Artistic features in the work of the Zabolotsk late period. H
ANALYSIS OF THE POEM OF N. ZABOLOTSKY "SEPTEMBER". PERCEPTION, INTERPRETATION, EVALUATION
The poem "September" was written by N. Zabolotsky in 1957. It refers to landscape lyrics. In it, the poet confesses his love for autumn nature. Autumn is a time loved by many poets and artists. We all remember golden autumn» Levitan. "It's a sad time! oh charm!
Your parting beauty is pleasant to me, ”these lines, which have become textbooks for us, have not lost their value to this day. Baratynsky, Pushkin, Tyutchev - they all wrote about autumn. N. Zabolotsky presents his original view of autumn nature to us.
The poem is built on the basis of antithesis. Compositionally, we can distinguish two conditional parts in it. The first part is the first stanza, exposing the gloomy September landscape:
The rain pours big peas,
The wind is breaking, and the distance is unclean.
Tousled poplar closes with a silvery underside of the sheet.
The second part is all the other stanzas. We see how a dead autumn day suddenly comes to life under sunbeam breaking through the clouds:
But look: through the opening of the cloud,
As through an arch of stone slabs,
Into this realm of fog and darkness the First ray, breaking through, flies.
And all nature immediately revives, becomes bright, worthy of a painter's brush. In the finale, the poet compares nature and man: like a girl, having flared up, “shone at the end of September” hazelnut. And this fragile tree reminds him of "a young princess in a crown":
Draw, like a tree, a shaky Young princess in a crown With a restlessly sliding smile On a tear-stained young face.
The poet uses various means of artistic expression: epithet (“silver underside of the leaf”), comparison (“like a tree, unsteady young princess in a crown”), personification (“The tousled poplar tree closes with the Silvery underside of the sheet”).
Works for comparison: F.I. Tyutchev “There is in the original autumn”, A.S. Pushkin "Autumn".
Skrepa: antithetical nature of the paintings of autumn nature; convergence of natural and human worlds(comparison of autumn with Pushkin's "consumptive maiden").
This poem was written in 1957, now far away for us. It was the time of Khrushchev's "thaw", when poetry blossomed rapidly. Without exception, poets wrote about women and for women.
Analysis of the poem September Zabolotsky
This is a poem of the "late" Zabolotsky, it is more descriptive, a little philosophical. In his youth, Nikolai Alekseevich liked to shock readers with his stories and comparisons.
Analysis of Zabolotsky's poem Lonely Oak
Nikolai Zabolotsky wrote a poem called "The Lonely Oak" in 1957. This poem was written not just like that, but under the influence of external, and especially internal circumstances.
Analysis of the poem by Zabolotsky Thunderstorm is underway
At the end of 1957, N. A. Zabolotsky wrote a poem called "The storm is coming." He was very fond of the beauty of Russian forests and fields and often praised it in his works. This verse refers to the philosophical style of writing.
Analysis of Zabolotsky's poem Juniper Bush
The poem "The Juniper Bush" was written in 1957 and is part of Zabolotsky's collection entitled " last love". The reason for the poet's appeal to love lyrics became an event
Analysis of Zabolotsky's poem On the beauty of human faces
The author in his poem lists the types of human faces with the help of comparisons, personifications and metaphors. The poem consists of 16 lines, it contains 7 sentences. It speaks of the author's ability to think philosophically.
Analysis of the poem by Zabolotsky Thunderstorm
The poem tells about a natural phenomenon familiar in our latitudes - a thunderstorm, it can be considered main character this work.
Analysis of Zabolotsky's poem Don't let your soul be lazy
Nikolai Zabolotsky is known to us as a philosopher and humanist, who often argued about what is good and evil, what is the strength of a person and what is real beauty. Many of his lyrics sound like unobtrusive friendly admonition or poetic reflection.
Analysis of the poem Testament Zabolotsky
In the mid-fifties, the poet returns from the prison, where he was for six years. Life in not freedom greatly worsens the condition of Nikolai Zabolotsky, and he understands that his life will soon be over.
Analysis of the poem Cranes Zabolotsky Grade 8
Zabolotsky wrote a work called "The Cranes" in 1948 at a stage in his life. The poem itself is very sad, and even tragic, since the plot of the work itself is very unusual.
Analysis of the poem Ugly Girl Zabolotsky
Having studied the poem “Ugly Girl”, it seems to me that the lyrical hero in it is a sloppy, funny personality. She's like a joke. From the very first lines of the work, it is clear that this is a very special girl, as if there are no such girls anymore.
The artistic techniques highlighted in the late lyrics of N. Zabolotsky are not too numerous and varied. The author, as a rule, tries to avoid excessive hyperbolization, multifaceted metaphors, etc. are not often used. At first sight, mature creativity the poet gravitates towards some primitiveness. However, it is the simplicity and clarity of Zabolotsky's poems that are his individual literary qualities. Great importance the poet pays to the semantic side of the language. He is interested in the word as such, and specifically - the figurativeness of its meanings, its semantic content. Important role in the work of Zabolotsky plays such an artistic technique as antithesis. Indeed, the poet's poems often contain the sharpness of the confrontations between natural phenomena and the phenomena of human existence, philosophical concepts and worldviews. N. Zabolotsky is a searching and questioning creator, in whose hands poetic material undergoes constant metamorphosis.
For example, the poem "On the beauty of human faces" consists of two opposite parts. The first part is monumental, heavy. Under the guise of some immovable block, the author veils poverty human soul. The lack of spiritual and emotional movement makes people "frosty", unable to think, feel and sympathize:
Other cold, dead faces
Closed with bars, like a dungeon.
