I always said that fate is a game. Analysis of Brodsky’s poem “I always said that fate is a game”

Family and relationships 17.01.2024

Family and relationships

Here one of the distinctive features of the lyrical hero is visible - a complete, almost painful lack of pride and self-confidence. This is noticeable in his essays, one of which is even called “Less than One.” The entire being of the hero is in one way or another subordinated to eternal and abstract categories, while at the same time surrounded and suppressed by everyday problems: I am sitting by the window. I washed the dishes. I was happy here, and I won't be again. But it is precisely this burden, intentionally or unconsciously, that Brodsky imposes on him - to cope with all failures through achievements

Not physical, but spiritual: Citizen of a second-class era, I proudly recognize my best thoughts as second-class goods, and to the days to come I give them as experience in the fight against suffocation. He chose this path for his hero, and therefore for himself - after all, Brodsky was close to his alter ego like no one else, he served him as something of a guide through the world of Words. The result of this connection was a deep, but not hopeless loneliness: My song was devoid of motive, but it could not be sung in chorus. It’s no wonder that no one puts their legs on my shoulders as a reward for such speeches. ... I'm sitting in the dark. And it is no worse in the room than the darkness outside. The lyrical hero resigns himself to this - such is the property of his soul - but not from powerlessness, but from the consciousness of the entire expediency of such loneliness, conditioned by the expectation of a miracle (a miracle of art - later Joseph Brodsky will formulate this more clearly). It represents a logical and painless way out, a path further, which will be discussed below. Brodsky does not consider the path forward to be a betrayal of previous beliefs, previous feelings, although the evolution of the lyrical hero throughout the poem is clearly visible to us: I wrote that in the light bulb there is the horror of the floor. That love, as an act, is devoid of a verb. What Euclid did not know is that, converging on a cone, a thing acquires not zero, but Chronos. This is already a reflection of one of the main life principles of the hero - after all, “space for me is really smaller and less expensive than time. Not because it is smaller, but because it is a thing, while time is the thought of a thing. Between a thing and a thought, I will say, the latter is always preferable.” And thought is always expressed in words, especially since all his works are united by the idea of the superiority of language over time. Thus, the lyrical hero embodies the author’s own attempts to master time with the help of language. And even if these attempts are not filled with passion, human actions have much less value than joining the flow of language. That is why the position of a detached observer, so often adopted by the poet’s alter ego, is optimal for him.

Any attempts by the creator to dominate language lead nowhere, because the Word itself carries the idea of the whole world, consisting of names, and the poet has no right to impose his understanding of reality. “You can’t impose anything on society.

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“I have always said that fate is a game...” Joseph Brodsky

L. V. Lifshits

I have always said that fate is a game.

That the Gothic style will win, like a school,
like the ability to stick around without getting shot.
I'm sitting by the window. There is an aspen outside the window.
I loved few. However - strongly.

I believed that the forest was only part of the log.
What's the point of all the maiden, since there is a knee.
That, tired of the dust raised by a century,
the Russian eye will rest on the Estonian spire.
I'm sitting by the window. I washed the dishes.
I was happy here, and I won't be again.

I wrote that the light bulb contains the horror of the floor.
That love, as an act, is devoid of a verb.
What Euclid did not know, that, descending onto the cone,
the thing acquires not zero, but Chronos.
I'm sitting by the window. I remember my youth.
Sometimes I smile, sometimes I spit.

I said the leaf destroys the bud.
And that the seed, having fallen into bad soil,
does not allow escape; like a meadow and a clearing
there is an example of masturbation given in Nature.
I'm sitting by the window, hugging my knees,
in the company of his own overweight shadow.

My song had no motive
but it cannot be sung in chorus. No wonder

No one puts their legs on their shoulders.
I'm sitting by the window in the dark; like fast
the sea thunders behind the wavy curtain.

Second-class citizen of the era, proudly
I recognize it as a second-class commodity
your best thoughts for the days to come
I give them as an experience in dealing with suffocation.

Analysis of Brodsky’s poem “I have always said that fate is a game...”

The poem “I always said that fate is a game...” was written by I. A. Brodsky in 1971 and dedicated to L. V. Lifshits. This man was a close friend of Joseph Alexandrovich and probably understood better than others what was going on in the poet’s soul. Therefore, such a personal work, full of contradictions, is addressed specifically to him.

This poem contains philosophical speculations framed in short phrases, like everyday notes. The composition is as follows: the stanza consists of six lines that rhyme in pairs. Four of them represent ideological statements. The last two lines are sketches from everyday life. These parts present such a stark contrast that the reader may not get it right at first. However, it becomes clear to someone who knows the author well or is able to think about the meaning of the work.

The poem is built on refrains. First we see anaphoras that open the stanzas (except for the last two): “I always insisted,” “I believed,” “I said.” Then the beginnings of the lines containing the author’s life theses are repeated:
Why do we need fish if we have caviar?
That the Gothic style will win like a school...

