Our sacred craft has existed for thousands of years... With it and without light, the world is light. The first poet of the Amur region
Our sacred craft
Su
been around for thousands of years...
With him and without light, the world is light.
But no poet has yet said,
That there is no wisdom, and there is no old age,
Or maybe there is no death.
Akhmatova A. A.
Leonid Petrovich Volkov (1870 - 1900) - Amur poet, writer, Cossack officer. Somewhere in the deep recesses of the soul, Leonid Petrovich Volkov, probably, was nevertheless inspired by the approximate similarity of his fate with the fate of Lermontov. But what Lermontov poured out, albeit tragic, but, we dare to think, rather, even a simulated chord, for Volkov seemed, alas, an everlasting routine, worldly viscous inescapability.
Leonid Petrovich Volkov
He lost his mother at the age of three. And at the age of eight, Volkov was left an orphan. Acquaintance with the poet Apollon Maykov helped him become a real poet. At the age of eighteen, Volkov left the institute. It was necessary to decide how to live on, which side to go, which field to choose.
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L.P. Volkov's parents.
From Lieutenant Lermontov in Volkovo, very few Pechorins remained and quite a lot, with a clear predominance, - Maksimov Maksimych. A dreamy love for so far untested distant wanderings pushed Volkov to the farthest corner of the empire. On the advice and patronage of Colonel Vinnikov, he turned over to the volunteers of Amursky Cossack army, with which he went to the Amur ...
L. Volkov furrowed the region up and down: the Lower Amur, Primorye, Khingan, Zazeya Plain. All this time Leonid Petrovich did not leave literary pursuits, publishing his poetic creations in Siberian and Far Eastern publications. In Blagoveshchensk, two collections of poems "On the Amur" (Blagoveshchensk, 1895) and "On Far East"(Blagoveshchensk, 1899). He published his first poem in 1887, being a pupil of the orphanage institute. Later, poems appear in the newspaper "Far East", and since 1897 in the Annunciation "Amur newspaper".
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Blagoveshchensk. View of Bolshaya (Lenin) Street, 1911.
His poems are dedicated to the pioneer heroes of the Amur: Count Nikolai Nikolaevich Muravyov-Amursky, the first Orthodox pastor of Blagoveshchensk, father Alexander Sizom, Gennady Nevelsky, grandfather Denisov, an old Amur Cossack who remembered Muravyov's alloys. They breathe the heroism of a feat, the unfading theme of Russian military courage and valor.
MEETING THE HOLIDAY OF THE REGIMENTAL
Today, on the holiday of the Army,
Quite satisfied each other,
One friendly family
We are gathered here in a tight circle.
Cossacks are happy to welcome guests.
Satisfied with them without exception:
We are all close to each other
In the service of the Tsar, we are all brothers.
Unity the army is strong,
Mighty Mother Russia.
She is not afraid of the enemy's malice,
Dashing enemies are not formidable.
May the friendship of all be strong.
Then in battle, I believe holy,
The soldier will support the Cossack,
The Cossack will rescue the soldier.
During the horrors of war,
On the way, sweeping away all obstacles,
Mutual benefits are strong
The Russian troops will not flinch.
There is a lot of evil in military strife,
And its harm is clear to everyone,
And the honor of the double-headed eagle
Everywhere, always was without stains.
I raise my glass
And I drink with all the Cossacks:
God grant that brotherhood is an ideal
Reigned over our troops.
Volkov served in the Far East for twelve years. Life rolled measuredly and peacefully. L. Volkov died in the battle during the capture of Sakhalyan. The Chinese suicide bomber managed to blow up a box of shells under him. The blast wave lifted Volkov in the saddle and threw him to the side along with the horse. This explosion ended the life of the commander of the hundred, Leonid Petrovich Volkov. On the ship "Sungari" the body of the hero was brought to Blagoveshchensk and interred at the military cemetery.
Ship coastal defense"Matsue"
(former Russian ship "Sungari") in October 1906.
In the Zazeysky region liberated from the Chinese, the Cossack settlers named one of their villages in honor of the brave Cossack Volkov. Now in the village of Volkovo there is a local museum, where you can still learn a lot about the life of this outstanding person: a poet, a prose writer, a warrior.
Days of tireless work
Down the Amur, not knowing obstacles,
Ants sailed on rafts.
There were people with him, mighty will,
Bold in spirit and full of energy.
They were not bent by a severe share,
The nasty wind didn't blow it off the road.
Neither the tsar nor Russia will forget them.
The Far East is busy without a shot ...
Half a century soon, like the waves of the sea
Noisily lie down on the Russian sand!..
1894
THE MAGIC OF CREATIVITY AS A NEW TYPE OF KNOWLEDGE
“Our sacred craft has existed for thousands of years…
With him and without light, the world is light. But yet no poet has said,
That there is no wisdom, and there is no old age, and, perhaps, there is no death.
