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The life and work of Nikolai Zabolotsky

Sosnovy Bor

2013

"The fire flickering in the vessel..."
The life and work of Nikolai Zabolotsky
(Literary and musical microphone)

HOST(1) : Today's our Literary and Musical Microphone is dedicated to the memory of Nikolai Alekseevich Zabolotsky.

Country Poetry ... One of its faithful servants is a Russian poet
Nikolay Alekseevich Zabolotsky.
One wise man said something like this: "God forbid you live in an era of change ...". Why - because a person, like a chip, carries and throws, destroys and ruffles life, given as a pledge of time and inconstancy of power.
In order to understand and appreciate the poems of any poet, it is important to know what kind of person he was, what were his interests and innermost thoughts, when the poem was written, what was happening in the surrounding world and in the life of the author at that time ...
The life of Nikolai Zabolotsky is divided by fate itself into more or less clearly delineated 7 periods. His literary heritage is relatively small - it includes a volume of poems and poems, several volumes of poetic translations, works for children, a few articles and notes on literature - however, this is the legacy of a classic of Russian poetry and an interesting poet of the 20th century ..

So, I invite you on a journey through the waves of memory of the twentieth century about the wonderful poet Nikolai Alekseevich Zabolotsky.

MASTER(2 ): Departing Africa in April
To the shores of the fatherland,
Flying in a long triangle
Drowning in the sky, cranes.
Stretching out silver wings
across the wide sky,
Led the leader to the valley of abundance
Your few people.
But when under the wings flashed
Lake transparent through
Black gaping muzzle
It rose from the bushes.

A ray of fire hit the bird's heart,
A quick flame flared up and went out,
And a particle of wondrous greatness
It fell on us from above.
Two wings, like two huge sorrows,
Embraced the cold wave
And, echoing a sorrowful sob,
Cranes rushed to the sky

.
Only where the lights move
In atonement for your own evil
Nature has given them back
What death took with it:
Proud spirit, high aspiration,
Will unbending to fight -
Everything from the past generation
Passes, youth, to you.
And the leader in a shirt made of metal
Slowly sinking to the bottom
And the dawn formed over him
Golden glow spot.

Host (1)

I was the first child in the family and was born on April 24, 1903.
near Kazan, on a farm where his father served as an agronomist (besides Nikolai, 6 more children were born in the family, 1 died at an early age). Later we moved to the village of Sernur, Urzhum district.
Surprising places were in this Sernur: the estate of a rich priest, a majestic huge garden, ponds overgrown with willows, endless meadows and groves. I heard plenty of nightingales there, I saw enough sunsets and all the delights of the plant world. The wonderful nature of Sernur has never died in my soul and is reflected in many of my poems.

Host (2)

Poem "Autumn Signs" excerpt

Autumn architecture. Location in it
Air space, groves, rivers,
Location of animals and people
When rings fly through the air
And curls of leaves, and a special light, -
Here is what we choose among other signs.
Beetle house between the leaves slightly opened
And, putting out his horns, he looks out,
The beetle of different roots dug itself
And puts it in a pile
Then he blows his little horn
And again he disappeared into the leaves, like a god.
But here comes the wind. All that was pure
Spatial, luminous, dry, -
Everything became sharp, unpleasant, hazy,
Indistinguishable. The wind drives the smoke
Rotates the air, leaves heaps
And the top of the earth explodes with gunpowder.
And all nature begins to freeze.
Maple leaf like copper
Ringing, hitting a small knot.
And we must understand that this is a badge,
which nature sends us
To go to another time of the year.

Host (1)

: From childhood, Zabolotsky made unforgettable impressions of
Vyatka nature and from the activities of his father, a love of books and an early conscious vocation to devote his life to poetry.
In 1920, he left his parental home and went first to Moscow, and the next year to Petrograd, where he entered the Department of Language and Literature of the A. I. Herzen Pedagogical Institute. Hunger, unsettled life and sometimes painful search for his own poetic voice accompanied Zabolotsky's student years. He enthusiastically read Blok, Mandelstam, Akhmatova, Gumilyov, Yesenin, but soon realized that his path did not coincide with the path of these poets. Closer to his search were the Russian poets Derzhavin, Baratynsky, Fedor Tyutchev, from his contemporaries - Velimir Khlebnikov.

): In 1925 he graduated from the institute. 1926 - 1927 - service in the army. And during this period, Zabolotsky, a poet, begins to be born. There are few examples in the history of poetry of such a bold and conscious self-change, of continuous self-renewal, of such an amazing art of stepping over oneself.

Nikolai Zabolotsky is one person, but two poets. Petersburg ironic avant-garde artist of the 1920s and Moscow neoclassicist of the 1950s. The stages of creativity of one person are so emotionally different that it is even interesting and great to find those spiritual threads that bind his image together.

Usually at first you recognize the late, calm Zabolotsky. It is clearer... And then, when you take up a collection of poems by this poet, a strange impression arises. It begins to seem that the early modernist Zabolotsky, as it were, yearns ... for his later self. Through the sparkling, originality, even through the humorous enthusiasm of his young poems, a certain dream already shines through. The dream is great and incredibly simple. This is hope, aspiration and simply expectation of earthly human harmony.

It would seem unsurprising: who has not dreamed about this at least once? But after all, here a young man in very pretentious revolutionary years (in the language of that time, “a fighter on the literary front”, “at the forefront of the struggle against the world of philistinism”) is drawn with his soul to quiet and kind orderliness. And although he creates passionate mischievous poems, and although later he himself writes: “I am not looking for harmony in nature,” but deep down he clearly sees the ideal in the universal harmony of people with people and with nature. Preparing for the feast, not afraid of the plague, already obvious and widespread. And he carries this marvelous gravity through his whole life, five and a half decades, of which more than half fell on the Stalin years.

Years of camps will overtake him. Friends and acquaintances will disappear first. But it is precisely in this menacing atmosphere of the 1930s that Zabolotsky's poetry rises to Pushkin's purity and austerity.

On March 19, 1938, N.A. Zabolotsky was arrested and cut off from literature, from his family, from a free human existence for a long time. The accusatory material in his case featured malicious critical articles and a slanderous review “review”. He was saved from the death penalty by the fact that, despite the most difficult physical tests during interrogations, he did not admit the charges of creating a counter-revolutionary organization, which supposedly included N. Tikhonov, B. Kornilov.

Host (2)
“The first days they didn’t beat me, trying to decompose mentally and physically. I was not given food. They were not allowed to sleep. The investigators succeeded each other, but I sat motionless in a chair in front of the investigator's table - day after day. Behind the wall, in the next office, from time to time someone's frantic screams were heard. My legs began to swell, and on the third day I had to tear off my shoes, as I could not bear the pain in my feet. Consciousness began to become clouded, and I strained all my strength in order to answer reasonably and prevent any injustice against those people about whom I was asked ... ”These are lines from the essay by N. Zabolotsky“ The History of My Imprisonment ”.

Host (1)

After his arrest, he did not break down, he survived, he survived, he wrote an excellent translation in prison " Words about Igor's regiment ", kneeling in front of the bunks.
Until 1944, Zabolotsky was serving an undeserved sentence in labor camps in the Far East and in the Altai Territory. From spring to the end of 1945 he lived with his family in Karaganda.
Song "Somewhere in a field near Magadan"
http://www.youtube.com/watch?v=pP8ga59H9D8 - (3min55s).

Only 2 poems were written by him during the years of the camps "Forest Lake", "Morning"

Lead (2).

Poem "Forest Lake"

Again it flashed to me, shackled by sleep,
Crystal bowl in the darkness of the forest.
Through the battles of the trees and the battles of the wolves,
Where insects drink juice from a plant,
Where stems rage and flowers groan,
Where predatory creatures are ruled by nature,
I made my way to you and froze at the entrance,
Parting the dry bushes with your hands.
In a crown of water lilies, in a dressing of sedges,
In a dry necklace of vegetable pipes
A piece of chaste moisture lay,
A refuge for fish and a haven for ducks.
But it is strange how quiet and important it is all around!
Why such greatness in the slums?
Why does not the horde of birds rage,
But sleeps, lulled by a sweet dream?
Only one sandpiper resents fate
And it blows pointlessly into the tune of the plants.
And the lake in the quiet evening fire
Lies in the depths, still shining,
And the pines, like candles, stand in the sky,
Closing in rows from edge to edge.
Bottomless bowl of clear water
She shone and thought with a separate thought,
So the eye of the sick in boundless anguish
At the first glow of the evening star,
No longer sympathizing with the sick body,
It burns, aspiring to the night sky.
And crowds of animals and wild beasts,
Pushing horned faces through the trees,
To the source of truth, to your font
They bowed down to drink the life-giving water.

Lead (1).

In 1946, N. A. Zabolotsky was reinstated in the Writers' Union and received permission to live in the capital. A new, Moscow period of his work began. Despite all the blows of fate, he managed to maintain internal integrity and remained faithful to the cause of his life - as soon as the opportunity arose, he returned to unfulfilled literary plans. Back in 1945, in Karaganda, working as a draftsman in the construction department, during non-working hours, Nikolai Alekseevich basically completed the arrangement of The Tale of Igor's Campaign, and in Moscow resumed work on the translation of Georgian poetry.

The period of return to poetry was not only joyful, but also difficult. There were happy moments of inspiration, there were doubts, and sometimes a feeling of impotence to express that much that had accumulated in thoughts and was looking for a way to the poetic word.

Presenter(1)

A third of what Zabolotsky created is connected with reflections on nature. The poet does not have purely landscape poems. Nature for him is the beginning of all beginnings, an object of poetic research, a complex and contradictory world full of mysteries, mysteries and drama, a source of thoughts about life, about himself, about a person.

Merging with nature is the main idea in the theme of nature in Zabolotsky.

In 1946, thanks to the intercession of Fadeev, Zabolotsky returned from exile. The suffering of seven long camp and exile years was finally over. There was only a roof over their heads. The writer V.P. Ilyenkov, a man of a brave and generous character, kindly provided the Zabolotskys with his dacha in Peredelkino. Nikolai Chukovsky recalls: "a birch grove of inexplicable charm, full of birds, approached the very dacha of Ilyenkov." The poet will write about this birch grove twice in 1946:

Presenter(2)

Give me, starling, a corner,

Set me up in an old birdhouse.

I pledge my soul to you

For your blue snowdrops.

And the spring whistles and mutters.

Poplars are flooded knee-deep.

Maples wake up from sleep,

So that, like butterflies, the leaves clapped.

And such a mess in the fields,

And such a stream of nonsense,

What to try, leaving the attic,

Do not rush headlong into the grove!

Serenade, starling!

Through the timpani and tambourines of history

You are our first spring singer

From the birch conservatory.

Open the show, whistler!

Tilt your pink head back

Breaking the glow of the strings

In the very throat of a birch grove.

I myself would try much,

Yes, the wanderer butterfly whispered to me:

“Who is loud in the spring,

And spring is good, good!

It covered the whole soul with lilacs.

Raise the birdhouse, soul,

Above your spring gardens.

Sit on a high pole

Blazing in the sky with delight,

Cleave a cobweb to a star

Together with bird tongue twisters.

Turn to face the universe

Honoring blue snowdrops,

With the unconscious starling

Traveling through spring fields.

And the second. Outwardly built on a simple and very expressive contrast of a picture of a peaceful birch grove, singing orioles-life and universal death, it carries a poignant sadness, an echo of the experience, a hint of personal fate and a tragic premonition of “white whirlwinds”, common troubles.

In this birch grove,
Far from suffering and troubles,
Where pink fluctuates
unblinking morning light
Where a transparent avalanche
Leaves are pouring from high branches, -
Sing to me, oriole, a desert song,
The song of my life.
("In this birch grove") .

This poem became a song in the movie "We'll Live Until Monday".

In this birch grovehttp://video.yandex.ru/users/igormigolatiev/view/9/# (2min.45s).

Lead (1).

During a long poetic life, Zabolotsky did not write a single intimate poem, and therefore the cycle "Last Love" unexpectedly burned the reader with hopeless sadness, the pain of parting with love, which brought such painful doubts. This cycle written at the end of the poet's life (05/07/1903 - 10/14/1958) - these are the first poems of Nikolai Zabolotsky about love, not about abstract love, not about love as such, in people's lives, not sketches from other people's destinies - but their own, personal, lived by the heart. complications in the personal life of the poet.

Host (2)

In 2000, the poet's son, Nikita Zabolotsky, in an interview with the Trud newspaper, revealed the secret of this cycle, answering a journalist's question:

“E. Konstantinova: Restrained, according to eyewitnesses, in everyday life, Zabolotsky remained the same in poetry. But in the “Last Love” cycle, feelings splash out without looking back ...

Nikita Zabolotsky: - In the autumn of 1956, a tragic discord occurred in the Zabolotsky family, the main reason for which was Vasily Grossman, the author of the famous novel “Life and Fate”. Having settled in neighboring buildings on Begovaya Street, the Zabolotskys and Grossmans quickly became close at home: their wives and children were friends, the poet and prose writer were interested in talking. True, the relationship between these too different personalities was not easy. Conversations with Grossman, venomously ironic, sharp, each time turned to the subject that irritated Zabolotsky's old spiritual wounds, violated the hard-to-establish internal balance necessary for him to work. Ekaterina Vasilievna, who, like no one else, understood the state of her husband, nevertheless could not remain indifferent to the power of mind, talent, masculine charm of Grossman .. One cannot convey his surprise, resentment and grief, ”recalls the poet’s friend Nikolai Korneevich Chukovsky. “He knew all the things she could do, and suddenly, at forty-nine, she did something completely unforeseen by him. Left alone, in anguish and unhappiness, Zabolotsky did not complain to anyone. He continued to work as hard and systematically on translations as always, he carefully cared for the children. He expressed all his torment only in verse, perhaps the most beautiful of all that he wrote in his entire life. He yearned for Katerina Vasilievna and from the very beginning was painfully worried about her. He thought they were both to blame, which meant he blamed himself. I thought about her constantly, saw her everywhere. He did not make any attempts to return her, but the sharpness of his longing and tenderness did not pass.

http://video.yandex.ru/users/lar2932/view/79/# - Enchanted, bewitched ... 3 m.45 sec.

Lead (1).

In early February 1957, they parted. Zabolotsky plunged into work. And after talking with Ekaterina Vasilievna, he was imbued with the conviction that time would pass - and she would return to him. “Many of my poems, in essence, as you know,” my father wrote to my mother in Leningrad on January 20, 1958, “we wrote together with you. Often one of your hints, one remark changed the essence of the matter ... And behind those poems that I wrote alone, you always stood ... You know that for the sake of my art I neglected everything else in life. And you helped me."

From the memoirs of Nikolai Chukovsky:

He came to see me somehow in the second half of August 1958, Chukovsky was his and before leaving he read a poem that shocked me. It was a stern demand addressed to himself:

Lead (2).

Don't let your soul be lazy!
So as not to crush water in a mortar,
The soul must work

Drive her from house to house
Drag from stage to stage
Through the wasteland, through the windbreak
Through the snowdrift, through the bump!

Don't let her sleep in bed
By the light of the morning star
Keep a lazy man in a black body
And don't take the reins off her!

If you want to give her an indulgence,
Releasing from work
She's the last shirt
Will rip you off without pity.

And you grab her by the shoulders
Teach and torture until dark
To live with you like a human
She re-learned.

She is a slave and a queen
She is a worker and a daughter,
She has to work
And day and night, and day and night!

Host (1)

After reading this poem, he left cheerful. And suddenly, a week later, I find out that Zabolotsky's wife has returned ...

He survived the departure of Katerina Vasilievna, but he could not survive her return. His heart gave out and he had a heart attack.

He lived for another month and a half. All his efforts - and he did not allow his soul to be lazy! - he sent to bring his affairs in final order. With his characteristic accuracy, he compiled a complete list of his poems, which he considered worthy of publication. He wrote a will in which he forbade the printing of poems that were not included in this list. This will was signed on October 8, 1958, a few days before his death ... "

Host (2)

Here is the text of this literary testament:

"This manuscript includes the complete collection of my poems and poems, established by me in 1958. All other poems ever written and printed by me, I consider either accidental or unsuccessful. It is not necessary to include them in my book. Texts of this manuscript checked, corrected, and finally established; previously published versions of many verses should be replaced by the texts given here.

Lead (1).

Song "Juniper Bush"http://video.mail.ru/mail/arkadij-khait/23696/24397.html - (4min 29s).

Lead (1).

Inna Rostovtseva calls the poet a "discovery". He is a discovery, because, having gone through such a difficult life and creative path, he was able to remain himself, although in the first half of the 20th century, the task was under the power of a few.

http://www.youtube.com/watch?v=3Pt1uLeBMD0 Musical compositions on verses by Zabolotsky.

Thank you for your attention. See you next time.

*************

Bibliography:

Memories of N. Zabolotsky. - M.: Sov. Writer, 1984. -464s.

Zabolotsky N.A. Selected works. - M.: Artist. Lit., 1991. - 431s.

Zabolotsky N.N. Life N.A. Zabolotsky. -2nd ed., revised. - St. Petersburg: 2003. - 664 p.

Makedonov A.V. Nikolay Zabolotsky. Life and art. Metamorphoses.- L.: Sov. Attacher, 1987. - 368s.

