Development and rethinking of the themes and artistic and stylistic searches for "thaw" lyrics in the poetry of the Soviet and post-Soviet period. Thematic and stylistic commonality of poetry of the 70s–90s. and the permeability of their boundaries; variety of creative individuals in the lyrics of the post-thaw period:
Poets of the front-line generation and poets - "students of the Silver Age" (B. Slutsky, A. Tarkovsky, D. Samoilov, S. Lipkin, M. Petrovykh, L. Martynov ...): further individualization of creative writing styles, subjectivity and scale of lyrical generalizations.
Poets of “loud lyrics” in the post-thaw years (E. Yevtushenko, A. Voznesensky, R. Rozhdestvensky…): the weakening of the journalistic sound of poetic speech, the search for a new subject of representation, a new status of poetry.
“Quiet Lyrics” (N. Rubtsov, A. Zhigulin…): lyrical meditation on the traditions and modern image of the Russian village as a way for the lyrical hero to comprehend the laws of the universe.
Bard poetry: the importance of an individual manner of performance for determining the phenomenon of a bard (author's) song; the confessional nature of the lyrics; transparency of poetic language; lyrical, socio-critical and romantic beginnings as the main emotional and semantic moments of the bard's lyrics.
Rock poetry: synthesis of musical and literary traditions in the phenomenon of rock culture, the category of protest as a fundamental one for rock poetry; the situation of mixing the genres of rock songs and bard songs in the modern cultural space.
Spiritual lyrics (Z. Mirkina, S. Averintsev, Yu. Kublanovskiy): poetry as an endless comprehension of the phenomenon of divine existence.
Neoacmeism 20 in the lyrics of the 70s–90s. (B. Akhmadulina, A. Kushner, O. Chukhontsev, E. Rein, L. Losev, I. Lisnyanskaya, I. Brodsky…). Phenomenon universal personal connection 21 (man and history, man and culture, man and spheres of being) as the main subject of understanding of the poetry of neo-Acmeism. Similar in the aesthetic principles of neo-acmeist lyricists. The originality of individual author's intonations. The demand for the poetics of neo-acmeism in the era of the 70–90s, the attraction to it of lyricists of different generations, thematic and stylistic communities.
Avant-garde in the lyrics of the Soviet and perestroika period; the demand for and variety of options for the poetic avant-garde in the lyrics of the 70–90s; literary communities and creative individuals within literary communities in the poetic avant-garde: conceptualism (D. Prigov, L. Rubinshtein, T. Kibirov), neo-baroque (I. Zhdanov, E. Schwartz, A. Parshchikov, O. Sedakova), neo-futurism (V. Sosnora, G. Aigi, V. Kazakov), ironic poetry (I. Irteniev, Vl. Vishnevsky), etc.
Topic 3.3. Dramaturgy 70–90s
Theater in the social and cultural life of the post-thaw period; the duality of the social status of the theater in the 70s–90s, the heterogeneity of the cultural processes taking place in it.
General overview of the dramaturgy of the 60s: leading themes, genres:
70–90s as a "time of dramatization": the popularity of theatrical productions of prose works of the "post-thaw" period (prose by Y. Trifonov, Ch. Aitmatov, F. Abramov, V. Shukshin, V. Bykov. V. Rasputin, E. Ginzburg, A. Solzhenitsyn, V. Shalamova and others).
Renovation of the genre of industrial drama in the theater of the 70-90s: social and moral-psychological problems of plays by A. Gelman and others.
Political and psychological drama of the 70s–90s: an attempt to explain the nature, motives of the actions of a person in power (dramas by M. Shatrov, V. Korkia, I. Druta); stage version of the conflict between the individual and a totalitarian society (A. Kazantsev's play "Great Buddha, help them!").
Socio-psychological / philosophical-psychological drama of the 70s–90s. as a reflection on the nature and aspects of the human personality, options for life positions; the ambiguity of the artistic assessment of the hero of the psychological drama, the phenomenon author's questioning 22 as a distinctive feature of the aesthetics of the psychological drama of the 70s–90s.
The demand for psychological drama in the "post-thaw" era; variants and specifics of artistic methods of socio-psychological / philosophical-psychological drama of the 70s–90s:
Classical psychological (everyday) drama with elements of an intellectualized presentation of the material (A. Vampilov, A. Volodin, L. Zorin, A. Kazantsev, L. Razumovskaya, V. Arro, etc.);
Stage parable (A. Volodin, E. Radzinsky, G. Gorin, Yu. Edlis, etc.);
Naturalistic drama (A. Galin, N. Kolyada, L. Petrushevskaya);
Plays with elements of avant-garde (absurdist) aesthetics (Ven. Erofeev, N. Sadur, A. Shipenko);
Plays with elements of avant-garde (impressionist) aesthetics (M. Ugarov, E. Gremina, O. Mukhina, O. Mikhailova).
First, this scientific and artistic prose, which at the present stage has achieved particular success in the biographical genre. Of great interest are the biographies of prominent scientists, which allow you to enter the circle of ideas of a particular science, to feel the confrontation of opinions, the acuteness of conflict situations in big science. It is known that the 20th century is not the time of brilliant singles. Success in modern science most often comes to a group, a team of like-minded people. However, the role of the leader is huge. Scientific literature introduces the history of this or that discovery and recreates the characters of the leader and his followers in all the complexity of their relationship. Such are the books by D. Danin about the Danish physicist - "Niels Bohr", D. Granin - "Zubr", about the difficult fate of the famous biologist N.V. Timofeev-Resovsky and his story "This Strange Life" about the mathematician Lyubishchev. This is M. Popovsky's story about the amazing, tragic, long-suffering and so typical of the 20th century fate of an outstanding person - "The Life and Life of Voyno-Yasenetsky, Archbishop and Surgeon" (1990).
Secondly, it is, relatively speaking, everyday prose, depicting the everyday life of scientists and the people around them, in all the variety of problems, conflicts, characters, interesting and acute psychological conflicts. Such are the novels by I. Grekova "Department" and A. Kron "Insomnia".
Thirdly, these are books that explore features of technocratic consciousness when science becomes a means of asserting a "strong personality" who tramples on moral principles for the sake of a career, privileges, fame, and power. Such is the moral-philosophical novel by V. Dudintsev "White Clothes" and the book by V. Amlinsky "Every hour will be justified".
During the years of totalitarianism, many literary genres either eked out a miserable existence or disappeared altogether. So, the builders of socialism turned out to be unnecessary satire. The brilliant novels of I. Ilf and E. Petrov were banned, and there is no need to talk about the fate of M. Zoshchenko. And only starting from the 60s, gradually, Russian literature brought back to life one of its favorite genres. Her success is evidenced by a talented galaxy of satirical talents that appeared in the 70-80s: V. Voinovich, F. Iskander, Gr. Gorin, Vyach. Pietsukh, I. Irteniev, I. Ivanovsky and others.
The genres of anti-utopias were revived - V. Aksyonov, A. Gladilin, A. Kabakov, V. Voinovich, as well as science fiction - I. Efremov, A. and B. Strugatsky, A. Kazantsev.
A completely new genre of fantasy for Russian literature arose. An increasing role in the creative image of literature began to belong to myths, legends, and parables.
4
The poetic boom of the 1960s has remained and, apparently, will remain a unique phenomenon in the history of Russian literature. Still, A. Pushkin was right: "... Isn't poetry always the pleasure of a small number of the elect, while stories and novels are read by everyone and everywhere" 26). Therefore, the return of the poetic river after a stormy flood to its usual banks cannot be assessed as a regression.
Poetry of the 70s and 80s, having lost its mass audience, did not stop. Creative searches were continued, and the result speaks for itself.
The beginning of the period is characterized by the predominance "traditional poetry", represented by the names of Yu. Drunina and S. Orlov, A. Tarkovsky and L. Martynov, D. Samoilov and B. Slutsky, K. Vanshenkin and B. Chichibabin, V. Sokolov and E. Vinokurov. The voices of the sixties did not fall silent - A. Voznesensky, B. Okudzhava, B. Akhmadulina, E. Yevtushenko.
Closer to today, first in the underground, and then openly sounded modernist voices a wide variety of orientations. The traditions of the Lianozovo school were continued and developed in poetry metarealists(O. Sedakova, I. Zhdanov, E. Schwartz) and conceptualists(L. Rubinshtein, D. Prigov, N. Sincerely, T. Kibirov). The creators of ironic poetry (I. Irteniev, V. Vishnevsky, I. Ivanovsky) found their reader.
The tendency of the interaction of arts, common for the literature of the 70-80s, found itself in the original genres author's song(A. Galich, N. Matveeva, V. Vysotsky and others), rock poetry (A. Bashlachev, B. Grebenshchikov, A. Makarevich and others), video (A. Voznesensky).
An original, striking event in the poetry of the end of the century was creativity of I. Brodsky, awarded the Nobel Prize.
The poetry of this time is an organic fusion in the widest range of realistic and modernist tendencies. It is equally inherent in new rhythms, sizes, rhymes and reliance on already known, traditional images and techniques.
The notable feature is revival of spiritual lyrics(3. Mirkina, S. Averintsev, O. Nikolaeva, Yu. Kublanovskiy).
Russian poetry, despite the terrible damage suffered during the years of totalitarianism, is gradually being restored. It is enough to leaf through thick magazines over the past few years: many new and half-forgotten names, many excellent poems. It does not seem an exaggeration to attempt by a number of critics and literary critics to call the poems of recent years the "Bronze Age" of Russian poetry. However, language - this reliable and accurate indicator - shows that different processes are going on in society. Yes, there is a struggle for culture, for spirituality, for morality. But language! Language irrefutably proves how long and difficult the path will be. N. Zabolotsky was right: "The soul must work" ... Here is salvation! The living word must prevail!
The work of D. Samoilov can serve as one of the examples of the artist's evolution in the necessary direction. The mood of his early poetry was expressed in a poetic line: "War, trouble, dream and youth." The only one of the military, "failed", as he called it, generation of contemporary poets, Samoilov wrote little about the war.
His idol, like most of the poets of his time, in his youth was V. Mayakovsky. Over the years, he left him for Pushkin and Akhmatova, from narrow social topics to universal ones.
Samoilov is the author of a number of poetry collections and poems. Particular attention is drawn to the book under the Pushkin title "Wave and Stone", in which existential motives were clearly revealed, and the favorite historical theme appeared in a characteristically Samoylovian interpretation.
Samoilov educates his reader in the spirit of free associations, paradoxes, unexpected and strange turns in the fate of his heroes. At the same time, he masterfully owns verse, all its types, rhymes, stanzas. The "Book of Russian Rhyme" written by him is a work, one of a kind.
I had the good fortune to be a Russian poet.
I had the honor of touching the victories.I had the grief to be born in the twentieth,
Cursed year and cursed century.I got everything...27)
Samoilov died suddenly at a poetry evening dedicated to the memory of B. Pasternak
After a short time, it became obvious that David Samoilov is one of the authoritative figures in Russian poetry of the second half of the 20th century.
5
Dramaturgy of the 70s and 80s presented a very diverse picture. On the one hand, the creative upsurge experienced by the theater during the years of the "thaw" inspired new successes. Tovstonogov, Lyubimov, Efremov, Volchek and other talented directors continued to work actively. But it became increasingly difficult for them to present the results of their creative activity on stage: stagnation reigned in the country. Only a few performances aroused the same enthusiasm in the viewer. At first, dramaturgy, as it were, lined up at the back of the head of prose. The point is not only that a large number of staging of prose works appeared on the stage. The playwrights also followed the prose writers and brought to the stage characters known in part from novels and short stories.