Finally, the couplet begins with the phrase “I am sitting by the window.” It is only in the fifth and sixth stanzas that this refrain changes to “I sit in the dark.”

These repetitions are not accidental. The central theme of the poem is reflection. The author, who is also the lyrical hero, being alone and performing simple actions (“I washed the dishes”, “I remember my youth”), restores his life principles in memory. The poet always speaks about them in the past tense, which suggests that he no longer holds these beliefs. Moreover, in some lines there is doubt about the correctness of youthful ideas about the world:
I believed that the forest was only part of the log.
What is all the virgin for if there is a knee.

Previously, relatively speaking, the poet neglected the individual, preferring the body. Now the poet looks at things differently. Suddenly he discovers that his inner world is no less diverse than the material world, which he previously appreciated and strived for. This reconciling discovery with reality is contained in the last lines:
I'm sitting in the dark. And she's no worse
in the room than the darkness outside.

This is how the philosophical component of the poem seeps into everyday life. This harmony is noticeable in the image of “the sea thunders behind the wavy curtain.” The room is a metaphor for the poet's soul, and the sea is reflected in it in the form of a curtain that has the outline of waves.

The only thing that bothers the author is his contribution to poetry. He analyzes his own creativity:
My song had no motive
but it cannot be sung in chorus. No wonder
what is my reward for such speeches
No one puts their legs on their shoulders.

Joseph Alexandrovich is not embarrassed that his poems are not popular with the majority, but complains that he, as a poet, may not influence his descendants. The reader may notice here an allusion to the expression “to stand on the shoulders of giants” by Isaac Newton. However, today we can say that this prophecy, fortunately, did not come true. Many modern authors were brought up on the work of Brodsky, so one cannot help but overestimate his contribution to world culture.

I have always said that fate is a game.
Why do we need fish if we have caviar?
That the Gothic style will win, like a school,
like the ability to stick around without getting shot.
I'm sitting by the window. There is an aspen outside the window.
I loved few. However - strongly.

I believed that the forest was only part of the log.
What's the point of all the maiden, since there is a knee.
That, tired of the dust raised by a century,
the Russian eye will rest on the Estonian spire.
I'm sitting by the window. I washed the dishes.
I was happy here, and I won't be again.

I wrote that the light bulb contains the horror of the floor.
That love, as an act, is devoid of a verb.
What Euclid did not know, that, descending onto the cone,
the thing acquires not zero, but Chronos.
I'm sitting by the window. I remember my youth.
Sometimes I smile, sometimes I spit.

I said the leaf destroys the bud.
And that the seed, having fallen into bad soil,
does not allow escape; like a meadow and a clearing
there is an example of masturbation given in Nature.
I'm sitting by the window, hugging my knees,
in the company of his own overweight shadow.

My song had no motive
but it cannot be sung in chorus. No wonder
what is my reward for such speeches
No one puts their legs on their shoulders.
I'm sitting by the window in the dark; like fast
the sea thunders behind the wavy curtain.

Second-class citizen of the era, proudly
I recognize it as a second-class commodity
your best thoughts for the days to come
I give them as an experience in dealing with suffocation.
I'm sitting in the dark. And she's no worse
in the room than the darkness outside.

Joseph Brodsky - I entered a cage instead of a wild beast

I entered a cage instead of a wild beast,
burned out his sentence and nickname with a nail in the barracks,
lived by the sea, played roulette,
dined with God knows who in a tailcoat.
From the heights of the glacier I looked around half the world,
He drowned three times and was cut open twice.
I abandoned the country that nurtured me.
Of those who have forgotten me, a city can be formed.
I wandered in the steppes, remembering the cries of the Hun,
put on something that is coming into fashion again,
sowed rye, covered the threshing floor with black felt
and did not drink only dry water.
I let the blued pupil of the convoy into my dreams,
ate the bread of exile, leaving no crusts.
Allowed his cords to make all sounds besides howling;
switched to a whisper. Now I'm forty.
What can I tell you about life? Which turned out to be long.
It is only with grief that I feel solidarity.
But until my mouth is filled with clay,
only gratitude will be heard from it.

Analysis of the poem “I entered a cage instead of a wild beast” by Brodsky

I. Brodsky is considered one of the most controversial poets of our time. Disputes continue over the meaning and overall assessment of his work. In this regard, the poet’s own opinion, expressed in his poem “I entered a cage instead of a wild beast...” (1980), written on the eve of his fortieth birthday, is of great value. The work itself caused many directly opposite opinions. Enthusiastic fans consider it a brilliant reflection of Brodsky's self-esteem. Critics primarily point to the poet's excessive conceit and exaggerated description of his martyrdom. Brodsky himself highly appreciated this poem and loved to quote it.

The poet looks at his life from the height of his past years. He deliberately draws the readers' attention to the fact that already in his youth he suffered for his beliefs (“entered a cage”). It should be noted that Brodsky’s short imprisonment for parasitism can hardly be considered an example of suffering. Country exile also does not make him a martyr. Brodsky himself recalled that he was happy in the village and had the opportunity to engage in creativity.

