colleagues for their audacity and impudence. It is the sun which is to blame, for it has given them their thoughts and words.[1] In his poem, "The Sailor and Singer", his "self" merges with that of mankind, while the human race is to take to its wings and teach "neighbouring suns" to pay their respects.[2] The theme of conquering suns is central to the opening parts of Khlebnikov's "Children of the Otter", set in "those first days of life on earth".[3] While pre-historic volcanoes burn and lava is hurled into a flaming sea, there are three suns in the sky. Before long, however, a spear flies and the red sun falls. The earth darkens; figures stand on the dead sun. The Otter's son (who later turns out to be Khlebnikov) then flies at the black sun with a spear, and that one, too, falls into the sea.[4] Stahlberger writes in connection with Mayakovsky's "Adventure" poem that it is reminiscent of
the solar cults of primitive peoples which recognize the sun as both creative and immortal. The sun is regarded as a prototype of death (sunset) and resurrection (sunrise). Among some primitives there is the belief that one who looks at the setting sun provokes death. Therefore, any change in the sun's routine through the agency of a mythical hero signifies a triumph over time and death.[5]
These remarks are even more applicable to Khlebnikov, for whom the affinity with primitive thought was largely conscious. In 1922 Khlebnikov proclaimed in the name of his "Presidents of the Terrestrial Sphere":
We command, not people, but suns! ...
And we—the Presidents of the Terrestrial Sphere—ask:
