The first of the "Bronze" poets. Bronze Age of Russian Literature

The work is a presentation "Pop lyrics. The Bronze Age of Russian poetry", which reveals the main poetic features of the work of E. Evtushenko, A. Voznesensky, B. Akhmadulina, B. Okudzhava.

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Pop lyric. Bronze Age of Russian Poetry

“Poetry is not a series of rhymed lines, but the living heart of a person in which these lines were born…”

The generation of the "sixties" After the end of the era of the Stalinist regime breathed a certain freedom. On the wave of this freedom, a new generation of poets arises - the "sixties". The successful restoration of the country after the war, achievements in science and technology, the growth of the well-being of the people gave rise to faith in the future, hope for new successes. All this caused a craving for the poetic formulation of feelings.

The generation of the "sixties" The first few years of the "thaw" became a real "poetic boom". Thus, "pop poetry" appeared. Poetry evenings became permanent, a new genre arose, which immediately fell in love with the audience and later called the "author's" song: poets sang songs to their poems with a guitar.

Evgeny Yevtushenko

E. A. Evtushenko Date of birth: July 18, 1938 Place of birth: st. Winter, Irkutsk region. Poet, novelist, director

Features of creativity - Conviction in the special role of the poet in Russia: "A poet in Russia is more than a poet ..."; - Coverage of current political and social topics ("loud" lyrics); - Craving for plot; - Confession and romantic maximalism of the lyrical hero;

Bella Akhmadulina

B. A. Akhmadulina April 10, 1937 - November 29, 2010 Soviet and Russian poetess, translator, member of the Union of Russian Writers, honorary member of the American Academy of Arts and Letters.

Features of creativity - High poetic style: sublime vocabulary, metaphor, stylization of the "old" style; - Intense lyricism; - An obvious echo with the poetic tradition of the past: "The old style attracts me ..."

A. A. Voznesensky

Features of creativity - Direct appeal to the mass public; - Focus on the traditions of futurism; - Traditions of civil lyrics; - Rejection of falsehood;

B. Sh. Okudzhava

Features of creativity - Lyricism and sentimentalism; - Coverage of the theme of war - "Arbat" lyrics - Appeal to "eternal" themes

The significance of "Variety Lyrics" in Russian literature and culture - The poets of the sixties expanded the composition of the poetic audience; Poetry becomes a large-scale social phenomenon;

As part of the events of the Year of Literature in Russia, on July 11, an event that was imperceptible in form, but grandiose in meaning, took place: the first monument in Russia to the great Russian poet was opened in Tarusa Nikolai Zabolotsky.

The initiator and organizer of the installation of the monument is a philosopher, writer, political scientist Alexander Shchipkov made a speech at the event:

Dear friends!

Allow me to begin the opening ceremony of the monument to the outstanding Russian poet Nikolai Alekseevich Zabolotsky, who spent the last years of his life in Tarusa.

The opening of the monument to Zabolotsky is included in the federal list of events to perpetuate the memory of Russian writers, timed to coincide with the Day of the City of Tarusa and is held as part of the Year of Literature in the Russian Federation.

What is Zabolotsky? This is a mega-phenomenon in Russian culture, which, under the pressure of certain political circumstances, was in the shadows. I won't say now whether it happened by accident or on purpose, it doesn't matter. Repressed talent. During his life, he was physically repressed, and after his death, he was actually ousted from the literary platform.

But Zabolotsky created a new direction in poetry. Literary critics call it the "Bronze Age" of Russian poetry. The "golden age" of Russian poetry - Pushkin's, Lermontov's - is on everyone's lips. The "Silver Age", to which Tarusa is directly related, is also known to everyone. The "Bronze Age" includes poets who were born during the war, these are the children of front-line soldiers.

The concept of "The Bronze Age of Russian Poetry" is an established literary concept. And it belongs to my late friend, the Leningrad poet Oleg Okhapkin. It was he who for the first time, in 1975, formulated this concept in his poem, which is called “The Bronze Age”.

After 1945, after blood, after suffering, after the Leningrad Siege, after the victory over world evil, the game of parlor poetry becomes inappropriate. People's truth and people's suffering are returning to Russian poetry. After 45, Soviet poetry becomes religious poetry.

Listen to Okhapkin:

Krasovitsky, Eremin, Uflyand,

Gleb Gorbovsky, Sosnora, Kushner...

Macintosh, remember, covered

The way of the Lord into living souls.

Rein da Naiman, Joseph Brodsky,

Dmitry Bobyshev and Okhapkin

They broke birch trees before Him,

Armfuls of flowers were laid out.

Okhapkin describes the Trinity, birches are brought to the temple. This is the day of the descent of the Holy Spirit upon the apostles. allegorical comparison. A new spirit descends upon the poets. The spirit of sincerity, non-covetousness, service to the fatherland, and not decadent games in the capital's salons.

And the poets went home.

Those who met God - in peace,

And the merchants scattered around the world

Gold to serve an idol.

dispersedon all roads.

We went to all the thresholds,

And on bronzed faces

Quietly the Bronze Age burned.

But our poetry is bronze

It will stand menacingly over the car,

Spread seraphically

Fiery soul composition

And again about the 45th year:

We stood on those granites.

Where is the sacred speech of the slain

Your ancestors, our lyres

Sanctified the world to come.

Blood and people's sacrifice sanctify art, says Oleg Okhapkin. And concludes:

This bronze is still in the melt.

But the sculptor has the right to cast

To commit to the master's eye.

Remember, understand us!

The poetry of the "Bronze Age" was shaped by the state of scorched by the war. Before the war, there was an incredible number of experiments in poetry, a mass of various directions, a game with form - Nikolai Zabolotsky, who belonged to the Oberiut movement, also paid tribute to this. But after the war, his work is already a completely different poetry.

