The best poets of the late 20th century. Poetry of the Silver Age: poets, poems, main directions and features

Thankful beams of clean lines,

Guided by a silent beam

Will get together, get together someday

Like guests with an open brow.

O. Mandelstam.

Russian poetry of the first third of the twentieth century, figuratively called the "Silver Age", is inextricably linked today in our minds with the names of M. Tsvetaeva, A. Akhmatova, N. Gumilyov, O. Mandelstam, B. Pasternak, I. Severyanin. The disgrace to their poems dragged on for at least a third of a century. Their current return to us through the tragedy and pathos of what they experienced is both the restoration of historical truth and the revival of a whole huge layer of Russian poetry. Each new generation of readers discovers in it an inexhaustible pure spring of subtle, bright, penetrating lyrics, civic, courageous, prophetic poetry, makes you suffer and rejoice again and again with the author.

It can be said without exaggeration that none of all Russian poets of our century had such an inextricable connection with readers as A. Akhmatova. She became one of the recognized classics of Russian literature as the author of a unique love lyric that tells about the mystery and tragedy of human relationships. In addition to romantic trends, poetry about Russia, imbued with the author's concern for the fate of her country, occupies a significant place in Akhmatova's work:

He said, "Come here

Leave your land deaf and sinful.

Leave Russia forever

I will wash the blood from your hands,

I will take out black shame from my heart,

I will cover with a new name

The pain of defeat and resentment.

But indifferent and calm

I covered my ears with my hands

So that this speech is unworthy

The mournful spirit was not defiled.

Love for the native land, for the Fatherland, for her Russia entered the work of Akhmatova from the very first poems. Despite all the hardships, the poetess does not lose devotion to her people:

No, and not under an alien sky

And not under the protection of proud wings, -

I was then with my people

Where my people, unfortunately, were.

We see that the people's pain is their pain, the war, Stalin's repressions are their sadness, their misfortune. Many of Akhmatov's poems reflect not "brave" and feigned patriotism, but a sincere feeling about the present and future of the country:

So pray for your lethargy

After so many agonizing days

To clouds over dark Russia

Became a cloud in the glory of rays.

The troubles of post-revolutionary Russia did not bypass A. Akhmatova either. She, like many talented writers, was not published, accusing her of the anti-social orientation of her poetry. Her son and husband, Lev and Nikolai Gumilev, fall under the millstones of Stalinist repressions. This cruel, tragic time sounds in her autobiographical cycle of poems "Requiem". How much pain, how much grief and hopeless sadness in the lines that shudder the soul:

We take you at dawn

Behind you, as if on a takeaway, I walked,

Children were crying in the dark room,

At the goddess, the candle paid off.

Icons on your lips are cold,

Death sweat on the brow... Don't forget!

I will be like archery wives,

Howl under the Kremlin towers.

During her rather long life, the poetess experienced grief, suffering, mental anguish of loneliness and despair, but she never lost hope:

And the stone word fell

On my still living chest

Nothing, I'm ready

I'll deal with it somehow.

In the verses of every true poet there is something inherent in one. Her love lyrics are deeply intimate, edgy, multifaceted and easily recognizable. The theme of unhappy love occupies a special place in it. The romantic heroine of the poems of the early period is rejected, but she experiences it proudly, with self-esteem, without humiliating herself.

In a fluffy muff, my hands were cold.

I was scared, I was somehow vague,

Oh how to get you back, fast weeks

His love is airy and minute.

Anna Andreevna draws real life situations, embellishing nothing and minimizing nothing:

I have one smile.

So the movement is slightly visible lips.

For you I save it -

After all, she was given to me by love.

It doesn't matter that you are arrogant and evil

It doesn't matter if you love others.

In front of me is a golden lectern,

And with me is a gray-eyed groom.

Not only the suffering of unrequited love expresses the lyrics of Akhmatova. Another sadness can be traced in her poetry - dissatisfaction with oneself. Unhappy love that deeply wounds the soul, sorrows that cause mortal torment, soarings of the soul without the ability to descend, endless ups and downs, ending in helpless falls - all this tires and dissuades a person. From such experience, for example, such lines are born:

You are my letter, dear. Don't crumple

Until the end of it, his friend read.

I'm tired of being a stranger

To be a stranger on your way...

