Themes and motifs of Voznesensky's contemporary poetry. The main themes and problems of the early poetry of A. Voznesensky. Illness and death

Avlinian

It has long been noted that the verses of a true poet win when they are collected together.

Imagine the impossible. An unknown author about twenty years ago brings to the editorial office a poem that begins with these lines:

The stands rushed like a herd to the starts,
In the center - horses dug into the crust.
Do you think, Vasya, we bet on them?
They mares bet on us.
A black amble was placed on me.
Apples by groats - yo-mine ...
Knows how to sniff out a large stable.
I take all the finishes, and winning her.
The king seems to be ruling.
People think that they are.
Nature and groves were placed on us.
And we - drive! ..

In general, he knows how to make people read and listen to his poems. You can, say, call the poem "August", but not everyone will notice it in a newspaper page with such a headline. But call the word "Zaryov" incomprehensible to anyone, and the reader's eye will certainly catch on to it. And in a special footnote it can be explained that this is the same "August", only the outdated name is from the pagan calendar. Do you want to challenge the aesthetic significance of this technique? Please, but the poet somehow reached the goal: his work was read, and most importantly, in the end, what it left in your heart.

Some believe that Andrei Voznesensky is a rational, cold poet. One of the experienced critics even tried to explain its popularity by saying that readers like to solve all sorts of verbal puzzles (after all, an intellectual exercise!). In my opinion, this explanation is naive. True, among the works of the poet there are poems very different temperatures and the polysyllabic metaphorical nature of thinking (what S. Narovchatov called "unbridled fantasy") does not always correspond to the scale of experiences.

But, in order to understand in detail his work, let's start about everything in order. Someone who, but Voznesensky, cannot complain about the inattention of criticism. It seems that, starting from his first steps in poetry, he was closely followed, cheered on successes and convicted of missteps, taught and instructed, scolded and extolled to heaven. But, apparently, this is the case when the abundance of articles written about the poet does not indicate the depth of his study. Indeed, until now, his most significant poems and poems receive, as a rule, only contradictory assessments, which sometimes may seem - they belong to different works. The poem "Oza" was awarded, for example, directly opposite reviews by S. Rassadin (they consider this work to be artificial through and through) and A. Marchenko (who dedicated a real critical panegyric to him). Both reviews were published on the pages of the journal Questions of Literature, accompanied by a short introductory note in which the editors promised to return to the discussion of the poem in the future and express their own, presumably, more objective opinion about it. But this promise was probably forgotten in the influx of other magazine cases.

In the latest articles about Voznesensky, both apologetic and oddly negative lines of criticism are also preserved. The best in this multitude of materials, in my opinion, remains a small article by S. Narovchatov "Frank Talk", although she still - even if only a little - lacked the author's kindness.

Almost all the polemicists who write about Voznesensky, with many differences, agree on at least one thing: that this artist is completely original and does not resemble any of his peers. This, of course, should be considered a valuable quality if the poet maintains strong ties with the spiritual life of the people, with the best traditions of Russian poetry. But just on this point about Voznesensky the greatest number of contradictory opinions was expressed. A noteworthy description of Voznesensky's artistic style was given by his literary colleague Yevtushenko: “The world appears in Voznesensky's poems as it can appear only with rapid movement - flickering blurry, chaotically displaced. It is full of bright color spots that cut into the eyes and immediately disappear, for a second they snatched out, like a searchlight beam, faces. However, according to Yevtushenko, at such speeds the poet "has no time to feel", and then he expresses the wish that he slow down the pace. On the contrary, one physicist (and physicists were also involved in the dispute about Voznesensky) even credited the poet with the fact that he supposedly breaks decisively with classical traditions, demonstrating purely modern, high-speed methods figurative thinking. However, despite the novelty of the poetic form, Voznesensky still did not start from zero, but creatively used the achievements of older poets - Vl. Mayakovsky and N. Aseev, and in some ways - V. Khlebnikov and M. Tsvetaeva. And, despite his own cocky declarations (“We are few. There may be four of us” ... etc.), he is united with his poetic generation by strong spiritual ties. A. Urban, back in 1962, rightly noted, in particular, that “... at Tsybin and Voznesensky, in search of artistic expressiveness much in common". Another observation of the critic is also true: “The predilection for certain topics, major rhythms, variegation and riot of colors reflect the well-known properties of the character of the lyrical hero. In essence, this general quality, with a few exceptions, is inherent in all poetic youth. This is a community of poets of about the same generation.”

In Voznesensky's first books, cheerful energy really abounds. He bows before the ingenious creations of world art, however, even here there are no untouchable authorities for him. He is not indifferent to juicy, carnal colors, and young love of life dictates to him a cocky slogan: “Down with Raphael! Long live Rubens! He finds reasons to admire life anywhere. Here he enthusiastically paints the motley bustle of the Georgian bazaars. Here I spied a scene in a Siberian village - women, heated after a bath, throw themselves naked into the snow. And fiery comparisons are immediately born: “These shoulders, these backs are on the spot, like metal thrown over by a blast furnace!”. Here on the city street I saw a tray with watermelons - a new artistic joy. Life is so charming that even the bands of police caps do not look menacing at all - they resemble juicy chunks of watermelon. “We are opponents of the dim. We are accustomed to the breadth - whether the Tula samovar or TU-104, "- the poet explains his sense of life. It is characteristic that in these joyful declarations, embodying the fullness of being, images from the world of science and technology arise quite naturally, they rightfully enter the life-affirmation of the urban poet, their artistic development does not present any difficulties for him. This feature, from the very first steps, distinguishes Voznesensky's poems from the early lyrics of Tsybin and other poets of the rural tradition. However, both in impulses of youthful patriotism and in optimistic faith in life, both of these artists follow parallel paths. They also echo in lyrical themes. But, perhaps, it is in similar plots that different life experiences are especially evident, the different warehouse of their talents comes out brighter.

In the Georgian bazaar, Voznesensky sees, first of all, a magnificent combination of colors. Bright crowd of people generous gifts nature - after all, this is a wonderful object for the artist! "Long live the master who writes them out!" - exclaims the author, and the poem sounds like a common hymn to creativity, beauty and abundance of life. Tsybin has a deeper knowledge of folk life and, drawing his colorful Central Asian "Fair", he carefully details, outlines the psychology of individual characters in the picture. Another time he talks about how Zarina-Svet Petrovna was betrothed, draws out in detail the portraits of the old groom - the "chief accountant" and the father of the bride. For him, let's say, it is not indifferent to how the latter, gorging himself at the wedding, "wiped the herring on his pants." Here, in every line, a concrete, lively character shines through.

