The ideological and artistic originality of Voznesensky's creativity. What are the features of modern lyrics (on the example of one of the modern poets)? Based on the works of E

However, Voznesensky's new poems were born at a turning point, at the junction of opposites: spiritual, intonational, poetic, temporary. He realized this inner turning point, fraught with consequences unknown to the artist himself, and yet blessed by him: "Peace to your feast, earthly grace, peace to your right to quarter me." It is noteworthy: even Andrei Voznesensky reads his poems, breaking other words in half - the first syllables are almost in a cry, the ends of the words are in a half-whisper. It breaks - and immediately switches to recitative, to a continuous tongue twister.

A. Voznesensky has both the furious ardent glow of a lyrical fire, and sharp corners twisted inside. The poet reveals, expresses his "I" in different guises. He, for example, is unusually sensitive to women's suffering, to women's pain, to the humiliation of a woman's sense of human dignity. His "Monologue of Marilyn Monroe" with the repeated "unbearable, unbearable", his "frontal ballad", "They beat a woman", and from the earlier ones - "The Last Electric Train", "Motor Racing on a Vertical Wall", "Sketch of a Poem" show us a poet, who through female pain and female suffering, as through an electron microscope, in an enlarged, exaggerated form, perceives the pain and suffering of an anti-humanistic world alien to us. In the poems “They Got Drunk”, “Everyone Returns to Their Circles”, Voznesensky sees the generation of this pain not in social contradictions, but in philistinism, narrow-mindedness, which he hates with all his soul and which, unfortunately, take place in our lives.

Pain and resentment are feelings that develop over time, having their origins in the biography of Andrei Voznesensky. But if before his humanity, his integrity gave rise to this heightened moral vulnerability, now even this vulnerability, even this torn skin on the fingers, especially sensitive to any touch, is not enough for Voznesensky:

I knock myself against the walls, in a dream, in reality,

you torture me, time, until I give you the words.

Give me any rack. Until I roar.

The desire for such a painful "beyond" was again born out of a painful feeling of love for a living person out of hatred for everything that humiliates a person, enslaves him, takes him out of his human rank. Everything - even if it's love! With what bitterness, for example, he wrote "The Cousin" and how instantly accurate, ambiguous is the following verse gesture, conveyed as if in the perception of a loving woman:

You have a son and a garden.

You wrapped your arms around my neck

Look at the dial

I don't even dare to scream.

On contrasts written "Confession". Familiar everyday turnover "Well, what else do you want from me?" becomes the epicenter of the "fatal duel" - love-hate:

The payment is exhausted until the day of death.

The last one burns under your snowfall.

Was the music of a miracle, became the music of poison.

Well, what else do you want from me?

However, before the tragic power of love, the winner is defeated, victory turns into defeat, the cry of pain - a whisper of prayer:

And the folds shuddered like window sashes.

And she came out tired and without clothes.

Said, "I love you. No more sweetness.

What else do you want from me?"

However, the "living" in Voznesensky's poetry enters into a fierce struggle with everything that deadens, poisons, and corrodes both wildlife, and the social organism, and the individual human person. Voznesensky's palette was enriched with new assonances and equally screaming dissonances of the modern world, its cacophonous roar, which makes the poet go on screaming.

It is indisputable that a poet is a personality, as if reincarnated in a lyrical work, as if merged with it. This very realization or self-expression of the individual in the creative process Marx called "positive force" and associated it with the most complete and free manifestation of the essential abilities of man.

Without self-expression there is no poet. Each talented artist manifests his individuality in his own way, his creative "pedigree" has its own characteristics, its roots, the laws of beauty, according to which the artist creates the world of images.

One can be a modern poet, but not be a modern poet. Andrei Voznesensky is a modern poet. It exists with its time.

Lyrical hero of Andrei Voznesensky

"Poems are not written - they happen"

Like Robert Rozhdestvensky and Yevgeny Yevtushenko, the third pop poet also split and multiplied his innermost "I" in numerous characters of the outside world. The lyrical hero of this poet did not even bifurcate, but was unraveled, distrusted, changing one after another different masks, convinced that "I am a family, // seven "I" live in me as in a spectrum", philosophically motivating his playing lyrical roles with faith in resettlement a soul that denies the uniqueness of human individuality: "I think that genius // moves to others ..."; "In the hour of autumn, / fallen through the forest, / overshadowing and dangerous // fly into us like seeds, // someone's fate and names. // This is the transmigration of souls"; "... I know that we will repeat ourselves // in friends and girlfriends, in blades of grass..." But whoever these lyrical masks of Andrei Voznesensky are, - and, of course, we are talking about him, - an unknown actor or a great actress, a scientist or a fisherman, a beatnik or the Mother of God herself - they did not know harmony, and their dissatisfaction with reality and themselves bordered on the highest rejection of reality and of their "I" - suicide: "I am Merlin, Merlin. / I am the heroine // of suicide and heroin. // existence is suicide // suicide is to fight rubbish, // suicide is to put up with it, unbearable when mediocre, when talented - unbearable ... "

The very escape from oneself into someone else's role doubling your personality can be classified as lyrical suicide, while the appearance of a suicidal motive in Voznesensky's role-playing lyrics is especially determined by the fact that in his work suicide and duplicity are interconnected. This is the soul-tempting sentence with which the double appears in Self-Portrait: "Hi," he wheezes, "of Russian poetry. // Give you a pistol? Or maybe a blade?..." !…" the heroine of another poem about duality throws herself.