It seems that there was no theater that would not turn to the plays of I. Dvoretsky and A. Gelman. "Production" plays filled the repertoire. And we must pay tribute to the playwrights: their production was more interesting than the prose "masterpieces". I. Dvoretsky in the play "A Man from the Side" succeeded in the character of the engineer Cheshkov. A. Gelman's plays "Minutes of a meeting", "We, the undersigned" aroused genuine interest among the viewer. However, numerous attempts by other production playwrights did not have such success.
The second place in the theatrical repertoire of those years belonged to political drama, genre of acute conflict, largely journalistic. Here the leadership was assigned to M. Shatrov. Performances based on these plays were called, as a rule, "Danish", since they were timed to coincide with all sorts of anniversaries. Thus, the centenary of V. Lenin in 1970 opened a kind of dramatic Leniniana, not limited to one year. Over time, the assessment of Lenin's activities changed. This change can be traced through the plays of M. Shatrov, the cycle of which he called "An Unfinished Portrait". The most popular was his Blue Horses on Red Grass.
Socio-psychological drama was revived thanks to the appearance of A. Vampilov, who, unfortunately, died early. Criticism believed that he managed to "guess" the main character of the heroless time. He approved the right of the theater to analyze the soul of a “average moral” character (“Duck Hunt”), Vampilov’s plays gave rise to a whole wave of imitations, the so-called post-Vampilov drama (L. Petrushevskaya, V. Arro, A. Galin, L. Razumovskaya, etc.) By the end of the 1980s, the post-Wampilians actually determined the repertoire of most theaters.
Following prose, the theater turns to myth, fairy tale, legend, parable(A. Volodin, E. Radzinsky, G. Gorin, Y. Edlis).
At this time, the names that have sunk into oblivion are reborn to a new literary life: the creative activity of Fet, Polonsky, Maikov, Tolstoy is significantly revived. Apukhtin and Sluchevsky, who have left the stage, regain their poetic voice. A whole galaxy of new poets of the Nekrasov direction appears - poets of revolutionary populism, Surikovists - and at the end of the decade - S. Ya. Nadson (1862–1887), P. F. Yakubovich (1860–1911), N. M. Minsky (1856 1937), A. A. Golenishchev-Kutuzov (1848–1913). How to explain the next surge of poetic forces? What processes in the history of Russian literary and social life contributed to their awakening? Was it not in the development of literature itself at the turn of the 60s and 70s. some specific processes that awakened to life the dormant possibilities of poetry?
It is known that Leo Tolstoy in the 70s. after a long break, a secondary passion for Fet's lyrics appears, and just at the moment when very significant changes are made in Tolstoy's prose. In "Anna Karenina" the disintegration of the "world" is depicted; the epic elements of "War and Peace" are supplanted by the dramatic ones. B. M. Eikhenbaum in the book about the work of L. N. Tolstoy in the 70s. shows how, at the same time, the proportion of lyrical imagery, similar to the symbolism of Fetov's late landscapes, grows in Tolstoy's prose. "The night Levin spent on the mop<…>described in the footsteps of Fetov's lyrics. Psychological details are omitted and replaced by landscape symbolism: the narrative method is clearly replaced by the lyrical one.<…>Tolstoy, looking for a way out of his former method<…>focuses in Anna Karenina on the method of philosophical lyrics, assimilating its impressionism and symbolism. There is only one thing wrong here. "Impressionism" in Fetov's lyrics, depicting fleeting states in a person's mental life, attracted Tolstoy not in the 70s, but in the 50s. In the 70s. Tolstoy the novelist is attracted to Fet's lyrics by other qualities that are in no way connected with "impressionism": landscape symbolism, Fet's bold combination of specific poetic details with cosmically broad generalizations. And it was during this period that Fet's lyrics lose the "impressionistic" immediacy of the past era and, as it were, go towards the needs of Tolstoy's prose.
Is it not for this reason that the poet K. Sluchevsky, ridiculed by the sixties for the daring clashes of everyday and philosophical images, in the 70s. begins to gain a name and popularity? In the era of Anna Karenina and The Brothers Karamazov, attempts to “break through” everyday life to philosophical ambiguity were already recognized as aesthetically legitimate and relevant. Speaking about Dostoevsky's late novels, Sluchevsky found in them clots of almost poetic, concentrated imagery, suitable for creating a whole cycle of original poems. He called these places "bright colored pebbles" on the "wide planes" of Dostoevsky's novels. But Tolstoy's Anna Karenina is full of similar "colored pebbles" (scenes of mowing, horse races, symbolism of railway stations, a shell of clouds seen by Levin on a shock, etc.). The very development of Russian prose in the 70s. prompted the revival of poetic imagery, capable of rising from concrete and everyday details to a capacious artistic generalization.
And so Sluchevsky, a poet more firmly rooted in everyday life than A. Fet, creates in the 70s. the original genre of psychological novel, mastering the poetic discoveries of Fet's lyrics. And Fet himself, by the nature of his lyrical talent, eschewing large narrative genres, tries to “integrate” individual mental states not in lyrical cycles (as was the case in the 50s), but in short poems. Sluchevsky, on the basis of a more complex synthesis that captures everyday life, creates a short story with lively and complex human characters - “In the Snows” (1879). Simultaneously with Sluchevsky, Golenishchev-Kutuzov turns to the genre of short stories in verse, which combines Nekrasov's plot with Fet's penetration into psychological states. A. N. Apukhtin writes a lyrical novel "With a courier train" (early 70s), and then creates a cycle-"novel" "A Year in the Monastery" (1885).
It is no coincidence that the psychological novel genre took shape in the 70s, at that stage in the development of Russian poetry, when the “dialectics of the soul” in prose paved the way for the creation of a psychologically refined image of a person in a more concise and capacious poetic art.
In the poetry of the 70s. as before, two trends coexisted in polemics with each other: Nekrasov's, civil, and Fet's, the direction of "pure art". The struggle between them not only did not weaken, but, on the contrary, noticeably intensified, the dramatic tension in their confrontation reached its climax. And at the same time, within each of the directions, their own contradictions were revealed, the consequences of which were reflected in Russian art of the 80s and 90s. In the work of Russian poets of the 70s. even with the most cursory acquaintance with him, the abundance of poetic declarations is striking. Most of Fet's poems about the appointment of the poet and poetry were created in the 70s and 80s. It was then that Fet had an inner need to constantly defend his position as an Olympian poet (“Muse”, “She came and sat down ...”, 1882; “Swallows”, 1884; “With one push to drive a living boat ...”, 1887), and this position itself changes significantly, becoming more and more “aggressive” and elitist. If in the “Muse” of 1854 Fet is alien to the proud goddess of art and the sweet, feminine, domestic Muse, then in the late 70s and early 80s. Muse Fet will appear "on a cloud, invisible to the earth, in a crown of stars", as an "imperishable goddess".
A similar evolution is palpable in Maikov's poetic declarations. In a poem from the 1940s "Octave" the poet, warning art from bookish wisdom, teaches the creator to listen "with the soul to the whispering of the reeds." And in the late 60s, the "sublime thought" of his poetry "wants worthy armor."
The goddess is strict - she needs a pedestal,
And the temple, and the altar, and the lyre, and the cymbal ...
In parallel with the change in poetic declarations, the very appearance of the poetry of the school of "pure art" is changing significantly. In Fet's lyrics, free overflows of "natural" and "human" elements are replaced by growing dramatic tension. Late Fet strives for the maximum expansion of the figurative possibilities of the poetic language. In the poem "Hot Spring" (1879), for example, all the poetic resources of the word are involved in "image creation" - up to its sound composition - and a direct symbolic meaning is sought in the landscape picture of the mountain spring. In the 70s. Fet still retains the traditional theme of instantaneity, the transience of the unique "instants" of being. But the very image of the moment becomes different. If earlier his lyrics caught time in microscopic counts, second states, then in the 70s. more and more often the whole life of a person is reduced to a moment. The poem “When in a fleeting flight ...” (1870) contains images of fleeting moments of childhood, youth, youth, old age, from which the image of a fleeting moment of life as a whole is formed, and from specific details Fet directly and decisively goes to a huge artistic generalization: from “ children pondering the running of a stream" - to a unique image of childhood, to a whole era in a person's life.
However, it was in the 70s. the inner drama of the position of the poet of "pure art" becomes especially tangible. With the enlargement of figurative generalizations, “pure poetry” is deprived of full-blooded, living ties with reality, which even in the 50s. were extremely narrowed and local. This drama is immediately reflected in a kind of "dematerialization" of many poems by poets of "pure art". In Fet's poetry, for example, the poetic vigilance characteristic of her earlier in the realistic reproduction of an artistic detail is often lost. In the 1854 poem "The First Furrow", the image of plowing is still pure in Fetov's way and "materialized" in an abundance of finely grasped, close-up fixed details. But already in 1866, in a poem on the same topic (“To F.I. Tyutchev”), due to the enlargement of the scale of perception of the world, the picturesque, plastic accuracy of landscape sketches was noticeably muffled:
A friend leaned on a plow((363))
All who are possessed by hard work;
Again the dry chest of the earth
The horse and the obedient ox cuts ...
The whole poem rests on stable poetic formulas (“the familiar plow”, “hard work”, “dry chest of the earth”). A strange, albeit understandable, insensitivity of Fet to particulars, trifles of the plot appears. The lively "plowman" of the 1854 poem is replaced, for example, by a "sweetly embarrassed worker" smiling "through a dream to the bright whistle of a nightingale." In the context of the 1866 poem “F. I. Tyutchev" such neglect of specific details, of course, is justified. It is not only and not so much about the plowman, but about the worker in general, about everyone "who owns hard work." But Fet's desire for a wide coverage of the world with poetry inevitably reveals hidden drama. Symbolizing a detail, Fet often deprives it of concrete depiction. In the 70s - 80s. Fet's art clearly lacks multifaceted and polyphonic connections with the world. You can acquire these connections either at the cost of abandoning the position of a proud Olympian, which Fet not only cannot, but consciously does not want to do, or at the cost of the lyrical tension of the figurative system - up to the symbolization of poetic language. Therefore, in Fet's verses of the 70s. along with genuine poetic masterpieces, things appear ethereal, artistically inferior.
Thus, on the new paths of development of Russian poetry, “pure art” not only mobilizes as much as possible, but also begins to exhaust its inner possibilities. And although it is too early to talk about the crisis of "pure" poetry, the symptoms of it are already evident.
A similar evolution takes place in the 70s. A. N. Maikov. The cycle "Moments" (1858) could have arisen only in the 50s. It was then that the poet creates amazing in its purity and plasticity “Fishing” (1855), “Spring! the first frame is exhibited…” (1854), “Haymaking” (“It smells of hay over the meadows…”). In the 70s. everything becomes different. "Worthy armor" shading itself from reality, Maykov's poetry eschews everyday life. The epicurean-artistic sense of the world, characteristic of the 50s, is replaced by a religious mood, a cult of asceticism and self-restraint (cycles of poems "Eternal Questions", "Exelsior", "From Apollodorus the Gnostic"). From Maikov's poems in these years, the abundance of real, colorful sketches of historical eras, flowery and lush decorativeness disappears. In Maikov's historical poems of the 70s. attention switches from private, detailed facts of history to its inner meaning. There is a growing interest in ancient mythology - Scandinavian, Slavic, Christian.