Others are like towers in which
Nobody lives and looks out the window.
In the second part, on the contrary, the “small hut”, which is “unsightly, not rich”, symbolizes inner content person. The “window” of this hut sends “spring breath” into the world. So is a person: if he is full inside, then light and beauty come from him. Such epithets as "spring day", "jubilant songs", "shining notes" change the mood of the poem, it becomes joyful, radiating goodness.
Thus, the antithesis of large (even huge) and small is the artistic device on which the entire poem is based. However, this does not mean that Zabolotsky does not use other methods in it. On the contrary, the poem "On the beauty of human faces" is very allegorical, allegorical. After all, each "tower", "shack", "hut" is an indication of a particular person, his character and inner world.
N. Zabolotsky uses apt comparisons. In the poem “On the Beauty of Human Faces”, they can be observed in sufficient numbers: “likeness of miserable shacks”, “like magnificent portals”, “like a dungeon”, “like towers”, “likeness of songs”. It is also unusual that there is no division into stanzas in the work: the poem is one stanza of four quatrains. This is probably due to the fact that the entire poem is entirely concentrated on one main idea, it is based on one main idea.
Here it is worth remembering Ugly girl"Zabolotsky, in particular, a vivid comparison - "reminiscent of a frog." In this poem, as in many others, one can single out a subtle allegorical, deep psychological analysis: “pure flame” as an image of the soul, comparison of spiritual filling with “a vessel in which there is emptiness” or with “fire flickering in a vessel”:
I want to believe that this flame is pure,
that burns deep within,
One will hurt all his pain
And melt the heaviest stone!
And let her features are not good
And she has nothing to seduce the imagination, -
Infant grace of the soul
Already see through in any of its movements.
Heroes and images of Zabolotsky become as deep as possible. They are more pronounced and more clearly defined by the poet compared to his early lyrics.
Parallelism as an artistic device is also characteristic of the late lyrics of N. Zabolotsky. For example, in the poem "The Storm is Coming" (1957), we see a vivid parallelism of natural phenomena with the state of mind and thoughts of the author himself.
The image of a cloud is peculiar and unique in the poem:
A frowning cloud moves
Covering half the sky in the distance,
Moving, huge and viscous,
With a lantern in a raised hand.
In these lines, the cloud is endowed with some special significance, we can say that she is animated. The cloud moves like a searching or lost wanderer, like a formidable arbiter of destinies. In this context, this image is read not just as natural phenomenon but as something more.
The above work is characterized by a special metaphor:
Here it is - a cedar at our balcony.
Split in two by thunder,
He stands, and the dead crown
Supports the dark sky.
Such a high level of metaphorization, undoubtedly, once again allows us to single out as a special and unique phenomenon the late lyrics of N. Zabolotsky: the “dead crown”, propping up the “dark sky”.
In conclusion, the poet draws a parallelism between a tree split in two and his own state of mind. However, this is not only parallelism, it is also an allegorical statement of the author, expressing the duality of his worldview:
Sing me a song, tree of sorrow!
I, like you, broke into the heights,
But only lightning met me
And fire burned on the fly.
Why, split in two,
I, like you, did not die at the porch,
And in the soul is the same fierce hunger,
And love, and songs to the end!
Of particular importance for the work of N. Zabolotsky is the philosophical understanding of nature, the close relationship between nature and man, as well as their mutual alienation. In the poem “I am not looking for harmony in nature…” (1947), the poet sees nature as a huge “world of contradictions” filled with “futile play” and “useless” hard work.
The poem is filled with personifying metaphors: “blind night”, “the wind will be silent”, “in an anxious half-sleep of exhaustion”, “the darkened water will calm down”. Here there is such an artistic device as comparison. The author compares nature with a "mad but loving" mother who does not see herself in this world without her son, who is not complete without him:
So, falling asleep on your bed,
Crazy but loving mother
conceals in itself high world child,
To see the sun with my son.
In this work, one can single out an implicit antithesis, the opposition of good and evil:
And at this hour the sad nature
Lies around, sighing heavily,
And wild freedom is not dear to her,
Where evil is inseparable from good.
When tired of violent movement,
From uselessly hard work,
In an anxious half-sleep of exhaustion
When a vast world of contradictions
Satisfied with a fruitless game, -
Like a prototype of human pain
From the abyss of water rises before me.
The poet's lyrics are distinguished by the contrast of the depicted images. For example, in the poem "Somewhere in a field near Magadan ..." (1956), an unbearable feeling of sadness and depression is created from the terrible contrast of the frozen, blizzard, inhospitable land and the vast, endless bright sky. The stars in this poem symbolize not only freedom, but the very process of liberation. While the old people are not yet separated from reality, from their earthly affairs, the stars do not look at them. But in death they unite with nature, with the whole world, gaining freedom:
Their guards will not overtake them anymore,
The camp convoy will not overtake,
Only one constellation of Magadan
They sparkle, standing over their heads.
The camp theme, closely intertwined with the theme of human suffering, is reflected in this poem. The grief of two “unfortunate Russian” old men, whose soul “burned out”, is depicted against the background of “the wondrous mystery of the universe”.
Cycle "Last Love" as " great work”, consisting of separate parts, each of which complements and determines the next one, has an epic beginning. Here we can note the author's desire to reproduce the "fluid" process of reality. A consistent series of events of the story of "last love" and the presence of a common frame are drawn.
The poem "Juniper Bush" (1957) is distinguished by a special melody, formed by a certain sound set:
juniper bush, juniper bush,
The cooling babble of changeable lips,
Light babble, barely reeking of resin,
Pierced me with a deadly needle!