... Not a shepherdess, not a princess

And I'm no longer a nun -

In this gray everyday dress

On worn heels

The unique and ingenious creative legacy of Akhmatova, her whole life “as if under the wing of death” is worthy of eternal recognition and surprise.

Another bright and illumined poet of this period is Osip Mandelstam. The pride of Russian and world poetry is a man of especially tragic fate. The Russian poet Kuchelbecker, a contemporary of Pushkin, once wrote the following lines: "The hard fate of the poets of the whole earth, but worse than all - the singers of my Russia." The life of Mandelstam is another proof of this. In the thirties, about his time, he writes:

A century-wolfhound throws itself on my shoulders

But I am not a wolf by my blood ...

And in word and deed throughout his short life, he rejects violence and lies. This eternal homeless, almost impoverished man, unnoticed, persecuted by the authorities, a poet, later on a “convict”, who disappeared on some Gulag island, left us in his poems the subtlest spiritual breaths and the most formidable, themselves violent historical whirlwinds. How much lyricism, transparency, depth and light in your favorite lines:

On pale blue enamel

What is conceivable in April

Birch branches raised

And imperceptibly evening.

They sink into the soul with explosions of terrible revelations, the roll calls of the innocently killed, and now his “Poems about the Unknown Soldier” are heard throughout all ruined wars and revolutions:

The aorta bleed

And whispers through the rows:

I was born in ninety-four

I was born in ninety-two.

And in a fist clutching a frayed

Year of birth with a crowd and a herd

I whisper with a bloodless mouth:

I was born on the night from the second to the third

January ninety-one

Unreliable year, and centuries

Surround me with fire.

The poet seemed to know, foresee his tragic fate, foreseeing that even the exact date of his death, as the place of burial, would remain unknown.

O. Mandelstam in those distant thirties, when everyone around glorified the "wise leader", he, risking his head, said the cruel truth: "What is not a punishment for him, then raspberries ...". The poet did not protect his head. Somewhere on the edge of the Russian land, a "convict" is buried - Mandelstam, a great man who has not come to terms with the cruel age.

But the word of the poet is stronger than time, it returned to the reader, sounded, became the conscience and truth of the era.

And how many of them are so unnecessary, loving, understanding their country and people shared the fate of O. Mandelstam?

So always, "a poet in Russia is more than a poet." After all, a real poet is always pain, voice, conscience and soul of his people. And the wonderful galaxy of poets of the "Silver Age" is a brilliant proof of this.

Introduction. Russian literature of the 20th century has an extremely complex, even tragic, history. This is due to the fundamental changes in the life of the country that began at the turn of the century. Russia has experienced three revolutions: 1905, February and October 1917; Russian-Japanese war World War I; Civil War The internal political situation in our country at that time was extremely difficult.

The turn of the century was marked by significant scientific discoveries. They overturned ideas about the knowability of the world. This led to the search for an explanation of new phenomena through religion, mysticism. Philosopher Nikolai Berdyaev described this time as follows: “It was the era of awakening in Russia of independent philosophical thought, the flowering of poetry and the sharpening of aesthetic sensitivity, religious anxiety and quest, interest in mysticism and the occult. New souls appeared, new sources of creative life were discovered…”. So, one dominant worldview has been replaced by a diversity of opinions and ideas in all areas of life.

Lev Nikolaevich Tolstoy L. N. Tolstoy. Portrait by I. E. Repin.

Anton Pavlovich Chekhov The main themes of creativity are the ideological searches of the intelligentsia, dissatisfaction with the philistine existence of some, spiritual "humility" before the vulgarity of the lives of others ("A boring story", 1889; "Duel", 1891; "House with a mezzanine", 1896; "Ionych", 1898 ; "Lady with a dog", 1899).

Ivan Alekseevich Bunin BUNIN Ivan Alekseevich (), Russian writer, honorary academician of the St. Petersburg Academy of Sciences (1909). In 1920 he emigrated.

Alexander Blok (symbolist) Alexander Blok. Portrait of the work of I. K. Parkhomenko year.

Andrei Bely (symbolism) WHITE Andrei (pseudo Boris Nikolaevich Bugaev) (), Russian writer. One of the leading figures of symbolism. Early poetry is characterized by mystical motifs, a grotesque perception of reality ("symphonies"), formal experimentation (collection "Gold in Azure", 1904). In the collection "Ashes" (1909) the tragedy of rural Russia. In the novel "Petersburg" (revised edition in 1922) a symbolic and satirical image of Russian statehood.

