Themes and motifs of Voznesensky's modern poetry. Abstract: Voznesensky a
Artistic searches in the early poetry of Andrei Andreevich Voznesensky
Introduction
Yevgeny Yevtushenko, Andrey Voznesensky, Bella Akhmadulina, Robert Rozhdestvensky, Bulat Okudzhava... They began their literary journey from the atmosphere of Khrushchev's "thaw".
A. Voznesensky - a poet of the 60s. Born in Moscow. The son of a Moscow hydroengineer. From the same yard with Andrei Tarkovsky. In 1957 he graduated from the Moscow Institute of Architecture and marked this ending with the following verses: "Farewell, architecture! Burn wide, cowsheds in cupids, toilets in rococo!"
From that moment on, his life already completely belonged to literary creativity. In 1958 his poems appear in periodicals, and starting with the poem "Masters" (1959), Voznesensky's poetry quickly broke into the poetic space of our time, having received the recognition of millions of readers. “Your entry into literature is swift, stormy, I am glad that I lived to see it,” Pasternak wrote from the hospital.
His first poems were published in 1958 in Literaturnaya Gazeta and in the collection The Day of Russian Poetry. Already the first publications drew the attention of critics to a talented poet, with a fresh voice, energetic intonations and rhythm, unexpected imagery and sound writing.
In 1960, the books Parabola and Mosaic were published in parallel in Moscow and Vladimir. They were ambiguously perceived by poets and critics. Thus, one of the key poems for this period, “Goya” (1957), was reproached for formalism. The through permeation with consonances, internal rhymes is clearly felt in the program for the poet "Parabolic Ballad" (1958): "Fate, like a rocket, flies along a parabola / usually - in darkness and less often - along a rainbow"; "They go to their truths, bravely in different ways, / a worm - through a gap, a man - along a parabola."
Already in these relatively early poems, the originality of Voznesensky's poetic manner was manifested - the sharpness of seeing the world in its complexity and tragic contradictions, in rapid movement, "in figurative clots" (E. A. Yevtushenko), the power of lyrical feeling, the expressive-romantic nature of images, metaphors , associations, as well as the conciseness and dynamism of the language, lexical and intonational breadth, freedom and variety of rhythms, rich instrumentation of the verse. In his work, the influence of the poetics of B. L. Pasternak and V. V. Mayakovsky, V. V. Khlebnikov and M. I. Tsvetaeva, other poets of the Silver Age, a number of artists and architects of the 20th century is noticeable.
He put the metaphor at the forefront, calling it the "motor of form." Kataev called Voznesensky's poetry a "depot of metaphors".
His early metaphors were stunning: “eyes rush over the linden like a skidding motorcycle”, “my cat, like a radio receiver, catches the world with a green eye”, “and quiet tongues shine from dogs, like from lighters”, but sometimes shocked: “a seagull - swimming trunks of god". After Mayakovsky, there was no such metaphorical Niagara in Russian poetry.
Voznesensky had many opponents from his early youth, but no one could take away the fact that he created his own style, his own rhythm. He especially succeeded in an unexpectedly shortened rhyming line, then stretching the rhythm, then truncating it.
Voznesensky was one of the first poets of that generation who "opened a window to Europe" and America by giving poetry readings. From enthusiastic youthful notes: “Down with Raphael, long live Rubens!”, from playing with alliterations and rhymes, he moved on to more sorrowful moods: “we, like appendicitis, have been removed from shame”, “all progress is reactionary if a person collapses.” There were biographical reasons for all this.
In 1963, at a meeting with the intelligentsia in the Kremlin, Khrushchev subjected Voznesensky to all kinds of insults, shouting to him: "Take your passport and get out, Mr. Voznesensky!" However, despite temporary disgrace, Voznesensky's poems continued to be published, and the circulation of his books grew to 200,000. According to his poems, the performances "Antimira" in 1964 by the Taganka Theater and "Avos" at the Lenin Komsomol Theater were staged. Voznesensky was the first writer from the 60s to receive the State Prize (1978). Peru Voznesensky owns many essays, where he talks about his meetings with Henry Moore, Picasso, Sartre and other major artists of the XX century. Voznesensky is an honorary member of the American Academy of Arts.
The relevance of the study of course work is justified by the fact that in the 50s of the XX century a new generation of poets entered literature, whose childhood coincided with the war, and youth fell on post-war years.
A. Voznesensky and many others in their themes and genres, images and intonations, referring to different artistic traditions, sought to embody the features of the spiritual image modern man, his craving for intense thought, creative search, active action.
The purpose of the course work is to determine the vector of artistic search for the early poetry of A. Voznesensky
Give general characteristics poetry of the "thaw" period of the 60s
Determine the place of Voznesensky's work in the 60s
To identify the main themes and problems of the early poetry of A. Voznesensky.
1. General characteristics of the poetry of the "thaw" period of the 60s
Voznesensky artistic poet
The work of A. Voznesensky coincides in time with the period of the Khrushchev thaw. The Khrushchev thaw is an unofficial designation of the period in the history of the USSR after the death of I.V. Stalin (mid-1950s - mid-1960s). In the internal political life of the USSR, it was characterized by the liberalization of the regime, the weakening of totalitarian power, the emergence of some freedom of speech, the relative democratization of the political and public life, openness to the Western world, greater freedom creative activity. The name is associated with the tenure of the First Secretary of the Central Committee of the CPSU N. Khrushchev (1953-1964).
For all the conventionality of dividing history (including literary history) into decades, it appears quite clearly in reality itself, although, of course, the chronological boundaries of a single stage singled out in this way do not coincide with the boundaries of calendar decades. So in the 20th century, the 60s in life and literature did not begin on January 1, 1961, and not in last days 1970 is over. This period is marked, on the one hand, by such events as the death of I.V. Stalin (March 1953) and the XX Congress of the CPSU (February 1956), and on the other hand, the removal of N.S. Khrushchev in October 1964, with the trial of the writers Y. Daniel and A. Sinyavkin (January 1966).
These years also have not a digital, but a figurative definition, repeating the title of the same year, 1954, of the novel by I. Ehrenburg, the thaw. As the mentioned events of the second half of the 1960s confirmed, it turned out to be accurate, although at the time of its entry into circulation it was difficult for optimists to accept it, since it did not exclude doubts about the irreversibility of the changes that were taking shape in the country.
The middle of the 1950s was a new starting point for the Khrushchev thaw. The famous report of N.S. Khrushchev at the “closed” meeting of the XX Party Congress on February 25, 1956 marked the beginning of the liberation of the consciousness of the many millions of people from the hypnosis of Stalin’s personality cult. The era was called the “Khrushchev thaw”, which gave birth to the generation of the “sixties”, its contradictory ideology and dramatic fate. Unfortunately, to a genuine rethinking Soviet history, political terror, the role of the generation of the 20s in it, the essence of Stalinism, neither the authorities nor the "sixties" fit. But in literature there were processes of renewal, reassessment of values and creative searches, the first few years of the “thaw” became a real “poetic boom”.
Poetry began to realize the experience of literary movements and schools of the early twentieth century. This was facilitated by a moral atmosphere that engendered courage (say what you want), honesty (say what you think). The poets tried to connect to the interrupted historical experience. In this regard, the words "love", "friendship", "partnership" and others have regained their ideological value. Poets are trying to fight against the universalities embedded in literature: the abuse of slogan words, bureaucracy, praise and other attributes of a totalitarian system built on lies and fear.
Passion for poetry has become the banner of the times. People were ill with poetry then, neither before nor later in poetry and in general in literature were not particularly interested. Poetry readings for the first time in national history began to gather crowds of young people.
A youth environment was created, the password of which was knowledge of the poems of Pasternak, Mandelstam, Gumilyov. In 1958, a monument to Vladimir Mayakovsky was solemnly opened in Moscow. After the official opening ceremony, at which the planned poets performed, poetry began to be read by those who wished from the public, mostly young people. The participants of that memorable meeting began to gather at the monument regularly. Meetings at the monument to Mayakovsky during 1958-1961. increasingly political overtones. The last of these took place in the autumn of 1961, when several of the most active participants in the meetings were arrested on charges of anti-Soviet agitation and propaganda.
But the tradition of oral poetry did not end there. It was continued by evenings at the Polytechnic Museum, and later at Luzhniki. Young poets - Yevgeny Yevtushenko, Andrei Voznesensky and Bella Akhmadulina - became real idols of the "thaw", speaking from the poetic "stage".