The bifurcation of the most intellectual of pop lyricists was associated with the general romantic concept of two worlds, which was most consistently expressed in his books Triangular Pear, Antiworld and Achilles' Heart. Voznesensky, with his characteristic sarcasm, recognized his own anti-world behind each of these worlds. For the first time this confrontation arises in the "Triangle Pear", when "neighbor Bukashkin, // in blotter-colored underpants", and "magical, like a demon ... // Antibukashkin, academician ..." converge. The everyday grotesque of "The Triangular Pear" will be replaced by the deep drama of the next collection, in which the external reality will be densely populated by "human wolves" and "virgin trees", homosexual strippers and nuns, confused by furry male visions. Duality, oxymoronic combination of opposites became the main principles of "Anti-worlds". "Paris, // how opposite you are ..." - the poet admired. "Free, that is, captive," he will call the crane ringed by scientists. And about himself he will also say with a paradox: "I am archaic, / like in the desert // an excavated rocket launcher."

... 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 reconcile either with the tragic death of the actress Marilyn Monroe, sold out by clever producers, or 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 intruder!” 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, as soon as the atomic explosion “changes the order”! 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.

To this inhuman world the poet contrasts the youth of 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. Lyric argues with the modernist deliberately rude:

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.
The lyrical image of the heroine in Voznesensky often merges with nature, embodies 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.

The formula “there are no uninteresting people in the world” was stated by E. Yevtushenko already in 1960. This poem is addressed to people who are sometimes called "simple". In his work, every writer, poet in one way or another refers to this topic - the theme of a person, his soul, his actions and intentions. But the theme of man, his spiritual beauty is always connected with the theme of nature, the surrounding world, the environment in which a person manifests his thoughts and feelings. Aleksey Parshchikov's poem "Elegy" seems to be about nature, about toads, as the lowest representatives of the animal world, but even here his interest in the beauty of the living, in people, their actions, deeds comes through.
... In girlhood they knit, in marriage they walk with caviar, Suddenly they will fight to the death, and the rustle will settle down again. And then, like Dante's, they freeze in ice in winter, And then, like Chekhov's, they will spend the night talking.
Man falls the role of mediator between nature and humanity. A. Voznesensky once said about this:
We are twins. We are double agencies, like an oak trunk, Between nature and culture, Politics and love.
The problem of man and his moral ideal worried many authors - not only prose writers, but also poets. The moral core of Yevtushenko's lyrical character is manifested in poems about people who have already passed the most severe test of strength and withstood it in the war. These are such poems as "Weddings", "Front-line soldier", "Army", "Nastya Karpova". In the poem "Front-line soldier" the hero is a wounded soldier, the object of the greatest adoration of boys and adolescents. At the same time, we see the most resolute condemnation of the moral pliability of a front-line soldier who, having drunk heavily, pestered with his wooing first one or the other girl and “talked too loudly, too full about his exploits.” Not only children, the heroes of the poem, but also the poet connects the moral ideal with people who fought at the front, so he does not allow the slightest deviation from it to the front-line soldier, therefore he stubbornly insists that “he must be better, better, because he is on front was.
Particularly indicative in this sense is Voznesensky's last book, The Foremen of the Spirit, where a pervasive journalistic theme runs through poetry, prose, and critical notes. Who are the foremen of the spirit for Voznesensky? These are people of a rare vocation - "social activists of culture", "creators of creators", organizers, defenders, helpers, ascetics, people who realized themselves not directly in creativity, but in "activities for the sake of art." Such as Tretyakov, Tsvetaev, Diaghilev. But the author is not inclined to a rigid division of people of art into artists themselves and, as it were, spiritual superintendents intended to serve them. He discovers features of "pro-slavery" in poets, composers, directors. And even further, even wider: the foremen of the spirit are all those who participate in the creation - whether spiritual values,
material. .
The poet N. Rubtsov finds his moral ideals in the countryside. The measured life of a rural worker, the usual everyday worries of ordinary people correspond to Rubtsov's state of mind. She dissolves into the immensity of rural nature, sings with her voice, cries with her tears. But Rubtsov's tears are not "bitter", they are crystal clear, sometimes slightly covered with a veil of bright sadness. Such is the poetic sketch of "Good Phil". Rubtsov sees the kindness of the villagers, their gullibility that knows no bounds. He remembers that in his "Nikola" they never locked the doors, replacing the locks with a batozhka attached to the jambs. That is why the village never forgave theft, "dashing people" were forever expelled from the community. Perhaps the theme of man and his spiritual beauty manifested itself most clearly and vividly in the lyrics of bard poets, the creators of the author's song - B. Okudzhava, V. Vysotsky, A. Rosenbaum. Their lyrics are closest to a person, to his most secret thoughts and desires. Success came to Okudzhava because he does not appeal to the masses, but to the individual, not to everyone, but to each individual. The essence of the author's song is the approval of the author's - i.e. free, uncensored, independent (from the Greek. ai (05 - himself) - life position, the author's attitude. With each such song, the author seems to say: "This is my cry, my joy and my pain from contact with reality." The central motive of poetry Okudzhava and, in particular, his songwriting is the motif of hope, understood and interpreted in several forms.The abstract concept of "hope" is "humanized", animated by Okudzhava, acquires visible features, embodied in a real woman named Nadezhda ("Comrade Nadezhda by the name of Chernova ”, “Nadya-Nadya ... in a special coat, so oiled”); at the same time, the name Nadezhda is poetically generalized, acquiring the function of a symbol.
The heroes of Vysotsky-lyric are in perpetual motion-overcoming:
There is no reason to stop. I go sliding.
And there are no such peaks in the world. What can't be taken.
Vysotsky's early songs are characterized by a manifestation of the unlimited abilities of a person, love and friendship. His heroes rush into the clouds, conquer the oceans, storm the mountain peaks. An extreme situation is an indispensable component of Vysotsky's romantic poetics. The war is also romanticized by Vysotsky. The main motive of his "military" songs is the chanting of the exploits of pilots, submariners, scouts, marines. The tocsin of war, like the ashes of Klaas, knocks in his heart:
And when it rumbles, when it burns out and weeps, And when our end will stop jumping under us, And when our girls will change their hissing into dresses, - Then we wouldn’t forget, we wouldn’t forgive and we wouldn’t lose!
("Song of the New Time")

