Vysotsky comparisons in the language of poetry. Vladimir Vysotsky

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Vladimir Vysotsky (1938-1980). (1938-1980), Russian poet, prose writer, theater and film actor. Born January 25, 1938 in Moscow. In 1961 he wrote his first song Tattoo, which marked the beginning of a kind of song cycle, thematically related to everyday life. criminal environment, and stylistically - with the poetics of urban romance and "thieves" folklore. These deeply ironic songs did not immediately find adequate perception: the rumor identified Vysotsky with his characters, throughout his life the poet had to refute various legendary versions of his biography. In the first half of the 1960s, Vysotsky began to perform songs, accompanying himself on the guitar, in friendly companies, and later at public evenings and concerts. Thanks to tape recordings, the circle of Vysotsky's listeners rapidly expanded, in a short time he gained nationwide popularity and at the same time caused discontent in Soviet official circles.

In 1968, government-inspired articles appeared in the press condemning Vysotsky's songwriting, and his reputation took on a tinge of seditiousness. Vysotsky's many years of concert work is constantly faced with external difficulties, the widest popularity of his texts was accompanied by an unspoken ban on their publication. This led to the deep drama of Vysotsky's fate as a writer who considered poetic texts to be the dominant of his song work, who also wrote unsung poems, who tried his hand at prose (the unfinished Romance of Girls, 1977, etc.).

In 1981, Vysotsky's first poetry collection, "Nerv", was released, however most of his works and after the death of the author remained under an unspoken ban. In 1987, Vysotsky was posthumously awarded the State Prize of the USSR, according to the official wording - "for creating the image of Zheglov in a television feature film, the Meeting Place cannot be changed and the author's performance of the songs." Since 1988, the publication of Vysotsky's verse and prose texts began without censorship limits, monographs and articles about his work, memoir books appeared.

Vysotsky enriched poetry with elements of lively colloquial speech, colorful characters, and a sharp plot of the story. The formation of Vysotsky's artistic principles was influenced by futuristic poetry (primarily Mayakovsky), prose of the 1920s-1930s (Babel, Zoshchenko, Bulgakov), modernists of the sixties Voznesensky, Akhmadulina, and especially Okudzhava - the creator of the "author's song" genre. Vysotsky's works are replete with intertextual elements - unexpected echoes with classical poetry and prose, satirical travesty of masterpieces (in particular, Pushkin's), parodic rethinking of the formulas and clichés of the Soviet era.

The main features of Vysotsky's artistic world were determined in the second half of the 1960s, when the main thematic layers of his lyrics were formed (the life of a criminal environment, war, sports cycle, everyday satire, fairy tale songs, allegorical stories about animals, etc.), the author's craving for thematic "encyclopedia", to the dramatic conflict of plots, to the hyperbolic development of characters. From the very beginning, Vysotsky gravitated toward the semantic duality of artistic construction, considering the presence of a “second bottom” in it as an indispensable condition for a full-fledged song. This subtext in some cases had a pamphlet-political orientation (“pacer” as a metaphor for dissent, “Giraffe is big - he knows better!” As a formula of conformism), in others it gave philosophical depth and generality to the plots, in others it fixed the equality of mutually exclusive points of view on the phenomenon or a problem (Song about the front rows, Who ended his life tragically, he is a true poet ...). Vyssotsky's dialogical, "two-voiced" word combines bookishness and vernacular, romance and earthiness, pathetic seriousness and ironic bifurcation. The ability to transform and understand everything also ensured the persuasiveness of the poet's monologues (I don't love, My black man in a gray suit ... etc.). Vysotsky's poetry is marked by genre diversity, creative wit, and aphorism. Many of Vysotsky's expressions are constantly quoted in everyday speech and in newspaper headlines, becoming "winged words". Vysotsky died in Moscow on July 25, 1980.

By the end of the 60s. include the first (mostly sheet music) publications of Vysotsky's works. At the same time, a number of articles appeared in the official press containing criticism of Vysotsky's works, where they were denied not only artistry, but also "high ideological content, genuine citizenship." Vysotsky's poetic response to these events was "Hunting for wolves" (1968). During these years, Vysotsky also tried to work in other genres: the story "Life without Sleep" (1968, the title was given at the first publication in the Parisian magazine "Echo"; in domestic samizdat it was distributed under the name "Dolphins and Psychos"; in the USSR it was first published in 1989 g., application for a screenplay" Amazing story a very young man from Leningrad and a girl from Cherbourg" (1969; published in 1992) and the screenplay "Somehow it all turned out ..." (1969-1970). But Vysotsky failed to realize any of his plans. In 1970- 1971 he is working on a poem for children "Introduction about Vitka Korablev and friend bosom Vanya Dykhovichny" in 2 parts for the publishing house "Children's Literature", which was never accepted. In October 1970, rehearsals begin at the Taganka Theater performance based on the play by W. Shakespeare "Hamlet", where Vysotsky played the main role. This acting work of Vysotsky became a milestone not only in his acting, but also in the poetic field, having a noticeable influence on all his subsequent work. Increasingly, Vysotsky's works raise questions life and death, human destiny, universal human connection and responsibility, one way or another colored by the "Hamlet" theme: "Running of the pacer" (1970), "Horizon" (1971), "Fussy horses" (1972). poetry of this period (1968-1973) is occupied by the poem "My Hamlet" (1972), in which Vysotsky gave the form of a lyric-philosophical monologue to reflections on the destinies of his generation and his own fate, which allows not only to better understand the search of the poet himself, but also present his vision of the image of Hamlet.

In terms of genre, this period of the poet's work is more homogeneous than the previous one: along with the lyric-philosophical monologue, Vysotsky increasingly turns to the ballad genre. "Hamlet" content is filled with a cycle of ballads written for the film "The Flight of Mr. McKinley" (1973): "The Ballad of a Little Man", "The Ballad of Mannequins", "The Ballad of Going to Paradise", "Interrupted Flight". For the first time, works of confessional ("I don't love", 1969; "Masks", 1971; "Monument", 1973; "When I drink and win back", 1973) and love lyrics ("Light candles for me", 1968; " Marinka, listen, dear Marinka", 1969; "There is no one around, no matter how you breathe", 1969; "I love you now", 1973). At the same time, the actual lyrical hero of Vysotsky is being formed. During this period, the most significant works about the war were created - "Song of the Earth" (1969), "He did not return from the battle" (1969), "We rotate the Earth" (1972). In 1973, together with Marina, Vladi Vysotsky made his first trip abroad, the impressions of which were reflected in the cycle of poems "From a travel diary". Later, the first poem of this cycle "The wait lasted, but the farewell was short" was published with cuts in the almanac "Poetry Day. 1975". It was the only lifetime publication of Vysotsky's poems in such a publication. During these years, Vysotsky often traveled abroad, lived for a long time in Paris, where he worked on the cycles ordered by director S. Tarasov for the film "Robin Hood's Arrows" and playwright E. Volodarsky for the play "Stars for the Lieutenant". In 1977, Vysotsky performed for the first time in Paris at the "Humanite" festival and at the evening of Soviet poetry in the "Pavillon de Paris" with a group of poets (K. Simonov, B. Okudzhava, E. Yevtushenko, R. Rozhdestvensky, O. Suleimenov, V . Korotich). In subsequent years (1978-1979), Vysotsky performed a lot abroad: in Germany, Italy, the USA, Canada. In 1979, Vysotsky was one of the participants in the Metropol almanac, organized by Vic. Erofeev and V. Aksenov, who were subsequently expelled from the Writers' Union. In this almanac, Vysotsky presented about 20 works, diverse both in terms of genre and time of their writing: from the earliest ("Guys, write me a letter ...") to more mature ("Banka in white", " On the death of Shukshin", "Horizon").

The most mature stage of the poet's work is 1973-1980s. The central place in Vysotsky's poetry of this period is occupied by the theme of Fate - from the fate of an individual to the fate of a whole generation and the whole people. For this stage, the genres of philosophical monologue and ballad are most characteristic, often with a pronounced parable beginning ("Two Fates", "The Parable of Truth and Lies"). In the 1970s Vysotsky often works on the radio, many of the performances with his participation are recorded on discs: "The Green Van", "Martin Eden", "The Stranger" and "Little Tragedies". The big cycle was written by him for the musical fairy tale "Alice in Wonderland" (1977). During these years, Vysotsky continued to work in the theater. In the late 1970s he works on prose ("Romance about Girls", 1977), a screenplay ("Vienna Holidays", in collaboration with E. Volodarsky), tries his hand at directing, hatches the idea of ​​​​creating "author's" cinema.

Lyrical hero and the language of Vysotsky's poetry

Usually, when analyzing this or that classical work, speaking about this or that author, literary critics and critics talk about the language and style "before the curtain", at the end of the book or article. In the case of Vysotsky (as with Zoshchenko and Platonov), one must begin with the language that the lyrical hero of Vysotsky's poetry spoke to the listener. First of all, a purely linguistic phenomenon is striking, which, to a large extent, underlies the unprecedented mass popularity of Vysotsky, and not of any other of the creators of the author's song. The lyrical hero of Vysotsky came to literature, to the listener and reader with his own language: unenforced colloquial, and often slangy, slang vocabulary; expressive, short and precise phrase; unpredictable, free, often hysterical intonation; uncomplicated, easily digestible rhythms:

I was the soul of a bad society,

And I can tell you

My surname-name-patronymic

Well known in the KGB.

The whole street fell in love with me

And the whole Savelovsky station.

I knew that I was interested

But still ignored...

("I was the soul of bad company")

Compared to previous years, this was indeed new language- the street language of the era of the Stalinist camps and the decades following it. According to Academician D.S. Likhachev, the camp vocabulary in that camp era received an unprecedented spread (and it is not surprising: half the country was in the camps, half the country was guarded by the camp), it also penetrated the intelligentsia, where many learned famously "to play with a hair dryer." Vysotsky also spoke this language in his songs, but used it in artistic purposes(see below), creatively: it was Vysotsky, with his "absolutely genuine linguistic instinct" (I. Brodsky), who became one of the most prominent voices of his era, his time, he caught, transformed and introduced into poetry, artistically legitimized this peculiar "rough language of the poster", with which she spoke, "the street writhed", speechless (in the words of V. Mayakovsky) before the arrival of the poet. Without such a language, there would be no lyrical hero Vysotsky, at least the way we imagine him.