The poet maintains a steady attention to the ancient theme traditional in his work. But here, too, significant changes are taking place. Maikov's poems based on ancient subjects are deprived of their former plasticity and sculpture, admiring the external forms of life and everyday life of a man of antiquity. Antique theme in the 70s. philosophically thickens. In the tragedy "Two Worlds" (1872, 1881), the poet sets himself the task of creating a generalized hero of antiquity, containing everything "that the ancient world produced great and beautiful." Symptomatic in the historical context of the contemporary era for Maikov is his interest in late antiquity, in the customs of Rome during the decline. In Maykov's landscape lyrics, direct personification and allegory appear more and more often, replacing picturesque decorativeness, color clarity and purity (“Venious, branchy oaks”, 1870; “Spring”, 1881, etc.).
During these years, the principles of cyclization of lyrical verses in Maykov's poetry also changed decisively, as evidenced, for example, by the fate of the lyric cycle Moments. The thematic composition of the cycle, created in the 50s, is quite diverse. Along with the democratic, rural theme, intimate lyrical poems coexist here, constituting a kind of “cycle within a cycle”, which could be called “From the Past”. There are also poems about the appointment of the poet and poetry, which are interrupted by elegiac meditations. The cycle lacks not only thematic, but also genre unity. Nevertheless, this is not a random selection of poems, but a deeply thought-out artistic whole, reminiscent of an epic poem in its composition. In "Moments" there is a moving plot: the onset of spring, when the first frame is exposed and a snowdrop blooms in the forest, then moving to the dacha, blooming lilacs, and then - summer fields churning with flowers, singing larks, hot hay time ("Haymaking", " Niva”), finally the sad days of autumn (“Swallows”, “Autumn”, “Dream”), the return to a city alien to the poet, the cold breath of winter and a retreat into soul-warming memories. All sorts of digressions are made from this light outline of the intended plot: the poet sings of the first youthful love, indulges in elegiac reflections on the transience of earthly life, thinks about the purpose of art, etc. “Moments” is a kind of poem that recreates the multifaceted epic image of a completed life cycle, which can be perceived in different plans - both in everyday life (a poem about the annual cycle in the life of nature and man), and in an abstract philosophical one: youth (spring), youth (summer), maturity (autumn), old age (winter).
In 1872, the third edition of Maykov's poems was published, corrected and supplemented by the author. The poet does a lot of creative work on the next regrouping of poems into lyrical cycles. Changes in Maikov's artistic tastes and poetic worldview of these years immediately affect the fate of the lyrical cycle Moments. Maikov strictly distributes the verses included in it into six single-themed compositions independent of each other. This is how the lyrical cycle “In the wild” arises, which includes poems about nature. Intimate lyrics form a separate lyrical composition called "From the diary". Poems with democratic themes (“Haymaking”, “Niva”, “Summer Rain”) form the main core of the lyrical cycle “Houses”. Poems about the appointment of the poet and poetry go to the "Art" section. The elegiac lyric sprouts into an independent cycle of "Elegies". Maikov's cycles are acquired in the 70s. greater compositional-thematic clarity and purposefulness due to the loss of the thematic breadth and epic universality, which was their specific quality in the 50s.
As if echoing Fet and Maykov, A. K. Tolstoy in a few lyrical poems of the 70s. often speaks of the inner drama of the very gift of poetic feeling:
The veils have been stripped from my soul.
Her living tissue is exposed,
And every touch of life to her
There is evil pain and burning torment.
The fanatical focus of the late Tolstoy on art, beauty, the isolation in them and only in them of all the vital forces of the poet without a trace is a phenomenon that is characteristic to one degree or another for all poets of "pure art" of the 70s. “To hell with health, as long as there is art, because there is no other thing for which it would be worth living, except art!” (IV, 445). These moods of Tolstoy were reflected not only in direct poetic declarations and correspondence. They permeated the poem "Portrait" (1874). In Tolstoy's ballads, they manifest themselves in their own way - in the enhancement of vivid pictorial details, in the subjective intensity of color images.
In the context of the sharp ideological self-determination of the two poetic trends, the position of poets “without a pier”, oscillating between camps warring with each other, turned out to be especially dramatic. Such is the fate of Ya. P. Polonsky. In 1871, he published the collection Sheaves, met with devastating criticism of Fatherland Notes. The author of a critical article, M.E. Saltykov-Shchedrin, speaks of the vagueness of Polonsky's worldview, which nullifies the entire creative activity of the artist. And even I. S. Turgenev, far from revolutionary democracy, also advises Polonsky to determine his position as soon as possible: “... God forbid that your“ maneuvering ”finally brings you to the pier.”
In 1876, in the poetry collection Ozimi, Polonsky rather timidly tries to find an alliance with the democrats (“Blessed is the embittered poet ...”), but at the same time he strongly argues with them (“Letters to the Muse”):
My Parnassus is just a corner
Where freedom dwells.
Where am I free from all
Retrogrades, nihilists,
From literary authorities
And envious artists.
An attempt to rise above time, to free oneself from its inexorable demands, leads the poet to a feeling of inner defenselessness. Polonsky's lyrics of the 70s, perhaps, most fully expresses the acute feeling of discord with the world and painful loneliness ("Polar Ice", 1871; "Night Thought", 1875; "At Sunset", 1877). Without a doubt, these motifs in Polonsky's poetry are associated with the peculiarities of the time, with the era of bourgeois disunity of people. The poet directly and unambiguously speaks about the evil of disunity in the poem "Strife" (1871).
But the poet does not go further than bitter lamentations about fate, since in essence he has nowhere to retreat, all that remains is to stoically endure the “bumps” on the path of life (“In the Cart of Life”, 1876). In the lyrics of Polonsky, the motifs of folk songs, fairy-tale and mythological images, gypsy romance, which led him to the 50s, noticeably dry up. to the creation of poetic masterpieces - "Night" (1850), "Song of a Gypsy" (1853), "Bell" (1854). Attempts to reach the folk theme are completed in the 70s. failures (“In the Steppe”, 1876), the poet is changed by the characteristic of his worldview of the 50s. "Innocent grace" (I. S. Turgenev).
But it was precisely the feeling of loneliness in front of the indifferent and cold world that was approaching the poet that awakened in his work of the 70s. heightened sensitivity to the suffering of others. It is no coincidence that the penetrating verses “The Prisoner” (1878) turned out to be the poetic pinnacle of his lyrics of this decade:
What is she to me! - not a wife, not a lover,
And not my own daughter!
So why is her share cursed
Doesn't let me sleep all night!Doesn't let me sleep because I'm dreaming
Youth in a stuffy prison
I see - vaults ... a window behind bars,
A bunk in the damp semi-darkness...Feverishly sultry look from the bunk((260))
Eyes without thoughts and tears,
From the bunk hang almost to the floor dark
Cosmas of heavy hair.
The poetic effect of these poems is in the bold combination of traditional romantic images with specific details of prison life. "Youth", "stuffy prison", "feverishly sultry eyes, without thought or tears" coexist here with "a bunk in damp twilight", with a "window behind bars", with "masses of heavy hair". The poem lacks a narrative plot, trifles and details of the life and life of a girl in a prison cell. All this was in the original version of The Prisoner, but it turned out to be unnecessary in the final version. From a household detail (“bed”) and a detail of the heroine’s appearance (“eyes”), the poet goes to the image of severely abused youth and, more broadly, to the national type of a Russian woman with her “damned share”, a bleak fate.
In Russian poetry of the 70s. in general, a new sense of connection between the past and the present is being formed. This affects everything from poetic language to historical themes. Compared to the 1950s the art of the "seventies" is more burdened with "literary". The poetry of these years lives with a constant feeling of connection between modern poetic culture and the culture of past eras. She is close to the young Pushkin with his romantic impulses, echoes of the Decembrist poetry and its figurative language are heard in her, the romantic pathos of Lermontov's work is not alien to her. The same Polonsky creates in the 70s. a poem in the spirit of Lermontov's "Mtsyri" - "Keliot", a poem obviously unsuccessful, but remarkable from the point of view of the literary tastes of the era.
The historical chronicles and dramas of A. N. Ostrovsky seem to A. K. Tolstoy to be oversaturated with off-stage characters, “without any need for the movement of the drama” (IV, 311). Tolstoy in his late epics and ballads is interested not so much in the completeness of the reconstruction of past eras of history as in the moral lesson that can be drawn from them for the present. He is not satisfied with the "epic" edition of the epic "Sadko" with its overload of details, with a detailed narrative plot. Instead, another edition appears, which the poet himself calls "lyric-dramatic". Poet of the 70s takes more life history in the minds of his contemporaries, the relationship of the past with the present.
For A. K. Tolstoy in these years, the ideal of aristocratic opposition to both bureaucratic, governmental, and revolutionary, democratic “parties” (“Potok Bogatyr”, 1871) will be effective and significant. Populist revolutionaries, on the contrary, will try to find in the historical past of the people those ideals that can help them in revolutionary propaganda among the peasantry (“Ilya Muromets”, “Stenka Razin”, “Ataman Sidorka” - poems on historical plots by S. S. Sinegub) . But in both cases, history is perceived as a fact that finds a direct continuation in the present. Such is essentially the historicism of Nekrasov's poems of the Decembrist cycle ("Grandfather", "Russian Women").
The poets of the "Nekrasov school" in the 70s. the number of poetic declarations also increases, and the position of the civil poet is no less sharply dramatized, only the essence of this drama turns out to be different. After all, in the practice of the revolutionary struggle of those years, the “reasonable egoist”, the democrat of the sixties, is replaced by a person of heightened ethical consciousness, a fanatic of the revolutionary idea. The inner integrity of the individual in the new historical conditions is defended at the cost of more severe asceticism. In this regard, let us recall the well-known Nekrasov lines:
The struggle prevented me from being a poet.
Songs prevented me from being a fighter.
But even now, and even more decisively, Nekrasov gives preference to the poet-fighter. Increasingly, Nekrasov speaks of him as a "persecuted priest" of civil art, guarding in his soul "the throne of truth, love and beauty" (II, 394). The idea of the unity of citizenship and art now has to be constantly and stubbornly defended, up to the consecration of it by the traditions of the high poetic culture of past years. Thus opens a new perspective of Nekrasov's appeal to Pushkin. Nekrasov's "Elegy" (1874) is full of pathetic intonations of Pushkin's "Village". In the poem "Princess Volkonskaya" (1872), for the first time, Nekrasov has a living image of Pushkin as a civil poet. In his later works, Nekrasov the lyricist turns out to be a much more "literary" poet than in the 60s, because now he is looking for aesthetic and ethical supports not only on the paths of direct access to folk life, but also in turning to historical, accumulated cultural values. . He overshadows his own poems about the essence of poetic creativity with the authority of Schiller (“To the Poet” and “In Memory of Schiller”, 1874), his ideas about the ideal of a citizen - with the images of Christ and the prophet (“N. G. Chernyshevsky” (“Prophet”), 1874) , his analysis of folk life in "To whom in Russia ..." - direct folklore borrowings. This turn is thematically indicated - an appeal to the feat of the Decembrists and their wives in the poems of the Decembrist cycle, an appeal to friends carried away by the struggle, in the lyrics:
Their prophetic songs are not finished,((II, 406))
Fell a victim of malice, betrayal
In the color of years; their portraits on me
They look reproachfully from the walls.
Lyrical hero of the 70s. more focused on his feelings, the democratic element of "polyphony" is often replaced by introspection, and with it Lermontov's intonations. “The lyrics of Nekrasov in the 70s. more than ever carries moods of doubt, anxiety, sometimes outright pessimism. It is less and less possible to consider him as a poet only of the people's peasant Russia. Increasingly, the image of the world as a peasant way of life is being replaced by the image of the world as a general world order. The scales by which life is measured are truly becoming global.