Nikolai Gumilyov and Anna Akhmatova (Acmeists) Anna Akhmatova and Nikolai Gumilyov with their little son, the future famous historian L. N. Gumilyov

Khlebnikov Velimir (futurist) KHLEBNIKOV Velimir (real name Viktor Vladimirovich) (), Russian poet, one of the key figures of the avant-garde.

Vladimir Mayakovsky MAYAKOVSKY Vladimir Vladimirovich, Russian poet, one of the brightest representatives of avant-garde art of the 1990s.

Marina Tsvetaeva TsVETAEVA Marina Ivanovna (), Russian poetess. Daughter of I. V. Tsvetaeva. Romantic maximalism, motifs of loneliness, the tragic doom of love, rejection of everyday life (collections "Versta", 1921, "Craft", 1923, "After Russia", 1928; satirical poem "The Pied Piper", 1925, "Poem of the End", both 1926) .

Sergey Yesenin (Imagist) Yesenin Sergey Alexandrovich (), Russian poet. From the first collections ("Radunitsa", 1916; "Rural Book of Hours", 1918) he appeared as a subtle lyricist, a master of a deeply psychologized landscape, a singer of peasant Russia, an expert in the folk language and folk soul. He was a member of a group of imagists

Alexei Remizov REMIZOV Alexei Mikhailovich (), Russian writer. The search for an archaic style focused on literature and the oral word of pre-Petrine Russia. The book of legends, apocrypha (“Limonar, that is: Spiritual Meadow”, 1907), the novels “The Pond” (1908), “The Word of the Destruction of the Russian Land” (1918). In 1921 he emigrated.

Mark Aldanov ALDANOV Mark Aleksandrovich (real name Landau), Russian writer; novelist and essayist; one of the most widely read (and translated into foreign languages) writers of the first Russian emigration, who gained fame thanks to his historical novels covering the events of two centuries of Russian and European history (from the middle of the 18th century).

Maxim Gorky GORKY Maxim (real name and surname Alexei Maksimovich Peshkov) (), Russian writer, publicist.

Mikhail Sholokhov SHOLOKHOV Mikhail Alexandrovich (), Russian writer, Academician of the Academy of Sciences of the USSR (1939), twice Hero of the Socialist, Labor (1967, 1980).

Nikolai Ostrovsky OSTROVSKII Nikolai Alekseevich (), Russian writer. Member of the Civil War; was badly wounded. Blind, bedridden, Ostrovsky created the novel How the Steel Was Tempered (; some chapters were not censored) about the formation of Soviet power and the heroic life of the Komsomol member Pavel Korchagin (an image that largely determined the type of positive hero of socialist realism literature). The novel "Born by the Storm" (1936, not completed).

Alexander Tvardovsky TVARDOVSKY Alexander Trifonovich (), Russian poet, editor-in-chief of the Novy Mir magazine (,). The poem "Vasily Terkin" () is a vivid embodiment of the Russian character and popular feelings of the era of the Great Patriotic War

Konstantin Simonov SIMONOV Konstantin (Kirill) Mikhailovich (), Russian writer, public figure, Hero of Socialist Labor (1974).

Evgeny Schwartz Evgeny Lvovich (), Russian playwright. Saturated with acutely topical social and political content, caustic irony, fairy tale plays based on the works of H. K. Andersen "The Naked King" (1934), "Shadow" (1940); satirical plays Dragon (1944), Ordinary Miracle (1956); plays for children, stories, scripts.

Vasily Shukshin Vasily Makarovich Shukshin (October 1974), Russian writer, film director, actor. Honored Art Worker of Russia (1969). In stories (collection "Villagers", 1963, "There, in the distance", 1968, "Characters", 1973), the novel "Lubavins" (parts 1-2,) and films ("Such a guy lives", 1964, " Stoves and benches”, 1972, “Kalina Krasnaya”, 1974

Russian literature of the 20th century has a tragic history. At the age of 20, writers (Bunin, Kuprin, Shmelev) left Russia and were expelled. The destructive effect of censorship: the public persecution of artists of the word (Bulgakov, Pilnyak) Since the beginning of the 1930s, the tendency to bring literature to a single artistic method - socialist realism - has become more and more pronounced. In the 1930s, the process of physical extermination of writers began: N. Klyuev, O. Mandelstam, I. Babel, I. Kataev, B. Pilnyak were shot and died in the camps. Prezentacii.com

Thankful beams of clean lines,

Guided by a silent beam

Will get together, get together someday

Like guests with an open brow.

