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Mandelstam avoids the words which are too evident: at it is not present revelry of refined archaisms, as at Vyacheslav Ivanov, forcing of vulgarisms, as at Mayakovsky, abundance of neologisms, as at Tsvetaeva, flow of household turns and words, as at Pasternak. 1/

All this is made in order that a rhyme as that did not become an independent source of excitement, did not dim herself something other. In lexicon the wealth, how many rigid selection is appreciated not so much.

Another thing is that always there will be people whom Mandelstam simply irritates; that, in his thought, in its poetry, in all its shape indeed is scratching something, cutting to the quick, forcing to a choice between devotion which asks everything, and dislike which will not accept anything. To treat him "academically", that is it is indifferent, - it is not possible. To register a homeless shadow of the homeless poet in the departmental house of domestic literature, to carry for it a niche in a pantheon and on it to calm down - the most barren scheme. What there the pantheon when it has no simple grave, and is its very important line sudby.3/

Mandelstam told about the song: "Joy for friends and for enemies pitch". Without dark beams of hostility the range of that aura in which the mandelshtamovsky poetry is to us, is incomplete. If these beams go out, Mandelstam will cease to disturb and puzzle us.