Korney Ivanovich Chukovsky, who had the subtlest sense of style, language, talent, compared Zabolotsky with Derzhavin and Tyutchev. That is, he put him in the first row of Russian poets. Zabolotsky was one of the first who in his poetry gave impetus to the emergence of poets of the Bronze Age. These are names like Sosnora, Gorbovsky, Kushner, Kublanovskiy, Brodsky, Krivulin, Linen, Okhapkin and others. Nikolai Zabolotsky was much older than the named poets, he was their teacher, their forerunner, as Joseph Brodsky spoke more than once.

Not only he participated in the formation of the poetry of the "Bronze Age". I would bring here more brilliant Alexander Tvardovsky and David Samoilov. But we must honestly admit: Zabolotsky is the first. Its distinguishing feature is openness, a complete lack of play in literature, absolute sincerity, and almost liturgical depth. Zabolotsky opened a completely new post-war page in Russian poetry.

Tarusa - as it is destined for her - was directly related to the origins of the "Silver Age" and in some incredible way is directly related to the "Bronze Age" of Russian poetry - the presence of Nikolai Zabolotsky here.

Here, in Tarusa, the poet-philosopher reached the poetic peak. His writing is absolutely simple and perfect. And filled with evangelical depth:

I'm in the community of washerwomen today

Benefactors of the local husbands.

These people do not crush the bedridden

And the hungry are not chased out.

Having worked age-old calluses,

Turned white in soapy water

Here they do not think about hospitality,

But they do not leave in trouble.

This is said about the Tarusians. This is about Russia.

This is the third monument that our family gives to Tarusa. The first monument to a statesman, Ivan Tsvetaev, who at the beginning of the twentieth century actually played the role of the Minister of Culture, that is, he formed the ideology of the development of culture and laid the foundations for the future meanings of Russia. The second monument is to the commander, defender of the fatherland - the red commander, general Mikhail Efremov. The third monument is to the poet who determined the vector of development of Russian literature of the 20th and 21st centuries. And not only literature, because the concept of the "Bronze Age" will have both a social and political dimension on the way to the revival of Russia.

We are obliged to return the name of Zabolotsky to Russia in full and sound. We are obliged to honor him and say directly that this is Zabolotsky, the first Russian poet of the 20th century. The first poet of the "Bronze Age" of Russia.

Last night, the people of Tarusa came to me and asked me to voice their request - to name the Tarusa Cinema and Concert Complex after Nikolai Zabolotsky. And then here we will open the first museum of the best Russian poet of the 20th century, Nikolai Zabolotsky.

Dear residents of Tarusa, we are handing over this monument for your keeping. Take him under the patronage of the people. Keep it and take care.

The book "The Bronze Age of Russia. View from Tarusa” is dedicated to the difficult process of overcoming the social crisis. The picture of the cultural and political landscape of the country is given as a view from the small Russian town of Tarusa, where the author lives, and where the fates of the military, scientists, writers, and dissidents are intertwined. The ideological and semantic axis of the book is the study of such a unique phenomenon of Russian culture as the Bronze Age, the phenomenon of which goes far beyond literature, being filled with historical and social content. Each chapter of this sincere book reveals to the reader little-known, but no less significant phenomena of Russian life. The reader will learn how many believers there are in Russia and why there are always, at all times, 85% of them, what were the mistakes of the post-Soviet intelligentsia, what are the origins of modern Nazism and why there is a synthesis of left and conservative ideas. This is a collection of texts about Russian culture, religion and politics. All of them, with the exception of the introductory one, are written in the form of an interview, which facilitates the perception of sometimes complex ideas and makes them accessible to the widest range of readers. The book was published on the initiative and with the support of the World Russian People's Council.

* * *

The following excerpt from the book Bronze Age of Russia. View from Tarusa (A. V. Shchipkov, 2015) provided by our book partner - the company LitRes.

Bronze Age and axiomodern

(instead of preface)

In the almost legendary "nineties", against the background of the curtailment of long-term cultural projects, "club style" flourished. Touching cozy poetry festivals and small conferences were held at which Brodsky was discussed (“ah, not so long ago he was only in samizdat”) and the Silver Age (“oh, he was completely underestimated”). They hurried to correct the historical injustice - and underestimate it.

The Silver Age, despite its decadent "tonality", was perceived as a standard and a kind of matrix for the coming renaissance. The subtext was as follows: the cultural field has been scorched by totalitarianism, so we must mentally return to the last “fat” years for culture, and this is the beginning of the century. And then a new flowering is possible. That's where they stood.

Meanwhile, the literary process in the post-Soviet "new" Russia was becoming less and less prestigious and in demand. New literary awards like the Russian Booker became a brawl and a field of clan squabbles within the "tusovka" - in those years, the very word "tusovka" was considered almost an attribute of respectability. The writing class was doomed to work for an increasingly narrow circle, and the humanitarian community essentially found itself in a cultural ghetto, but preferred to consider itself an elite closed club. It was psychologically easier that way.

The mythology necessary for the moment was built, which influenced, among other things, the spectrum of interests. Priority was given to phenomena that, in one way or another, were silenced and discriminated against in Soviet times.

Glory to Leo. Historical counterpoint

The idea of the Bronze Age was conceptualized by the poet Slava Lyon, a collector, researcher and archivist of modern Russian poetry. He appeared at humanitarian meetings, offering the public a carefully constructed scheme according to which, in his opinion, this poetry developed. He convincingly drew this scheme on whatman paper. All currents, schools and "schools" were marked there - from textbook symbolism-acmeism to modern conceptualism and qualityism.

It followed from Len's scheme that from 1953 to 1989 the Bronze Age continued in Russia - a new era when poetry again mastered the lost deep and universal meanings. Then I could not yet fully appreciate the accuracy and depth of this concept; this happened a little later.

