Russian and Soviet writers about the Kuban. Unified All-Kuban class hour
Sloth (Blessed is laziness...)
Andrei Voznesensky
Blessed is laziness, the most tormenting captivity,
When lazy to wake up and too lazy to surrender to sleep.
Too lazy to get up on the phone, and you through me
Reach out to him, overworked.
The sound that is born in you is like a bell,
And the diaphragm tickles my shoulder.
"Tickets?" You say. "Let them disappear. Laziness."
The slowest day in us passes into the shadow.
Laziness is the engine of progress. The key to Diogenes is laziness.
I know: you are charming, everything else is decay.
Is the universe crazy? Will be patient until tomorrow.
Too lazy to take a telegram - plug it under the curtain.
Too lazy to go to dinner, too lazy to turn off the "rubbish".
And too lazy to finish the thought: today is Sunday ...
June on the road
Spread out podshofe
Satyr goat-footed
Barefoot and in breeches.
Party
Andrei Voznesensky
Walking crowd
Everyone sat down. And suddenly -
Where
Two?!
Not
Two!
Maybe the wind blew them away?
In the middle of the spree
Two empty chairs
Two lying knives.
They just drank
From their glasses.
Were -
They floated away.
There aren't two of them.
Melting water -
Look for fistula! -
Fled, throwing to the devil
Decency and raincoats!
Fled, how to run away
From wine glasses gud.
So river banks
This is how the clouds move.
Waltz by candlelight
Andrei Voznesensky
Love by candlelight
Dance to the beat
Live - for now,
Love - when?
Guys - at the clock,
Girls with earrings
Live - for now,
Love - at Always,
Hairstyles - on the shoulders,
The cheek of a sweater
Start - at now,
Wake up - always.
kings? Seek fistula!
Palaces are crushed.
And the shoulders are all fresh
And they are irreplaceable.
When? Under whose kingdom?
Not nonsense is important
What matters is that he came.
That you are wet in the eyes.
Green at night
Taxi without rider...
Airborne for an hour
Stay forever...
self-portrait
Andrei Voznesensky
He is skinny, like branches. Unshaven and muzzle.
Under him the third day
My mattress is cracking.
A cast-iron shadow hangs over the wall.
And lips vpolhari, smoking, blaze.
“Hello,” he wheezes, “Russian poetry.
Can I give you a pistol? Or maybe a blade?
You are a genius? So be cynical about chaos...
Maybe we'll repent?
Let's listen to a newspaper and in a minute
roll self-criticism like a rolled-up cigarette? .. "
Why would he hug you in front of me?
Why is he trying on my muffler?
And squint at my cigarettes...
Fuck me! Chur!
SOS!
Bicycles
Andrei Voznesensky
Bicycles lie
In the forest, in the dew.
In birch clearings
Highway glitters.
They fell, they fell
Wing to wing
Pedals - in the pedals,
Steering wheel to steering wheel.
Do you wake them up?
Well, at least kill!
Numb monsters
In coils of chains.
Big, amazed
They look from the ground.
Above them is a haze of green,
Resin, bumblebees.
In noisy abundance
Chamomile, mint
They lie. They were forgotten.
And they sleep and they sleep.
In the human body...
Andrei Voznesensky
In the human body
Ninety percent water
As, probably, in Paganini,
Ninety percent love.
Even if - as an exception -
The crowd tramples you
In the human
Appointment -
Ninety percent good.
Ninety percent music
Even if she's in trouble
So in me
Despite the trash
Ninety percent of you.
In judgment, heaven or hell...
Andrei Voznesensky
On judgment, in heaven or hell
He will say when the plaintiffs come:
"I loved two women as one,
Even if they are not twins.
No matter what they say, no matter...
Not listening to the answer
He's a double window
Fastened with a black latch.
Note to E. Yanitskaya, Mayakovsky's former typist
Andrei Voznesensky
Mayakovsky owes you something.
I give.
Excuse me - he did not live.