A.A. Akhmatova
CONTENT:
0. Introduction
Magical and creative consciousness are "twin brothers".
Parallel evolution of magical and creative consciousnesses:
Poetic MYTH and magical RITUAL- similarities and differences:
5. Poetry and magic as varieties of practical action
6. Innovative creativity fused with magic
7. Multipolar Universe (poetic and magical worlds):
8. Dialectic of opposite principles:
Good and evil;
Light and darkness;
Life and death;
Love and hatred;
Spirit and body;
Word and Deed;
Appearance and Essence (content and form).
CONCLUSION
11. Literary Applications
INTRODUCTION
A magical action is a call from nothing (from parallel worlds) spirits to help the magician, poetic creativity- calling from poetic imagination poetic images hiding, if not in the same, then in a very similar magical space.
Pushkin and Akhmatova spoke well about this. Alexander Sergeevich in the passage "Autumn":
And I forget the world and in sweet silence
I am sweetly lulled by my imagination,
^ And poetry wakes up in me
The soul is embarrassed by lyrical excitement,
It trembles and sounds, and searches, as in a dream,
To pour out, finally, free manifestation.
^ And then an invisible swarm of guests comes to me,
Old acquaintances, fruits of my dreams.
Akhmatova in the poem "Poet":
Just think, work is also a carefree life:
To eavesdrop on something from the music and, jokingly, pass it off as your own.
^ And someone's cheerful scherzo put into some lines,
To swear that the poor heart groans like that among the shining fields.
And then eavesdrop by the forest, by the pines, silent-looking,
While the smoke screen of fog is everywhere.
^ I take left and right, and even without guilt,
A little in the life of the evil one and everything - in the stillness of the night.
A quick question: “Where do these images come from, where did they hide before?” Traditionally, the ancients answered as follows: "these words and images are dictated to us by God."
Poets confirm this idea. Here, for example, Pushkin in the "Prophet" receives God's command to create:
“Arise, prophet! And see, and listen, do my will,
And, bypassing the seas and lands, with the verb, burn the hearts of people!»
Afanasy Fet formulates the same possibilities of the creator in a different way:
^ But, enlightened and dumb, fanned by unearthly power.
And to be alive, alive and only, alive and only - to the end!
Let us formulate the conclusions to which this verse pushes us:
The channel to Akasha requires anonymity, it is poorly opened to "people famous in life";
The goal of creativity is dedication, not hype and success;
The impostor will not take possession of this channel, but only the one who "hear the call of the future";
The effectiveness of the channel is directly related to the creator's obscurity and his ability not to "distinguish defeat from victory";
You just need to be able to be yourself and not retreat “not a single slice” from your face.
True, there is a contradiction in the views of Pushkin and Pasternak: “How can you, “not distinguishing defeat from victory”, “be yourself the highest court"? Obviously, such a combination of opposite principles is characteristic of the specifics of poetic, and even magical, activity, in principle.
Anna Andreevna Akhmatova explains the specifics of the appearance of creative images in the mind in the poem "Creativity":
It happens like this: some kind of languor, the clock does not stop in the ears,
In the distance, a rumble of fading thunder. Unrecognized and captive voices
I see complaints and groans, some secret circle narrows,
But in this abyss of whispers and ringing, one all-victorious sound rises.
So irreparably quiet around him that you can hear the grass growing in the forest,
What is it in earth goes famously with a kitty. But the words have already been heard
And light rhymes signal bells - then I begin to understand.
And just dictated lines fall into a snow-white notebook.
But who dictated the lines? - The poetess, in turn, received time to own the channel to Akasha, and the lines appear as dictated by no one knows who. There is no doubt: we ourselves do not compose anything - we are either dictated from above, or: nothing happens at all.
^ Chapter Two: "The Parallel Evolution of Magical and Creative Consciousness »
A culture based on the spoken word, realized in personal memory bard or mage;
A culture based on written (often "sacred") texts;
Culture based on all diversity and totality cultural phenomena in society;
A culture based on one side spiritual word, based on a dialogue with God, and on the other hand, on a “profane culture”, obviously desacralized and unspiritual, leads to a break in the “body of culture”, which is characteristic of modernity.
Of course, the rupture of the “body of culture” is evidence of the impending crisis of culture, just as its integrity is evidence of the ability to adapt to ongoing changes.
It turned out that such a shaky foundation is quite solid: according to some data, for tens of thousands of years, the memory of magicians and bards could serve as a reliable cultural basis for the existence of various societies. And the society was stable, however, and the role of poets in them was different: they could stop any battles and clashes of interests between different tribes with their word. They were the highest bearers of truth, they were listened to on all issues of Genesis.