This stanza is also notable for the presence of epithets in it: “changeable lips”, “light babble”, “deadly needle”. They create a feeling of some kind of dynamics: anxious, uncertain and, at the same time, swift and decisive.
From the very beginning of the poem, the reader expects some kind of trouble, which is facilitated by a very original epithet - “metal crunch”, which creates the tone of internal discord and external omen:
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.
The constant play of hissing and hard consonants with soft and sonorants creates a feeling of duality in the poem. The reader, along with the lyrical hero, is immersed in a strange phantasmagoria, bordering between dream and reality. And, as Zablotsky often uses in his work, the main idea is contained by the author in the last stanza. And here the dynamics are replaced by contemplation and, in the end, forgiveness and release:
In golden skies outside my window
The clouds float by one by one
My garden that has flown around is lifeless and empty ...
God forgive you, juniper bush!
Zabolotsky, as already mentioned above, is a master in the field of comparisons and allegory. In the last stanza, we see a "circled garden" that has lost any life in its depths. The soul of the lyrical hero, just like this garden, was empty, and the juniper bush is to blame for everything - an ambiguously readable and brightest image this poem.
The poem "Old Age" (1956) concludes the cycle "Last Love". This is a kind of story, a kind of epic narrative in verse. It is in him that the maturity and calmness to which the author came are so acutely felt. Contemplation and comprehension - that's what comes to the fore in comparison with his early lyrics:
Simple, quiet, gray-haired,
He is with a stick, she is with an umbrella, -
They are golden leaves
They look, walking until dark.
Their speech is already laconic,
Without words, every look is clear,
But their souls are light and even
They talk about a lot.
In the obscure haze of existence
Their fate was not noticeable,
And the life-giving light of suffering
Above them slowly burned.
Most of all, in these lines, the opposition of the “obscure darkness of existence” and “life-giving light” stands out. In this regard, we can also talk about the so-called "cosmic" parallelism, which, to one degree or another, permeates the author's late lyrics. In a short poem, Zabolotsky manages to combine an all-encompassing, panoramic vision of the world with a given, one might say, private situation.
Thus, we see that late lyrics N. Zabolotsky, on the one hand, is an incredibly deep phenomenon from a philosophical point of view, on the other hand, quite uncomplicated in terms of its artistic essence, or rather, in terms of diversity artistic techniques and methods. The poet uses numerous epithets, the frequency of using epithets-comparisons, comparisons is high, metaphors are slightly less common. It can be noted that Zabolotsky's poems often contain appeals and questions (often rhetorical), which bring the author's vision closer to the reader's perception. In general, Zabolotsky's poetry eschews something complex and confusing, he practically does not exaggerate what is depicted, does not engage in the so-called "weaving of words". The poet's punctuation is quite expressive. Zabolotsky often brings the main idea of the work to the very end, concluding it in the last stanza, thus summing up the above. It should be noted that Zabolotsky's poetics was and remains unique, continues to influence the work and thinking of many poets and people associated, one way or another, with the word.
Passerby - N.A. Zabolotsky(analysis poetic text)
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PASSERER Filled with mental anxiety It's too late. To Nara Station Turning towards the bridge There is a pilot at the edge of the alley And in the dark hall of the universe That wondrous peace before which, And in the light rustling of the kidneys And the body wanders along the road, |
The poem “Passer-by” presents certain difficulties not only for literary analysis, but also for simple reader understanding, although the first acquaintance with the text is enough to feel that we are facing one of the poetic masterpieces of the late Zabolotsky. It may seem incomprehensible to the reader how the “passer-by” and the “invisible young pilot” are connected and why the “passer-by”, who appeared in front of us at the beginning of the poem in an emphatically everyday appearance (“in a three-piece suit, with a soldier’s bag”), at the end is unexpectedly contrasted to the killed pilot as a "body":
And the body wanders along the road ...
The preliminary work that should precede the analysis of the text of this poem is the reconstruction of the general contours of the world model according to Zabolotsky. This system, restored on the basis of other texts of the poet, which is the context for this poem, in relation to the analyzed poem will act as language, and the poem in relation to it - as text.
Zabolotsky has gone through a long and complex evolution that embraces all of his work and is still far from being fully explored. It is all the more noticeable that some of the fundamental ideas of his artistic system turned out to be extremely stable. First of all, it should be noted the high modeling role of the opposition "top - bottom" in Zabolotsky's poetry. At the same time, “up” always turns out to be a synonym for the concept of “distance”, and “down” is a synonym for the concept of “proximity”. Therefore, any movement is ultimately a movement up or down. Movement, in fact, is organized by only one - the vertical axis. So, in the poem "Dream", the author in a dream finds himself "in a voiceless area." The world around him first of all receives a characteristic distant(“I sailed away, I wandered away ...”) and distant(very strange). But then it turns out that this distant world is infinitely located high:
Bridges in the sky
They hung over the gorges of failures.
The earth is far below:
The boy and I went to the lake,
He threw a fishing rod somewhere down
And something that flew from the earth,
Slowly, he pushed it away with his hand.
This vertical axis at the same time, it organizes the ethical space: for Zabolotsky, evil is invariably located at the bottom. Thus, in The Cranes, the moral coloring of the “up-down” axis is extremely naked: evil comes from below, and salvation from it is a rush upwards:
Black gaping muzzle
Rose up from the bushes
…………………………………
And, echoing a sorrowful sob,
The cranes took off into the air.
…………………………………
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,
The will to fight...