Defines my life
Pay for Lermontov, Lorca
For endless debt.
Our debt is terrible and long
Blood red payment.
Thank you, fathers and great-grandfathers.
Spin, epoch wheel...
But who will pay for me
Pay for everything, for everything?
Who are we - chips or great?
Andrei Voznesensky
Who are we - chips or great?
Genius is in the blood of the planet.
There are no "physicists", there are no "lyricists" -
Lilliputians or poets!
Regardless of work
We, like smallpox, took root century.
Stunning - "Who are you?"
We are carried like a cycle track.
Who are you? Who are you? And suddenly - not that?
How wool coat Venus!
Starlings tend to crow,
Architects are poets!
Well, what about you?..
What a month -
You aim at the stars, you knead the roads ...
She graduated from school, threw off her braids,
I stayed a saleswoman - I quit.
And again and again, as in a tag,
Between tabletop posters
silly,
Oleshka,
female,
Out of breath, you stand! ..
Who are you? Who? - You look longingly
In books, in windows - but where are you there? -
You fall like a telescope
To the fixed male pupils...
I wander with you, Verka, Vega...
I myself am in the middle of avalanches,
Like a snowman
Absolutely elusive.
ballad dot
Andrei Voznesensky
"Ballad? About the dot?! About the death pill?!."
Balda!
You forgot about Pushkin's bullet!
That the winds whistled like holes in clarinets,
In the broken heads of the best poets.
Arrow piercing tyranny and swinishness,
The trajectory of the whistle rushed to the descendants!
And there was no point. And it was the beginning.
We go into the ground, as in the door of the station.
And the point of the tunnel, like a barrel, is black ...
Is she immortal?
Or is she in obscurity? ..
There is no death. No dot. There is a bullet path -
The second projection of the same line.
In nature, according to the estimate, there is no point.
We will be immortal.
And this is exactly!
A. A. Voznesensky was born in 1933. In the 50s of the XX century, a fresh generation of poets entered literature, whose childhood passed during the war, and youth happened in post-war years. This replenishment of Russian poetry was formed in an atmosphere of seething changes in life, the growing self-awareness of people. Together with the poets of the older and middle generations, the young authors tried to sharply grasp the demands of the emerging life and literature and respond to them to the best of their ability. V. Sokolov and R. Rozhdestvensky, E. Yevtushenko and A. Voznesensky and many others in their own themes and genres, images and intonations, addressing all kinds of artistic customs, tried to personify the qualities of the spiritual image of today's man, his tendency to intense reflection, creative search, proactive action.
The work of Andrei Voznesensky developed in a complex way. The outstanding talent of the poet, his search for new possibilities of the poetic word immediately attracted the attention of readers and critics. In his the best works The 50s, such as the poem "Masters" (1959), the poems "From the Siberian Notebook", "Report from the opening of the hydroelectric power station", conveyed the joy of work, the optimistic life-sense of the human creator. The lyrical hero of Voznesensky is full of thirst to act, to create:
I'm from the student's bench
I dream that buildings
rocket stage
Soared into the universe!
However, sometimes at that time he lacked civic maturity, poetic simplicity. In the poems of the collections Parabola and Mosaic (1960), energetic intonations and rhythms, unexpected figurativeness and sound writing sometimes turned into a passion for the formal side of the verse.
The poet Sergei Narovchatov, analyzing the book by Andrey Voznesensky "The Stained Glass Master", traced the connection between its poetics and the art of stained glass. As you know, the relationship between literature and the visual arts is long-standing, but today this "commonwealth of muses" has become even stronger.
In A. Voznesensky's poems "Grove", "Beaver's Lament", "Song of the Evening" the idea is sharpened to the limit that, destroying the surrounding nature, people destroy and kill the best in themselves, exposing mortal danger their future on earth.
