Poetry of the 60s as a cultural phenomenon. Who are the sixties poets

Streltsova Anna

The essay is dedicated to the era of the 60s, the famous dispute between physicists and lyricists, reveals the mood, new trends in the field of poetry, explains the emergence of a new genre - the bard song.

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The time of Khrushchev's "Thaw" is half a century away from today, but disputes, problems, relationships between "physicists" (and now techies) and lyricists, humanists are still relevant today. Probably because this dispute - about the benefits of both - is eternal and insoluble. Even Turgenev's Bazarov produced a kind of "boom", rejecting the significance of art for man and proclaiming only the material benefits of science: "A decent chemist is twenty times more useful than any poet." But life puts everything in its place. At one time, the famous Einstein said about F. Dostoevsky that he (Dostoevsky) gave him "more than any scientific thinker, more than Gauss."

The closest in time to our days was the boom of the late 50s - early 60s. It is no coincidence that it was then that new poetic names were first heard. And it is no coincidence that the concert halls where the then young Yevgeny Yevtushenko and Andrei Voznesensky performed were stormed by crowds of people, barely restrained by mounted police.

That time was striking in its naive openness and humanity. People were allowed to be just people. The "sixties" believed that "the regime can be humanized, that he himself wants to be humanized." The Soviet system seemed unshakable, it was only necessary to remove the scab of Stalinism from it. Thus, the spiritual emancipation of the Soviet people during the years of the "thaw", liberal moods - all this paved the way for the coming perestroika.

The very spirit of the times was “thaw”. Oleg Efremov, a well-known actor and director, recalled this: “Creating Sovremennik, we felt together - not only inside the team, but also outside it. It means that a certain social atmosphere helped my generation to find a voice. They expected something from us, now I understand - they directly pushed us forward and demanded that we stay together. And everyone felt – with their soul, body, elbow, nerves: I am not alone!”

This atmosphere contributed to the birth of significant works in all forms of art. The novel "The Master and Margarita" was published, the 9-volume book by I. Bunin was published, the first reliable work about the camp "One Day in the Life of Ivan Denisovich" by A. Solzhenitsyn appeared, the "trench truth" by Y. Bondarev "Battalions are asking for fire", To Vorobyov "Killed near Moscow". December 1, 1956 and January 1, 1957 in the main newspaper of the Soviet Union "Pravda" Mikhail Sholokhov's story "The Fate of a Man" was published. The story caused a wide resonance in the country, which is actually not surprising, because the main character in it was a man who a few years ago would have been unambiguously ranked among the enemies of the people - former prisoner of war Andrei Sokolov. However, now the situation in the country has changed significantly. The film by S. Bondarchuk, director-debutant, became a legend of the Soviet cinema. Popular recognition coincided with the official, despite the fact that the hero of the film is a man who has been in captivity, and the communist ideology is not expressed in the film. Even among the most ardent enemies of S. Bondarchuk's subsequent films, "The Fate of a Man" was deposited in the minds as an indisputable success - both directing and acting (Bondarchuk played the main role in his film). During this period, the role of the so-called "samizdat" - the united avant-garde poetry - sharply increased. It was the appearance of a series of works of art that asserted a new type of relationship between the writer and society, the right of the writer to see the world as it is.

In the 1960s, the country experienced a poetic “boom”. The poetry of the “thaw” became for Russian poetry not only a time of rebirth, but also a time of prosperity. With the advent of brilliant poetic talents, interest in poetry increased many times over. The huge halls of Luzhniki, the concert hall. P. I. Tchaikovsky, the Polytechnic Museum in Moscow, the theater and concert halls of Leningrad and other cities of the country were filled to capacity when the evening of poetry was announced. For many hours grateful listeners listened to the voices of their favorite poets. Poetry collections were literally swept away from the bookshelves. The area devoted to poetry by “thick” magazines and almanacs has noticeably increased. The almanac "The Day of Poetry" was founded and for a number of years was published. The pathos of the poetry of those years was the affirmation of value, the unique human personality, human dignity:

People are leaving... They cannot be returned.
And secret worlds cannot be revived.
And every time I want again
From this impossibility to scream.
(E. Evtushenko)

One poet was indignant at a society where a person is treated like a cog, another was convinced: “There are no uninteresting people in the world”, a third proclaimed: “All progress is reactionary if a person collapses.” The poetry of the 60s resolutely moved away from ideological clichés, acquired polemical content, and made artistic discoveries. Outstanding successes in science and technology: the launch of the first satellites, the exit of man into outer space - had an impact on public consciousness:

Something physics
In high esteem
Something lyrics
In the paddock
Slutsky wrote.

Some poets have tried to comprehend this situation in a different way:

And let electronic vision
A lot is entrusted, but
All facets of any phenomenon
Art is only given to see.

* * *
And somewhere in the indefinite work,
What is deaf to easy successes,
Closes with science exact
The chiseled precision of the verse.
(V. Shefner)

The favorable environment created a true miracle.

Well-known poets of the 1920s–1930s, who had either been silent for a long time or had forgotten the tastes of real creative victories, regained their voice: M. Svetlov - the collection "Hunting Lodge" (1961), N. Aseev - the collection "Lad" (1961), L. Martynov - collection "Birthright" (1965), etc.

But the main role in the poetic boom of the 60s, of course, belonged to the young.

That's when V. Mayakovsky's dream came true: "To have more poets, good and different"

Contemporaries singled out two branches in the poetry of the 1960s.

Some poets, who continue the traditions of V. Mayakovsky, found themselves on the stage, serving the so-called loud poetry: R. Rozhdestvensky, B. Akhmadulina, E. Yevtushenko, A. Voznesensky and others.

Following Russian philosophical and landscape lyrics, their opponents used “quiet” poetry: A. Zhigulin, N. Rubtsov, V. Sokolov, Ya. Smelyakov and others.

Time forced us to abandon this artificial classification based on a simplified understanding of the creative manner of many poets.

In the 1950s, the genre of author's song arose and later gained wide popularity - B. Okudzhava, A. Galich, Yu. Vizbor, V. Vysotsky and others.

If we talk about the poetic technique of the masters of that time, then basically they remained in line with the traditions of classical Russian poetry.

But in the 60s, avant-garde poetry was also revived (I. Brodsky, A. Voznesensky, G. Sapgir, etc.), although, with a few exceptions, it failed to break into print.

The leading genre in the poetry of the 60s was lyric poetry - civil, philosophical, love, landscape.

The primitive dispute of the sixties between "physicists" and "lyricists" was under the sign of mutual distrust. "Physicists" considered the "lyricists" dreamers and swallowers of emptiness, people cut off from life. They considered themselves to be “concrete” people, able to “make iron”, bring ideas to life. The "lyricists" talked about the danger of the inertia of unreasonable technical progress. In short, the "lyricists" were pessimists and skeptics, almost degenerates, while the "physicists" were optimists and businessmen.

The lyricists have always had a complex of their underestimation. The prevailing state myths made the humanitarian sphere uninteresting and unprofitable. What can be produced here, if everything is there, what kind of knowledge is needed, if there are Lenin's Philosophical Notebooks, which exhaust all questions and give all answers?

It was enough in any city of the country to go to any technical university and immediately a humanitarian one to understand the whole difference in the attitude of the state towards the first and second. Colossal buildings for "physicists", equipped with the latest in everything and everything, and dilapidated junk with falling ceilings for the humanities. You can't go far. Even at Moscow State University, this segregation is striking: for the “physicists” the main building, known to the whole world, for the “lyricists” of the humanities is a glass flat squalor, known only to those entering the Moscow State University for philological, historical, philosophical.

We were told: defense is the main thing. Arms race, we need more missiles, good and long-range.

And everyone nodded their heads.

"The collapse of communism is 50 percent the merit of the Beatles, the other 50 percent belongs to Solzhenitsyn."

A landmark phenomenon in the dispute between "physicists" and "lyricists" was the appearance in 1968 of the poem "Atomic Tale" by the young poet Yuri Kuznetsov.

I heard this happy tale
I'm already in the present way,
How Ivanushka went out into the field
And fired an arrow at random.
He went in the direction of flight
On the silver trail of fate.
And he got to the frog in the swamp,
Over three seas from the father's hut.
- Useful for a just cause! -
He put the frog in a handkerchief.
Opened her white royal body
And let the electric current.
In long agony she died,
In every vein knocked centuries.
And the smile of knowledge played
On the happy face of a fool.

Of course, it is amazing how in a small poem it was possible to formulate the most difficult problem.

Let's start with the name.

First, this a fairy tale in which lies with a hint.In other words, to read the text without semantic decoding that “I feel sorry for the frog” means to see a lie and not see a hint.

This is the first.

Second. A fairy tale is a form of soil thinking of the people that has passed through the centuries, having established its conceptual and mythological syncretism. In other words, the main figures of the tale are the figures of transference, gravitating toward symbolism (reproducibility in consciousness as stable signs). In other words, this is not just a frog, but a fabulous generalization.

Speaking about the undeserved rejection of the usefulness of lyrics, B.A. Slutsky expressed a general opinion that instantly gained fame and became almost an aphorism:

Something physics in high esteem. Something of the lyrics in the paddock. It's not about dry calculation, It's about world law.

And what were they like, the lyricists, heralds of freedom during the period of the "Thaw, the freedom of speech that dawned ahead?"

Voznesensky: We were singing and even then we were not afraid of anything. All of us then sang Okudzhava. He hadn't written the song "About Fools" yet, but they considered his songs dangerous.

B. Akhmadulina: I drove "Moskvich". My face glowed with music.

Yevtushenko: I was the first in Moscow to wear a nylon suit.

Christmas: I had a ski sweater, but I ardently recited civilian poetry from the stage.

A striking phenomenon of the 60s, thus "BOOM", was the phenomenon of the author's song.

Among the poets who stood at the origins of the art song genre, it is necessary to name the names of Mikhail Ancharov, Yuri Vizborn, Ada Yakusheva, Yuli Kim, Alexander Vertinsky.

However, the real founders, key figures are Bulat Okudzhava, Vladimir Vysotsky, Alexander Galich.

Being one of the brightest manifestations of the growth of spiritual self-awareness during the "thaw", which Bulat Okudzhava defined as "the time for waiting for changes", the author's song became a real form of confrontation with officialdom, bureaucracy, dogmatism during the 1960s-1970s.

Arising in the 1950s on the basis of various, primarily folklore traditions, including urban romance, student ones. tourist, "yard" songs, it subsequently underwent significant changes in content and artistic and stylistic aspects.

Noting that the creator of an author's song "combines, as a rule, the author of a melody, the author of poems, a performer and an accompanist", that "the dominant here is the poetic text, both the musical side and the manner of performance are subordinate to it", Vl. Novikov, however, is careful not to use the word "genre" in connection with it.

However, he still considers it possible today to start "considering the author's song as a purely literary phenomenon, as a fact of Russian poetry of the second half of the twentieth century"

Note, by the way, that B. Okudzhava. using the words "phenomenon", "movement", "direction" in connection with it, he spoke more than once about a peculiar genre, repeatedly emphasizing that it is primarily based on poetry: "It's not just a song. It's a performance of poetry" .

The creators of the author's song, with all the genre originality of the works they created, focused not on the mass of listeners, but on the individual. They are characterized by close attention to an ordinary, ordinary, even "small" person. It is thanks to the appeal not to everyone, but to each individually. the author's song received the widest, and in the case of Vysotsky, truly nationwide fame.

As a rule, the creators of the author's song sought to get away from open citizenship, especially pathos, invariably softening it with irony. Turning to the inner world of the individual, to the cherished strings of the human soul, they introduced notes of intimacy, lyricism, sincere and confidential conversation about the most profound and important into the performance and content of the songs. It was the intonation of conversation, friendly communication, which determines the atmosphere of "sincere human attention, communication and mutual understanding"

Hence the captivating naturalness of feeling, word, image, immediacy of experiences, appeal to real everyday life, everyday and today's existence, and at the same time, through this present, ordinary, to the eternal, deep, main life, spiritual values. which a person wears in his soul: homeland and nature, friendship and love, faith and hope, honor and conscience.

Unlike a pop song, poetry itself, verses, a poetic word, and music, a melody, which is usually due to the semantic intonation sound of a poetic text and conveys its subtlest shades, play the most important, dominant role in the author's song. serves as a means of enhancing the impact of the poet's word. It was resonant poetry based on a long historical and cultural tradition, a resonant word.

Bulat Okudzhava, although he announced himself for the first time at the end of the 50s, together with the poets of the "thaw period" - "sixties" (E. Yevtushenko, A. Voznesensky, B. Akhmadulina, ...), but in fact he is still one of the poets of the military or front-line generation, those whose talent was formed in severe trials, at the forefront, under artillery and machine-gun fire, in the trenches and dugouts of the Patriotic War.

Speaking to the audience back in 1961, the poet notes: “Most of my poems, both those that I read and those that I sing, are on a military theme. When I was 17 years old, I went to the front from the ninth grade. And then I did not write poetry , and then, obviously, these impressions of youth were so strong that they still follow me on my heels.