One of the reasons for Vysotsky's popularity was that he turned to a genre that had already become widespread in that camp era - the genre of thieves (Vysotsky refused this word), or yard song, a kind of reduced version of the former urban romance. True, before Vysotsky she (the thieves' song) was beyond the bounds of artistry, was, so to speak, outbred, gate-fence, but she lived her own life, was popular before him. It was a powerful layer folk culture. The poet himself later spoke about it this way: “I started with songs that many for some reason call yard, street songs. It was such a tribute to the urban romance, which was completely forgotten at that time. And people probably had a craving for unsimplified ", namely, simple human intonation. They were artless, these first songs, and there was one, but a fiery passion in them: the eternal desire of a person for truth, love for his friends, woman, loved ones"2.

The main thing in these songs is a living, undiluted word, taken from life, from colloquial speech, and longing for it in the era of ideological and speech clichés, bureaucracy and the empty language of the official press was great. In Vysotsky's songs, the folk (everyday and folklore) speech element spilled out, which in his work acquired the status of artistry, and the yard song became a successful (for the new audience of the new time) form of conversation between the lyrical hero and the listener-reader. Vysotsky developed the genre and proved that a yard song can be not only sentimental-criminal-petty-bourgeois, but also "socially topical and philosophically profound, grotesque-comic and confessional-lyrical"3. Vysotsky gave seriousness, ethical and philosophical significance to this frivolous folklore genre, introduced it into literature, and over time the phenomenon received a different name - "author's song" (although, of course, not only thanks to Vysotsky alone)

Vladimir Vysotsky. This name is familiar to every Russian person. It can be treated differently: you can love and hate, recognize and not recognize. You can't be indifferent to him. After all, all his songs-poems were written with the blood of the heart. It is no coincidence that the name of his first collection, Nerv, was chosen. Vladimir Vysotsky is a phenomenon of the 70s. One of the critics said that the time will come, and we will study the era of the 70s according to the work of V. Vysotsky.

Unusually for a poet, V. Vysotsky began his work. His first works were parodies of the so-called thug folklore. But those who love Vysotsky's poems and songs only of this genre do not know anything about Vysotsky.

Later, when Vysotsky had already gained experience in poetry, serious topics began to be raised in his work: love, the past war, relationships between people, and others. It seems that we have before us different poets, Vysotsky is so diverse.

That is a tenderly in love man:

I breathe - and, therefore, I love!

I love - and, therefore, I live!

His lyrical poems are inspired by great love for Marina Vladi. It was strange Love, they did not see each other for months, talking only on the phone, but Vysotsky carried this love through his whole life.

Then the poet was transformed into an experienced front-line soldier who went through the whole war:

Finally, we were given the order to advance,

Take away our spans and crumbs.

But we remember how the sun went back

And almost rose in the east.

Many people who fought really mistook Vysotsky for a front-line soldier, wrote letters to him asking him if he was their fellow soldier. Vysotsky was very touched by these letters, and he often said: "It is better to receive letters where they take you for your brother-soldier than letters where they consider you a cell mate." The poet believed that even if the war ended long ago, the eternal memory of those who died in the battles for the Fatherland should remain in the memory of the people.

Here the earth used to rear up,

And now granite slabs.

There is no personal fate here,

All destinies are merged into one.

Mass graves have no weeping widows,

Stronger people go here.

Crosses are not placed on mass graves,

But does that make it any easier?

A significant place in Vysotsky's poetry is occupied by satire, in which the poet ridicules various vices of society: drunkenness, lack of culture, rudeness, gossip:

There is gossip that there will be no more rumors

And there are rumors that gossip will be banned...

It's no secret that he was an alcoholic and took drugs. But he never complained about his fate. There were moments when the poet was close to suicide:

Even from the songs began to get tired,

Lie down like a submarine

So that they could not take direction ...

Vysotsky had many friends. There were real ones among them, but there were also "one-nighters", random drinking companions, and those who, after his death, began to call themselves "Volodya's friends." It was these "friends" who did not allow him to publish during the years of disgrace. And to his real friends, he dedicated poems:

He is not higher in rank or stature,

Not for fame, not for pay.

And in your own unusual way

He walked through life over the platform

On a rope stretched like a nerve!

This poem is dedicated to the clown Leonid Yengibarov, who died in the arena.

Several poems by Vysotsky are dedicated to the Stalinist camps, or rather, to the inhabitants of these camps. Once he was told the story of a successful escape: three men escaped from the camp. In long searches in the taiga, they were starving, since game was rarely found. And the old man, sensing the near end, makes the two young men swear that when he dies, they will cut him into pieces and eat his meat in order to survive and testify. Together with them, the poet acts as a witness.

Vysotsky remained bold and direct.

For more than ten years now, Vladimir Vysotsky has not been with us, but he is in our souls, in our minds. Poetry and its whole appearance is a metaphor for the poets of the 19th century. Vysotsky sang with the guitar, but considered himself a poet. He was the poet.

An interesting fact is that if he wrote songs about sailors, then the sailors considered him their own, if about climbers, then - a climber, if about prisoners, then they thought that he was "sitting". In fact, none of this really happened. He, as a very talented person, somehow guessed the theme with a special flair, conveyed to the listener exactly the meaning that was laid in it. This property speaks of the extraordinary talent of this person.

Vysotsky died, untimely left still young. But he will forever remain in the heart of a grateful people.

Section 11. Management of socio-economic systems Samara "A moment has come when I feel an unbridled desire to talk to you, even in a letter." This is how Vladimir Semyonovich Vysotsky begins one of his letters to his wife. This sentence clearly shows that he treated the correspondence precisely as a conversation. Consequently, he will build it, select various means, based on this. The vocabulary of his correspondence with his wife and friends fully corresponds to the tone of the letter stated at the beginning. The very first thing that attracts attention is the selection of appeals to addressees. In the letters of the poet, the same technique is often used as in oral speech: appeals vary depending on the situation described in the letter, and can be repeated several times in the text of one letter and stand exactly in those places where this “call” would naturally sound in oral speech. “But now, Slavik, Karelov is preparing for the audition with the script by Frid and Dunsky, […] they will cut me down to the root of my favorite Soviet cinematography.” Also, during the analysis, I revealed a special use of colloquial vocabulary to enhance expression, and in some places to give a playfully ironic coloring, a touch of contempt: “There, Vasechek, there is abundance, there is every kind of fruit, vegetable and living creatures, besides meat, , uti, boars "; “I am silent, I take per diem and think: “Well, well! Get on your nerves. And I'll take a little time!" Common words are also often found that are distorted to convey colloquial pronunciation (the usual word order is changed, one or more letters are replaced or added): “I live like a Siberian witch, away from my family and generally became like a business traveler.” The language game used by Vysotsky in one of his letters to his wife is interesting: “It’s hard to get up in the morning, especially if I see you at night - either as the embodiment of cobarism, or as an angel of God.” The reader assumes that this is “cunning” inherent in women, but the word “cobarism” also exists in the meaning of “greed, gaining on trifles.” The author often uses such a lexical tool as phraseological units, as they make it possible to make speech more figurative and emotional. Most often, the author uses common and colloquial phraseological units: “I often catch myself thinking that there is no home in Moscow where I would like to go”; “I had a rest, I was cured, this time, in my opinion, completely, although - the crow swore not to croak, but ... I want to believe.” Also in the letters, Vladimir Semenovich uses words with a sharp negative connotation, such as "I'm a bastard, I'm a viper", "worthless". Expressing his indignation at the local residents of the city, he says: “He reads“ all sorts of rubbish ”(about books). In the autumn days in his soul he has "bent and scum." From the mountains, he writes: “There is no smoke here, […] there are no skis, no sun! .. Some mountains, fog and the same faces.” A distinctive feature of colloquial speech is the use of onomatopoeia and interjections. They make speech livelier, brighter: “Slavik! Ts-ts! Hello”, “So go on, Slavik, about smuggling, at least through smuggling. If you need to take something out there or bring it in from a foreign country, we will help. We are now - fie. " Also, in Vysotsky's letters, occasionalisms appear that arise in colloquial speech by chance, due to its spontaneity or consciously, to create some effect expected by the author: "The very first, most widespread friend Vasechek!" - he begins one of the letters to a friend, emphasizing the exclusivity of his relationship with him. Describing many actions, Vladimir Semenovich uses colloquial verbs for a more vivid description: if the people, then “rushing”; if you wish, then "do not get drunk." "All the artists went crazy and stunned." And Marina Vladi "works hard to faint." Somewhere the poet considers it necessary to use profanity, which significantly reduces the style of the text, and if it is at the beginning (as happens in some letters), then it sets the further perception of the letter. Thus, we can conclude that the letters of the famous "folk" poet V. S. Vysotsky are also extremely "folk", they include almost all the groups of words that make up colloquial style, and, mixing, create a text that reduces the distance between the interlocutors, and you can imagine that the addressee is sitting in a nearby chair and telling you about what worries him. 224

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Ministry of Education of the Russian Federation

State educational institution

higher professional education

Shadrinsk State Pedagogical Institute

Faculty of Russian and Western European Philology

Coursework on the topic

« PreceptionThe language game in the works of V.S. Vysotsky "

Completed: student 4-21 gr.

Kolesov A.V.

Introduction

2.3 Language game using the text-forming capabilities of lexical units

Conclusion

Bibliography

Introduction

The problem of the language game is relevant in modern linguistics, which is interested in language personality, speech behavior of the author - the creator of a literary text. The study makes it possible to deepen the theory of language game in a literary text: not just to identify the inventory of language game techniques, but to develop a methodology for studying game elements within the whole text, taking into account their semantic deployment, based on a comprehensive (in the unity of form and content) analysis of the text, which reflects not only the influence of the microtext on the implementation of the language game, but also the nature of the whole artistic text (its genre form, features of the narrative structure, communicative organization of the work).

The purpose of the course work is to explore the features of the language game in the work of V. S. Vysotsky.

Achieving this goal determined the need to solve a number of specific tasks:

one). Analyze the literature on this topic.

2). Analyze literary texts and sound recordings by V. S. Vysotsky.