They were a group of actors with different roles, perfectly complementing each other. Yevtushenko was a poet-tribune, aimed at a dialogue with each of those sitting in the hall. Voznesensky gave a broad vision of the world, making each listener involved in global problems. Akhmadulina brought in a note of mysterious intimacy. Considering creativity as a sacrament, she, as it were, communed her readers and admirers to this sacrament.
The authorities allowed Yevtushenko, Voznesensky, Akhmadulina, Rozhdestvensky to speak in public, believing that such a phenomenon was necessary so that the people could “let off steam”. These poets were needed by the authorities, although she did not trust them in everything. These poets were called in criticism. That was the title of an article by S. Rassadin, dedicated to those who were part of literature in those years. They entered boldly and noisily, testifying with their pages that poetry, prose, criticism, dramaturgy are being released from the lethargic state in which they were during the years of Stalinist totalitarianism.
From the present day it is clear that the spiritual renewal of society, begun at that time, was in many respects half-hearted and compromise. According to the self-critical confession of one of them, critic V. Ognev, the "Sixties" strove to "be as honest as possible." They, defending positions that a little later will be called "socialism with a human face", hoped to restore the seemingly lofty ideals of the revolution, to cleanse them of distortions and dogmas associated with the "cult of personality", in a word - to test socialism - humanism. In the light of the events of the most recent years these romantic efforts may seem Sisyphean, if not naive at all.
Dementiev wrote (Granite of Verse) - “The Sixties actively supported the “return to Leninist norms”, hence the apologetics of V. Lenin (poems by A. Voznesensky and E. Yevtushenko, plays by M. Shatrov, prose by E. Yakovlev) as an opponent of Stalin and romanticization civil war(B. Okudzhava, Yu. Trifonov, A. Mitta).
The Sixties are staunch internationalists and supporters of a world without borders. It is no coincidence that revolutionaries in politics and art were cult figures for the sixties - V. Mayakovsky, Vs. Meyerhold, B. Brecht, E. Che Guevara, F. Castro, as well as writers E. Hemingway and E. M. Remarque.
On the other hand, modernist poetry began to play an important role among the "sixties". For the first time in Russian history, poetry readings began to gather crowds of young people.
One of the symbols of the generation of the “thaw” era was Andrei Andreevich Voznesensky. He entered, or rather, burst into literature brightly, swiftly. Like Yevtushenko, Voznesensky became the leader of the poetic avant-garde of the new time. The collections of poems Parabola, Mosaic, Terangular Pear, Antiworlds, published in the early 60s, made it possible to say that an original poet appeared, with his own world , its system of images, a new vision of problems. Voznesensky's works immediately drew attention to themselves with the freshness of sound, the energy of rhythm, a special metaphorically rich language, unexpected associations, a wealth of poetic means, and genre diversity (elegy, ballad, lyrical monologue, dramatic poem, love confession, dialogue, landscape painting, satirical portrait, reportage).
In the work of the young poet, there was a peculiar synthesis of lyrics and philosophical principles, the emancipation of feelings, thoughts of the verse. Voznesensky is one of the leaders of the "pop" poetry of the 1960s, imbued with the spirit of innovation and the 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,
Rushing art, love and history -
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, hyperbolic metaphor, akin to the metaphors of Mayakovsky and Pasternak, becomes his favorite poetic means, and the main genres are lyrical monologue, ballad and dramatic poem, from which he builds books of poems and poems.
Already at the time of early creativity, the poet had a serious stock of knowledge. Architecture and music, mathematics and sopromat, the history of painting and the history of poetry. This is important to know: architecture influenced the poems, especially the Vladimir school, among the images of which the poet spent his childhood. Later, Andrei Voznesensky was fond of Italian baroque.
Voznesensky introduces the living outlines of this year, month, day, moment into his poetics, each time rethought anew.
Voznesensky's poetics is characterized by a special rhythmic pattern, characterized by "relief", "bulge": at the climax, the poet does not amplify the sound, but, on the contrary, muffles it. At the same time, the few remaining emotional outbursts stand out and turn into shock points. His poems are always compositionally built, "architectural". .
Reality gives him events, facts, names, dates. the poet, open to the impression of life, absorbs everything into himself, and his verse, like a seismograph, sensitively reacts to shocks in the public consciousness of compatriots and contemporaries. Not everyone likes the frankly experimental poems of Andrei Voznesensky. His "isopes" were met with hostility by some, the verses, excessively overloaded with inversions, were hardly perceived.
An important feature of his poetics is numerous internal rhymes, sound repetitions. First, a rhyming consonance arises, then it is picked up by numerous echoes within subsequent lines, multiplying endlessly and echoing other consonances.
In the books of Andrei Voznesensky, the sound energy of the verse sparkles and splashes. Sounds flow easily, naturally. This is not a thoughtless play on words, as some critics seem to think, but a constant young breakthrough to meaning, to essence. The sharpness of sound in the poetry of Andrei Voznesensky over the years more and more acquires the sharpness of meaning. The language of his poetry is the language of modern man. V modern speech the poet is looking for the perfect grain. But for successful selection, you need to winnow the chaff in tons, discard the husk.
All were successful with the general public. The poet's humanism, citizenship, democracy, confession, temperament, emotionality, fusion of various social and speech styles, complete dedication expanded the audience of his admirers, attracted all general attention.
Andrei Voznesensky is a gifted, original poet. He has a keen sense of modernity, intense lyricism, an inherent craving for the ambiguity of images, for associations compressed like a steel spring, for unexpected, often grotesque, metaphors. He is unlike anyone else and sometimes even fervently flaunts his originality. But he works seriously and a lot. Predominant attention to the form of verse does not exclude the presence of a fairly stable theme in Voznesensky. Most of his poems are narrative. Among the themes developed by the artist are the problems of culture and civilization, matter and spirit (“world” and “anti-world”). .
2. The main themes and problems of the early poetry of A. Voznesensky
The poetic process of the 1960s is a broad, complex, and ambiguous phenomenon. There was even an opinion about the crisis in the poetry of this time. The revival of literary life was largely facilitated by the work of then-beginner poets - E. Yevtushenko, R. Rozhdestvensky, B. Akhmadulina, A. Voznesensky, who spoke with topical civil verses. It was from these poets that the term "pop poetry" originated.
Let's turn to the work of Andrei Voznesensky, and specifically - to one of his most striking poems - "Live not in space, but in time ...". Voznesensky is an "urban" poet, but he also sometimes got tired of "being" and turned to "eternal themes", emotional experiences.
In fact, in this poem, the author departs from everyday topics that are so characteristic of his poems. Merging together in a person's life two dimensions - temporal and spatial, he does not draw conclusions and does not impose a single solution for everyone. Voznesensky leaves the choice to man, although he himself, of course, chooses a “temporary” life, which is measured not only by earthly life, but also by eternal life.
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. Lyrical hero 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 verses of the collections Parabola and Mosaic (1960), energetic intonations and rhythms, unexpected figurativeness and sound writing in places turned into a passion for the formal side of the verse.
The poems of his first two books are full of youthful expression. The author seeks to convey in them the furious pressure of the surrounding world. But already in the collection Anti-Worlds (1964), Voznesensky's poetic manner becomes more refined and rationalistic. Romantic expression, as it were, "freezes" into metaphors. Now the poet does not so much participate in the events he talks about as he watches them from the side, choosing unexpected and sharp comparisons for them. .
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".
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 fine arts old, but in our days this "commonwealth of muses" has become even stronger.
In A. Voznesensky's poems "Grove", "Beaver 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 porch,
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."
“Explaining why he does not spare the years devoted to architecture, Voznesensky wrote in the preface to The Cello Oak Leaf: “Any serious architect begins the examination of the project with a plan and a constructive section. The facade is for the uninitiated, for onlookers. The plan is a constructive and emotional knot of a thing, however, its nerve.
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".
According to Voznesensky, a person is the builder of the time in which he lives:
… minute trees are entrusted to you,
own not forests, but hours.
And here the poet says that time is above all. And it is precisely this that protects humanity, its life from oblivion and destruction: "live under minute houses." The idea is paradoxical, but very accurate, I think.
Thus, we can say that the author clothes everything material, spatial, in a temporal fabric. Even his House is equated with time. These are two parallel lines that eventually intersect. Even Voznesensky proposes to replace clothes with time, because it is more expensive than the most valuable furs:
and shoulders instead of sable to someone
wrap up in a priceless minute...