Prepared by Moiseeva N.G.

Life and work of N.A. Zabolotsky.

Prepared

E. A. Bukurova - teacher of additional education MAUDO "House of children's creativity"

villages of Staromisnskaya, Krasnodar Territory

2017

Goals and tasks of the work:

• analyze creativity

N.A. Zabolotsky;

• consider the ideological and artistic sound of the lyrics of N.A. Zabolotsky;
• study critical literature, as well as materials from Internet sites on the chosen topic.

N.A. Zabolotsky

• Zabolotsky - one of the most underestimated authors of that time - the poet N. Zabolotsky. Everyone knows that Akhmatova is a genius, but not everyone can quote her poems. The same applies to Blok or Tsvetaeva. But the work of Zabolotsky is known to almost everyone - but many have no idea that this is Zabolotsky. “Kissed, bewitched, with the wind in the field…”, “The soul is obliged to work…” and even “Kotya, kitty, kitty…”. All this is Zabolotsky Nikolai Alekseevich. The poems belong to him. They went to the people, became songs and lullabies for children, the name of the author turned into an extra formality. On the one hand - the most sincere declaration of love of all possible. On the other hand, it is a blatant injustice towards the author.

• Confession Kissed, bewitched Once married to the wind in the field, All of you, as if chained, My precious woman! Not happy, not sad As if descended from the dark sky, You and my wedding song And my star is crazy. I will bow down on your knees I will embrace them with fierce force, And tears and poems I will burn you, bitter, sweet. Open my midnight face Let me enter these heavy eyes, In these black eastern eyebrows, In these hands are your half-naked. What will increase - will not decrease, What will not come true - will be forgotten ... Why are you crying, beautiful? Or is it just my imagination ?

• The curse of underestimation affected not only the poet's poems, but also his own life. She has always been "out of character". Did not meet the standards, ideas and aspirations. For a scientist, he was too much of a poet, for a poet too much of a layman, for a man in the street too much of a dreamer. His spirit did not match his body in any way. Blond of medium height, chubby and prone to fullness, Zabolotsky gave the impression of a solid and sedate person. A respectable young man of a very prosaic appearance in no way corresponded to the ideas of a true poet - sensitive, vulnerable and restless. And only people who knew Zabolotsky closely understood that under this external sham importance lies a surprisingly sensitive, sincere and cheerful person.

• Zabolotsky Even the literary circle, in which Nikolai Alekseevich Zabolotsky found himself, was “wrong”. Oberiuts
• – shameless, laughing, paradoxical, seemed the most unsuitable company for a serious young man. Meanwhile, Zabolotsky was very friendly with Kharms, and with Oleinikov, and with Vvedensky.
• Another paradox of inconsistency is Zabolotsky's literary preferences. Famous Soviet poets left him indifferent. He also did not like Akhmatova, highly valued by the near-literary environment. But the restless, restless, ghostly surreal Khlebnikov seemed to Zabolotsky a great and profound poet. The worldview of this man painfully contrasted with his appearance, his way of life and even his origin.

Life and art

N.A. Zabolotsky was born in Kazan in the family of an agronomist. Nicholas spent his childhood years in the village of Sernur in the Vyatka province.

The future poet Nikolai Zabolotsky was baptized here.

In 1921, Nikolai Zabolotsky entered the Pedagogical Institute. Herzen in Leningrad. During the years of study, he became close to a group of young authors, "Oberiuts"

("Unification of Real Art").

The collision with the "turned inside out" world of the barracks played the role of a kind of creative catalyst in the fate of Zabolotsky: it was in 1926-1927 that he wrote his first real poetic works .

• In addition, Zabolotsky began to translate. "The Knight in the Panther's Skin" is still familiar to readers in Zabolotsky's translation. In addition, he translated and arranged for children's editions of Gargantua and Pantagruel, Til Ulenspiegel and one section of Gulliver's Travels. Marshak, the country's No. 1 translator, spoke highly of Zabolotsky's work. At the same time, the poet began to work on a translation from the Old Slavonic "The Tale of Igor's Campaign". It was a huge job, done with unusual talent and care. Translated by Zabolotsky and Alberto Saba, an Italian poet little known in the USSR.

• Marriage In 1930, Zabolotsky married Ekaterina Klykova. Oberiut friends spoke of her extremely warmly. Even the caustic Kharms and Oleinikov were fascinated by the fragile, silent girl. The life and work of Zabolotsky were closely connected with this amazing woman. Zabolotsky was never rich. Moreover, he was poor, sometimes simply poor. The meager earnings of a translator barely allowed him to support his family. And all these years, Ekaterina Klykova did not just support the poet. She completely handed over to him the reins of government of the family, never arguing with him or reproaching anything with him. Even family friends were amazed at the woman's devotion, noting that there was something not quite natural in such dedication. The way of the house, the slightest economic decisions - all this was determined only by Zabolotsky.

In 1946 Zabolotsky returned to Moscow; he was reinstated in the Writers' Union. He worked on translations of Georgian poets, visited Georgia. In the 1950s, the poems “Ugly Girl”, “Old Actress”, etc. were published, which made his name widely known. However, the poet's health was severely undermined by exile. In 1955, Zabolotsky had his first heart attack, and on October 14, 1958, his heart stopped forever.

« EVENING BAR»

• On the ceilings they rocked Bedlam with flowers in half. One is crying, fat belly, Another cries out: "I am Jesus, Pray to me, I'm on the cross There are nails in the palms and everywhere! The siren approached him And now, having saddled the plates, Goblets furious conclave It lit up like a chandelier. Eyes fell like weights The glass was broken, the night came out And fat cars Grabbing Piccadilly under the arms, Easily rolled away. And outside the window in the wilderness of time A lampion shone on the mast. There Nevsky in splendor and anguish, Changed colors in the night From a fairy tale was in the balance, The winds blow without fear. And, as if filled with rage, Through fog, longing, gasoline, A winged ball burst over the tower And the name "Singer" extolled.

In the wilderness of a bottle paradise Where the palm trees have dried up long ago Playing under electricity A window floated in the glass. It shone like gold Then it sat down, it was heavy, Beer smoke curled above him ... But this cannot be told. Ringing with a silver chain People fall down the stairs Cracking cardboard shirt With a bottle leads a round dance. Siren pale behind the counter Guests will be treated with tincture, He squints his eyes, leaves, comes, Then with a guitar to take off She sings, sings about the sweet, How sweet she loved How, affectionate to the body and cruel, The silk cord drank Like whiskey hanging in glasses, Like, from a broken temple Splashing the exhausted chest, He suddenly fell. There was sadness And everything she sang about Lies in a glass whiter than chalk.

• The men were also screaming They rocked on the tables

THE THEME OF MAN AND NATURE

The lyrics of N. A. Zabolotsky are philosophical in nature. His poems are imbued with thoughts about nature, about the place of man in it, about the struggle between the forces of chaos and the forces of reason, harmony.

Dying, a person reincarnates, finds a new life in nature. The world of nature and the world of man are amazing in the works of N. A. Zabolotsky. Recreated with remarkable poetic skill, they invite the reader to deep reflections on the meaning of life, on the essence of the universe.

PHILOSOPHICAL LYRICS

N. A. Zabolotsky belongs to the first generation of Russian writers who entered literature after the revolution. His whole life is a feat for the sake of poetry. When it comes to talking about poetic skill, they always remember Zabolotsky. But the main quality and dignity of his poetry is still its philosophical nature.

K. I. Chukovsky wrote: “To some of the present, these lines of mine will seem like a reckless and gross mistake, but I am responsible for them with all my seventy years of reading experience.” So Chukovsky reinforced his opinion about Zabolotsky, which he expressed in three words - a truly great poet.

SOURCES

1. Nikolai Zabolotsky. Spring days laboratory: Poems and poem-M.: Young Guard, 1987.

2. Zabolotsky N. N. Life of N. A. Zabolotsky. M., 1998

3. Zabolotsky N. A. Izb. Op. M., 1991

4. Zabolotsky N. A. In a birch grove. Columns and poems. M., 2004

5. fb.ru . Nikolai Zabolotsky: biography, creativity.

6.Slide template http//aida.ucoz.ru

Creativity N. Zabolotsky

Nikolai Zabolotsky belongs to the generation of writers who entered literature after the revolution. He was distinguished by hard work on improving his poetic skills, the development of his own concept, a critical attitude towards his works and their selection. Zabolotsky believed that it was necessary to write not individual poems, but a book.