The poet and his hero are characterized by an acute rejection, a denial of war, precisely as about death and destruction, and at the same time, an affirmation of life, a belief in its triumph, in victory over death:

"No, don't hide, be tall,

Spare neither bullets nor grenades

And don't spare yourself

And still

Try to get back"

But the thematic and figurative range of Okudzhava's songs is by no means exhausted by the war. Beauty, the poetry of ordinary everyday life, is affirmed in his lyrics. It has a well-perceived earthly foundation, a vital soil on which a feeling-experience grows, and at the same time, a romantic inspiration in the perception and creative recreation of the most ordinary phenomena.

"We are earthly earth. And at all

to hell with the stories of the gods!

We just carry on wings

then. what they wear on their hands.

You just have to really believe

these blue beacons,

and then the unexpected shore

out of the fog will come to you."

In the artistic system of Okudzhava, the everyday and earthly is literally transformed before our eyes into the unusual and sublimely romantic, forming "its own poetic world, its own poetic continent"

The undoubted role of the tropes and the creation of this poetic world at Okudzhava himself. In his songs, we see "Woman, Your Majesty", whose eyes are "like a diamond arch of the sky", "two cold blue stars", they are like "blue lighthouses", reminiscent of an "unexpected shore", which becomes a "close shore". That is, the unusual turns out to be nearby: “she lives on our street”, she has “chapped hands and old shoes”, “her coat ... is light on her” ..

In Okudzhava's metaphors merges, merges the ordinary, the earthly and the romantic, aspiring upwards and into the distance, heavenly and sea. In his poems, an ordinary Moscow street flows "like a river", its asphalt is transparent, "like water in a river".

In the poetic world of Okudzhava, the most important place is occupied by the theme and image of the motherland, home and road, the motive of movement and the hope associated with it, the moral and philosophical understanding of life, the very foundations of being, and, as a form of embodiment of all this, the musical and pictorial beginning. All this together forms a living, integral, moving art system.

"My historical homeland is the Arbat," said B. Okudzhava. He explained: "The Arbat is not just a street for me, but a place that for me, as it were, personifies Moscow and my homeland."

"Your pedestrians are not great people,

knocking with heels - in a hurry

Ah, Arbat, my Arbat, you are my religion,

your bridges lie under me.

You can't heal from your love

forty thousand other bridges loving.

Ah, Arbat, my Arbat, you are my fatherland,

never get past you!"

"The Arbat has no backyards, but in general there is an Arbat district, a country. A living, trembling history, our culture.. I even suspect that it has a soul, and for several centuries it has been exuding invisible waves that have a beneficial effect on our moral health" .

In the poems and songs of Okudzhava, the socio-historical and the eternal, universal are always darkly intertwined. His craving for harmony, for highlighting the beautiful in life and man, associated with faith, hope and love, is inseparable from the feeling of drama and tragedy of being in the world.

In one of his later poems dedicated to Novella Matveeva, Okudzhava described the time of "thaw" hopes as follows, which gave rise, in particular, to such a phenomenon as an author's song:

"We are romantics of the old school

From a past and terrible time.

We came into the world from under the stick,

to sing the city courtyards"

Romantic feeling of youth, naturally. has undergone significant changes, having absorbed the sadness and bitterness of the "muse of irony", prompting to rethink the images of their own poems:

"My temple squinted on the blood,

however, just like other construction sites.

Christmas tree - in the trash.

No hope, no destiny, no love."

Bulat Okudzhava's lyrical work is based on his inseparability from folk life and destiny, organically absorbed experience and traditions of Russian poetry and, of course, folklore sources.

Vladimir Vysotsky said at one of the concerts: "... when I heard the songs of Bulat Okudzhava, I saw that you can enhance your poems with music, melody, rhythm. So I began to compose music for my poems."

The birth of a new genre of author's song, the originality of this artistic phenomenon in Vysotsky is evidenced by his own words, as well as the statements and characteristics of his contemporaries. In his speeches, V. Vysotsky repeatedly emphasized the difference between an author's song and a pop song, and on the other hand, from an "amateur" one, believing that the former is always based on his own original poetic creativity, inseparable from a purely individual, author's, "live" performance that highlights subtle semantic and musical-rhythmic shades of poetry.

As for the specifics of V. Vysotsky's songwriting, according to the correct remark of R. Rozhdestvensky, he created "songs-roles", organically getting used to the images of the characters-heroes of his poems.

"Each of his songs is a solo performance, where Vysotsky was both a playwright, and a director, and a performer."

Vysotsky did not like it. when they spoke about his early songs as thieves, courtyards, he preferred to associate them with the tradition of urban romance.

"I started with songs that many for some reason called yard, street. It was such a tribute to the urban romance, which at that time was completely forgotten. And people probably had a craving for such a simple, normal conversation in a song, craving not to a simplified, namely a simple human intonation. They were artless, these first songs, she was in them. but a fiery passion; the eternal desire of a person for truth, love for his friends, woman, loved ones. "

Speaking about the song work of Vysotsky as a kind of artistic, philosophical and poetic system, about the ways of combining individual poems into thematic groups, about the ways of cyclization. special attention should be paid to the verses of the military cycle and the originality of the author's solution to this topic.

Among the key poems of the military cycle is "He did not return from the battle." In it, the tragic death of one of the countless privates of the Great War is comprehended as an ordinary fact, acquiring a symbolic sound. The bitterness of loss, the blood connection between the living and the dead, in contrast, are set off here by a picture so serene against the backdrop of the human tragedy of eternal and beautiful nature:

“Today, spring has escaped, as if from captivity.

I called out to him by mistake.

"Friend, stop smoking!" - and in response - silence ...

He didn't return from the battle yesterday.

Our dead will not leave us in trouble.

Our fallen ones are like sentries ..

The sky is reflected in the forest, as in water, -

And the trees are blue."

In the verses of the military cycle, the poet reaches a special capacity in creating a poetic image. Such is the symbol of the Eternal Flame in the poem "Common Grave", with which Vysotsky usually opened his performances-concerts.

In addition to the military - or, perhaps, more precisely, anti-war - theme, an important place in the poet's work is occupied by the theme of the Motherland-Russia in its present day and its historical past.

As for love lyrics, Vysotsky owns magnificent samples of it, created at different stages of his creative path and in a variety of forms.

"I will lay fields for lovers -

Let them sing in a dream and in reality! ..

I breathe, and that means I love!

I love, and that means I live! "

It is important to note the genre diversity, the specificity of forms and modifications of Vysotsky's verses and songs. His own genre designations often include the words song, song , and, perhaps, more often than others, the word appears in their names ballad.

Vysotsky himself always singled out the epic, plot-narrative basis of his songwriting: "In general, I try to write all the songs as songs-short stories - so that something happens there." And on the other hand. Following the listeners, he drew attention to the lyrical, non-narrative note of his works, at the same time emphasizing that their performance presupposes indispensable contact and interaction with those to whom they are addressed.

In an effort to enter into a dialogue with the people to whom the song is addressed, the poet sometimes used the traditional form of the lyrical, ironic. satirical letter-address to various addressees. These are, for example, "A letter to a friend, or a Sketch about Paris", "A letter to the editor of the television program "Obvious-incredible" from a lunatic asylum from Kanatchikova dacha", "A letter from the workers of the Tambov plant to the Chinese leaders".

And for all, perhaps, the blurring of the genre boundaries of many of Vysotsky's works, his genre-thematic cycles are formed into an artistic whole, into a complex and integral artistic world. Responding in his songs to the "topic of the day", the poet saw and comprehended it on a large scale, historically and even cosmically: Earth and sky, natural elements, time, eternity, the universe live in his poems, the present day is inseparable in them from history, momentary - from eternal. Hence the spatio-temporal openness, breadth and scale of his poetic world.

Vysotsky is characterized by a special sense of the circumstances of life. details of human behavior and psychology, feelings and experiences, gestures and actions, and most importantly, the utmost reliability of recreating the lively colloquial speech of numerous characters in his poems and songs. Each time, all this is motivated by a specific image, character, mental make-up, the state of the protagonist of the song-monologue and finds expression in a unique lexical. phraseological, intonational-syntactic structure of speech.

Examples of shades of lively colloquial intonation, which determines the syntactic features of the utterance, are found in the abrupt speech "Reconnaissance in battle":

"Who is with me? With whom to go?

So, Borisov .. So, Leonov ..

and soft thoughtfulness "Mountain lyrical":

"And what was the day then?

Oh yes, Wednesday!

in the satirical sound of exclamations and questions of "Dialogue at the TV":

"Oh, Van, look, mowing, parrots!

No, I'm going to scream!

Who's in the short t-shirt?

I, Van, want the same."

in the expressive appeals of the program poem "Tightrope":

"Look, here he is.

goes without insurance.

Slightly to the right tilt

fall, fall!

Tilt slightly to the left

Still can't save...

But freeze - it remains for him to pass

no more than a quarter of the way! "

As for the features of poetics and style, Vysotsky is characterized by a tendency towards interaction and synthesis of various stylistic principles: realism and romance, fairy-tale convention and fantasy, natural simplicity and, together, extreme tension, expressiveness in the use of artistic, visual, speech, and verse means. The search for artistic synthesis is realized by absorbing the experience of related arts. As has been repeatedly noted, Vysotsky was both a poet and a composer, an author of poetry and music, a stage director and an actor performing his works in front of the audience and listeners.

The emergence of new poetic forms, new themes. an appeal to the inner world of a person, a new understanding of the fate of the country and the individual - this is the achievement of the poetic boom of the 60s. In the end, all this turned out to be the most significant, fateful shift, a powerful poetic wave that multiplied the reserve of spiritual height. In this poetry lived a more multifaceted, spiritually more complex image of the Motherland.

List of used literature:

1.V.A.Chalmaev, S.A.Zinin "Literature" Grade 11, textbook for educational institutions, TID "Russian Word" LLC, 2008.

2.V.A.Zaitsev "Okudzhava, Vysotsky, Galich. Poetics, genres, traditions" 2003 GKTsM V.S.Vysotsky

3. http://1001material.ru

4. http://www.computerbooks.r

5. http://ishevelev.narod.ru/ipavlova.htm

Igor SHEVELEV.

Moscow
underground.

6. Poems by V. Vysotsky, B. Okudzhava.

7. http://ivancgalina.ya.ru/replies.xml?item_no=1300

V.N. Barakov

Poetry of the 60s

Most researchers believed and continue to believe that at the turn of the 50s - 60s a new stage in the history of poetry began, associated with social changes: with the exposure of the cult of personality and the “thaw” that followed it. Literature after a short pause reacted to these events with a burst of creative activity. A kind of "calling card" of that time was A. Tvardovsky's poem "Beyond the distance - distance" (1953-1960), at the same time B. Pasternak created a cycle of poems "When it clears up" (1956-1959), N. Zabolotsky's collections were published: "Poems "(1957) and" Poems "(1959); E. Evtushenko: "Highway of Enthusiasts" (1956); V. Sokolova: "Grass under the snow" (1958). The nationwide love for poetry is "a sign of the times of the mid-fifties: literary almanacs were published in almost every regional city." (386, p. 80). The "rehabilitation" of S. Yesenin played a big role in this: "The memory of the people and time lifted the ban on the name of the poet. And it was like a dam broke!" (386, p. 82). Here is what N. Rubtsov wrote about S. Yesenin at that time (he was looking for traces of the poet’s stay in Murmansk): “Whatever it is, I will always remember it. And it’s impossible for me to forget anything about Yesenin.” (386, p. 83).

"Loud" and "quiet" lyrics become not only a literary phenomenon, but also acquire social significance. Both "quiet" and "loud" poets release numerous collections that do not go unnoticed. In the first half of the 60s, "variety" beats all records of popularity. Evenings at the Polytechnic Museum, in which A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky take part, gather full houses. The open publicism of the "pop artists" already then crossed all limits. Even in his poems dedicated to the past ("Longjumeau" by A. Voznesensky, "Kazan University" by E. Yevtushenko, etc.), there was little history proper. On the other hand, there have been many attempts to "adapt" it to the needs of today, without much concern for historical truth. Their other "sin" was an unbridled passion for experimentation. In the early sixties, this hobby was widespread not only among poets, but also among musicians, artists, and architects. By the way, even N. Rubtsov survived, albeit a short-lived, period of "word-creation" - here is one example:

Sax fox chopped, the floor trembled
From crazy feet.
dude
to the cocktail lounge
And ordered rock. (906, C 125)

There was nothing wrong with all this, it was just plain growing pains. So, A. Voznesensky built his declarations from the grotesque, numerous hyperboles and abstractions. All of his really wonderful finds ("I'm happy that I'm Russian, I see it this way, I live like that, And I chew the air like a frosty piece of bread") were lost under a heap of verbal constructions.