3). Give a detailed definition of the concept of "language game".

four). Determine what language game techniques V. S. Vysotsky uses at the phonetic, morphemic and lexical levels.

language game Vysotsky

Chapter 1 literary texts

1.1 Definition of the term "language game"

First, it is necessary to define the meaning of the term "language game". Here is how the term stylistic is defined encyclopedic Dictionary Russian language, edited by Kozhina: "language game - certain type speech behavior of speakers, based on a deliberate (conscious, thoughtful) violation of the systemic relations of the language, i.e. on the destruction of the speech norm in order to create non-canonical linguistic forms and structures that, as a result of this destruction, acquire expressive meaning and the ability to evoke an aesthetic and, in general, stylistic effect in the listener/reader. Most often, a language game is associated with the expression of comic meanings in speech or with the desire to create a “fresh, new image”. The language game is characteristic mainly of colloquial, journalistic and artistic styles speech.

The term "language game", introduced into linguistics by L. Wittgenstein, denotes a specific use language units, realized by the speaker in a functional sense, i.e. related to the field of communication. The language game is associated with the activity of a linguistic personality and the ability to creatively use language knowledge.

Understanding the language game outside of creative activity is impossible, because:

1) the ability of the subject to a bright, unusual, effective use of a word (or expression) is always secondary in relation to knowledge of the language system and possession of its normative connections, i.e. the ability to "play with a word" implies possession of the stylistic aspect of the language;

2) a "game" moment in speech communication can appear only when the speaker carries out a purposeful search for methods of destroying conventional language structures and the stereotypes of speech perception associated with them;

3) the language game is always targeted: being purposeful and thought out precisely as an effective option linguistic usage, it cannot take place as such without understanding by the addressee;

4) the language game is always aimed at creating a new meaning in the language (speech) structure, previously unfamiliar to the listener/reader.

The language game is one of the many options for the implementation of the stylistic task, which is planned and carried out by the author in order to achieve a certain stylistic effect - a component of the stylistic structure of the communicative act.

The criterion for distinguishing between the facts of a language game and speech errors is the linguistic and - more broadly - the stylistic competence of the speaker. In contrast to speech errors, a language game is built thanks to the knowledge of systemic language connections and possession of stylistic patterns in the use of language units, as well as taking into account the genre specifics of speech production. The language game has a dual focus: it is a linguistic and proper speech phenomenon, because for the implementation of the language game, the ability to creatively disrupt (rebuild) the learned models of the standard use of the language is of paramount importance. For example, we can cite the well-known line of A.S. Pushkin: "Without a grammatical error, I do not like Russian speech." In this regard, we can say that the language game is a functional-stylistic phenomenon.

1.2 Levels of implementation of the language game

The effect of the language game is based on the associative potential of the word - the associative valency of the word, which allows variation when its expression plan and content plan are combined and - as a result - a different interpretation of its meaning. In the context, one or another particular associative valency of the word is realized - phonetic, semantic, lexical, word-forming, syntactic. Each of these particular valences acts as one or another mechanism of the language game. In addition, the associative nature of the language game indicates that an important means of creating it in speech is a metaphor.

At the phonetic level, the language game is implemented using such techniques as anagram, palindrome, onomatopoeia, sound symbols, as well as various phonosemantic convergence of words. For example: an anagram (a statement characterized by the identity of the sound composition of lexemes with a difference in compatibility and sequence of phonemes) - “grass in the yard, firewood on the grass”; palindrome (preservation of the same meaning of the word / phrase when reading from left to right and right to left) - “the donkey is looking for porridge from the mother-in-law”; trampling, hut, etc.; homonymous convergence of words (discrepancy between the meanings of the compared words, based on homonymy) - “when is a boy called a female name? - When he is a dormouse; paronymic convergence of words (a shift in the evaluative qualification of the signified, revealing an evaluative paradox) - “privatization” (an associative union of different meanings when interpreting privatization as a desire to seize, steal, appropriate.

At the morphological level, the language game is based on a conscious violation of the phonomorphological perception of lexical units, for example: "adversary - the remains of the soup."

At the lexical level, a language game is created due to the discrepancy between the semantic content of the motivating and motivated stems in the act of word formation, for example: “we’ve already staggered again”.

In addition, the language game is realized in the utterance by restructuring syntactic links, when the key tool for creating a “new image” is the context and the potential variance of the semantics of words, phrases, as well as semantic relations between parts of a sentence that it creates. In the latter case, the language game creates an “effect of deceived expectation”: the meaning of the phrase predicted by the recipient is destroyed due to an atypical (unexpected) word order or the introduction of words that are atypical for a given syntactic construction lexical components. For example: "I would be glad to serve, to serve too." An important property of this type of language game is that, starting as a destruction of the structure of a sentence, it turns out to be a textual phenomenon: the very fact of the game becomes clear only from the entire surrounding context or even the whole. It is at this level that the language game fully realizes its active, creative character due to the ability of "syntactically destructive" units to spread comic or satirical meaning to a wider textual space up to the creation of a special artistic concept. As textual means of a language game, various kinds of puns, polysemantic lexemes, the exact meaning of which (most often atypical for them) is clarified only by the surrounding context, as well as special cases of violation of normative syntactic links conceptually thought out by the author, often act as textual means of a language game. For example: “Yesterday, thus, was gradually illuminated - in the sense of “in the muddy and viscous consciousness of Styopa Likhodeev, the events of yesterday were clearing up” (M. Bulgakov, “The Master and Margarita”).

Thus, the language game seems to be a violation of the generally accepted canons and rules of the Russian language, with the help of which the maximum effect of influencing the emotional sphere of the listener (reader) is achieved. Using the techniques of a language game allows you to give the text originality, expressive coloring, make it an individual and to some extent a unique work. The language game is implemented using the text-forming capabilities of language units at the sound, morphemic, lexical and syntactic levels. In the second chapter, the techniques of the language game that Vladimir Semenovich Vysotsky used in his work will be considered.

Chapter 2

2.1 Language game using the text-forming possibilities of sounds

To create the melody, rhythm of the text, to give it the greatest emotional and musical coloring, Vysotsky very widely used the text-forming possibilities of sounds. Vysotsky was a songwriter, and the vast majority of his works were written to be played with a guitar. Therefore, phonetic possibilities are used in all their diversity.

Many of Vysotsky's works have a pronounced fable character. Therefore, the use of onomatopoeia helps the reader to immerse himself even more in that art world, which is drawn by the author. Most often, onomatopoeia is the speech of a character, which creates the necessary sound design and the greatest reliability.

In the work “A Mistake Came Out”, the hero is in a state close to delusional: being in the hospital, it seems to him that he was being interrogated by the NKVD. All attempts to protest turn into a failure. The climax is the appearance of a raven as a symbol of death: “and the raven shouted “Nevermore” / he is agile and quick ...”. The literal translation - "never again, never again" - emphasizes the doom and hopelessness of the situation in which the hero found himself. The meaning of the use of this English phrase is also that this combination is consonant with the onomatopoeic word "kar - kar". Thus, this phrase is double value: semantic and phonetic. The tragedy and hopelessness of the hero’s position is also emphasized by the sound writing technique used to write the phrase: “and the raven shouted “Nevermore” / he is agile and quick ...” - the ominous croak of the raven sounds throughout the phrase.

In the poem "Reserve", the animal roar is conveyed by the repetition of the sonorant sound [r]: "... the skins are torn on the chest, like shirts ...". And in the next stanza of this work: "... with the roar of the roaring, / with the roar of the growling ...".

With the help of alliteration in the poem “Two songs on the theme of the romance“ Black Eyes ”the critical position of the hero is shown:“ I yell to the wolves: / “Take your ashes!” / And fear drives my horses. The same technique is used in the poem “March of the Bears football team” in order to emphasize the intensity and excitement of the struggle on the football field: “We get a card / From injury to a heart attack. / We expect luck, / We are angels of excitement!”.

In general, the use of sonorant [r] is very typical for Vysotsky's work. But in his works he is not limited to the use of exclusively sonorous sounds. In the poem “Mishka Shifman”, with the help of alliteration, the confidentiality of the conversation is betrayed, some information that is transmitted in a whisper: “Mishka Shifman is brainy ...”. This is the very beginning of the work, which immediately suggests that what the story will go on in the future is not customary to say out loud: “Don’t touch Shifman’s Bear / With the Bear away doubts / He has Jews entirely / In every generation. A whole international problem follows from the context of the work, then it becomes clear why such a method of communication with the reader was used.

2.2 Language game using the text-forming capabilities of morphemes

Along with the use of the sound means of the language, Vysotsky also actively uses its morphemic stock. The use of one or another morpheme or group of morphemes is determined by the theme of the work, its ideological meaning or style of narration. So, in the poem “About the Devil”, the use of diminutive - petting suffixes -yak-,

ik -, ushk -, used in an appeal to the Devil, show how lonely the lyrical hero of the work is, that even the company of evil spirits gives him joy: “Listen, devil - devil - devil - devil, / sit down with me - I will really glad!"

In another example, instead of the word alcohol - alcohol with the suffix -ik, which introduces a touch of caress into the meaning of the neoplasm: “I drank tea from a saucer, / I was with alcohol ... / I didn’t have to bend down, / And I fought” (“The one who did not shoot "vol. 1 - 65).

The poem "From childhood" (vol. 4 - 19-20) is completely built on the use of words with diminutive - affectionate suffixes. In particular, only the suffix - points - occurs 14 times (caviar, bangs, five, etc.). On the one hand, this is due to the name - the use of words with such suffixes is very typical for children's speech. But the very content of the poem, that “childhood”, in which “Solid fatherlessness: / War, and Yezhovism”, - / So - stabbing / And the years - until renovations ... ". There is an additional internal conflict between the content of the work and its title. And this conflict is further intensified by the use of "childish" vocabulary with diminutive - caressing suffixes. Additionally, these suffixes stylize the text under some thug jargon.

In "The Ballad of the Bath", thanks to the selection of root morphemes from the first line, Vysotsky's sublimely poetic attitude to the Russian bath is conveyed - "Grace or blessing ..." The use of the root "goods", referring to a high, sublime style, suggests some , religious elevation. and already in the third line the word "God" appears - very consonant with the root morpheme "good". A blessing given by God - this is how Vysotsky relates to the Russian bath. The play of the roots of "steam" and "pore" is interesting - "You need to flog the soul with a broom, / You need to evaporate the stench from it." Based on the context, these roots acquire an identical meaning - "purification". And before the reader there is a certain image of the sacrament, the church rite associated with the purification of the soul, the atonement of sins.

