Лирика: генезис и эволюция
The poem “Мне выпало счастье быть русским поэтом…” (1981) was first published in the book Voices Beyond the Hills, where it concluded a mini-cycle of four octets: “Год рождения не выбирают…” (1978), “Я слышал то, что слышать мог…” (1981), “Да, мне повезло в этом мире…” (1982), and “Мне выпало счастье быть русским поэтом…” (Самойлов 1985: 69-71); cf. (Самойлов 2006: 256, 305, 311, 301). Although Samoilov did not give an overall title to these texts as a group, they undoubtedly form a conceptual unity. In addition to the texts’ common themes (a summarization of life events), confessional tones, and equal lengths (the octet is the most common form in Voices Beyond the Hills: 36 out of 131 poems, about 27.5%), their graphical treatment is of note.
The first poetic collection of L. Tieck, "Gedichte" ("Poems"), comes out in 1821, a few years after the six-volume collection "Fantasus", which collected all the most significant works of the author, during the period of Tieck's creative crisis, in fact, without any need in a new collection. The first part of the "Poems" consists of both fragments of already published texts and new works. The peculiarity of the collection lies in the untypical approach to the processing of Tieck's own texts: all fragments are published without indicating the origin.The text itself changes under the fragmentation and is corrected, which makes it difficult to determine its origin.
Fragments always get their own name, always short and summative. The names of poems for the main romantic topoi, and the editng of the texts is always fulfilled in accordance with the definition in the title of the topic. The author organizes the collection thematically, moving from one group of closely related topics to another, cutting out fragments from the usual context and giving them a new one.
This atypical collection for L. Tieck can be interpreted as a kind of "encyclopedia" of early romanticism. Unlike the universalism of the "Fantasus" collection , where the texts of Tieck, relating to different genres, are framed by a narrative framework that reveals the author's main aesthetic views, the encyclopedic nature of the Poems presupposes a new, maximally detached view of one's own creativity. The collection is fundamentally different from all the other collections of Tieck and, apparently, represents an attempt by the author to rethink his own role in the development of the romantic movement and marks the beginning of the location of the engagement with him.