As a rule, less colorful people act in Voznesensky's works - their images approach symbols, they are direct spokesmen for certain ideas. It is not a stupid young girl who marries him, but “youth” itself, devoid of any characteristic features - the author gives only one touching, poignant detail: “... you are trembling, as if a glass is on the edge of the table.” But this detail creates the necessary lyrical atmosphere: it pumps pity for the absurdly mistaken youth, disgust for the ongoing wedding-deal. Everything secondary is removed from the text, there are no halftones, and the main details are unusually enlarged, brought to the fore. The painting is very original, unusual - with the sharpness of the leading color tones, contrasting solutions, it is akin to a poster, and with intense spirituality - an old Russian icon. (In general, Voznesensky feels our ancient art very well. It is not for nothing that his idol is Rublev, and an extensive poem is dedicated to the builders of St. Basil's Cathedral).

In such a stylistic manner, of course, there are also costs, but there are also undeniable advantages: greater nakedness and sharpness of thought - what is often called "intellectualism of form" (A. Urban). You can accept or not accept this manner, but it is important to understand it correctly and not demand from the artist what he deliberately refused for the sake of successfully solving other problems. A lyricist par excellence, he apparently does not know how to sculpt real characters, but he is a special lyricist - unusually bright, loud. And although cheerful enthusiasm was the predominant mood of his first books, they already felt the poet's heightened interest in the struggle between good and evil, in the tragic knots of life.

As a subjective poet, with a powerful imagination, Voznesensky outwardly is not very dependent on the impressions of life around him. Like many of his peers, he took up historical theme, started looking for pedigree "roots". However, he turned not to that close past, which is directly or indirectly (through family traditions) within reach personal experience. He shook up the gray-haired antiquity - the era of Grozny - and created a bright, enchanting poem about the builders of the Intercession Cathedral. However, the poet did not set himself the task of reproducing the legendary event in its exact everyday details (this task was brilliantly accomplished by D. Kedrin two decades earlier). For the poet, history is just a spectacular backdrop against which he unfolds the formidable carnival of his conditionally generalized drama, sharpens the irreconcilable conflict between "artists of all times" and the anti-people, tyrannical voice. Outwardly, in its conditional coloring, Voznesensky's work dedicated to antiquity, the essence of the moral conflict, turned out to be burningly relevant. By its very scale and freedom-loving pathos, it turned out to be consonant with our formidable time. The poem "Masters" is strong with intense tragedy and undoubted life-affirmation. And although the poet plunges his heroes into darkness, which is “mute, like a face without eyes,” although he speaks of a terrible execution of architects, nevertheless, optimistic sweats take precedence over gloomy ones in his poem. And we believe in the promises of the lyrical hero to continue the glorious deeds of the ancestors, to make their dreams come true in creating beautiful cities of the future.

Subsequently, Voznesensky noticeably departed from youthful optimism. Over the years, he was more and more deeply imbued with the consciousness that pain, suffering, injustice were by no means only the lot of our predecessors, just as cruel tyranny had not yet receded into the realm of legend with the era of Ivan the Terrible. In parallel, poems are being created about Russian antiquity, in which there was also a lot of all sorts of ugliness and social oppression. Other works are also being born - about the heavy legacy we received from the past, about that dark and low that has not yet been overcome, has not yet been overcome in our life. All this diverse lyrical scattering of poems is united under a single "roof" - the poet calls new book"Forty Digressions from the Poem 'The Triangular Pear'.

Seven years ago, when this book first appeared, I wrote an article in which I spoke rather harshly about the author's citizenship. However, I mention this, of course, not in order to repent of a long-standing sin. Many of the reproaches made to the poet at that time, I could repeat now, although from a distance of time it became more obvious to me and strengths works. This is a book of terrible and gloomy, sometimes phantasmagoric images. Here are the beating, “like white spotlights”, legs of a beaten woman, and the severed head of the royal mistress, “like a turnip with red tops”, and the poet himself, cut into seventeen parts by photographic lenses of American spies. The author is too shocked by the horrors he sees, too in a hurry to capture the reader with them, without even having time to thoroughly understand them. Where had his indomitable energy gone, his insatiable, it seemed, thirst for life. They changed completely different moods. The prevailing tone in the book is offended humanity, melancholy, despondency.

The terrible pictures from The Triangular Pear still seem rather modest and restrained compared to that rampant gloomy fantasy, with that string of nightmares that the author unfolded in his subsequent books. In "Sketch for a Poem" he, for example, in detail, to naturalistic details, draws the suicide of our young contemporary - the beloved of the lyrical hero. A piercing monologue is put into her mouth, however, the motives for suicide (and, consequently, the character of the heroine!) Still remain not completely clarified (for example, a general dissatisfaction with life, a fatal “triangle” in love, probably a special vulnerability of the soul). Is he an honest person or just weak, noble or capable of countless compromises with conscience? One has to guess about this, since the poet avoids the necessary artistic explanations. What then does he consider it necessary to tell the reader? In a nutshell, it can be expressed as follows: she suffered. Yes, the heroine, no doubt, suffered deeply - the words of her monologue are red-hot with genuine pain - and this, apparently, is quite enough to win the exclusive attention of the poet. And for him it doesn’t matter how objectively weighty the motives that prompted the woman to give up her life (since she died, then they are weighty!), Just as it doesn’t matter that the fate of an unknown Muscovite strikingly resembles the tragic fate of an overseas movie star, whose dying monologue is placed in Forty Digressions ...". Meanwhile, in The Monologue of Marilyn Monroe, the drama of suicide was much more meaningful and clearer. It was quite a social drama. The fate of a fashionable Western actress, forced to exploit her beauty and talent for the sake of a dissolute society, rose from the heroine's jerky remarks and cries. Her desperate cry “Unbearable!”, repeated many times in the poem, remains in the reader’s ears. The sharpness of the experience is reinforced here by the plastic depiction of scenes that are heavy and humiliating for the heroine. The poem sounds like an irresistible accusation to the social system, which brought a person to death.