2.3 Language game using the text-forming capabilities of lexical units (on the example of military cycle works)

For a detailed study of Vysotsky's work, we consider it necessary to trace how the reader sees the lyrical hero, a participant in hostilities. But first you need to define this concept - a lyrical hero. Here is how the Dictionary of Literary Terms defines it:

“A lyrical hero (the image of a poet, a lyrical “I”). "Lyrical hero" is a conventional literary concept that covers the entire range of works created by the author; on its basis, a holistic view of the poet's work is created.

The inner world of the lyrical hero is revealed not through actions and events, but through a specific state of mind, experiencing a certain life difficulty at the moment.< … >.

The image of a lyrical hero should not be directly identified with the personality of the poet himself, although there is unity between the poet's work and his life-aesthetic position. In the same way, the experiences of the lyrical hero should not be perceived as the thoughts and feelings of the poet himself. Such views lead to a simplified understanding of the poet's work and his lyrics in general. The image of the lyrical hero is created by the poet in the same way as the artistic image in the works of other genres, with the help of the selection of life material, typification, artistic fiction.

The lyrical hero of Vysotsky, unlike the author himself, is a direct participant in hostilities. He appeared as a result of the synthesis of memories of veterans, soldiers Soviet army. Vysotsky talked a lot with the front-line soldiers, who were in his family.

The image of a front-line soldier is drawn by Vysotsky so reliably that it misled readers and listeners. He received many letters from readers in which they admitted that the situations described in his songs are familiar to them, they have been in them, and they even know the people about whom Vysotsky sings very well.

And this is not surprising. Not only the heroes of Vysotsky's songs lost friends at the front, noting that "they had enough space in the dugout"; received letters from loved ones, in which instead of words of approval - "I'm not leaving close"; and many had a chance to go to reconnaissance in battle.

The lyrical hero of Vysotsky is the ordinary soldier who forged the Victory. This is a fighter pilot, and wounded in the hospital, and almost shot, and a "penalty box", and a soldier betrayed by his wife. With his songs, Vysotsky showed those who provided us with the Victory and what "the price he paid for it."

He, through the image of his hero, showed that the outcome of major battles and small battles was decided not in the smoky offices of the headquarters, not due to the bright ideas of the “great strategist and tactician”, but “on the ground”. If people “clung to the height as if they were their own”, then they will not retreat. That is why the heroes of Vysotsky do not fight for titles and orders, they are not interested in abstract lines on the strategic map, it is important for them to “see the dawn”.

It is no coincidence that it seems to the bomber plane that "the stabilizer sings / Peace to your home." And the battalion crawls to the West, "so that the sun rises in the East."

Vysotsky's hero is fearless in the face of death. He understands that this time he “cannot return” and passes the baton to his sons-recruits, firmly believing that they will finish what they started and liberate the Motherland:

"I can smile

I see who will come for me." .

Vysotsky's works, in addition to their vitality and authenticity, attract readers with their extraordinary expression, which is achieved through the use of a number of poetic techniques. Let's highlight the main ones.

In many songs there is a detailed personification. The poem "Shooting the Mountain Echo" shows a terrible picture of the invasion of the war in peaceful life. The death of people in the war, kind and peaceful, is inherently shown through the image of a “cheerful mountain echo”, which “lived and got on”. Echo, which more than once helped climbers in trouble to shout to their own, was brutally shot after torture - "and tears splashed like stones from wounded rocks."

The same technique is used by the author in the “song about the Earth”. The earth here is represented by the mother, who gave her defenders to the Motherland. Land near Vysotsky - living matter. She feels pain, suffers from the fact that her children are dying, her "naked nerves" "know unearthly suffering."

The fighter plane is also alive. He believes that the pilot, sitting in his cockpit, prevents him from being free, ascribes his merits to himself, believing that he is a "fighter". The aircraft does not understand that the pilot and he pursue the same goals, that they are a single, mutually complementary organism. But having lost the pilot, the plane finally realizes that without the pilot it will die. Along with this comes the realization of their goal in this war - to bring "peace to your home."

In parallel, this song develops the idea of ​​the continuity of generations:

"It's a shame that I myself did not have much time,

But let someone else be lucky ”- developed later in the song“ Sons go to battle ”. In this song, extraordinary lyricism is achieved by showing the unity of man with nature. Men who have gone to the front are mourned not only by mothers and wives - “Willows cry for you, / and without your smiles rowan berries turn pale and dry”, “grain flows out of an ear of grain - these are tears of uncompressed fields.” “Loneliness and expectation” settled in the empty houses.

This idea is also reflected in the song "Storks", where "trees in resin - they are sad." And in the song "To the Top", where the unity of all - human and natural - forces is shown through the personification: "he covered each stone with his chest, / the rocks themselves substituted their shoulders."

With the help of opposition, the author shows the contradiction of war, a phenomenon that is contrary to all human nature. The ambiguity of the war is shown - after all, if someone “grows into the ground”, but does not give up an span, and someone at the beginning of the war will seek a way out to the Wehrmacht headquarters with a proposal to surrender.

This difference in views on the goals of the war is shown in the song "Stars":

We were told: “We need a height!”

And "Do not spare the cartridges!"

There rolled the second star -

You on shoulder straps.

Why do we need height, why talk about it once again, because we will “take our own, our blood, ours” anyway. Is this height really necessary? Or only for the "star on shoulder straps"? Why do we and you have different goals? The opposition of these two pronouns is found in many works of Vysotsky related to the military cycle. For example, here is a comparative analysis of fragments of two poems:

"Song of the Stars"	"Height".
We were told: “We need a height!” You on shoulder straps. There rolled the second star And: "Do not spare the cartridges!" ... There is a contrast within the verse between "us" and "you." Why should “we” take the height, and “you” get the stars on shoulder straps? This opposition is exacerbated by different tense spaces - the verb referring to "us" is used in the past tense (spoken), and the verb referring to "you" is in the present. This highlights the huge gulf between “us” and “you”: what kind of community of interests can we talk about, even if the times are different? The lexical meaning of the verb "spoke" emphasizes the depth of this abyss - why did they speak? Why aren't they talking now? Or maybe in vain? Maybe not worth it? No, it was worth it - for the sake of the "second" (!) Star. A logical question arises, why was the first received?	They clung to the height, as to their own, Mortar fire, heavy, And we all climbed in a crowd on it, Like a station buffet. A completely different mood is felt in this quatrain. Here again "us" and "they" are contrasted, but this opposition is of a completely different kind. Two opposing camps are opposed, each of which has its own goal. And you don’t have to say anything anymore, and everything is clear - that’s why they “climbed the crowd on her.” And "they" grabbed, "as in their own." Apparently, this height is of great strategic importance, since such stubbornness on both sides. And not a word about the reward - the height itself will be the reward. In a slightly underestimated comparison with the train station crowd, the unity of "us" in the face of death is shown. From a tactical point of view, the crowd is a convenient target, but what kind of tactics can we talk about when life is measured in seconds?

This theme is also raised in the song "Penal Battalions":

Only an hour until the most important things:

To whom - to the order, but to whom - to the "tower".

It is not difficult to guess who is meant for what. After all, it is not for nothing that in the last line it sounds “to the majority - to the “tower”. As a reward for the fact that people will close their Motherland with their breasts and reward them in this way - they will be forgiven for their crimes, they will close the 58th “political” one. Though it will be possible to bury humanly.

Air combat is described in the Pilot's Song. Initially, the balance of forces was opposed:

“They are eight - we are two. The layout before the fight

Not ours, but we will play!” - but the hero does not care who is in front of him, because if a friend is nearby, then the chances are equal. The heroes comprehended the ongoing event, and found for themselves the right decision- fight for each other, not for "heavenly squares". Not only the pilot has his own view on military events, his plane also has its own opinion on this matter. And he is somewhat at odds with the view of the pilot: one is “tired of wounds”, the other “forces into a tailspin”. ("Yak - fighter").

But it's not so scary. Vysotsky does not make a tragedy out of this. Soldiers do not die for these careerists, they do not pronounce their name with their last breath. Soldiers fight for those who remained at home, for those whose letter is more precious than any order. And here, in the field of personal life, real tragedies occur:

And it's like you're not here

If the handwriting of the bride

Or write your father and mother ...

But something else happened

Seen in vain before the fight

They hurried to give the letter to the soldier.

One can imagine what was going on in the soul of this soldier: hunger, cold, blood, dirt, the heroism of some against the backdrop of the careerism of others. One thing warms, gives strength, makes you overcome yourself - the thought that they are waiting at home. And suddenly…

I'm not leaving close

You calmly fight, and I'm sorry, if anything! ("Letter")

... "a bullet wound a second before death." How joyfully his heart beat when he saw the postman, and how it broke when the meaning of what was written came to him ...

In the song "He didn't return from the battle yesterday" Eternity and human life are contrasted. “He did not return from the battle”, but “the sky is blue again, the same forest, the same air and the same water.” But he is no more, and he will never see all this again.

This is the real horror of war - people close to you are dying, and no one will ever replace them. And the worst thing is that it is not always clear what they are dying for, the ultimate goal is not always clear:

We need to conduct reconnaissance in combat.

For what - but who will figure it out.

Again the question arises, who needs it: us or you? Again opposed various purposes in this war, again someone has an order, and someone has a “tower”. But someone's husbands, fathers, sons are dying. The fathers of future children are dying, which means that unborn children are dying - the gene pool that has been developing for centuries is being destroyed. Confirmation of this thought is in the "Song of the Stars". The soldier sees a star in the sky and wants to give it to his son as a keepsake. But "a star hangs in the sky, a star disappears - / there is nowhere to fall."

Comparison is of great importance in military lyrics. This is due to the special symbolism that is present in Vysotsky's military lyrics. In "The Song of the Stars" "the silent rain / the stars were falling." The hero goes to his last attack, and looks at the sky, in height, in eternity. In the song "Storks", where "smoke and ashes rise / like crosses", the comparison is also accompanied by symbolism. Crosses symbolize either future losses, or Christianity, or both. But in the song “Everyone went to the front”, the symbolic comparison has a different meaning. Comparing the "cross-wise" boarded-up camp gates and the "soul - cross-wise boards" of the head of this camp, the author shows the soullessness of the latter. And a war without a soul has no place in the ranks of the defenders of the Earth - "after all, the Earth is our soul", so the result seems logical - "he was awarded the highest measure / tribunal for a crossbow."