Another thing is that the possession heavenly words"made them "messengers of heaven", and therefore gave such power over people. The possession of the “Divine spark of talent”, in other words, the “magic channel of power”, which is shown with such breadth in the works of Carlos Castaneda, frightened people and singled out the “messengers of heaven” from the ordinary human environment. Were they really messengers from Heaven? There is no doubt that some of them could well be such. History has preserved their names for us among not so much magicians as religious prophets and preachers who left behind "cosmic messages."
They are found in almost every culture. In particular, they became popular after the advent of writing. In ancient times, when they said "book", they meant, at least in the Christian region, only one book - the Bible.
Poets could not ignore this circumstance, for example, William Shakespeare:
Like that actor who, timid, forgot the words of a long-familiar role,
Like that madman who, falling into anger, loses willpower in excess of strength,
So I am silent, not knowing what to say, not because my heart is timid, - -
No, my love puts a seal on my lips, which has no limit.
So let the Book speak to you, let it, my silent intercessor,
He comes to you with recognition and longing, and unconditional demands retribution ...
Will you understand the words of dumb love, will you hear my voice with your eyes?
(Sonnet No. 25)
Of course, Shakespeare's interpretation of the "book" image is wider than just the Bible, but this aspect also has a place to be.
In any case, the culture of the subsequent period relied on "sacred texts, because in the development of each national culture, national religions played a decisive role, having in their basis a certain fundamental " sacred text”, specific to any religion. (Bible, Avesta, Koran, Vedas, Book of Changes, etc.)
Magicians and wizards of the European Middle Ages, as well as medieval poets, could not imagine their work outside Christian tradition until the Church ostracized all magic, making it a "satanic phenomenon" after the "witch-hunt period".
The fact that thousands of innocent victims died in this process, that the status of the Church itself was lowered, turned out to be very vulnerable to the cause of the Church, first of all, in the eyes of the Christian God himself, whose main content is “Love”.
The further development of culture has led to the fact that the separated magical and creative traditions are forced to rely on all the diversity to maintain their status. modern culture, finding support for itself in its various guises and fragments.
Culture after the Renaissance acquired a fragmentation character. Having lost its Unity, it turned into an unsystematized bunch of different impulses, pulling each one in its own direction. For the culture itself, this had unfortunate consequences, although the magical aspects of the culture suffered the most. They went underground, thanks to which the satanic principle in them received an additional impetus for development. Such is the dialectic of Genesis: "Places not occupied by us are now occupied by the enemy!"
In fact, this push was sanctioned by the persecution of the Church. "The road to Hell is paved with good intentions." The Church, of course, did not think of such a result. But when things are done without Love, the result is always the opposite: “you will go to the right, you will come to the left”…
Higher powers could not leave this circumstance unattended, therefore, for modern development creativity characterized by an increase in dialogic character in creative process. Most poets (more broadly - all creators) become clear that their gift is the ability to enter into a dialogue with God, even if we call the energy-information layer that way. earth's shell. But it's not about the words, it's about the essence.
Although for poets it's about words. Here is what Nikolai Gumilyov says about this in the poem “The Word”:
On that day, when God bowed his face over the new world, then
The sun was stopped with a word, cities were destroyed with a word.
And the eagle did not flap its wings, the stars huddled in horror to the moon,
If, like a pink flame, the word floated in the sky.
And for a low life there were numbers, like domesticated, under the yoke cattle,
Because a smart number conveys all shades of meaning.
The gray-haired patriarch, subduing both good and evil by his hand,
Not daring to turn to the sound, he drew a number in the sand with a cane.
BUT we have forgotten that only the word shines amid earthly anxieties.
And in the Gospel of John it says that this word is God.
We set Him a limit to the meager limits of nature.
And, like bees in an empty hive, dead words smell bad.
The magic word really had such power that it was able to stop the sun, like the word of Joshua, and destroy the city.
In the "meager limits of nature", beyond the impulse to Heaven, magic word lost its gift, because it turned out to be desacralized and could not serve as a channel of communication with Akasha, since it did not have the appropriate magical power.
As a result, we are dealing with a rupture of the body of culture, because the directions of development of "sacred" words and "profane" diverged into opposite sides. Such a gap cannot pass without a trace for the fate of mankind. It gave birth to what is now called the danger of a global ecological cataclysm of the planet.
3. Chapter Three:
^ "POETIC MYTH AND MAGIC RITUAL - SIMILARITY AND DIFFERENCE"
A. MYTH AND RITUAL:
There are two types of cultures: a culture built on REVELATION and a culture built on MYTH. The culture of REVELATION is a culture based on the genuine help of the Gods. The culture of MYTH is based on pseudo-revelation, on information that eventually turns out to be either false or unstable and disintegrating under the blows of time. Thus, the culture of MYTH is a culture built in TIME, while the culture of REVELATION is based on ETERNITY. Ritaul is a way to maintain the culture of MYTH. The way to maintain a culture of REVELATION is through sacred rites and personal prayer.