Artistic searches in the early poetry of Andrei Andreevich Voznesensky

Introduction

Yevgeny Yevtushenko, Andrey Voznesensky, Bella Akhmadulina, Robert Rozhdestvensky, Bulat Okudzhava... They began their literary journey from the atmosphere of Khrushchev's "thaw".

A. Voznesensky - a poet of the 60s. Born in Moscow. The son of a Moscow hydroengineer. From the same yard with Andrei Tarkovsky. In 1957 he graduated from the Moscow Institute of Architecture and marked this ending with the following verses: "Farewell, architecture! Burn wide, cowsheds in cupids, toilets in rococo!"

From that moment on, his life already completely belonged to literary creativity. In 1958 his poems appear in periodicals, and starting with the poem "Masters" (1959), Voznesensky's poetry quickly burst into the poetic space of our time, having received the recognition of millions of readers. “Your entry into literature is swift, stormy, I am glad that I lived to see it,” Pasternak wrote from the hospital.

His first poems were published in 1958 in Literaturnaya Gazeta and in the collection The Day of Russian Poetry. Already the first publications drew the attention of critics to a talented poet, with a fresh voice, energetic intonations and rhythm, unexpected imagery and sound writing.

In 1960, the books Parabola and Mosaic were published in parallel in Moscow and Vladimir. They were ambiguously perceived by poets and critics. Thus, one of the key poems for this period, “Goya” (1957), was reproached for formalism. The through permeation with consonances, internal rhymes is clearly felt in the program for the poet "Parabolic Ballad" (1958): "Fate, like a rocket, flies along a parabola / usually - in darkness and less often - along a rainbow"; "They go to their truths, bravely in different ways, / a worm - through a gap, a man - along a parabola."

Already in these relatively early poems, the originality of Voznesensky's poetic manner was manifested - the sharpness of seeing the world in its complexity and tragic contradictions, in rapid movement, "in figurative clots" (E. A. Yevtushenko), the power of lyrical feeling, the expressive-romantic nature of images, metaphors , associations, as well as the conciseness and dynamism of the language, lexical and intonational breadth, freedom and variety of rhythms, rich instrumentation of the verse. In his work, the influence of the poetics of B. L. Pasternak and V. V. Mayakovsky, V. V. Khlebnikov and M. I. Tsvetaeva, other poets of the Silver Age, a number of artists and architects of the 20th century is noticeable.

He put the metaphor at the forefront, calling it the "motor of form." Kataev called Voznesensky's poetry a "depot of metaphors".

His early metaphors were stunning: “eyes rush over the linden like a skidding motorcycle”, “my cat, like a radio receiver, catches the world with a green eye”, “and quiet tongues shine from dogs, like from lighters”, but sometimes shocked: “a seagull - swimming trunks of god". After Mayakovsky, there was no such metaphorical Niagara in Russian poetry.

Voznesensky had many opponents from his early youth, but no one could take away the fact that he created his own style, his own rhythm. He especially succeeded in an unexpectedly shortened rhyming line, then stretching the rhythm, then truncating it.

Voznesensky was one of the first poets of that generation who "opened a window to Europe" and America by giving poetry readings. From enthusiastic youthful notes: “Down with Raphael, long live Rubens!”, From playing with alliterations and rhymes, he moved on to more sorrowful moods: “we, like appendicitis, have been removed from shame”, “all progress is reactionary if a person collapses.” There were biographical reasons for all this.