In the work of Voznesensky, moral and ethical quests are noticeably intensified. The poet himself feels the urgent need to update, above all, the spiritual content of poetry. And the conclusion from these reflections is the following lines about the vital purpose of art:
There is a higher goal of the poet -
Beat the ice on the lid,
To go warm from the cold
And confession to drink.
These impulses and aspirations were voiced in the books "Cello Oak Leaf" (1975) and "Stained Glass Master" (1976), "I yearn for sweet foundations." They also led to the emergence of other motifs, figurative strokes and details, for example, in the perception of nature. Hence - "Lovely groves of a shy homeland (the color of a tear or a harsh thread) ..."; "A pear that has died out, alone in the thicket, I will not break your beauty"; "Pine trees are blooming - candles of fire hiding in the palms of future cones ..."; "Fresh bird-cherries hang shavings ...". The poet, with some surprise, admits to himself: "I see, as if for the first time, the lake of beauty of the Russian periphery."
For the first time, Andrei Voznesensky's poems were published in the Literaturnaya Gazeta. In the 70s, collections of poems were published: "Shadow of Sound", "Look", "Release the Bird", "Temptation", "Selected Lyrics".
Voznesensky works on works of great poetic form, he wrote the poems Longjumeau, Oz, Led69, Andrei Palisadov, and others. His poems naturally grow out of his poems and rise among them like trees among bushes. These poems are impetuous, the images do not get stuck in everyday life and scrupulous descriptiveness, they do not want to slip. Space is given in flight: "television centers fly past Moore like a night cigarette." Spotlight - Time (s capital letter), epic Time:
I enter the poem
how to enter a new era.
Thus begins the poem Longjumeau.
The poet's reaction to the contemporary, the vital, is instantaneous, urgent, ambulance and the fire brigade, his words are round-the-clock and trouble-free. Painful, humane, piercing decisively and distinctly characterizes the work of the poet.
All progress is reactionary
if a person collapses.
Andrei Voznesensky also wrote articles on the problems of literature and art, did a lot of painting, some of his paintings are in museums.
In 1978, in New York, he was awarded the International Forum of Poets for outstanding achievements in poetry, and in the same year, Andrei Voznesensky was awarded the USSR State Prize for the book "Stained Glass Master".
Voznesensky's poems are filled with sound energy. Sounds flow freely, uninhibited and - most importantly - consciously. This is not a blind play on words, but a steady young breakthrough towards meaning, towards essence...
Andrei Andreevich Voznesensky (1933-2010) - Russian poet. He was born in 1933 in Moscow. Already at a young age, he developed an interest in fine arts, to music and entered the Moscow Architectural Institute, graduating in 1957. Voznesensky also showed interest in poetry early: at the age of fourteen, the teenager sent his poems to Pasternak, and the master highly appreciated them, saying that he waited for the arrival of a real poet in modern literature.
Voznesensky entered Russian poetry rapidly: in 1958 his first poems were published, the following year he wrote the poem "Masters". In 1960, the first collections of poems appeared: "Parabola" and "Mosaic", which brought fame to the author. The success of Voznesensky came at the peak of the nationwide popularity of poetry, his poetic manner was striking in its novelty and attracted by its closeness to the traditions of Russian futurism, that is, the connection with the legacy of Mayakovsky, Pasternak and poets of the early 20th century. Since 1961, Voznesensky's poetry has been widely recognized throughout the world: the poet performs in the United States, gaining popularity in Europe.
In 1964, Voznesensky published a collection of poems "Antimira", and soon a song and poetry performance was staged on the basis of this collection at the Taganka Theater. Interestingly, it was then that a creative meeting of two masters of our culture took place: the poet and singer Vladimir Vysotsky first appeared on the Taganka stage.
Ties with the theater subsequently strengthened even more: in 1980, Voznesensky wrote a poetic libretto, according to which the rock opera Juno and Avos is staged at the Lenin Komsomol Theater, which has become an outstanding phenomenon of our culture. As a true poet, Voznesensky is always receptive to modernity, as evidenced by his collection of poems On the Virtual Wind (1998).