This leads to a renewal of the poetic imagery of Nekrasov's lyrics. In it, partly similar to Fetov's symbolization of an artistic detail takes place. So, in the poem "To Friends" (1876), a detail from peasant life ("folk bast shoes") acquires the significance of a symbol.
Old themes and images of his own poetry are rethought and given new life. In the 70s. Nekrasov again refers, for example, to the comparison of the Muse with a peasant woman, but he does it differently. In 1848, the poet led the Muse to Sennaya Square, showed, without disdaining terrible details, the scene of a young peasant woman being whipped with a whip, and only then, turning to the Muse, said: “Look, your dear Sister.” In the 70s. the poet seeks to focus into a capacious poetic symbol what was revealed analytically in the preceding lyrics:
Not Russian - look without love((II, 433))
On this pale, in blood,
Muse cut with a whip ...
This striving for totality and synthesis was completed in the lyrical cycle "Last Songs" (1877), reminiscent of Turgenev's "Poems in Prose".
Nekrasov's favorite method of cycling lyrical poems or scenes within one work by the 70s. also changes significantly. In the 40-50s. Nekrasov created the famous "Panaev cycle" of intimate lyrics, in which for the first time in Russian poetry, next to the image of a lyrical hero, the image of a heroine with her own "voice" appeared, changing from verse to verse. The poet here, as it were, surrendered himself to the direct experience of the various ups and downs of his love story. And the image of the beloved woman was revealed in him in new and new, sometimes unexpected turns.
In the 70s. the poet once again returns to this novel in the lyrical cycle Three Elegies (1873). But the principles of cyclization now turn out to be opposite. Nekrasov is trying to reduce the dramatic vicissitudes of the novel to a certain general poetic-philosophical outcome. In the "Three Elegies" there is already no concrete, living and changeable image of the beloved woman, her living word is not allowed into the verses, and with it the "prose" that "is inevitable in love." The drama of love feelings is here embraced in its final, fatal limits: love and death, the infinity of feeling and the finiteness of life. The condensation of poetic logic, the almost philosophical rigor of the composition of the cycle is evident even in the title: "Three Elegies" - three stages of the novel, replacing one another according to the laws of the philosophical triad. And even the poetic language of this work gravitates towards the final poetic formulas consecrated by tradition: “fate”, “exile”, “imprisonment”, “jealous dreams”, “fatal waves”.
The "Panaevsky cycle" took shape for the poet in a completely different way. There was no plan and preliminary compositional thoughtfulness. Despite the obvious internal unity - and perhaps thanks to it - Nekrasov did not try to structure this cycle, to give it a name. Connections within the Panaev cycle arose involuntarily and unintentionally.
Observations on the principles of cyclization in the verses of the 60s. "About the weather" and in a poem of the 70s. Despondency (1874) leads to similar conclusions. In the first work, the title itself suggested the poet's immersion in the element of involuntary observations, the fixation of their natural diversity. "Despondency", like the cycle "About the weather", is composed of a series of specific life sketches. But if in the cycle “On the Weather” the scenes are also significant in themselves, outside the overall result, which turns out gradually, in the course of associative linkages between them, then in “Despondency” the whole variety of poetic sketches is decisively and energetically drawn to the overall result, the general mood , whose name is "despondency".
Along with indisputable poetic discoveries, the path that Nekrasov's poetry followed in the 1970s also showed its losses. On the one hand, Nekrasov's lyrics, straining all their inner possibilities, rose to capacious poetic images, became short, energetic and aphoristic. On the other hand, the inherent art of Nekrasov in the 1950s and 1960s was muted. immediacy in dealing with reality. The variety of vital connections in it was not so much searched for anew as it was brought under a certain general meaning already discovered by art. V. V. Gippius noticed, for example, that the traditional Pushkin and Lermontov poetic formulas in Nekrasov’s verses of the 70s. lose their inherent ambiguity and turn into stable signs that define a life phenomenon, the poetic analysis of which Nekrasov now does not want to devote himself to.
Significantly transformed in the 70s. and the humorous work of the sixties - poets who were grouped around the Iskra magazine and occupied one of the leading places in the Nekrasov school of poetry. These changes are similar to those that accompanied the evolution of Nekrasov's poetry. Even D. D. Minaev (1835–1889), who changed poetic masks one after another with graceful humorous ease, in the 70s. the direct satirical voice of the author breaks through, bitter, sarcastic laughter. Humorous versification no longer satisfies the poet. At the same time, there is a craving for aphoristic, satirically condensed imagery. In the work of the late Minaev, the art of the epigram, the poetics of the pun, develops and improves. It is no coincidence that most of his epigrams were created in the 70s. In the Minaevian parodies of this time, the actual parodic principle is significantly curtailed due to the growth of direct moralizing. The parody of Polonsky's "Complaints of the Muse" ends, for example, with a head-on satirical attack from the author: "And only the poet will not understand one thing: What is the poor people thinking about."
In poetry, where the traditional satirical mask is still used, the humorous liberty, mischief and artistry characteristic of the poetry of the Iskra-ists of the 60s disappear. The scourging voice of the author, his evil satirical laughter, breaks through more and more often.
The very quality of Iskra's humor is changing. The “old-fashioned” for the 60s, aristocratically raised above the world of “ornate formidable gift” is being revived:
Solemn laughter sometimes
Comes to the roar of thunder
Merging into thick clouds
In a silent, menacing echo ...
At the same time, the “pre-Nadsonian” element of doubts and reflections grows in Minaev’s poetry, complaints appear about the cruel reality that killed the best hopes, dispelled bright beliefs: “And if laughter vomits, then it’s not cheerful, angry, Like a groan in the autumn wind, under impenetrable haze ...” (II, 458). The scope of satirical generalizations is changing. The sharpness of reactions to the topic of the day, typical of the humor of the sixties, disappears. Such universal categories as “light”, “peace” are drawn into the orbit of satirical coverage (Minaev’s satirical poem “Who in the world has a bad life”, 1871). In the satirical poem "The Demon" (1874-1878), Minaev strives for an all-European coverage of events. In the poetry of the Iskra-ists, the motif of doubt about the people's forces, about the prospects of people's life in general, sounds more and more often. People's Russia appears in the allegorical image of a sleeping giant ("The Dream of a Giant" by Minaev).
Significant changes are also taking place in the field of translation sympathies of Iskra poets. The fascination with the democratic song culture of Beranger, under the sign of which the 60s passed, is now being replaced by close attention to the poetry of Charles Baudelaire with its rebellious rejection of the tragic disorder of the world. The first translations of his poems appeared, made by Nikolai Kurochkin (1830–1884) and Dmitry Minaev. So in all directions of development of the poetry of the Iskra-ists in the 70s. symptoms of a new understanding of the crisis of the civic direction in art begin to manifest themselves. 70s with their growing drama in the historical destinies of Russia, they brought with them a more severe and tense atmosphere of citizenship. The art of the Iskra poets was forced to defend the purity and fidelity of its position by means of its peculiar aristocratization. His free access to reality, which was possible in the era of the 60s, was now restrained and limited in every possible way.
In relation to the poetry of the Narodniks, in our literary criticism of recent years, special criteria for evaluation have been developed that correspond to the very nature of their work. After all, the traditional reproaches of the insufficient talent of populist poets not only do not solve the problem, but, as it were, deliberately lead away from it. The point is that the Narodniks consciously started from professional art. The emergence of populist poetry in Russian literature of the 70s. It was caused primarily by the factors of the social, revolutionary struggle, and was also the result of the dramatic contradictions that were then revealed in the development of Russian poetry. The creativity of the revolutionary populists defended its right to exist, referring to values that lie outside art. V. N. Figner (1852–1942) openly said that her poems had no artistic merit in themselves, that “the real place for them, it seems, would be in the memories of the Shlisselburg fortress.”
Populist poetry asserted its viability with the real biographies of Russian revolutionary heroes behind it. Behind the poetic "word" here was seen a practical revolutionary deed, the concrete truth of a fact, the ethically impeccable position of a fighter.
The new attitude of populist poets to the artistic word was consciously formulated by them in the preface to the foreign edition of the collection of poems by Russian political prisoners "Because of the Bar" (1877). This preface, written by G. A. Lopatin, was a kind of poetic declaration of revolutionary poetry, its aesthetic manifesto. The main attention here was paid to the educational role of literature, its practical revolutionary impact on the reader. Based on professionalism in art (“writing poetry is not a specialty of a person of the people’s cause”), the author sees the main advantage of the poetic word in its clear revolutionary orientation: “The soul of the Russian“ martyr for the sake of truth ”was rather disfigured! It's time, finally, for him to say his "spiritual word"!<…>We think that in order to reveal the soul of another to one person, there is hardly a better means than lyrics; for a true poetic verse line does not allow falsehood: the latter will immediately affect the artificiality and coldness of the verse.
The “word” in the poetry of the revolutionary populists is deprived of the “playful” qualities traditional in art, born of its poetic ambiguity. It stubbornly refuses to be "stupid": it is conceived as an act, as a direct continuation of revolutionary practice, minus which it loses its vital value. Populist poets most often turn to the traditions of Nekrasov's art, but they do it in their own way, publicistically sharpening and consolidating them. The multi-valued and capacious image that Nekrasov strives for in the poetry of the 70s, under the pen of a populist poet, turns into a direct and unambiguous poetic slogan. From the point of view of the literary poetry of the revolutionary populists of the 70s. F. V. Volkhovsky (1846–1914), S. S. Sinegub (1851–1907), P. L. Lavrov (1823–1900) and others is secondary, this is poetic journalism, using artistic images of professional art in its practical, revolutionary purposes. Let us recall how complex and ambiguous the associative complex that arises in Nekrasov's poetry behind the words "storm", "frost", "thunderstorm". In populist poets this ambiguity is extinguished, reduced to direct revolutionary associations. “Storm” is the expected revolution, “thunderstorm” is the revelry of forces hostile to it, etc.
The poetic polysemy in the poetry of the populists turns into a transparent revolutionary allegory ("spring thunder" - revolution; "terrible judge with a sword and flame in his hands" - a revolutionary avenger). In the poetry of revolutionary populists, a whole system of such stable word-symbols is created with a poetic meaning immovably attached to them.
The same poetic word-images live in a completely different way in the context of Nekrasov's poetry. The second part of the cycle "On the Weather" (1865), for example, opens with the well-known chapter "Epiphany Frosts". And "frost" symbolizes for Nekrasov very different elements of Russian life. Behind him are the harsh fates of the people, the whims of Russian history. And at the same time, this image evokes more specific associations with the era of the late 60s, the rampant government reaction. Finally, the image of “frost” in the cycle “On the Weather” also appears in a household, concrete quality - the frosty winter of 1865, live street incidents:
- My sovereign! Where are you running? -((II, 210))
“To the office; what's question?
I don't know you! - Rub it, rub it
Hurry, for God's sake, your nose!
The poetic image crystallizes in Nekrasov in the process of a refined analysis of reality within the given work and in the context of all previous work.
The Narodniks take it ready-made and give it a journalistic unambiguousness, muting the actual poetic imagery in it: “The frost forges nature for the last time” is a direct allegory of the exhausted government reaction, which is no longer able to contain the coming “spring thunder”.
The poetry of the revolutionary Narodniks lives by reflected light, not concealing this in the least and not in the least embarrassed by it, since it does not even lay claim to innovation. It is important for her to be popular and mass. It feeds on the complex of popular poetic culture, rehashing traditional and current poetic formulas in its own revolutionary way, filling them with new, revolutionary content. Thus, the romantic formula “bends its knees tremblingly”, in the traditional poetic context associated with the image of a romantic maiden, in Lavrov’s poem “The Apostle” (1876) is addressed to the world of people mired in bourgeoisness: “Where everything kneels tremblingly before a money bag ...”. And in Sinegub's poem "Thunderstorm" (1873), freedom appears to the poet "With a loving smile on wonderful lips", her "black eyes burn with fire."