The real mistake of the poets of the "pop" direction was the reckless glorification of the era of scientific and technological revolution. Technique did not carry and could not carry spiritual values to people, but it helped to destroy them. The only thing that could be done to the artist of the word was to ennoble, humanize her, finally, to suffer ("I suffered, like an infection, Love for big cities," wrote Rubtsov). Frank failures lay in wait for the poets on this path: "I love you with a rusty tram" (V. Sokolov), but there was no other way out, any other road led to eclecticism1

The “guilt” of the “variety workers” was that in the pursuit of the “spite of the day” they lost the eternal, the enduring. .) remained in the "minority" - the poet strove for scale (alas, only external), for an epoch-making understanding of history (the poems "Bratskaya HPP", "Kazan University") and most of all - for publicism, "running after the facts of reality . He is the poet of "instant photography" of life. This is the "secret" of the attractiveness of his topical verses, which agree with his aphorisms, which can affect consciousness, draw attention to this or that fact. But not more. There is no depth of poetic comprehension of these facts here, for the poet sees them purely with the author's "eye". But far from the whole world lives, thinks and sees in Yevtushenkov's way. This is also the "secret" of the fragility, even the informational value of his poetic slogans, appeals and lyrical revelations. write P. Weil and A. Genis. - Not tomorrow, not for tomorrow, but now and for now. Khrushchev, with poetic frivolity, solved all problems by planting corn, and Yevtushenko was already in a hurry to follow him:

The whole world is a corncob
crunchy on your teeth!

Both of them were comrades-in-arms and co-authors - the reforming poet Khrushchev and the poet-herald Yevtushenko. the pathetic work of R. Rozhdestvensky (poems "Requiem", "Letter to the 30th century"). R. Rozhdestvensky worked a lot and fruitfully as a songwriter. and truly not yet appreciated) contribution to the renewal of the verse, they widely used "imaginary irregularities" (Yu. Mineralov), assonance and root rhymes, complex metaphors, associations and other means of depiction.

In those years, the so-called "author's song" became a true "discovery of the genre". The original intimacy of the performance in the era of Soviet mass character relegated it to the background of official culture, but not in the hearts of people. The songs of the war years are the most striking confirmation of this. By the way, the first "author's song" appeared in 1941 ("About my artist friend" by M. Ancharov). Since the second half of the 50s, the songs of M. Ancharov, Y. Vizbor, A. Galich, A. Gorodnitsky, A. Dulov, Y. Kim, N. Matveeva, B. Okudzhava, A. Yakusheva and other "bards" have been used a huge success, especially among young people. The heyday of the "author's song" fell on the 60s - 70s. Their social overtones were clear to everyone. The most important in this series, no doubt, is the work of V. Vysotsky. He became "a poet of the new Russian nationalism" (P. Weil and A. Genis). "The hero of his songs opposes the empire with his naked and painful national consciousness. Vysotsky, who by the end of the 60s replaced Yevtushenko as a commentator on the era, opens the theme of hypertrophied Russianism. The antithesis of the depersonalized, standardized empire becomes a specifically Russian soul, which Vysotsky describes as combining extreme extremes. " (379, p. 290-291).

Among the poets of the 60s - 80s, Vysotsky and Rubtsov enjoy genuine popularity, not imposed "from above". There is an extensive bibliography of author's works and publications about their life and work, more and more museums and monuments are opening, books, newspapers, almanacs, magazines dedicated to them are published ("Vagant" in Moscow and "Nikolai Rubtsov" in St. Petersburg); there also lives a special, "amateur" literary criticism, created by the most real "fans" of their poetry.

N. Rubtsov and V. Vysotsky are people of the same generation of the "sixties", their best works were written in the late 60s: "Banka in white" (1968), "Hunting for wolves" (1968), "He did not return from fight "(1969)," I don't love "(1969) - with Vysotsky and" Until the end "(1968)," By the blurred road "(1968)," Under the branches of hospital birches ..." (1969), "Train "(1969) - at Rubtsov. In the mid-60s, Nikolai Rubtsov, together with fellow students of the Literary Institute, went to the Taganka Theater, one day, after a performance, a meeting of future poets and prose writers with actors, including Vysotsky, took place backstage. N. Rubtsov loved to listen to the songs of Vladimir Semenovich, after the death of Rubtsov in 1971 in Vologda, tapes with the bard's recordings were found among his personal belongings. Later, the writer German Alexandrov recalled: “Another time, when I came to Nikolai in the evening, he was sitting on the floor, there was a player right next to him, Vysotsky’s songs sounded. He played one of them again and again, carefully listening to the same words and then asked:

Would you be able to?

And as if he answered himself: - I probably would not ... "(386, p. 266). Vysotsky was outside the "Soviet" poetry, Rubtsov was still in it, albeit with big reservations.

One of the main themes of V. Vysotsky was the theme of a "little" person, and the social subtext of his lyrics was in many respects similar to a similar subtext in the poetry of N. Rubtsov. They were united by common pain, tragedy (in particular, the tragic conflict between the authorities and the individual), and orientation towards a certain reader (listener) "from the people." "Vysotsky," writes V. Bondarenko, "is a barrack soil, his soil is the "limit" of the seventies, the inhabitants of the Khrushchev, Arkharovtsy of urban-type settlements. Although weak - unlike the peasant ones - but the living roots of a living people." (375, p. 68).

Appeal to folk life inevitably leads to folklore. Vladimir Vysotsky, relying on the folk song, introduced an enlarged social content into its traditional theme, pushed the boundaries of the poetic language of Russian lyrics, widely using colloquial and slang vocabulary. V. Vysotsky introduced into artistic circulation the folklore genres of "thieves" and "prison" songs, cruel romance, considered "obscene" in poetry, created new varieties of them: a chronicle song, a role-playing monologue song, a dialogue song, a fable song. Vysotsky's favorite genres were, in addition to the "thieves" song and the "cruel" romance, i.e. genres of urban folklore, and lyrical song, ballad, fairy tale. But the traditional characters of fairy tales, for example, Vysotsky modernized - Baba Yaga, the Serpent Gorynych, and others parodied certain social phenomena.

N. Rubtsov turned to "thieves" folklore in his early lyrics:

How much vodka has been drunk!
How many glasses have been broken!
How much money has been cut!
How many women are abandoned!
Somewhere children were crying...
Somewhere Finns tinkled ...

Oh, sivukha sivukha!
Life was... beautiful!
("Holiday in the village")

But in his mature work, Rubtsov focused mainly on the genre of "peasant" lyrical song and classical genres, for example, elegy.

Common in the style of Rubtsov and Vysotsky was the introduction of proverbs, sayings into the literary text, the use of folklore epithets, irony (in early works), song parallelism, as well as the widespread use of colloquial vocabulary. But N. Rubtsov rarely used, unlike V. Vysotsky, satire and parody; no social fiction.

Both in the poetry of Vysotsky and in the lyrics of Rubtsov certain mythological images and ideas are reflected, their artistic thinking is characterized by a kind of mythologism. First of all, it was expressed in the transfer of the ancient system of binary oppositions (up - down, white - black, West - East, etc.) into the text, as well as in the symbolism of the meanings of many images of their poetry, including common ones. So, the ship in Vysotsky's verses is a means of crossing to another world; Rubtsov's boat is a symbol of lost love, unfulfilled hopes and, ultimately, death; the horse of both symbolizes the tragedy of time and fate. For example, in Vysotsky we read:

But here Fate and Time were mounted on horses,
And there - at a gallop, under bullets in the forehead ...

Rubtsov spoke about this more gently, elegiacly: "I will gallop over the hills of my dormant homeland..." The two poets are united by a common desire to use biblical vocabulary and phraseology, although it does not determine their style. One of the components of their poetic imagery is Slavic and world mythology and Russian folklore, but symbolic images in Vysotsky's poetry are not so numerous and do not always correspond to mythological and folklore meanings, while in Rubtsov they became the basis of his figurative system.

In 1991, M. Eisenberg, in the article "Some Others..." ("Theater", No. 4), made the first attempt to fully describe the path of unofficial poetry in recent decades. He lists many names, but it is not possible to mention all of them, especially since many then moved from one group or school to another.

The largest figure on this list is I. Brodsky. Although his true predecessor “should be considered one of the most mysterious figures of the “parallel culture,” Stanislav Krasovitsky. and German poetry, but to the experience of English poetry, implying Brodsky's later declared "outlook" of things. (470, p. 6). In the spring of 1960, Anna Akhmatova "talked about the unprecedented flowering of poetry, comparable, perhaps, only with the beginning of our century. "I can name - these are her true words - at least ten poets of the younger generation, not inferior to the high standard of the "Silver Age" . Here are their names: Stanislav Krasovitsky, Valentin Khromov, Genrikh Sapgir and Igor Kholin in Moscow, and in Leningrad - Mikhail Eremin, Vladimir Uflyand, Alexander Kushner, Gleb Gorbovsky, Evgeny Rein and Anatoly Naiman. "(769, p. 187). Stanislav Krasovitsky was first on this list, and it is no coincidence that over five years of work, he, the recognized leader of "unrecognized" poetry, "laid the foundations of a new poetic language, a new look at the place of man in the world. "(769). Mikhail Aizenberg recalls: "I I know that many considered him a poet of genius. It is difficult to apply such epithets to contemporaries, but it is difficult to reproach the first readers with excessive exaltation. Krasovitsky's poems are amazing even now, but then it seemed that they seemed to have fallen from the sky..." (659). burned manuscripts, cursed his work, considering this occupation immoral and, leaving Moscow and his career, went to a remote village, advising his friends to do the same.Only in the mid-80s did Krasovitsky return to poetry (but not to Moscow) as an author of religious the content of the poems.

In exile, Brodsky and Rubtsov write incredibly much (I. Brodsky at that time is experiencing a short-term passion for Russian folklore), work, sometimes travel to the cities on business (according to some reports, Brodsky traveled to Vologda that year (767)). And the coincidences continue!

“Brodsky has his own fate, and Rubtsov has his own,” writes N. Konyaev. “There is no need to forcibly bring them closer, but it’s still amazing how surprisingly the pattern of these destinies coincides. The same dates, similar punishments, similar sensations. Even geography and it almost matches.” (459, p. 126).

Different sources nourished the work of these poets (Brodsky - the Anglo-American tradition and Russian classics, Rubtsova - folklore and classical traditions), they moved in different directions, all the more striking are not only (and not so much) geographic and chronological coincidences (as if fate itself compared their life clocks), but the convergence is primarily poetic. Common in their work was: 1) the motive of loneliness, the motive of sleep, like death; 2) the emphatically dialogic structure of the lyrics; 3) the development of elegiac genres: "Great Elegy to D. Donnu" (1963), "New Stanzas for August" (1964), "Letter in a Bottle" (1964) - by Brodsky and "I will ride ..." (1963) , "Masts" (1964), "Autumn Studies" (1965) - with Rubtsov. The most important thing in the poetry of Brodsky and Rubtsov is a common attitude, confession, fidelity to classical verse.

P. Weil and A. Genis call Brodsky Ovid, an exile: "Exile from real time and space" (the lyrical hero of Rubtsov is "an unknown youth." - V.B.), but Brodsky's "world outlook" is always a view from the provinces , from the edge of the ecumene, from a place whose geographical and cultural coordinates are insignificant." (379, p. 289). For Rubtsov, this is Russia (a common thing for them was the rejection of time, but not space).

For Dostoevsky's heroes, the concepts of "leaving" (to America) and "perishing" were synonymous. I. Brodsky, having left Russia, broke not only with the national tradition. The break with the Motherland was more significant, his further attitude towards it (before calls to bomb not only Serbia, but also Russia, defiantly refusing to meet with Russian democratic writers, consciously ignoring all invitations to visit St. Petersburg) became painful. Perhaps, behind this "hatred" there was an unconquered love and a fear to admit it to oneself? Moreover, abroad, I. Brodsky constantly turned to works written in Russia as sources of new content. For example, "Part of Speech" is rooted in "Songs of a Happy Winter", "Autumn Cry of a Hawk" follows from "Great Elegy to J. Donne", "Marble" - from "Gorbunov and Gorchakov". V. Kulle calls the path of Brodsky "the ideal fate of the" poet-exile", "stoic and cosmopolitan" (470, p. 1). The path of Rubtsov, "a foreigner in his country", "stoic and soil" was just as "ideal" and tragic.And the fact that such different poets in the 60s had a similar worldview speaks volumes.

In the second half of the 60s, "quiet" lyrics dominated poetry: A. Zhigulin (Coll. "Polar Flowers" (1966)); V. Kazantsev ("Glades of Light" (1968)); A. Peredreev ("Return" (1972)); A. Prasolov ("Earth and Zenith" (1968); V. Sokolov ("Snow in September" (1968)) and others. In 1967, N. Rubtsov's famous book "The Star of the Fields" was published. my homeland" and gave critics reason to call the poetic direction "quiet" lyrics. It attracted attention with an in-depth analysis of the human soul, an appeal to the experience of classical poetry. V. Sokolov, for example, stated this clearly and definitely: "Nekrasov and Afanasy Fet are with me again ". Subtle psychologism, combined with the landscape, was characteristic not only of the lyrics of V. Sokolov, but in many ways he was ahead of other "quiet" poets here, if only because in the 50s he published a collection of excellent poems ("Grass under the snow" (1958)).