After the Silver Age, a special period follows, associated, in particular, with futurism. In my opinion, futurism is a transitional state: no longer silver, not yet bronze. Rather, a kind of burnout of the melting furnace. Dynamic pause in the change of epochs.

This intermediate position did not prevent futurism and constructivism from killing the aesthetics of the Silver Age. The lace of decadence spread and burned in the fire of the futuristic domain.

But that was just a prelude.

The Bronze Age itself begins in the 1950s. It is brought to life by many factors. This is both a natural weakening of the poetic influences of the beginning of the century, and war. "Get up, huge country!"... - there is no time for sparks of snow on the teeth of acmeism. And the Victory of 1945, which created in the minds of people the image of a holy collective sacrifice. And the death of Stalin with the end of the hard ideological "freeze".

Under normal conditions, all this could well have ended in the flowering of religious lyrics - but not in the conditions of the USSR and the ongoing anti-religious persecution. Khrushchev's electoral "thaw", of course, did not apply to everyone and did not "discover" all topics. Nevertheless, poetry at this time receives a charge of new sacredness and new sincerity; poets again learn to speak about heavenly, not momentary things, albeit without obvious biblical motives.

This sacredness could have an impact in different ways and for a very long time - throughout the 1960s and 1970s. Here is a simple example. Once in the 1970s, the legendary David Samoilov sharply scolded the young poet Vladimir Burich, almost denying him the right to write poetry, for these lines:

The world is filled

post-war people

post-war things

found among the letters

bar of pre-war soap

didn't know what to do

Obviously, Samoilov was touched by the unbearable ease with which Burich, with his imposing vers libre, touched on the military theme. She was like a shot.

Where does the sense of blasphemy come from? The fact is that the theme of war for a person of the "bronze" period has a special meaning. This theme is comparable to the crucifixion motif, although the comparison could not be directly expressed. But at a deep level, it was read. A person with historical citizenship of the Silver Age - and such remained until the end of the Soviet period - would have treated this text much more calmly. I would weigh it on the scales of aesthetic feeling and leave it alone. This is the difference.

Oleg Okhapkin. New sacredness

The concept of the "bronze" era was compiled by the aforementioned Slava Lyon on the basis of sources located in the literary space itself. The Bronze Age is largely a poetic self-name. Today, its chronology is built automatically - take it and use it. As, for example, Irina Sidorenko:

And the golden age intoxicates -

There's a Boldino autumn

Leaf rustle of battles

At the Nerchinsk churchyard ...

Age of silver ringing:

Wine and opium - in lines!

Snow baptizes into death! -

"Hurrah" - human dots ...

And bronze! - like revenge

For a million violence.

Let's return the beauty and honor?

And the spinal cord - without rot?

These are current rehashes that have already become familiar. And the collective ode to the Bronze Age began in 1975 with a poem by my friend, the magnificent Oleg Okhapkin, which was called “The Bronze Age”:

He plucked the superfluous from the Temple.

Traded talent to

The Almighty reigned in the hearts,

And in the merchants - the spirit of the womb.

And the poets went home.

Those who met God - in peace,

And the merchants scattered around the world

Gold to serve an idol.

Scattered on all roads.

We went to all the thresholds,

And on bronzed faces

Quietly the Bronze Age burned.

Okhapkin is talking about the poets who were touched by Christ - they again felt God's breath. They brought back to life the religious component that was lost in decadence, rejected in futurism and carefully disguised in Soviet literature. Although after the war, this feeling stirred up. In the Okhapka "Bronze Age" there is even a list of the names of his brothers in the shop, who cast their poems into "bronze":

Krasovitsky, Eremin, Uflyand,

Gleb Gorbovsky, Sosnora, Kushner...

Macintosh, remember, covered

The way of the Lord into living souls.

Rein da Naiman, Joseph Brodsky,

Dmitry Bobyshev and Okhapkin

They broke birch trees before Him,

Armfuls of flowers were laid out.

That we can hardly fix the stanza,

If we list them all in a row.

Kupriyanov Boris and Victor

Shirali ... Stratanovsky, who

Don't remember them! Without them

It would be sad. Tell Serezha...

Chaygin, Earl...maybe. Lyon or someone

From others: Velichansky, or

Who else, but opened the gate

the whole procession. Thanks to all.

And when He entered our hearts.

We crowded before Him.

But they became a squad, a clan.

Slightly His whips whistled.

It is easy to see that in these "saints" there is no "official opposition", there is not a single poet of the Polytechnic University. And this is natural. Take, for example, Andrei Voznesensky. Incredibly talented. But which way is he going? He plays futurism, publishes the Triangular Pear. Because Mayakovsky is a symbol, and imitation of him gave carte blanche to experiment within certain limits. But in fact it was a step back, not forward.

And Oleg Okhapkin lists those who were ready to seriously testify about the world before God. And yet to list all of them is not enough verse. But the main contemporaries of the century have already been named, and the future compilers of the anthology are relieved of the need to once again crawl into reference books.

Okhapkin clearly and confidently draws the line separating his “bronze” era from the previous “silver” one. But he does this not in the main text, but outside it, in the epigraph, thus creating a poetic "frame". For the epigraph, lines are taken from Anna Akhmatova's Poem Without a Hero, the undisputed queen of the previous century:

An arch was blackening on Galernaya.

In Summer, the weather vane sang subtly,

And the silver moon is bright

Frozen over the Silver Age.

It's like writing in the margins. In the poem "The Bronze Age" Okhapkin also plays with the theme of the arch ("On the Galernaya blazed arch") - a through connection of times? It turns out: connection - through repulsion.