But in this way, the poetry of the populists, sometimes indiscriminate in borrowing poetic formulas, in its own way prepared the ground for a new stage in Russian poetic culture at the beginning of the 20th century, synthesizing polar poetic trends that were at enmity with each other.
The work of revolutionary populists is diverse in terms of genre: lyrical meditations, poetic stories, fairy tales stylized as folklore, songs, epics. However, in choosing a genre, populist poets are guided primarily by non-literary, agitational and propaganda goals. The “Collection of New Songs and Poems” published in 1873 by D. A. Klementsets consisted entirely of revolutionary poems stylized as folk or “re-singing” popular songs in a revolutionary way. Yes, and the most durable works of populist poets, which entered the poetic culture of subsequent generations, are fed by folk song sources: these are Lavrov’s “New Song” (“Let’s Renounce the Old World ...”, 1875), “Last Forgive” (“Tormented by heavy bondage ...” , 1876) G. A. Machteta and others.
Thematically, populist poetry is very diverse. But in the center of it are the ideal images of Russian ascetic fighters, martyrs for the revolutionary idea, and, unlike the poetry of the sixties democrats, the image of a revolutionary fighter is often depicted here in the halo of a Christian sufferer. Populist poets seem to revive the religious reminiscences characteristic of the poetry of late Decembrism and the work of M. Yu. Lermontov. However, the populists' religious motives sound quite different. They are devoid of any kind of mysticism. The legendary image of the gospel hero Christ attracts populists with its ethical loftiness, readiness to accept any suffering as an idea, and sympathy for the poor and oppressed. The poeticization of martyrdom, characteristic to one degree or another of all populist poets, was a consequence of the real difficulties faced by Russian practical revolutionaries. It was also an attempt to overcome these difficulties: inflexibility and steadfastness in relation to the tsarist authorities, on the one hand, and a model of heroism, close in spirit to the Russian peasantry, on the other. Is it because Alexander Blok, despite the obvious "professional" imperfections, saw in Lavrov's "New Song" poems, although "bad", but nevertheless "rooted into the Russian heart; you will not vomit otherwise than with blood ... ".
In 1872, Dawn. A collection of (never seen anywhere in print) works by self-taught writers. The soul of the first creative association of writers and poets from the people was I. Z. Surikov (1841–1880). The poets A. Ya. Bakulin (1813–1894), S. A. Grigoriev (1839–1874), S. Ya. Derunov (1830–1909), D. E. Zharov (1845?–1874), M. A. Kozyrev (1852–1912), E. I. Nazarov (1847–1900), A. E. Razorenov (1819–1891), I. E. Tarusin (1834–1885). At the end of the 70s. the well-known poet S. D. Drozhzhin (1848–1930) joined the Surikovites, whose work became known to the general reader already in the 80s. Self-taught poets went through a harsh school of struggle with poverty and social adversity before they got the opportunity to pick up a book, and then a pen. “The singers of the village, decaying under the blows of new conditions, and the singers of the capital, where the natives of the decaying villages lose strength in the daily struggle,” the poets of the Surikov circle were drawn to great poetry, and took the position of “unprofessionalism” in relation to it. The word "self-taught" lost its tinge of humiliation in their minds. It felt more like a national drama of many generations of Russian talented nuggets from the people's environment - the Polzunovs and Kulibins. In the article “On Self-Taught Writers”, M. Gorky recalled how the American “William James, a philosopher and a man of rare spiritual beauty, asked: - Is it true that in Russia there are poets who came directly from the people, formed outside the influence of the school? This phenomenon is not clear to me. How can the desire to write poetry arise in a person of such a low cultural background, living under the pressure of such unbearable social and political conditions? I understand an anarchist in Russia, even a robber, but the lyrical poet-peasant is a mystery to me. Before us is indeed a deeply national phenomenon, which has centuries-old historical roots in the destinies of people's Russia. A bright flash of "self-taught" poetry in Russian literature of the 70s. caused primarily by social changes in the economic and spiritual development of the Russian countryside, which accelerated the growth of national consciousness.
However, the nutritious soil that awakened to life a whole generation of Surikov poets is connected not only with the processes of the post-reform emancipation of the peasant personality. The prerequisites for the flourishing of this poetry were also created by the poetic atmosphere of the era of the 70s. Self-taught poets sometimes deliberately imitated the naive spontaneity, a kind of "non-literary" poetic language. Synthesizing the Nekrasov and Koltsov traditions in their work, they did not shy away from those poetic discoveries that were made in line with Fetov's and Maikov's poetry.
Of course, in the aesthetic illegibility of the Surikov poets, their difficult fate affected, which did not prepare them "neither a school, nor any other opportunity for the systematic development of culture." But this was not only their weakness, but also a kind of advantage. In the conscious (or involuntary) indistinguishability of poetic schools at war with each other, the general aspiration of Russian poetry of the late 70s and early 80s fought its way through. to poetic synthesis. The position of unprofessionalism, as it were, provided the Surikovites with the right and opportunity to combine different poetic cultures and styles within one poetic individuality and even one poem. Hence the vagueness of their individual author's appearance, long noticed by researchers, which brings self-taught poets closer to the folklore tradition. And the attitude of the Surikovites to book poetry is folklore in its inner essence. Without delving into the aesthetic nuances and psychological subtleties that characterize the poetic culture of different schools and trends, the Surikovites take from the poetic pantry of the era what is beautiful from their point of view, what they like. At the same time, they have their own masculine opposition to bookishness, which helps them easily and freely deal with the poetic heritage of their predecessors, and at the same time, a sharp social instinct that keeps them in line with the “Nekrasov trend”.
In Surikov's well-known poems "Kosari" (1870), a folk song stylized as Koltsov is included in the frame of a Nekrasov-style developed everyday plot. As a result, the image of a peasant-mower, while retaining moments of everyday Nekrasov concretization, acquires a generalized aestheticized coloring. In Nekrasov's lyrics, according to his own poetic formula, "whatever a man is, then a friend", whatever a poem, then a new folk character, with a special psychology, an individual view of the world. In the lyrics of Surikov and his friends in the coverage of folk life, the beginning of the song, anti-analytic prevails.
True, in the work of Nekrasov of the 70s, in the poem “Who Lives Well in Russia”, in particular, the image of individual folk characters is enhanced with the help of direct folklore borrowings (ritual lyrics in the story of Matryona Timofeevna, epic beginning in Savely’s sketch, etc.). d.). But in Nekrasov, folklore and song are not absorbed by the individuality of the people. Individualizing concrete everyday sketches and synthesizing folklore borrowings retain their independence, coexist in artistic linkages. In the poets of the Surikov circle, on the contrary, the lyrics of characters are completely supplanted and replaced by the lyrics of social conditions. Even the names of Surikov's poems speak of this in their own way: "Death" (1870), "Poverty" (1872), "The share of the poor" (1866?), "Woe" (1872), "Loneliness" (1875), "Kruchinushka ”(1877), etc. Surikov is interested not so much in the specific and individual character of the poor, but in the generalized, unspecified state of people's poverty or death, grief, loneliness. The focus is not on the image of a poor peasant, but on a certain universal, socially colored state of beggary in the Russian countryside:
You are poverty, poverty((135))
Killed by need,
Joy, happiness
You are the forgotten daughter!
Surikovites turn out to be direct followers and successors of the Koltsovo song creativity. But the era of the 70s, which shook the foundations of the patriarchal village life, leaves a special imprint on their work. Surikovites are rooted in folklore in a different way than Koltsov. In Koltsov, folklore organically merges with the inner essence of the life and life of the lyrical hero, which gives him greatness and significance, spiritual integrity and power. Among the Surikovites, folklore often acts as an object of aesthetic admiration, it is an element raised above the everyday peasant existence, already to some extent alien to the prose of village life. In the poetry of folk "self-taught" of the 70s. disappears that immediacy of the existence of folklore in the poetic consciousness, which in the 30-40s. was the property of people's life and which Koltsov expressed in his brilliant songs.
Surikovites can no longer be satisfied with the aesthetic and spiritual values that a folk song carries, they are drawn to "literary" poetry, they are more open to its influences, spiritually not protected from them. At the same time, self-taught poets actively use ready-made poetic images from the sphere of democratic poetry in their work, sometimes fancifully combining them with the formulas of Fetov's and Maikov's lyrics. In Surikov's poem "And now spring has come again ..." (1871) in the opening lines, the influence of Maykov's naive and unsophisticated landscapes is palpable. But next to this, in the verses, the image of a “share”, already typical for Koltsovo-Nekrasov poetry, appears, which sounds here as an obvious stylistic dissonance:
And now spring has come again((132))
And the field turns green again;
For a long time the willow has blossomed -
Why don't you flourish, share?
Along with such a symbiosis of poetic cultures that no longer differ from each other, openly imitative poems are often found in Surikov's poetry. Behind the poetic miniature “The blizzard roared all around the night ...” (1871), one can feel Surikov’s student following in the footsteps of Fet’s lyrics of natural states. And in the poem "The morning has risen, pouring dew on the flowers ..." (1872), along with Nikitin's intonations, the author's attempts to master the coloring and pictorial plasticity of Maykovsky's paintings of nature are palpable:
... they only bend over the water((138))
Water lily domes, turning white;
And above them, rising, curl
Moths, bright doves in the sun.
It should, however, be said that the facts we noted of mixing different poetic trends within the same poem by "non-professional" poets of the 70s. are not so common. Among the same Surikovites, verses of a “civilian” and “purely poetic” plan, as a rule, are still delimited from each other. But the very possibility of their coexistence in the work of one poet is remarkable and deeply symptomatic.
Late 70s and early 80s. will be marked by the appearance on the Russian poetic horizon of the popular poetry of S. Ya. In this poem, the image of the dawn from Fet's "natural" context switches to a civil, social context: "And time will burn like a clear dawn." And in Nadson's poetic declaration "Ideal" (1878), the manifestation of sublime citizenship incorporates all the signs of poetic aristocracy characteristic of the "manifestos" of the school of "pure art":
But only one stands from the century,
Out of the power of the vain crowd, -
Great man's idol
In the rays of spiritual beauty.And the one who thinks flying
Managed to rise above the crowd
Love will appreciate the mighty light
And the ideal of the heart is holy.
Nadson's poetry won its popularity not only by the moods of civic melancholy and despondency expressed in it, but also by the aspiration to synthesis of different poetic schools and trends, which will be marked in the history of Russian poetry in the 80-90s.
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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 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 devoted 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 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)).
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 (emphasized 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 at that time the people
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). Indeed, in 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 a 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 limited to 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."
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).
Russian poetry of the 1960s-1970s unusually diverse in topics, genres, styles. 1970s- the heyday of those poets who declared themselves in the wake of the Khrushchev thaw: E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky, B. Akhmadulina, R. Kazakova. This period is fruitful for poets of the older generation who went through the war - D. Samoilov, Yu. Levitansky, B. Okudzhava, Ya. Smelyakov, L. Martynov.