The combination of high and far and the opposite characteristic of "bottom" make "up" the direction of expanding space: the higher, the more limitless the space - the lower, the tighter. The end point of the “bottom” combines all the space that has disappeared. It follows from this that movement is possible only at the top and the opposition "up - down" becomes a structural invariant not only of the antithesis "good - evil", but also "movement - immobility". Death - the cessation of movement - is a downward movement:
And the leader in a shirt made of metal
Slowly sank to the bottom...
In "Bigfoot" familiar to the art of the XX century. spatial scheme: atomic bomb as death above- destroyed. The hero - "Bigfoot" - is carried up, and atomic death comes from below, and, dying, the hero will fall down.
They say that somewhere in the Himalayas,
Above temples and monasteries,
He lives, unknown to the world,
Primitive fosterling of animals.
…………………………………
The catacombs are hidden in the mountains,
He doesn't even know what under him 1
Atomic bombs are falling
Loyal to their masters.
Will never reveal their secrets
This Himalayan troglodyte,
Even if, like an asteroid,
all blazing, to the abyss will fly.
However, the concept of movement in Zabolotsky is often complicated due to the complication of the concept of "bottom". The fact is that for a number of Zabolotsky's poems, "bottom" as an antithesis of "top - space - movement" is not the end point of lowering. Associated with death, the retreat into the depths, located below the usual horizon, in the poetic world of Zabolotsky is unexpectedly characterized by signs reminiscent of some properties of the "top". The "top" is characterized by the absence of frozen forms - the movement is interpreted here as a metamorphosis, a transformation, and the possibilities of combinations are not provided here in advance:
I remember the look well.
All these bodies floating out of space:
Interlacing of trusses and bulges of slabs
And the wildness of primitive decoration.
There are no subtleties to be seen,
The art of forms is clearly not held in high esteem there ...
("Dream")
This re-decomposition of earthly forms is, at the same time, the attachment of forms to a more general space life. But the same applies to the underground, posthumous way human body. In an address to dead friends, the poet says:
You are in a country where there are no ready-made forms,
Where everything is scattered, mixed, broken,
Where instead of the sky - only a grave hill ...
("Farewell to Friends")
Thus, as a fixed opposition to "above" is earth's surface- domestic space of everyday life. Above and below it, movement is possible. But this movement is understood specifically. The mechanical movement of immutable bodies in space is equated with immobility; mobility is transformation.
In this regard, a new significant opposition is put forward in Zabolotsky's work: immobility is equated not only with mechanical movement, but also with any uniquely predetermined, completely determined movement. Such a movement is perceived as slavery, and freedom is opposed to it - the possibility of unpredictability (in terms of modern science, this opposition of the text could be represented as the antinomy of "redundancy - information"). Lack of freedom of choice is a feature of the material world. He is opposed free world thoughts. Such an interpretation of this opposition, characteristic of all of the early and a significant part of the poems of the late Zabolotsky, determined his attribution of nature to the lower, immobile and slave world. This world is full of longing and lack of freedom and opposes the world of thought, culture, technology and creativity, which gives choice and freedom to establish laws where nature dictates only slavish execution.
And the wise man will leave, thoughtful,
And he lives as unsociable,
And nature, instantly bored,
Like a prison stands over him
("Snakes").
Animals don't have names.
Who ordered them to be called?
Uniform suffering -
Their invisible lot.
…………………………………
All nature smiled
Like a high prison
("Walk").
The same images of nature are preserved in the work of the late Zabolotsky. Culture, consciousness - all types of spirituality are involved in the "top", and the bestial, uncreative principle is the "bottom" of the universe. Interesting in this respect spatial solution Poems "Jackals". The poem is inspired by the real landscape of the Southern coast of Crimea and, at the level of reality described by the poet, gives a given spatial location - the sanatorium is located down below, by the sea, and the jackals howl upstairs, in the mountains. However, the spatial model of the artist conflicts with this picture and makes adjustments to it. The sanatorium belongs to the world of culture - it is like an electric ship in another poem of the Crimean cycle, about which it is said:
Giant swan, white genius
An electric ship stood on the road.
He got up over the vertical abyss
In triple consonance of octaves,
Fragments of a musical storm
From the windows generously scattered.
He was trembling from this storm,
He was in the same key with the sea,
But he gravitated towards architecture,
Raise the antenna on your shoulder.
He was at sea the phenomenon of meaning…
("On the roads")
Therefore, the sanatorium standing by the sea is called “high” (the electric ship is “above the vertical abyss”), while jackals, although they are in the mountains, are placed in top bottom:
Only there up the ravines…
The lights don't go out all night.
But, having placed the jackals in ravines (a spatial oxymoron!), Zabolotsky supplies them with "doubles" - the quintessence of the base animal essence, placed even deeper:
And the animals along the edge of the stream
Cowardly run into the reeds,
Where in stone holes deep
Their doppelgangers rage.
Thinking invariably appears in Zabolotsky's lyrics as a vertical ascent of liberated nature:
And I wandered alive over the fields,
Entered the forest without fear
And the thoughts of the dead transparent pillars
Around me rose to the skies.
And Pushkin's voice was heard over the foliage,
And Khlebnikov's birds sang near the water.
…………………………………
And all existences, all nations
Imperishable kept being,
And I myself was not a child of nature,
But her thought! But her unsteady mind!
(“Yesterday, thinking about death…”)
True, in the future, Zabolotsky also had a certain evolution. The poet understood the danger of inflexible, inert, completely determined thought, which is fraught with much fewer possibilities than the most rough and material nature. In The Confrontation of Mars, for the first time, Zabolotsky appears with the idea of the threat of dogma, frozen thought, and “reason” is characterized without the usual positive emotional coloring for this image:
Spirit full of mind and will,
Deprived of heart and soul...