Many songs contain images of Earth and Sky. Those who die in battle go to heaven, the survivors remain on earth. So, in the Song of the Dead Pilot, the pilot lands on a heavenly airfield, and the one who sits down on the ground says: “well, I landed - / such a disaster.” And fellow pilots ask to be included in "some kind of angelic regiment." Getting into heaven is getting rid of all sorrows and misfortunes, finding peace, ending the worldly fuss. The heroic defenders of their land have the right to rest, they deserve this right.

Conclusion

At the beginning of the work, the goal was set - to determine the methods of the language game in the work of Vladimir Semenovich Vysotsky. To achieve this goal, the literature on this topic was analyzed, Vysotsky's literary texts were studied.

In the first chapter, a detailed definition of the concept of "language game" is given, options for a language game are considered at various levels: phonetic, morphemic and lexical, examples of a language game from works of classical literature and colloquial genre are given.

The second chapter analyzes the features of the use of language game techniques in Vysotsky's work at the above levels, provides examples from the poet's work that most clearly characterize these techniques.

In the course of the work, both scientific and fiction literature related to the work of V. S. Vysotsky was analyzed. Analysis of fiction, memoirs of the poet's contemporaries is necessary for a more accurate perception of his works of art, the artistic world of the author.

Based on the results of the work, we can conclude that the work of V. S. Vysotsky has not yet been sufficiently studied and requires deeper scientific research. Work in this direction will make it possible to create more full view about the artistic originality of Vysotsky's works, the depth and brightness of artistic images, the author's originality.

Literature

one). Borisov V. "Such a familiar baritone", newspaper "Komsomolskaya Pravda", No. 3, 2001

2). Vladi M. Vladimir, or Interrupted flight: Per. from fr. - "Progress", 1989 - 176s.

3). Vysotsky V.S. Works in 4 volumes. AOZT "Technex - Russia", St. Petersburg, 1993 - volume 1 - 318 p., volume 2 - 318 p., volume 3 - 318 p., volume 4 - 276 p.

four). Vysotsky V.S. Human. Poet. Actor. (Compiled by Yu.A. Andreev and I.N. Boguslavsky; Introductory article by Yu.A. Andreeva.) - M. "Progress", 1989 - 360s.

5). Vysotsky V.S. Memoirs of Vladimir Vysotsky. M. - " Soviet Russia", 1989 - 380s.

6). Vysotsky V.S. Four quarters of the way. M. - "Physical culture and sport." 1988 - 285s.

7). Vysotsky V.S. I do not believe fate: Poems and songs. - M. "Eksmo", 2002 - 384s.

eight). Vysotsky V. S. Poetry and prose. (Compiled by A. Krylov and V. Novikov). M. - "Book Chamber", 1989 - 447s.

9). Georgiev L. Vladimir Vysotsky, familiar and unfamiliar./ Per. from Bulgarian V. Viktorov; Foreword V. O M. - "Art", 1989 - 140s

ten). Demidova A. “Vladimir Vysotsky. M. - The Union of Theater Workers of the RSFSR, 1989 - 175s.

eleven). Zolotukhin V. Vysotsky's Secret. Diary story. M. - "Algorithm", 2002 - 318s.

12). Krylov A. A set of 18 Black and white postcards. - M.: "Planet", 1988.

13). Krymova N. A. “Vladimir Vysotsky. Favorites". - M.: "Soviet writer", 1988-509s.

fourteen). Korkin V. “Vladimir Vysotsky. I do not like…". Songs, poems, memoirs of contemporaries. - M.: CJSC "EKSMO-Press", 1998.- 480s.

fifteen). Medvedev F.N. I love - and, therefore, I live. Reading book with commentary on English language./ M. - "Russian language", 1990 - 190s.

17). Robert Christmas. Vladimir Vysotsky. Nerv: Poems. - 3rd ed. - M.: Sovremennik, 1988. - 239 p.

eighteen). Russian literature of the XX century. Grade 11. Reader in 2 parts. Part 2. Compilers: Barannikov A. V., Kolganova T. A., Rybchenkova L. M., 3rd ed., - M .: "Enlightenment", 1997 - 449p.

19). Russian literature of the XX century. Grade 11. Tutorial for general educational institutions in 2 parts. / Agenosov V.V. and others; under the general editorship of Agenosov V.V. - 6th ed., stereotype. - M.: "Businessbust", 2001. - 512p.: ill.

twenty). Ryazanov Eldar. Four evenings with Vladimir Vysotsky. Based on a TV show. Author and presenter Eldar Ryazanov. M. - "Art". 1989 - 269 p.

21). Timofeev L.I., Turaev S.V. Dictionary of literary terms. - M.: "Enlightenment". 1974 - 509s.

22). Reader in literature for grades 10-11. Compilers: Alamdarova E. N., Bezruk Yu. L., Evdokimova A. V., - Astrakhan: publishing house of the Astrakhan Pedagogical Institute, 1994.- 699p

23). Reader in Literature. Grade 11. Student's handbook. Scientific development and compilation Bykova VV, ed. Candidate of Philological Sciences, Associate Professor Slavkin V.V., (Lomonosov Moscow State University), - M.: Philological Society "Slovo", AST, Company "Key-S", Center for the Humanities at the Faculty of Journalism of Moscow State University. M.V. Lomonosov, 1997.- 640p.

24). Shuralev A. "All destinies are merged into one." Vysotsky's military lyrics, Literature at School magazine. - No. 3 - 2003.

25). School Encyclopedia "Russian Studies". Russian history. XX century. - M.: OLMA-PRESS Education, 2003. - 544 p., ill.

26). Magnetic phonogram in a cassette. Tbilisi recording studio "Melody", 1986 - 19 songs, will enter. author's word.

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The art of poetic translation at all times required special skill and spiritual indicators on the part of the translator. It is no coincidence that V. A. Zhukovsky compared a translator with a debtor who undertook to repay a debt, if not in the same coin, then at least in an equivalent amount. French translators Henri Abril and Léon Robel, hearing the voice of Vladimir Vysotsky, sought to understand the change in rhythm and convey the emotional charge of the verse, its expressive component. They were united by a great desire to convey the "inner ear" of the poet. Nothing is more difficult in translating lines of poetry than being poetically correct.

The thought of Vladimir Vysotsky requires a clear hierarchy of words, and Vysotsky's author's word is a capacious reservoir for expressing feelings. The task of the translator is not to kill this bright sensual soul and make at least the simplest analysis for the compatibility of the “blood type” in order to prevent a tragic discrepancy. Henri Abril and Leon Robel felt the true Russian soul of the poet, although they encountered considerable difficulties in finding the exact equivalent.

This article does not aim to identify the pros and cons of a particular translation, to determine which translator is more talented, which is less - this is an empty undertaking. It seems more interesting to comparative analysis original and French translation to identify the linguistic mechanisms of the Romance language in the transfer of emotional resources of the Slavic word of Vysotsky. This "vysokvysotsky" style fills the forms of words with living water, flowing like the purest spring, as a stimulator of thoughts and feelings that need to be conveyed to the French reader.

Colloquial and colloquial vocabulary runs like a red thread through all the work of V. S. Vysotsky. These bright inclusions of folk wisdom require the most filigree work of the authors of French texts. In most cases, colloquial vocabulary in the works of Vladimir Vysotsky is expressed by verbs, and in French version the authors of the translations strive to maintain an identical category:

For verb wind away Henri Abril picks up various French equivalents: in the poem “There is no me - I left Russia ...” (“Parti - j’ ai quitté la R-russie ...”) - se tailler, in the poem "My black man ..." ("Mon homme noir ...") - filer. The presence of synonymous verbs related to colloquial French vocabulary is explained by the need to preserve the melodic grid in translation:

Very often Russian verbs are transmitted in French verb constructions (être participe passé, se mettre a faire qch):

Verb be rude in the song "Scapegoat" ("Le bouc émissaire") is expressed by the verb faire+ Nom (faire une crasse - to do bad things):

An interesting fact is the coincidence of the structure of Russian and French reflexive verbs:

Although it is not uncommon for a Russian verb to be transferred to French as a reflexive:

Full equivalents (which is of particular value at the level of colloquial genre variety) in French translation are often present in the translation of lexical units of the nominal category: troublemaker - filou; goat kids - les petits biquets.

In the expression "Take the princess and dot» - "Prends la princesses and basta» noun dot has a figurative meaning the end, and this connotation finds a formal shell in the Italian loanword basta.

Based on the theory of semantic correspondences of Ya. I. Retsker, cases of complete coincidence of lexical units different languages in the entire scope of their meanings are relatively rare. In this regard, the correspondence of the translated text to the original one is already spoken of in cases of the identity of the described situations, regardless of the semantic components of the sentence used.

The most universal way to help the translator find a match for colloquial expressions in the most difficult cases- descriptive method. Some of the descriptions in the translations of Henri Abril and Léon Robel approach a neutral style and look somewhat cumbersome but true. (As the French translators of the 18th century said, the translation is like a woman: if she is faithful, then she is ugly, if she is beautiful, then she is unfaithful). Russian grab looks like a descriptive sentence: on vous traîne par les cheveux; somehow slipped - ceux d'aujourd'hui l' ont franchi sans aucun mal; weak? - pas de courage?; worked up the sides - se remplissait la panse(literally: to fill the belly); squandered - aurai-je en vain dépenséma vigueur; burrow in books - les livres devinrent mon refugee.

The same theory of correspondences contains a regularity about the "loss" or "acquisition" of information: both are inevitable in any translation, because the formal means of expressing the same content in different languages ​​do not coincide with each other. A striking example of such gaps is the following colloquial vocabulary: bustled;play pranks on the sly; I'll tear my sides; look; somebody blathered;fly in to the Renault factories - and so on.

Antonymic translation is considered by researchers of translation studies to be a paradoxical phenomenon, but experienced translators resort to this method in cases where they cannot find a foreign equivalent to a verb, for example: try the ditch - le gars comme ças' en tire toujours(literally: such a guy will always get out) .