In 1974, V. Akatkin asked a rhetorical question: "Is this fact not a refutation of the mechanical scheme of the movement of poetry as a simple replacement of" loud "" quiet ", is there an indication of the unity (highlighted by me. - V. B.) of the processes occurring in it ?" (660, p. 41).

Both "quiet" and "loud" poets objectively raised Russian poetry to a new artistic level. The meaning of “quiet” lyrics has already been mentioned above, while “pop artists” not only “expanded the range of artistic means and techniques” (644, p. 30), but also expressed, albeit superficially, those moods, aspirations and hopes that also lived people at that time.

A too narrow understanding of the development of poetry in the 60s as a struggle between two trends has long been rejected by literary critics (V. Obaturov, A. Pavlovsky, A. Pikach, and others). After all, during these years, not only among poets who fell into the “quiet” clip, but also in the entire “soil” direction, a historical approach is firmly established in the artistic comprehension of reality, the desire to understand the national and social origins of modernity is intensifying, there is an organic merging of these two principles. A whole constellation of poetic names gave rise to a generation that became widely known in these years.

By the end of the 60s, poets of this trend "will increasingly be united under the conditional and inaccurate name "village poets." This meant both their origin and commitment to the theme of nature and the countryside, as well as a certain choice of traditions coming from Koltsov and Nekrasov to Yesenin and Tvardovsky.Simultaneously with the term "village" poets, the term "quiet poetry" arose, which made it possible to include both "village" and "urban" poets in one row, but similar to the first in attention to the natural world, as well as in register of the poetic voice, eschewing loud tones and prone to elegiac timbre, simplicity of sound and unobtrusiveness of the word.It must be said at the same time that the attention to the natural world of the most talented poets of this trend was not confined within the framework of poetic depiction, but, as a rule, was permeated an intense spiritual and philosophical beginning, i.e. consciously or not, but had, so to speak, a conceptual character. "(444, p. 207).

Beginning in 1965, poetry was seized by the "general cooling" (I. Shaitanov), but most importantly, the supranational unifying idea itself experienced a crisis: "the common goal is to build communism" (P. Weil, A. Genis) - was discredited, "the pole of unification was located retrospectively - in the Russian past (not in the past, but in the eternal values of this past. - V.B.) The path to it was made gradually, away from the cosmopolitan pressure of the early 60s. After the elimination of the Westernizer Khrushchev, this path turned out to be a pillar ... Turning to the roots became a natural reaction to the crisis of liberal ideology ... The Soviet people - a community wound around the core of a common idea and goal - stratified into nations." (379, p. 236-237). Among Russians in the USSR, pochvenism manifested itself in cinema (Andrei Rublev by A. Tarkovsky), in painting (I. Glazunov, K. Vasilyev), in music (G. Sviridov), and in a general interest in history (works of D. S. Likhachev, the preservation of ancient monuments, the flourishing of historical romance), but especially in "great literature" ("village" prose and poetry). The popularity of "soil" poets was not much inferior to the popularity of "variety artists". So, the creative fate of Boris Primerov developed - “you can’t imagine a better one: his performances at the Polytechnic, the Variety Theater, in the Great Hall of the Central House of Writers caused storms of applause. His poems were read from the stage, on the radio. Among the readers was the wonderful artist Dmitry Zhuravlev. Creativity and fate Sholokhov was interested in the young poet, as A. Kalinin testified on the pages of Ogonyok.In the dormitory of the Gorky Literary Institute, fellow students hung a playful, but not without meaning, banner: "In poetry, Boris Primerov is an example for us!" (803, p. 164). The government of France invited him to their country as "an original national poet of Russia", the face of Primerov served as a prototype for the portraits of Ilya Glazunov "Russian Icarus" and "Boris Godunov". He was recognized as "one of the leaders" of young poetry , he was considered. At an evening in the House of Pioneers in the early 60s, Examples said something about God ... Soon Suslov himself called him "on the carpet". The poet was saved by resourcefulness: "If there is no God, why are you then are you fighting him?"

In the second half of the 1960s, due to the ideological crisis, "a more effective system of values was objectively needed. God became an urgent need, and they found him ... - in Russia, among the people, in Orthodoxy." (379, p. 267). At first there was no depth, especially among the intelligentsia: "V. Soloukhin's book" Black Boards "explained that collecting antiques means" collecting the soul of the people. "A new hobby conquered the country. Icons or spinning wheels, bast shoes or chests, horseshoes or pots - something "Although Soloukhin himself did not call for God-seeking, very soon interest in peasant life became associated with a passion for the people's faith. Orthodoxy from pre-revolutionary peasant everyday life came to the intelligentsia along with the icon and lamp." (379, p. 268). Literature, "which brought to the forefront Matryona Solzhenitsyn instead of Pavka Korchagin, of course, did not become Christian, but prepared the ground for what was later called a religious revival." (379, p. 272). Moreover, it was not the intelligentsia that stood at the origins of this phenomenon, "this truth existed, lay in the deep layers, lurked in the underwater part of the iceberg before the sixties understood it ..." (671, p. 336). Valentin Rasputin recalls: "It was a natural return to Russian soil, coinciding just with the death of the old village." (888). And therefore it was no longer possible to openly oppose this process. It is no coincidence that A. Yakovlev, having condemned the “idealization of the peasantry” in poetry, was immediately forced to make a reservation: “The feeling of love for the land, for native nature, a sense of community in work, responsiveness to the needs of other people, which is inherent in the working peasantry, is dear to us ... We are so we condemn the cosmopolitan neglect of folk traditions." (986, p. 4). But what was the dispute then? About differences in the "class approach" or about something else? Yakovlev in this lengthy article hinted only once: "In many verses we meet with the chanting of churches and icons, and this is far from a poetic question." (986, p. 4). The dispute was conducted at the subtext level, neither side dared to speak openly, especially since the "subtext" itself was understood more intuitively than consciously. So, O. Mikhailov was lost in conjectures: “Why is now, without visible motivation, a genuine, sincere and earnest attraction to our rich traditions is expanding with renewed vigor? but also irresistible... There is a fashion for the past, and there is a lively, life-giving interest in the Motherland, coming "from the deep needs of our time." (851, p. 19). The "default figure" was more than eloquent here, but everything was again decided on a subjective level. However, the word was found as a cipher symbol: "Spirituality ... It seems that our days are again returning it to the system, feeling (emphasis added by me. - V.B.) that it is better to determine the entire mental and moral life of a person than its fashionable counterpart, "intellectuality" (765, p. 207). The reader quickly "deciphered" the meaning of this word, receiving not only aesthetic pleasure: "The inner content of Aesop's work is a catharsis experienced by the reader as a victory over repressive power." (483 , p. 5) All these changes were so serious that even recognized "Soviet" poets could not stay away from them, for example, the representative of the "front" lyrics S. Orlov

Sergei Orlov is best known as the author of heartfelt poems and poems about the war. The "front" theme is undoubtedly the main one in his work, however, both the works of the war years and the poems written in the post-war years "almost always differed in the scale of poetic thought and feeling ... this did not deprive them of realistic concreteness, sobriety of gaze, earthly soil "(432, p. 65). Back in 1945, in his native Belozersk, Orlov, demobilized after a serious wound, created a poetic cycle, the main motive of which was the return motive, traditional in Russian lyrics (st-I "The Village of Gora", "The cloud caught on for a month ...", "Autumn", " Bright North, dense forest..." etc.). But the poet saw provincial rural Russia for the time being in the light of Blok's lyrics:

In the following decades, Sergei Orlov, with all the genre and thematic diversity of his work, sought inspiration in love for his native land, realizing that love for the land is "a tradition whose poetic roots are lost in the haze of historical distances" (174, vol. 2, p. 207). From the usual landscape lyrics (st-I 1961: "Landscape", "It happens like this: spring has already come ...", "Spring", etc.) he went to a lyrical comprehension of the history of Russia ("Tales of Dionysius", 1962), to comprehend her large-scale philosophical discoveries directed to space.

“I am still your son, the village...”, the poet confessed, and although it was lost in the turmoil of the 20th century (“My village is no more...”), he found poetry in his land.

In the second half of the 60s - the first half of the 70s, S. Orlov could no longer ignore new poetic trends, especially the experience of "quiet lyrics", which opposed the destruction of the rural mode.

Most of the poems of this period were written in the genre of elegy ("Birds fly south under the sky...", "As if the ancient kingdoms are a relic...", "Farewell to summer", etc.). These elegies became the basis of S. Orlov's last lifetime poetic collection - "White Lake" (1975). The central poem of the collection: "Today I dream of my native land at night ..." (1975) is symbolic, many meanings can be distinguished from its subtext: both the result of the poet's life, and the huge tragedy that befell rural (and not only rural) Russia, and a philosophical conclusion, etc. It is about the village of Meghra, the homeland of the lyricist, flooded by the waters of one of the countless giant reservoirs. The mythological method of creating a symbolic situation is also noteworthy: the lyrical hero in a dream returns to the disappeared village, and yet in world mythology it was believed that the soul of a sleeping person leaves the body and visits his native places. The same ancient origins are in the symbolic picture of the poem: the land flooded with water meant oblivion, and in Russian folklore it symbolized grief, sadness.

"In the lyrics of S. Orlov, - writes E. Ben, - the image of the earth is present in almost a third of the poems." (684, p. 65). In terms of frequency of use, only the image of the sky can compete with it. The attraction of the earth and the desire for heaven are the two most important components of his poetic world. "... Each true poet has his own "soil", his own land, his own sky, from which they create poems," Orlov himself considered (174, vol. 2, p. 194). The textbook poem "He was buried in the globe of the earth ..." (1944) is a vivid confirmation of his words. "The cosmic scope of the poet's thought ("million centuries", "Milky Ways"), - notes V. Zaitsev, - does not oppose the earthly concreteness of the image of the fallen warrior..." (432, p. 67). It should be added that Orlov's "globe of the earth" is both the earth of people and a cosmic body. In the binary opposition "earth - sky" these concepts became closer, became dependent on each other, but not equal. This ideological vertical both in folklore, and in the Bible, and in N. Fedorov's "Philosophy of a Common Cause", and in the works of K. Tsiolkovsky, with which S. Orlov was so fascinated, acquires a symbolic meaning only in conjugation of the images of earth and sky. In ancient times, man raised his eyes and hands to the sky, hoping for the help of superhuman forces. Christ, by his birth on Earth and ascension to Heaven, gave human life a divine meaning. And even in such a purely materialistic dream of mankind as flying to the stars, searching for "brothers in mind", it is easy to notice the desire for immortality (search for the lost paradise) - the central religious (and religious-philosophical, and therefore poetic) motif. "The mind cannot agree to the loneliness of the Earth," wrote S. Orlov (174, vol. 2, p. 54). In the binary opposition "earth - sky" there are also eschatological motifs: private - the soul of a deceased person leaves the earth, but the body remains in it - and universal: the end of earthly history, the Last Judgment. A rigid connection between these two oppositions is also assumed in the future: the resurrection of the righteous in new bodies, paradise (the establishment of heaven) on the new Earth, and hell, "outer darkness" (in relation to the "heavenly" earth) for sinners. Without a doubt, in the lyrics of S. Orlov, heavenly glory has quite visible earthly signs, and the elegiac mood in his last poem "The Earth flies, green, towards ..." accurately places its most important ethical and aesthetic accents:

I'm sorry, earth, that I leave you,
Not through my own, so through someone else's fault,
And I will never see rowan
Neither in reality, nor in an impenetrable dream ...

Alexey Prasolov back in the 60s seriously and thoughtfully turned to the best examples of Russian lyrics of the 19th and 20th centuries - to A. Pushkin, F. Tyutchev, A. Blok, N. Zabolotsky. His lyrics are "serious philosophical lyrics" (755, p. 5).