Zabolotsky very cared for the human soul. Hence the psychologically rich plot sketches (“ Wife», « Jonah», « To the cinema», « Ugly girl», « old actress") and observation of how soul and destiny are reflected in appearance person (" On the beauty of human faces», « Portrait"). Also important to the poet the beauty of nature and its impact on the inner world person. And finally, a number of Zabolotsky's works are connected with interest in history and epic poetry Rubruk in Mongolia"). The poet created his formula of creativity, the triad "thought - image - music". Critics called Zabolotsky's work "poetry of thought."

In the work of the poet are clearly distinguished three main periods. In the first early period, the influence of the aesthetics of the Oberiuts is noticeable (he was one of the founders of the OBERIU group). In their declaration, they called themselves poets of "naked concrete figures, brought close to the viewer's eyes."

So lyrics from the 1920s- This denunciation of the lack of spirituality of the petty-bourgeois world of the NEP period, people's greed for the material, which prevents them from feeling the beauty of the world. The images of these early poems included in the collection " columns”, differ in relief and surprise. So in the poem Wedding” the poet satirically draws a flock of “meaty women” who eat “thick sweets”. AT " evening bar» depicts the atmosphere of a beer cellar, called a bottle paradise. A glare of light reflected in a beer mug transforms into an unexpected image - "a window floated in a glass."

Late 1920s - early 1930s his main theme comes to Zabolotsky's poetry - nature theme. The son of an agronomist, Zabolotsky, from childhood saw in nature a living being endowed with reason. And according to the poet, the socialist revolution should free not only people, but also animals from exploitation. Man for him is the crown of nature, "her thought, her unsteady mind." And yet man is not a king, but a son of nature. Therefore, he should not conquer nature, but carefully lead it from “wild freedom”, “where evil is inseparable from good”, to the world of reason, harmony and the sun. These thoughts are expressed in the poem I'm not looking for harmony in nature...».

In the 1930s, Zabolotsky studied the works of Engels and Tsiolkovsky and writes natural philosophical poems about life and death, death and immortality. Zabolotsky is sure that a person is a cluster of atoms, and after death, in the process of rebirth of matter, he can become a part of nature. This is reflected in the poems Metamorphoses" and " Will».

AT post-war lyrics of the 1940s the poet reveals the theme of memory and continuity of generations (« Cranes") and theme of war (« In this birch grove..."), which is not easy. Echoing Tyutchev, Zabolotsky sings in his later poems "last love". But his feeling is full of bitterness. Either the poet admits that he will burn “his bitter, sweet ... with tears and poems”, then his soul “cries out in pain”, then between him and his joy “a wall of thistles rises”, because “their song is sung” and "There will be no happiness until the grave, my friend."

In general, Zabolotsky's poems are distinguished by the freshness of artistic images, increased musicality, deep thought and sincere feeling.

V.A. Zaitsev

Nikolai Alekseevich Zabolotsky (1903-1958) - an outstanding Russian poet, a man of difficult fate, who went through a difficult path of artistic search. His original and diverse work enriched Russian poetry, especially in the field of philosophical lyrics, and took a firm place in the poetic classics of the 20th century.

A penchant for writing poetry was discovered in the future poet as early as childhood and during his school years. But serious poetry studies took place at the beginning of the twenties, when Zabolotsky studied - first at Moscow University, and then at the Pedagogical Institute. A.I. Herzen in Petrograd. The “Autobiography” says about this period: “He wrote a lot, imitating either Mayakovsky, then Blok, then Yesenin. I couldn't find my own voice.

Throughout the 20s. the poet passes the way of intensive spiritual searches and artistic experiment. From youthful poems of 1921 (“Sisyphus Christmas”, “Heavenly Seville”, “Heart-Wasteland”), bearing traces of the influences of diverse poetic schools - from symbolism to futurism, he comes to gain creative originality. By the middle of the decade, one after another, his original poems were being created, which subsequently compiled the first book.

At this time, N. Zabolotsky, together with young Leningrad poets of the “left” orientation (D. Kharms, A. Vvedensky, I. Bekhterev and others), organized the “Association of Real Art” (“Oberiu”), Zabolotsky took part in drawing up the program and declaration group, undoubtedly putting its own meaning into its very name: "Oberiu" - "The union of the only realistic art, and "y" is an embellishment that we allowed ourselves." Having entered the association, Zabolotsky most of all strove to maintain independence, elevating the "creative freedom of members of the community" to the main principle.

In 1929, Zabolotsky's first book "Columns" was published, which included 22 poems from 1926-1928. It immediately attracted the attention of readers and critics, caused conflicting responses: on the one hand, serious positive reviews by N. Stepanov, M. Zenkevich and others, who noted the arrival of a new poet with their original vision of the world, on the other hand, rude, odd articles under characteristic titles: "System of cats", "System of girls", "Disintegration of consciousness".

What caused such a mixed reaction? In the poems of "Columns" a sharply individual and estranged perception of the contemporary reality was manifested by the author. The poet himself later wrote that the theme of his poems was deeply alien and hostile to him "the predatory life of all kinds of businessmen and entrepreneurs", "a satirical image of this life". A sharp anti-philistine orientation is felt in many poems of the book (“New Life”, “Ivanovs”, “Wedding”, “Bypass Canal”, “People's House”). In the depiction of the world of the philistines, there are features of absurdism, realistic concreteness is adjacent to hyperbolization and alogism of images.

The book was opened by the poem "Red Bavaria", in the title of which the characteristic realities of that time are recorded: that was the name of the famous beer bar on Nevsky. From the first lines, an extremely concrete, lively and plastic image of the situation of this institution arises:

In the wilderness of a bottle paradise, where palm trees have dried up for a long time, - playing under electricity, a window floated in a glass; it shone on the blades, then set down, became heavy; beer smoke curled over him ... But it is impossible to describe.

The author, to a certain extent, in accordance with the self-characterization given by him in the "Declaration" of the Oberiuts, appears here as "a poet of naked concrete figures, pushed close to the viewer's eyes." In the description of the pub and its regulars that unfolds further, internal tension, dynamics and increasing generalization are consistently growing. Together with the poet, we see how “in that bottle paradise / the sirens trembled on the edge / of the crooked stage”, how “doors are turning on chains, / people are falling down the stairs, / crackling cardboard shirts, / leading a round dance with a bottle”, how “men everyone was shouting too, / they were swinging on the tables, / they were swinging on the ceilings / bedlam with flowers in half ... "The feeling of meaninglessness and absurdity of what is happening is growing stronger, from everyday specifics there is a general phantasmagoria that spills out onto the streets of the city:" Eyes fell, for sure weights, / the glass was broken - the night came out ... "And instead of the" wilderness of the bottle paradise "there is already standing in front of the reader" ... outside the window - in the wilderness of time ... Nevsky in brilliance and longing ... "Generalized judgments of this kind are found and in other verses: “And everywhere crazy delirium ...” (“White Night”).

The very nature of metaphors and comparisons speaks of the sharp rejection of the petty-bourgeois world: “... the groom, unbearably agile, / clings to the bride like a snake” (“New Life”), “in iron armor the samovar / makes noise like a house general” (“Ivanovs”), “Straight bald men / sit like a shot from a gun”, “a huge house, wagging its back, / flies into the space of being” (“Wedding”), “A lantern, bloodless, like a worm, / dangles like an arrow in the bushes” (“People's House ") and etc.

Speaking in 1936 in a discussion about formalism and forced to agree with the accusations of criticism against his experimental poems, Zabolotsky did not abandon what he had done at the beginning of his journey and emphasized: “The columns taught me to look closely at the outside world, aroused in me an interest in things , developed in me the ability to depict phenomena in a plastic way. I managed to find some secret of plastic images in them.”

The secrets of plastic representation were comprehended by the poet not for the sake of a purely artistic experiment, but in line with the development of life content, as well as the experience of literature and other related arts. In this regard, the bright miniature "Movement" (December 1927) is interesting, built on a clear contrast between the static-painterly first and dynamic second stanzas:

The driver sits as if on a throne, armor is made of cotton wool, and the beard, as on an icon, lies, jingling with coins.

And the poor horse waves its arms, then stretches out like a burbot, then again eight legs sparkle in its shiny belly.

The transformation of the horse into a fantastic animal with arms and twice the number of legs gives an impetus to the reader's imagination, in whose imagination the seemingly monumental and motionless picture comes to life. The fact that Zabolotsky was consistently looking for the most expressive artistic solutions in depicting movement is evidenced by the poem “Feast” written soon after (January 1928), where we find a dynamic sketch: “And the horse flows through the air, / conjures the body in a long circle / and cuts with sharp feet / shafts a flat prison.

The book "Columns" became a significant milestone not only in the work of Zabolotsky, but also in the poetry of that time, influencing the artistic searches of many poets. The sharpness of social and moral problems, the combination of plastic representation, odic pathos and grotesque satirical style gave the book its originality and determined the range of the author's artistic possibilities.