The author has really seen a lot in life. He worked as a sailor and took part in long-term geological expeditions (“he drowned three times”, “he was cut to pieces twice”). The richest impressions give Brodsky the right to declare that he has learned everything possible. He emphasizes this with the phrase: “I didn’t drink only dry water.” The poet's repeated forced placements in psychiatric institutions, of course, greatly influenced his sharply negative attitude towards the Soviet regime. He was used to seeing “the blued convoy badge” in everything, which even penetrated his dreams.

Brodsky proceeds to his forced emigration. He believes that from the people who, under pressure from the authorities, renounced him, “you can make a city.” The phrase sounds too pathetic: “he ate the bread of exile, leaving no crusts.” Thanks to the support provided, Brodsky very quickly achieved a secure position abroad and could not complain about hunger.

The poet proudly declares that no tests could break his independent spirit (“allowed... all sounds besides howling”). The constant struggle took away a lot of his vitality, so he “switched to a whisper.” Nevertheless, Brodsky is grateful to his difficult fate; it made him stronger and more courageous. It is impossible to force a poet to abandon his independent creativity. Only death can do this (“until... your mouth is filled with clay”).

Joseph Brodsky - I always said that fate is a game

L. V. Lifshits

Analysis of the poem “I have always said that fate is a game...” by Brodsky

Brodsky dedicated the poem “I always said that fate is a game...” (1971) to L. Lifshits, a close friend of the poet who perfectly understood his inner world. Brodsky conveys his deep philosophical reflections about himself and his place in the world.

The main distinguishing feature of the work is its style. It is constructed in the form of six lines, with the first four lines representing general reasoning, and the last two describing an ordinary everyday picture. This combination fills the poem with intimate personal meaning.

Brodsky's poetry is characterized by the use of unusual metaphors, comparisons, and original images. Sometimes it can be very difficult to understand what the author wanted to say. The poem cannot be easily solved; for this, certain mental efforts must be made.

The lyrical hero of the poem is very lonely. He reflects on the fact that this loneliness is completely self-sufficient. A person is able to limit himself to the closest and most accessible things. The author believes that in the modern era, people's cultural needs have decreased significantly. The desire for high and inaccessible ideals has become meaningless when everything you need is at hand (“why use all the virgins if you only have a knee”). This is emphasized by the author’s simple actions (“I’m sitting by the window,” “I washed the dishes”).

The hero accepts such a limited existence. The main value for him is his own thoughts, which fully reflect the ugly reality. The author believes that in his unconventional reflections he was able to come closer to understanding the basic laws of the universe (“in the light bulb there is the horror of the floor”, “the thing acquires... Chronos”). Brodsky is glad that his works do not fit the generally accepted rules and cause fierce criticism (“you can’t sing in chorus”). He feels like an outcast, but at the same time he feels complete freedom from any power.

In the finale, Brodsky moves on to direct criticism of the Soviet system (“second-rate era”). Being a citizen of this country, the author admits that his thoughts automatically become a “second-class commodity.” Nevertheless, he confidently believes that they are the only true and correct ones. Descendants will be able to appreciate his work “as an experience in the fight against suffocation.”

In the last lines, philosophical reasoning merges with everyday life. The author compares the darkness in his room with the all-encompassing spiritual darkness in the state.

L.V. Lifshits I have always said that fate is a game. Why do we need fish if we have caviar? That the Gothic style will win, like a school, like the ability to stick around, avoiding an injection. I'm sitting by the window. There is an aspen outside the window. I loved few. However - strongly. I believed that the forest was only part of the log. What is all the virgin for if there is a knee. That, tired of the dust raised by a century, the Russian eye will rest on the Estonian spire. I'm sitting by the window. I washed the dishes. I was happy here, and I won't be again. I wrote that the light bulb contains the horror of the floor. That love, as an act, lacks a verb. What Euclid did not know is that by converging on a cone, a thing acquires not zero, but Chronos. I'm sitting by the window. I remember my youth. Sometimes I smile, sometimes I spit. I said the leaf destroys the bud. And that a seed, falling into bad soil, does not sprout; that a meadow with a clearing is an example of masturbation given in Nature. I sit by the window, hugging my knees, in the company of my own heavy shadow. My song was devoid of motive, but it could not be sung in chorus. It’s no wonder that no one puts their legs on my shoulders as a reward for such speeches. I'm sitting in the dark; like an ambulance, the sea thunders behind the wavy curtain. A second-class citizen of an era, I proudly recognize my best thoughts as second-class goods, and to the coming days I give them as experience in the fight against suffocation. I'm sitting in the dark. And it is no worse in the room than the darkness outside.

03:05

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Performed by Anatoly Bely. I have always said that fate is a game. Why do we need fish if we have caviar? What's gothic...