Poetic maturity came to Prasolov at the age of 33 - in 1963 he wrote more than 30 poems, which became the basis of his collections. A. Tvardovsky opened Prasolov to the general reading public - first, at his personal request, the poet was released from prison ahead of schedule in the summer of 1964, then in the eighth issue of Novy Mir in the same year a cycle of Ten Poems was published by an then unknown author . During the life of the poet, four of his collections were published: "Day and Night" (1966), "Lyrics" (1966), "Earth and Zenith" (1968), "In Your Name" (1971). Already in the review of the first collection, the leading intonation in Prasolov's work was determined - the "drama of life", the "unity of the state of the lyrical hero" was noted (893, p. 300). This state was disturbing and formidable, but did not turn into gloom. Outwardly, the poet did not go beyond those narrow limits of "quiet" lyrics, into which many critics who used this term squeezed. "Quiet" signs were visible in appeals to the house, to the earth: "My land, I'm all from here, And the hour comes - I'll come here ...", but Prasolov went further, he sought to find the high meaning of being, first of all, in the human soul , he spoke "in a high, solemn, often archaic word: eternity, the universe, prophetic, heaven, heights, unforgettable, likeness, darkness, light, etc." (661, p. 151). His lyrics became "poetry of a split world", "poetry of thought"1 "printed word", in the words of Yu. Kuznetsov; indeed, quiet, "unsaid aloud": "And silence had a language - It brought together the present with the old." Like Rubtsov's poetry, it was built on contrasts, but on static, motionless contrasts; the poet did not surrender to the sounds of the elements, he was faithful to the dialectic of human thought, which was organically combined with the black and white graphics of his landscapes:

But mine is different - it is equally dark and light,
And sometimes, no matter what you do
For him in this world, as if there are two colors -
Only black and white.
("At an hour, as the rain is short and festively clean ...)

His "soul of thought" was also visible in the love lyrics, unusually pure, sublimely tragic in their inescapable pain, striving for eternity:

But a sobering will
Tossed the soul steeper, higher, -
There's no sympathy for the pain
It's just the truth that's hard to breathe.
("The sunset faded, tenderness faded ...")

The fate of A. Prasolov was as difficult as that of N. Rubtsov; both poets received their education rather late, and began to publish relatively late. They passed away at about the same time: N. Rubtsov - in 1971, A. Prasolov - in 1972, and at about the same time, their poetry gradually began to gain universal recognition. The attitude of these extremely sensitive lyricists is indeed similar1, but the ways of conveying it are different. A comparison of their creative manners can give a lot for understanding the processes in the poetic understanding of modernity that took place in the 60-70s.

Lecture "Poetry of the 60sXXcentury"

Methodological substantiation of the lecture “Poetry of the 60sXXcentury"

The topic of the lecture is “Poetry of the thaw period”

The goal is to get acquainted with the general trends in the development of poetry in the 60sXXcentury, to show the features of the poets of the sixties and the poets who created author's songs, to highlight the individual features of the work of the leading poets of the 60s.

The concept is to show that:

In the 60s, there was a division in the lyrics into official and unofficial

Poets of the sixties, being a new phenomenon in literature, nevertheless rely on the traditions of the Silver Age and military lyrics.

The work of poets of the sixties is heterogeneous and each author manifests individual features of creativity

Tasks:

Educational:

1) improving the skills of philological analysis of the work;

2) revealing the features of the creative individuality of Yevtushenko, Rozhdestvensky, Akhmadulina, Okudzhava.

Educational: analyzing the poems of poets of the 60s, show their interest in the life of an ordinary person.

Lecture plan:

Goal setting.

Characteristics of the "thaw" period

3. General trends in the development of poetry in the 60sXXcentury (four generations of poets, official and unofficial lyrics).

4. Poets of the sixties.

5. Creativity Yevtushenko.

6. Creativity Rozhdestvensky.

7. Creativity Akhmadulina.

9. Creativity of Bulat Okudzhava.

10. Creativity of Yuri Vizbor.

11. Creativity of Yuli Kim.

12. Results.

List of literature used in the preparation of the lecture

Leiderman, N.L., Lipovetsky, M.N. Modern Russian Literature: 1950-1990s [Text]: textbook: in 2 volumes. T. 1: 1953 - 1968 / N.L. Leiderman, M.N. Lipovetsky. - M., 2003 (Chapter 2 "Social realism with a human face")

L. Anninsky. Nut kernel. Critical Essays. - M., Soviet writer, 1965

New in school programs. Russian poetryXXcentury. To help teachers, high school students and applicants / Comp. S.F. Dmitrenko. - M., Publishing House of Moscow State University, 1998

L. Lavlinsky, Explosive power of the heart (about lyrical poetry of the 60s). - M., Soviet writer, 1972

V. Barlas, Through the Eyes of Poetry. On the discoveries of art and contemporary poets. - M., Soviet writer, 1966

B. Messerer, "Bella's Flash" "Banner", 2011

Abstract of the lecture "Poetry of the 60sXXcentury"

Greeting, transition to the topic of the lesson, goal setting.

The purpose of the lesson: today we will get acquainted with the cultural trends of the "thaw" period, we will study the features of the creativity of representatives of four generations of official poetry and representatives of unofficial poetry (author's songs).

The period of the “thaw” got its name from the light hand of I. Ehrenburg, who published the story of the same name in 1954. Like any cultural and historical cycle, it does not have rigid chronological boundaries, however, there are such events that played the role of milestone signs of the “thaw”: the sign of the beginning is Khrushchev’s secret report “On the cult of personality and its consequences” at the 20th Congress of the Communist Party of the Soviet Union ( February 1956), a sign of the end - the suppression of the "Prague Spring" by Soviet tanks (August 1968).

Nevertheless, this relatively short period of time turned out to be one of the most important periods in the history of Russia and its culture. During this period, public consciousness went through a very difficult pass: through euphoria, based on the belief in the inviolability of the foundations of the Soviet system and the hope of "restoring the Leninist norms of party and state life", to deep doubts, and then to disappointment in the possibility of building "socialism with a human face". in a totalitarian state. However, the very first glimpses of freedom, the timid sprouts of democracy turned out to be the impetus for the awakening of minds, the intensification of social activity, and for a powerful creative upsurge. The works of Babel, Platonov, Bulgakov, Tsvetaeva, Mandelstam, Olesha began to return to the cultural consciousness, and in the general flow with the permitted, books of philosophers and poets remaining under official bans became more accessible. The "iron curtain" was slightly opened, and the Soviet people were able to get acquainted with the films of Italian neorealism, read the works of Hemingway, Faulkner, Camus, Sartre, and so on. After almost three decades of a complete ban, the artistic avant-garde began to make its way to the audience and readers, it had followers. The very spirit of the times was "thaw".

Significant works appear in literally all types of art: in the cinema - "Ivan's Childhood" and "Andrey Rublev" by A. Tarkovsky, "The Cranes Are Flying" by M. Kalatozov, "The Ballad of a Soldier" by G. Chukhrai, "Hamlet" by G. Kozintsev, films G. Danelia, E. Ryazanova; in the theater - the phenomena of Efremov's Sovremennik and Lyubimov's Taganka, performances by A. Efros based on the plays of V. Rozov at the Lenin Komsomol Theater; in the visual arts - sculptures by E. Neizvestny, "severe realism" by P. Osovsky and V. Nikonov; in music - the late symphonies of D.D. Shostakovich, music by A. Schnittke, etc.

The process of revival of cultural life was contradictory. The state did not want to lose control over artistic creativity, but could not ignore the trends of the time, in addition, it was required to create the appearance of democratization (within the country and in front of world public opinion). The party's flirtation with the creative intelligentsia, some censorship indulgences alternated with "pumping" at the famous meetings of the leaders of the party and government with figures of literature and art and "tightening the screws". For example, the existence of the Novy Mir magazine was allowed, albeit with enormous obstacles, with the critical orientation that A. Tvardovsky gave it, but in contrast, the Oktyabr magazine, headed by the outspoken Stalinist V. Kochetov, was supported. A "sabbath" was started over the award of the Nobel Prize to Pasternak for the novel "Doctor Zhivago" and the publication of "One Day in the Day of Ivan Denisovich" by Solzhenitsyn was allowed. For the first time in the USSR, an exhibition of works by Pablo Picasso was opened and the destruction of the “bulldozer exhibition” was carried out, where the modern domestic avant-garde was presented. At the suggestion of Khrushchev himself, the Izvestia newspaper published Tvardovsky's sharply satirical poem "Terkin in the Other World" and launched trials of the "slanderers" Sinyavsky and Daniel and the "parasite" Brodsky. But this time, for the first time in forty years, the writing community did not say “unanimously we approve” and did not remain silent - protests began, witnesses for the defense spoke at the trial, collective letters from writers to the Central Committee. From here came the underground "Chronicle of Current Events", "samizdat" and "tamizdat" began to gain strength.

The very first symptoms of the “thaw” appeared precisely in the artistic environment. In 1953, in the article “On the Work of a Writer,” Ilya Ehrenburg wrote: “The writer’s place is not in the convoy, he looks more like a scout than a staff clerk. He does not rewrite, does not expound, he reveals. Kaverin from the rostrum of the Second Congress of Soviet Writers (December 1954) shared his dream: "... I see literature that does not lag behind life, but leads it," and Olga Berggolts defended the right of the lyric poet to "self-expression." Vladimir Pomerantsev published an article "On Sincerity in Literature", where he urged not to bypass "controversial and difficult issues" and talked about "the need to highlight the negative aspects of our life."

The discussion divided the creative community into two camps - those who wanted change and who later became known as the "sixties", and those who tried to keep everything the same ("guardians").

Lyrics are actively developing and penetrating into other literary genres, influencing the genre system. “Everything in Moscow is saturated with verses, / pierced through and through with rhymes” (A. Akhmatova, 1963). The lyrical upsurge captured all poetic generations.

In poetry, different poetic generations of this period are activated:

Akhmatova generation: Akhmatova, Pasternak, Zabolotsky.

Their work began with the period of the Silver Age, the 60s is the last stage of their work.

Generation of Neo-Acmeists: Arseny Tarkovsky, David Samoilov, Maria Petrovykh, Semyon Lipkin, etc.

They came to poetry in the 30s and continued modernist tendencies in their work. In the 1930s and 1940s they could not publish because of censorship, they saved themselves by translations. In the 1960s, they were just beginning to be published openly.

Generation of Komsomol poets of the 30s: A.F. Tvardovsky, Ya. Smelyakov, Leonid Martynov.

Creativity corresponded to the ideology, Soviet pathos, they sang the new state. In the 60s, a period of dramatic rethinking of poets' rethinking of their ethical and aesthetic principles.

Sixties poets: E. Yevtushenko, Robert Rozhdestvensky, Andrey Voznesensky, Bella Akhmadulina.

Just got into poetry. E. Yevtushenko: “We are the children of 1956” (aboutXXcongress of writers). The theme of exposing Stalin's personality cult.

In addition to official poetry, unofficial poetry developed in the 1960s (writers published in samizdat).

A group of Lianozovo poets (the city of Lianozovo): Heinrich Sapgir and others.

Leningrad poets: Joseph Brodsky, Evgeny Rein, Gleb Gorbovsky, etc.

Poets of the sixties.

A landmark event is the opening of the monument to Mayakovsky in Moscow on July 29, 1958. At the end of the rally, poets spoke, but unexpectedly the rally was continued - people began to come out of the crowd and read poetry. Meetings "at the Lighthouse" of those who wanted to read and listen to poetry became regular. Poets came out to the monument (at the Lighthouse) and read their poems. The Polytechnic Museum could not accommodate those wishing to listen to poetry, poetry evenings moved to Luzhniki and stadiums.

All this was an expression of both the stormy activation of spiritual life, and the aggravated need for expression, and interest in the life of the soul, in thoughts, opinions, and feelings of a person.

In relation to the poets - "sixties" it is impossible to use the word "group", because it had no organizational boundaries. However, the poetry of the "sixties" has become a strong and influential artistic movement, with a distinct conceptual and stylistic image. It was they who re-instilled love for poetry in millions of people, opened the door to a huge library of masterpieces of domestic and world poetry. At the beginning of the "thaw" people wanted to listen to their poems. So they said something that their contemporaries badly needed. Yevgeny Yevtushenko described their activities as follows: "a generation that raised the question of the need for a moral restructuring of our society from an early age." However, the perestroika they called for did not encroach on the recognized foundations of Soviet society. Some spoke the language of concepts and values that did not differ from the ideals of socialism, but were consistent with the mentality of their contemporaries.

In addition, they did not break away from the existing poetic traditions. Associated with the poets of the front-line generation, they highly appreciate the fearlessness of vision, harsh truthfulness, and bareness of feelings in them. Associated with Yesenin's poetry.

Topics: - exposure of Stalin's personality cult (poetry topical, topical).

Publicistic pathos is often expressed in a frankly rhetorical form, sometimes resorting to allegories.

Pr: R. Rozhdestvensky "Morning!"

MORNING

Darkness...

Speaks calmly at first

and then seething with anger:

- People!

What is it?

After all, you are with me

also something

distinguished.

We walked

without quarreling with my truth,

albeit slowly,

yeah be careful...

I got darker on purpose

so that your conscience does not torment you,

so that you don't see the dirt,

to make you yourself

didn't scold...

Night, shut up!

Still don't shout

the growing full dawn.

Shut up!

The morning will answer you.

The morning will speak to you.

You leave yourself

for your flatterers,

and with such advice to us

don't go -

man dies in the end

if he hides

your illness...

They tried to transform the traditional social pathos of Soviet civic lyrics into a humanistic, universal pathos.

At the beginning of the “thaw”, the quality of their poetry was very low, but acquired great emotional strength (hopes for a speedy liberation from vices, because they were not thought of only as a “distortion”, as a deformation of a beautiful idea).