O. Mandelstam.

He said, "Come here

Leave your land deaf and sinful.

Leave Russia forever

I will wash the blood from your hands,

I will take out black shame from my heart,

I will cover with a new name

The pain of defeat and resentment.

But indifferent and calm

I covered my ears with my hands

So that this speech is unworthy

The mournful spirit was not defiled.

Love for the native land, for the Fatherland, for her Russia entered the work of Akhmatova from the very first poems. Despite all the hardships, the poetess does not lose devotion to her people:

No, and not under an alien sky

And not under the protection of proud wings, -

I was then with my people

Where my people, unfortunately, were.

So pray for your lethargy

After so many agonizing days

To clouds over dark Russia

Became a cloud in the glory of rays.

We take you at dawn

Behind you, as if on a takeaway, I walked,

Children were crying in the dark room,

At the goddess, the candle paid off.

Icons on your lips are cold,

Death sweat on the brow... Don't forget!

I will be like archery wives,

Howl under the Kremlin towers.

Over her long enough life, the poetess experienced grief, suffering, mental anguish of loneliness and despair, but she never lost hope.:

And the stone word fell

On my still living chest

Nothing, I'm ready

I'll deal with it somehow.

In a fluffy muff, my hands were cold.

I was scared, I was somehow vague,

Oh how to get you back, fast weeks

His love is airy and minute.

Anna Andreevna draws real life situations, embellishing nothing and minimizing nothing:

I have one smile.

So the movement is slightly visible lips.

For you I save it -

After all, she was given to me by love.

It doesn't matter that you are arrogant and evil

It doesn't matter if you love others.

In front of me is a golden lectern,

And with me is a gray-eyed groom.

You are my letter, dear. Don't crumple

Until the end of it, his friend read.

I'm tired of being a stranger

To be a stranger on your way...

…Not a shepherdess, not a princess

And I'm no longer a nun -

In this gray everyday dress

On worn heels

The unique and ingenious creative legacy of Akhmatova, her whole life “as if under the wing of death” is worthy of eternal recognition and surprise.Another bright and illumined poet of this period is Osip Mandelstam. The pride of Russian and world poetry is a man of especially tragic fate. The Russian poet Kuchelbecker, a contemporary of Pushkin, once wrote the following lines: "The heavy fate of the poets of the whole earth, but worse than all - the singers of my Russia." The life of Mandelstam is another proof of this. In the thirties he would write about his time:

A century-wolfhound throws itself on my shoulders

But I am not a wolf by my blood ...

On bl blue enamel,

What is conceivable in April

Birch branches raised

And imperceptibly evening.

The aorta bleed

And whispers through the rows:

I was born in ninety-four

I was born in ninety-two.

And in a fist clutching a frayed

Year of birth with a crowd and a herd

I whisper with a bloodless mouth:

-I was born on the night from the second to the third

January ninety-one

Unreliable year, and centuries

Surround me with fire.

The poet seemed to know, foresee his tragic fate, foreseeing that even the exact date of his death, as the place of burial, would remain unknown.O. Mandelstam in those distant thirties, when everyone around glorified the "wise leader", he, risking his head, told the cruel truth: "What is not an execution with him, then raspberries ...". The poet did not protect his head. Somewhere on the edge of the Russian land, a "convict" is buried - Mandelstam, a great man who has not come to terms with the cruel age.But the word of the poet is stronger than time, it returned to the reader, sounded, became the conscience and truth of the era.And how many of them are so unnecessary, loving, understanding their country and people shared the fate of O. Mandelstam?So always, "a poet in Russia is more than a poet." After all, a real poet is always pain, voice, conscience and soul of his people. And the wonderful galaxy of poets of the "Silver Age" is a brilliant proof of this.

Thankful beams of clean lines,

Guided by a silent beam

Will get together, get together someday

Like guests with an open brow.