Indeed, time is the best gift for any person, but, unfortunately, giving it is in the power of only higher powers, God.
It is worth noting that rhyme is generally not characteristic of Voznesensky's poems. V this poem he rhymed only the first and second stanzas - those that are devoted to the material side of human existence. The other two stanzas not only do not rhyme, but are also constructed asymmetrically (five and two verses each). They are the same as time itself, which is what the poet says in the first verse of the third stanza: “What an asymmetrical Time!”
The pathos of the poem "Live not in space, but in time ..." is based on the opposition - time and space. And although the poet puts them at different poles of human life, one is impossible without the other. However, people cannot exist without them.
Interestingly, there is no concretization in the poem - there is neither a lyrical hero, nor an appeal to someone personally. Everything is generalized, and at the same time with regards to everyone.
Voznesensky proves that his life is not the same as that of the reader, but one that the reader must certainly strive for. And although this is not directly indicated in the poem, it is felt. To become an artist, a person, you need to live "in time". That is, emphasizing the distance, Andrei Voznesensky at the same time called for it to be overcome.
And this real, alluring achievability of joining the world of art fascinates and seduces. After all, it is people like the poet who live in time for a long time, even after their bodily life.
Strange comparisons, very accurate and frightening, are given by the author in the penultimate stanza. It makes me shudder to realize that it's true that:
The last minutes - in short,
The last parting is longer...
And you can't write anything here - it's true. The forcing in the stanza of an atmosphere of hopelessness, but the possibility of changing everything, of choice, emphasizes the repetition of the word “last”.
Dying - in space,
Live - in time.
And here the choice is up to everyone - where he wants to live, what memory of himself to leave. This is probably one of the eternal, but so strangely expressed in a poem by a modern poet, a question.
Analysis of early poetry collections. features of poetics. The role of metaphor, paradox, irony in Voznesensky's work.
One of the early poetry collections of Andrei Andreevich Voznesensky was called Achilles heart (1966). On its inside cover was a cardiogram. It is difficult to imagine a better image to understand the poet. Achillesian, i.e. unprotected, vulnerable, easily vulnerable, the heart reacts sharply to cruelty and injustice, insults and insults, responds to all sorrows and pains.
Voznesensky is a poet of the second half of the 20th century. This is clear from his poetry. Moscow and California, the airport in New York and the stars over Mikhailovsky, I'm in Shushenskoye and When he wrote to Vyazemsky - such freedom of movement in time and space is typical for our contemporary.
Time stress and passion - both in his language and in his verse. First of all, Voznesensky is a poet of sharp and intense thought. At the same time, his professional knowledge of architecture and painting contributed to his interest in poetic form. Hence - the harmonious architectonics of his poems, the accuracy of epithets, the musicality of sound writing:
* Glorified Shadow!
* What is screaming annoyingly
* record - like a target,
* broken into the top ten ?
Reading Voznesensky is an art. Simply unraveling the poet's metaphors will not give the desired result. We must accept as our own his pain for a man, his hatred of meanness, philistinism, vulgarity, his angry warning about the possibility of a spiritual Hiroshima. But Voznesensky not only resents and hates - he proclaims and affirms: All progress is reactionary if a person collapses.
* What else is extraordinarily important to him?
* Russia, beloved,
*This is not a joke.
* All your pains - they pierced me with pain.
* I am your capillary
* vessel,
* It hurts when -
* it hurts you, Russia.
A feeling of deep compassion, a desire to help inspired the poet to create a poem From a Tashkent report , written as a response to the famous earthquake of 1966. The unusual images with which he recreates this tragedy no longer seem either strange or paradoxical. Voznesensky stands up for high spiritual values, for a noble, selfless, whole person.
He is the author of poetry collections triangular pear (1962), Antiworlds (1964), Shadow of sound (1970), Oak leaf cello (1975), Stained glass master (1976), moat (1987), Axiom of self-searching (1990) and others. Voznesensky is the creator of the video genre, which arose at the intersection of poetry and painting.
The theme is the fate of the masters in the poem "Masters".
One of the central themes of Voznesensky's poetry is the fate of the masters. This topic was started in the poem "Masters", in which speech and children are about the builders of the "Seditious Temple".
Poem "Masters"
Your hammer is not a column and
tesal statues -
knocked crowns off their foreheads
and shook the thrones.
A. Voznesensky
Andrei Voznesensky literally burst into poetry in the sixties. He was characterized by youthful enthusiasm, surprise and admiration for this wonderful world in which he was destined to live and create.
Poem Masters immediately put forward Voznesensky in the category of popular and extraordinary authors. There was so much youthful passion and poetic energy in the work, its rhythm was so impetuous, and the painting of the throw was unexpected, that they immediately started talking about the poet and arguing.
Bells, horns...
Ringing, ringing...
Painters
All times!..
Your hammer is not a column
And he tesal statues -
Knocked down from the foreheads of the crown
And shook the thrones.
This poem is imbued with the idea of the immortality of true art. Nothing has power over him, not even ruthless time.
original artist -
Always a tribune.
It has the spirit of revolution
And forever - rebellion.
You were walled up.
They burned at the stake.
Monks by ants
They danced on fires.
Art was resurrected
From executions and from torture
And it beat like a chair,
O stones of the Moabites.
For the plot, Voznesensky takes a dramatic legend about the masters who built the miraculous temple - the Intercession Cathedral, popularly known as St. Basil's Cathedral, and about the blinding of the masters so that they would not create an even better temple anywhere else.
They were brave - seven,
They were strong - seven,
Probably from the blue sea
Or from up north
Where is Ladoga, meadows,
Where the rainbow is the arc.
They laid masonry
Along the white shores
To soar, like a rainbow.
Seven different cities.
The poem is written in a sonorous, bright language. The rhythm changes from chapter to chapter. iron rattle and clarity in the first chapter to a reckless buffoon song in the second and third.
Curls - shavings,
Hands - on planes.
Furious, Russians,
Red shirts...
The cold, the laughter, the clatter of horses and the sonorous barking of dogs.
We, like devils, worked, and today - drink, walk?
The poet, as it were, combined two times. With youthful enthusiasm, fearlessly, he describes the distant past, does not try to stylize his language as Old Russian speech, but speaks in a language familiar to him and his readers.
And the temple burned in half the sky,
Like a slogan for rebellion
Like a flame of anger
Scuttling Temple!
The authorities always see a threat and sedition in creativity, trying to strangle the creator. But it is impossible to kill art, it will exist as long as people live.
Not to be, not to be, not to be cities!
Patterned towers do not swim in the fog.
Neither the sun, nor arable land, nor pines - not to be!
Neither white nor blue - not to be, not to be.
And the rapist will come out to destroy - to kill ...
There will be cities!
Over the expanse of the universe
In the forests of gold
Voznesensky,
I will raise them up!
Thus, the connection of times was realized. The poet feels himself the heir of his fathers and grandfathers, the successor of their ideas:
I am the same artel
That the seven masters.
Rage in artels,
Twenty centuries!
I am a thousand-armed
by your hands,
I am thousand-eyed
with your eyes.
I exercise
in glass and metal
didn't dream...
The theme of creativity and skill is always relevant, at all times. In addition, the poem raises the question of power and the creator. They are always at odds with each other. Voznesensky's poems are full of sound energy. Sounds flow easily, naturally and - most importantly - meaningfully. This is not a thoughtless game of words, but a constant young breakthrough to meaning, to essence ...
Conclusion
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...
In this work, the vector of artistic searches of A. Voznesensky's early poetry was determined, the main themes and problems of A. Voznesensky's early lyrics were identified.
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.
In the course work, the method of analysis identified and analyzed the main directions of creativity of the poets of the sixties, and in particular A. Voznesensky. This is the theme of creativity and skill, as well as philosophical themes: life and death, justice and injustice, power and burden, morality and immorality, and other topics relevant to modern man. That is why Voznesensky's poetry will be relevant at all times. 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 perspective of this study lies in the fact that creativity and especially the deep meaning embedded in the poems not only by A. Voznesensky, but also by many other poets of the sixties is not fully studied, therefore, the study of the work of poets of this period will also be relevant at all times.