The basic setting of poetry is changing. No pomposity. Poetry becomes open, frank to the writer. The lyrical hero is changing. This is a contemporary, an ordinary person. The position of the author and the reader is changing (on an equal footing, intimacy). The poet is not ashamed to speak, speaks about the unsightly sides of his character, as he is an ordinary person, like everyone else.

The attitude of the sixties to the era is changing. Powerful civic theme. But her character is changing. The attitude to the epoch, to the time, to the person in the epoch becomes more critical. The lyrical hero worries about everything that happens in the country. History, state, era - these words in poetry lose their abstractness, become close and understandable to both the poet and the reader. We have established an intimate, domestic contact with mega-scale phenomena and categories - the epoch, history, humanity.

Pr: “The purpose of poetry is to cleanse history of filth” (Yevtushenko “Cinderella”):

My poetry is like Cinderella

forgetting about your own

erases every day, a little dawn,

dirty laundry era...

and, on my knees with a rag, crawling,

scrapes the floors of history.

Relationship of parity with the era, history. They believed that they could influence the fate of their contemporaries. Civic poetry ceases to be pompous, it becomes simple and understandable. There is a relationship of parity between man and time. They restored the original, ideal meaning of the relationship between the individual and society, individual destiny and history, which was supposed to be a socialist dream.

Yevtushenko:

broken time screamed,

and time was me and I was it

and what an importance: who was mute first. ("Estrada", 1966)

Voznesensky:

Russia beloved,

they don't joke about it.

All your pains - they pierced me with pain.

Russia,

I am your capillary vessel,

it hurts me when

you hurt, Russia. ("Longjumeau", 1963)

They rely in traditions on the poets of the Silver Age. Pr: Voznesensky focuses on Mayakovsky and Pasternak. Akhmadulina - on Akhmatova and Tsvetaeva. From Mayakovsky, citizenship, which attaches importance to the personal to the general, and experiences the general as personal.

They looked for a foothold in utopian ideas that were associated with the concepts of "revolution", "October", "communism". For them, these concepts became mythologemes, they lost their living flesh, they were replaced by signs - a red banner, a line of a revolutionary song, which for them became emblems of moral purity, selflessness, freedom and justice.

Yevtushenko: "Comrades, / we must return to the words // Their original sound" (Celebrate the First of May!) and swore: "I will not sell the revolution!" ("Conversation with the Revolution").

They are united with modernist tendencies by:

Setting for an experiment (rhythmic drawing, a prose piece can be introduced, rhymes can be inaccurate, original metaphors, objects and phenomena from different semantic layers are likened).

Pr: Yevtushenko is the globe, like an orange in a string bag.

Poetics of tropes, with the help of which emotional uplift was expressed (an abundance of various artistic means - metaphors, epithets, detailed comparisons, stylistic figures). The newest ideas and concepts (missiles, airports, anti-worlds, plastics, isotopes, rock and roll, etc.) are drawn into their associative field. Along with the signs of scientific and technological revolution are images of Russian antiquity, great artistic achievements, echoes of global events.

“I understand a metaphor not as a medal for artistry, but as a mini-world of a poet. In the metaphor of every major artist is the grain, the genes of his poetry,” Voznesensky claims.

Voznesensky: “My self-portrait, neon retort, the apostle of the heavenly gates - / airport!”

Confession

Sound recording.

Andrei Voznesensky

Rock opera Juno and Avos with Rybnikov (based on the poem Avos). With Raymond Pauls "A Million Scarlet Roses" (based on a historical plot from the life of the artist Pirosmanishvili (Pirosmani)). "Drummer".

Traits of a lyrical hero:

The sense of self of the lyrical hero is greed for the new, the thirst for discovering other, hitherto unknown horizons, the search for new symbols of faith.

The lyrical hero is emphatically ordinary. But it carries drama in itself - brought up in a utopian-optimistic spirit, it is going through a painful process of liberation from the truth.

Confession is a special frankness and trust with the reader.

Not on good terms with yourself

Yevtushenko:

I often notice

to someone's, apparently, triumph,

that I dream scattered

that I live in disarray.

Among the completely fearless-looking

half wishes

semi-feelings

aches:

I won't go out

am I not getting it?

Evgeny Yevtushenko

Reading by students of excerpts from the article by Ozerov Yu.A. "Poets of the sixties", revealing the features of the poet's work.

On the one hand, the installation is aimed at the mass reader, the listener-spectator. Therefore, specific stylistic features appear (publicism, increased rhetoric, the inclusion of an oath, sloganism).

Pr: the poem "Bratskaya HPP", "We must not hide, fight!"

The desire to shock the public (from the futurists) is a bold civil statement.

On the other hand, he was always opposed to the division of poetry into loud and quiet (Quiet poetry of the late 60s - early 70s - the intonation of poetry is quiet, elegiac, calm, intimate (Nikolai Rubtsov)). In his work there are features of both. He writes about this in the poem "Over the Grave of Rubtsov."

The elegiac line includes his poems about nature (much in common with Rubtsov). Pr: "Birch", "Station Zima".

Pays special attention to the genre of the poem. Pr: "Bratskaya HPP", "Corrida" (1975), "Under the Skin of the Statue of Liberty" (1969).

Much of his poetry is connected with trips abroad.

Style features: - Often assonant rhymes.

Rhyme experiment. Attentive to the phonetic design of poems.

In the context of one poem, vocabulary from different stylistic layers.

Neologisms (from Mayakovsky) are derivational, often associated with subjective evaluation suffixes.

Pr: the poem "Infantilism" is civil poetry, but without speculation.

Aphoristic poetry (accuracy and conciseness of his language)

Many paraphrases from Russian literature, Russian images

Pr: poem "Western film impression"

The lyrical hero is frank to the point of nakedness, to foolishness (narcissism by self-flagellation). The paradox is that in the act of exacting revision of himself, in the very state of mental anguish, in the discovery of his own inconsistency and instability, the hero finds grounds for self-affirmation. Inconsistency manifests the non-standard of a person, his fundamental incompleteness. I suffer, therefore I exist.

"Prologue"

I am different

I am busy and idle.

I'm goal-

and inappropriate.

I'm all incompatible

inconvenient,

shy and arrogant,

evil and kind.

I love so much,

so that everything intersperses!

And so many things mixed up in me

from the west

and to the east

from envy

and to delight!

I know - you will tell me:

"Where is integrity?"

Oh, there is great value in all of this!

The lyrical hero demands attention to his spiritual life, he longs for sensitivity to himself.

"Worry About Me"

worry about me

passionately and deeply.

Don't stand aside

when I'm lonely.

In zeal empty

don't catch small.

For all my "later"

love my now.

In the word and experience of the lyrical hero, the reader is projected, the potential co-hero of the poem. It affirms the self-worth of any person and requires sensitivity, responsiveness to his spiritual life.

Seeking sensitivity to himself, he opens his soul towards the life of others. "I'm greedy for people." Heroes appear in his poems: “Muska from the candy factory”, “lifter Masha”, “Uncle Vasya”, etc. (ordinary Soviet people). The lyrical hero empathizes with them, each of them is valuable in itself, in each of them is Russia.

The dual unity of the images of "ordinary people" and Russia. Simple rhythms, brittle rhyme, song melody, poignant intonation. "White snows are coming."

He sees the high in what is considered low, he sees the extraordinary in the ordinary.

Robert Rozhdestvensky

Watching an excerpt from the film "Zastava Ilyich" with a speech by Robert Rozhdestvensky (an excerpt from the poem "Cogs"). Identification of the main features of his work.

The main pathos is civil and moral.

High pathos.

The lyrical beginning is dissolved in the general "swarm" voice and feeling.

Rhetoric.

Creativity is multidimensional. Starts with lyrical journalism. In his poems, the lyrical hero evaluates history, merges with modernity. Maximalist from the point of view of the approved system of values.

Early poems - patriotic line. Pr: "Speak Soviet." The image of Lenin in the era of the "Thaw" is a cult image (an ideal to follow, a standard). They began to call Lenin "Ilyich" in this era, when they began to perceive him as a person close to him.

The peak of civil poetry 1953 - 1959.

Love lyrics: affirms the simplest truths, returns literature to the classical (in terms of the value system). The poems of the sixties, dedicated to the eternal themes of love, friendship, etc., became more popular.

Rozhdestvensky's song poems: "Call me, call!", "Oh, this wedding ...", "Yashka-Gypsy's Song", "I'll get up before dawn today", "Echo of love", "Song of the Motherland", "There behind the clouds "," I wish you "," No need to be sad ...".

Bella Akhmadulina

Reading by students of Bella Akhmadulina's poem "On my street ..." and identifying the features of her work.

Bella Akhatovna's poetry is interesting because she loved and knew how to combine images of the traditional old and new worlds in her poems. Her works include such items as a candle, a lamp, a decrepit house and things new at that time: a traffic light, an airplane, a tape recorder. Joseph Brodsky called her the heiress of the Lermotnov-Pasternak line in Russian poetry.

For the first time in modern Soviet poetry, Akhmadulina spoke in a high poetic style. And if now we can safely talk about the existence of the very concept of "belles-lettres", then this is largely the merit of Bella Akhmadulina to Russian literature.

Sublime vocabulary, metaphor, exquisite stylization of the "old" style, musicality and intonational freedom of verse made her poetry easily recognizable.

The very style of her speech was an escape from modernity, mediocrity, everyday life, a way to create an ideal microcosm, which Akhmadulina endowed with her own values and meanings.

The lyrical plot of many of her poems was a communication with the “soul” of an object or landscape (candles, portrait, rain, garden), not without a magical connotation, designed to give them a name, awaken them, and bring them out of oblivion.

Just something - so that there is a candle,

simple candle, wax,

and age-old old-fashioned

so it will be fresh in the memory.

And your pen will hasten

to that ornate letter,

intelligent and ingenious

and good will fall on the soul.

You are already thinking about friends

more and more, in the old way,

and stearic stalactite

deal with tenderness in your eyes.

And Pushkin looks kindly

and the night has passed, and the candles go out,

and gentle taste of native speech

so clean lips cold.

In many poems, especially with conditionally fantastic imagery (the poem "My Genealogy", "An Adventure in an Antique Store", "Country Romance") she played with time and space, resurrected the atmosphere of the 19th century, where she found chivalry and nobility, generosity and aristocracy , the ability for reckless feeling and compassion - the features that made up the ethical ideal of her poetry, in which she said: "The method of conscience has already been chosen, and now it does not depend on me." The desire to acquire a spiritual lineage was found in poems addressed to Pushkin, Lermontov, Tsvetaeva and Akhmatova (“Longing for Lermontov”, “Music Lessons”, “I envy her - young” and other works); in their fate, she finds her measure of love, kindness, "orphanhood" and the tragic paid for creative gift. Akhmadulina presented this measure to the present - and this (not only in the word and style) was her special character of inheriting the tradition of the 19th century.

The aesthetic dominant of Akhmadulina's work is the desire to sing, "give thanks" to "any little"; her lyrics were overflowing with declarations of love - to a passer-by, to a reader, but above all to friends, whom she was ready to forgive, save and protect from an unjust trial. "Friendship" is the fundamental value of her world (the poems "My comrades", "Winter isolation", "I'm already bored, and inappropriately," Craft brought our souls together "). Singing the purity of friendly thoughts, Akhmadulina did not deprive this theme of dramatic overtones: friendship did not save from loneliness, incomplete understanding, from mutual hopelessness.

Akhmadulina always avoided, unlike other "sixties", socially significant social topics.

Akhmadulina's lyrics did not reproduce the story of mental suffering, but only pointed to them: "In the anguish that it is capable of", "Once, swaying on the edge", "It happened like this ...". She preferred to speak about the tragic underlying basis of being in an allegorical form (“Don’t cry for me! I will live ...” - “Spell”), but more often in poems about poetry, the very process of creativity, which occupies a very large place in her creations.

Creativity for Akhmadulina is both "execution", "torture", and the only salvation, the outcome of "earthly torment" (poems "The Word", "Night", "Description of the Night", "It's so bad to live); faith in the word (and fidelity to it), in the indissolubility of "literacy and conscience" in Akhmadulina is so strong that the overtaking dumbness is tantamount to non-existence for her, the loss of the high justification of her own Akhmadulina is ready to pay for her poetic chosenness with the “torment of superiority”, she saw suffering as an atonement for spiritual imperfection, “aggravation” of her personality, but in the poems “Bad Spring”, “This is Me”, she overcomes these temptations.

Akhmadulina solved the traditional theme of confrontation between the poet and the crowd without the usual denunciation of the uninitiated (the poem “The Chill”, the poem “The Tale of the Rain”): Moscow bohemia in conflict with the poet did not appear inescapably hostile, but genetically alien.