Russian realities, which are so rich in the stylistic palette of V. S. Vysotsky's poetry, involuntarily turn any translator into a traitor (traduttore - tradittore, Italian). For example: moonshine - gnole; tub - une barrique(barrel); hut - un galetas(poor closet, shack, slum); oblique sazhen - ma carrure. Even more difficult for the translators of Vladimir Vysotsky are words containing the wrong stress, which is completely untranslatable into French text: "N a dispute hammered! "Everyone on the about gi wind "; "Not a day without a glass a". No less difficulty colloquial expressions with deviations from the literary norm of pronunciation and spelling: “ of which ate, and of which dragged into the forest "; "miracle at-yud laid down and ran away»; "oh what deeds, yesterday»; "I left Rasei»; "I won't want die"; "With them so bickered"; here; no; really; they say

A special layer of colloquial vocabulary is swearing - these expressive evaluative words and expressions that a person resorted to in conflict situations in order to throw out negative emotions overwhelming him - both in Russian and in French have a pronounced pejorative connotation. In French translations, swear words often have an identical seme composition:

In very rare cases, there is no French equivalent, for example, to the expression in God's soul! Professional argotisms are not frequency, but have full correspondence, with the exception of stress: rubbish a- poulets.

It turned out to be impossible to find semantic correspondences to the poetic archaisms of V. S. Vysotsky - because of their absence in the French language, therefore, the authors of the translations select neutral lexical units:

In the translation system, phraseological units are especially troublesome. There is a long tradition that an idiom in one language must be translated into an idiom in another. Such neutral phraseological turns are easily conveyed by French translators:

In practice, there are many difficulties. Very often phraseological units of the Russian language have only approximate analogues in French, and translators are forced to use tracing paper, literal translations:

Often French translators use the method of descriptive construction when translating frozen expressions and phraseological units:

This research material allows us to draw the following conclusions.

French translators use the following translation methods when searching for equivalents of Russian colloquial vocabulary and phraseological units in the poetic work of V. S. Vysotsky: tracing paper, descriptive phrase, antonymic construction, synonymous words.

The diversity of structure of the French and Russian languages ​​is the reason for the complexity of translation, in particular, the transfer of colloquial variants case endings nouns and adjectives of the Russian language, which are completely absent in French.

Colloquial vocabulary and phraseological units present a number of difficulties when translating from Russian into French (mismatch in the seme composition of the compared lexical units, difference in images underlying phraseological units). The choice of absolutely exact French equivalents for analogues of Russian colloquial vocabulary in Vysotsky's work causes the greatest difficulty, which in most cases poets-translators cope with. However, sometimes they have to enter words of a neutral style, and there are even not isolated cases of the complete absence of a French equivalent.

Dictionaries used: Grineva E.F., Gromova T.N. Dictionary of colloquial vocabulary of the French language. M., 1988. 638 p.; Phraseological dictionary of the Russian language / Ed. A. I. Molotkova. M., 1986. 544 p.; Colin J.-P., Hevel J.-P., Leclère C. Dictionnaire de l'argot. Larousse: Paris, 1994. 763 p.; Alain Rey et Sophie Chantereau: Dictionnaire des expressions et locutions. Paris, 1989. 1332 p.
Vladimir Vyssotsky. L'homme. Le poete. L'acteur. M., 1990. 326 p. All quotations in French are from this book.
Retsker Ya. I. On the regularities of correspondence in translation into the native language // Questions of theory and methodology of educational translation. M., 1950.

Vladimir Semenovich Vysotsky (January 25, 1938, Moscow - July 25, 1980, Moscow) - an outstanding Russian poet and actor, whose poems - songs in his own performance received truly popular recognition, although during his lifetime his works were practically not published at home.

Vysotsky's early childhood and youth are connected with Moscow. His father, Semyon Vladimirovich, is a career officer who went through the entire Great Patriotic War from the beginning to the last day. Mother Nina Maksimovna worked as a translator. In 1941-1943, Volodya and his mother were evacuated in the Orenburg region, after the war, together with his father and his second wife Evgenia Stepanovna, lived in Germany for two years and returned to Moscow in 1949.

A large role in the formation of interests, the manifestation and realization of Vysotsky's acting and poetic vocation, already in school and subsequent years, was played by his circle of friends - close friends, which included such outstanding and outstanding creative personalities as L. Kocharyan, A. Makarov, V. Abdulov, A. Tarkovsky, V. Shukshin and others who met regularly in the house "on Bolshoy Karetny".

In 1955 Vladimir graduated high school and enters the Moscow Engineering - building institute, but after studying there for six months, he leaves the institute and soon becomes a student at the Moscow Art Theater School, after which in 1960 he works at the Moscow Drama Theater iM.A. S. Pushkin, starred in episodic roles in the films "Dima Gorin's Career", "713th Asks for Landing", "The Living and the Dead", etc.

In 1964, Vysotsky entered the Moscow Taganka Drama and Comedy Theater, with which all his further acting activities were connected. He plays first in episodes, and then in the title roles in the performances " kind person from Sezuan", "Ten Days That Shook the World", "Anti-Worlds", "The Fallen and the Living", "Listen", "Pugachev", "The Life of Galileo", "Hamlet", etc.

In the same years, he creates a number of vivid cinematic images in the films “Two Comrades Were Serving”, “Master of the Taiga”, “The meeting place cannot be changed”, “Little Tragedies”, “Short Meetings”, “Intervention”. The last two, filmed back in 1967-1968, were put on the shelf for a long time and appeared on the screen decades later, in the second half of the 80s.

In parallel with his work in the theater and cinema, often in direct connection with it, V. Vysotsky clearly reveals his poetic talent, creates numerous and widely known poems - songs that meet the spiritual needs of people, the needs of the time.

The birth of a new genre of "author's song", the originality of this artistic phenomenon in Vysotsky is evidenced by his own words, as well as the statements and characteristics of his contemporaries. In his speeches, Vysotsky repeatedly emphasized the difference between an author's song and a pop song, and on the other hand, from an "amateur" one, believing that the former is always based on his own, original poetic creativity, inseparable from a purely individual, author's, "live" performance, revealing the subtlest semantic and musical - rhythmic shades of poetry.

In 1980, at one of the concerts, he said: “... when I heard the songs of Bulat Okudzhava, I saw that you can strengthen your poems with music, melody, rhythm. So I also began to compose music for my poems. As for the specifics of the song creativity of V. Vysotsky, then, according to the right remark. R. Rozhdestvensky, he created "songs - roles", organically getting used to the images of characters - the heroes of his poems. Perhaps one of the most successful definitions of this specificity belongs to the pen of the Taganka Theater actress Alla Demidova: “Each of his songs is a one-man show, where Vysotsky was both a playwright, and a director, and a performer.” And - we must certainly add: first of all - a poet.

Fate poetic heritage V. Vysotsky was very difficult. Despite the truly nationwide fame and the widest popularity of his songwriting in our country and abroad, for the millions of "circulations" of recordings of his songs in "Magnitizdat", crowded halls at his concerts - during the life of the poet in the Union, one single poem was published "From a travel diary" in the collection "Poetry Day 1975" and only a few songs appeared on mini-discs in a record.

Marina Vlady writes about the difficulties that the poet had to overcome when he ran into the dull resistance of various kinds of official “instances” that stood in his way to the reader, listener, viewer, in the book “Vladimir, or an Interrupted Flight”, built as an appeal, conversation, a letter to a loved one

“Your concerts are sometimes canceled right before going on stage, most often under the pretext of your illness, which infuriates you: you are not only forbidden to sing, but they blame you for the disrupted concert. Your censored film songs are still "not allowed" just before the premiere, and the picture becomes mutilated. Texts relentlessly sent to Glavlit are invariably sent back with exaggeratedly polite regrets. Several small records, which have appeared over twenty years of work, contain the most harmless songs, selected from more than 700 texts. Complete silence on radio, television and in the newspapers, and meanwhile there is, perhaps, not a single house in the country where Vysotsky would not be listened to almost every day.

After the death of the poet, publications of his works in periodicals began to appear one after another, and then separate books: Nerv (two editions: 1981 and 1982), Picky Horses (1987), Selected Works (1988), Four a quarter of the way" (1988), "Poetry and Prose" (1989), "Works: In 2 vols." (from 1990 to 1995 withstood seven editions) and a number of others. In 1993, Collected Works began to appear in 5 volumes.

Over the past two decades, a number of Vysotsky's books have been published abroad - in Poland, Bulgaria, Czechoslovakia, Germany, France, the USA and other countries. So, the first three-volume collection of works was published in 1988 in New York, and in 1994 in Germany a collection of his works was published in seven volumes, eight books.

And if during his lifetime, back in the 60s, Vysotsky had to meet in the press biased and unfair assessments of his works (the titles of articles in Komsomolskaya Pravda and other central and peripheral newspapers are typical: “What is the song?”, “What is Vysotsky singing about?” ?”, “From someone else’s voice”, etc.), then after his death, with the exception of some notorious, extremely unfriendly speeches by the authors of the magazine “Our Contemporary”, the poet’s work finds an objective and versatile coverage.

In the field of memoirs, undoubtedly, the memoirs of the poet's parents, friends of his youth, and comrades in theater and cinema have occupied an important place. Among them, the books of Alla Demidova, Valery Zolotukhin, Veniamin Smekhov, a number of collective collections are especially significant and interesting. About the work of the poet, following the articles by Yu. Karyakin, S. Kormilov, N. Krymova, V. Tolstykh, meaningful books by Vl. Novikova and N. Rudnik, collections of scientific articles (see Bibliography at the end of the chapter). The general trend in the literature about the poet: from the first emotional and critical responses, attempts to comprehend the phenomenon of Vysotsky - to an in-depth, scientific, philological study of his work in various aspects of aesthetics and poetics, features artistic speech and verse.

The poetic work of V. Vysotsky noticeably evolved from the first poetic experiments, early songs - stylizations to mature and original works of the second half of the 60s, and then the 70s, reflecting the needs of the time and fitting into the context of social literary development, moreover, - defining its characteristic and leading trends.

In 1971, in one of his speeches, Vysotsky said: “I have been writing for a very long time, from the age of eight, I wrote all sorts of verses, children's poems, about fireworks ... And then, when I was a little older, I wrote all kinds of parodies. Among them are the so-called "stylizations for thieves' songs", for which I still disentangle myself. I wrote these songs, I never refuse them, they have been useful to me in terms of searching for form, simplicity of language, simple vocabulary” (Live Life, p. 276).