Bibliography
1. Agenosov A., Ankudinov K. Modern Russian poets: a Handbook. - M.: Megatron, 2007
2. Journal of Criticism and Literary Studies, 2011
Mikhailov A. A. Selected works: in 2 volumes / Mikhailov A. A. M., 2006 - T. 2. - S. 440-447
Oscotsky V.D. Evtushenko E A // Russian Writers of the 20th Century: Biographical Dictionary - M., 2010.- P.254
Rassadin St.. The Time of Poems and the Time of Poets // Arion No. 4. 199
6.Voznesensky Andrey Andreevich Literary forum knigostock [Electronic resource] View topic - knigostock.com
7. Poetry of the second half of the 20th century: A.A. Voznesensky » Essays on Literature, Unified State Examination in Literature 2013, Literary Theory, Analysis of Works [Electronic resource] 5litra.ru
Novikov V.. Plain text (Poetry and prose of Andrei Voznesensky) // V. Novikov. Dialog. M.: Sovremennik, 2006
Smola O.P. "If words hurt ....." A book about a poet - M., 2008 - P.301
Skorino L.. Afterword // Voznesensky A. Heart of Achilles. M.: Fiction, 2006.
The lines of the century. Anthology of Russian poetry. Comp. E. Evtushenko. Minsk-Moscow, "Polifact", 2009. I didn't take much here either.
Municipal Budgetary Educational institution"Secondary School No. 5"
Abstract on the topic "Features of the lyrics of Andrei Voznesensky"
Completed by: 9th grade student
Bondar Olga
Teacher of Russian language and literature:
Valiulina Anna Alexandrovna
Kogalym 2013
Probably every person at least sometime in his life looked into the night sky and saw the stars. We do not think that many of them are no more. They died, and only the light remained, which flies to us through the black void to tell about the life of that star. The words that we read on paper are the light of the author's consciousness, which has come down to us after many years. Andrei Voznesensky is a whole constellation of thoughts and ideas. Some of them die, others are reborn and live a long time, leaving a mark in our hearts. The author embodies his ideas in the image of Count Rezanov:
I marvel, Lord, at you!
Truly, who can, he does not want.
You are dear, who poses virtue,
And I do not fit in their crowd.
How the sky did not care about my affairs
So I spit on the mercy of heaven.
As it turned out, one can believe in God and at the same time despise and hate him. The world created by the poet, whom he is the Lord God and himself establishes the laws of being, makes us change ourselves and the reality around us, pushes us to crazy actions. Sometimes it makes us give up everything and start life anew. Striving for perfection is an integral part of any art. And its main goal is the search for Truth. But art never gives ready-made answers. It can only help, push, show the way, and you will have to walk along it yourself ...
Everything becomes secret clear.
Is it under the whistle
open our arms, wither -
How are the sinks not buzzing?
In the meantime, press, mess,
on the shell elastic spin!
It brings us into each other.
"Frozen"
In modern critical literature, it has recently become fashionable to draw parallels between Voznesensky and the greatest poets of the first half of the 20th century. Very often this turns into an accusation of plagiarism. For example, the critic Stanislav Rassadin, in one of his articles entitled "The Time of Poems and the Time of Poets" tries to prove that much of Voznesensky's work is an exact copy of the poetry of Pasternak, Mayakovsky and Tsvetaeva.
In the work of Voznesensky, as in Pasternak, there is an image of snow, but it symbolizes something else. If Pasternak has snow - a "hidden man" coming "out of secrecy and to avert eyes":
It's snowing and everything is in turmoil
Everything takes flight
black stairs steps,
Crossroad turn…
(B. Pasternak. After the blizzard)
For Voznesensky, it is a whistleblower, does not smooth out corners, but, on the contrary, designates, emphasizing contrasts and revealing flaws, that is, it does not harmonize life through art, but demonstrates all its shortcomings and vices:
The Negro leaned on the bumper like plowmen.
The snowdrift is swinging. "Viv Lamour!"
And you're in a Volkswagen, like cranberries in sugar,
where are you going - close your eyes!
(A. Voznesensky. Blindly.)
It seems to us that the borrowings identified by the critic are only a reflection of the motives and images of other poets in Voznesensky's work. Therefore, it is much more interesting and useful to see which poets left their mark on the work of Andrei Andreevich, which ideas he continued, developed and changed.
One of the images-symbols that run through the entire work of Voznesensky is the image of the Motherland-Russia. He admires his homeland and talks about her, his beloved:
There is a temple of the Miraculous Mother.
From the wall leaned into the pond
white buttresses,
like horses drink water.
(From the poem "Perhaps").
Andrei Voznesensky is a gifted and original poet. He has a sense of modernity, a craving for the ambiguity of images, intense lyricism. His work is characterized by concise associations and neologisms, often by grotesque metaphors. He is not like anyone else.
The drama that is so inherent in the lyrics of Andrei Voznesensky arises where a new attitude to the world clashes with the real contradictions of modern reality.
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.
Voznesensky's lyricism is a passionate protest against the danger of spiritual Hiroshima, that is, the destruction of everything truly human in a world where things have seized power, and the "soul" has been vetoed.
In his poems, there is the voice of those who withstood the mortal struggle against Nazism, who could rightfully say: “I shot up in one gulp to the West, I am the ashes of an intruder!”, As well as the voice of a new generation of anti-fascists, calling not to forget about the threats new war, already atomic.
Why two great poets
preachers of eternal love,
don't flash like two pistols?
Rhymes are friends, but people - alas ...
Why two great nations
cold on the brink of war
under the fragile tent of oxygen?
People are friends, but countries - alas ...
Two countries, two heavy palms,
destined for love
head in terror
the devil-those that have done the Earth!
About creativity, about myself, about Russia, about the century - thoughts, insights of a person who, it seems, no longer belongs to this world. He speaks, recites poetry. Whispering, through strength, overcoming the disease.
“Creativity is such a thing that you can’t write badly. When you write well, it’s good luck,” says Andrei Voznesensky in his last interview.
Popular pop songs were written to the poems of the poet: “Give me back the music”, “I will pick up the music”, “Drum dance”, “Song for an encore” and the main hit “A Million Scarlet Roses”. Song in performanceEvgenia Osina“The girl in the machine is crying”, which became popular in the early 90s, has been known since the late 60s as one of the numbers of the yard musical urban culture. In fact, this is a song based on the poem by A. A. Voznesensky “First Ice”. The lyrics have been changed in places.
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"Variety Poetry". This term usually refers to a historically specific phenomenon in the history of Russian literature, when at the turn of the 1950s and 1960s, several poets (primarily Bella Akhmadulina, Andrei Voznesensky, Evgeny Yevtushenko, Bulat Okudzhava, Robert Rozhdestvensky) began to read their poems at the Polytechnic Museum, at the Sports Palace in Luzhniki, in other halls designed for hundreds and thousands of listeners. This practice, back in the pre-television era, firstly, made them undisputed literary stars, and secondly, it directly affected the nature of the “pop” poems themselves, stimulating the tendency of these poets (and their followers) to increased communicativeness, forced vivid imagery, confessional and preaching pathos, aphorism and publicism, spectacular oratorical gestures. The voice and demeanor of the poet, his image, the legend that envelops his image, while being an organic and integral part of the lyrical message, facilitate its assimilation by the widest possible audience of listeners.
In the work of "pop" poets, the pathos of aesthetic "remembrance", restoration, became a powerful artistic factor, since there was a strong feeling of a break in tradition, a loss of cultural memory. Neomodernist tendencies developed: “all liberal sixties are essentially neomodernism” (Kulakov V., 1999, p. 70). For some of them, direct and indirect contacts with the classics of the “Silver Age” were important (the apprenticeship of A. Voznesensky with B. Pasternak, the cult of A. Akhmatova and M. Tsvetaeva in the poetry of B. Akhmadulina). "Loud Lyrics" inherited the traditions of Russian futurism and post-futuristic Soviet poetry of the 1920s. with her pathos of Komsomol romance, focusing primarily on constructivism and the late V. Mayakovsky, from whom she received the strongest creative impulses, adopting his citizenship, giving the personal meaning of the universal, and experiencing the general as personal. The "bareness" of feelings, the harsh truthfulness of the image, the fearlessness of vision in the verses of the "variety people" refer to the closest predecessors - the poets of the front generation.
One of the most characteristic features of the poetry of the 50-60s. were polemical, militant pathos, social activity. There was an ongoing discussion on the most pressing issues of our time. At the same time, the fates of individual people, the life of the country, world events “passed through themselves”, resonating on them with the utmost emotionality, with lively spontaneity.