In 1963, at a meeting with the intelligentsia in the Kremlin, Khrushchev subjected Voznesensky to all sorts of insults, shouting at him: "Take your passport and get out, Mr. Voznesensky!" However, despite temporary disgrace, Voznesensky's poems continued to be published, and the circulation of his books grew to 200,000. According to his poems, the performances "Antimira" in 1964 by the Taganka Theater and "Avos" at the Lenin Komsomol Theater were staged. Voznesensky was the first writer from the 60s to receive the State Prize (1978). Peru Voznesensky owns many essays, where he talks about his meetings with Henry Moore, Picasso, Sartre and other major artists of the XX century. Voznesensky is an honorary member of the American Academy of Arts.

The relevance of the study of course work is justified by the fact that in the 50s of the XX century a new generation of poets entered literature, whose childhood coincided with the war, and their youth fell on the post-war years.

A. Voznesensky and many others in their themes and genres, images and intonations, referring to different artistic traditions, sought to embody the features of the spiritual image of modern man, his craving for intense reflection, creative search, active action.

The purpose of the course work is to determine the vector of artistic search for the early poetry of A. Voznesensky

Give a general description of the poetry of the "thaw" period of the 60s

Determine the place of Voznesensky's work in the 60s

To identify the main themes and problems of the early poetry of A. Voznesensky.

1. General characteristics of the poetry of the "thaw" period of the 60s

Voznesensky artistic poet

The work of A. Voznesensky coincides in time with the period of the Khrushchev thaw. The Khrushchev thaw is an unofficial designation of the period in the history of the USSR after the death of I.V. Stalin (mid-1950s - mid-1960s). In the internal political life of the USSR, it was characterized by the liberalization of the regime, the weakening of totalitarian power, the emergence of some freedom of speech, the relative democratization of political and public life, openness to the Western world, and greater freedom of creative activity. The name is associated with the tenure of the First Secretary of the Central Committee of the CPSU N. Khrushchev (1953-1964).

For all the conventionality of dividing history (including literary history) into decades, it appears quite clearly in reality itself, although, of course, the chronological boundaries of a single stage singled out in this way do not coincide with the boundaries of calendar decades. So in the 20th century, the 60s in life and literature did not begin on January 1, 1961, and did not end in the last days of 1970. This period is marked, on the one hand, by such events as the death of I.V. Stalin (March 1953) and the XX Congress of the CPSU (February 1956), and on the other hand, the removal of N.S. Khrushchev in October 1964, with the trial of the writers Y. Daniel and A. Sinyavkin (January 1966).

These years also have not a digital, but a figurative definition, repeating the title of the same year, 1954, of the novel by I. Ehrenburg, the thaw. As the mentioned events of the second half of the 1960s confirmed, it turned out to be accurate, although it was difficult for optimists to accept it at the time of its entry into circulation, since it did not exclude doubts about the irreversibility of the changes emerging in the country.

The middle of the 1950s was a new starting point for the Khrushchev thaw. The famous report of N.S. Khrushchev at the “closed” meeting of the XX Party Congress on February 25, 1956 marked the beginning of the liberation of the consciousness of the many millions of people from the hypnosis of Stalin’s personality cult. The era was called the “Khrushchev thaw”, which gave birth to the generation of the “sixties”, its contradictory ideology and dramatic fate. Unfortunately, neither the authorities nor the “sixties” came up with a genuine rethinking of Soviet history, political terror, the role of the generation of the 20s in it, the essence of Stalinism. But in literature there were processes of renewal, reassessment of values and creative searches, the first few years of the “thaw” became a real “poetic boom”.

Poetry began to realize the experience of literary movements and schools of the early twentieth century. This was facilitated by a moral atmosphere that engendered courage (say what you want), honesty (say what you think). The poets tried to connect to the interrupted historical experience. In this regard, the words "love", "friendship", "partnership" and others have regained their ideological value. Poets are trying to fight against the universalities embedded in literature: the abuse of slogan words, bureaucracy, praise and other attributes of a totalitarian system built on lies and fear.

Passion for poetry has become the banner of the times. People were ill with poetry then, neither before nor later in poetry and in general in literature were not particularly interested. For the first time in Russian history, poetry readings began to gather crowds of young people.

A youth environment was created, the password of which was knowledge of the poems of Pasternak, Mandelstam, Gumilyov. In 1958, a monument to Vladimir Mayakovsky was solemnly opened in Moscow. After the official opening ceremony, at which the planned poets performed, poetry began to be read by those who wished from the public, mostly young people. The participants of that memorable meeting began to gather at the monument regularly. Meetings at the monument to Mayakovsky during 1958-1961. increasingly political overtones. The last of these took place in the autumn of 1961, when several of the most active participants in the meetings were arrested on charges of anti-Soviet agitation and propaganda.

But the tradition of oral poetry did not end there. It was continued by evenings at the Polytechnic Museum, and later at Luzhniki. Young poets - Yevgeny Yevtushenko, Andrei Voznesensky and Bella Akhmadulina - became real idols of the "thaw", speaking from the poetic "stage".

They were a group of actors with different roles, perfectly complementing each other. Yevtushenko was a poet-tribune, aimed at a dialogue with each of those sitting in the hall. Voznesensky gave a broad vision of the world, making each listener involved in global problems. Akhmadulina brought in a note of mysterious intimacy. Considering creativity as a sacrament, she, as it were, communed her readers and admirers to this sacrament.