But what devastated, made the heroine of the Sketch completely disappointed in life? Vague allusions to the fact that “innocent guilty ones say little to the reader, just like touching advice to a loved one to be “more attentive” with the next lover. In the second chapter, in the excerpt of which the “Sketch” consists, the nightmare of the fluidity of everything that exists is reproduced - a sleepy nightmare showing the difficult mental state of the hero, but again, little clarifying the tragic situation itself:

The squares are expanding into ellipses.
Nickel-plated headboards leak
like boiled pasta.
The prison bars hang down
like pretzels or aiguillettes...

The poet does not want to stop this general decay in a timely manner - this is already chaos that is not being fought, triumphant chaos. The poet, with enthusiasm and rare ingenuity, adds more and more new details to the image. For what? Obviously, the whole picture is a cyclopeanly developed metaphor, a visual embodiment of the tragic formula: “Everything flows. Everything changes. One goes into the other." This is how thoughts about the irreversibility of being, about the frailty of everything that exists, about the impossibility of returning what has been lost are transformed in the mind of the sleeping hero. However, even in this seemingly surreal image, the living spark of humanity tragically rushes about and beats. A new nightmare of the hero (or already the author himself?) - the cage of the elevator collapses on his head. A cage for pain is a danger signal that every living organism needs. However, would it be worth living if all life consisted of one endless torture? In "Sick Ballad" the cry "It hurts!" becomes for Voznesensky almost a knightly motto, with which he is going to rush into the battle with world evil. If the loss of sensitivity is death, then the sensation of pain already means life. But this truth fluctuates in the poet's poems somewhere on the verge of turning into its opposite: to live means to constantly feel pain, to suffer. This gave rise to Vl. Turbine to call Voznesensky the organizer of the Glavbol poetic trust. A caustic definition, but, alas, he cannot be denied accuracy!

It seems that this feature has acquired a kind of refraction from the growing interest in various ugliness of the world. If he draws a despot, then by all means such that frost on the skin. With the head of the executed in his hand. (“Eyes rush across his face like a skidding motorcycle.”) If he depicts a love drama, then by all means something painful, exceptional. Tenth grader and teacher, old father-in-law and young daughter-in-law. Even... a man and a tree. Yes, in the "Ballad-Apple Tree", wishing to glorify the miracle of the birth of a new life, the poet used very naturalistic images, and this not only humanized the apple tree, but lowered a person from a height. After all, mainly along the biological line, a person (the hero of the poem is a young pilot) and an apple tree come together, whose body is growing heavy from human seed and which is “buried to the waist, yelling and calling for a receding plane.”

But, of course, it is not such blunders that determine the main thing in the complex poetry of Voznesensky, otherwise few people would love and know her in our country. Unusual, sometimes screaming brightness of his colors often, of course, does not interfere, but on the contrary, contributes to the lyrical expressiveness of images. The poet at any cost seeks to draw the reader to the main pain points of the time, to show the multiplicity of human suffering in today's world and thereby contribute to their elimination. He does not speak in verse - he shouts into a huge mouthpiece, he shows not drawings or paintings, but huge poster panels. Like a shipwrecked man, he builds a high fire on the shore and runs along the sea edge, waving his arms: finally notice! Note! SOS! SOS! And we must do him justice: this position has all the advantages over the poetry of common truths and unclouded prosperity. However, the point is not only to point out (by multiplying) the existing deformities, but also to force a person to fight them, to mobilize his will. And in this the poet often turns out to be weak or relies too much on the spiritual equipment of the reader.

To understand the tasks that Andrei Voznesensky sets for art, his reflections in the “Dialogue of Jerry, the San Francisco Poet” are characteristic. This poem seems somewhat long (it is all built on questions and answers - with a naked logical sequence), but ends with a strong, energetic quatrain, obviously expressing the author's creative credo:

Not included in answers
fate and tears.
The question is the truth.
Poets - questions.

The indisputable privilege of genuine art is to pose the most pressing questions of reality before contemporaries. However, seeing the tasks of poetry only in this is just as one-sided and narrow as equating life with the sensation of pain.

Voznesensky, of course, does not write about the Soviet poet, but progressive aesthetic thought in the West has long come to the conclusion that "... art was invented and created just to help unravel what is tangled ..." The quoted words belong, by the way, to the famous Sainte-Bev - the world heard them exactly one hundred and thirty years ago. “You can accumulate many observations against your will, condensed to a concentration of poison,” wrote the French essayist, “but in order to obtain paints suitable for art, they must be diluted and dissolved. These are the paints you must present to the public, but keep the poison for yourself. Your outlook may be both bleak and murderous, but art should never be like that.” Of course, we are not obliged to follow every turn of Sainte-Beuve's thought, but we cannot but share the humanistic pathos of his reflections on art. Contemporaries of the tragic and beautiful 20th century, the heirs of Pushkin and Belinsky, we, of course, will also not reconcile ourselves to the fact that poetry sometimes wants to lay down the civil dignity of a teacher of life. However, apparently, Voznesensky himself felt the moral insufficiency of his artistic formula, and therefore shielded himself from criticism by the figure of the American Jerry.

I catch myself on the fact that, wanting to objectively understand the talented and powerful poetry of Voznesensky, I argue with him more than I note indisputable achievements. Why is this? Why in general, loving or not loving him, wondering at him, do they constantly argue with him? Perhaps the originality of his poetics makes us see both his merits and demerits, as if through a strong magnifying glass- are they sharply conspicuous and therefore become an occasion for heated discussions? To the vivid expressiveness of visual images, one must add here the extremely complex, rich in sound associations, musical and rhythmic organization of poems; Let us recall, for example, such a favorite means as highlighting one leading concept, the word, as the musical leitmotif of the work: “I want silence, silence ... Are your nerves burned? Silence ... so that the shadow from the pine tree, tickling us, moves, cooling like a prank, along the back, to the little toe of the foot, silence ... "

The sophistication of poetic hearing is also manifested in Voznesensky's ability to collide, bring together words that are very different in meaning, if they have a similar sound, while the author extracts the most unexpected artistic effects.