Late 1960s-early 1970s years, the lyrical-journalistic direction very rapidly declared itself. The poets of this trend - E. Yevtushenko, R. Rozhdestvensky, partly A. Voznesensky, Y. Smelyakov - addressed the pressing problems of our time, the events of political life, responded to everything that was happening in the country and abroad. Their poetry was distinguished by a civic orientation (“Citizenship”, “Intimate Lyrics” by E. Yevtushenko, “Nostalgia for the Present”, “Pornography of the Spirit” by A. Voznesensky, “Bribed”, “To Whom I Belong” by R. Rozhdestvensky, etc.). The high destiny of a person is mentioned in the poem by E. Yevtushenko "Bratskaya HPP":
There is no purer and loftier fate - to give your whole life without thinking about glory,
So that all people on earth have the right to say to themselves: "We are not slaves."
Poets of the lyrical and journalistic direction addressed their contemporaries directly. They covered different aspects of life, raised questions of moral purity and conscience, moral judgment as the highest authority. They sought to comprehend history and modernity, to penetrate the essence of the tendencies of social development.
In the 1960s as never before, the lyrical-romantic direction began to develop in Soviet poetry. B. Okudzhava, N. Matveeva, Y. Levitansky, Y. Moritz poeticized the spiritual beauty of a person, seeing it not in serving social ideals, but in universal concepts of personal honor and dignity, friendship, male courage and courage, female purity, beauty. A woman in the works of the romantic direction appears as an object of worship, worship and love, as a deity, Your Majesty, and not as a patient eternal worker. Romantics in their poems expressed the secret longing of the ideological Soviet man for something eternal, incorruptible, which was famous and exalted in all ages. The intimate, chamber intonation of their lyrics touched the most hidden strings of the soul, aroused empathy.
Sixties- a subculture of the Soviet intelligentsia, which mainly captured the generation born approximately between 1925 and 1945. The historical context that shaped the views of the "sixties" were the years of Stalinism, the Great Patriotic War and the era of the "thaw". Filming from the famous readings at the Polytech was included in one of the main "sixties" films - "Ilyich's Outpost" by Marlen Khutsiev, and the listed poets became incredibly popular for several years. Later, the love of the public passed to the poets of a new genre, generated by the culture of the "sixties": the author's song. His father was Bulat Okudzhava, who began to perform songs of his own composition with the guitar in the late 50s. Other authors soon appeared - Alexander Galich, Julius Kim, Novella Matveeva, Yuri Vizbor, who became classics of the genre. Audio-samizdat appeared, spreading the voices of bards throughout the country - radio, television and recording were then closed to them.
These are people on whose childhood the harsh burden of the war years fell, adolescence was disturbed by the exposure of the cult of personality, and youth passed in the era of the “thaw”, when the whole country, although not for a long time, but breathed freely. It was the time of poets reading their poems from the stage of the World Festival of Youth and Students, the time of the first flights into space, which gave people hope that everything will be fine. At this time, an ideological brotherhood grew up, when “we” became more than just a team. It was a spiritual union. It was the “sixties” who were those whom Herzen once called “fellow comrades”, and Marina Tsvetaeva “falconers”. At the center of everything was not an individual, but people:
There are no uninteresting people in the world.
Their destinies are like the history of the planets, -
it was written by the young Yevgeny Yevtushenko. People then were engaged in the search for the truth, they were tired of being deceived all the time:
In the word "truth" I saw
Truth itself
Arseny Tarkovsky
And this is the main thing that the "sixties" were looking for. And then began what the outsiders now call the era of "stagnation". The country seemed to be asleep. Nothing touched anyone anymore: everyone began to live on their own, apparently still united by the ideas of socialism. And again, the "poetry of the masses and time" ascended to the pedestal, if not to say was forcibly placed, glorifying the leaders and shock workers of labor, drawing the illusory distances of world happiness, which, however, did not get closer from this. Poetry of the soul and heart, affecting the self-worth of the individual, was thrown out of the stage of history, then began to be banned.
Despite this, true poets, true artists found their themes. They saw that everything around them was not real, the same and faceless. How strong is Andrei Voznesensky's poem "Nostalgia for the Present", reflecting precisely this facelessness and the need for a clean, through wind of change:
Black water rushes from the faucet
Gushing red, infused,
Rusty tap water rushing
I'll wait - the real one will go.
Here, clean water means something that people didn’t have then - the truth, but the poet believes that everything will change for the better.
It is clear that such verses might not please everyone. Poets began to persecute. They were not allowed to speak, they were not published in magazines, they were not published books. But still their voice reached the reader. A whole system of “samizdat” appeared. Now we are used to the fact that when you go to the store, you can choose any book for yourself. Then it wasn't like that. The author made several copies on a typewriter and gave them to friends and acquaintances. Those, in turn, also copied and passed on to their friends, and, in the end, something like an avalanche turned out.
A heated discussion that took place at that time about what is paramount - science or art. The "Sixties" consisted of two interconnected, but different subcultures, jokingly called "physicists" and "lyricists" - representatives of the scientific, technical and humanitarian intelligentsia. Naturally, the “physicists” showed themselves less in art, but the worldview system that arose among them was no less (or maybe more) important in Soviet culture of the 60s and 70s.
In the late 60s, when public life in the country was strangled, a new subculture arose among the "physicists" - hikers. It was based on the romanticization of the taiga (northern, alpine) life of geologists and other field workers. The simplicity, rudeness and freedom of their life were the antithesis of the boring nonsense of the "correct" existence of the urban intellectual. The expression of these sentiments was the film by Kira Muratova "Short Meetings" (1967) with Vladimir Vysotsky in the title role. Millions of intellectuals began to spend their holidays on long hikes, windbreakers became common intellectual clothing, the central practice of this subculture was collective singing by the fire with a guitar - as a result, the author's song turned into a mass genre. The personification and favorite author of this subculture was the bard Yuri Vizbor. However, its heyday did not fall on the "sixties", but on the next generation.
Martynov Leonid Nikolaevich(9(22) 05/1905, Omsk - 06/27/1980, Moscow) - poet, translator, memoirist. From the family of N.I.Martynov, a railway construction engineer, a descendant of the “philistine Martynovs, leading from the grandfather of their ofeni, the Vladimir peddler-bookman Martyn Loshchilin” (“Air frigates”). M.G. Zbarskaya, the poet's mother, instilled in her son a love of reading and art. In 1920, he joined a group of Omsk futurists, "artists, actors and poets", which was headed by the local "king of writers" A.S. Sorokin. Soon he went to Moscow to enter VKHUTEMAS, where he fell into a circle of congenial young avant-garde artists. He crossed the southern steppes several times along the route of the future Turksib, explored the economic resources of Kazakhstan, visited the construction of the first giant state farms, made a propaganda flight by plane over Baraba, a steppe region, searched for mammoth tusks between the Ob and Irtysh, ancient manuscript books in Tobolsk. In 1932, M. was arrested on charges of counter-revolutionary propaganda. The poet was credited with participation in the mythical group of Siberian writers, in the “case of the Siberian brigade”. He was sent to an administrative exile in Vologda, where he lived until 1935, contributing to local newspapers. After the exile, he returned to Omsk, where he wrote a number of poems with historical Siberian themes, and where in 1939 he published the book. "Poems and Poems", which brought M. fame among the readers of Siberia.
In 1945, the 2nd book, “Lukomorye”, was published in Moscow, with which the poet attracted the attention of a wider readership. This book. - a milestone in the work of M. In the 1930s, the poet in a number of poems and poems developed, or tried to reconstruct, the Siberian myth of the northern happy land, which appears in M.'s poems in the guise of either fantastic Hyperborea, or the legendary “gold-boiling Mangazeya”, or almost real - M. was looking for this historical evidence - Lukomorye. In the late 1940s, M. underwent “acute magazine and newspaper study associated with the publication of the book“ Ertsinsky Forest ”(“ Air Frigates ”). The poet was no longer published. In the late 1950s, the poet really gets recognition. The peak of M.'s popularity, which became stronger with the release of his book. "Poems" (M., 1961), coincides with the heightened reader's interest in the lyrics of the young "sixties" (Yevtushenko, Voznesensky, Rozhdestvensky, etc.). But the paradox of the situation and the misfortune for M. as a poet is that his civic position throughout the 1960s did not meet the mood of his audience, especially the young creative intelligentsia. It was during the period of the “thaw” that M.'s first poems about Lenin appeared, shortly after the “thaw” - poems for anniversaries. Their author's interest in improving poetic technique is decreasing: M. is looking for new topics. The share of historicism in M.'s lyrical plots is decreasing, there is less romance, but more and more attempts to look modern. The consequence is a gradual decline in reader interest, which the poet himself obviously felt:
Fuss is coming, fuss
And a terrible squabble
Behind my back.
Blaming, accusing
No excuses found
And as if calling
All by my name
(“I Feel What's Going On...”, 1964).
M.'s lyrics of the 1960s-1980s are significantly inferior in artistic merit to his poetic work of the 1930s-1950s. Poems in 1960 show that in the work of M. there has been a turning point. Since that time, M.'s attempts to keep up with the times, the literary fashion "for the masses" have become more and more clear. On the one hand, he publishes poems on officially welcome topics ("October", "Teachers", "Revolutionary Heaven"). M. deduced for himself the formula of a personal attitude to the revolution of the Bolsheviks:
October is great for the birth of free art
October broke a lot of ties,
And, roughly speaking,
The halls of the Muses have been ventilated
Winds of October "October"
In the future, he continued to exploit this successfully found idea, with which, however, he truly agreed. On the other hand, M. strives for a fashion for various kinds of “relevance”. In pursuit of fashion, he is still ahead of others: for example, in verse. “Tohu-vo-bohu” (1960) is an anticipation of many features of Voznesensky's poetics. M. also came in handy with the experience of a journalist: since that time, more and more poems have appeared that resemble problematic articles, in which there are elements of an interview, and the position of an analyst, and the journalistic sharpness of the issue (which, however, is “about nothing”). Such are the verse. 1960 “I talked with one doctor...”, “I saw off the secondary teacher...”, etc.
Such is the unusual creative fate of M., a poet whose best lyrics were written in times that oblige to the heroic epic, and the worst poems - during the period of a new poetic boom in Russia
Yaroslav Smelyakov Born December 26, 1912 (January 8, 1913 n.s.) in Lutsk in the family of a railway worker. He spent his early childhood in the village, where he received his primary education, then continued his studies in the Moscow seven-year plan. Early began to write poetry. In 1931 he graduated from the printing factory school, where he published his poems in the workshop wall newspaper, wrote reviews for the propaganda team. At the same time, he was engaged in literary circles at Komsomolskaya Pravda and Ogonyok, was noticed by Svetlov and Bagritsky. In 1932, Smelyakov's first book of poems, Work and Love, was published, which he himself typed in a printing house as a professional typesetter. In 1934, on unfounded charges, Y. Smelyakov was repressed, having been released in 1937. For several years he worked in the editorial offices of newspapers, was a reporter, wrote notes and feuilletons. In the first months of World War II, he fought as an ordinary soldier in Karelia, being surrounded, until 1944 he was in Finnish captivity. In the post-war years, the book "Kremlin Fir" (1948) was published, which included the best poems by Smelyakov, written before and after the war. In 1956, the story in verse "Strict Love" was published, which received wide recognition. In 1959, a collection of poetry entitled "Talk about the main thing" appeared; a phenomenon in Soviet poetry was the book of poems "The Day of Russia" (1967).
In 1968, a poem about the Komsomol "Young people" was written. In recent years, the poet has increasingly turned to the days, people and events of his youth. He traveled a lot around the country (the cycle "Long Trip"), visited abroad, which he told about in the book "December", in the section "The Muse of Far Wanderings".
In 1951, on the denunciation of two poets, he was again arrested and sent to the polar Inta.
In a breech cap, camp coat,
received in the Indian side,
without buttons, but with a black seal,
put by the Chekist on the back, -
Yaroslav Smelyakov, 1953, camp number L-222
Smelyakov sat until 1955, returning home under an amnesty, not yet rehabilitated.