Voznesensky's poetry combines the word and expressiveness of painting with architectural relief, so his poems have significant musical potential. For example, he skillfully described in verse the legend of the love of the artist Pirosmani: they merged the immensity of the sea Red roses and deep feelings. These verses were set to music by the composer Raimonds Pauls, and the song “A Million Scarlet Roses” was inspired by the singer Alla Pugacheva.
Born in Moscow in the family of a scientist. In 1957 he graduated from the Moscow Architectural Institute.
He published his first poems in 1958. In 1960, the first two collections of his poems and poems were published: Parabola in Moscow and Mosaic in Vladimir. This was followed by "40 lyrical digressions from the poem" Triangular Pear "(1962)," Antimirs "(1964)," Heart of Achilles "(1966)," Shadow of Sound "(1970)," Look "(1972)," Release the bird! "(1974), "Cello Oak Leaf" (1975), "Stained Glass Master" (1976), "Temptation" (1979), "Unaccountable" (1981), "Foremen of the Spirit" (1984), "Moat" (1987 ), "Axiom of Self-Search" (1990), "Russia, Poesia" (1991) and others.
Voznesensky is one of the leaders of the "pop" poetry of the 1960s, imbued with the spirit of innovation and emancipation of man from the power of obsolete dogmas. Voznesensky identified the main themes of his poetry in the Parabolic Ballad:
Sweeping canons, forecasts, paragraphs,
Art, love and history rush
On a parabolic trajectory!
Voznesensky refers mainly to intellectuals, "physicists and lyricists", people of creative work, and attaches paramount importance not to social and moral and psychological problems, but to artistic means and forms of its comprehension and embodiment. From the very beginning, his favorite poetic means is hyperbolic metaphor, akin to the metaphors of Mayakovsky and Pasternak, and the main genres are lyrical monologue, ballad and dramatic poem, from which he builds books of poems and poems.
Voznesensky began to create his poetic universe from the poem "Masters", where we are talking not only about the seven old Russian fellows builders of the "seditious temple", but also about "artists of all times". About himself, the poet then said:
I am the same artel
That the seven masters.
Rage in the arteries
Twenty centuries!
Among the "artists of all times" Voznesensky is especially close to architects, sculptors, painters (Michelangelo, Rublev, Rubens, Goya, Filonov, Chagall) and poets, whose work is somewhat akin to fine art (Dante, Mayakovsky, Pasternak, Khlebnikov, Lorca) . Expressive figurativeness is also characteristic of the poetry of Voznesensky himself, but the architectural vision of the world ("architects into poets") is especially clearly reflected in it. Quite early, even from the collection "40 lyrical digressions from the poem" Triangular Pear ", he began to introduce his lyrical prose into poetic books: small notes, articles, essays, essays. In the book" Ditch "of them formed a rather large" extension ", which included extensive essays "About", "I'm fourteen years old", "Foremen of the spirit".
Voznesensky was one of the first to feel an urgent need for "silence". Silence is necessary for the poet to communicate with nature, for love, for inner concentration and reflection on life, for gaining a sense of harmony, it is an alternative, a counterweight to the centrifugal movement of the century, its scientific and technological progress and disharmony. The love poem "Oza" is also connected with such silence. The theme of femininity is generally widely represented in Voznesensky's poetry: "Wedding", "Autumn", "You sit pregnant, pale ...", "They beat a woman", "Opposition of eyes", "Elena Sergeevna", "Ophelia's Song", "A woman beats "," Monologue of Merlin Monroe", "Ice-69", "Maybe!".
Theme Great Patriotic War is one of the most important in the work of Voznesensky. The "Ballad of 1941" is associated with it, later titled as "The Ballad of the Kerch Quarry", "Goya", "An Unknown Requiem in Two Steps, with an Epilogue", "Doctor Autumn" and other works. The poem "Ditch" is dedicated to the trial of gravediggers who mined gold and other precious things from the burial place of 12 thousand civilians, mainly Jews, who were shot by the Nazis during the war near Simferopol. The poet considers the crime of greedy people before the sacred memory of the victims of the war as the greatest sin, leading to the disintegration of the connection of times, to the rupture of spiritual and moral ties between people, generations, eras.