Much has been written about her. Researchers rightly connect Zabolotsky's artistic searches and the poetic world of "Stolbtsy" with the experience of Derzhavin and Khlebnikov, the painting of M. Chagall and P. Filonov, and finally, with the "carnival" element of F. Rabelais. The poet's work in his first book relied on this powerful cultural layer.

However, Zabolotsky was not limited to the theme of life and life of the city. In the poems “The Face of a Horse”, “In Our Dwellings” (1926), “Walk”, “The Signs of the Zodiac Faded” (1929) and others, which were not included in the first book, the theme of nature is born and receives an artistic and philosophical interpretation, which becomes the most important in poet's work in the next decade. Animals and natural phenomena are spiritualized in them:

The horse's face is more beautiful and smarter.
He hears the sound of leaves and stones.
Attentive! He knows the cry of an animal
And in the dilapidated grove the rumble of a nightingale.
And the horse stands like a knight on the clock,
The wind plays in light hair,
Eyes burn like two huge worlds
And the mane spreads like royal purple.

The poet sees all natural phenomena alive, bearing human features: “The river is a nondescript girl / Lurking among the grasses ...”; “Each little flower / Waves with a small hand”; finally, “And all nature laughs, / Dying every moment” (“Walk”).

It is in these works that the origins of natural philosophical themes in the lyrics and poems of Zabolotsky of the 30-50s, his reflections on the relationship between man and nature, the tragic contradictions of being, life and death, the problem of immortality.

The formation of philosophical and artistic views and concepts of Zabolotsky was influenced by the works and ideas of V. Vernadsky, N. Fedorov, especially K. Tsiolkovsky, with whom he was in active correspondence at that time. The thoughts of the scientist about the place of mankind in the Universe, of course, acutely worried the poet. In addition, his longstanding passion for the work of Goethe and Khlebnikov clearly affected his worldview. As Zabolotsky himself said: “At that time I was fond of Khlebnikov, and his lines:

I see freedom of horses And equality of cows... -

deeply affected me. The utopian idea of ​​liberating animals appealed to me.”

In the poems "The Triumph of Agriculture" (1929-1930), "The Crazy Wolf" (1931) and "Trees" (1933), the poet followed the path of intense socio-philosophical and artistic searches, in particular, he was inspired by the idea of ​​"emancipation" of animals, due to deep belief in the existence of reason in nature, in all living beings.

Projected on the conditions of collectivization unfolding in the country, embodied in the author's reflections and philosophical conversations of the characters in his disputed poems, this belief caused misunderstanding and sharp critical attacks. The poems were subjected to cruel scrutiny in the articles “Under the guise of foolishness”, “Foolish poetry and the poetry of millions”, etc.

Unfair assessments and the stubborn tone of criticism had a negative impact on the poet's work. He almost stopped writing and at one time was mainly engaged in translation activities. However, the desire to penetrate the secrets of life, the artistic and philosophical understanding of the world in its contradictions, reflections on man and nature continued to excite him, making up the content of many works, including completed in the 40s. the poem "Lodeinikov", fragments of which were written in 1932-1934. The hero, who wears autobiographical traits, is tormented by the contrast between the wise harmony of the life of nature and its sinister, bestial cruelty:

Lodeynikov listened. Over the garden there was a vague rustle of a thousand deaths. Nature, which turned into hell, did its business without fuss. The beetle ate grass, the beetle was pecked by a bird, the ferret drank the brain from a bird's head, and the terribly twisted faces of nocturnal creatures looked out from the grass. Nature's age-old winepress united death and being into a single club. But thought was powerless to unite its two mysteries.

("Lodeinikov in the garden", 1934)

Tragic notes are clearly heard in the understanding of natural and human existence: “Our waters shine on the abysses of torment, / forests rise on the abysses of grief!” (By the way, in the 1947 edition, these lines were altered and smoothed out almost to complete neutrality: “So this is what the noise is about in the darkness of the water, / About what the forests whisper, sighing!” And the poet’s son N.N. Zabolotsky is certainly right, commenting on these poems in the early 1930s: “The poet’s perception of the social situation in the country was also indirectly reflected in the description of the “eternal winepress” of nature”).

In the lyrics of Zabolotsky in the mid-30s. more than once social motives arise (the poems "Farewell", "North", "Gori Symphony", published then in the central press). But still the main focus of his poetry is philosophical. In the poem “Thinking about death yesterday...” (1936), overcoming the “unbearable anguish of separation” from nature, the poet hears the singing of evening grasses, “and the speech of water, and the dead cry of stone.” In this lively sound, he catches and distinguishes the voices of his favorite poets (Pushkin, Khlebnikov) and completely dissolves himself in the world around him: “... I myself was not a child of nature, / but her thought! But her unsteady mind!

The poems “Thinking about death yesterday...”, “Immortality” (later called “Metamorphoses”) testify to the poet’s close attention to the eternal questions of life, which acutely worried the classics of Russian poetry: Pushkin, Tyutchev, Baratynsky. In them he tries to solve the problem of personal immortality:

How everything changes! What used to be a bird -
Now lies a written page;
Thought was once a mere flower;
The poem walked like a slow bull;
And what was me, then, perhaps,
Again grows and the world of plants multiplies.
("Metamorphoses")

In The Second Book (1937), the poetry of thought triumphed. Significant changes have taken place in Zabolotsky's poetics, although the secret of "plastic images" he found back in "Columns" was here clearly and very expressively embodied, for example, in such impressive paintings of the poem "North":

Where are the people with icy beards,
Putting a conical three-piece on his head,
They sit in sledges and long poles
They let out an icy spirit from their mouths;
Where are the horses, like mammoths in shafts,
They run rumbling; where the smoke is on the roofs,
Like a statue frightening the eye...

Despite the seemingly favorable external circumstances of Zabolotsky's life and work (the release of the book, the high appreciation of his translation of "The Knight in the Panther's Skin" by S. Rustaveli, the beginning of work on poetic transcriptions of "The Tale of Igor's Campaign" and other creative plans), trouble lay in wait for him. In March 1938, he was illegally arrested by the NKVD, and after a severe interrogation that lasted four days, and detention in a prison psychiatric hospital, he received a five-year term of corrective labor.

From the end of 1938 to the beginning of 1946, Zabolotsky stayed in the camps of the Far East, Altai Territory, Kazakhstan, worked in the most difficult conditions at logging, blasting, railway construction, and only thanks to a happy coincidence he was able to get a job as a draftsman in a design bureau, which saved him life.

It was a decade of enforced silence. From 1937 to 1946, Zabolotsky wrote only two poems that develop the theme of the relationship between man and nature ("Forest Lake" and "Nightingale"). In the last year of the Great Patriotic War and the first post-war period, he resumed work on a literary translation of The Tale of Igor's Campaign, which played an important role in his return to his own poetic work.

The post-war lyrics of Zabolotsky are marked by the expansion of the thematic and genre range, the deepening and development of socio-psychological, moral, humanistic and aesthetic motives. Already in the first verses of 1946: "Morning", "Blind", "Thunderstorm", "Beethoven" and others - the opened horizons of a new life seemed to open up and at the same time the experience of severe trials affected.

The poem "In this birch grove" (1946), all permeated with the rays of the morning sun, carries a charge of high tragedy, unrelenting pain of personal and national disasters and losses. The tragic humanism of these lines, their suffering harmony and universal sound are paid for by the torments that the poet himself experienced from arbitrariness and lawlessness:

In this birch grove,
Far from suffering and troubles,
Where pink fluctuates
unblinking morning light
Where a transparent avalanche
Leaves are pouring from high branches, -
Sing to me, oriole, a desert song,
The song of my life.

These poems are about the life and fate of a person who endured everything, but not a broken and unbelieving person, about the dangerous, approaching, perhaps, the last line of the paths of mankind, about the tragic complexity of time passing through the human heart and soul. They contain the bitter life experience of the poet himself, an echo of the past war and a warning about the possible death of all life on the planet, devastated by an atomic whirlwind, global catastrophes (“... Atoms shudder, / Throwing houses like a white whirlwind ... You fly over cliffs, / You fly over the ruins of death... And a deadly cloud stretches / Above your head”).

Before us stands a visionary, comprehensively meaningful universal catastrophe and the defenselessness of everything living on earth in front of formidable, chaotic, forces beyond the control of man. And yet these lines carry light, purification, catharsis, leaving a ray of hope in the human heart: "Beyond the great rivers / The sun will rise ... And then in my torn heart / Your voice will sing."

In the post-war years, Zabolotsky wrote such wonderful poems as “Blind”, “I am not looking for harmony in nature”, “Remembrance”, “Farewell to friends”. The latter is dedicated to the memory of A. Vvedensky, D. Kharms, N. Oleinikov and other comrades in the Oberiu group, who became in the 30s. victims of Stalin's repressions. Zabolotsky's poems are marked by impressive poetic concreteness, plasticity and picturesqueness of the image and, at the same time, by a deep social and philosophical understanding of the problems of life and being, nature and art.