The standard-bearer of pain and the protector of all those who suffer, Voznesensky shows a keen interest in those who are the culprit of human misfortunes, in various carriers of evil. The negative hero was defined in his lyrics quite a long time ago, from the very first books. We are not talking about negative characters in general (there were quite a few such in all the years in Voznesensky's poems: this is a bastard who beats a woman, and a criminal "daughter-in-law" who has fused his own son to Kolyma, and a dissolute general's wife, and her cynical chauffeur friend, and all sorts of other freaks). We are talking about the main enemy - the moral antipode of the lyrical hero. Such an opponent, it seems to me, appeared for the first time in Voznesensky's poem "The Guest at the Campfire." This is, in general, a miserable little man, similar to that philistine "slug" who inspires inexhaustible hatred in Vladimir Sokolov. However, it has some distinctive features that are unique to it. He is not only dressed in a modern suit and has adopted outwardly intelligent manners, he knows how to imitate an intense spiritual life. He is not even stupid, reads popular brochures, uses scientific terminology. However, he needs the heights of knowledge only in order to more picturesquely drape his moral emptiness. And although self-condemnation sounds in his speech - “I am scum!”, However, this is just a rhetorical device, ultimately designed for sympathy. After all, according to his logic, the entire human race consists of similar "scum". By the way, he willingly speaks on behalf of a generation, tries to characterize his time (“the age of atomic decays”), and lays claim to a certain philosophy.

There is nothing of the kind in the lyrics of Voznesensky's peers. Tsybinsky Senka leads a thoughtless, amoeba-like existence and is quite pleased with him. "Kalymnaya life" and easy victories over rural girls, and he is quite happy. The “careless slug” Vl. Sokolova, who has grown into his own house with ficuses and is mired in hoarding. Outwardly, the hero of Voznesensky differs sharply from his literary counterparts. He seems to be depressed by the decline in morals, he seems to be grieving in his soul - but what, they say, to do? "Se la vie"! .. And he willingly justifies moral uncleanliness, takes the point of view of a convinced bastard - laughs at everything pure and sublime:

We are an extra generation.
We are masks without a face.
In love we know bras And never hearts.
Aging women taught us love
Hence the bile bitterness And the emptiness in the blood.
In the era of isotopes.
Reactors, plastics I, the man, trampled,
I am hate. And you - about Mars ...

So, the preaching of shameless cynicism is written out strongly and energetically. Perhaps not a single one of the scum denounced by other poets has come forward with such a frank program of vulgarity, with its detailed "theoretical" justification. Before us, of course, is not the “big-eared” Senka and not the polished snob Sokolov, but, so to speak, a “bastard” by vocation and conviction. To be sure, the poet also made him a Jehovist, that is, a political enemy. However, it was possible not to burn an additional stigma on the forehead of the hero: the face of a hostile idea was already quite clearly defined. And even if the positive heroine of the poem - a certain Lyalka - behaves rather hysterically, even if she can’t oppose anything to the outpourings of the vulgar, except for feverish slaps in the face (and then bursts into tears), Voznesensky nevertheless managed the main thing - to accurately grasp the way of thinking of the modern cynic, to catch characteristics his demagogy. This poet, like few of his peers, already in his early youth was able to recognize the activity of a hostile intellect, to show an alien philosophy of life. In the future, the delusional ideas of the Jehovist will find a response both in the ominous croaking of the raven from the poem "Oz", and in the arguments of a certain experimenter (from the same place), which represents a further stage of moral decline. Now it is no longer a specific person, but simply a personified idea. We don't even see his appearance. On the other hand, the vague demagogy of the Jehovist has acquired a completely scientific appearance, and his maxims sound almost aphoristic: “What is poetry for? There will be robots. The psyche is a combination of amino acids "... This is how an intellectual barbarian, armed with last word Sciences. "I have an idea! If you cut the globe along the equator ... True, half of humanity will die, but the second will taste the joy of the experiment. Who is this? An evil schizophrenic who seized upon unprecedented power? His figure is fantastic, but didn't the 20th century give numerous examples when rabid maniacs were at the head of states?

The poet pumps up ominous colors, the darkness in his poem thickens, chaos opens up: “The pages of history were shuffled like cards in a deck, the industrial revolution was followed by the invasion of Batu.” But this chaos is socially significant, artistically conditioned: after all, in fact, the same idea is expressed here as in the poem by Vinokurov, who recalled that the ashes of Auschwitz appeared in the world much later than the assurances of the Jacobins that “the era of evil ended in the world.” The poems of both poets are directed against carelessness, turning a blind eye to real danger, only Voznesensky writes in his usual eccentric, fantastic style. After all, the main horror, in his opinion, lies in the fact that "no one noticed this", that everything went on as usual - "people continued to walk in a purposeful chain", that is, they remained indifferent to the catastrophic shuffling of history.

The story of the apocalyptic horrors and the sinister figure of the experimenter is only a small part of the poem "Oz", and it is loosely connected with other chapters. By the way, Voznesensky, who generally likes to emphasize in the titles of his works their incompleteness, sketchiness (“Sketch for a Poem”, “Forty Digressions from a Poem”, “Lament for Two Unborn Poems”, etc.), did not hesitate here in defining the genre . However, a poem (even a modern one), from our point of view, is still a kind of narrative whole, and not scattered, albeit brilliant, particulars. And if we recognize "Oza" as a poem, then we will be forced to note that it is uncoordinated, stretched out, that some links of the lyrical plot (necessary in the course of the story) fell out of it for some unknown reason, while others have many optional variations. In short, in a general assessment of Oza, one would have to agree with Narovchatov: “It really looks like a literary puzzle, which even professional writers take considerable effort to decipher.” But if Oza is perceived as a book of lyrical poems, far from being equal in strength and not equally complete (there are still many “sketches”), it is undoubtedly interesting and informative, and some poems achieve magnificent sharpness of thought. But if so, is it the name?

The poet is consistent. What the om hates and denies in others, instills in him hatred in himself. This moral composure, this ultimately triumphant uncompromising sense of justice pleases - they are seen as a guarantee of the further creative movement of the author of Oza ... But it seems that I have already said almost everything that prompted me to take up this article, and it's time to sum up some results (I, however, deliberately did not touch here on Voznesensky's recent efforts to create experimental poems "only for the eyes" as opposed to "reader's poetry" - is it worth seriously analyzing what the author himself is inclined to consider "ordinary joke"? ).