It is not by chance that in the poem the spatial arrangement of concepts usual for the poet changes sharply: evil moves upwards, and this, together with negative assessment mind, makes the text unique in Zabolotsky's work:
Bloody Mars from the blue abyss
Looked carefully at us.
And the shadow of evil consciousness
Crooked vague features,
Like an animal spirit
He looked at the ground from above.
All forms of immobility: material (in nature and life of a person), mental (in his mind) - is opposed by creativity. Creativity frees the world from the slavery of predestination and creates freedom of possibilities that seemed incredible. In this regard, a special concept of harmony arises. Harmony for Zabolotsky is not ideal correspondences of ready-made forms, but the creation of new, better correspondences. Therefore, harmony is always the creation of human genius. In this sense, the poem "I am not looking for harmony in nature ..." is Zabolotsky's poetic declaration. It is no coincidence that he placed it first (violating chronological order) in a collection of poems 1932–1958. Human creativity is a continuation of the creative forces of nature, their peak (in nature there is also greater and lesser spirituality; the lake in the "Forest Lake" is more ingenious than the "slum" surrounding it, it "burns, aspiring to the night sky", "Bottomless bowl of transparent water / She beamed and thought with a separate thought”).
Thus, the main axis "top - bottom" is realized in texts through a number of variant oppositions.
This is the general system poetic world» Zabolotsky. However artistic text- not a copy of the system: it consists of significant fulfillments and significant non-fulfillments of its requirements. Let's take a look at this poem in this regard.
The first operation of semantic analysis is text segmentation, followed by a comparison of segments at different levels (or segments different levels) in order to identify differential signs, which are the carriers of the values.
Segmentation of the text in this case is not difficult: the poem is divided into stanzas, which, as a rule, are also sentences. Against this background, the second stanza, consisting of three sentences, and the fifth and sixth stanzas, which together form one sentence, stand out (later we will see the significance of this fact). The smallest segment at the level of composition is the verse, which also turns out to be a syntagma throughout the text. The largest division of the text is its division into two parts. The boundary of the segments passes through the middle of the text (1-4 and 5-8 stanzas) and is determined intuitively - by content: at the first careful reading it is easy to see that the beginning of the poem has an accentuated everyday content, while after the verse "And in the dark chamber of the universe" the description gives way to reasoning. Further analysis should confirm or refute this reader's feeling and thereby substantiate or reject the proposed character of text division. If we count the real-concrete and abstract nouns in the first and second halves of the text, then expressive numbers are obtained:
Moreover, in each case, there will exist, constituting the core of the group, a certain number of primordially real or primordially abstract nouns in meaning. Tokens are cyclized around them, receiving such a value in a given context. So, words with the meaning of landscape in the first half will have a real meaning, and in the second - an abstract one. "Body" and "dogs" in the last stanza will receive semantics opposite to the real one.
Behind this - external - difference is a deeper one: the first half of the poem takes us to an extremely specific space. This space, firstly, is so specific geographically that it can only be perceived as an image of a single and precisely defined place on the surface of the earth. Even the first publisher of the poem, N. L. Stepanov, made an accurate observation: “The Peredelkino cemetery is shown to the limit in “Passer-by”” 2 . Since it was apparently essential for the poet that this feature of the description be clear even to the reader who is not familiar with the Peredelkino landscape, he introduced a proper name into the geography of this part of the text:
It's too late. To Nara Station
The penultimate lineup is gone...
The reader may not know where the Nara station is located, how he may not know why Pushkin, in a message to V.L. But just as in Pushkin's poem he cannot but feel an intimate hint, understandable to a narrow, almost conspiratorial circle, and, consequently, unmistakably perceive the setting of the text on intimacy, the unique uniqueness of the atmosphere in which the poem lives, so in Zabolotsky's text, the reader becomes clear geographical uniqueness the place where the poet took him. He does not know where Nara is and has no personal associations with her. But he knows very well from personal experience what the feeling of geographical uniqueness is, which is associated for each person with this or that place. And the introduction of a proper name into the text - the name of a small and little-known station - conveys this attitude towards spatial uniqueness.
Spatial concreteness is complemented by material concreteness: we have already given quantitative indicators of the concreteness of names, but the accumulation of the sign of materiality in the values is even more significant. individual words extended to poetry in general. “Three”, “soldier's bag”, “sleepers”, “heap of ribbons” are not only material in their meaning, but also contribute a semantic sign of a poor, ordinary, non-ceremonial life. And ordinary things in the historically established hierarchy of our ideas are more material than festive ones.
It is interesting to create the meaning of materiality where the word itself may or may not have this feature. The "moon" is placed between the "edge of the barn" and the "roofs" and thus is introduced into the context of things from the same real and meager world. "Spring wilderness" in relation to the opposition "concrete - abstract" is ambivalent - it can take on any meaning. But in this context, they are influenced by the material environment (“bridge”, “monument”, “heap of ribbons”, etc.) and the fact that the relationship between the details of the landscape, endowed with signs of a particular area, is introduced into the text. "To the bridge" collapse from the railway, the grave of the pilot " at the edge alleys". Only "pines", equated with "a cluster of souls", fall out of common system this part of the text.
No less specific is the time of the same part. We do not know what time it is on the clock (although we can easily calculate it), but we know that it is a certain time, a time with a sign of accuracy. This is the time between the movement of the moon from behind the roof of the barn to a position above the roofs (it is assumed that the reader, of course, knows where to stand for this - the point is fixed by the intimacy of this the only world, which the author is building), between the penultimate and last trains to Nara (closer to the penultimate; it is assumed that the reader knows when this train leaves). In the world of suburbs, the concepts of a train and counting time are synonymous.
