecture, a meeting point of the Greek and Roman spirits, and cites the fifth sonnet from “Rimskie sonety” as an illustration. Finds in “Rimskie sonety” elements of the baroque style of Bernini, the graphic art of Piranesi, and Michelangelo. In the sphere of music, traces analogies with Scriabin, Beethoven, Bach, and Handel. Investigates the theme of memory and the Muse, and the relationship between Christianity and antiquity, citing “Palinodiia” [Palinode]. For an English translation with minor amendments and notes, see 1972.18.

5 SHESTOV, LEV. “O Vechnoi Knige: Pamiati M. O. Gershenzona” [On the eternal book: In memory of M. O. Gershenzon]. In Umozrenie i otkrovenie: Religioznaia filosofiia Vladimira Solov’eva i drugie stat’i [Speculation and revelation: The religious philosophy of Vladimir Solov’ev and other essays]. Paris: YMCA-PRESS, 13—21.

Reprint of 1925.7.

6 STACY, ROBERT H. “The Russian Ghazal.” Symposium: A Quarterly Journal in Modern Literatures (Syracuse) 18, no. 4 (Winter): 342—51.

Examines the use of the Persian form of the ghazal in German romantic and Russian poetry. Considers Fet’s “Iz Gafiza” [From Hafiz] and examples of the ghazal in German and Russian from Ivanov’s Cor Ardens and the verse of Briusov, Kuzmin, and Gumilev.

7 STEPUN, FEDOR. Review of Svet vechernii [Vespertine light], Novyi zhurnal (New York), no. 75: 289—93.

In Russian. Considers the problem of Ivanov’s reputation as a poet, the frequent criticism of his verse as heavy and difficult. Compares him to


Hölderlin with regard to his love of classical antiquity. Regards “Palinodiia” [Palinode] as marking the point of transition from Cor Ardens to the elevated simplicity of “Rimskii dnevnik” [Roman diary], while emphasizing the unity of Ivanov’s poetic development.

8 STEPUN, FEDOR. “Wjatscheslaw Iwanow: Der russische Europäer.” In Mystische Weltschau: Fünf Gestalten des russischen Symbolismus. Munich: Carl Hanser, 201—78.

In German. An extended essay on Ivanov, incorporating 1963.13 as the section on symbolism (pp. 221—31), and including several adapted elements from Stepun’s earlier work (1933.16, 1934.4, 1936.5). Considers his life, his Russian-European outlook, his aesthetics and theory of the symbol, and his conversion to Roman Catholicism.

9 ZAITSEV, BORIS. “Dalekoe: O Viacheslave Ivanove” [The distant past: On Viacheslav Ivanov]. Sovremennik (Toronto), no. 9 (May): 5—10.

Reprint of 1963.14 with minor stylistic variations.