The undoubted leader of "pop poetry" was Yevgeny Yevtushenko. Despite all the (mostly fair) reproaches that sounded then and subsequently for excessive didacticism and rhetoric, the low level of artistry of many lyrical works, his work is important for understanding the literary life of those years, as it embodied all the ideological and aesthetic advantages and disadvantages "Thaw" movement and the poetic direction, which has become its integral part.
Like the poet E.A. Yevtushenko was born from the social situation of the mid-1950s. The strongest stimulus for the development of his artistic thinking was the journalistic, socio-political pathos that dominated literature. Gradually, the poet found himself in the center of the reader's attention due to his talent, civic temperament, and ability to touch a nerve. His poetry continues the traditions of Russian classics of the 19th century. (A.S. Pushkin, M.Yu. Lermontov, the role of N.A. Nekrasov is especially great) and modernist poetry of the turn of the 19th-20th centuries: “It is known how Yesenin, Mayakovsky, Pasternak argued among themselves. I would like to reconcile them within myself ... "(Evtushenko E.A., 1989, p. 256)
A.A. Voznesensky is the poet of the century of the scientific and technological revolution and the most severe crisis of humanism. This state expresses itself primarily through the poetics of the tropes. Metaphors are especially characteristic in this regard, since the author understands the metaphor “not as a medal for artistry, but as a mini-world of the poet. In the metaphor of every major artist - the grain, the genes of his poetry "(Voznesensky A.A., 1998, p. 76). In the associative field of metaphors of the early A.A. Voznesensky, the latest ideas and concepts born of the era of the scientific and technological revolution and modernity are drawn in: rockets, airports, anti-worlds, plastics, isotopes, beatniks, rock and roll, etc. The signs of scientific and technological revolution are accompanied by images of Russian antiquity, great artistic achievements and echoes of global events.
Constructing a metaphor, A.A. Voznesensky often unexpectedly brings together concepts that are incommensurable with each other: “My self-portrait, neon retort, apostle // of the gates of heaven - / airport!” (“Night airport in New York”, Voznesensky A.A., 2000, vol. 1, p. 75). His poetry plays with semantic echoes of sounds. In this setting for a formal experiment, the self-awareness of the lyrical hero is expressed - a person who is thirsty for new impressions and looking for new life ideals. His thinking is cosmopolitan, his vision is panoramic, he is characterized by movement in time and space: Moscow and California, the airport in New York and the stars above Mikhailovsky.
Poetry A.A. Voznesensky is extremely personal. Here everything ultimately comes down to the "I" and everything comes out of it. Lyrical expansiveness of A.A. Voznesensky tends to expressive personification, the spread of which in the poetry of the second half of the 20th century. he set the tone with his famous "I am Goya!" (“Goya”, ibid., p. 15). The poet perceives the troubles and joys of the country, the whole world as his own and calls for a revolutionary transformation of life.
characteristic property Rozhdestvensky's poetry is constantly pulsating modernity, the living relevance of the questions that he poses to himself and to us. These questions concern so many people that they instantly resonate in a wide variety of circles. If you line up the poems and poems of Rozhdestvensky in chronological order, then you can be sure that the poet's lyrical confession reflects some of the essential features inherent in our social life, its movement, maturation, spiritual gains and losses.
Gradually, the external overcoming of difficulties, the entire geographical surroundings of youth literature of that time are replaced by a different mood - the search for internal integrity, solid moral and civic support. Journalism bursts into Rozhdestvensky's poems, and with it the unceasing memory of a military childhood: this is where history and personality for the first time dramatically united, determining in many respects the further fate and character of the lyrical hero.
In the poet's poems about childhood - a biography of a whole generation, his fate, decisively determined by the mid-1950s, the time of serious social changes in Soviet life.
A large place in the work of Robert Rozhdestvensky is occupied by love lyrics. His hero is whole here, as in other manifestations of his character. This does not mean at all that, entering the zone of feeling, he does not experience dramatic contradictions and conflicts. On the contrary, all Rozhdestvensky's poems about love are filled with disturbing heart movement. The path to the beloved for the poet is always a difficult path; it is, in essence, the search for the meaning of life, the one and only happiness, the path to oneself.
Turning to current poetic themes(struggle for peace, overcoming social injustice and national enmity, lessons of the Second World War), problems of space exploration, beauty human relations, moral and ethical obligations, difficulties and joys Everyday life, foreign impressions, Rozhdestvensky, with his energetic, pompous, "fighting" letter, continued the traditions of V. V. Mayakovsky.
Question 29.
A significant phenomenon in the literature of the seventies was that artistic trend, which was called "quiet lyrics". "Quiet lyrics" appeared on the literary scene in the second half of the 1960s as a counterbalance to the "loud" poetry of the "sixties". In this sense, this trend is directly related to the "thaw" crisis that becomes apparent after 1964. "Quiet Lyrics" is represented mainly by such poets as Nikolai Rubtsov, Vladimir Sokolov, Anatoly Zhigulin, Anatoly Prasolov, Stanislav Kunyaev, Nikolai Tryapkin, Anatoly Peredreev, Sergey Drofenko. "Quiet lyricists" differ greatly in the nature of creative individuals, their social positions do not coincide in everything, but they are brought together, first of all, by their orientation towards a certain system of moral and aesthetic coordinates.
They contrasted the publicism of the "sixties" with elegiacism, dreams of social renewal - the idea of returning to the origins of folk culture, moral and religious, and not socio-political renewal, Mayakovsky's tradition - they preferred Yesenin's tradition (such a restrictive binary opposition as "Mayakovsky-Yesenin" , was generally characteristic of "thaw" predilections: similar demarcations concerned Akhmatova and Tsvetaeva, Yevtushenko and Voznesensky, physicists and lyricists, etc.); the images of progress, the scientific and technological revolution, novelty and Westernism were contrasted by the "quiet lyricists" with the traditional emblems of Russia, legendary and epic images, church Christian attributes, etc.; they preferred emphatically "simple" and traditional verse to experiments in the field of poetics, spectacular rhetorical gestures. Such a turn in itself testified to a deep disappointment in the hopes aroused by the "thaw". At the same time, the ideals and emotional structure of the "quiet lyrics" were much more conformal to the impending "stagnation" than the "revolutionary romanticism" of the sixties. First, in "quiet lyrics" social conflicts as if introverted, losing their political acuity and journalistic vehemence. Secondly, the general pathos of conservatism, that is, preservation and revival, was more in line with "stagnation" than the sixties dreams of renewal, of a revolution of the spirit. On the whole, the "quiet lyric" sort of took out such an important category for the "thaw" as the category of freedom, replacing it with a much more balanced category of tradition. Of course, in the "quiet lyrics" there was a serious challenge to the official ideology: under the traditions, the "quiet lyricists" and the "villagers" close to them understood by no means revolutionary traditions, but, on the contrary, the moral and religious traditions of the Russian people destroyed by the socialist revolution.
The role of the leader of "quiet lyrics" got early to the deceased Nikolai Rubtsov (1936-1971). Today, Rubtsov's assessments are grouped around two polar extremes: the "great national poet", on the one hand, and the "invented poet", "pseudo-peasant Smerdyakov", on the other. It would, of course, be unfair to declare Rubtsov just a monotonous epigone of Yesenin, elevated to the rank of genius by the efforts of critics. At the same time, even zealous admirers of Rubtsov, speaking of his poetry, invariably move away from serious analysis into a purely emotional dimension: "The image and the word play an auxiliary role in Rubtsov's poetry, they serve something third, arising from their interaction" ( V. Kozhinov), "Rubtsov, as if on purpose, uses inaccurate definitions ... What is it? Linguistic carelessness? Or is it a search for a genuine meaning corresponding to the verse situation, the liberation of a living soul from grammatical-lexical fetters?" (N. Konyaev). Unlike the "poets of the sixties", Rubtsov completely ignores the traditions of modernist poetry. He almost completely liberates his poems from complex metaphor, shifting the main focus to melodious intonation, sometimes reaching high piercing notes. His poetry has become a weighty argument in favor of tradition (as opposed to experiment, novelty). Rubtsov himself, not without a challenge, wrote:
I won't rewrite
From the book of Tyutchev and Fet,
I won't even listen
The same Tyutchev and Fet.
And I won't invent
Himself a special Rubtsov,
For this I will stop believing
In the same Rubtsov.
But I'm at Tyutchev and Fet
I will check the sincere word,
So that the book of Tyutchev and Fet
Continue with Rubtsov's book.