O. Mandelstam.

Russian poetry of the first third of the twentieth century, figuratively called
"Silver Age", is inextricably linked today in our minds with the names
M. Tsvetaeva, A. Akhmatova, N. Gumilyov, O. Mandelstam, B. Pasternak, I.
Northerner. The disgrace to their poems dragged on for at least a third of a century.
Their current return to us through the tragedy and pathos of what they experienced is both the restoration of historical truth and the revival of a whole huge layer of Russian poetry. Each new generation of readers discovers in it an inexhaustible pure spring of subtle, bright, penetrating lyrics, civic, courageous, prophetic poetry, makes you suffer and rejoice again and again with the author.

It can be said without exaggeration that none of all the Russian poets of our century had such an inseparable connection with readers as
A. Akhmatova. She became one of the recognized classics of Russian literature as the author of a unique love lyric that tells about the mystery and tragedy of human relationships. In addition to romantic trends, in creativity
Akhmatova, a significant place is occupied by poems about Russia, imbued with the author's concern for the fate of his country:

He said, "Come here

Leave your land deaf and sinful.

Leave Russia forever

I will wash the blood from your hands,

I will take out black shame from my heart,

I will cover with a new name

The pain of defeat and resentment.

But indifferent and calm

I covered my ears with my hands

So that this speech is unworthy

The mournful spirit was not defiled.

Love for the native land, for the Fatherland, for one's Russia entered the work
Akhmatova from the very first verses. Despite all the hardships, the poetess does not lose devotion to her people:

No, and not under an alien sky

And not under the protection of proud wings, -

I was then with my people

Where my people, unfortunately, were.

So pray for your lethargy

After so many agonizing days

To clouds over dark Russia

Became a cloud in the glory of rays.

We take you at dawn

Behind you, as if on a takeaway, I walked,

Children were crying in the dark room,

At the goddess, the candle paid off.

Icons on your lips are cold,

Death sweat on the brow... Don't forget!

I will be like archery wives,

Howl under the Kremlin towers.

During her rather long life, the poetess experienced grief, suffering, mental anguish of loneliness and despair, but she never lost hope:

And the stone word fell

On my still living chest

Nothing, I'm ready

I'll deal with it somehow.

In a fluffy muff, my hands were cold.

I was scared, I was somehow vague,

Oh how to get you back, fast weeks

His love is airy and minute.

Anna Andreevna draws real life situations, embellishing nothing and minimizing nothing:

I have one smile.

So the movement is slightly visible lips.

For you I save it -

After all, she was given to me by love.

It doesn't matter that you are arrogant and evil

It doesn't matter if you love others.

In front of me is a golden lectern,

And with me is a gray-eyed groom.

Not only the suffering of unrequited love expresses the lyrics of Akhmatova. Another sadness can be traced in her poetry - dissatisfaction with oneself.
Unhappy love that deeply wounds the soul, sorrows that cause mortal torment, soarings of the soul without the ability to descend, endless ups and downs, ending in helpless falls - all this tires and dissuades a person. From such experience, for example, such lines are born:

You are my letter, dear. Don't crumple

Until the end of it, his friend read.

I'm tired of being a stranger

To be a stranger on your way...

... Not a shepherdess, not a princess

And I'm no longer a nun -

In this gray everyday dress

On worn heels

The unique and ingenious creative legacy of Akhmatova, her whole life
"just under the wing of death" is worthy of eternal recognition and wonder.

Another bright and illumined poet of this period is Osip
Mandelstam. The pride of Russian and world poetry is a man of especially tragic fate. The Russian poet Kuchelbecker, a contemporary of Pushkin, once wrote the following lines: “The heavy fate of the poets of the whole earth, but bitterest of all
- singers of my Russia. The life of Mandelstam is another proof of this. In the thirties, about his time, he writes:

A century-wolfhound throws itself on my shoulders

But I am not a wolf by my blood ...

On pale blue enamel

What is conceivable in April

Birch branches raised

And imperceptibly evening.

They sink into the soul with explosions of terrible revelations, the roll calls of the innocently killed, and now they resound through all the ruined wars and revolutions of his
"Poems about the unknown soldier":

The aorta bleed

And whispers through the rows:

I was born in ninety-four

I was born in ninety-two.