In the collections "Mystery", published in 1983, and "The Garden", published in 1987, and awarded the State Prize in 1989, poetic hermeticism, description of solitary walks, "night concoctions", meetings and partings with cherished landscapes, keepers of secrets , the meaning of which was not deciphered, was combined with the socio-thematic expansion of the poetic space: residents of suburban suburbs, hospitals, unsettled children appeared, the pain for which Akhmadulina translates into "complicity of love."

The songs of the bards are lyrical, sincere.

The main value that they sang was the motif of freedom, a friendly circle in the forest, by the tent, by the fire, which they contrasted with the comfortable life of a city dweller.

These are not professional poets.

There is an absolute individuality of poets. Their creativity spreads thanks to tape recorders.

Bulat Okudzhava

Students reading Bulat Okudzhava's poems and highlighting the individual features of his work.

War is a tragic test of the human soul.

The lyrical hero - a boy who changed his school desk to the trenches, experiences its cruelty, but resists dehumanization ("I will smile, damn it, / in the heat of hand-to-hand fuss").

A sense of the fragility of human life and the need for good principles that would support a person and give him hope.

Humanity. The source is compassion for the individual to help him overcome loneliness.

The image of loneliness is a sign of the main misfortune of human existence.

At the center of the aesthetic system is the concept of the ideal (hope). The object of worship is looking for nearby, in the circle of values that are close to him.

A special topos, its own artistic universe, where its heroes and goddesses live (Arbat). Arbat is the unofficial core of the capital. The authenticity of the Arbat in its unsightly, everyday ordinariness describes its topography. This is the ethical center of the world.

The Arbat Brotherhood occupies the highest place in the hierarchy of Okudzhava's spiritual landmarks.

The lyrical subject is a bard, a performer of unpretentious songs that are composed in the yard and sung for the company. This is a "role image". He sings not about ordinary people, but on behalf of "ordinary people".

Stylization under the common art forms of "masscult". A special lyrical genre is songs stylized as urban romance.

Recreates the image of the "Arbat" mentality and linguistics. The "Arbat subculture" against the background of general cultural norms in its angularity and naivety looks like something genuine.

Romantic attitude and sentimental origins. Updated through a fairy tale (separate images and motifs, fairy tale paraphernalia, associations with fairy tale archetypes).

"Shoemaker": "And his black hammer, like a swallow, / shakes his forked tail."

Drummers live in Drum Lane.

The Arbat is "a paradise disguised as a yard / where everyone is equal: / both children and tramps."

Warm humor in relation to the heroes of the songs.

Sincerity "Let's join hands, friends, / so as not to disappear one by one!"

In the author's song, Bulat Okudzhava puts the text in the first place. The melody acquires the function of musical accompaniment, which enhances the lyricism of the sound of the verse. “For me, an author's song is, first of all, poetry. Singing poet”, - this is how Bulat Okudzhava himself defines the specifics of the genre. Bulat Okudzhava rarely writes songs “in the first person”, but he always sings them “from himself”: “It is important for me that the very feelings that possess me, the author of the song, at the moment of its performance would take over the listeners ...”

The lyrical hero of Okudzhava also seeks to excite human minds. His main desire is to make people's souls more sensitive and responsive. This theme is heard in the poem "Midnight Trolleybus". This real connection of lonely souls creates the community that Okudzhava in his other famous song lyrically and touchingly calls "hopes a little orchestra under the control of love."

By the way, the love theme occupies a very special place in Bulat Okudzhava. Love is embodied in a variety of situations that took place in various eras. For example, in Okudzhava's songs, we meet the love of a hussar and the beautiful Natalia, the love of a musician who gives his inspiration to his beloved. According to Okudzhava, a man in love is ready to be forever transferred to the great mystery of love, forgetting about sleep. But, of course, the main motive of Okudzhava's love lyrics is the worship of the beloved woman, her deification.

Although Okudzhava wrote in the last century, some confusion of times is often noticeable in his poems, and this is not surprising - the author has repeatedly called himself a poet of the 19th century. Okudzhava seeks to return to "his" era, in which he accidentally did not fall, writing historical poems. For example, the “Battle Painting” became the quintessence of the 19th century, which combined the images of the emperor, general and retinue. Above them is the eternal, unchanging sky, which does not change over time. The romance of past battles is mixed with the tragedy of recent events: the poet was a participant in the Great Patriotic War. On this topic - a heartfelt poem-song "Goodbye, boys." The titles and the first lines of the songs depict the war as the greatest folk tragedy (“You hear the boots rumble”, “Forgive the infantry”, “And we are with you, brother, from the infantry”).

10 . Yuri Vizbor

Attitude to war, loyalty to the duty of memory, continuity and connection of generations. Comprehending the origins of his worldview, Vizbor will say in the play “Birch Branch” through the mouth of one of its heroes: “In a canoe trip along the Zhizdra River, which flows in the Bryansk forests, we came across an amazing trail of war. A quarter of a century ago, a soldier hung a rifle on a birch. For a quarter of a century it hung on this birch. The steel of the barrel was eaten by rust, the belt rotted. But the stock of the butt has grown to the birch and has become part of it, and young cheerful branches have already sprouted through this former stock to the sun. What was a weapon * of war has become part of the world, of nature. And then I thought that this "is - I, we, my generation, who grew up on the old, hard-to-heal wounds of the war ... The war killed not only those who fell on the battlefield. She was the harsh dawn of our post-war generation. She left us a legacy of early adulthood, liquid school vinaigrettes, fatherlessness, warrants for sandals, fights in school yards over stacks of firewood. The war was my enemy - a personal enemy."

As for the spiritual factors that to some extent determined the artistic tastes of Vizbor, these were folk songs that did not lose value at any time, songs of the war and post-war years (he was downright reverent towards the wonderful songwriter Alexei Fatyanov), finally , yard songs.

Love is mountains. They also wrote songs, usually to well-known melodies, no attempts to compose music were made at that time. Vizbor wrote his first song, "a super-romantic work", in 1952. The song was called "Madagascar", although it had nothing to do with the famous island. At that time, they were fond of Kipling, the exotic of distant countries, when everything seemed romantic. Well, the music of the song was borrowed from the performance of the Puppet Theater by S. Obraztsov “Under the rustle of your eyelashes”.

Hiking tourist themes, mountains became the defining themes of Vizbor's song writing until the end of the 50s.

Moreover, along with the amateur tourist-student song, interest in the folk song also grew, which practically introduced Vizbor to folk song traditions.

For the Muscovite Vizbor, the north is part of the Motherland, part of life.

Wind in the hills. The blue of the valleys.

White, frozen bay.

Here he studied military life:

Sing songs, mint drill.

How can I repay you

My edge, infinitely blue?

I am not a guest counting the hours

I, a Muscovite, imagine - your son.

By that time, the tourist, student song (then there was still no well-established term “amateur song” today, although it does not quite correspond to the content of this phenomenon) developed rapidly. In his repertoire, Vizbor includes the best that was created by amateur authors. For a number of years (late 50s - early 60s) he was an active propagandist not only of his songs, but also of the songs of Yuli Kim, Ada Yakusheva, Bulat Okudzhava, Dmitry Sukharev, Evgeny Klyachkin, Novella Matveeva, Mikhail Ancharov and many others. Alexander Gorodnitsky admits that he still hears some of his early songs in the voice of Vizbor.

Having declared himself primarily as a romantic of camp life, a romantic of roads, Vizbor sees that there are other songs nearby on this topic. Against the emptiness, vulgarity and bad taste in the song sports life, Vizbor speaks in 1959 with a feuilleton in the Musical Life magazine. And he speaks, in modern terms, constructively, formulating his program: you can eradicate trashy songs only with good songs.

Quiet, lyrical, light and pure tones, sometimes with a hint of sadness, but not pessimism, with unpretentious, easy-to-remember melodies, they confidently pressed their predecessors.

He was always attracted by professions that require effort, will, courage from a person, he loved people of extraordinary professions: pilots and polar explorers, sailors and climbers, fishermen and astronauts. And in his works he showed the difficult romance of their work and life.

The song range of Vizbor himself is also growing: traveling on assignments from editorial offices around the country, being where great things are done, he brings songs from all these trips. Here are just a few of them: “My love, Russia”, “Okhotny Ryad”, “Astronomers”, “Moscow Winter”, “On the Rasvumchorr Plateau”, “Look for me today”, “Calm down, my friend, calmly”, “Let them bypass an avalanche for you”, “If I get sick” - to several altered poems by Yaroslav Smelyakov. “The greatest recognition for a poet,” Smelyakov later said in his speech on the radio, “when his poems become a folk song.” Vizbor gave a ticket to this nationality of the song.

11. Julius Kim

Listening to students of Yuli Kim's song, highlighting the features of the poet's work.

“... I can’t do anything else. And I really like it. And the theme is inexhaustible. The images and figures that mankind knew before are constantly being transformed, and new characters appear from century to century. All this provides endless material. Therefore, if my characters parade, it will be a rather motley gathering. Whoever did not sing my songs: Dzhigarkhanyan, and Boyarsky, and Gaft, and, of course, Nikolai Petrovich Karachentsov were noted here - he had three or four of my songs in his repertoire. But I am especially proud that songs based on my poems were performed by Evgeny Evstigneev and Evgeny Leonov, who was distinguished by a complete lack of musical ear. But, nevertheless, he sang a small lyrical song to the music of Dashkevich and to my poems in the film "Racers" ... "

His songs began to sound in films, and soon he began to write specifically for film and television. In 1968 he received the first offers to write songs for theatrical performances. Since 1970 Julius Kim has been collaborating with composers V. Dashkevich, G. Gladkov, A. Rybnikov and others.

Yuli Kim's early songs are imbued with humor and benevolent irony. The author, as it were, is constantly winking at someone, exchanging glances, calling to each other. Even his first - Kamchatka - songs were "dazzling and spotty, like a thawing tundra, like a hill painted with sun glare, like a foamy scallop of a wave on the Kamchatka coast" (L. Annensky).

In the songs of the dissident cycle, the author remains invulnerable under the protection of a witty allegory, the meaning of which, however, is quite transparent, and the text is rather a deceptive movement, a trap. In fact, sarcasm is deadly, not pathos: Kim does not get angry and seems to generally avoid showing feelings.

In songs for theater, cinema and television, he develops the traditions of literary stylization. Recitativity, opera, ditty dialect, romance intonations, colloquial applications - all this is masterfully organized into the song “The list of genres from ditty to prayer and partners from Swift to Gorin is not at all a literary justification for the song, but the same song. You just need to listen. It is necessary to catch the leitmotifs in this diversity. In this pandemonium of figures there are lines of comprehension” (L. Anninsky).

Peru Julius Kim owns three screenplays. Based on two of them, at the M. Gorky Studio for Children and Youth Films, directed by M. Yuzovsky, the films “After a rain on Thursday” (1985) and “One, two - grief does not matter” (1989), to which Y. Kim also wrote lyrics (to music by G. Gladkov and R. Grinblat). In addition, he is the author of songs, romances, vocal numbers or their texts for more than 40 films and television films, including: Newton Street, Building 1 (directed by T. Vulfovich; Lenfilm, 1963), Adventures of a Dentist doctor” (director E. Klimov; Mosfilm, 1965), “Bumbarash” (directors N. Rasheev, A. Naroditsky; composer V. Dashkevich; A. Dovzhenko Studio, 1972), “Point, dot, comma .. .” (director A. Mitta; composer G. Gladkov; Mosfilm, 1973), “The Twelve Chairs” (director M. Zakharov; composer G. Gladkov; TsT, T / o “Screen”, 1976), “Mayakovsky laughs "(Directors S. Yutkevich, A. Karanovich; composer V. Dashkevich; "Mosfilm", 1976), "About Little Red Riding Hood" (director L. Nechaev; composer A. Rybnikov; "Belarusfilm", 1977), "Handsome Man" (director M. Mikaelyan; composer V. Dashkevich; TsT, T/o Ekran, 1978), Ordinary Miracle (director M. Zakharov; composer G. Gladkov; TsT, T/o Ekran, 1978), "Blue Carbuncle" (director N. Lukyanov; composer V. Dashkevich; "Belarus film”, 1979), “Kings and Cabbage” (director N. Rasheev; composer V. Dashkevich; A. Dovzhenko Studio, 1979), Five Evenings (directed by N. Mikhalkov; Mosfilm, 1979), Courtship of a Hussar (directed by S. Druzhinina; composer G. Gladkov; 1979), "Yaroslavna, Queen of France" (director I. Maslennikov; composer V. Dashkevich; "Lenfilm", 1979), "Dulcinea Tobosskaya" (director S. Druzhinina; composer G. Gladkov; "Mosfilm", 1980), " Tale of Wanderings (directed by A. Mitta; composer A. Schnittke; Mosfilm with the participation of the studios of Czechoslovakia and SRR, 1983), Pippi Longstocking (directed by M. Mikaelyan; composer V. Dashkevich; Mosfilm, 1984), The Formula of Love (director M. Zakharov; composer G. Gladkov; Mosfilm, 1984), The House That Swift Built (director M. Zakharov; composer G. Gladkov; TsT, T/o Ekran, 1985 ), "Fatal Eggs" (director S. Lomin; composer V. Dashkevich; "ADA-film"; "Trilobite", Czech Republic, 1995).