Fight for recognition

Actually, it was Oleg Okhapkin who created the concept of the Bronze Age, felt it and gave it a name. Of course, all this is not enough. To define the scope of the phenomenon professionally, and not poetically, someone was needed who would be able to go beyond the limits of the poetic workshop. Slava Lyon became this person. In practice, he rendered the descendants the same service that Nikolai Otsup once rendered them, who staked out the name of the neighboring era in his article “The Silver Age of Russian Poetry”, first published in 1933 in the Parisian magazine “Numbers”.

But the large-scale poetic anthology "The Bronze Age of Russian Poetry", compiled by Lyon, was published only in 2013 (The Bronze Age of Russian Poetry. - St. Petersburg: BBM, 2013). Moreover, the fate of all that large-scale work with the heritage of the Bronze Age, which the author carried out for many years in a row, turned out to be difficult. This is now Lenov's concept - an accomplished scientific fact. And in the 1990s, the educational activities of Slava Lyon caused different reactions among post-perestroika humanitarians. So, at one of the literary disputes, one philologist sarcastically objected to Len, suggesting changing the time scale on his diagram to "degrees of increasing degrees." The objection, perhaps witty, but clearly not to the point ... At different times I had to meet other objections. For example, that, they say, the concept of the “Bronze Age” affirms the idea of deterioration and degradation: after the Bronze and Iron Ages, there should be “bad” centuries without a name.

These arguments reveal the cultural chauvinism of the newest cultural bureaucracy. Firstly, denying the Bronze Age the right to be called that because of the supposedly downward appraisal, the Silver Age was willingly left the same right. Although "silver" is also symbolically less valuable than gold. And logic tells us: the objection to the “bronze” rebounds on silver as well. The conclusion is simple: it is necessary either to completely get rid of the scale of descending assessments and abolish the names of all eras, or, preserving it, give the Bronze Age general rights. But that doesn't happen. What is possible for "silver", that is impossible for "bronze". The "silver reserve" of Russian literature should supposedly be considered inexhaustible.

However, the Bronze Age does not have to be considered less "valuable" than its historical forerunner. Rather the opposite. Silver is a cold metal. Bronze is warm. It's like she keeps a piece of gold in herself. He strives in his own way to depict the fullness and warmth of being characteristic of the "golden" period. That is, it inherits the classical values of the Golden Age, albeit through a generation. Silver has a different task: perfection, symmetry, polished language. The game of forms and meanings from which the word "Eternity" must be composed. But not more.

People with systems thinking showed interest in Lehn's concept, but the high-profile humanities did not like it at all. If only because they already had their own generalizing schemes and no one wanted to share the honorary role of the creators of definitions. Lenovsky's approach was clearly dissonant with what had already been accepted and elevated to the canon.

According to this canon, the history of Russian poetry, and culture as a whole, was viewed as if through the prism of the Silver Age. And this century was prescribed to last and never end - to continue forever, even in the form of conscious and unconscious imitation, which, in general, was based on some objective facts of literary reality. After all, no one will undertake to deny the traces of the strong influence of Tsvetaeva in the poems of Bella Akhmadulina or the following of Mayakovsky by Andrei Voznesensky. Another thing is that this “fading silver” line in literature was, to put it mildly, not the only one. But the curators of the cultural process simply did not need any other. The museum's attitude to culture won. The Silver Age was to last as long as the world stands.

And the rest must wait for this protracted decadent age to end.

Party organization and party literature

It is probably superfluous to say that the leaders of the new generation of leaders in the humanities exactly reproduced the Soviet model of attitude towards culture, oriented towards the elimination of everything ideologically alien. Everything "seasoned" and fit for consumption is taken into account, the rest is ignored. The new people in the humanitarian sphere actively competed for influence with the former Soviet institutions, but continued to think and act within the old paradigm. It's just that this paradigm was appropriated by them or, if you like, privatized, in a word - turned over and remade for themselves.

In connection with this censorship-ideological shifter, it is necessary to say a few words about the so-called "Soviet literature". In fact, in my deep conviction, such literature did not exist. There was and is Russian literature of the Soviet period. “Soviet literature” is a myth that was initially beneficial to the Soviet government, and then to its opponents. He helped to separate the comfortable from the uncomfortable, the lambs from the goats.

The concept of “poet of the Silver Age” eventually began to play exactly the same role: from a term it turned into a sign of quality. More specifically, goodness. It has become synonymous with "poet of the first grade." At the same time, Tvardovsky, Samoilov, Slutsky or Bagritsky were considered lower class poets. It was even more difficult with the underground poets who formed in the Soviet era. With this approach, it is obvious that the Bronze Age was not needed and uninteresting for literary leaders both in the Soviet and post-Soviet periods.

In the Soviet era, this was approved by the administrative order. In the 1990s, it was different - by means of media influence, since the principle has already come into force: if you are not in the information field, you are not at all. One way or another, the allergy to “non-systemic” cultural phenomena remained a form of ideology in the “new” Russia as well.

At first, I thought that “responsible” people just really didn’t want to mess with a new pile of literary facts. Later I realized that the reasons are much deeper. The instinctive rejection of any talk about the Bronze Age is not a manifestation of academic obscurantism. The fact is that this formulation of the question breaks the ready-made scenario of cultural studies. Within this scenario, the Silver Age is something like "axial time" or "reference point". The Matrix of the Silver Age - no offense to its admirers will be said - has become a new ideological standard for the enlightened public.

This matrix was imposed with the help of an elementary substitution. The Silver Age - certainly the most interesting and rich in artistic discoveries period of Russian culture - was used in a completely uncharacteristic function - as an ideological frame. To do this, it was necessary to move its upper limit forward as far as possible along the historical scale, implicitly inscribing in this segment something that simply could not relate to it, a different cultural reality.

Protests were not accepted. They rejected with the help of emotional argumentation: “Well, how can you! The beginning of the century is our everything. And in a few years, imagine: the Bolshevik turmoil, collapse, the dark ages of barbarism. The tragic collision "the flowering of the Silver Age against the Bolshevik barbarism" spread from the beginning of the century to our time.