Vysotsky did not like it when his early songs were spoken of as thieves, courtyards, he preferred to associate them with the tradition of urban romance. Choice them on early stage It is this form and genre that seems not at all accidental, but completely natural and meaningful. Here are his words:

“I started with songs that many for some reason called yard, street. It was such a tribute to the urban romance, which at that time was completely forgotten. And people probably had a craving for such a simple, normal conversation in a song, a craving for not simplistic, but just a simple human intonation. They were ingenuous, these first songs, and there was one, but a fiery passion in them: the eternal desire of a person for truth, love for his friends, woman, loved ones.

In verses - songs early period(1961-1964): "Tattoo", "I was the soul of a bad society...", "The gunner", "Urban romance" and others - the language itself can sometimes seem too rude, simplified - primitive. Criminal and slang vocabulary, vulgar and thieves words such as "bitch", "fraera", "bastard", "bitch", "infection", "slut", "bastard", etc., can undoubtedly shock a refined ear.

Of course, in these songs there are elements of stylization, especially noticeable in the recreation of street color, and in other cases - melodics of an urban or gypsy romance. But the main thing in them is an appeal to a living, undiluted word, taken from life, from colloquial speech. essential quality Vysotsky's style, already at an early stage, was immersion in the folk (everyday and folklore) speech element, its creative processing, fluency in it.

It was this quality that gave him the opportunity already in the first half of the 60s, especially closer to their middle, to create such wonderful examples of songwriting as "Silver Strings", "On the Bolshoi Karetny", "Penal Battalions", " mass graves". In fact, the last two songs already seem to open the next big and important period in the poet's creative evolution.

In the middle and second half of the 60s, the subject matter noticeably expanded and the genres of Vysotsky's poems and songs diversified. Following the songs of the military cycle, which also included “Song about the hospital”, “Everyone went to the front”, “sports” appear (“Song about a sentimental boxer.” “Song about a short-distance skater who was forced to run long”), “cosmic” (“In the distant constellation of Tau Ceti”), “alpinist” (“Song of a friend”, “Here you are not a plain”, “Farewell to the mountains”), “fabulous” (“About the wild boar”, “Song - a fairy tale about evil spirits"), "marine" ("The ships will stand - and lay down on a course ...", "Sail. Song of anxiety"), parodic - satirical ("Song of the prophetic Oleg", "Lukomorye is no more. Anti-tale"), lyrical (“Crystal House…”) and many, many others.

The end of the 60s turned out to be especially fruitful for Vysotsky. It was then that he wrote the magnificent songs created at the limit of emotion and expressiveness “Save our souls”, “My gypsy” (“In my dream - yellow lights ...”), “Banka in white”, “Hunting for wolves”, “Song about the Earth”, “Sons go to battle”, “Man overboard”. Regarding “Bathhouse…” and “Hunting for Wolves”, in which, in the words of L. Abramova, one feels “going beyond” and, perhaps, breakthroughs into genius, it should be added that they were written in 1968, during filming of the film "The Master of the Taiga" on the Yenisei, in the village of Vyezzhiy Log, and it was not by chance that V. Zolotukhin called this period the "Boldino autumn" of V. Vysotsky.

In the 1970s, Vysotsky's songwriting developed in breadth and depth. Enriched with ever new signs of living life, strokes and dashes of characters and situations drawn directly from it, without losing its penetrating lyricism, it acquires the quality of in-depth philosophy, reflections on the main issues of being.

In very different poems written at the very beginning of the decade (“I am gone - I left Russia ...”, “The pacer's run”, “About fatal dates and figures”), their own fate and creativity, the fate of great predecessors and poets - contemporaries is comprehended. And in the late 70s (“Apples of Paradise”, 1978) and in the first half of 1980, including in the very last verses - “And from below the ice and from above - I toil between ...”, “My sadness, my longing” ( author's phonogram on July 14, 1980), - the poet turns to thoughts about the tragic fate of the people and once again about himself, with good reason coming to the conclusion: “I have something to sing, having appeared before the Almighty, / I have something to justify myself before him ".

But undoubtedly, the brightest rise in the last decade of Vysotsky's creative activity falls on 1972-1975. It was then that he wrote tragic songs - the ballads "Fussy Horses", " tightrope”, “We rotate the Earth”, “The one that did not shoot”, satirical sketches “Police protocol”, “Victim of television”, “Comrade scientists”, genre pictures “Dialogue at the TV”, “Smotriny”, autobiographical “Ballad of childhood ”, lyrical and philosophical “Song of Time”, “Ballad of Love”, “Domes”, “Two Fates”, etc.

Vysotsky's poetic work is multifaceted and is not limited to the poems that he set to music and made up the song repertoire of his performances. Among the published poems, there are many truly significant ones, such as, for example, “My Hamlet” (1972), “When I drink and play ...” (1973), “My black man in a gray suit ...” (1979–1980) and others.

A number of other works in various genres have also been preserved in the Vysotsky archive, in particular, the unfinished children's comic poem "... about Vitka Korablev and his bosom friend Vanya Dykhovichny" (1970-1971), the story "Life without sleep (Dolphins and psychos)" (1968) , the script "Somehow it all turned out ..." (1969-1970) and also the unfinished "Romance of the Girls", on which he worked in the late 70s. All these experiences testify to the rich and not fully revealed creative potential of this multi-talented person.

Speaking about the main themes and motives of Vysotsky's poems - songs, which has already been discussed in connection with the creative evolution of the poet, one should once again emphasize the problematic - thematic range of his works, the sharpness of posing in them the pressing social issues of the day and the problems of the century. In one of his last performances - concerts in 1980, Vysotsky said: “And the calculation in the author's song is only for one thing - that you are worried just like me, some problems, human fates, that we are worried about the same thoughts and in the same way tear your soul or scrape your nerves with some kind of injustice, human grief ”(Live Life, p. 302).

Vysotsky's songs, especially those of his mature period, are always distinguished by the depth and originality of the artistic solution of the "eternal" philosophical questions of being. And here it is not uninteresting to give a judgment on this score of three high-class professionals - a poet, a theater worker and a philosopher.

So, David Samoilov sees creative evolution Vysotsky in the direction of the increasing significance and depth of the social and philosophical problems he artistically solved: “In serious conversations about the phenomena and events of life, he developed a position and drew themes for his songs. It was no longer "there were the Moscow court" that fed his inspiration, but serious views on the structure of the world.

The same dynamics of internal growth is emphasized by Mikhail Ulyanov: “... only he could, at such a deadly limit, put his whole self into a song - despite the sometimes unpretentious text, despite the sometimes street melody, Vysotsky’s song became a bitter, deep, philosophical reflection on life ... In his songs, especially in the latter, were not only feeling and passion, but a fervent thought, a thought that comprehended the world, man, their very essence.

Finally, the testimony of Valentin Tolstykh, who noted the fusion in the work of the poet of everyday life and being, lyrics and philosophy, is characteristic: “Vysotsky speaks of love and hatred, of time and struggle, of birth and death, rising in his lyrical outpourings to a philosophical understanding of worldly close, recognizable topics and problems.

Speaking about the song work of Vysotsky as a kind of artistic - philosophical and poetic system, about ways to combine individual poems - songs into thematic groups, about the ways of cyclization, one should especially dwell on the verses of the military cycle and the originality of his solution to this topic. Speaking at the evening of February 21, 1980, the poet emphasized: “... I am writing about the war not as retrospectives, but as associations. If you listen to them, you will see that they can be sung today, that people are from those times, situations are from those times, but in general, the idea, the problem is ours, the current one. And I turn to those times simply because it is interesting to take people who are in the most extreme situation, at the moment of risk, who in the next second can look into the face of death ... ”(Live Life. P. 304).

The fact that Vysotsky wrote about people who are in the most extreme situation, looking into the face of death, often becoming senseless victims of war, and at the same time emphasizing that this “problem is ours, the current one,” speaks volumes. Obviously, even then, especially at the beginning of 1980, when troops had just been brought into Afghanistan, he acutely felt, foresaw that the war would remain our national tragedy for a long time to come. In one of the key poems of the military cycle “He did not return from the battle” (1969), the tragic death of one of the countless privates of the Great War is comprehended as an ordinary fact, acquiring a symbolic sound. The bitterness of loss, the blood connection between the living and the dead, in contrast, are set off here by a picture so serene against the backdrop of human tragedy of eternal and beautiful nature:

Today, spring has escaped, as if from captivity.
I called out to him by mistake.
"Friend, stop smoking!" - and in response - silence ...
He didn't return from the battle yesterday.
Our dead will not leave us in trouble,
Our fallen ones are like sentries...
The sky is reflected in the forest, as in water, -
And the trees are blue.

Nature, and above all the Earth itself, always appears alive and animated in Vysotsky's poems. In "Song of the Earth" (1969), the title image is revealed as a synonym for the human soul. Hence - the lines passing by the refrain - personifications: “... who said that the Earth died? / No, she hid for a while... / Who believed that the Earth was burned? / No, it turned black from grief... / The exposed nerves of the Earth / unearthly suffering know... / After all, the Earth is our soul, / boots cannot trample the soul.

In Vysotsky's poetry, large and general plans are closely related. The cruel truth of war, the rough reality of what is depicted (“We use the fallen as a cover ... With our stomach - through the mud, we breathe the stench of swamps ...”) are called upon to affirm the high measure of the feat of each and every one in the poem “We rotate the Earth” (1972). In the verses of the military cycle, the poet achieves a special capacity and penetrating lyricism in creating a poetic image. Such is the symbol of the Eternal Flame that comes to life before our eyes and is filled with a new objectively tangible meaning in the poem "Common Graves", which was first heard in the movie "I Come from Childhood" (1966) and with which Vysotsky usually opened his performances - concerts - up to the very last 1980

And in the Eternal Flame - you see a flashed tank,
Burning Russian huts,
Burning Smolensk and burning Reichstag,
The burning heart of a soldier.

In addition to the military, or, perhaps, more precisely, the anti-war theme, an important place in the poet's work is occupied by the theme of the Motherland - Russia, taken in its present day and distant historical past. Russian, Russian motifs and images are pervasive in Vysotsky's works, but there are those among them where they are expressed with particular clarity.