If the author had said that the “last train” had left, then the meaning of the statement could be both extremely specific and metaphorically abstract, up to the introduction of the semantics of hopelessness and irrevocable loss. "The penultimate train" can only mean a specific time.
Against the background of such a semantic organization of the first half of the poem, the universal-spatial and universal-temporal nature of the second part becomes sharply significant. The action takes place here “in the dark chamber of the universe”, the characters are: “a living human soul”, “an invisible young pilot”, a “body” wandering “along the road”. There are no mentions of eternity and the duration of time, no pictures of the cosmos or the universe (the mention of the “hall of the universe” is the only case, and it occurs on the border of the parts in order to “include” the reader in the new system; there are no further images of this type in the text) - the characteristic of time and space in this part of the text is represented at the expression level by a significant zero. But it is precisely this, against the background of the first part, that gives the text the character of inexpressible universality.
On the other hand, the juxtaposition sharply highlights the sign of upward striving of the two juxtaposed worlds.
The first half of the poem, introducing us into the world of everyday objects, also introduces everyday scales. Only two points are raised: the moon and the pines. However, their nature is different. The moon, as we have already said, is “tied” to the everyday landscape and is included in the “space of things”. The “pines” are characterized differently: their height is not indicated, but they are carried upwards - at least it is said about them that they “lean”. But even more significant is another comparison:
... pines, leaning towards the churchyard 3
,
They stand like a collection of souls.
It turns them off from the material world and at the same time from the whole connection of objects in this half of the poem.
The second half, in contrast, takes us to a world of other dimensions. "Hall" introduces the image of a building directed upwards. The "hall of the universe" metaphor creates additional semantics 4 , it can be roughly represented as a combination of the meanings of builtness, horizontal organization by floors (the semantics of a “building”) with an optional sign of narrowing, sharpening, “tower” at the top and universality, universality, which includes everything. The epithet "dark" introduces an element of obscurity, incomprehensibility of this construction, which in its universality unites thought and thing, top and bottom.
All further names are hierarchically organized with respect to the floors of this building, and this hierarchy both divides them and connects them. “Peace” “rises” (the semantics of verticality and movement in this verb is essential) “ above... foliage. The "living human soul" in relation to this peace receives a sign of lower hierarchy - it "is silent with a lowered gaze." This characteristic also has the meaning of humiliation, indicates a connection with the world of bodily human forms. The expression "living human soul" can be understood as a synonym for "living person" ("soul" in this case is perceived not as the antonym of "body", but as its metonymy) 5 . However, in the future, this frozen phraseological unit is included in a number of oppositions: in the antithesis of “invisible young pilot”, the word “living”, which has lost its lexical meaning in a stable phrase, is activated, and in opposition to “body” in the last stanza, the word “soul” is similarly activated.
The fusion of human heroism with moving nature (it is significant that these are trees - a layer of nature that rises above the everyday world and is always more animated by Zabolotsky; cf.: “Read, trees, Hesiod’s poems ...”) creates that level that rises above the world of things and graves animation, in which contacts are possible (“talking about something”) between a living person, nature and previous generations.
The last stanza is interestingly revealed in comparison with the first. Plot it brings us back to the passerby. This highlights the metamorphosis of the image - a single passer-by who is “full of spiritual anxiety” at the end breaks up into three entities: the soul talks in the leaves of the trees with the dead young pilot, “the body wanders along the road”, and “his grief and anxiety” run after after him. At the same time, all three entities are located on three different tiers in the hierarchy of the “hall of the universe”, along the “top - bottom” axis. The “soul” is located in this picture at the level of trees - the middle belt of animated nature, the “body” is combined with the everyday world, and the “alarms” that run after them “like dogs” make up lowest level physicality, resembling the raging twins of jackals. Accordingly, the system of verbs is hierarchical: “the soul” talks, “the body wanders”, “anxiety runs ... after”.
It seems that this contradicts the scheme, essential for other texts, according to which the lower, the more motionless the world. But here there is a specific given text the antithesis of the horizontal axis - the axis of everyday movement, concern for qualitative immobility and the axis of vertical movement - spirituality, peace and understanding in the course of internal Transformation.
The ratio of the two parts creates a complex semantic construction: the inner essence of a person is known, identified with the hierarchy of natural principles.
However, the system of other textual contrasts introduces changes into this general scheme, superimposing on it detailed semantic oppositions that are opposite or simply do not coincide with it. Thus, entering the general spatial "language" of Zabolotsky's poetry, the concrete world appears as the lowest. However, in the tradition of Russian poetry of the 19th century, with which the poem clearly correlates, there is, in particular, another semantic structure: the concrete, living, synthetic, warm, intimate opposes the abstract as analytical, cold, inanimate and distant. In this regard, the correlation of the “passerby” in the first and last stanzas will be decidedly different. In the first stanza, syntheticity, the integrity of the image, stand out. state of mind and appearance- such is the differential pair that arises from the comparison of the first two verses of the first stanza, the place and time of movement are activated when the last two are compared. However, at first their fusion will be exposed, and the separation, decomposition of the one into substance - at the end. But in the light of the classification traditional for Russian poetry, which we spoke about above, it is the first that will seem valuable and poetic.