In other words, the model of divided historical time, the model of "breaking tradition" was used for the second time. At first, she was in demand by the Soviet officialdom. Then, already from the opposite end - the liberal "anti-Soviet" officialdom, which came out of the same Soviet overcoat.

delayed era. New frosts

Few people were lucky enough to understand what was happening to the end at that time. Only now it becomes clear that the adherents of "historical decadence" froze the movement of culture.

In Russia, there is an exotic historiosophical tradition that describes the line of national development as a succession of "frosts" and "thaws". From these positions, if desired, you can explain anything. Thus, the Silver Age took place in a situation of relative “freezes” (1905–1916). But the period of the late 1990s against the background of the “thaw” of the 1980s meant “freezes”, including for the culture itself, which was simply completely marginalized. And the shock therapy with the destruction of the industry, the shooting from tanks in 1993, the infamous “letter of the 42s”, which in terms of concentration of hatred was not inferior to the collective appeals of the Stalin era - all this allows us to talk not about a thaw, but about new large-scale frosts that not finished even now.

The illusion of a thaw turned into an ice age. But if those old-time frosts did not seem to interfere with culture, and a fig in your pocket even developed the ability to metaphorize, then the current cold has led to the freezing of aesthetic shoots to the very roots. There was a freeze of those growth points that were supposed to sprout in the "nineties" - "zero". But they didn't. This is our delayed Bronze Age.

After all, how did they argue at the end of perestroika? Right now, the noose of Marxism-Leninism will be pulled off science - and it will flourish. Humanitarians will freely educate the nation, pursue a high cultural policy... The noose was removed, but the morning did not come. Rather, on the contrary. If in the USSR humanitarians were controlled ideologically, in the 1990s they were simply thrown out of the borders of the “brave new world”, making them superfluous people. The musicians of the metropolitan orchestras had to become bombers and shuttles ... The names of Lotman, Likhachev and others faded in the minds of an intelligent man in the street. Because when the national culture was put under the knife, they did not stand up for it. So in Russia what happened in the West is usually called the betrayal of intellectuals.

The same is true in poetry. In the 1990s, its development stopped, as if it had been artificially delayed. After Krivulin, Okhapkin, Brodsky... The Bronze Age did not give rise to figures comparable in scale. It lasted but rarely bore fruit. This happened, apparently, due to the “freeze” of the 1990s, due to which the development of the Bronze Age was artificially delayed, and the prestige of high culture in society as a whole was artificially underestimated.

And this situation continues to this day.

It is easy to explain the vers libre fashion that spread in the 1990s and 2000s. Only by working on free verse could one come to the attention of Western Slavists. And these were not the free verses that were composed during the time of it by the French symbolists. Here the main task is to replace poetic speech with fragments of everyday, profane speech. At the same time, expanding as much as possible, which means canceling the boundaries of the aesthetic. Thus, under absolute monarchies in the 16th century, the boundaries of the historical were lost. Everything was “recorded” in history: what foot the monarch got up with, what color shoes he put on and what he ate for lunch. "This is history worthy!" exclaimed the court chroniclers. Everything was worthy of history. But everything means nothing. So the history of the state turned into something like the Marlezon ballet on the theme of royal thrush hunting ...

Or take the youth subculture of the 1990s. This is also decadence, only very mundane. The youth subculture was consumerist, tied to the club industry with a dance-drug repertoire. And next to them are visiting Western stars, who were released in circulation at home, but play with pleasure for “these Russians”. Everything seems to move - and everything stands still.

Victim. Return to history

That the Bronze Age is not only a literary, but also a socio-historical concept, it became clear to me a little later.

A dramatic story connected with Victory Park in St. Petersburg played its role here. In Victory Park, the townspeople wanted to build a temple on the site where the Blockade crematorium stood. For 15 years they were hindered by the city authorities. This combination, this grandiose resonance - the memory of the victims and martyrs of the war and the memory of the sacrifice of the New Testament - for the first time illuminated for me the whole essence of the Bronze Age as a new era. It was a return to the moral depths of the Russian tradition, where every sacrifice is a reminder of His sacrifice. Thus, the historical gap between the Soviet and pre-revolutionary traditions grew, different parts of the people's body gathered together. It was a return to deeper meanings. “So this is what the Bronze Age is,” I thought then.

I will not go into detail about how the townspeople put a cross on the site of the future temple, how this cross was burned and uprooted by shawarma merchants - the new masters of life, with whom the newest fans of Russian decadence got along well at that time. But the temple was built. Have achieved. For me, this is one of the most important milestones of our Bronze Age. This connection is especially relevant now, when fascism has been rehabilitated and legalized at the international level.

And then I again felt the joy of Victory over fascism as an echo of another Victory - the Son of Man over death. This synthesis is a pass for our return to History. The return begins with a moral consensus in society, and the most important subject of consensus is one's own history.

View from Tarusa

Subsequently, I saw how difficult this consensus is - on the example of the life of small Russian cities, first of all - my native Tarusa. And here, too, I have observed and continue to observe signs of a delayed epoch, which should have come long ago, but is not yet coming. Paustovsky also raised the topic of saving small towns. And Rasputin's "Farewell to Matyora" seemed to set off this theme.

My favorite tiny Tarusa. Model of Greater Russia. Polenov, Borisov-Musatov, Vatagin, Tsvetaev, Paustovsky, Zabolotsky, Richter lived and left their mark here ... I saw a man crying near the monument to General Efremov, putting his hand on the bronze inscription "To the soldier who did not betray the Motherland." And how many more sons Tarusa gave to the Great Patriotic War, Afghanistan, Chernobyl ...

