Alexander Blok was born in St. Petersburg on November 16/28, 1880. The joint life of the parents of little Sasha did not work out, his mother Alexandra Andreevna left her husband Alexander Lvovich.

Sasha spent his childhood in St. Petersburg, and every summer he went to his grandfather (on his mother's side) to the Shakhmatovo estate, which is located in the Moscow region. The boy's grandfather was a famous scientist, rector of St. Petersburg University, and his name was Andrei Nikolaevich Beketov.

Sasha started writing poetry early, he was 5 years old. I went to high school at the age of 9. He read a lot and enthusiastically, published children's handwritten magazines. In his youth, he staged amateur performances with friends. After graduating from the gymnasium, he entered the St. Petersburg University at the Faculty of Law (1898).

Three years later he transferred to the Faculty of History and Philology. In his student years, Alexander was far from politics, his passion was ancient philosophy.

In 1903 he married a daughter, Lyubov Dmitrievna. He dedicated his first collection of poems, Poems about a Beautiful Lady, to her. At the beginning of the creative path, a passion for philosophy makes itself felt. His poems are about eternal femininity, about the soul. Alexander Blok is a romantic and symbolist.

And the revolution in Russia is changing the themes of Blok's poems. He saw destruction in the revolution, but expressed sympathy for the insurgent people. He began to write poems about nature, poems about the war sound tragic.

In 1909, after burying his father, the poet began work on the poem "Retribution". He wrote the poem until the end of his life, but did not complete it. Poverty, poverty and trouble, all this worried Blok, he was worried about society. He believed that everything in Russia would be fine, the future would be wonderful.

In 1916, he was drafted into the army. He served as a timekeeper in the construction of roads, and did not take part in hostilities. In March 17 he returned home. In 1918, the poem "The Twelve", the poem "Scythians" and the article "Intelligentsia and Revolution" will be published. These works created the glory of the Bolshevik Blok. Well, he himself thought that the revolution would bring fair new relations to life, he believed in it. And when it started, I was very disappointed and felt a great responsibility for my works of the 18th year.

In the last years of his life, he almost did not write poetry, he acted as a critic and publicist. Alexander Blok died on August 7, 1921.

The boy was sent to the St. Petersburg Vvedensky gymnasium, which he graduated in 1898.

In 1898, Alexander Blok entered the law faculty of St. Petersburg University, but in 1901 he moved to the historical and philological faculty, from which he graduated in 1906 in the Slavic-Russian department.

From the beginning of the 1900s, Alexander Blok became close to the Symbolists Dmitry Merezhkovsky and Zinaida Gippius in St. Petersburg, and to Valery Bryusov and Andrei Bely in Moscow.

In 1903, the first collection of Blok's poems "From Dedications" appeared in the magazine "New Way" led by the Merezhkovskys. In the same year, a cycle of poems was published in the almanac "Northern Flowers" under the title "Poems about the Beautiful Lady" (the title was proposed by Bryusov).

The events of the revolution of 1905-1907, which exposed the spontaneous, catastrophic nature of life, played a special role in the formation of Blok's worldview. In the lyrics of this time, the theme of "elements" becomes the leading one - images of a snowstorm, blizzards, motifs of freemen, vagrancy. The beautiful Lady is replaced by the demonic Stranger, the Snow Mask, and the schismatic gypsy Faina. Blok published in the symbolist magazines Questions of Life, Scales, Pass, Golden Fleece, in the latter since 1907 he led the critical department.

In 1907, Blok's collection "Unexpected Joy" was published in Moscow, in St. Petersburg - a cycle of poems "Snow Mask", in 1908 in Moscow - the third collection of poems "Earth in the Snow" and a translation of Grillparzer's tragedy "Foremother" with an introductory article and notes. In 1908, he turned to the theater and wrote "lyrical dramas" - "Balaganchik", "The King in the Square", "The Stranger".

A trip to Italy in the spring and summer of 1909 became a period of "reassessment of values" for Blok. The impressions made by him from this journey were embodied in the cycle "Italian verses".

In 1909, having received an inheritance after the death of his father, he freed himself for a long time from worries about literary earnings and focused on major artistic ideas. Since 1910, he began to work on a large epic poem "Retribution" (was not completed). In 1912-1913 he wrote the play "The Rose and the Cross". After the release of the collection "Night Hours" in 1911, Blok revised his five books of poetry into a three-volume collection of poems (1911-1912). During the life of the poet, the three-volume edition was reprinted in 1916 and in 1918-1921.