And in a fist clutching a frayed

Year of birth with a crowd and a herd

I whisper with a bloodless mouth:

I was born on the night of the second to the third of January in ninety-one,

Unreliable year, and centuries

Surround me with fire.

The poet seemed to know, foresee his tragic fate, foreseeing that even the exact date of his death, as the place of burial, would remain unknown.

O. Mandelstam in those distant thirties, when everyone around glorified the "wise leader", he, risking his head, said the cruel truth:
"What is not an execution with him, then raspberries ...". The poet did not protect his head. Somewhere on the edge of the Russian land, a "convict" is buried - Mandelstam, a great man who has not come to terms with the cruel age.

But the word of the poet is stronger than time, it returned to the reader, sounded, became the conscience and truth of the era.

And how many of them are so unnecessary, loving, understanding their country and people shared the fate of O. Mandelstam?

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Revolutionary reality determined the high and powerful flowering of poetic creativity. It was prepared by the development of the culture of verse, characteristic of the pre-revolutionary years, when such great poets as A. Blok and the young V. Mayakovsky appeared, but opened a new and much richer and brighter era of Russian poetry.

Already in January 1918, Alexander Blok responded to the proletarian revolution with the poem "The Twelve". Not only the theme and idea, but the very artistic form of this work, as it were, outlines the trends for the further development of Russian poetry. The imagery of the poem combines lofty symbolism and motley, unadorned everyday life; echoes of majestic revolutionary hymns and ditty tongue twisters are heard in its rhythm. The “stately step” of the proletarian detachments merges here with gusts of icy wind, rampant elements. At the same time, A. Blok created another significant work - "Scythians", depicting the confrontation between two worlds - old Europe and new Russia, behind which awakening Asia rises.

The paths of acmeist poets diverge sharply. Nikolai Gumilyov sees a hostile force in the rebellious workers, expresses in some of his last poems the mood of doom, moves away to neo-symbolism. At the same time, Sergei Gorodetsky and Vladimir Narbut, who joined the Communist Party, sing of the heroic everyday life of the revolutionary years, and Anna Akhmatova, in poems that combine deep inner excitement with the impassivity of a laconic classical form, seeks to capture the tragic contradictions of the era. Mikhail Kuzmin, close to the Acmeists, remained in the ephemeral world of aesthetic illusions.

A significant role in these years was played by poets associated with the course of futurism. Velemir Khlebnikov, who sought to penetrate into the origins of the folk language and showed the previously unknown possibilities of poetic speech, wrote enthusiastic hymns about the victory of the people (the poem "The Night Before the Soviets"), seeing in it, however, only a spontaneous "Razin" beginning and the coming anarchist "Lyudomir" .

In the early 1920s, a number of new major names appeared in Soviet poetry, almost or completely unknown in the pre-October period. Mayakovsky's comrade-in-arms Nikolai Aseev, with well-known common features with him (close attention to the life of the word, the search for new rhythms), had his own special poetic voice, so clearly expressed in the poem "Lyrical Digression" (1925). In the 1920s, Semyon Kirsanov and Nikolai Tikhonov came to the fore, whose ballads and lyrics (the collections Horde, 1921; Braga, 1923) asserted a courageously romantic direction. The heroism of the civil war became the leading motif in the work of Mikhail Svetlov and Mikhail Golodny. The romance of labor is the main theme of the lyrics of the worker poet Vasily Kazin. Pavel Antokolsky declared himself excitedly and brightly, bringing history and modernity closer together. A prominent place in Soviet poetry was occupied by the work of Boris Pasternak. The romance of the revolution and free labor was sung by Eduard Bagritsky ("Duma about Opanas", 1926; "South-West", 1928; "Winners"). His poems organically merge the material and sensual feeling of living life with the pathos of a lofty dream. At the end of the 1920s, Bagritsky was a member of a group of constructivists, headed by Ilya Selvinsky, who created works of great and peculiar poetic power (poems "Pushtorg", 1927; "Ulyalyaevshchina", 1928; a number of poems). Nikolai Ushakov and Vladimir Lugovskoy also joined the constructivists.

At the very end of the 1920s, the original poetry of Alexander Prokofiev, full of figurative power, which grew up on the basis of folklore and the folk language of the Russian North, and the intellectual, full of poetic culture lyrics of Nikolai Zabolotsky (“Columns”) attracted attention. After a long silence, after a long silence, a new creative rise of Osip Mandelstam.