The concept of Tarusa's development was changing, reflecting the seething of all of Russia like in a drop of water. At the break of 1991, the idea was circulating to make the dissident theme of the 101st kilometer the main trend. The poetess Tatyana Melnikova called Tarusa a “dissident capital,” and indeed, “political” people lived here in dozens, if not hundreds, in different years: status Alexander Ginzburg, Larisa Bogoraz and less well-known, such as my favorite, a woman of a desperate character Valentina Efimovna Mashkova. Solzhenitsyn and Amalrik, Marchenko and Osipov, Kovalev and Balakhonov, Gorbanevskaya and Krakhmalnikova roamed the streets of Tarusa... And here it should be said that Soviet dissidence, no matter how harsh it may sound, is also bohemia, closely connected with cultural bohemia. On the one hand, Sakharov and Sinyavsky. On the other hand, Averintsev and Glazunov. Their own code, their own dissident ethics, "dynastic" dissident marriages. But this is a topic for a separate discussion.

The museum-dissident concept did not take root. It was supplanted by the theme of "Russian Barbizon". And cultural construction, as expected, went under the veil of the Silver Age. So it was in Greater Russia, so it was in our small town on the banks of the majestic Oka, carrying its waters in Time from the Golden Age to the Silver and further to the Bronze.

Zabolotsky. Keys to the Bronze Age

Nikolai Zabolotsky is perhaps the most mysterious celebrity of the Soviet period of Russian literature. The author of the famous "Columns", at first an oberiut, then a traditionalist, Zabolotsky spent the last two years of his life in Tarusa. Only today we are beginning to realize that this is not just a wonderful Russian poet, but also the discoverer of an entire era. It was he who became the connecting link of pre-war and post-war lyrics and the founder of the poetic explosion of the 1960s-1970s, opening the gates to the Bronze Age for us. He himself was melted down - to use the "metal" metaphor - during the camp period. His poetry is completely different. And this speaks of his great talent.

Here he is, as befits a "bronze" poet, throwing a bridge to the Golden Age. In this case, in the poem "The Lonely Oak" - to the famous Pushkin's "Anchar".

Bad Ground: Too Knotty

And this oak, and there is no splendor

in its branches. Some rags

They stick out on it and rustle deafly.

But tightly twisted joints

He developed so much that it seems to hit -

And he will sing the bell of glory,

And amber will drip from the trunk.

Look at him: he is important and calm

Among their lifeless plains.

Who says that in the field he is not a warrior?

He is a warrior in the field, even alone.

That's right. The religious impulse, the desire for a witness to the world is transmitted from the Golden to the Bronze Age. Through a generation. Over Silver - cold and indifferent. And Zabolotsky even seems to be arguing with Pushkin: instead of the tree of death, he draws the tree of life.

In the end, Zabolotsky comes to sub-religiousness in his work. In his poems, the subjection of the world to a higher law becomes tangible. At the same time, he does not break away from the folk soil that gave birth to him. Here he writes poems about the "Pigeon Book", recalling the story of "truth and falsehood." That is, about justice. After all, justice is the basis, the moral center of the Russian tradition.

And I hear a familiar saying

How the truth called falsehood to battle,

How falsehood overcame, and the peasants

Since then, they live offended by fate.

Only far away on the ocean-sea,

On a white stone, in the middle of the waters,

Shining book in golden dress,

Beams resting on the sky.

But seven seals are hung on it,

And seven animals guard that book,

And she was ordered to be silent until then,

Until the seals fall into the abyss.

The poet peers into the souls of people, appearing on their faces (“On the beauty of human faces”):

There are faces like magnificent portals

Where everywhere the great is seen in the small.

There are faces - the likeness of miserable shacks,

Where the liver is cooked and the abomasum gets wet.

Other cold, dead faces

Closed with bars, like a dungeon.

Others are like towers in which

Nobody lives and looks out the window.

But I once knew a small hut,

She was unsightly, not rich,

But from her window on me

The breath of a spring day flowed.

Truly the world is both great and wonderful!

There are faces - the likeness of jubilant songs.

From these, like the sun, shining notes

Compiled a song of heavenly heights.

Nikolai Zabolotsky comes after the Silver Age, but comes before Okhapkin and his contemporaries. It was he who got the keys to the Bronze Age. He became the ancestor of a new sincerity and a new depth. This is a liturgical feeling, as it were, "stirred" in the world. Experiencing it, the poet involuntarily becomes a missionary. He has something to say seriously - not to the public that sits in the hall, but on top of their heads. This is an imperceptible prophecy.

Zabolotsky felt it. And at the same time, I felt all the shades of the Russian mentality, emasculated in the Soviet era. This was one of the reasons why the poet was innocently convicted.

It is not clear why Zabolotsky's poems have not yet been elevated to the proper rank. After all, other literary “victims of the regime” received their “respect” in the 1990s. The discoverer of the Bronze Age is inconvenient for those who believe that the 20th century must correspond to the image of an imposing, decadent, chilly Russia. Although the "rehearsal" of the Bronze Age is noticeable among some centenarians of the Silver Age. In particular, in Boris Pasternak we find a special warmth of involvement. And vice versa: we see coldness, emasculation of religious images in the brilliant Tsvetaeva with her self-centered lyrical heroine. But the bearers of the split consciousness that was formed in the 1990s stubbornly orient themselves to the cultural situation of the early 20th century, to everything that grew out of the mycelium of artistic cabarets and “gatherings”.

Why do we talk about the Silver Age much more than about the Golden Age? The humanitarian elite pretends that both Akhmatova and Pasternak are prolonging this century, and they are even trying to fasten the obviously “bronze” Joseph Brodsky into the same place. There can be no "after" - only echoes.

This is how the eternal and unshakable cultural agenda is formulated. This is how culture-chauvinism is formed, from the point of view of which only that which preserves continuity from the era of poetic salons or imitates the great ones is valuable.