Since the autumn of 1914, Blok worked on the publication of "Poems of Apollon Grigoriev" (1916) as a compiler, author of an introductory article and commentator.

In July 1916, during the First World War, he was drafted into the army, served as a timekeeper in the 13th engineering and construction squad of the Zemsky and City Unions near Pinsk (now a city in Belarus).

After the February Revolution of 1917, Blok returned to Petrograd, where, as an editor of verbatim reports, he became a member of the Extraordinary Investigative Commission to investigate the crimes of the tsarist government. The materials of the investigation were summarized by him in the book "The Last Days of Imperial Power" (1921).

The October Revolution causes a new spiritual upsurge of the poet and civic activity. In January 1918, the poems "The Twelve" and "Scythians" were created.

After "The Twelve" and "Scythians" Alexander Blok wrote humorous poems "just in case", prepared the last edition of the "lyrical trilogy", but did not create new original poems until 1921. During this period, the poet made cultural-philosophical reports at meetings of Volfila - the Free Philosophical Association, at the School of Journalism, wrote lyrical fragments "Neither dreams nor reality" and "Confession of a pagan", feuilletons "Russian dandies", "Compatriots", "Answer to the question of red seal."

A huge amount of what was written was connected with Blok's official activities: after the October Revolution of 1917, for the first time in his life, he was forced to look not only for literary earnings, but also for public service. In September 1917 he became a member of the Theatrical and Literary Commission, from the beginning of 1918 he collaborated with the Theater Department of the People's Commissariat for Education, in April 1919 he moved to the Bolshoi Drama Theater. At the same time he worked as a member of the editorial board of the publishing house "World Literature" under the leadership of Maxim Gorky, since 1920 he was chairman of the Petrograd branch of the Union of Poets.

Initially, Blok's participation in cultural and educational institutions was motivated by convictions about the duty of the intelligentsia to the people. But the discrepancy between the poet's ideas about the "cleansing revolutionary elements" and the bloody everyday life of the advancing regime led him to disappointment in what was happening. The motif of the catacomb existence of culture appeared in his articles and diary entries. Blok's thoughts about the indestructibility of true culture and the "secret freedom" of the artist were expressed in the speech "On the Appointment of the Poet" at the evening in memory of Alexander Pushkin and in the poem "To Pushkin House" (February 1921), which became his artistic and human testament.

In the spring of 1921, Alexander Blok asked for an exit visa to Finland for treatment at a sanatorium. The Politburo of the Central Committee of the RCP(b), at the meeting of which this issue was considered, refused to allow Blok to leave.

In April 1921, the growing depression of the poet turned into a mental disorder, accompanied by heart disease. On August 7, 1921, Alexander Blok died in Petrograd. He was buried at the Smolensk cemetery, in 1944 the ashes of the poet were transferred to the Literary Bridges at the Volkovskoye cemetery.

Since 1903, Alexander Blok was married to Lyubov Mendeleeva (1882-1939), the daughter of the famous chemist Dmitry Mendeleev, to whom the cycle "Poems about the Beautiful Lady" was dedicated. After the death of the poet, she became interested in classical ballet and taught the history of ballet at the Choreographic School at the Kirov Opera and Ballet Theater (now the Vaganova Academy of Russian Ballet). She described her life with the poet in the book "Facts and tales about Blok and about herself."

In 1980, in the house on Dekabristov Street, where the poet lived and died for the last nine years, the museum-apartment of Alexander Blok was opened.

In 1984, the State Museum-Reserve of D.I. Mendeleev and A.A. Blok.

The material was prepared on the basis of information from open sources

Blok began to compose his poems at a young age: from poem to poem, his talent only became stronger. The first poems were inspired by Vasnetsov's paintings depicting the prophetic birds of ancient Russian legends: Sirin, Alkonost, Gamayun. And if you look more deeply, then these poems were about life, about time, about the Motherland and Russia: they only speak about it in a large and symbolic way.

After the revolution, the theme of two Russias emerges in the poet's work: autocratic and popular. Russia for the poet is a huge, native creature, similar to a person, but more comfortable and affectionate. All works are imbued with love for the motherland, for his country: therefore, the events of the revolution are too hard for him. Hunger, poverty and defeat cause Blok to dislike lyrics: and he begins to create only satirical poems with poisonous mockery.