When I try to determine why Voznesensky's poetry is close to me, for which I love it, despite many disagreements with the author, the image of a young scientist invariably comes to mind, no, not a physicist, but rather a biologist working with the most dangerous varieties of bacteriological poisons. He selflessly tests the effect of various vaccines on himself: is it any wonder that he himself sometimes becomes infected with the diseases against which he fights? By the will of fate, Andrei Voznesensky in our civil poetry turned out to be one of the most talented debunkers of the ideology of the capitalist anti-world. But in terms of his personality and talent, he is far from Juvenal. Lyrically absorbing the screaming contradictions and dissonances of the nuclear age, the poet experiences them as the ups and downs of the “global formidable drama” (Ya. Smelyakov), but does not always accurately feel its class accents. In a painful search for the truth lyric poet is obliged to personally suffer other people's fates and tears).

Keywords: Andrei Voznesensky, criticism of the work of Andrei Voznesensky, criticism of the works of Andrei Voznesensky, analysis of the poetry of Andrei Voznesensky, download criticism, free download, Russian literature of the 20th century

The poetic process of the 1960s is a broad, complex, and ambiguous phenomenon. There was even an opinion about the crisis in the poetry of this time. revitalization literary life in many respects contributed to the work of then beginner poets - E. Yevtushenko, R. Rozhdestvensky, B. Akhmadulina, A. Voznesensky, who spoke with topical civil poems. It was from these poets that the term "pop poetry" originated.

Let's turn to the work of Andrei Voznesensky, and specifically - to one of his most striking poems - "Live not in space, but in time ...". Voznesensky is an "urban" poet, but he also sometimes got tired of "being" and turned to "eternal themes", emotional experiences.

In fact, in this poem, the author departs from everyday topics that are so characteristic of his poems. Merging together in a person's life two dimensions - temporal and spatial, he does not draw conclusions and does not impose a single solution for everyone. Voznesensky leaves the choice to man, although he himself, of course, chooses a “temporary” life, which is measured not only by earthly life, but also by eternal life.

The work of Andrei Voznesensky developed in a complex way. The outstanding talent of the poet, his search for new opportunities poetic word immediately attracted the attention of readers and critics. In his the best works The 50s, such as the poem "Masters" (1959), the poems "From the Siberian Notebook", "Report from the opening of the hydroelectric power station", conveyed the joy of work, the optimistic life-sense of the human creator. The lyrical hero of Voznesensky is full of thirst to act, to create:

I'm from the student's bench

I dream that buildings

rocket stage

Soared into the universe!

However, sometimes at that time he lacked civic maturity, poetic simplicity. In the poems of the collections Parabola and Mosaic (1960), energetic intonations and rhythms, unexpected figurativeness and sound writing sometimes turned into a passion for the formal side of the verse.

The poems of his first two books are full of youthful expression. The author seeks to convey in them the furious pressure of the surrounding world. But already in the collection Anti-Worlds (1964), Voznesensky's poetic manner becomes more refined and rationalistic. Romantic expression, as it were, "freezes" into metaphors. Now the poet does not so much participate in the events he talks about as he watches them from the side, choosing unexpected and sharp comparisons for them. .

For the first time, Andrei Voznesensky's poems were published in the Literaturnaya Gazeta. In the 70s, collections of poems were published: "Shadow of Sound", "Look", "Release the Bird", "Temptation", "Selected Lyrics".

The poet Sergei Narovchatov, analyzing the book by Andrey Voznesensky "The Stained Glass Master", traced the connection between its poetics and the art of stained glass. As you know, the relationship between literature and the visual arts is long-standing, but today this "commonwealth of muses" has become even stronger.

In A. Voznesensky's poems "Grove", "Beaver Lament", "Evening Song" the idea is sharpened to the limit that, destroying surrounding nature, people destroy and kill the best in themselves, putting their future on Earth in mortal danger.

In the work of Voznesensky, moral and ethical quests are noticeably intensified. The poet himself feels the urgent need to update, above all, the spiritual content of poetry. And the conclusion from these reflections is the following lines about the vital purpose of art:

There is a higher goal of the poet -

Beat the ice on the porch,

To go warm from the cold

And confession to drink.

These impulses and aspirations were voiced in the books "Cello Oak Leaf" (1975) and "Stained Glass Master" (1976), "I yearn for sweet foundations." They also led to the emergence of other motifs, figurative strokes and details, for example, in the perception of nature. Hence - "Lovely groves of a shy homeland (the color of a tear or a harsh thread) ..."; "A pear that has died out, alone in the thicket, I will not break your beauty"; "Pine trees are blooming - candles of fire hiding in the palms of future cones ..."; "Fresh bird-cherries hang shavings ...". The poet, with some surprise, admits to himself: "I see, as if for the first time, the lake of beauty of the Russian periphery."

“Explaining why he does not spare the years devoted to architecture, Voznesensky wrote in the preface to The Cello Oak Leaf: “Any serious architect begins the examination of the project with a plan and a constructive section. Facade - for the uninitiated, for onlookers. The plan is the constructive and emotional knot of a thing, though it is its nerve.

Voznesensky works on works of great poetic form, he wrote the poems Longjumeau, Oz, Led69, Andrei Palisadov, and others. His poems naturally grow out of his poems and rise among them like trees among bushes. These poems are impetuous, the images do not get stuck in everyday life and scrupulous descriptiveness, they do not want to slip. Space is given in flight: "television centers fly past Moore like a night cigarette." Spotlight -- Time (capitalized), epic Time:

I enter the poem

How to enter a new era.

Thus begins the poem Longjumeau.

The poet's reaction to the modern, vital is instantaneous, urgent, the ambulance and fire brigade of his words are around the clock and trouble-free. Painful, humane, piercing decisively and distinctly characterizes the work of the poet.

All progress is reactionary

If a person collapses.

Andrei Voznesensky also wrote articles on the problems of literature and art, did a lot of painting, some of his paintings are in museums.

In 1978, in New York, he was awarded the International Poetry Forum Prize for outstanding achievements in poetry, in the same year, Andrei Voznesensky was awarded the State Prize of the USSR for the book "Stained Glass Master".

According to Voznesensky, a person is the builder of the time in which he lives:

… minute trees are entrusted to you,

own not forests, but hours.

And here the poet says that time is above all. And it is precisely this that protects humanity, its life from oblivion and destruction: "live under minute houses." The idea is paradoxical, but very accurate, I think.

Thus, we can say that the author clothes everything material, spatial, in a temporal fabric. Even his House is equated with time. These are two parallel lines that eventually intersect. Even Voznesensky proposes to replace clothes with time, because it is more expensive than the most valuable furs:

and shoulders instead of sable to someone

wrap up in a priceless minute...