Saturating the text with details, Zabolotsky does not accompany them with evaluative epithets. It has deep meaning. Here is an example: at the dawn of Soviet cinematography, one of the founders of the theory of film editing, L. V. Kuleshov, made an experiment that gained worldwide fame: close-up the indifferent face of the film actor Mozzhukhin, he edited it with another frame, which turned out to be a bowl of soup, a coffin and a child playing in succession. The montage effect - then still unknown, but now already a well-studied phenomenon - manifested itself in the fact that for the audience Mozzhukhin's face began to change, consistently expressing hunger, grief or fatherly joy. An empirically indisputable fact - the immutability of the face - is not fixed by the feelings of the observers. Getting into different systems connections, the same text becomes unequal to itself.
Without fixing his attitude to the image of the first stanza, Zabolotsky left the opportunity to include it both in the system of “his” artistic language and in the traditional type of connections. Depending on this, the value characteristic of the episode will change to the exact opposite. But it is precisely this hesitation, the possibility of double comprehension, that distinguishes a text from a system. The system excludes the intimate experience of the image of a "passerby" from the first stanza - the text allows. And the entire concrete world, within the text, oscillates between assessing it as inferior and as lovable. It is significant that in the last two stanzas the positive world of spirituality receives signs of concreteness: endowing movement and thought with the sound characteristics of “light rustling” and “slow noise” (with a clear element of onomatopoeia) is perceived as the introduction of a material element. At the same time, turning a “passer-by” into a “body”, Zabolotsky introduces an abstraction into the “lower” world, activating the possibility of comprehending the text in the light of the “anti-system”. This poetics of double comprehension of the text also explains the appearance of oxymoron combinations or the fundamental ambiguity of the plot, which creates the possibility of rethinking.
Against the background of these basic semantic organizations, more private ones function.
If we consider the text as a certain sequence of episodes, considering a stanza as an episode, then the relation of the plot segment to the next one (except for the last stanza) and the previous one (except for the first one) forms a chain of "montage effects", a plot sequence.
The first stanza introduces a character referred to as "he". No clarification is given in the text (“passerby” is named only in the title, and this definition structurally exists as an extra-textual one, related to the poetic text, but not included in it). Equally, the spiritual anxieties with which he is filled are not named.
Anxiety is the same inherent property of a character as triplets and a soldier's bag. This character corresponds to a specific environment and time, the emphasized materiality of which we have already spoken about. Starting from the third stanza, the hero moves to some new space - “spring wilderness”. The fourth stanza begins with the introduction of a new name, which, over the next three stanzas, supplants the first hero (he even ceases to be mentioned). This new character - "pilot", replacing the first hero, differs from him in many ways. First of all, it is not called a pronoun. But something else is also significant: the image of the pilot differs from the first hero in its oxymoron duality. The pilot, buried in the ground, and the "dead propeller", which become the plot center of these stanzas, are fraught with two principles: flight and the grave. The oxymoron of character building is further developed by the system of verbs. The verbs characterizing "him" are the verbs of motion. Spatial movement is combined with mental anxiety. The pilot is characterized by a combination of movement and immobility: over his grave "rises ... peace." The meeting of the passer-by with the pilot doubles: it is “he” passing by the grave, and the meeting of “his” soul with peace. At the same time, peace is given a sign of the beginning of movement - it “gets up”, and the living soul - the end of it, calm, it “falls silent”. At first, "he" was "full of spiritual anxiety", now before the peace that has risen over the grave,
Worried and always in a hurry,
Silent with downcast eyes
Living human soul.
In the next stanza, the movement is transferred to the young pilot. These are the mysterious "slight rustling of the buds" and "slow noise of the branches." Both characteristics are defiantly excluded from the world of direct everyday experience: the rustling of buds is the sound of their blooming (“microsound”), and the noise of branches is given the epithet not of sound, but of movement. In this "strange" world, a meeting of two souls takes place, while the newly appeared "he", having turned into a "body", continues to move. But changes have also taken place with “him” - his humiliation has increased: “he” at first “walks along the sleepers” - now he “wanders”. " Railway"," sleepers "turned into a generalized road of life - he does not go along them, but" through thousands of troubles. He was filled with mental anxiety - now
... his grief, and anxiety
They run like dogs.
Considered in this way, the poem acquires additional meanings: for “him” it is a plot of familiarization with the high order of life, for the “pilot” - immortality redemptive feat personal death, spiritualizing the surrounding world.
But what has been said does not exhaust the numerous super-meanings created by the structure of a poetic text. So, in the fifth stanza, the antithesis of sleep ("sleepy foliage") and rest arises. Having almost no meaning outside this context, it is performed here deep meaning: sleep is a state of nature, whose immobility is not spiritualized by thought, peace is the fusion of thought and nature. It is no coincidence that “peace” is located above"sleep":
Over this sleepy foliage
That suddenly instantaneous rises,
Soul-piercing peace.
It could be pointed out that "instantaneous" here does not mean "very fast", but - in antithesis of the time of the first two stanzas - having no temporal sign. Or else: the third, fifth and sixth stanzas end with verses containing the word "soul" (found only at the ends of stanzas). However, each time it gets a new value.
We do not consider the sublexical levels of the text, although this significantly impoverishes the analysis. From observations on syntax, we only note that the disunity of the material world and the unity of the spiritualized are expressed in the antithesis of short sentences (the second stanza consists of three sentences) and long ones (the fifth-sixth are one).
Only the poetic structure of the text makes it possible to concentrate on a relatively small area of thirty-two lines such a complex and rich semantic system. At the same time, one can be convinced of the practical inexhaustibility of the poetic text: the most Full description system gives only an approximation, and the intersection various systems creates not a final interpretation, but an area of interpretations within which individual interpretations lie. The ideal of poetic analysis is not to find some eternal and only possible interpretation, but to determine the realm of truth, the realm of possible interpretations of a given text from the standpoint of a given reader. And Zabolotsky's "Passer-by" will still be revealed to new readers - carriers of new systems of consciousness - with its new sides.