In the "Song of the Volga" ("As along the Volga - mother, along the river - the nurse ...") everything is filled with the freshness of the sources of folk - poetic creativity. Measured rhythmic-intonational movement, inclusions of archaic vocabulary that create a temporary flavor (“all ships with goods, plows and boats”), specific verb forms (“did not overstrain”, “did not get tired”), characteristic inversions in combination of the epithet with the word being defined ( “ancient cities”, “ancient walls”, “epic fellows”) - this makes it possible to touch the origins of the present day not only of the great Russian river, but also of the Motherland itself.

In the song “Kupola” (variant title: “Song of Russia”), written in 1975 for the film “The Tale of How Tsar Peter the Arap Married”, in which Vysotsky played the main role of Ibrahim Gannibal, a purely earthly, emphatically realistic and at the same time - a mysterious and mysterious image of the Motherland, from the fate of which the poet does not separate his own life.

How will I look now, how will I breathe?!
The air is cool before a thunderstorm, cool and viscous.
What will sing to me today, what will be heard?
Prophetic birds sing - yes, all from fairy tales.
………….
I stand, as before an eternal riddle,
Before the great and fabulous country -
Before salty - yes bitter - sour - sweet,
Blue, spring, rye.

Mixed feelings of joy and sadness, melancholy and hope, fascination with mystery and harbinger of the future are embodied in this poem by prophetic birds from ancient Greek myths, Christian - Russian and Byzantine legends and apocrypha: Sirin, Alkonost, Gamayun. In the hope they give and, most importantly, in the blue sky of Russia, in its copper bells and domes of churches covered with pure gold, the poet sees the path of his spiritual healing and exaltation.

And this is expressively conveyed in the structure of each stanza - by means of the sound organization of the verse, skillfully used anaphoras, internal rhymes, various consonances: assonances, alliterations, etc. The final stanza of the poem is especially characteristic in this regard:

Soul, knocked down by loss and waste,
Soul erased by rifts -
If the flap thinned to blood, -
I will patch up with gold patches -
So that the Lord notices more often!

Being always acutely modern and deeply historical, Vysotsky's work invariably addresses the "eternal" themes of lyrics - nature, life and death, human destiny, art, time ... In "Song of Time" (1975), the poet recalls "campaigns, battles and victories ”, about the secrets and legends of the past, resurrecting such eternal feelings and concepts as love, friendship, honor, truth, kindness, freedom. This is the key to his consistent appeal to the experience of the past:

We take purity, simplicity from the ancients,
Sagas, fairy tales - dragging from the past, -
Because good is good
Past, future and present!

As for love lyrics, Vysotsky owns magnificent samples of it, created at different stages of his creative path and in a variety of forms. Suffice it to name "Crystal House" (1967), "Song of two beautiful cars" (1968), "Here the paws of the firs tremble in weight ..." (1970), "I love you now ..." (1973) and others. One of the program in this list - written for the movie "Arrows of Robin Hood", but not included there "The Ballad of Love" (1975) with its aphoristic-sounding refrain:

I will lay the fields for lovers -
Let them howl in a dream and in reality! ..
I breathe, which means - I love!
I love, and therefore - I live!

It is important to note the genre diversity, the specific forms and modifications of Vysotsky's poems and songs. The words “song”, “song” often appear in his own genre designations, and, perhaps, the word “ballad” appears in their names more often than others. In one of his speeches in 1976, the poet spoke about his experience in writing "songs - ballads" and "lyrical songs". The reverse side of his lyrics was satire, according to A. Demidova - "sharp, beating, frantic, passionate."

Vysotsky himself always singled out the epic, plot-narrative basis of his songwriting: "In general, I try to write all the songs as songs - short stories - so that something happens there." And on the other hand, following the listeners, he drew attention to the lyrical, confessional note of his works, at the same time emphasizing that their performance presupposes indispensable contact and interaction with those to whom they are addressed.

So, in one of his speeches in 1979, the poet said: “I think that maybe people accept these songs, as if it were about them, because I seem to sing them personally. And these songs are called songs - monologues, and even on the records they write: monologues. Well, as they wish, let it be monologues. For me, each of my songs is not a monologue, but, on the contrary, a dialogue with the people to whom I sing it ... ".

Obviously, it would be difficult to single out some kind of genre dominant in Vysotsky's song work. And if sometimes songs predominate in it - monologues (on their own behalf, on behalf of real and conditional characters), then they naturally include a plot-narrative ("Road story") or colloquial-dialogic beginning, sometimes becoming organizing ("Dialogue at TV).

In an effort to enter into a dialogue with the people to whom the song is addressed, Vysotsky sometimes used the traditional form of lyrical, ironic, satirical writing - an appeal to various addressees. These are, for example, “A Letter to a Friend, or a Sketch about Paris”, “A Letter to the Editor of the TV Program “Obvious - Incredible” from a Mad House from Kanatchikova Dacha”, “Letter from the Tambov Plant Workers to the Chinese Leaders”, etc.

Often, Vysotsky turned to folklore genres and created his own original works in this vein: fairy tales (“Song is a fairy tale about evil spirits”, “Song is a fairy tale about a genie”, “The Tale of the Unfortunate fairy tale characters”), parables (“The Parable of Truth and Lies), ditties (“Ditlets for the wedding”, etc.).

And for all, perhaps, the blurring of the genre boundaries of many of Vysotsky's works, his genre and thematic cycles are formed into an artistic whole, into a complex and integral artistic world. Responding in his songs to the "topic of the day", the poet saw and comprehended it on a large scale, historically and even cosmically: Earth and sky, natural elements, time, eternity, the universe - live in his poems, the present day is inseparable from history in them, momentary - with the eternal, hence the spatio-temporal openness, breadth and scale of his poetic world.

It is no coincidence that Vysotsky emphasized in one of his later speeches: “First of all, it seems to me, there should be one’s own vision of the world” (Live Life, p. 314). At the same time, he brought to the fore precisely the "personality, individuality" of the artist, his "sense of suffering for people." That is why the worldview, the poet's attitude is deeply personal and tragic. Hence his special attention to the complex, tragic fates of great poets (“On fatal dates and figures”) and his contemporaries - the heroes of his poems (“The one who did not shoot”, “Banka in white”, etc.).

important place in the songs - monologues Vysoky is occupied by the so-called "role characters", on whose behalf the narration is conducted. At the same time, there is always a lyrical hero in his poems - an exponent of the poet's clear social and moral position, his social and aesthetic ideal. In the correlation between the lyrical and “role-playing” heroes of Vysotsky’s poems and songs, their complex artistic, figurative and stylistic structure is revealed, in their organic connection the deepest humanity of his talent is realized, his self-dissolution “in the millions of people’s breath” (A. Voznesensky). The poet never separated himself from his heroes, acutely felt and, as it were, shifted the complex intricacies of their destinies, pain and bitterness of experiences onto his shoulders. His songs are a kind of self-knowledge of the people's soul.

Regarding the artistic method and style of Vysotsky, the poet, it should be noted that with all the diversity and, perhaps, variegation, he is characterized primarily by realistic concreteness, romantic generalization and satirical orientation in the creation and creative interpretation of artistic images and reality itself. At the same time, the everyday concreteness of the reproduced situations did not exclude the most unusual, fictional, fabulous, conditionally fantastic circumstances in which the poet placed his heroes, and the natural confidence of a conversation or story was directly connected with irresistible expression in the transfer of his thoughts and feelings.

Vysotsky is characterized by a special sense of the circumstances of everyday life, details of human behavior and psychology, feelings and experiences, gestures and actions, and most importantly, the utmost reliability of recreating the live colloquial speech of numerous characters in his poems and songs. Each time, all this is motivated by a specific way, character, mental warehouse, state of mind. actor songs - a monologue and finds expression in a unique lexical, phraseological, intonation - syntactic structure of speech.

Examples of shades of lively colloquial intonation, which determine the syntactic features of the utterance, are found in the abrupt speech of “Reconnaissance in battle” (“Who is with me? day, what was the day then? / Oh yes - Wednesday! .."), in the satirical sound of exclamations and questions of the "Dialogue at the TV" ("- Oh Wan, look - squint, parrots! / No, I, by golly, I’ll scream! .. / And who is this in a short T-shirt? / I, Van, want the same one”), in the expressive appeals of the program poem “Tightrope”:

Look - here it is
goes without insurance.
Slightly to the right slope -
fall, fall!
Slightly to the left slope -
still can't be saved...
But freeze - it remains for him to pass
no more than a quarter of the way!

As for the features of poetics and style, Vysotsky is characterized by a tendency towards interaction and synthesis of various stylistic principles: realism and romance, fairy-tale convention and fantasy, natural simplicity and, together, extreme tension, expressiveness in the use of artistic, visual, speech, and poetic means. The search for artistic synthesis is realized by absorbing the experience of related arts. As has been repeatedly noted, Vysotsky was both a poet and a composer, an author of poetry and music, a director - stage director and an actor - a performer of his works in front of the audience and listeners.

In the work of V. Vysotsky, a variety of classical and folklore traditions have been continued and developed - from the ancient sources of literature to the urban romance of the 19th-20th centuries. Among his favorite writers were first of all Pushkin and Gogol, Bulgakov and Mayakovsky, Yesenin and Pasternak. He knew well the work of Babel, Gumilyov, Akhmatova, Tsvetaeva, Mandelstam. Of the contemporary poets, he personally knew and highly appreciated B. Okudzhava, A. Galich, A. Mezhirov, B. Slutsky, D. Samoilov, A. Voznesensky, B. Akhmadulina, I. Brodsky, who, in particular, is one of the few noted and repeatedly emphasized in his speeches and interviews the incredible talent of Vysotsky, his absolute linguistic flair, wonderful, phenomenal rhymes and, thus, his role in the development of the language of Russian poetry and modern verse.

Vladimir Vysotsky lived a short but bright creative life. The place and significance that belongs to him in the socio-literary and artistic-poetic process of the second half of the 20th century, his unique contribution to the art of theater and cinema, are undoubted. In 1987, he was posthumously awarded the State Prize for creating the image of Zheglov in the film "The meeting place cannot be changed" and the author's performance of songs. The State Cultural Center - Museum "Vysotsky's House" was created. The only pity is that these official signs of attention and gratitude came too late for him.