The authorities allowed Yevtushenko, Voznesensky, Akhmadulina, Rozhdestvensky to speak in public, believing that such a phenomenon was necessary so that the people could “let off steam”. These poets were needed by the authorities, although she did not trust them in everything. These poets were called in criticism. That was the title of an article by S. Rassadin, dedicated to those who were part of literature in those years. They entered boldly and noisily, testifying with their pages that poetry, prose, criticism, dramaturgy are being released from the lethargic state in which they were during the years of Stalinist totalitarianism.

From the present day it is clear that the spiritual renewal of society, begun at that time, was in many respects half-hearted and compromise. According to the self-critical confession of one of them, critic V. Ognev, the "Sixties" strove to "be as honest as possible." They, defending positions that a little later will be called "socialism with a human face", hoped to restore the seemingly lofty ideals of the revolution, to cleanse them of distortions and dogmas associated with the "cult of personality", in a word - to test socialism - humanism. In the light of the events of the most recent years, these romantic efforts may seem Sisyphean, if not naive at all.

Dementiev wrote (Granite of verse) - “The Sixties actively supported the “return to Leninist norms”, hence the apologetics of V. Lenin (poems by A. Voznesensky and E. Yevtushenko, plays by M. Shatrov, prose by E. Yakovlev) as an opponent of Stalin and the romanticization of the Civil War (B. Okudzhava, Yu. Trifonov, A. Mitta).

The Sixties are staunch internationalists and supporters of a world without borders. It is no coincidence that revolutionaries in politics and art were cult figures for the sixties - V. Mayakovsky, Vs. Meyerhold, B. Brecht, E. Che Guevara, F. Castro, as well as writers E. Hemingway and E. M. Remarque.

On the other hand, modernist poetry began to play an important role among the "sixties". For the first time in Russian history, poetry readings began to gather crowds of young people.

One of the symbols of the generation of the “thaw” era was Andrei Andreevich Voznesensky. He entered, or rather, burst into literature brightly, swiftly. Like Yevtushenko, Voznesensky became the leader of the poetic avant-garde of the new time. The collections of poems Parabola, Mosaic, Terangular Pear, Antiworlds, published in the early 60s, made it possible to say that an original poet appeared, with his own world , its system of images, a new vision of problems. Voznesensky's works immediately drew attention to themselves with freshness of sound, energy of rhythm, special metaphorically rich language, unexpected associations, richness of poetic means, genre diversity (elegy, ballad, lyrical monologue, dramatic poem, love confession, dialogue, landscape painting, satirical portrait, reportage).

In the work of the young poet, there was a peculiar synthesis of lyrics and philosophical principles, the emancipation of feelings, thoughts of the verse. Voznesensky is one of the leaders of the "pop" poetry of the 1960s, imbued with the spirit of innovation and the emancipation of man from the power of obsolete dogmas. Voznesensky identified the main themes of his poetry in the Parabolic Ballad:

Sweeping canons, forecasts, paragraphs,

Rushing art, love and history -

On a parabolic trajectory!

Voznesensky addresses mainly intellectuals, "physicists and lyricists", people of creative work, and attaches paramount importance not to social and moral and psychological problems, but to artistic means and forms of its comprehension and embodiment. From the very beginning, his favorite poetic means is hyperbolic metaphor, akin to the metaphors of Mayakovsky and Pasternak, and the main genres are lyrical monologue, ballad and dramatic poem, from which he builds books of poems and poems.

Already at the time of early creativity, the poet had a serious stock of knowledge. Architecture and music, mathematics and sopromat, the history of painting and the history of poetry. This is important to know: architecture influenced the poems, especially the Vladimir school, among the images of which the poet spent his childhood. Later, Andrei Voznesensky was fond of Italian baroque.

Voznesensky introduces the living outlines of this year, month, day, moment into his poetics, each time rethought anew.

Voznesensky's poetics is characterized by a special rhythmic pattern, characterized by "relief", "bulge": at the climax, the poet does not amplify the sound, but, on the contrary, muffles it. At the same time, the few remaining emotional outbursts stand out and turn into shock points. His poems are always compositionally built, "architectural". .

Reality gives him events, facts, names, dates. the poet, open to the impression of being, absorbs everything into himself, and his verse, like a seismograph, sensitively reacts to shocks in the public consciousness of compatriots and contemporaries. Not everyone likes the frankly experimental poems of Andrei Voznesensky. His "isopes" were met with hostility by some, the verses, excessively overloaded with inversions, were hardly perceived.

An important feature of his poetics is numerous internal rhymes, sound repetitions. First, a rhyme consonance arises, then it is picked up by numerous echoes within subsequent lines, multiplying endlessly and echoing other consonances.

In the books of Andrei Voznesensky, the sound energy of the verse sparkles and splashes. Sounds flow easily, naturally. This is not a thoughtless play on words, as some critics seem to think, but a constant young breakthrough to meaning, to essence. The sharpness of sound in the poetry of Andrei Voznesensky over the years more and more acquires the sharpness of meaning. The language of his poetry is the language of modern man. In modern speech, the poet is looking for the perfect grain. But for successful selection, you need to winnow the chaff in tons, discard the husk.