Signs of humanism that are not characteristic of the official doctrine - pity, mercy, compassion - are clearly visible in one of the first post-war poems by Zabolotsky "The Blind One". Against the background of the “dazzling day” rising to the sky, the lilacs blooming wildly in the spring gardens, the poet’s attention is riveted to the old man “with his face upturned to the sky”, whose whole life is “like a big habitual wound” and who, alas, will never open “half-dead eyes ". A deeply personal perception of someone else's misfortune is inseparable from philosophical reflection, giving rise to the lines:

And I'm afraid to think
That somewhere at the edge of nature
I'm just as blind
With a face upturned to the sky.
Only in the darkness of the soul
I watch spring waters,
I'm talking to them
Only in my bitter heart.

Sincere sympathy for people walking "through thousands of troubles", the desire to share their grief and anxieties brought to life a whole gallery of poems ("Passerby", "Loser", "In the Cinema", "Ugly Girl", "Old Actress", "Where- then in a field near Magadan”, “Death of a doctor”, etc.). Their heroes are very different, but with all the variety of human characters and the author's attitude towards them, two motives prevail here, absorbing the author's concept of humanism: "Infinitely human patience / If love does not go out in the heart" and "Human strength / There is no limit ... »

In the work of Zabolotsky in the 50s, along with the lyrics of nature and philosophical reflections, the genres of a poetic story and a portrait built on the plot are intensively developed - from those written back in 1953-1954. poems "Loser", "In the Cinema" to those created in the last year of his life - "General's Cottage", "Iron Old Woman".

In a kind of poetic portrait "Ugly Girl" (1955), Zabolotsky poses a philosophical and aesthetic problem - about the essence of beauty. Drawing the image of an “ugly girl”, a “poor ugly girl”, in whose heart lives “another's joy just like her own”, the author, with all the logic of poetic thought, leads the reader to the conclusion that “what is beauty”:

And even if her features are not good And she has nothing to seduce the imagination, - The infantile grace of the soul Already shows through in any of her movements.

And if so, what is beauty And why do people deify it?

Is she a vessel in which there is emptiness, Or a fire flickering in a vessel?

The beauty and charm of this poem, revealing the “pure flame” that burns in the depths of the soul of an “ugly girl”, is that Zabolotsky was able to show and poetically affirm the true spiritual beauty of a person - something that was a constant subject of his thoughts throughout the 50s gg. (“Portrait”, “Poet”, “On the beauty of human faces”, “Old actress”, etc.).

The social, moral, and aesthetic motives intensively developed in Zabolotsky's later work did not supplant his most important philosophical theme of man and nature. It is important to emphasize that now the poet has taken a clear position in relation to everything connected with the invasion of nature, its transformation, etc.: “Man and nature are a unity, and only a complete fool can speak seriously about some kind of conquest of nature and dualist. How can I, a man, conquer nature if I myself am nothing but her mind, her thought? In our everyday life, this expression "the conquest of nature" exists only as a working term inherited from the language of savages. That is why in his work of the second half of the 50s. the unity of man and nature is revealed with special depth. This idea runs through the entire figurative structure of Zabolotsky's poems.

Thus, the poem “Gombori Forest” (1957), written on the basis of impressions from a trip to Georgia, is distinguished by its vivid picturesqueness and musicality of images. Here are “cinnabar with ocher on the leaves”, and “maple in illumination and beech in the glow”, and bushes similar to “harps and trumpets”, etc. The poetic fabric itself, epithets and comparisons are marked by increased expressiveness, a riot of colors and associations from the sphere of art (“There are bloody veins in the cornelian grove / The bush bulged ...”; “... the oak raged like Rembrandt in the Hermitage, / And the maple, like Murillo, soared on wings”), and at the same time, this plastic and pictorial depiction is inseparable from the artist’s intent thought, imbued with a lyrical sense of belonging to nature:

I became the nervous system of plants,
I became the reflection of stone rocks,
And the experience of my autumn observations
I wished to give back to humanity.

Admiration for the luxurious southern landscapes did not cancel the long-standing and persistent passions of the poet, who wrote about himself: “I was brought up by harsh nature ...” Back in 1947, in the poem “I touched the leaves of eucalyptus”, inspired by Georgian impressions, he not accidentally connects his sympathies, pain and sadness with other visions much more dear to the heart:

But in the furious splendor of nature
I dreamed of Moscow groves,
Where the blue sky is paler
Plants are more modest and simpler.

In the late poems of the poet, the autumn landscapes of the homeland are often seen by him in expressive-romantic tones, realized in images marked by plasticity, dynamism, sharp psychologism: leaves moving” (“Autumn landscapes”). But, perhaps, he manages to convey the “charm of the Russian landscape” with special force, breaking through the dense veil of everyday life and seeing and depicting this “realm of fog and darkness” in a new way, which is actually full of special beauty and secret charm.

The poem "September" (1957) is an example of the animation of a landscape. Comparisons, epithets, personifications - all components of the poetic structure serve to solve this artistic problem. The dialectic of the development of the image-experience is interesting (correlation between the motives of bad weather and the sun, withering and flourishing, the transition of associations from the sphere of nature to the human world and vice versa). A ray of sun breaking through the rain clouds illuminated the hazel bush and evoked a whole stream of associations and thoughts in the poet:

It means that the distance is not forever curtained by Clouds and, therefore, not in vain,
Like a girl, having flared up, the hazel shone at the end of September.
Now, painter, grab brush after brush, and on the canvas
Golden as fire and garnet Draw this girl to me.
Draw, like a tree, an unsteady young princess in a crown
With a restlessly sliding smile On a tear-stained young face.

Subtle spiritualization of the landscape, calm, thoughtful intonation, agitation and together restraint of tone, colorfulness and softness of the picture create the charm of these poems.

Noticing the details with pinpoint accuracy, capturing the moments of the life of nature, the poet recreates her lively and whole image in its constant, fluid variability. In this sense, the poem "Evening on the Oka" is characteristic:

And the clearer the details of the Objects around become,
All the more immense are the distances of river meadows, backwaters and bends.
The whole world is on fire, transparent and spiritual, Now it is truly good,
And you, rejoicing, recognize many wonders In his living features.

Zabolotsky was able to subtly convey the spirituality of the natural world, to reveal the harmony of man with it. In his late lyrics, he moved towards a new and original synthesis of philosophical reflection and plastic image, poetic scale and microanalysis, comprehending and artistically capturing the connection between modernity, history, and “eternal” themes. Among them, the theme of love occupies a special place in his later work.

In 1956-1957. the poet creates a lyrical cycle "Last Love", consisting of 10 poems. They unfold a dramatic story of the relationship of already elderly people, whose feelings have passed difficult tests.

Deeply personal love experiences are invariably projected in these verses onto the life of the surrounding nature. In the closest merging with it, the poet sees what is happening in his own heart. And therefore, already in the first poem, the “thistle bouquet” carries the reflections of the universe: “These stars with sharp ends, / These sprays of the northern dawn / ... This is also an image of the universe ...” (emphasis added. - V.Z.) . And at the same time, this is the most concrete, plastic and spiritualized image of the departing feeling, the inevitable parting with the beloved woman: “... Where are the bunches of flowers, blood-headed, / Directly embedded in my heart”; “And a wedge-shaped thorn stretched / In my chest, and for the last time / A sad and beautiful one shines on me / The look of her inextinguishable eyes.”

And in other poems of the cycle, along with a direct, immediate expression of love (“Confession”, “You swore - to the grave ...”), it also arises and is reflected - in the landscape paintings themselves, the living details of the surrounding nature, in which the poet sees "a whole world of jubilation and grief" ("Sea walk"). One of the most impressive and expressive poems in this regard is The Juniper Bush (1957):

I saw a juniper bush in a dream
I heard a metallic crunch in the distance,
I heard a ringing of amethyst berries,
And in a dream, in silence, I liked him.
I smelled a slight smell of resin through my sleep.
Bending these low trunks,
I noticed in the darkness of tree branches
Slightly living likeness of your smile.

These poems surprisingly combine the ultimate realistic concreteness of visible, audible, perceived by all senses signs and details of an ordinary, seemingly natural phenomenon and a special fragility, variability, impressionism of visions, impressions, memories. And the juniper bush that the poet dreamed of in a dream becomes a capacious and multidimensional image-personification that has absorbed the old joy and today's pain of outgoing love, the elusive image of a beloved woman:

juniper bush, juniper bush,
The cooling babble of changeable lips,
Light babble, barely reeking of pitch,
Pierced me with a deadly needle!