Moreover, it is interesting that the tradition in which Rubtsov "embedded" his work, combining a folk song (Rubtsov often performed his poems with a guitar or accordion), the poetry of Tyutchev, Fet, Polonsky, Blok and, of course, Yesenin, looked very selective. This series is constantly moved in articles and memoirs about Rubtsov. In the very "set" of landmarks there was a challenge: the natural philosophers Tyutchev and Fet rise to the banner in opposition to the officially varnished "social" Nekrasov, the "mystic" Blok and the "decadent" Yesenin - in opposition to the official "poet of socialism" Mayakovsky.
But another, perhaps the most significant link is missing here: between Blok and Yesenin was the so-called "new peasant poetry", represented primarily by Nikolai Klyuev and Sergey Klychkov: "quiet lyrics" in general and Rubtsov in particular are connected precisely to this tattered trend , taking from the hands of "new peasant poets" such qualities as a religious cult of nature, the image of a peasant hut as a model of the world, a polemical repulsion from urban culture, a keen interest in the fabulous, legendary, folklore layer of culture.
In our opinion, the significance of Rubtsov's poetry should be assessed on the scale of the shift in cultural paradigms that took place at the turn of the 1960s and 1970s. In his not always perfect, but emotionally very convincing poems, Rubtsov was the first not intellectually, but suggestively, to outline the outlines of a new cultural myth, within which both "quiet lyrics", and "village prose", and the entire soil ideology of the 1970s-1980s unfolded. years.
Question 30.
Village prose is a trend in Russian literature of the 1960s-1980s, comprehending the dramatic fate of the peasantry, the Russian village in the 20th century, marked by heightened attention to moral issues, to the relationship between man and nature. Although individual works began to appear already in the early 1950s (essays by Valentin Ovechkin, Alexander Yashin, etc.), it was not until the mid-1960s that “village prose” reached such a level of artistry that it took shape in a special direction ( great importance had for this story Solzhenitsyn "Matryonin Dvor"). Then the term itself arose. The largest representatives, "patriarchs" of the direction are F.A. Abramov, V.I. Belov, V.G. Rasputin. The writer and film director V.M. Shukshin became a bright and original representative of the “village prose” of the younger generation. Also village prose is represented by the works of V. Lipatov, V. Astafiev, E. Nosov, B. Mozhaev, V. Lichutin and other authors. Created in an era when the country has become predominantly urban, and the peasant way of life that has been developing for centuries has gone into oblivion, rural prose is permeated with the motives of farewell, " deadline"," the last bow ", the destruction of the rural house, as well as longing for the lost moral values, orderly patriarchal life, unity with nature. Most of the authors of books about the village come from it, intellectuals in the first generation: in their prose, the life of rural residents Hence the lyricism of the narration, "partiality" and even some idealization of the story about the fate of the Russian village.
A little earlier than the poetry of the "sixties", in Russian literature there was the strongest in the problematic and aesthetic sense literary direction called village prose. This definition is connected with more than one subject of the depiction of life in the stories and novels of the corresponding writers. The main source of such a terminological characteristic is a view of the objective world and all current events from a rural, peasant point of view, as it is most often said, “from within”.
This literature was fundamentally different from the numerous prose and poetic narratives about village life that arose after the end of the war in 1945 and were supposed to show the rapid process of restoring the entire way of life - economic and moral in the post-war village. The main criteria in that literature, which, as a rule, received a high official assessment, were the ability of the artist to show the social and labor transformative role of both the leader and the ordinary tiller. Rural prose, in the now well-established understanding, was close to the pathos of the “sixties” with their apology for a valuable, self-sufficient personality. At the same time, this literature refused even the slightest attempt to varnish the depicted life, presenting the true tragedy of the domestic peasantry in the middle of the 20th century.
Such prose, and it was just prose, was represented by very talented artists and energetic, bold thinkers. Chronologically, the first name here should be the name of F. Abramov, who told in his novels about the resilience and drama of the Arkhangelsk peasantry. Less socially acute, but aesthetically and artistically, peasant life is presented even more expressively in the novels and stories of Y. Kazakov and V. Soloukhin. They sounded echoes of the great pathos of compassion and love, admiration and gratitude, which has been heard in Russia since the 18th century, since the time of N. Karamzin, in whose story " Poor Lisa"The moral leitmotif is the words:" even peasant women know how to love.
In the 1960s, the noble and moral pathos of these writers was enriched by an unprecedented social acuteness. In S. Zalygin's story "On the Irtysh", the peasant Stepan Chauzov is sung, who turned out to be capable of a moral feat unheard of at that time: he defended the family of a peasant accused of being hostile to Soviet power and sent into exile by her. The most famous books of rural prose appeared before the peasant in the national literature with great pathos of expiation of the guilt of the intelligentsia. Hardly any other national literature has such a constellation of creativity.
Question 31.
Without a doubt, V.M. Shukshin is a master in the short story genre. This writer can be considered a successor to the traditions of classical Russian literature. Shukshin considered the desire to help others to be the main goal of human life.
A feature of the writer's work can rightfully be considered the desire to reveal the essence of his characters in the most difficult moments of their lives. The images created by Shukshin embody the ideals of a simple Russian person. Any work, according to the writer, should "give birth in the soul of his joyful feeling of aspiration after life or with life together."
A striking feature of Shukshin's work is dynamism, a quick change of pictures, which contribute to a greater understanding of the current situation. The heroes of his stories are ordinary people who live as they are told. inner world.
But not always Shukshin himself sums up. Most often, the reader himself must understand and realize what the author is talking about and what he considers the most important in a given situation.
To reveal the characters of his heroes, Vasily Shukshin, among other things, resorts to humor and comic moments.
Thus, the attitude of readers to the heroes of Shukshin is formed largely due to comic situations, which fully reveal the images. In addition, they show the characters as they really are.
Very often, in the works of V. Shukshin, cheerful notes are intertwined with sadness and some kind of all-consuming melancholy. So, in the story "Duma" main character, listening almost every night to the sounds of an accordion on the street, recalls his young years, where there were many memorable ones. A variety of thoughts overcome the hero: he remembers the death of his brother, his wife, thinks about the future. I must say that Shukshin tends to appeal to the form of reflection in his works, because it is reflections that reveal the inner world of a person.
In terms of language, the writer's stories are very bright and multifaceted. The author easily recreates the speech of the characters, which is very lively and imaginative.
Early stories are dominated by the image common man, transformed into the image of a villager, ideals associated with morality. In general, the early Shukshin ideal, as well as the ideal of the village tradition as a whole, is found in the world of a small homeland with distinct moral guidelines.
In the stories of the 60s, the relationship of the hero with the world becomes more complicated. Initially, an integral moral character, but further the contradiction of the nature of Shukshin's heroes becomes more complicated. Shukshin's creative evolution follows this line. Going beyond the framework of rural literature towards deepening the nature of the hero, the rural world itself, which is, albeit in a mythological form, ceases to be the bearer of the author's ideal. The opposition between rural and urban civilization is somewhat reduced in him. The hero's belonging to the rural world does not save the hero from contradictions, attempts to comprehend the world.
Shukshin's great artistic discovery - he manages to create a new type of hero fiction. Shukshin's eccentrics are a type of hero that densely inhabits his prose and cinematography. Freak in consonance correlates with the concept of "eccentric". A freak is a special invariant that differs from the original prototype of a "crank". From Cervantes' Don Quixote to Goethe's Faust, weirdo heroes meet. He is an eccentric because he looks strange, incomprehensible to his contemporaries who live with him in the artistic world of the work. The eccentric hero becomes the embodiment of the author's ideal both in Don Quixote and in Faust, because such heroes are ahead of their time with wisdom, the embodiment of author's ideals. They live with the laws of the universe that surround them.
Shukshin's eccentrics are an interesting version of eccentric heroes. The form of the word eccentric shows the direction of the transformation that is taking place. Shukshin's freaks are also ridiculous, incomprehensible to others, they commit incomprehensible acts, a dramatic development of events ... These heroes are by no means wise men (the difference between Shukshin's heroes). An eccentric is an eccentric, devoid of wisdom, but not because he brilliantly discovers, foresees new values, ideals. They are not philosophers, not geniuses. For Shukshin, something else is important - an intuitive desire to change something in life, to find something in life, but since there is not so much education, good intentions turn out to be an embarrassment. Shukshin's weirdo feels dissatisfaction with his daily existence and intuitively looks for ways out of his situation. As a result, the intuitive feeling pours out, the weirdo begins to look for opportunities to push the boundaries of the life in which he lives. We need to make the world at least a little better for our neighbors. Freaks do not think in terms of culture, nation, but strive to make the surrounding life better. For Shukshin, their dissatisfaction and the search for new horizons are important.