The establishment strategy is aimed at blocking cultural phenomena that by their nature are not integrated into the authoritarian-simulative model of an "optimized" culture. This model resorts to endless mythologization, uses informational suggestion and linguistic aggression as tools, and replaces full-fledged communication with PR. So the creative class, seeking to maintain hegemony, clings to the crumbling idols of corporate society.

People with this social profile inevitably reproduce a lukewarm "tolerant" model of society, devoid of genuine aesthetic demands.

Axiomodern

The Silver Age is not only poetry. Crystalline silver, fragility, coldness and soullessness ended in a revolution. And from the end of the 20th century, a revival, a renaissance, began. The Bronze Age began - a return and revival.

But for us, the witnesses of the "millennium", the Bronze Age is very late. It began in the work of Zabolotsky, Samoilov and other poets of the post-war period, the "St. Petersburg school", Oleg Okhapkin, Joseph Brodsky. But he did not have time to fully come into his own, did not become the foundation of Russian culture in the late 1980s and early 1990s. It was suspended by new political "frosts" and cultural marginalization, the collapse of public space, the betrayal and self-dissolution of the intelligentsia, and the decline in the prestige of the humanitarian professions.

Attentive observers speak of the archaization of culture, of the "new savagery". But what is the Bronze Age if not an opportunity to jump out of this infernal funnel?

“The Bronze Age of our poetry will acquire terminological meaningfulness if we see that modern poets, faced with the cruel fact of desacralization of artistic speech, begin to remember their ancient priestly task and take up poetry not as an aristocratic divertissement of the Golden Age or melodramatic eccentricity of the Silver Age - but as a sacrificial spiritual the practice of the Bronze Age, which gave birth, among others, to Orpheus and Orion,” wrote Andrey Novikov-Lanskoy several years ago in the article “Apology of Bronze”.

It's like that. Although much more preferable, this wish would look like being recoded within the framework of the biblical symbolic series.

Today, the social order based on rigid elitism is breaking down. Therefore, we have reason to hope for a "defrosting" of cultural processes that were previously subjected to total commercialization, economic, and what's there - and political censorship.

It is noteworthy that it is my Tarusa, who, by erecting a monument to the Bronze Age “keykeeper” Nikolai Zabolotsky, confirms that we are entering the era axiomodern. This is the state of society, which combines a sense of "modernity", "new time" (known from the period of modernity), universalism, the unity of the picture of the world and traditional moral values.

Society faces the need to dismantle the entire postmodern culture. What will replace?

The new model of culture is called differently: post-information society, post-conceptualism, post-secularism, new traditionalism. We call her axiomodern.

One way or another, a new marking of the cultural space and new rules of the game await us. The new paradigm differs from the old one by the priority of integrity, life by the same rules. And that presupposes a new social contract. From the bookish concept of the Enlightenment philosophers, it can turn into reality. But his goal will be egalitarian cultural and social models.