Until the twentieth before the convention
we lived in simplicity
without any departure
in the distant city of Inta ...
In the works of the later period, these tendencies were most fully developed. One of the main topics was the theme of the continuity of generations, Komsomol traditions: collections "Conversation about the main thing" (1959), "Day of Russia" (1967); "Comrade Komsomol" (1968), "December" (1970), a poem about the Komsomol "Young people" (1968) and others. Posthumously published My Generation (1973) and Time Service (1975).
His most famous works include such poems as "If I get sick ...",
If I get sick
I won't go to the doctors
I turn to friends
(do not think that this is delirious):
lay the steppe for me,
curtain my windows with mist,
put at the head
night star.
I walked through.
I didn't sound unapproachable.
If they wound me in fair fights,
wrap my head
mountain road
and cover me
blanket
in autumn colors.
Powders or drops - no need.
Let the rays shine in the glass.
The hot wind of the deserts, the silver of the waterfall -
Here's what to treat.
From the seas and from the mountains
so it blows for centuries,
as you look, you will feel:
we live forever.
Not white wafers
my path is strewn, but with clouds.
I’m not leaving you on sick leave by the corridor,
and the Milky Way.
"Good girl Lida" (an excerpt from this poem is read by Alexander Demyanenko's character - Shurik in the film "Operation Y"), "Lovely beauties of Russia." The song on the verses "If I get sick" was performed by Yuri Vizbor, Vladimir Vysotsky, Arkady Severny and others.
Ya. V. Smelyakov died on November 27, 1972. He was buried in Moscow at the Novodevichy Cemetery. The most penetrating lines saw the light after his death, during perestroika. And among them one stands out - "Message to Pavlovsky" - about his first investigator:
In which Moscow monastery
in contentment full or in need
now you live
my Pavlovsky,
my godfather from the NKVD?
I can't humiliate
and I won't take my eyes off my eyes,
come on friendly soon.
Come in.
And then I'll come.
Arseny Alexandrovich Tarkovsky was born in 1907 in Elisavetgrad, a county town of the Kherson province. His father was a pupil of Ivan Karpovich Tobilevich (Karpenko-Kary), one of the luminaries of the Ukrainian national theater. His older brother, Valery, died in battle against Ataman Grigoriev in May 1919. The family bowed to literature and the theater, all the household wrote poems and plays. According to Tarkovsky himself, he began to write poetry "with a pot." When Soviet power was established in Ukraine after a fratricidal civil war, Arseniy and his friends publish an acrostic in the newspaper, the first letters of which unflatteringly characterize the head of the Soviet government, Lenin. In 1923, fate brought him to Moscow, where at that time his paternal sister was already living. Before entering the Higher Literary Courses in 1925, which arose on the ruins of his Literary Institute, closed after the death of V. Bryusov, Tarkovsky lives on odd jobs (at one time he was a distributor of books).
At the interview for admission to the Courses, Tarkovsky meets the poet and theorist of verse Georgy Arkadyevich Shengeli, who becomes his teacher and older friend. Together with Tarkovsky, Maria Petrovykh, Yulia Neiman, Daniil Andreev studied on the course. In the same year, 1925, Maria Vishnyakova, who in February 1928 became the wife of Arseny Tarkovsky, entered the preparatory course.
The first publications of Tarkovsky are the quatrain “Candle” (collection “Two Dawns”, 1927) and the poem “Bread” (magazine “Prozhektor”, No. 37, 1928). In 1929, due to a scandalous incident - the suicide of one of the ministers - the Higher Literary Courses were closed. Many professors and students of courses in different years were repressed and died in Stalin's prisons and camps. Students who did not have time to complete the courses were admitted to exams at the First Moscow State University. By that time, Tarkovsky was already an employee of the Gudok newspaper - the author of court essays, poetic feuilletons and fables (one of his pseudonyms was Taras Podkova).
In 1931, Tarkovsky worked at the All-Union Radio as a "senior instructor-consultant on artistic broadcasting." Writes plays for radio shows. Around 1933, Tarkovsky began to engage in literary translation. In 1940, Tarkovsky was admitted to the Union of Soviet Writers. The beginning of the war finds Tarkovsky in Moscow. In August, he escorted his children and their mother to the evacuation in the city of Yuryevets, Ivanovo Region. The second wife and her daughter leave for the city of Chistopol, Tatar Autonomous Soviet Socialist Republic, where members of the Writers' Union and their families are evacuated. Having remained in Moscow - the area in which the poet lived is mercilessly bombed by fascist aircraft - Tarkovsky undergoes military training together with Moscow writers.
On October 16, 1941, “on the wild day of the evacuation of Moscow”, when the enemy stood on its outskirts, together with his elderly mother, Tarkovsky left the capital. From the Kazansky railway station, in a train overflowing with refugees, he leaves for Kazan in order to get to Chistopol from there. There, like many other writers, he and his family live in a walk-through room with the owners; in thirty-degree frosts, he works unloading firewood. At the end of October and in November, the poet creates the cycle “Chistopolskaya Notebook”, which consisted of seven poems.
On January 3, 1942, by Order of the People's Commissariat of Defense No. 0220, he was “enrolled as a writer for an army newspaper” and from January 1942 to December 1943 he worked as a war correspondent for the newspaper of the 1st Army “Combat Alarm”. The writer of a front-line newspaper had to work in different genres - Tarkovsky's poems praising the exploits of soldiers and commanders, ditties, fables ridiculing the Nazis were printed on the pages of "Combat Alert". That's when the experience of working in the newspaper "Gudok" came in handy for Arseny Aleksandrovich. The soldiers cut his poems out of newspapers and carried them in their breast pockets along with documents and photographs of their relatives - the greatest reward for the poet. On the orders of Marshal Baghramyan, Tarkovsky wrote the “Guards' drinking” song, which was very popular in the army.
Despite the most difficult conditions of military life, everyday work for the newspaper, poems are also written for themselves, for the future reader - lyrical masterpieces - “White Day”, “On strips of uncompressed bread ...”, “Night rain” ... On the way with front to Moscow, he wrote several poems (“It’s good for me in a heating truck ...”, “Four days for me to go to Moscow ...”, etc.). On December 13, 1943, near the town of Gorodok, Vitebsk region, Tarkovsky was wounded by an explosive bullet in the leg. In the terrible conditions of a field hospital, the most severe form of gangrene develops - gas. In 1944 he leaves the hospital. While Tarkovsky was in the hospital, his mother dies of cancer, who never knew about the misfortune that befell her son. For Tarkovsky, a new life begins, to which he hardly adapts.
In 1945, the poet, in the direction of the Writers' Union, goes on a creative business trip to Tbilisi, where he works on translations of Georgian poets, in particular Simon Chikovani. In the same year, 1945, Tarkovsky was preparing a book of poems for publication, which was approved at a meeting of the section of poets in the Writers' Union. After the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad” in 1946, the printing of the book was stopped.
The tragic failures with the publication of the first book for a long time discouraged Tarkovsky from offering his poems for publication. Even with the onset of the Khrushchev “thaw,” he did not want to violate his principle - not to be offered. In 1962, when A.A. Tarkovsky was already fifty-five years old, his first book was published.
We are tightly bound by discord,
Centuries have not divorced us.
I am a sorcerer, you are a wolf, we are somewhere nearby
In the fluid vocabulary of the earth.
Holding side by side like the blind
Guided by fate
In the immortal dictionary of Russia
We are both suicide bombers with you.
Russian song has a custom
Borrow from blood drop by drop
And become your prey of the night.
That's why the sorcerer, that's why the wolf.
Snow, like in a slaughterhouse, smells sweet,
And there is not a star above the steppe.
Yes, and you, old man, pig
Still break the spine.
At the end of August of the same year, his son, film director Andrei Tarkovsky, received the Grand Prize of the Venice International Film Festival. Thus, father and son debuted in the same year. The book “Before the Snow”, which was published in a small edition of 6000 copies at that time, instantly sold out, became a discovery for the reader and confirmed the reputation of the poet among the brothers in the shop. A.A. Akhmatova responded to it with a laudatory review.
In the sixties, two more books by Tarkovsky were published: in 1966 - "Earth - Earthly", in 1969 - "Bulletin". Tarkovsky is invited to perform at the then popular poetry evenings. In 1966-1967 he led a poetry studio at the Moscow branch of the Writers' Union. Finally, the opportunity arose as part of a writers' delegation - a Soviet form of tourism for cultural figures - to visit France and England (1966 and 1967). In London, the Tarkovskys meet with a professor at the University of London, an expert on Russian literature, Peter Norman and his wife, the daughter of the famous religious philosopher S.L. Frank, expelled by Lenin from Russia in 1922, Natalya Semyonovna Frank. (The acquaintance with P. Norman happened a little earlier, in Moscow.)
In 1971, Tarkovsky was awarded the State Prize of the Turkmen SSR. Makhtumkuli. In 1974, the publishing house "Fiction" published the book "Poems".
Time goes by slowly at night
Leap year ends.
Smell the veins of old pines
Spring resins stiffening ice.
Enough of my daily worries
And I don't need another happiness.
I know: and there, behind the fence,
Someone's year ends.
I know: a new grove rises
Where our pines end.
Black and white bowls are heavy,
They feel the time and turn with their veins.
In connection with his seventieth birthday (1977), the Soviet government awards Tarkovsky with the Order of Friendship of Peoples. The beginning of the eighties is marked by the release of three books of the poet: 1980 - “Winter Day” (published by “Soviet writer”), 1982 - “Selected” (published by “Fiction”), 1983 - “Poems of different years” (published by “Sovremennik ”). The most significant of these publications is the book "Selected" (Poems, poems, translations) - the most complete book of the poet, published during his lifetime.
March 6, 1982 leaves for Italy to work on the film "Nostalgia" Andrei Arsenievich Tarkovsky. On July 10, 1984, at a press conference in Milan, he announced his non-return to the Soviet Union. Tarkovsky accepted this decision of his son, respecting the civil position of his son. Radical changes in the country have not yet come, and Arseniy Alexandrovich is going through hard separation from his son. Andrei's death on December 29, 1986 was an unexpected and terrible blow for his father. Arseniy Alexandrovich's illness began to progress rapidly. He died in the hospital on the evening of May 27, 1989.
Poetry of the 60s and 70s. Front-line poets (David Samoilov, Alexander Mezhirov, Boris Slutsky).
In the poetry of these two decades, intense ideological, artistic, genre and style searches unfolded. The nature and direction of these searches, their artistic significance and results were different. They: largely depended on the goals and objectives set for themselves by the artists. Among the poems about the heroic past, a special place was occupied by works whose authors themselves were contemporaries, witnesses and participants in great events and were able to express their thoughts and feelings with all the penetrating depth and poetic power. In the late 1960s and into the 1970s modern poetry was the subject of almost continuous discussion in the press. Their topics were wide and varied, but in each of them, along with the identification of indisputable values and successes, there was dissatisfaction with the state of affairs in this area of artistic creativity and a persistent desire to understand: new processes and trends, achievements and miscalculations.
In the poetry of these years, the features and signs of a concrete-realistic style and its inexhaustible artistic, visual and expressive possibilities are clearly revealed. The realistic concreteness of the artistic image is especially noticeable in the lyrics of the poets of the front generation /S.Narovchatov, A.Mezhirov, B.Slutsky, E.Vinokurov and others/. The same features of the realistic style manifested themselves in their own way in the poets of subsequent generations /E.Evtushenko>, A.Zhigulin, V.Kazantsev, I.Shklyarevsky and others/.