However, Vladimir Mayakovsky won truly national fame thanks to his deep coverage of the fate of the Russian revolution.

Having begun his journey in line with futurism, V. V. Mayakovsky, under the influence of the Great October Revolution, experienced a deep turning point. Unlike Blok, he was able not only to "listen to the revolution", but also to "make a revolution." Starting with The Left March (1918), he creates a number of major works in which he talks “about the time and about himself” with great fullness and power. His works are diverse in genres and themes - from the extremely intimate lyrical poems “I Love” (1922), “About this” (1923) and the poem “Letter to Tatyana Yakovleva” (1928) to the epic “150.000.000” (1920) and the innovative "documentary" epic "Good!" (1927); from sublimely heroic and tragic poems "Vladimir Ilyich Lenin" (1924) and "Out loud" to sarcastic satire in a series of "portrait" poems in 1928 - "Pillar", "Sneaky", "Gossip", etc. .; from the topical "Windows of GROWTH" (1919-1921) to the utopian picture of the "Fifth International" (1922). But everywhere Mayakovsky preserves the integrity of his worldview; his lyrics are epic, and the epic is permeated with lyricism; his satire is heroic in its own way, and behind the heroism he does not forget about "rubbish". The poet always speaks precisely “about time and about himself”; in many of his works, both the revolutionary era in its grandiosity and complex contradictions, and the living personality of the poet, his "solid heart" are expressed in a holistic, non-impoverished way.

All this is embodied by Mayakovsky in the unique imagery of his poetry, which combines hyperbole and documentaryism, symbols and rough objectivity. His poetic speech is amazing, absorbing, merging into a powerful whole the phraseology of rally appeals, ancient folklore, newspaper information, figurative folk language, scientific treatise and everyday conversation. Finally, the rhythmic-intonation structure of his verse is inimitable, with “highlighted words” that give the feeling of a cry, with marching rhythms or, on the contrary, with unprecedentedly long lines, as if calculated for the orator’s well-placed breathing.

The work of another prominent Soviet poet, S. A. Yesenin, is a single lyrical confession, where tragic contradictions are expressed with naked sincerity, the focus of which was the poet's soul. Yesenin's poetry is a song about the motionless and drowsy peasant Russia, merged with nature, full of "indescribable bestiality", about a man who combined robber prowess with patience and meekness in character. The rural “visions” that Yesenin carried through his short life acquire special brightness and strength because they are melted into verbal gold far from the peasant Ryazan region, in the midst of a noisy, hostile city, repeatedly anathematized by the poet and at the same time attracting him to himself.

In pathos, abstractly romantic poems, Yesenin welcomes October (“Heavenly Drummer”), but he also perceives the revolution as the arrival of the peasant Savior, the godless motives turn into glorification of the village idyll (“Inonia”).

The inevitable, according to Yesenin, clash between the city and the countryside takes on the character of a deeply personal drama (“I am the last poet of the village ...”, “Mysterious world, my ancient world”), “Iron Enemy”, a merciless train on cast-iron paws, defeating the rural “red-maned foal ”, a new, industrial Russia appears to him. Involvement in the world of bohemia led to an increase in the motives of hopeless doom and gloom in the poet’s work, caused sharp transitions from religious humility to drunken intoxication (“Treryadnitsa”, “Confession of a Hooligan”). In the lyrical hero, the face of a meek, golden-haired shepherdess, glorifying the village homeland, becomes cloudy, and the features of a street rake appear, mentally devastated by corrupt love, captured by a lost revelry. Loneliness and discomfort in a whirlwind, alien world are conveyed with great sincerity in "Moscow Tavern", as well as in the conditionally historical poem "Pugachev" (1921).

The poetry of loss permeates the lyrical cycle (“Let you be drunk by others”, “Young years with hammered glory”), to which the melodiously flowery “Persian Motifs” (1925) adjoin. Yesenin's greatest achievement was the poems "Return to the Motherland", "Soviet Russia", the poem "Anna Snegina" (1925), testifying to his intense desire to understand the new reality, get closer to it and sing it. The poem "Anna Snegina" with its "simple" skill marks the poet's approach to Pushkin's clarity and purity of words, a departure from the oversaturated metaphorization and ornamentation of early poems.

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