4 If you specify a list of all possible in the language phraseological combinations words "chamber" and "universe", then the connected meanings will give the semantics of the metaphor. Since the rules of compatibility will be determined each time by the semantic structure of a given text (or type of texts), and the number of possible phraseological units will also vary depending on a number of reasons, the possibility of semantic movement necessary for art arises.An extraordinary influence on the work of Zablotsky was exerted by the Great scientific discoveries with which the world was filled during the period of his life and work. At the same time, his poems have not lost their poetry. I think that the poet really said a new word in Russian literature. An example of a combination of science, lyricism and philosophy is Zabolotsky's poem "Metamorphoses" (1937). The reality of immortality is the key vector of this work. If earlier in solving this eternal problem life and death, the poets proceeded from philosophical teachings, the Christian worldview, then scientific discoveries in the era of the 20th century put it on a different level.
Nikolai Zabolotsky comprehends reality in the infinite diversity and unity of the transformations of "a ball of some complex yarn", the unity of "the world in all its architecture". Each transformation of world life includes death, dying. This is a fact that you have to put up with. Death occurs at any moment in life.
At first, the poem seems paradoxical, difficult to understand. The title itself is symbolic. The ancient Greek poet Ovid once wrote the poem "Metamorphoses", in which he reflected the magical transformations in the world, the flow of one matter into another. And although in many ways this poem is mythological, filled with legends about the gods, time has shown that the Greeks were surprisingly perspicacious. Transformations, amazing changes in nature and man occur every second. The world has changed, the edges human consciousness expanded. These new views were reflected by the author in his Metamorphoses.
From the very first lines one can feel the surprise, the admiration of the lyrical hero for the endless changes of the world:
How the world is changing! And how I change myself!
Already here the problem of man and the surrounding reality comes to the fore. The lyrical hero tries to solve the very complex issue- as it happens, life changes inside him, who he is. Hence his paradoxical conclusions:
Only one name I am called, -
In fact, what they call me -
I'm not alone. There are a lot of us. I'm alive.
It can hardly be denied that life is constantly changing and developing, including in the human body. The gaze of the lyrical hero is turned to the essence of the internal processes of the personality. It concerns not only psychological and philosophical aspects, but also physiological ones. Before us is a new vision of man. Man is perceived not statically, but in the unity of the infinitely diverse processes of life. Even the ancients wrote: “You cannot enter the same river twice” and “People are like rivers”.
Despite the fact that in his works N. Zabolotsky did not directly address ancient greece, but on the contrary, he was fond of modern natural science, his poem confirms the judgments of the Greek sages. Hence the abundance of allegories in the poem. The lyrical hero looks at himself from the side - "tossed on a sea wave", "flying in the wind to an invisible land." The poet emphasizes the regularity, the consistency of the universal metamorphoses of a single, immortal being. He expresses the laws of change of being by the formula: "link to link and form to form." The man of N. Zabolotsky is many-sided and, at the same time, one, his components are included in the processes of dying and rebirth:
So that my blood does not have time to cool,
I have died many times. Oh how many dead bodies
I separated from my own body.
The poem can be conditionally divided into three semantic parts. In the first lyrical hero talks about himself, his internal states. In the second, he expresses his attitude to nature. The living and the dead are interconnected in it, one flows into the other. Nature here is not only a "gathering of wondrous creatures", but also a "singing organ".
The poet's metaphors are solemn, majestic. They emphasize the regularity, harmony of all processes on Earth:
Link to link and form to form. World
In all its living architecture -
Singing organ, sea of pipes, clavier,
Not dying either in joy or in a storm.
Nature is a "living architecture" consisting of smallest particles. Each of them has its own place. Nature is a singing organ - musical instrument with many voices, which together make up a harmonious harmony, a single harmony. Each of us has our own voice in this universal melody. To realize this, we need to expand the horizons of our view of the world, to understand its complexity and diversity. There are different laws in the life of nature, but perhaps the main one is the law of expediency. Nothing in the world comes from nowhere and disappears without a trace. Everything has a cause and effect relationship. Hence these amazing "metamorphoses" described by N. Zabolotsky. I think that today the time has come when nature again powerfully declared itself to mankind. That is why it is so important to understand its laws.
The third semantic part is a kind of summary of the entire poem. Here, for the first time, the theme of immortality arises. The poet claims that only our superstitions prevent us from seeing "real immortality." It, according to N. Zabolotsky, is not outside of us, but as our personal property in this world. The special depth and novelty of this poetic thought gives an idea of their own collectiveness.
In terms of its genre, Metamorphoses are closely related to the traditions of the classical philosophical lyrics Goethe, Baratynsky, Tyutchev. Here we see a lyrical description of the process of thought itself. Mandelstam called such reflections "the poetry of proof." The literary tradition is emphasized by the archaic book vocabulary("eye", "dust", "cereal"). The poem ends with philosophical metaphors, which are presented in the form of aphorisms: "the thought was once a simple flower", "the poem walked like a slow bull." the main idea the final part is that immortality is a "ball of yarn":
Like a ball of some complex yarn,
Suddenly you will see what should be called
Immortality. Oh, our superstitions!
In the analyzed work, the author reaches an extraordinary capacity of poetic thought. Only thirty-two lines! And meanwhile, this is a whole philosophical poem. N. Zabolotsky expressed the most progressive thoughts of his time. He surprisingly combined scientific discoveries and deeply emotional experiences. It is obvious that N. Zabolotsky gave Russian literature a new direction.
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