Indeed, time is the best gift for any person, but, unfortunately, giving it is only in the power higher powers, God.

It is worth noting that rhyme is generally not characteristic of Voznesensky's poems. In this poem, he rhymed only the first and second stanzas - those that are devoted to the real side human existence. The other two stanzas not only do not rhyme, but are also constructed asymmetrically (five and two verses each). They are the same as time itself, which is what the poet says in the first verse of the third stanza: “What an asymmetrical Time!”

The pathos of the poem "Live not in space, but in time ..." is based on the opposition - time and space. And although the poet puts them at different poles of human life, one is impossible without the other. However, people cannot exist without them.

Interestingly, there is no concretization in the poem - there is neither a lyrical hero, nor an appeal to someone personally. Everything is generalized, and at the same time with regards to everyone.

Voznesensky proves that his life is not the same as that of the reader, but one that the reader must certainly strive for. And although this is not directly indicated in the poem, it is felt. To become an artist, a person, you need to live "in time". That is, emphasizing the distance, Andrei Voznesensky at the same time called for it to be overcome.

And this real, alluring achievability of joining the world of art fascinates and seduces. After all, it is people like the poet who live in time for a long time, even after their bodily life.

Strange comparisons, very accurate and frightening, are given by the author in the penultimate stanza. It makes me shudder to realize that it's true that:

The last minutes - in short,

The last parting is longer...

And you can't write anything here - it's true. The forcing in the stanza of an atmosphere of hopelessness, but the possibility of changing everything, of choice, emphasizes the repetition of the word “last”.

Dying - in space,

Live - in time.

And here the choice is up to everyone - where he wants to live, what memory of himself to leave. This is probably one of the eternal, but so strangely expressed in a poem by a modern poet, a question.

... Great happiness falls to the lot of those
who still in early youth find themselves
and their main goals.
G. Krzhizhanovsky

Andrei Voznesensky is a gifted and original poet. He has a sense of modernity, a craving for the ambiguity of images, intense lyricism. His work is characterized by concise associations and neologisms, often by grotesque metaphors. He is not like anyone else. He works seriously, a lot and has released more than ten collections.
His poems begin to appear in the sixties. Already in the first collections Parabola (1960), Mosaic (1960), Triangular Pear (1962), Antimirs (1964), the creative individuality of the poet was manifested. The search for an individual path did not lead Andrei Voznesensky to break away from the classical tradition, but only forced him to comprehend it creatively, in his own way.
Art was known and appreciated in the poet's family. In his youth, Andrei Voznesensky became interested in architecture, was seriously engaged in painting, then came the literary hobbies of Mayakovsky, Pasternak, Lorca and Gogol.
Speaking about the work of Voznesensky, later Nikolai Aseev will say that “Voznesensky's kinship with Mayakovsky is undeniable. And not only in the unusual structure of the verse - it is in the content, in the deep vulnerability of impressions ... ".
The drama that is so inherent in the lyrics of Andrei Voznesensky arises where a new attitude to the world clashes with the real contradictions of modern reality. In the poetry of an aspiring artist there is a clear boundary between what he loves and what he hates with all the strength of his soul. The poet is hurt by mockery of art, of the artist who painted a portrait of Mayakovsky on the pavement, and pedestrians, almost without looking, “throw bribes” and trample on his work. And on the pavement, “like a wound,” Mayakovsky’s face shows through: “Well, it’s necessary to take off with fate, so that the face, like Hiroshima, is imprinted on the pavement!” The poet cannot come to terms with either tragic death actress Marilyn Monroe, sold out by clever producers, not with an insult to the very name “woman”, her purity and tenderness:

Unbearable when naked
in all posters, in all newspapers,
forgetting that the heart is in the middle,
herrings are wrapped in you.
Eyes crumpled, face torn...

Voznesensky's lyricism is a passionate protest against the danger of spiritual Hiroshima, that is, the destruction of everything truly human in a world where things have seized power, and "the soul has been vetoed." The call for the protection of all that is beautiful sounds distinctly in his poetry, especially in such poems as “Hunting a Hare”, “Respond!”, “First Ice”, “They Beat a Woman”.
Irreconcilability to any manifestations of anti-humanism acquires in Andrey Voznesensky a precise historical character. So in the poem "Goya" (1959), the image of the artist is a symbol of high humanity, and Goya's voice is the voice of anger against the horrors of war, against the atrocities of reaction.

In the poem "The Call of the Lake" (1965), the poet passionately continues this line. Calm quiet lake - the creation of human hands, but bloody hands. Yes, victims of the Nazis, tortured and killed by them from the ghetto, were buried here, and then flooded with water:

Our sneakers are frozen.
Silence.
Ghetto in the lake. Ghetto in the lake
Three hectares of living bottom.

In his poems, there is the voice of those who withstood the mortal struggle against Nazism, who could rightfully say: “I shot up in one gulp to the West - I am the ashes of an uninvited guest!”, As well as the voice of a new generation of anti-fascists, calling not to forget about the threats new war, already atomic. In the poem "Oz" the main motive is the desire to protect his young love from the threat of a monstrous war, from a soulless civilization that threatens to destroy the world. The poem begins with the hymn "Ave, Oz", full of high tension of feelings.

Or, dear friend, are we really sentimental?
And the soul will be removed, like harmful tonsils? ..
Is love not as fashionable as a fireplace?
Amen?

His heroine belongs to reality, she is a wonderful combination of atoms. But this “combination of particles” is easy to destroy, it is worth atomic explosion“reorder”! And he warns mankind:

It will be too late, too late!

Who threatens the heroine of the poem? And then there is a satirical image of the “world inside out”. The world of soulless robots, those who, for the sake of business, are ready to plunge humanity into the horror and torment of an atomic war, causes a special sharpness of denial. This ugly world is hated by the hero of the poem, a world in which all true feelings are lost, the depth and complexity of human thought are rejected, tenderness and purity are ridiculed:

… No time to think, no time.
in offices as in trolleys,
there is only gross, net -
no time to be human.

The poet contrasts youth with this inhuman world. the globe in the glow of October. The image of the natural world, the world of humanity, is drawn by the poet:

My edge. home of beauty,
The edge of Rublev, Blok,
Where the snow is stunning
breathtakingly clean...