All were successful with the general public. The poet's humanism, citizenship, democracy, confession, temperament, emotionality, fusion of various social and speech styles, complete dedication expanded the audience of his admirers, attracted all general attention.

Andrei Voznesensky is a gifted, original poet. He has a keen sense of modernity, intense lyricism, an inherent craving for the ambiguity of images, for associations compressed like a steel spring, for unexpected, often grotesque, metaphors. He is unlike anyone else and sometimes even fervently flaunts his originality. But he works seriously and a lot. Predominant attention to the form of verse does not exclude the presence of a fairly stable theme in Voznesensky. Most of his poems are narrative. Among the themes developed by the artist are the problems of culture and civilization, matter and spirit (“world” and “anti-world”). .

2. The main themes and problems of the early poetry of A. Voznesensky

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. The revival of literary life was largely facilitated by the work of then-beginner poets - E. Yevtushenko, R. Rozhdestvensky, B. Akhmadulina, A. Voznesensky, who spoke with topical civil verses. 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 possibilities of the poetic word immediately attracted the attention of readers and critics. In his best works of the 50s, such as the poem "Masters" (1959), the poems "From the Siberian Notebook", "Report from the opening of the hydroelectric power station", the joy of work, the optimistic life-sense of the human creator are conveyed. 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 by destroying the surrounding nature, people destroy and kill the best in themselves, exposing their future on Earth to 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. The facade is for the uninitiated, for onlookers. The plan is a constructive and emotional knot of a thing, however, 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 - instantaneous, urgent, ambulance and fire brigade of his words - 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 Forum of Poets 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 in the power of only 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 material side of 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.

Analysis of early poetry collections. features of poetics. The role of metaphor, paradox, irony in Voznesensky's work.

One of the early poetry collections of Andrei Andreevich Voznesensky was called Achilles heart (1966). On its inside cover was a cardiogram. It is difficult to imagine a better image to understand the poet. Achillesian, i.e. unprotected, vulnerable, easily vulnerable, the heart reacts sharply to cruelty and injustice, insults and insults, responds to all sorrows and pains.

Voznesensky is a poet of the second half of the 20th century. This is clear from his poetry. Moscow and California, the airport in New York and the stars over Mikhailovsky, I'm in Shushenskoye and When he wrote to Vyazemsky - such freedom of movement in time and space is typical for our contemporary.

Time stress and passion - both in his language and in his verse. First of all, Voznesensky is a poet of sharp and intense thought. At the same time, his professional knowledge of architecture and painting contributed to his interest in poetic form. Hence - the harmonious architectonics of his poems, the accuracy of epithets, the musicality of sound writing:

* Glorified Shadow!

* What is screaming annoyingly

* record - like a target,

* broken into the top ten ?

Reading Voznesensky is an art. Simply unraveling the poet's metaphors will not give the desired result. We must accept as our own his pain for a man, his hatred of meanness, philistinism, vulgarity, his angry warning about the possibility of a spiritual Hiroshima. But Voznesensky not only resents and hates - he proclaims and affirms: All progress is reactionary if a person collapses.

* What else is extraordinarily important to him?

* Russia, beloved,

*This is not a joke.

* All your pains - they pierced me with pain.

* I am your capillary

* vessel,

* It hurts when -

* it hurts you, Russia.

A feeling of deep compassion, a desire to help inspired the poet to create a poem From a Tashkent report , written as a response to the famous earthquake of 1966. The unusual images with which he recreates this tragedy no longer seem either strange or paradoxical. Voznesensky stands up for high spiritual values, for a noble, selfless, whole person.

He is the author of poetry collections triangular pear (1962), Antiworlds (1964), Shadow of sound (1970), Oak leaf cello (1975), Stained glass master (1976), moat (1987), Axiom of self-searching (1990) and others. Voznesensky is the creator of the video genre, which arose at the intersection of poetry and painting.

The theme is the fate of the masters in the poem "Masters".

One of the central themes of Voznesensky's poetry is the fate of the masters. This topic was started in the poem "Masters", in which speech and children are about the builders of the "Seditious Temple".

Poem "Masters"

Your hammer is not a column and

tesal statues -

knocked crowns off their foreheads

and shook the thrones.

A. Voznesensky

Andrei Voznesensky literally burst into poetry in the sixties. He was characterized by youthful enthusiasm, surprise and admiration for this wonderful world in which he was destined to live and create.

Poem Masters immediately put forward Voznesensky in the category of popular and extraordinary authors. There was so much youthful passion and poetic energy in the work, its rhythm was so impetuous, and the painting of the throw was unexpected, that they immediately started talking about the poet and arguing.

Bells, horns...

Ringing, ringing...

Painters

All times!..

Your hammer is not a column

And he tesal statues -

Knocked down from the foreheads of the crown

And shook the thrones.

This poem is imbued with the idea of the immortality of true art. Nothing has power over him, not even ruthless time.

original artist -

Always a tribune.

It has the spirit of revolution

And forever - rebellion.

You were walled up.

They burned at the stake.