The theme of decay runs through all of Voznesensky's work, but over time its meaning changes significantly: if in the early period, in the 60s, the poet spoke of the collapse of old, obsolete forms of life and art that interfered with the birth and establishment of the new, then in 1980s first half of the 90s we are already talking about the decay of existential, life-building spiritual and moral values ("Rhapsody of Decay").
Voznesensky considers poetry and art ("Poetarch"), the ascetic activity of Russian intellectuals "foremen of the spirit" and the revival of Christian values to be an antidote to lack of spirituality and barbarism. Neo-Christian motifs in his work become very significant, starting with the poem "Andrei Polisadov" (1979), which tells about the life of the clergyman, the poet's great-great-grandfather. Creativity Voznesensky in its spirit and artistic structure is deeply dramatic, spectacular, theatrical and scenic. Based on his works, Yu. Lyubimov staged the play Antimirs at the Taganka Theater, R. Grinberg staged the stage compositions Parabola and Mosaic at the Ivanovo Youth Theater, A. Rybnikov wrote the rock opera Juno and Avos, and M Zakharov staged it at the Theater. Lenin Komsomol; R. Shchedrin "Poetoria", A. Nilayev - oratorio "Masters", V. Yarushin - rock oratorio "Masters".
Voznesensky experiments a lot in the field of art form, especially in last years, creates "videos" in which verses are combined with drawings, photographs, type compositions, the text is arranged in a certain form, for example, in the form of a cross ("Crucifixion" cycle). As conceived by the author, such visual poetry should combine visual perception with the spiritual.
Poetry by N. Rubtsov.
Nikolai Mikhailovich Rubtsov (1936-1971) was born on January 3, 1936 in the village of Yemetsk, Arkhangelsk Region. His childhood was not the best: at the age of 6 he loses his mother, and is forced to be brought up in orphanages. As soon as the poet grows up, he begins to study at the forestry technical school in Totma. From the age of 16, Nikolai begins to wander around the country. He was both a librarian and a stoker on a fishing boat, and served in the Northern Fleet. Despite such different types of work, fate still brings him to literature. And from 1962 to 1969 Rubtsov studied at Literary Institute them. Gorky.
Since the beginning of his studies, he has already begun to publish his poetic works.
Rubtsov's poetry is complex, but at the same time subtly developed, it is diverse rhythmically and lexically, it attracts sharpness of perception and freshness in it. His poetry can be compared with the artistic vision of the early V.V. Mayakovsky. Most of the poems are filled with philosophical meaning, which makes you remember the lyrics of F.I. Tyutchev, he does not forget about folklore imagery - a distinctive feature of S.A. Yesenin.
Like any poet, all Rubtsov's poems can be divided into several topics.
The most favorite theme in poetry is the theme of nature (more poems are dedicated to it).
Each of his poems reflects some specific knowledge. He is very sensitive to nature. In nature, he finds a reflection of eternity.
Rubtsov writes about what excites him, and for the reader he writes about the most important thing - about what delights and terrifies. Poetry for the author is a service of spontaneity, a kind of way out to the truth. It is possible to come to the truth only under the condition of possessing the enormous spontaneity that was characteristic of the author.
All his lyrics are marked by melody and melodiousness.
Its main symbol is the star, which expresses the mystery of mankind and acts as a symbol of the universe. With this symbol, he even connects the fate of the whole of mankind:
No, I will not be pleased - what are you! -
Lonely wandering star.
The soul of a person is directly connected in his works with a star that follows his every action:
The star of the fields in the icy haze,
Stopping, he looks into the hole.
It's already twelve o'clock,
And sleep enveloped my homeland...