In the final poems of the cycle (“Meeting”, “Old Age”), the dramatic life conflict is resolved, and the painful experiences are replaced by a feeling of enlightenment and peace. The “life-giving light of suffering” and the “distant weak light” of happiness flickering with rare lightning flashes are inextinguishable in memory, but, most importantly, all the hardest is behind: “And only their souls, like candles, / Stream the last warmth.”

The late period of Zabolotsky's work is marked by intense creative searches. In 1958, turning to historical themes, he created a kind of poem-cycle "Rubruk in Mongolia", based on a real fact undertaken by a French monk in the 13th century. travel through the expanses of what was then Russia, the Volga steppes and Siberia to the land of the Mongols. In the realistic pictures of life and life of the Asian Middle Ages, recreated by the power of the poet's creative imagination, in the very poetics of the work, a peculiar meeting of modernity and the distant historical past takes place. When creating the poem, the poet’s son notes, “Zabolotsky was guided not only by Rubruk’s carefully studied notes, but also by his own memories of movements and life in the Far East, in the Altai Territory, and Kazakhstan. The ability of the poet to simultaneously feel himself in different time periods is the most amazing thing in the poetic cycle about Rubruk.

In the last year of his life, Zabolotsky wrote many lyrical poems, including "Green Ray", "Swallow", "Grows near Moscow", "At sunset", "Do not let your soul be lazy ...". He translates an extensive (about 5 thousand lines) cycle of Serbian epic tales and negotiates with a publishing house to translate the German folk epic "The Nibelungenlied". He also plans to work on a large philosophical and historical trilogy ... But these creative ideas were no longer destined to come true.

With all the diversity of Zabolotsky's work, the unity and integrity of his artistic world should be emphasized. Artistic and philosophical understanding of the contradictions of life, deep reflections on man and nature in their interaction and unity, a kind of poetic embodiment of modernity, history, "eternal" themes form the basis of this integrity.

Zabolotsky's work is basically deeply realistic. But this does not deprive him of a constant desire for artistic synthesis, for combining the means of realism and romance, a complex associative, conditionally fantastic, expressive and metaphorical style, which openly manifested itself in the early period and was preserved in the depths of later poems and poems.

Highlighting in the classical heritage of Zabolotsky “first of all, realism in the broadest sense of the word”, A. Makedonov emphasized: “This realism includes both a wealth of forms and methods of lifelikeness, up to what Pushkin called “the Flemish school of motley rubbish”, and a wealth of forms grotesque, hyperbolic, fabulous, conditional, symbolic reproduction of reality, and the main thing in all these forms is the desire for the deepest and most generalizing, multi-valued penetration into it, in its entirety, the diversity of spiritual and sensual forms of being. This largely determines the originality of Zabolotsky's poetics and style.

In the program article "Thought-Image-Music" (1957), summarizing the experience of his creative life, emphasizing that "the heart of poetry is in its content", that "the poet works with all his being", Zabolotsky formulates the key concepts of his integral poetic system in this way : "Thought - Image - Music - this is the ideal triplicity to which the poet strives." This desired harmony is embodied in many of his poems.

In the work of Zabolotsky, there is undoubtedly an update and development of the traditions of Russian poetic classics, and especially the philosophical lyrics of the 18th-19th centuries. (Derzhavin, Baratynsky, Tyutchev). On the other hand, from the very beginning of his creative activity, Zabolotsky actively mastered the experience of the poets of the 20th century. (Khlebnikov, Mandelstam, Pasternak and others).

Regarding the passion for painting and music, which was clearly reflected not only in the very poetic fabric of his works, but also in the direct mention in them of the names of a number of artists and musicians (“Beethoven”, “Portrait”, “Bolero”, etc.), the poet’s son wrote in the memoirs “On the Father and Our Life”: “Father always treated painting with great interest. His penchant for such artists as Filonov, Brueghel, Rousseau, Chagall is well known. In the same memoirs, Beethoven, Mozart, Liszt, Schubert, Wagner, Ravel, Tchaikovsky, Prokofiev, Shostakovich are named among Zabolotsky's favorite composers.

Zabolotsky proved to be an excellent master of poetic translation. His verse adaptations of The Tale of Igor's Campaign and The Knight in the Panther's Skin by S. Rustaveli, translations from Georgian classical and modern poetry, from Ukrainian, Hungarian, German, Italian poets became exemplary.

Life and career of N.A. Zabolotsky in his own way reflected the tragic fate of Russian literature and Russian writers in the 20th century. Having organically absorbed huge layers of domestic and world culture, Zabolotsky inherited and developed the achievements of Russian poetry, in particular and especially philosophical lyrics - from classicism and realism to modernism. He combined in his work the best traditions of literature and art of the past with the most daring innovation characteristic of our century, rightfully taking his place among his classic poets.

L-ra: Russian literature. - 1997. - No. 2. - S. 38-46.

Keywords: Nikolai Zabolotsky, criticism of the work of Nikolai Zabolotsky, criticism of the poetry of Nikolai Zabolotsky, analysis of the work of Nikolai Zabolotsky, download criticism, download analysis, free download, Russian literature of the 20th century

Zabolotsky Nikolai Alekseevich
Born: April 24 (May 7), 1903.
Died: October 14, 1958 (aged 55).

Biography

Nikolai Alekseevich Zabolotsky (Zabolotsky) (April 24, 1903, Kizicheskaya Sloboda, Kaimar Volost, Kazan District, Kazan Province - October 14, 1958, Moscow) - Russian Soviet poet, translator.

Born not far from Kazan - on a farm of the Kazan provincial zemstvo, located in the immediate vicinity of the Kizichesky settlement, where his father Alexei Agafonovich Zabolotsky (1864-1929) - an agronomist - worked as a manager, and his mother Lidia Andreevna (nee Dyakonova) (1882 (?) - 1926) - a rural teacher. Baptized on April 25 (May 8), 1903 in the Varvara Church in Kazan. He spent his childhood in the Kizicheskaya settlement near Kazan and in the village of Sernur, Urzhum district, Vyatka province (now the Republic of Mari El). In the third grade of a rural school, Nikolai "published" his handwritten journal and placed his own poems there. From 1913 to 1920 he lived in Urzhum, where he studied at a real school, was fond of history, chemistry, and drawing.

In the early poems of the poet, the memories and experiences of a boy from the village, organically connected with peasant labor and native nature, were mixed, impressions of student life and colorful book influences, including the dominant pre-revolutionary poetry - symbolism, acmeism: at that time Zabolotsky singled out for himself the work of Blok.

In 1920, after graduating from a real school in Urzhum, he came to Moscow and entered the medical and historical-philological faculties of the university. Very soon, however, he ended up in Petrograd, where he studied at the Department of Language and Literature of the Herzen Pedagogical Institute, which he graduated in 1925, having, by his own definition, "a voluminous notebook of bad poems." The following year, he was called up for military service.

He served in Leningrad, on the Vyborg side, and already in 1927 he retired to the reserve. Despite the short-term and almost optional military service, the collision with the “turned inside out” world of the barracks played the role of a kind of creative catalyst in the fate of Zabolotsky: it was in 1926-1927 that he wrote the first real poetic works, found his own voice, unlike anyone else , at the same time he participated in the creation of the OBERIU literary group. At the end of his service, he got a place in the children's book department of the Leningrad OGIZ, which was led by S. Marshak.

Zabolotsky was fond of painting Filonova , Chagall , Brueghel. The ability to see the world through the eyes of an artist remained with the poet for life.

After leaving the army, the poet found himself in the situation of the last years of the NEP, the satirical image of which became the theme of the poems of the early period, which made up his first poetic book - "Columns". In 1929, it was published in Leningrad and immediately caused a literary scandal and mocking reviews in the press. Rated as a "hostile sortie", she, however, did not cause direct "organizational conclusions" - orders in relation to the author, and he (with the help of Nikolai Tikhonov) managed to establish special relations with the Zvezda magazine, where about ten poems were published that replenished Stolbtsy during second (unpublished) edition of the collection.

Zabolotsky managed to create surprisingly multidimensional poems - and their first dimension, which is immediately noticeable, is a sharp grotesque and satire on the topic of petty-bourgeois life and everyday life, dissolving personality in themselves. Another facet of the "Columns", their aesthetic perception, requires some special readiness of the reader, because for those who know, Zabolotsky wove another artistic and intellectual fabric, a parody. In his early lyrics, the very function of parody changes, its satirical and polemical components disappear, and it loses its role as a weapon of internal literary struggle.