Monks by ants

They danced on fires.

Art was resurrected

From executions and from torture

And it beat like a chair,

O stones of the Moabites.

For the plot, Voznesensky takes a dramatic legend about the masters who built the miraculous temple - the Intercession Cathedral, popularly known as St. Basil's Cathedral, and about the blinding of the masters so that they would not create an even better temple anywhere else.

They were brave - seven,

They were strong - seven,

Probably from the blue sea

Or from up north

Where is Ladoga, meadows,

Where the rainbow is the arc.

They laid masonry

Along the white shores

To soar, like a rainbow.

Seven different cities.

The poem is written in a sonorous, bright language. The rhythm changes from chapter to chapter. iron rattle and clarity in the first chapter to a reckless buffoon song in the second and third.

Curls - shavings,

Hands - on planes.

Furious, Russians,

Red shirts...

The cold, the laughter, the clatter of horses and the sonorous barking of dogs.

We, like devils, worked, and today - drink, walk?

The poet, as it were, combined two times. With youthful enthusiasm, fearlessly, he describes the distant past, does not try to stylize his language as Old Russian speech, but speaks in a language familiar to him and his readers.

And the temple burned in half the sky,

Like a slogan for rebellion

Like a flame of anger

Scuttling Temple!

The authorities always see a threat and sedition in creativity, trying to strangle the creator. But it is impossible to kill art, it will exist as long as people live.

Not to be, not to be, not to be cities!

Patterned towers do not swim in the fog.

Neither the sun, nor arable land, nor pines - not to be!

Neither white nor blue - not to be, not to be.

And the rapist will come out to destroy - to kill ...

There will be cities!

Over the expanse of the universe

In the forests of gold

Voznesensky,

I will raise them up!

Thus, the connection of times was realized. The poet feels himself the heir of his fathers and grandfathers, the successor of their ideas:

I am the same artel

That the seven masters.

Rage in artels,

Twenty centuries!

I am a thousand-armed

by your hands,

I am thousand-eyed

with your eyes.

I exercise

in glass and metal

didn't dream...

The theme of creativity and skill is always relevant, at all times. In addition, the poem raises the question of power and the creator. They are always at odds with each other. Voznesensky's poems are full of sound energy. Sounds flow easily, naturally and - most importantly - meaningfully. This is not a thoughtless game of words, but a constant young breakthrough to meaning, to essence ...

Conclusion

Voznesensky's poems are filled with sound energy. Sounds flow freely, uninhibited and - most importantly - consciously. This is not a blind play on words, but a steady young breakthrough towards meaning, towards essence...

In this work, the vector of artistic searches of A. Voznesensky's early poetry was determined, the main themes and problems of A. Voznesensky's early lyrics were identified.

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.

In the course work, the method of analysis identified and analyzed the main directions of creativity of the poets of the sixties, and in particular A. Voznesensky. This is the theme of creativity and skill, as well as philosophical themes: life and death, justice and injustice, power and burden, morality and immorality, and other topics relevant to modern man. That is why Voznesensky's poetry will be relevant at all times. V. Sokolov and R. Rozhdestvensky, E. Yevtushenko and A. Voznesensky and many others in their own themes and genres, images and intonations, addressing all kinds of artistic customs, tried to personify the qualities of the spiritual image of today's man, his tendency to intense reflection, creative search, proactive action.

The perspective of this study lies in the fact that creativity and especially the deep meaning embedded in the poems not only by A. Voznesensky, but also by many other poets of the sixties is not fully understood, therefore, the study of the work of poets of this period will also be relevant at all times.

Bibliography

1. Agenosov A., Ankudinov K. Modern Russian poets: a Handbook. - M.: Megatron, 2007

2. Journal of Criticism and Literary Studies, 2011

Mikhailov A. A. Selected works: in 2 volumes / Mikhailov A. A. M., 2006 - T. 2. - S. 440-447

Oscotsky V.D. Evtushenko E A // Russian Writers of the 20th Century: Biographical Dictionary - M., 2010.- P.254

Rassadin St.. The Time of Poems and the Time of Poets // Arion No. 4. 199

6.Voznesensky Andrey Andreevich Literary forum knigostock [Electronic resource] View topic - knigostock.com

7. Poetry of the second half of the 20th century: A.A. Voznesensky » Essays on Literature, Unified State Examination in Literature 2013, Literary Theory, Analysis of Works [Electronic resource] 5litra.ru

Novikov V.. Plain text (Poetry and prose of Andrei Voznesensky) // V. Novikov. Dialog. M.: Sovremennik, 2006

Smola O.P. "If words hurt ....." A book about a poet - M., 2008 - P.301

Skorino L.. Afterword // Voznesensky A. Heart of Achilles. M.: Fiction, 2006.

The lines of the century. Anthology of Russian poetry. Comp. E. Evtushenko. Minsk-Moscow, "Polifact", 2009. I didn't take much here either.