In the plays (dramas) that were released at that time, one feels bitter disappointment from the imperfection of the world and deceived hopes.

Alexander Blok also wrote works of a historical nature: the most famous of them are the poems of the Kulikovo battle cycle. The Battle of Kulikovo for the poet is a historical fact that gives reason to reflect on the present and future of Russia.

But his best poems are dedicated to the Beautiful Lady, to whom the knight (monk, youth, poet) aspires. There is a lot behind this desire: a mystical comprehension of God, the search for a life path, the pursuit of an ideal, beauty, and many other shades. Even descriptions of nature are not given by themselves. Dawn, stars and the sun are synonyms for the Beautiful Lady, morning and spring are the time of hope for a meeting, winter and night are separation and evil. The theme of love permeates all the work of the poet.

The famous poet of the Silver Age also had an interest in children's literature, wrote many poems, some of which were included in collections of poems for children.

Blok's work is multifaceted: he wrote about Italy and St. Petersburg, about poetry, about time and death, about music and friendship. He dedicated his poems to his mother, God, woman, Pushkin, Shakhmatov, Mendeleeva. Look at the lyric works on this page - and choose those that will awaken your soul and give you the pleasure of the Word.

Alexander Alexandrovich Blok was born and brought up in a highly cultured noble-intelligentsia family. His father, Alexander Lvovich, descended from the doctor Johann von Blok, who came to Russia in the middle of the 18th century from Mecklenburg, and was a professor at Warsaw University in the department of state law. According to his son, he was also a capable musician, a connoisseur of literature and a subtle stylist. However, his despotic character was the reason that the mother of the future poet, Alexandra Andreevna, was forced to leave her husband even before the birth of her son. Thus, Blok’s childhood and youth passed first in the St. Petersburg “rector’s house” (grandfather, Andrey Nikolayevich Beketov, professor-botanist, rector of St. Petersburg University), then, after the second marriage of his mother, in the house of his stepfather, officer Franz Feliksovich Kublitsky-Piottukh , and every summer - in the Beketov Shakhmatovo estate near Moscow.

In the liberal and “people-loving” Beketov family, many were engaged in literary work. Blok's grandfather was the author of not only solid works, but also many popular science essays. Grandmother, Elizaveta Grigoryevna, has been translating scientific and artistic works all her life. “The list of her works is huge,” the grandson later recalled. Her daughters, Blok's mother and his aunts, were also systematically engaged in literary work.

The atmosphere of literary interests very early aroused in him an irresistible craving for poetry. Thanks to the memoirs of M. A. Beketova, Blok’s childhood poems, written by him at the age of five, have come down to us. However, a serious appeal to poetic creativity, largely due to the young Blok’s passion for the poetry of Zhukovsky, Pushkin, Lermontov, Tyutchev, Fet, Polonsky, falls on the years of his graduation from the gymnasium and entering in 1898 at the law faculty of St. Slavic-Russian Department of the Faculty of History and Philology and successfully graduated from it in 1906).

Blok's lyrics are a unique phenomenon. With all the diversity of its problems and artistic solutions, with all the difference between early poems and subsequent ones, it acts as a single whole, as one work unfolded in time, as a reflection of the “path” traveled by the poet. Blok himself pointed out this feature of hers.

We repeat that in 1910-1911, preparing for publication his first collection of poems, Blok placed them in three books. The poet retained this three-volume division in two subsequent editions (1916 and 1918-1921), although the author made significant changes inside the volumes. In its final form, three volumes include 18 lyrical cycles (“countries of the soul”, in the words of the poet). In the preface to the first edition of the Collected Poems, Blok emphasized the unity of his intention: “Each poem is necessary for the formation of a chapter (i.e., a cycle. - Ed.); a book is made up of several chapters; each book is part of a trilogy; I can call the whole trilogy a “novel in verse”...” And a few months later, in a letter to Andrei Bely, he reveals the main meaning of the stages of the path he has traveled and the content of each of the books of the trilogy: “... this is my path, now that it passed, I am firmly convinced that this is due and that all the poems together are a “trilogy of incarnation” (from a moment of too bright light - through the necessary swampy forest - to despair, curses, “retribution * and ... - to the birth of a “public” person , an artist who courageously looks into the face of the world ..,)”.