The effectiveness of the ritual depends on the accuracy of its execution. The effectiveness of the rite depends rather on the divine power bestowed on its performers. Even if they do in the process of deviating from the rules, the rite itself can lead to the desired result, there would be suitable performers.
Naturally, the measure must be observed, because with some deviations, the whole meaning of his creation disappears.
In mythological cultures, strict adherence to ritual is a part of the culture that cannot be violated under any circumstances. According to ancient speakers mythological consciousness deviations from the ritual should cause wrath and ostracism from the side of the gods, which will fall on the heads of its bad performers.
Therefore, the "good performance of rituals" became part of the profession of performers who specialized in them, who turned into priests in the course of cultural development.
Numerous rituals, on which the pre-literate culture of the ancients rested, in fact, served as the sacralization of customs that had developed from ancient times among certain peoples. Although they, of course, were based on deep foundations, many of them have long outlived their usefulness, but they were carried out, because they corresponded to tradition. And in ancient times, culture rested precisely on fundamental traditions. Their holiness was observed by both the priests and the people themselves, for it was clear to everyone that any deviation from traditions caused not only the wrath of the gods, but also the possible collapse of society.
Not without reason, people speak of ancient societies as "traditional". The tradition is supported because it is part of the MYTH, and on the other hand, it is realized in consecrated rituals and customs. MYTH, tradition and ritual are merged in the mind of a pagan into a kind of systemic integrity, outside of which he absolutely cannot imagine himself and his whole life.
Rituals in ancient societies most often had a group character, but gradually, as they were sacralized and fed by higher powers, they more and more acquired a personal character, the closest to God, who always has such specificity.
Group rituals eventually turned into church rituals and received their own life and their right to exist. But we must remember that the most powerful are still personal, and not group, rituals, primarily prayers, fasting, bodily abstinence, etc.
In our opinion, one's own spiritual creativity also belongs to a certain variety of prayer.
"Our sacred craft..."
Our sacred craft
There are thousands of years...
With him and without light, the world is light.
But no poet has yet said,
That there is no wisdom, and there is no old age,
Or maybe there is no death.
“The last lines suggest at least two different readings. “The poet did not say” this, because there is wisdom, and there is old age, and there is death, and their refutation, or, more precisely, victory over them, is not a matter of poetry, but of faith. However, thanks to several tricks - the comparison of "wisdom" with "old age", the calculated surprise of which, not to say - incorrectness, aims to cause reader confusion; and the introduction of the affirming-doubting “maybe” - another meaning comes to the fore: “the poet did not say” this, but could. I could at least take the risk. The last line is a syntactically independent, crafty question: if poetry really shines in the darkness, then maybe there is no death? This can only be achieved by calling the craft sacred, and the sacred craft. "Sacred Craft" makes no difference between words inspired by God and inspired by Apollo. In such a case, the six-verse could also have in mind Ecclesiastes (chapter II, vv. 13, 14, 16; chapter XII, v. 1), without directly challenging it. But if the Ecclesiastes ends by saying that “God will bring every deed into judgment, and everything that is secret, whether it is good or bad,” then why did “not a single poet say,” did not dare to say words of hope before judgment? - that's what the poem seems to be alluding to. "I'll give you leave to play till doomsday, doomsday"- Akhmatova's favorite place in "Antony and Cleopatra", the dying address of the queen to a devoted maid."
Anatoly Naiman. "Stories about Anna Akhmatova"Last return
I have one way:
From the window to the threshold.
Day after day, and this and that
As if it was happening
Usually - but through everything
The loneliness was already there.
Smelled of tobacco
Mice, chest open
And surrounded by poisonous
Fog...
And, as always happens in the days of a breakup...
And, as always happens in the days of the gap,
A ghost has come to us early days,
And the silver willow burst
The hoary splendor of the branches.
We, frenzied, bitter and arrogant,
Not daring to raise their eyes from the ground,
The bird sang with a blissful voice
About how we took care of each other.
"Ice is growing on the windows..."
Ice builds up on the glass
The clock says: "Don't be afraid!"
Hear what's coming to me
And I'm afraid of the dead.
Like an idol, I pray to the door:
"Don't miss the trouble!"
Who howls behind the wall like a beast,
Who is hiding in the garden?
"Who was once called by people..."
Who once called people
King in mockery, God in fact,
Who was killed - and whose instrument of torture
Warmed by the warmth of my chest...
Witnesses of Christ have tasted death,
And old gossips, and soldiers,
And the procurator of Rome - all passed
Where the arch once stood
Where the sea beat, where the cliff blackened, -
They were drunk in wine, inhaled with hot dust
And with the smell of sacred roses.
Gold rusts and steel rots,
Marble crumbles - everything is ready for death.
Sadness is the strongest thing on earth
And more durable is the royal Word.
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