In "Disciplina Clericalis" (1926) there is a parody of Balmont's tautological grandiosity, culminating in Zoshchenko's intonations; in the poem "On the Stairs" (1928), through the kitchen, already Zoshchenko's world, "Waltz" by Vladimir Benediktov suddenly appears; The Ivanovs (1928) reveals its parody-literary meaning, evoking (hereinafter in the text) the key images of Dostoevsky with his Sonechka Marmeladova and her old man; lines from the poem "The Traveling Musicians" (1928) refer to Pasternak etc.

The basis of Zabolotsky's philosophical searches

From the poem "The signs of the zodiac fade" begins the mystery of the birth of the main theme, the "nerve" of Zabolotsky's creative searches - the Tragedy of Reason sounds for the first time. The "nerve" of these searches in the future will force its owner to devote much more lines to philosophical lyrics. Through all his poems, the path of the most intense implantation of individual consciousness into the mysterious world of being, which is immeasurably wider and richer than the rational constructions created by people, runs. On this path, the poet-philosopher undergoes a significant evolution, during which 3 dialectical stages can be distinguished: 1926-1933; 1932-1945 and 1946-1958

Zabolotsky read a lot and with enthusiasm: not only after the publication of Stolbtsy, but also before, he read the works of Engels, Grigory Skovoroda, the works of Kliment Timiryazev on plants, Yuri Filipchenko on the evolutionary idea in biology, Vernadsky on bio- and noospheres, covering all living things and the intelligent on the planet and extolling both as great transformative powers; read Einstein's theory of relativity, which gained wide popularity in the 1920s; "Philosophy of the Common Cause" by Nikolai Fedorov.

By the publication of The Columns, their author already had his own concept of natural philosophy. It was based on the idea of ​​the universe as a single system that unites living and non-living forms of matter, which are in eternal interaction and mutual transformation. The development of this complex organism of nature occurs from primitive chaos to the harmonic orderliness of all its elements, and the main role here is played by the consciousness inherent in nature, which, in the words of the same Timiryazev, “smolders dully in lower beings and only flashes like a bright spark in the human mind.” Therefore, it is Man who is called upon to take care of the transformation of nature, but in his activity he must see in nature not only a student, but also a teacher, for this imperfect and suffering "eternal winepress" contains the wonderful world of the future and those wise laws by which man should be guided.

In 1931, Zabolotsky got acquainted with the works of Tsiolkovsky, which made an indelible impression on him. Tsiolkovsky defended the idea of ​​a variety of life forms in the Universe, was the first theorist and propagandist of human space exploration. In a letter to him, Zabolotsky wrote: “... Your thoughts about the future of the Earth, humanity, animals and plants deeply concern me, and they are very close to me. In my unpublished poems and poems, I did my best to resolve them.

Further creative path

Collection "Poems. 1926-1932", already typed in the printing house, was not signed for printing. The publication of the new poem "The Triumph of Agriculture", written to some extent under the influence of "Ladomir" by Velimir Khlebnikov (1933), caused a new wave of persecution of Zabolotsky. Threatening political accusations in critical articles convinced the poet more and more that he would not be allowed to establish himself in poetry with his own, original direction. This gave rise to his disappointment and creative decline in the second half of 1933, 1934, 1935. This is where the life principle of the poet came in handy: “We must work and fight for ourselves. How many failures are yet to come, how many disappointments and doubts! But if at such moments a person hesitates, his song is sung. Faith and perseverance. Labor and honesty…” And Nikolay Alekseevich continued to work. Livelihood was provided by work in children's literature - in the 30s he collaborated with the magazines "Hedgehog" and "Chizh", which were supervised by Samuil Marshak, wrote poetry and prose for children (including retold for children "Gargantua and Pantagruel" by Francois Rabelais (1936))

Gradually, the position of Zabolotsky in the literary circles of Leningrad was strengthened. Many poems from this period received favorable reviews, and in 1937 his book was published, including seventeen poems ("Second Book"). On Zabolotsky's desktop lay the begun poetic transcription of the Old Russian poem "The Tale of Igor's Campaign" and his own poem "The Siege of Kozelsk", poems and translations from Georgian. But the ensuing prosperity was deceptive.

In custody

On March 19, 1938, Zabolotsky was arrested and then convicted in the case of anti-Soviet propaganda. As accusatory material in his case, malicious critical articles and a slanderous review "review" appeared, which tendentiously distorted the essence and ideological orientation of his work. He was saved from the death penalty by the fact that, despite being tortured [source not specified for 115 days] during interrogations, he did not admit charges of creating a counter-revolutionary organization, which supposedly included Nikolai Tikhonov, Boris Kornilov and others. At the request of the NKVD, critic Nikolai Lesyuchevsky wrote a review of Zabolotsky's poetry, where he pointed out that ""creativity" Zabolotsky is an active counter-revolutionary struggle against the Soviet system, against the Soviet people, against socialism.

“The first days they didn’t beat me, trying to decompose mentally and physically. I was not given food. They were not allowed to sleep. The investigators succeeded each other, but I sat motionless in a chair in front of the investigator's table - day after day. Behind the wall, in the next office, from time to time someone's frantic screams were heard. My legs began to swell, and on the third day I had to tear off my shoes, as I could not bear the pain in my feet. Consciousness began to become clouded, and I strained with all my might in order to answer reasonably and prevent any injustice against those people about whom I was asked ... "These are Zabolotsky's lines from the memoirs" The History of My Imprisonment "(published abroad in English in 1981, in the last years of Soviet power were also published in the USSR, in 1988).

He served his term from February 1939 to May 1943 in the Vostoklag system in the Komsomolsk-on-Amur region; then in the Altaylaga system in the Kulunda steppes; A partial idea of ​​his camp life is given by the selection “One Hundred Letters 1938-1944” prepared by him - excerpts from letters to his wife and children.

Since March 1944, after being released from the camp, he lived in Karaganda. There he completed the arrangement of The Tale of Igor's Campaign (begun in 1937), which became the best among the experiments of many Russian poets. This helped in 1946 to obtain permission to live in Moscow. He rented a house in the writer's village of Peredelkino from V.P. Ilyenkov.

In 1946, N. A. Zabolotsky was reinstated in the Writers' Union. A new, Moscow period of his work began. Despite the blows of fate, he managed to return to unfulfilled plans.

Moscow period

The period of return to poetry was not only joyful, but also difficult. In the poems “Blind” and “Thunderstorm” written then, the theme of creativity and inspiration sounds. Most of the poems from 1946-1948 have been praised by today's literary historians. It was during this period that "In this birch grove" was written. Outwardly built on a simple and expressive contrast of a picture of a peaceful birch grove, singing orioles-life and universal death, it carries sadness, an echo of the experienced, a hint of personal fate and a tragic foreboding of common troubles. In 1948, the poet's third collection of poems was published.

In 1949-1952, the years of extreme tightening of ideological oppression, the creative upsurge that manifested itself in the first years after the return was replaced by a creative decline and an almost complete switch to literary translations. Fearing that his words would again be used against him, Zabolotsky restrained himself and did not write. The situation changed only after the 20th Congress of the CPSU, with the onset of the Khrushchev thaw, which marked the weakening of ideological censorship in literature and art.

He responded to new trends in the life of the country with the poems “Somewhere in a field near Magadan”, “Opposition of Mars”, “Kazbek”. Over the last three years of his life, Zabolotsky created about half of all the works of the Moscow period. Some of them have appeared in print. In 1957, the fourth, most complete of his lifetime collection of poems was published.

The cycle of lyrical poems "Last Love" was published in 1957, "the only one in Zabolotsky's work, one of the most poignant and painful in Russian poetry." It is in this collection that the poem “Confession” was placed, dedicated to N. A. Roskina, later revised by the St. Petersburg bard Alexander Lobanovsky (Enchanted bewitched / Once married with the wind in the field / All of you are chained / You are my precious woman ...).

Family of N. A. Zabolotsky

In 1930, Zabolotsky married Ekaterina Vasilievna Klykova (1906-1997). E. V. Klykova experienced a short romance (1955-1958) with the writer Vasily Grossman, left Zabolotsky, but then returned.

Son - Nikita Nikolaevich Zabolotsky (1932-2014), candidate of biological sciences, author of biographical and memoir works about his father, compiler of several collections of his works. Daughter - Natalya Nikolaevna Zabolotskaya (born 1937), since 1962 the wife of the virologist Nikolai Veniaminovich Kaverin (1933-2014), academician of the Russian Academy of Medical Sciences, son of the writer Veniamin Kaverin.

Death

Although before his death the poet managed to receive both wide readership and material wealth, this could not compensate for the weakness of his health, undermined by prison and camp. According to N. Chukovsky, who knew Zabolotsky closely, the final, fatal role was played by family problems (the departure of his wife, her return). In 1955, Zabolotsky had his first heart attack, in 1958 - the second, and on October 14, 1958 he died.

The poet was buried at the Novodevichy cemetery.

Bibliography

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