The first volume (1898-1903) included three cycles. The first of them - "Ante lucem" ("Until the light") - is, as it were, a foretaste of the future difficult path. The general romantic mood of the cycle predetermined the young poet's antinomic attitude to life. At one extreme are the motives of gloomy disappointment, which seem so unnatural for a nineteen-year-old youth: “I am old in soul. Some kind of black lot - // My long journey. Or: “I laugh at the miserable crowd // And I don’t give up my sighs to them.” But on the other hand, there is a craving for life, acceptance of it:

I aspire to luxurious will,

Rushing to the beautiful side

Where in a wide open field

Well, as in a wonderful dream -

and awareness of the high mission of the poet, his coming triumph:

But the poet approaches the song,

Strives, attracted by the truth,

And suddenly sees a new light

Beyond the distance, previously unfamiliar ...

The central cycle of the first volume is “Poems about the Beautiful Lady”. This is that “moment of too bright light” about which Blok wrote to A. Bely. This cycle reflected the love of the young poet for his future wife L. D. Mendeleeva and the passion for his philosophical ideas of Vl. Solovyov. Most close to him at that time was the philosopher's teaching about the existence of the Soul of the World, or the Eternal Femininity, which can reconcile “earth” and “heaven” and save the world, which is on the verge of catastrophe, through its spiritual renewal. The romantic poet received a lively response from the philosopher's idea that love for the world itself is revealed through love for a woman.

Solovyov's ideas of "two worlds", the combination of the material and the spiritual, were embodied in a cycle through a diverse system of symbols. The multifaceted appearance of the heroine. On the one hand, this is a very real, “earthly” woman. "She is slender and tall // Always haughty and stern." The hero sees her "every day from afar." On the other hand, we have before us the heavenly, mystical image of the “Virgin”, “Dawn”, “Majestic Eternal Wife”, “Saint”. “Clear”, “Incomprehensible”... The same can be said about the hero of the cycle. “I am young, and fresh, and in love,” is a completely “earthly” self-characteristic. And then he is also a “joyless and dark monk” or a “lad”, lighting candles. To enhance the mystical impression, Blok generously uses epithets, such as “ghostly”, “unknown shadows” or “unknown sounds”, “other-worldly hopes” or “other-worldly visions”, “unspeakable beauty”, “incomprehensible mystery”, “sadness unsaid hints”, etc.

Thus, the story of earthly, quite real love is transformed into a romantic-symbolic mystical-philosophical myth. It has its own plot and its own plot. The basis of the plot is the opposition of the “earthly” (lyrical hero) to the “heavenly” (Beautiful Lady) and at the same time the desire for their connection, “meeting”, as a result of which the transformation of the world should come, complete harmony. However, the lyrical plot complicates and dramatizes the plot. From poem to poem, there is a change in the mood of the hero: bright hopes - and doubts about them, the expectation of love - and the fear of its collapse, faith in the immutability of the image of the Virgin - and the assumption that it can be distorted (“But I’m scared: you will change the image of You” ).

Dramatic tension is also inherent in the cycle that concludes the first volume with the significant title "Crossroads". The theme of the Beautiful Lady continues to sound in this cycle, but something new also appears here: a qualitatively different connection with “everyday life”, attention to human grief, social problems (“Factory”, “From the Newspapers”, “A sick man trudged along the shore .. ." and etc.). "Crossroads" outlines the possibility of future changes in the poet's work, which will clearly manifest themselves in the second volume.

The lyrics of the second volume (1904-1908) reflected significant changes in Blok's worldview. The social upsurge, which at that time embraced the broadest sections of the Russian people, had a decisive effect on Blok. He departs from the mysticism of Vl. Solovyov, from the hopeful ideal of world harmony, but not because this ideal has become untenable for the poet. He forever remained for him that “thesis”, from which his path began. But the events of the surrounding life imperiously invade the consciousness of the poet, requiring their comprehension. He perceives them as a dynamic principle, an “element” that comes into conflict with the “unperturbed” Soul of the World, as an “antithesis” that opposes the “thesis”, and plunges into the complex and contradictory world of human passions, suffering, and struggle.