And the theme of love is intertwined with the story of the confrontation between two anti-worlds. The poem unfolds a sharp irreconcilable dispute between the lyricist and the “foreign friend” and the modernist “disappointed” contemporary. The poet rejects the possibility of rejecting the beauty of the human person. The lyricist argues with the modernist deliberately rudely:

How to tell him, bastard,
That we live not to die -
To lips touch the miracle
kiss and stream.

The poet's love lyrics invariably turn out to be wider and deeper than their purpose. The poet's appeal to the complex and beautiful "miracle of love" is inextricably linked with a reverent sense of surprise before the uniqueness of the human personality, its creative forces.
lyrical image Voznesensky's heroines often merge with nature, embodying her naive and kind beauty. He sees the heroine sometimes “like a wet alder branch”, sometimes like a “mountain spring”. The poet resorts to the folklore tradition when the trees speak with human voices.
His lyrical hero protests against any lie, warns his beloved against wasting feelings: “... losing yourself is not a trifle - you run all over like water in handfuls ...”
In his poems, Andrei Voznesensky managed to express a passionate faith in man and an active rejection of antagonism, which are the hallmarks of our contemporary - a citizen of a new society.

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Introduction

Voznesensky Andrei Andreevich (1933-2010) - Soviet and Russian poet, architect, artist and publicist. One of the most famous poets of the “sixties” of the Soviet Union, for his work he was awarded the USSR State Prize in 1978 and the Government Prize in 2010 Russian Federation(posthumously). In 1996, during the Triumph Festival in Paris, Voznesensky was recognized by the French newspaper Nouvel Observater as "the greatest poet of our time."

Parents and childhood

Andrei was born in Moscow on May 12, 1933. His father, Voznesensky Andrei Nikolaevich, born in 1903, was a hydraulic engineer by profession, worked as a director of a leading Russian organization that was engaged in the design of water management and hydraulic structures (Gidroproekt). Andrei Nikolaevich also had the title of professor and doctor of technical sciences, worked at the Institute of Water Problems of the Academy of Sciences of the USSR, and was directly involved in the construction of the Inguri and Bratsk hydroelectric power stations. He had the title of Honored Worker of Science and Technology of the Uzbek SSR.

On the paternal side, Andrei Voznesensky had a great-grandfather - archimandrite, rector of the Murom Annunciation Cathedral in Posada, Andrei Polisadov. By nationality, my great-grandfather was Georgian, he was taken hostage by the Russians during the conquest of the Caucasus and taken with them to the city of Murom, where he was assigned to a monastery. Great-grandfather then graduated from the seminary, married a Russian woman and received a church surname - Voznesensky.

Mom, Voznesenskaya Antonina Sergeevna (maiden name Pastushikhina), born in 1905, she was from the Vladimir region.

Andrei also had an older sister, Natasha.

Not far from Vladimir, on the Kirzhach River, there is a town of the same name. Here, in my mother's homeland, the childhood of the future poet passed. When the war began, Andryusha and his mother were evacuated beyond the Urals to the city of Kurgan, where they were sheltered by the driver's family. In 1941-1942, Andrey studied in Kurgan at school number 30. Many years later he recalled this city: “The evacuation threw us into a terrible hole, but what a good hole this was!”

From the evacuation, Andryusha and his mother returned to Moscow, where he went to one of the oldest schools in the city (now it is educational institution No. 1060). The famous director Andrei Tarkovsky graduated from this school in his time.

Youth

From early childhood, the boy showed a great love for writing and drawing. Andrei never talked about his children's poems, but he dared to show the works of his youth to his beloved poet Boris Pasternak. The boy sent a notebook with his writings to the great writer, and he invited the young man to visit directly to his home. Voznesensky was very amazed when the genius of poetry met him in the corridor of a communal apartment in a sweater with a holey sleeve.

Then a correspondence began between them. Boris Leonidovich answered the fourteen-year-old boy that, despite his youth, he burst into literature rapidly and violently. And these, at first glance, insignificant letters, connected two poets - one beginner, very young, and the second experienced, one might say, a master. Their friendship continued until Pasternak's death.

Once Boris Pasternak told Andrei that he always liked his manner of expressing his thoughts, thinking and seeing the world, but the master of literature did not expect Voznesenskaya to be heard and recognized by society so soon. Pasternak was glad that he managed to live up to this time - the period of recognition of Voznesensky as a poet.

It can be said that Pasternak thus blessed the young Voznesensky for a great literary future. Nevertheless, he himself dissuaded the guy from entering the literary institute. It seemed to Pasternak that a young talent could be spoiled there, and in general it is better for a man to have a more serious profession in life than a poet. So in 1952, after graduating from school, Andrei entered the Moscow Architectural Institute. He studied, as expected, for five years and in 1957 received a diploma in architecture.

Creation

According to the received specialty, Voznesensky did not have a chance to work, his life already completely belonged to art. From that time and forever, Andrei became a man of two professions. However, many critics subsequently noted that it was the architectural higher education influenced the work of Voznesensky. He was called an inventor in poetry, and in poetry one could always catch the game, constructions, architectural thinking. It is unlikely that there will be lovers of poetry who do not know his famous "rococo toilets" and "cowsheds in cupids".

In 1958, his first poems were published, which were distinguished by their peculiar style. Voznesensky's lyrics were extravagant, sound effects and rhythmic system became more complicated in them. The bright poems of the young poet, which were published in periodicals, did not go unnoticed.

And already in 1959, after his poem "Masters" was published, the name of the poet Andrei Voznesensky became popularly known. The recognition of millions of readers has been received. Voznesensky became a prominent representative of a new generation of poets. The era of the “sixties” began, who created and thought freely.

In Moscow, literary evenings began to be organized on New Square at the Polytechnic Museum. Voznesensky, Okudzhava, Rozhdestvensky, Yevtushenko, Akhmadullina read their poems there. The halls were full. They could not accommodate everyone who wanted to listen to the poetry of the new generation. Poets began to perform at stadiums, where thousands of people gathered.

The year 1960 was marked by the release of two collections of poetry by Voznesensky "Mosaic" and "Parabola" at once. This became a very bright event in the cultural life of the USSR. His poems did not fit into Soviet official literature, critics did nothing but smash Voznesensky's poetry to smithereens.