Shukshin's stories have a heuristic structure. The principle of novelty is associated with a dynamic image of a bright event. Shukshin combines novelty with cinematography. His stories are built like a chain of short stories. Sometimes two or three pages is the length of the story, it is concise. This is one feature of plot construction: the dynamism of the plot and the construction of a chain of short stories (like a film, a chain of episodes is glued together and mounted). This is how the novel is built, the montage linkage is clearly visible, even one central event is divided into episodes, the saturation is very high in a fairly small space.
Another style feature is dialogism, a lot of the character's direct words. There is also an author's presence, but still there is a feeling that Shukshin's works consist of dialogues (as in a movie). Shukshin's dialogues occupy a large place. There is also the hero's inner word: the hero's dialogue with himself, and the author's dialogue with the reader. Dialogicality is not only at the level of the narrative structure of the organization. Dialogue as an internal feature of poetics, on the level of semantics, content. The characters enter into a dialogue with each other, with themselves. The path of the Shukshin hero is the path to self-knowledge (the path even of the intuitive one). The actions themselves are polemical and dialogical both in relation to the world and to oneself. Shukshin's prose is fully the element of dialogue in terms of both semantics and artistic search.
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The work of Andrei Voznesensky in modern poetry occupies the niche of a "socially oriented" avant-garde, coming from Russian futurism with its pathos of life-building, topicality, experimentation in the field of artistic forms, and the search for verbal means of expression. The lyrics of Andrei Voznesensky require close, perhaps repeated reading, because the poet addresses complex issues, he avoids ready-made conclusions and solutions. In addition to the complex associative thinking characteristic of Voznesensky's creative practice, he is prone to a sharp change in mood, intonation, metaphor and lexical levels.
In the best works of Andrei Voznesensky of the 50s, such as the poem "Masters", the poems "Motherland", "From the Siberian Notebook", "Report from the opening of the hydroelectric power station", an optimistic world-sense of man is conveyed. The poem "Masters" glorifies the "daring work" of craftsmen, from whom the poet inherited the "insatiable hunger for work and discoveries":
From my student's bench, I dream that buildings, like a Hundred-Stage Rocket, Soared Into the Universe!
In the 60s, new collections appeared, Anti-Worlds (1964) and Achilles' Heart (1966), in which the notes of love of life and humanity became even deeper and more piercing. And in the poem "Oza" (1967), speaking of the poet's mission to save the world from "robotics", "pseudo-progress", Voznesensky refers to historical destinies Motherland, to the eternal, constant beauty of nature and the human soul:
Only one thing on earth is constant, Like the light of a star that has gone, - A continuing radiance, They called it the soul.
But in an effort to immerse himself "in the inscrutable course of nature" ("I want silence, silence!"), the poet soon becomes convinced that the silence of nature is deceptive and not serene at all. This is evidenced by the poem “The Call of the Lake”, dedicated to the “Memory of the victims of fascism”. The tragic turn of the theme of creativity, of limitless human possibilities, killed by people in themselves, is found in Lament for Two Unborn Poems (1965). The poem sounds like a lament over the water of everything unfulfilled, unborn, lost, unmanifested:
Amen. I killed the poem. Killed without giving birth. To the Charons! We bury. We bury poems. Entrance to all outsiders. We bury.
Which of the "outsiders" does Voznesensky propose to honor the memory of the unborn poems? He offers to “stand up” not only to the heroes endowed in the poem with proper names (these are Servantes, Boris Leonidovich Pasternak, Dante Alighieri, Rasul Gamzatov, Nikolai Copernicus, Boris Levanov, Mark Alexandrovich Landau), not only to those whose deeds similar to the deeds of many (“heroic boys”, “girl in a jazz band”, minister, grandmother), but also to silent witnesses of the “conception” of poems - ponds in Ostankino, lindens at night, roads. Voznesensky ends his poem with a mournful cry, in which pain sounds about the failed, irretrievably lost:
Eternal memory... Eternal memory, Green plans, stand up like a flame, Eternal memory, Dream and hope, you went to the porch! Everlasting memory!..
The comparisons used in this poem are diverse and original (“lindens at night, like paws in the branches of palmistry”, “coffins, like folding knives of a giant”), metaphors (“roads heartbroken”, “we bury poems”, “two poems lie like white theatrical binoculars”).
The opposition of the past and the present, the assertion of the non-returnability of the past and the feeling of the present as an imperfect future sounds in the poem "Nostalgia for the Present" (1976). The very title of the poem shows that Voznesensky is alien to the poetic tradition of addressing the themes of memory, the past, and nostalgia. The paradoxical nature of the title and the refrain of the poem used by the author carry a deep meaning:
I don’t know about the rest, But I feel the most severe nostalgia Not for the past - Nostalgia for the present ...
Loneliness will not atone for In the garden, an open carpentry. I'm not longing for art, I'm suffocating for real ...
“For real” and “for real” is a difference in the hyphen, but the difference is semantic. In the first case, the "present", which is comprehended as opposed to the "past"; in the second, as opposed to "artificial, counterfeit, false." Playing on the combination of two meanings of the word "real" - "modern", "authentic" - leads to an understanding of the historical process as a constant "improvement" of life and morals, if not really, then at least desirable for the poet ("What has passed, it’s gone. // For the better…”), to the opposition of art and life, to the announcement of shortcomings as relics of the past.
In this poem, Andrei Voznesensky develops the traditions of futurism in the field of art form, actively using irregular and rare rhymes, poetic neologisms, introducing colloquial and sometimes rough vocabulary into poetry, preferring close to rhythms colloquial speech tonic verse.
In the 1970s and 1980s, the humane feeling in Voznesensky's poetry became sharper, more mature, and more active. The poet discovers the ability and inner need to experience other people's sorrows and troubles with all his heart, to respond immediately, to come to the aid of people. He reacts acutely to difficulty and pain modern world, although it does not always bring clarity and certainty to the flow of its sensations. But the naturalness of feeling and the simplicity of form also win with him, less and less often giving way to rationality and complicated constructions. The poet expresses his "I" in different guises. For example, he is unusually sensitive to women's suffering, to women's pain, to the humiliation of the feeling of human dignity in a woman. This is generally one of the best traditions of Russian classical literature from Nekrasov to Blok and Mayakovsky. Voznesensky is a worthy successor to this tradition.
Critic L. Ozerov noted: “I am where the pain is, everywhere” - the life and creative principle of Mayakovsky becomes the leading one for Voznesensky too ... The pain threshold of this poet is low, his nerves are bare “... you feel it with your palm - it hurts!” This "hurts" rolls throughout the poetry of Andrei Voznesensky. They beat the dog - it hurts. They beat a woman - it hurts. Destroy people - pain. They bring atomic death to mankind - pain.
The poet wants to save everyone from pain. Moreover, he mourns for the unfulfilled, unborn, lost, unmanifested… All this is pain. And his heart is filled with this pain.
His "Monologue of Marilyn Monroe" with the repeated "unbearable, unbearable", his "frontal ballad", "They beat a woman", and from the earlier ones - "The Last Electric Train", "Motor Racing on a Vertical Wall", "Sketch of a Poem" show us a poet, who, through female pain and female suffering, perceives the pain and suffering of an anti-humanistic world alien to us. In the poem “They beat a woman,” Voznesensky talks about how a woman is inhumanly beaten in a car, and then, when she is thrown out of the car on the highway, they continue torturing her:
And the brakes screeched. Tormos ran up to her. And they dragged and beat their Face through the snow and nettles.
A specific indication of the scene of action (“at the turn to Kupavna”) gives the described scene credibility, and at the same time timeless capacity:
They beat a woman. For centuries they beat, They beat youth, solemnly beats the tocsin of the wedding buzzer, They beat a woman ...
Pain and resentment for a woman, even a stranger and unfamiliar, is born in the poet from a feeling of love for a living person and hatred for everything that humiliates a person, enslaves her:
... She lay like a lake Eyes stood like water And did not belong to him Like a clearing or a star And the stars knocked across the sky Like rain on black glass And, rolling down, cooled Her hot brow.