A kind of prologue to the second volume is the cycle “Bubbles of the Earth”. The poet unexpectedly and polemically turns to the image of “low” nature: “eternity of swamps”, “rusty bumps and stumps”, fantastic fairy-tale creatures that inhabit them. He could say, along with his kindest "bog priest":

My soul is glad

To every reptile

And every animal

And about every faith

recognizing the regularity of the existence of this elemental world and the right of its inhabitants to honor “their field Christ”.

In the next two cycles (“Different Poems” and “City”), the coverage of the phenomena of reality expands immeasurably. The poet plunges into the disturbing, highly conflicted world of everyday life, feeling himself involved in everything that happens. These are the events of the revolution, which he perceived, like other symbolists, as a manifestation of the destructive elements of the people, as the struggle of people of a new formation with the hated kingdom of social lawlessness, violence and vulgarity. To one degree or another, this position is reflected in the poems “We went to the attack. Right in the chest...”, “Rising from the darkness of the cellars...”, “Rally”, “Fed” and others. worthy to be in their ranks:

Here they are, far away

They swim merrily.

Only you and you

That's right, they won't!

(The barca of life has become...)

On such a poignant note, one of the main problems for him begins to sound in Blok's lyrics - the people and the intelligentsia.

In addition to the motives associated with revolutionary events, many other aspects of the diverse and endlessly changing Russian life are reflected in these cycles. But poems are of particular importance, where the poet develops a “wide-ranging” image of the motherland and emphasizes his inseparable connection with it. In the first of them ("Autumn Will", 1905), Lermontov's traditions are clearly visible. In the poem "Motherland" Lermontov called his love for the motherland "strange" because it is at odds with traditional "patriotism." “Not glory bought with blood” was dear to him, but “the cold silence of the steppes” and “the trembling lights of sad villages”. Blok’s love is the same: “I’ll cry over the sadness of your fields, / I’ll love your expanse forever ...”, with the difference, perhaps, that he has it more intimate, more personal. It is no coincidence that the image of the motherland “flows” here into the image of a woman (“And in the distance, in the distance, invitingly waves // Your patterned, your colored sleeve”), a device that will be repeated in Blok’s later poems about the motherland. Blok's hero is not an accidental passer-by, but one of the sons of Russia, walking the “familiar” path and participating in the bitter fate of those who “die without loving”, but who strive to merge with their homeland: “Shelter you in the vast expanses! // How to live and cry without you!”

The life of one of the most famous poets of the Silver Age, Alexander Blok, is a series of extraordinary events. In a sense, it echoes the creative biography of his great contemporary -.

However, after the First World War, relations in the Blok family improved.

The beginning of Blok's active work is the period from 1900-1901. At this time, Alexander becomes a true admirer of the work of Afanasy Fet and Vladimir Solovyov, who played a significant role in Blok's biography in general, and in the formation of his personality in particular.

In addition, Blok had a chance to meet Dmitry Merezhkovsky and Zinaida Gippius, in whose publishing house, under the name "New Way", Alexander Alexandrovich first began to be published.

At the beginning of his career, Blok was interested in literary symbolism. This direction, which influenced all types of culture, was distinguished by innovation, a desire for experimentation and a love of mystery.

After Blok began to be published in the New Way, his works began to be published in the Moscow almanac Northern Flowers.

Blok constantly visited a circle of young admirers of Vladimir Solovyov, held in Moscow. In the role of a kind of leader of this circle was the young poet Andrei Bely.

All members of the literary circle admired the work of Blok, with whom Bely himself became very friendly. However, this is not surprising, because he was passionately in love with the wife of Alexander Blok.

In 1903, a whole cycle of works by Alexander Blok "Poems about the Beautiful Lady" was published. Three poems by the young poet were included in the collection of works by pupils of the Imperial St. Petersburg University.

In his writings, Blok considered a woman as a source of purity and light. He also discussed how a genuine love feeling can bring an individual person closer to the whole world.

Revolution 1905-1907

The revolutionary events became for Alexander Blok the personification of the spontaneous and chaotic nature of life, and quite strongly influenced his biography in general, and his creative views in particular. Love lyrics faded into the background.

Alexander Alexandrovich also showed himself as a playwright when he wrote his first play "Balaganchik". It was staged on the theater stage in 1906.

Despite the fact that Blok loved his wife, he allowed himself to show feelings for other women. For example, he had a passion for the actress N. N. Volokhova. The image of this girl formed the basis of many of his philosophical poems.