Yuli Kim's songs are immediately recognizable by their special intonation, which combines irony and serenity, reasonable skepticism and the ability to emphasize a thought, hiding emotions. In Yulia Kim, the childish naivety of a pure soul, faith in a person, in the wonderful property of kindness, was surprisingly preserved.

Inimitable artistry is not just the manner of our guest to speak, hold, communicate with the audience. The theatrical aura, the ability of an amazing inner transformation pervaded all his work, which makes one recall Shakespeare's famous statement about the interconnection and interpenetration of real life and theater, a game invented by people in order to try to understand more deeply what life itself is.

The theatricality of Julius Kim's poetry is not only a talented transformation into a particular character. This is a special quality in which the accuracy of social assessments, observation, and the subtlest irony are striking. The irony in the poems of Yuli Kim helps to reveal the essence of the phenomenon - it seems that otherwise such a result, such a semantic and artistic effect cannot be achieved.

Pr: "Song about a tourist"

Who is a tourist? And I will answer, I will not hide anything:

A tourist at heart is a child and an artist who does not want peace.

And I just want to climb mountains and carry a backpack on my shoulders

And share your last cracker with five of your friends.

All this, of course, is said and pronounced on behalf of the simple-hearted Jester, who is essentially a deep thinker and philosopher, a merciless analyst - precise and figurative.

In the poetic style of a cheerful, witty, caustic, exposing much of the well-remembered Soviet life to all of us, tragic assessments of that time, that country, that terrible system suddenly appear as a sharp reminder, when you find yourself in distant lands "in the arms of permafrost", where "you will not collect a parcel mom", where a person "no longer needs anything - no tears, no stone, no cross ...". There arises a suffering image of that vast country, where the whole earth is a cemetery of the innocently killed, where "put a candle and a cross anywhere and you will not be mistaken."

It got in the songs of Yuli Kim and the pretentious Soviet "friendship of peoples", based on the Russian great power as a state ideology. Therefore, Yuli Kim's song "An Open Letter to the Union of Writers of the RSFSR", written in 1989, was greeted with such attention and understanding by the audience:

Allow me, brothers, to timidly address:

It's time to cleanse our people.

And I'm a simple Soviet half-breed

And I get into a terrible bind.

Partly I'm quite purebred

Vsesvyatsky, from Kaluga Christians,

But according to my father, I am a foreign chuchmek

And he must go to his Pyongyang.

Where am I according to your law?

My land is partly mine now.

Go to the Volga, wander around Pskov

I have only one foot.

I have a nightmare of national strife:

In the morning I hear the scolding of my blood.

One screams that I am a katsap izvozny,

Another, for some reason, that a Jew.

<…>

Don't let a living soul break

I ask the government of the RSFSR

Like me, build a reservation

There, somewhere in Odessa, for example.

There will be many of us multi-blooded:

Fazil, Bulat, Father Florence himself,

Vysotsky and Mironov will sing to us,

Vertinsky will also sing not to you.

Kasparov Garik is definitely two-pronged.

Let's lay out the board, cut the dial,

And I am my Korean half

His Armenian I'll cut the Russian mat.

And I'll tell you, zealots of Russia:

Oh, look at your leaders.

Your Mikhalkov was friends with Lev Kassil,

And Bondarev is a Karaite grandmother.

Results: in the era of the "thaw" in Russian poetry, there is another rise and development. Moreover, this development has a diverse character. The official literature is being updated, as an addition to it is unofficial literature - the author's song. This is due to the beginning of the democratization of all life in the USSR. Poets were able to express their thoughts and feelings.

The sixties of the 20th century are the time of the rise of Russian poetry. Finally, a thaw came, many prohibitions were lifted, and the authors were able to express their opinions openly, without fear of reprisals and expulsions. Collections of poems began to appear so often that, perhaps, there was never such a "publishing boom" in the field of poetry, either before or after. The “visiting cards” of this time are B. Akhmadulina, E. Yevtushenko, R. Rozhdestvensky, N. Rubtsov, and, of course, the rebel bard V. Vysotsky.

One of the main directions of poetry of the 60s of the 20th century is the so-called "Yesenin's lyrics". It was at this time that the ban on the poet's work in Russia was lifted, and his followers were noticeably inspired. Perhaps, N. Rubtsov can be called the main one among them. During his lifetime, the "singer of the quiet Motherland" was not appreciated by his compatriots. After all, he did not speak from the stands, did not gather full houses, and was even somewhat lost among the poetic boom of the sixties. Romanticism was not at the height of fashion at that time. And the lyrical hero of Rubtsov, a man with a strong character and a Russian soul, is looking for meaning, as it were, slowly and talks about the fate of the country without slogans and banners. However, time put everything in its place, placing Nikolai Mikhailovich on a par with A. Fet, F. Tyutchev and S. Yesenin.

Another popular direction of poetry of the sixties of the 20th century is the tribune following the traditions of V. Mayakovsky. The brightest names in this area are E. Yevtushenko and R. Rozhdestvensky. They, not fearing for their fate, spoke sharply and categorically about the camp. Their lyrical hero is ready to fight to the last, exposing the cult of personality and defending the truth. It is not surprising that such poetry resonated with the masses. The innovation of this time is the so-called poetic meetings. Robert Ivanovich, Evgeny Alexandrovich and their associates were not just popular. It was impossible to buy tickets for their evenings, and books, published in millions of copies, dispersed from store shelves almost instantly. True, there were critics. Until now, some of them do not recognize the "Mayakovism" of the sixties, considering this direction in poetry to be amateurish. But Yevgeny Aleksandrovich himself evaluates his work very optimistically and in one of his books he claims that he will definitely break through into the 21st century. Well, he has already broken through and even firmly settled in it.

A separate line is worth noting the work of I. Brodsky. His contribution to world literature cannot be overestimated. It is no coincidence that in 1987 he was awarded the Nobel Prize. About who Joseph Brodsky is, critics and publicists argue and argue to this day.

And finally, another direction of poetry of the sixties of the 20th century is singing poets. The brightest of them are B. Okudzhava and V. Vysotsky. You can talk about the latter endlessly. Not recognizing any authorities, never considering himself a bard, Vladimir Semenovich without fear, with his rebellious spirit and artistry inherent only in him, always openly expressed his opinion. His work is a breakthrough in the poetry of the 20th century. Today it remains only to rejoice that the star V.S. Vysotsky ignited in the sixties, and not in the Stalin era.

This is the poetry of the sixties. Different, but invariably rushing to the masses and striving for a brighter future.

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Most researchers believed and continue to believe that at the turn of the 50s - 60s a new stage in the history of poetry began, associated with social changes: with the exposure of the cult of personality and the “thaw” that followed it. Literature after a short pause reacted to these events with a burst of creative activity. A kind of "calling card" of that time was A. Tvardovsky's poem "Beyond the distance - distance" (1953-1960), at the same time B. Pasternak created a cycle of poems "When it clears up" (1956-1959), N. Zabolotsky's collections were published: "Poems "(1957) and" Poems "(1959); E. Evtushenko: "Highway of Enthusiasts" (1956); V. Sokolova: "Grass under the snow" (1958). The nationwide love for poetry is "a sign of the times of the mid-fifties: literary almanacs were published in almost every regional city." The "rehabilitation" of S. Yesenin played a big role in this: "The memory of the people and time lifted the ban on the name of the poet. And it was like a dam broke!" Here is what N. Rubtsov wrote about S. Yesenin at that time (he was looking for traces of the poet’s stay in Murmansk): “Whatever it is, I will always remember it. And it’s impossible for me to forget anything about Yesenin.”

The 1960s were a time of prosperity for Soviet poetry. Attention to her is unusually great. E. Yevtushenko's books are published: "Tenderness" (1962), "White Snows Are Falling" (1969), his poem "Babi Yar" (1961) and the poem "Stalin's Heirs" (1962) gained particular fame; the glory of A. Voznesensky grows (Sb. "Antimirs", 1964, etc.). "Second wind" opens and recognized "masters": "Lad" (1961-1963) N. Aseeva, "Once Tomorrow" (1962-1964) S. Kirsanov, "Post-War Poems" (1962) A. Tvardovsky, "Birthright "(1965) L. Martynov, "Conscience" (1961) and "Barefoot on the Ground" (1965) A. Yashin, "Day of Russia" (1967) Y. Smelyakova. The final collection of A. Akhmatova "The Run of Time" (1965) is published. "Loud" and "quiet" lyrics become not only a literary phenomenon, but also acquire social significance. Both "quiet" and "loud" poets release numerous collections that do not go unnoticed. In the first half of the 60s, "variety" beats all records of popularity. Evenings at the Polytechnic Museum, in which A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky take part, gather full houses. The open publicism of the "pop artists" already then crossed all limits. Even in his poems dedicated to the past ("Longjumeau" by A. Voznesensky, "Kazan University" by E. Yevtushenko, etc.), there was little history proper. On the other hand, there have been many attempts to "adapt" it to the needs of today, without much concern for historical truth. Their other "sin" was an unbridled passion for experimentation. In those years, the so-called "author's song" became a true "discovery of the genre". The original intimacy of the performance in the era of Soviet mass character relegated it to the background of official culture, but not in the hearts of people. The songs of the war years are the most striking confirmation of this. By the way, the first "author's song" appeared in 1941 ("About my artist friend" by M. Ancharov). Since the second half of the 50s, the songs of M. Ancharov, Y. Vizbor, A. Galich, A. Gorodnitsky, A. Dulov, Y. Kim, N. Matveeva, B. Okudzhava, A. Yakusheva and other "bards" have been used a huge success, especially among young people. The heyday of the "author's song" fell on the 60s - 70s. Their social overtones were clear to everyone. The most important in this series, no doubt, is the work of V. Vysotsky. He became "a poet of the new Russian nationalism" (P. Weil and A. Genis). “The hero of his songs opposes the empire with his naked and painful national consciousness. Vysotsky, who replaced Yevtushenko as a commentator of the era by the end of the 60s, opens the topic of hypertrophied Russianism. The antithesis of the impersonal, standardized empire is the specifically Russian soul, which Vysotsky describes as combining extreme extremes.

Avant-garde poetry also appears - Brodsky, Sapgir, Voznesensky.

In the second half of the 1960s, underground "samizdat" poetry of an "unofficial" or "parallel" culture began to develop in the USSR. This poetry was doomed to persecution and obscurity: "The spirit of underground culture is like an early apostolic light" (V. Krivulin). Widely known (in a narrow circle) were the following groups: SMOG (Courage Thought Image Depth or The Youngest Society of Geniuses) - it arose in the mid-60s in Moscow, it included V. Aleinikov, L. Gubanov, Yu. Kublanovsky and others .; Lianozovsky poetic group (V. Nekrasov, Ya. Satunovsky, V. Nemukhin, B. Sveshnikov, N. Vechtomov and others); Leningrad school (G. Gorbovsky, V. Uflyand, A. Naiman, D. Bobyshev, I. Brodsky and others); group "Concrete" (V. Bakhchanyan, I. Kholin, G. Sapgir, Ya. Satunovsky and others). In the second half of the 60s, "quiet" lyrics dominated poetry: A. Zhigulin (Coll. "Polar Flowers" (1966)); V. Kazantsev ("Glades of Light" (1968)); A. Peredreev ("Return" (1972)); A. Prasolov ("Earth and Zenith" (1968); V. Sokolov ("Snow in September" (1968)) and others. In 1967, N. Rubtsov's famous book "The Star of the Fields" was published. my homeland" and gave critics reason to call the poetic direction "quiet" lyrics. It attracted attention with an in-depth analysis of the human soul, an appeal to the experience of classical poetry. V. Sokolov, for example, stated this clearly and definitely: "Nekrasov and Afanasy Fet are with me again ". Subtle psychologism, combined with the landscape, was characteristic not only of the lyrics of V. Sokolov, but in many ways he was ahead of other "quiet" poets here, if only because in the 50s he published a collection of excellent poems ("Grass under the snow" (1958)).

After the end of the poetic boom (the end of the 60s), significant changes took place in poetry. Poems are no longer written, collections are built differently than before (the selection of poems is now not in chronological order and not random, now it is a single canvas, designed for a holistic perception) - Tarkovsky, Samoilov, Slutsky, Chichibabin, Mezhirov, Kuznetsov, Ruchiev. A poetic underground appears - they were not recognized and not published - Leonozovites, Plisov, Rubinstein, Sedokova, Zhdanov, Vishnevsky, Huberman.

From the bard (author's song) in the early 70s, rock poetry was formed, which in turn consisted of two schools: Moscow (Makarevich, Loza, Gradsky, Nikolsky, Romanov) and St. Petersburg (Grebenshchikov, Shevchuk, Kinchev, Butusov).

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