A large place in the lyrics of Voznesensky is occupied by the theme of undivided female love. On the contrasts written "Confession". A flashing everyday turn of “well, what else do you need from me?” becomes the epicenter of the "fatal duel" - love - hate:
The payment is exhausted until the day of death. The last one burns under your snowfall, Was the music of a miracle, became the music of poison, Well, what else do you want from me?
However, before the tragic power of love, the winner is defeated, victory turns into defeat, the cry of pain - a whisper of prayer:
And the folds shuddered like window sashes. And she came out tired and without clothes. Said, "I love you. No more sweetness. What else do you want from me?"
A piercing declaration of love sounds the poem "Don't Disappear". The lyrical hero feels an invisible connection with his beloved, who is dozing on his shoulder in the plane. Love above all, stronger than death:
Do not disappear, purity is in us, Do not disappear, even if the edge approaches. It's all the same, even if I disappear myself, I won't let you disappear. Do not disappear!
In many poems by Andrei Voznesensky, the theme of Russia, the Motherland sounds, sometimes receiving an unusual sound embodiment. In the 1980s, the poet approached the new genre of "video", where the image is inseparable from the sound. The first videoma "Poetarch" was created for the Paris exhibition and represented the Golden ball on a blue sky background, from which golden threads with the letters of the alphabet stretched upwards. This videoma was intended for the poem "When the people are the primary source": material from the site
When the people-primary source Changes the truth and faith, The fate of the loners is sad, Who is true to his own vector. Among the wagging smiles And the fashion that everyone shoveled, My path is straight and unmistakable, Like a sword swallower's esophagus.In 1993, the newspaper "Izvestia" published the poem "Russia is Risen", consisting of many sonnets. In these verses, the poet's faith in the future salvation of Russia sounded:
Russia is being buried. Press obituaries. But I repeat - Russia is risen. Let's pray together for those who are away, Let's pray together for those near and far, For those who suffer and who are in a Mercedes, For the bum who sleeps not in Villa Borghese, Let with God's Russia resurrection!
The work of Andrei Voznesensky is of great interest literary criticism. According to A.A. Mikhailova, “Andrey Voznesensky is a poet more difficult to hear than Yevtushenko or Rozhdestvensky, and yet his pop performances are accompanied by success in a variety of audiences.
How can this be explained? Along with the complication of poetics, Voznesensky widely introduced into poetry what Mayakovsky called "the clumsy dialect of millions" - the language of the street, rough phraseology everyday life opening up new sources of expression in them. Does this achieve an aesthetic effect? You can easily find some "excesses" in the use of vulgarisms by Voznesensky, but on the other hand, you can give many examples when coarse phraseology is organic as a characteristic feature, as a style.
According to S. Chuprinin, Voznesensky's poetic mechanism is based on a technique: it is not a thought or feeling that gives rise to a metaphor, but a paradoxical metaphor, bringing together the most unexpected things and concepts, often with the help of sound, graphic or other formal similarity of words, gives rise to a feeling and thought. In this, Voznesensky also continues the traditions of the Russian poetic avant-garde - the experiments of imaginist poets. Another favorite technique of Voznesensky is an oxymoron, a combination of words with the opposite meaning (“Look Ahead”, “Optimistic Requiem”). Setting on a creative experiment and striving for democracy and accessibility to a wide reader make the work of Andrei Voznesensky deeply modern and consonant with our time.
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On this page, material on the topics:
- essay on the theme of the motherland in the work of Yevtushenko
- analysis of the poem "Voznesensky silence"
- what caused nostalgia for the present in Voznesensky's poetry
- analysis on the poem confession of Voznesensky
- andrey voznesensky chronicle of life and work
Abstract on the topic "Features of the lyrics of Andrei Voznesensky"
Completed by: 9th grade student
Bondar Olga
Teacher of Russian language and literature:
Valiulina Anna Alexandrovna
Kogalym 2012
Probably every person at least sometime in his life looked into the night sky and saw the stars. We do not think that many of them are no more. They died, and only the light remained, which flies to us through the black void to tell about the life of that star. The words that we read on paper are the light of the author's consciousness, which has come down to us after many years. Andrei Voznesensky is a whole constellation of thoughts and ideas. Some of them die, others are reborn and live a long time, leaving a mark in our hearts. The author embodies his ideas in the image of Count Rezanov:
I marvel, Lord, at you!
Truly, who can, he does not want.
You are dear, who poses virtue,
And I do not fit in their crowd.
How the sky did not care about my affairs
So I spit on the mercy of heaven.
As it turned out, one can believe in God and at the same time despise and hate him. The world created by the poet, whom he is the Lord God and himself establishes the laws of being, makes us change ourselves and the reality around us, pushes us to crazy actions. Sometimes it makes us give up everything and start life anew. Striving for perfection is an integral part of any art. And its main goal is the search for Truth. But art never gives ready-made answers. It can only help, push, show the way, and you will have to walk along it yourself ...
Everything becomes secret clear.
Is it under the whistle
open our arms, wither -
How are the sinks not buzzing?
In the meantime, press, mess,
on the shell elastic spin!
It brings us into each other.
"Frozen"
In modern critical literature, it has recently become fashionable to draw parallels between Voznesensky and the greatest poets of the first half of the 20th century. Very often this turns into an accusation of plagiarism. For example, the critic Stanislav Rassadin, in one of his articles entitled "The Time of Poems and the Time of Poets" tries to prove that much of Voznesensky's work is an exact copy of the poetry of Pasternak, Mayakovsky and Tsvetaeva.
In the work of Voznesensky, as in Pasternak, there is an image of snow, but it symbolizes something else. If Pasternak has snow - a "hidden man" coming "out of secrecy and to avert eyes":
It's snowing and everything is in turmoil
Everything takes flight
black stairs steps,
Crossroad turn…
(B. Pasternak. After the blizzard)
For Voznesensky, it is a whistleblower, does not smooth out corners, but, on the contrary, designates, emphasizing contrasts and revealing flaws, that is, it does not harmonize life through art, but demonstrates all its shortcomings and vices:
The Negro leaned on the bumper like plowmen.
The snowdrift is swinging. "Viv Lamour!"
And you're in a Volkswagen, like cranberries in sugar,
where are you going - close your eyes!
(A. Voznesensky. Blindly.)
It seems to us that the borrowings identified by the critic are only a reflection of the motives and images of other poets in Voznesensky's work. Therefore, it is much more interesting and useful to see which poets left their mark on the work of Andrei Andreevich, which ideas he continued, developed and changed.
One of the images-symbols that run through the entire work of Voznesensky is the image of the Motherland-Russia. He admires his homeland and talks about her, his beloved:
There is a temple of the Miraculous Mother.
From the wall leaned into the pond
white buttresses,
like horses drink water.
(From the poem "Perhaps").
Andrei Voznesensky is a gifted and original poet. He has a sense of modernity, a craving for the ambiguity of images, intense lyricism. His work is characterized by concise associations and neologisms, often by grotesque metaphors. He is not like anyone else.
The drama that is so inherent in the lyrics of Andrei Voznesensky arises where a new attitude to the world clashes with the real contradictions of modern reality.
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.
Voznesensky's lyricism is a passionate protest against the danger of spiritual Hiroshima, that is, the destruction of everything truly human in a world where things have seized power, and the "soul" has been vetoed.
In his poems, there is the voice of those who withstood the mortal struggle against Nazism, who could rightfully say: “I shot up in one gulp to the West, I am the ashes of an intruder!” already atomic.
Why two great poets
preachers of eternal love,
don't flash like two pistols?
Rhymes are friends, but people - alas ...
Why two great nations
cold on the brink of war
under the fragile tent of oxygen?
People are friends, but countries - alas ...
Two countries, two heavy palms,
destined for love
head in terror
the devil-those that have done the Earth!
About creativity, about myself, about Russia, about the century - thoughts, insights of a person who, it seems, no longer belongs to this world. He speaks, recites poetry. Whispering, through strength, overcoming the disease.
“Creativity is such a thing that you can’t write badly. When you write well, it’s good luck,” says Andrei Voznesensky in his last interview.
Popular pop songs were written to the poems of the poet: “Give me back the music”, “I will pick up the music”, “Drum dance”, “Song for an encore” and the main hit “A Million Scarlet Roses”. The song performed by Yevgeny Osin "The girl in the machine is crying", which became popular in the early 90s, has been known since the late 60s as one of the numbers of the yard musical urban culture. In fact, this is a song based on the poem by A. A. Voznesensky “First Ice”. The lyrics have been changed in places.