It was to her that Blok dedicated the cycle “Faina” and the book “Snow Mask”, and it was from her that he copied the heroines of the plays “King in the Square” and “Song of Fate”.

In fairness, it should be noted that Blok's wife also allowed herself hobbies. An interesting fact is that on the basis of this, Blok had a sharp conflict with Andrei Bely.

At the end of the first decade of the 20th century, the main theme of the works of Alexander Alexandrovich was the problem of the relationship between the common people and the intelligentsia in society.

In the poems written during this period, one can notice a vivid crisis of individualism and attempts to determine the place of the creator in real life.

At the same time, Blok compared his homeland with the image of a loving wife, as a result of which his patriotic poems acquired a special and deep individuality.

Rejection of symbolism

In 1909, two tragedies occurred at once in the biography of Alexander Blok: his father and a newborn child from his wife Lyubov Dmitrievna died.

To recover from the shocks, he leaves for Italy with his wife. This trip made the poet rethink the values ​​of life. The cycle “Italian Poems”, as well as notes from the book “Lightning of Art” tells about his internal struggle.

As a result of long reflections, Blok came to the conclusion that symbolism had lost interest for him and now he was more attracted to self-deepening and a "spiritual diet".

Due to changes in his creative biography, he concentrates on serious literary works and is less and less engaged in journalistic work. Moreover, he almost never appears at social events.

In 1910, the poet began to compose the poem "Retribution" to finish, which he did not succeed.

In the summer of 1911 Blok traveled abroad again, this time to France, Belgium and the Netherlands. Alexander Alexandrovich gives a negative assessment of French morals:

An integral quality of the French (and the Bretons, it seems, par excellence) is the impenetrable dirt, first of all, physical, and then spiritual. It is better not to describe the first dirt; in short, a person of any squeamishness will not agree to settle in France.

In the same year he published a collection of works in 3 volumes.

In the summer of 1913, Blok again went to France (on the advice of doctors) and again wrote about his negative impressions:

Biarritz is flooded with the French petty bourgeoisie, so that even my eyes are tired of looking at ugly men and women ... In general, I must say that I am very tired of France and I want to return to a cultured country - Russia, where there are fewer fleas, almost no French women, there is food (bread and beef), drink (tea and water); beds (not 15 arshins wide), washstands (there are basins from which you can never pour out all the water, all the dirt remains at the bottom) ...

In 1912-1913. from under his pen comes the famous play "Rose and Cross".

October Revolution

During this period, many famous poets and writers of that time, such as Anna Akhmatova, Dmitry Merezhkovsky and others, reacted very negatively to the arrival of the Bolsheviks.

However, Blok did not see anything wrong with the Soviet government and even agreed to cooperate with it. Thanks to this, the name of the famous poet was constantly used by new state leaders for selfish purposes.

At this time, Blok wrote the poem "Scythians" and the famous poem "The Twelve".

Personal life

The only wife in Blok's biography was Lyubov Mendeleev, whom he sincerely loved. His wife was his support and source of inspiration.

Alexander Blok and his wife - Lyubov Dmitrievna Mendeleeva

However, the writer's idea of ​​marriage was rather peculiar. For example, he was categorically against intimacy, singing spiritual love and feelings.

It was also quite natural for Blok to fall in love with other women, although only his wife continued to be his only love. However, Blok's wife also allowed herself to have affairs with other men.

Unfortunately, no offspring appeared in the Blok family. And although Love gave birth to Alexander one child, he turned out to be weak and died very soon.

Poets death

After the October Revolution, the life of the poet began to decline, both spiritually and physically. Overloaded with various work and not belonging to himself, he began to get sick often.

He developed asthma, cardiovascular disease, and mental disorders began. In 1920 Blok fell ill with scurvy.

On August 7, 1921, due to endless illnesses and financial difficulties, Alexander Alexandrovich Blok died in his St. Petersburg apartment. The cause of the poet's death was inflammation of the heart valves. The block was buried at the Smolensk Orthodox cemetery.

Shortly before his death, he tried to get permission to travel abroad for medical treatment. However, it did not work out to get permission, which he himself sought.

Alexander Blok is considered one of the most significant figures in Russian poetry, who made a significant contribution to the cultural heritage of his people.

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