The star is the whole Earth, all mankind:
The star of the fields burns without fading,
For all the anxious inhabitants of the earth,
Touching with its friendly beam
All the cities that have risen in the distance.
All the phenomena shown from an aesthetic point of view show harmonic unity and evoke unique feelings. In the poems one can hear notes of tenderness, excited joy, which is replaced by quiet sadness.
The poet tries to go in his poetry according to ancient mythological images. However, in his poetry traditional image the stars are transformed - it is colored with a warm feeling of love for the motherland.
The star is present in most of his texts.
In Rubtsov, any “object” turns into a subject, that is, into something that is capable of conducting a dialogue with a lyrical hero. His word is expressed by his state. The poet writes about nature only if he sees "souls" and "language" in it. The sound images in his poetry are based on animation, the unity of the sounds of nature and the sounds of human speech. Nature is able to express human actions - to suffer, rejoice, grieve, resent, and even take revenge. Each image, endowed with certain qualities, means something: a tree - a person, leaves - a dress, being late - separation. With the understanding of this symbolic meaning comes a genuine aesthetic enjoyment of the masterpiece of Rubtsov's lyrics.
In relation to society, the author does not deviate from his position. He also considers it with the help of symbols. people and them soul feelings compared with the sun, moon and star. We have already observed her mythological image earlier. Heavenly bodies are associated with happiness and purity:
The evening dawn began to fade,
And the midnight star has risen high.
Bright, morning dawn, yes, brothers,
engaged,
From under the dawn, a red sun rolls out ...
The sun is a symbol of beauty and happiness, respectively, the sunset appears in the image of death:
As if the sun
Red over the snow
Huge
Gone forever...
Every person dreams that there are no sad and negative moments in his life, and the environment around him only brings moral satisfaction. Let's try to turn to the poetic work "Autumn Moon". Apparently, the moon is a symbol of the very hope for which the majority of society lives:
So why, showing participation,
Meanwhile the moon was passing by
And shone in the darkness of bad weather,
Like a reflection of spring happiness,
Is she in unchanging beauty?
In the language of his poetry, there are different topics: Motherland, life and death, and many others. In his work, Rubtsov focuses on highlighting central collisions. All his themes are of a certain value, importance, since it is a component of the language of the poet's lyrics, expressing the main aspiration of his talent. The theme of the soul is an exception, since this direction is the central theme in Rubtsov's poetry. This is the “theme of themes”, because the poet comprehends any other topic precisely through it, through the unique originality of spiritual, moral life. lyrical hero. As he himself noted in a letter to one poet: “All the themes of the soul are eternal themes, they are eternally fresh and of general interest. In your poems, there is no main thing: your own, original view of the world, that is, the theme of the soul. This idea greatly worried the poet, this is evidenced by the fact that it finds not only its emotional and figurative embodiment, but was also expressed in a declarative and journalistic form that is quite rare for the poet:
What to write about -
it is not our will.
You alone
the world will not be glorified.
You took the theme of the field
and the theme of the sea
and the theme of mountains -
take another poet.
("What to write about")
The meaning of these lines is that life and art are inseparable.
The world of Rubtsov's lyrics is rather original, and it is far from easy to interpret it, although it looks absolutely clear and trustingly open to the mind and feeling of the reader. As for the external style, it can be called classic. The internal content seems to be contradictory and painfully dramatic. “The outer side of Rubtsov” is quite understandable to many, due to the fact that the language is harmonious, the meaning is ordered, the emotionality is conventional. "Internal Rubtsov" - available only to a true connoisseur of poetry. Just as the core is hidden under the shell of a nut, so the hidden semantics of the linguistic substance of the subtext is hidden under the thematic cut of the poetics of Rubtsov's verse. As a rule, the poet does not strive to decorate the language with smooth and understandable lines, does not look for various metaphors or sonorous, wayward rhymes. As if afraid of the tinsel, outwardly linguistic brilliance, poetic thought seeks and finds modesty and simplicity, but not at all a rustic linguo-aesthetic form.