1. Connection between the theme of human spiritual beauty and the themes of nature and the surrounding world.
2. The moral core of the heroes Yevtushenko and Voznesensky.
3. The theme of the spiritual beauty of man in the author's song.
The formula “there are no uninteresting people in the world” was stated by E. Yevtushenko already in 1960. This poem is addressed to people who are sometimes called "simple". In his work, every writer, poet in one way or another refers to this topic - the theme of a person, his soul, his actions and intentions. But the theme of man, his spiritual beauty is always

connected with the theme of nature, the surrounding world, the environment in which a person manifests his thoughts and feelings. Aleksey Parshchikov's poem "Elegy" seems to be about nature, about toads, as the lowest representatives of the animal world, but even here his interest in the beauty of the living, in people, their actions, deeds comes through.
... In girlhood they knit, in marriage they walk with caviar,
Suddenly they will fight to the death, and the rustling will subside again.
And then, like Dante, they freeze in ice in winter,
And then, like Chekhov, they will spend the night in conversations.
Man falls the role of mediator between nature and humanity. A. Voznesensky once spoke about

this:
We are twins. We are agents
Double, like an oak trunk,
Between nature and culture,
Politics and love.
The problem of man and his moral ideal worried many authors - not only prose writers, but also poets. The moral core of Yevtushenko's lyrical character is manifested in poems about people who have already passed the most severe test of strength and withstood it in the war. These are such poems as “Weddings”, “Front-line soldier”, “Army”, “Nastya Karpova”. In the poem "Front-line soldier" the hero is a wounded soldier, the object of the greatest adoration of boys and adolescents. At the same time, we see the most resolute condemnation of the moral pliability of a front-line soldier who, having got very drunk, pestered with his courtship now one or the other girl and “talked too loudly, too full about his exploits.” Not only children, the heroes of the poem, but also the poet associates the moral ideal with people who fought at the front, so he does not allow the slightest deviation from it to the front-line soldier, therefore he stubbornly insists that “he must be better, better, because he is on front was."
Particularly indicative in this sense is Voznesensky's last book, The Foremen of the Spirit, where a pervasive journalistic theme runs through poetry, prose, and critical notes. Who are the foremen of the spirit for Voznesensky? These are people of a rare vocation - "social culture", "creators of creators", organizers, defenders, helpers, ascetics, people who realized themselves not directly in creativity, but in "activities for the sake of art." Such as Tretyakov, Tsvetaev, Diaghilev. But the author is not inclined to a rigid division of people of art into artists themselves and, as it were, spiritual superintendents intended to serve them. He discovers the features of "pro-slave" in poets, composers, directors. And even further, even wider: the foremen of the spirit are all those who participate in the creation - whether spiritual values, material.
The poet N. Rubtsov finds his moral ideals in the countryside. The measured life of a rural worker, the usual everyday worries of ordinary people correspond to Rubtsov's state of mind. She dissolves into the immensity of rural nature, sings with her voice, cries with her tears. But Rubtsov's tears are not “bitter”, they are crystal clear, sometimes slightly covered with a veil of bright sadness. Such is the poetic sketch of "Good Phil". Rubtsov sees the kindness of the villagers, their gullibility that knows no bounds. He remembers that in his "Nikola" they never locked the doors, replacing the locks with a batozhka attached to the jambs. That is why the village never forgave theft, “dashing people” were forever expelled from the community. Perhaps, the theme of man and his spiritual beauty manifested itself most clearly and vividly in the lyrics of bard poets, creators of the author's song - B. Okudzhava, V. Vysotsky, A. Rosenbaum. Their lyrics are closest to a person, to his most secret thoughts and desires. Success came to Okudzhava because he does not appeal to the masses, but to the individual, not to everyone, but to each individual. The essence of the author's song is the assertion of the author's - that is, free, uncensored, independent (from the Greek autos - himself) - life position, the author's attitude. With each such song, the author, as it were, says: “This is my cry, my joy and my pain from contact with reality.” The central motif of Okudzhava's poetry and, in particular, his songwriting is the motif of hope, understood and interpreted in several ways. The abstract concept of “hope” is “humanized”, animated by Okudzhava, acquiring visible features, embodied in a real woman named Nadezhda (“Comrade Nadezhda by the name of Chernova”, “Nadya-Nadya ... in a special coat, so oiled”); at the same time, the name Nadezhda is poetically generalized, acquiring the function of a symbol.

The heroes of Vysotsky-lyric are in perpetual motion-overcoming:
There is no reason to stop.
I go sliding.
And there are no such peaks in the world,
What can't be taken.
Vysotsky's early songs are characterized by a manifestation of the unlimited abilities of a person, love and friendship. His heroes rush into the clouds, conquer the oceans, storm the mountain peaks. An extreme situation is an indispensable component of Vysotsky's romantic poetics. The war is also romanticized by Vysotsky. The main motive of his “military” songs is the chanting of the exploits of pilots, submariners, scouts, and marines. The tocsin of war, like the ashes of Klaas, knocks in his heart:
And when he roars, when he burns out and pays off,

And when our horses get tired of galloping under us,

And when our girls change their overcoats for dresses, -
Wouldn't forget then, wouldn't forgive and wouldn't lose!
(“Song of the new time”)

The ideological and artistic originality of Voznesensky's creativity. What are the features of modern lyrics (on the example of one of the modern poets)? Based on the works of E

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