Military generation of Russian poets- a generalized term applied to young Soviet poets who spent their youth in the battles of the Second World War and whose poems well reflect the atmosphere of the front. Some of them died at the front, others lived longer, but many, as Semyon Gudzenko predicted, died not from old age, but from old wounds.
We will not die of old age,
die from old wounds.
David Samoilov(Author's pseudonym, real name - David Samuilovich Kaufman; 1920-1990) - Russian Soviet poet, translator. David Samoilov is a poet of the front-line generation. Like many of his peers, he left the student bench for the front. The first book of poems, Near Countries, was published in 1958. Then came the poetic collections of lyric-philosophical poems "Second Pass" (1962), "Days" (1970), "Wave and Stone" (1974), "News" (1978), "Bay" (1981) , "Voices behind the hills" (1985) - about the war years, the modern generation, about the purpose of art, on historical subjects.
In Samoilov's poems "behind the simplicity of semantics and syntax, behind the focus on Russian classics, lies the poet's tragic worldview, his desire for justice and human freedom."
forties, fatal,
military and frontline
Where are the funeral notices
And echelon interchanges.
Rolled rails hum.
Spacious. Cold. High.
And fire victims, fire victims
Wandering from west to east...
And this is me at the station
In your dirty earflap,
Where the asterisk is not authorized,
And cut out of a can.
Yes, this is me in the world,
Skinny, funny and playful.
And I have tobacco in a pouch,
And I have a mouthpiece.
And I'm joking with the girl
And I'm lame more than necessary
And I break the solder in two,
And I understand everything.
How it was! How did it coincide?
War, trouble, dream and youth!
And it all sunk into me
And only then I woke up! ..
forties, fatal,
Lead, gunpowder...
War walks in Russia,
And we are so young!
1961
David Samoilov's poems about the war are, perhaps, comparable in their strength only to Simonov's poems. But Simonov has more lyrics. Samoilov wrote more harshly, just turning the soul!. He does not belong to the poets - front-line soldiers, for whom the theme of the war was the main one. He participated in the war and throughout his life, remembering the war that had always lived in him, from time to time wrote penetrating poems about that time, about his peers.
I pity those who die at home,
Happiness to those who die in the field,
Falling to the young wind
Head thrown back in pain.
A sister will come to him for a groan,
Bring, dear, get drunk.
Will give water, but he does not drink,
And the water from the flask flows past.
He looks, does not say a word,
A spring stalk climbs into his mouth,
And around him there are no walls, no shelter,
Only clouds walk in the sky.
And his family don't know about him
That he is dying in an open field,
That a bullet wound is fatal.
... The field mail goes for a long time.
VALYA - VALENTINA
The fight is remembered later.
In the rear. On a hospital bed.
Moaning often wakes up at night
The seriously wounded Kolka.
Movie is scrolling
On the sheet, as on the screen.
Shelling. Team at the same time
With a fragment of vigorous abuse.
Everything returns - detail,
Not suitable for the screen
Like a Komsomol secretary
The intestines are stuffed into the wound ...
Excitement. Throw. "Shoot, well, well!"
"Hooray!" not sounding thick.
No it's not good for
Documentary art.
But the morning arrival of the sisters
suitable for film
Especially about eyelashes
Vali's sisters are Valentina.
Don't touch her! In a word though!
And they will not allow swearing,
It does not hurt those who believe in women,
Guardsmen Vali-Valentina.
You can talk about her
Sublime, almost in verse.
Severely wounded sapper
He grinds his teeth about her in his sleep.
And this hospital life!
What else could an infantry dream of!
You lie on a clean bed. Sat.
And, like, with the Motherland in the calculation.
Yes it was. Now bake:
Other wounds, quarantines.
And with the Motherland a different calculation.
And there is no Vali - Valentina.
One of the first public performances by D. Samoilov in front of a large audience took place in the Central Lecture Hall of Kharkov in 1960. The organizer of this performance was a friend of the poet, Kharkov literary critic L. Ya. Livshits.
He is the author of the poem "Song of the Hussar" ("When we were at war ..."), which was set to music by the bard Viktor Stolyarov in the early 1980s. "Hussar song" by Samoilov-Stolyarov became very popular among the Kuban Cossacks at the beginning of the 21st century.
He released a humorous collection (not poems) "In the circle of himself." Wrote poems.
Boris Abramovich Slutsky(1919-1986) - Soviet poet. He studied at the Moscow Law Institute 1937-1941 and at the same time at the Literary Institute. Gorky (graduated in 1941). In 1941 he published his first poems. Member of the Great Patriotic War. Since June 1941 private of the 60th Infantry Brigade. Since the fall of 1942, an instructor, since April 1943, a senior instructor in the political department of the 57th division. Despite the fact that he was a political worker, he constantly personally went on intelligence searches. At the front he was seriously wounded. Discharged from the army in 1946 with the rank of major.
The first book of poems - "Memory" (1957). Author of poetry collections "Time" (1959), "Today and Yesterday" (1961), "Work" (1964), "Modern Stories" (1969), "Year Hand" (1971), "Kindness of the Day" (1973), translations from world poetry. One of the first public performances by B. Slutsky before a large audience took place in the Central Lecture Hall of Kharkov in 1960. The organizer of this performance was a friend of the poet, Kharkov literary critic L. Ya. Livshits.
Together with several other "significant" poets of the sixties, he was filmed in Marlen Khutsiev's film "Zastava Ilyich" ("I'm Twenty Years Old") - the episode "Evening at the Polytechnic Museum". A significant part of Slutsky's legacy - both his uncensored poetry and memoir prose - was published in the USSR only after 1987.
Boris Slutsky has a controversial reputation in literary circles. Many contemporaries and colleagues cannot forgive him for speaking out against Boris Pasternak at a meeting of the USSR Writers' Union on October 31, 1958, at which Pasternak was expelled from the union. Slutsky condemned the publication of Doctor Zhivago in the West. The poet's friends believe that he was very upset by his act and did not forgive himself until the end of his days. In his article "Four Fates", Revold Banchukov states that “later Slutsky will say to V. Kardin, without justifying himself: “The mechanism of party discipline worked”.
AT SIX AM IN THE MORNING AFTER THE WAR.
They killed the bravest, the best.
And the quiet and the weak were saved..
By wire, rusty and prickly.
Ivy creeps, climbs up ..
Cuckoo from dawn to dawn.
Cooks years to the platoon commander.
And for the first time in four years.
Do not lie to him, but tell the truth ..
I celebrated my victory yesterday..
And today, at six o'clock in the morning.
After the victory and all the honor -.
The sun is blazing, sparing no effort ..
Over forty million graves.
The sun is rising.
not counting..
Alexander Petrovich Mezhirov(1923-2009) - Russian poet and translator, laureate of the USSR State Prize (1986); laureate of the State Prize of the Georgian SSR (1987); Laureate of the Vazha Pshavela Prize of the Independent Joint Venture of Georgia (1999); awarded by the President of the United States of America W. Clinton. Born into a Moscow family in the old Zamoskvorechye (father - lawyer and physician Pyotr Izrailevich Mezhirov, 1888-1958; mother - German teacher Elizaveta Semyonovna, 1888-1969).
He went to the front from school in 1941. Red Army soldier of a rifle unit on the Western Front, since 1942, deputy commander of a rifle company on the Western and Leningrad fronts, in the Sinyavinsky swamps. At the front in 1943 he was admitted to the CPSU (b). Discharged from the army in 1944 after being wounded and shell-shocked with the rank of second lieutenant.
After the war, he studied at the Literary Institute. A. M. Gorky, but did not finish it. Member of the SP of the USSR since 1946. He participated together with N. K. Starshinov in the classes of the literary association of I. L. Selvinsky. Maintained friendly relations with S. S. Narovchatov. Professor of the Department of Literary Mastery of the Literary Institute. Gorky since 1966. For many years he led a poetic seminar at the Higher Literary Courses (VLK) at this institute.
Influenced young poets in the 1960s. - Evgeny Yevtushenko, Igor Shklyarevsky, Oleg Chukhontsev, Anatoly Peredreev. On January 25, 1988, on the Leningrad Highway, he hit the actor Yuri Grebenshchikov with a car, who died 3 months later in the hospital. Mezhirov was very worried about what had happened. Since 1992 he has lived in the USA. He read a course of lectures on Russian poetry at the Russian department of the University of Portland in Oregon. He made programs about Russian poets on Russian radio in New York. He continued to write poetry, which was a new round in his work, distinguished by a concise form and poetic poignancy. In 1994 he was awarded the President of the United States of America W. Clinton, which was presented to him at the White House. He died on May 22, 2009 in New York, at a Manhattan hospital. On September 25, 2009, the urn with the ashes of the deceased, brought from the USA by the poet's daughter Zoya Mezhirova, the literary community, daughter and close relatives were buried at the Peredelkino cemetery in the Mezhirov family grave.
Published since 1941. The first book of poems, “The Road is Far,” was published in 1947. Mezhirov belongs to the generation that bore all the hardships of the war: “In the forty-first year, a few weeks after graduation, I went to the front. He fought as a soldier and deputy commander of a rifle company on the Western and Leningrad fronts, in the Sinyavin swamps.
Music
What music was! What music was playing, When both souls and bodies The damned war trampled. What kind of music is in everything, Everything and for everyone - not by ranking. Than for Germany Beethoven. And through the whole country the string Stretched trembled, When the damned war Trampled souls and bodies. They moaned furiously, sobbing, For the sake of one single passion At the half-station - an invalid, And Shostakovich - in Leningrad.In 1943 he joined the Communist Party. In the same year, seriously wounded, shell-shocked, he was demobilized. Returning to Moscow, he attended the Faculty of History of Moscow State University, having attended a full course there as a volunteer, and at the same time studied at the Literary Institute. A. M. Gorky, who graduated in 1948. All his later life is connected with literature. In the newspaper "Komsomolskaya Pravda" dated March 23, 1945, the first publication appeared - the poem In the forty-first. Soon he began to publish in such publications as Komsomolskaya Pravda, Literaturnaya Gazeta, Znamya and Novy Mir magazines. In Mezhirov's military poems, pictures of the war alternated with pictures of peaceful life; military events were always accompanied by memories of days of silence.
I have two books. One
"The road is far." War.
Interlineators. Losing a friend
Plus semi-block blizzard.
The ballad “Communists, Forward!” gained wide popularity. In literature, he hated and despised the empty form, as if boasting of its own perfection. He did not tolerate those outwardly spectacular poems in which "no sound was formed." He had no more offensive, caustic remark about the verse text he read than: "It's beautiful." However, about failures (understanding the difficulty of the craft and always allowing for a rare, but not decisively excluded possibility of future success), he knew how to speak inoffensively, with all delicacy and grace. He gave us, Russian poetry, his own sound and remained faithful to himself to the end. And in the most recent verses, insistently, as if convincing himself, in a perceptibly breathless voice, he uttered a confession of his faith:
No content
Poetry is alive
But only with an early sound -
Sitting head.
It was not a desire to get better at a difficult time that drove him abroad. In the trenches of the Volkhov Front and later, when he was persecuted for exalting Russian iconography and awaiting arrest, he courageously lived through incomparably worse days. He was indifferent to comforts and (after the blockade impressions) indifferent to the taste and quality of food. And it was not the fear of someone else's vengeful persecution that drove him, not the opinion of friends "holding hands" and not a sick conscience, although it was precisely the pangs of conscience that did not give him a single moment, but all his life (repeating Pushkin's "And with disgust reading my life ”, he, both venomously and pitying himself, remarked: “Well, a modern poet would probably write:“ with tenderness ”!).