In 1963, his famous scandal broke out with N. S. Khrushchev. A creative meeting was held in the Kremlin, and Voznesensky was supposed to speak. He began his speech by declaring that he was not a member communist party, like his favorite poet Vladimir Mayakovsky. To which Khrushchev invited Andrei Voznesensky to get out, and if necessary, he would give instructions for him to sign a foreign passport.

Perhaps in another time and for another poet, it would be the collapse of everything creative way. But not for Voznesensky, the people needed his poems. The poet's books were sold in huge editions.

Also, his work was greatly loved abroad. He traveled a lot and often with performances to Poland, Bulgaria, USA, Austria, Italy, Great Britain, Canada, France. Among admirers of Voznesensky's poetry are Robert Kennedy, Pablo Picasso, Allen Ginsberg, Martin Heidegger, Arthur Miller, Jean-Paul Sartre, Marilyn Monroe, Pierre Cardin, Jacqueline Kennedy, Marc Chagall, Ronald Reagan.

About two dozen poetry collections came from the pen of Voznesensky. In 1993, his dimensionless prayer sonnet "Russia is Risen", which was published in the magazine "Friendship of Peoples", made a splash.

His most famous work, which was staged on the stage, was the world-favorite rock opera Juno and Avos. This production is the visiting card of the Lenkom theater troupe in Moscow. Voznesensky's great merit is in the world fame of this opera. And not only that they, together with the composer Alexei Rybnikov, wrote amazing poetry and music. Voznesensky was good friends with the famous fashion designer Pierre Cardin, who helped organize productions of "Juno and Avos" in Paris, New York and other cities. largest cities peace.

In the Taganka Theater, in the form of songs and poems, his poetic cycle "Antimirs" was staged, the music for which was written by Boris Khmelnitsky, Vladimir Vysotsky. It was something like a creative evening of Voznesensky, where in the first part his poems were read by theater actors, and in the second he himself.

A lot of popular pop songs were written on Voznesensky's poems, which were performed by eminent Soviet singers. The most famous of them:

· “Song for an encore”, “A Million Scarlet Roses” (Alla Pugacheva);

«Waltz by Candlelight» (Sergey Nikitin);

· “Give me back the music”, “A special friend”, “Start over” (Sofia Rotaru);

· "Eclipse of the heart" (Valery Leontiev);

· "Ode to gossips" (Vladimir Vysotsky);

· "Do not return to former lovers" (Galina Besedina and Sergey Taranenko);

· “A girl is crying in a machine gun” (Evgeny Osin).

poet publicist Voznesensky cycle

· Order of Merit for the Fatherland, II degree (May 5, 2008) - for outstanding services in the development of domestic literature and many years of creative activity.

In 1978, in New York, Voznesensky A. A. was awarded the prize of the International Forum of Poets for outstanding achievements in poetry

Order "For Merit to the Fatherland" III degree(January 15, 2004) -- for his great contribution to the development of Russian literature

Order of the Red Banner of Labor (1983)

· State Prize of the USSR (1978) - for the collection "Stained Glass Master" (1976).

He is an honorary member of ten world academies, including Russian Academy education (1993), the American Academy of Letters and Art, the Bavarian Academy of Arts, the Paris Academy of the Goncourt brothers, the European Academy of Poetry and others.

Golden badge of honor "Public recognition" (2003)

Personal life

Voznesensky had a short relationship with the poetess Bella Akhmadullina after she left her first husband Yevgeny Yevtushenko.

In 1964 Andrey married Zoya Boguslavskaya. Until the end of her life, she was his Muse and Oza (as he called Zoya). It was extraordinary love. Boguslavskaya was four years older than Voznesensky, at the time of their acquaintance she took place as a playwright, writer and literary critic. Moreover, Zoya was married and raised her son.

But Voznesensky chose her as his salvation, as if he felt with every cell of his body that this was his destiny. She resisted and did not want to change anything in her prosperous life. happy life. But Andrei was persistent, and Zoya gave up. She left her former family, and for 46 years she walked side by side with Voznesensky in joy and in sorrow.

Disease and death

In fact, death seemed to be constantly pursuing him and silently receding. In the 70s by Soviet Union a rumor swept that the poet Andrei Voznesensky had an accident and crashed. Indeed, there was an accident, the car was crushed, as they say, soft-boiled, but everyone who was in it remained alive. The famous writer and poet of the Kazakh SSR Olzhas Suleimenov was driving. In the car was also the actress Tatyana Lavrova, who was for Voznesensky his eternal and bright love.

The second accident happened in the life of the poet when he was driving a taxi to his home in Peredelkino. The car was again crumpled into the trash, and the poet remained alive thanks to his favorite fox shaggy hat. Death again bypassed him, and later he wrote poems, where he thanked the unknown beast, from which they sewed a saving cap.

The poet was lucky for the third time when he was supposed to fly from Novosibirsk to Moscow and was late for his plane, which crashed during this flight.

In 1995, doctors diagnosed Andrei Voznesensky with the first signs of Parkinson's disease. His throat and limb muscles began to weaken.

In 2006, the poet had his first stroke. The consequences after it were severe: almost complete paralysis of the left arm and problems with the legs, Andrey Andreevich began to move very hard.

In 2010, he suffered a second stroke and lost his voice. In May of the same year, Voznesensky and his wife Zoya Boguslavskaya left for one of the best German clinics in the city of Munich. Doctors performed an operation on him, during which atherosclerotic damage to the arteries was eliminated, which prevented the possibility of subsequent strokes. But the prompt actions of surgeons from Germany could not prolong the life of the poet for a long time.

On June 1, 2010, Voznesensky suffered a third stroke. At 13:10, his heart stopped. Before that, the wife called an ambulance, but when the doctors arrived, the poet was already dead. When Voznesensky's body was taken to the morgue, red carnations were already lying at the gate of the house.

Andrei Andreevich lived in Peredelkino, near the dacha-museum of his teacher Boris Pasternak. The disciple outlived his mentor by fifty years and two days.

During this time, Voznesensky every year on Pasternak's birthday (February 6) and on the day of his death (May 30) came to his teacher's dacha. After Pasternak's death, a notebook signed "Andryushina's Poems" was found in his work desk, in several places there were some notes with a simple pencil. Voznesensky turned out to be a very grateful student. For half a century, he did not come to Pasternak's dacha-museum only once, on May 30, 2010. He simply could not do it physically, and perhaps he felt that in two days he would meet with his mentor forever ...

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