"Sometimes I think thateven if from Russian culturepick up Pushkin A.S., Lermontov M.Yu., Chernyshevsky N.G.,Belinsky V.G., Dobrolyubova N.A., Pisareva.D.I., Tolstoy L.N., Kuprina A.I., Bunina I.A., Nekrasova N.A. and many others, and leave only K.F. Ryleev, P.I. Pestel, M.P. Bestuzhev-Ryumin, S.I. Muravyov-Apostol, P.G. Kakhovsky, or even P.I. and his "Russian Truth", then this will be enough for us for centuries, so as not to lose the continuity of the highest morality, self-sacrifice, justice,mercyand kindness" "The Bronze Age of Russian Literature" Legislation is also literature, and if we are now creating it without thinking about how descendants will read and understand it, then we ourselves are quite able and able to read past legislation, historical and boldly recognize it as a special type of literature, reflecting reality in a concise thesis, specific form. If we follow the logic that the 19th century was the Golden Age of Russian literature, then the 20th century, which is recognized, no longer reached it and can safely be called the Silver Age, and the present, 21st century, the "Bronze Age" of Russian literature. Everything can be vulgarized. It is enough just to retell a brilliant work, or reshoot a film based on the same plot, or write in the credits "based on", or emasculate the main thing, focusing the reader's or caretaker's attention on minor details, against the background and background of the main one. That's it, the work is over - it will no longer have the moral component that was put into it by the author. It would seem that bribes are smooth: what to take from us, such foolish mockers, since we are not Lermontov and not Saltykov-shchedrins. They also need to laugh humanely, wisely, and not vulgarize. There are different kinds of laughter, good and evil, sympathetic and empty. The charge of genius of the 19th century is inexhaustible, you just need to know how to use it. Let's try to do this a little with Pestel and his Russkaya Pravda. Pavel Ivanovich was born in 1793, in the family of a senator, a Siberian governor-general, a privy councilor, a participant in the Battle of Borodino, an active member of the Decembrist organizations, hanged along with four other participants in the uprising. Russian Pravda begins amazingly: "Russian Pravda is, therefore, the supreme All-Russian charter, which determines all changes that have to follow in the state, all objects and articles that are subject to destruction and overthrow, and, finally, the fundamental rules and initial foundations that should serve as an invariable guide in the construction new state order and the drafting of a new State Code "From a legal point of view, this is the provisional Constitution of the Russian state, from a political point of view, it is a manifesto for a just order of life in the Russian state. Further, the following is explained to the people: "And so the Russian Truth is an order or instruction to the temporary supreme government for its actions, and at the same time announcement to the people from which he will be freed and what he can expect again . It contains duties that are assigned to the temporary supreme government, and serves as a guarantee for Russia that the temporary supreme government will act solely for the good of the fatherland. The lack of such a letter plunged many states into the most terrible disasters and civil strife, because in them the government could always act according to its own arbitrariness, according to personal passions and private views, not having before him a clear and complete instruction by which he was obliged to be guided, and that meanwhile, the people never knew what they were doing for them, they never saw in a clear way what goal the actions of the government were striving for, and, agitated by various fears, and then by various passions, he often took restless actions and, finally, produced internecine strife. Russian Truth averts all this evil with its existence. and leads the state reorganization into a positive move and action by the fact that it determines everything and issues fundamental rules for all subjects. "We can say that in addition to the subject of Russian truth, its main principles are already beginning to appear here. These include: openness, freedom, government control to the people, the planned development of the Russian state, the rejection of all evil by legal means - the issuance of legal acts, laws... Reading Pestel's Russian Truth, I thought all the time what distinguishes it so much from the current Constitution of the Russian Federation, until I finally realized that it is in itself explains a lot, it explains the text of the law and its commentary, and its interpretation at the same time.That's what Russian law lacks, that's what you can't do without.The whole point is that the science of legal theory clearly divides both legal norms by type, and principles and methods , and the subject of legal regulation and the structure of the act, its type, but all this is not necessary if ... the act contains all this. writing legislation, nothing but the best. For example, in many acts, charters of Peter the Great, there are subparagraphs called briefly "Tolk". First, the text of the law is submitted, and then it is commented on by the same legislator. Pestel went even further. In his Russkaya Pravda is not just a comment, but a fairly detailed explanation of why and how this or that provision is needed by society. It's just fine - so to consider a legislative act as an act, first of all, a moral, and then a legal one. I understand that they will say that Russian Truth is more like a declaration of intent. But if these intentions are consistently put into practice by adopting laws, as it has been done now and for a long time, then I do not see anything bad or unfounded in such an act. We must never forget that laws are written for everyone, not for lawyers, and it should be clear to any person why such a rule, where it came from, what is its purpose, so that he voluntarily fulfills it. The "constitution" of the United States is called a "declaration" and nothing. They correct it, that's all, but they don't explain it either. All we have is the preamble of the current Constitution of the Russian Federation, but there is a set of fragmentary and very good assumptions and aspirations that it is desirable to achieve, but as soon as we open the text of the constitution itself, then there is a dry list of legal provisions on rights, statuses, duties, guarantees and more. For a jurist, this is manna from heaven, because he is in demand as an interpreter and not only of the constitution, but of the entire complex of laws and by-laws. Specialization is good, but not to the point of professional deformation. It is necessary to specialize in working with the entire array of laws and judicial and other practices, but it is also necessary to "write" legislation in such a way that it can be read and, most importantly, understood by everyone. If a citizen, a person does not understand the meaning of the legal norm by which he will have to live, then why such a norm. If a person does not understand what the law wants from him, and his legislator stands behind the law, then the person does not understand what the legislator wants from him. The Civil Code of the Russian Federation does not even contain the goals and objectives of the legal regulation of civil relations; it turns out that property relations, or rather the regulation of property relations (this is civil with a few exceptions), is carried out by the legislator for the sake of regulation itself. The question is, why regulate, for the sake of the legal order, but then why the legal order and the circle closed, and the rule of law became the cornerstone - it is for its own sake, it is easier to live, orderliness is the key to well-being. And all this despite the fact that few people understand the law. What can we say about a simple law enforcer, not burdened with legal knowledge, if lawyers are often unable to understand either the "letter" or the "spirit" of the law. Pestel understood, Peter the Great understood, and therefore, in one of the “military articles”, he forbade servicemen who were on leave in St. Petersburg to “sing in fucking voices” (so in the law, but the law is in an anthology on the history of Russian law), but did not forbid drinking alcohol. It is immediately clear to us what the legislator had in mind when he introduced such an epithet, to put it mildly. There should be more epithets and expressions in the law about what the legislator wants from the people and whether the people agree with what this "lawmaker" wants from him then it will be the most accurate measure of law-abiding behavior. Then it will be possible to refer to any article, which in miniature will contain the whole complex of definitions of the theory of law, from principles to applied rules. In other words, the law should be made understandable with the help of the Russian language, taking as a model the examples available in Russian history. It’s nice to imagine how the plaintiff, not satisfied with the text of the rule of law, will cite an interpretation of the law from the same article, refer to the fact that this interpretation (and this is the same law) says why such regulation, what should be as a result of the application of the rule about, for example, the application of "acquisitive prescription" or "escheat" or "eviction of a former member of the owner's family". Perhaps I am a naive dreamer, but I would like that, together with me, a professional jurist, the plaintiff read the law in the same way and just as I would understand it, guided neither by the custom of business transactions nor by the analogy of law or law - they are undoubtedly needed, as methods, but not only them, understandable only to a specialist, and then not to everyone - but the content of a highly moral act, in which all morality has become the letter and spirit of the law. "Property relations must be regulated so that people can use property as fully as possible for self-improvement, to free up the time necessary for creativity, and not just to make a profit from property." Here are such similar rules, let them finally become a measure of development, the goal of progress, the goal of freeing a person from bonded labor, in the interests of self-disclosure - how many people have left and are leaving without revealing their abilities, their talents, because we are still deeply convinced that there is no untalented people, but there are stupid social relations, including those that are mediocrely regulated, by a good means, in general, by a legal law that grows out of a moral law. It is unfortunate that after the "Bronze Age" the tin age will inevitably begin, then just iron, stone and wood, if you do not change morality, which may well be regulated by legal law and is also amenable to adjustment, like everything else in society. On the contrary, it is even easier to write laws of highly moral content, because in this case the pen seems to run along the lines by itself, not like when an immoral act is born under the guise of a moral act. Here is literature - whether it is literature in general or legal literature - all its types require a serious thoughtful attitude. Society suffers no less from a mediocre and immoral, empty little book for children than from the same legal code. Shakhverdov A.V.

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