Poets of the Bronze Age of Russian poetry. The first of the "Bronze" poets. Bronze Age of Russian Culture

Poetry of the beginning of the 21st century should be called the “Bronze Age” in Russian literature. Many worthy poets representing the 20th-21st century. It was at the turn of the century that poetry became a harbinger of change, And we have had a change not only of the century, but of the millennium. And only the poet is entrusted with the flight of the soul of mankind. I want to introduce the poet and just one of his poems. I would like modern schoolchildren to understand that it is necessary to grow up to poetry, to good poetry, that "the soul must work."

Ivan Fedorovich Zhdanov ( , with. Ust-Tulatinka ) - Russian .

Was born in the village of Ust-Tulatinka, Charyshsky district Altai Territory, the eleventh child in the family of a peasant, dispossessed and exiled to the Altai. When Ivan was 12 years old, the family moved to Barnaul, and at the age of 16 Zhdanov went to work at the Transmash plant. graduated evening school. Studied at , expelled, graduated from . Actively participated in the unofficial literary life of Moscow since (joint performance at the Central House of Arts by Zhdanov, and submitted ). The first publication in the newspaper "Youth of Altai" in 1967. The first book "Portrait" brought Zhdanov all-Union fame, was published in and received a wide response in the Soviet press. Laureate ( ), first laureate Academy of Russian Modern Literature ( ), winner of the literary and cinematographic award named after Arseny and Andrei Tarkovsky ( ). Occasionally also contacted poetic translation and essays on literary themes(in particular about , about ). Lives alternately in Altai, Moscow and Crimea.

Holistic Analysis

lyric poem

Thatch masonry demi-light

Snow that retained the starkness of water.

Where there is no snow, where there is ice with filling windows,

Sleepy rustle of birch sap

Leaves streaks on the glass.

Ice floats in water like wood.

You don't have to listen to the trees anymore

Hints, noisy and dumb.

You no longer know how to breathe on the glass.

Will the snow melt behind this breath

Or plunge into the water melted ice?

Everything acquires the gaze of water.

A poem about spring, but it has such philosophical depth and versatility that it is difficult for an unprepared reader to perceive it. “This is not a poem, it doesn’t even have a rhyme,” says another superficial critic. Or maybe, indeed, poetry is the lot of the elite, not only poets, but also readers: “the soul must be winged”

This is a poem by a mature poet who is not afraid to be misunderstood, this is a poem by a person who knows his own worth, who does not seek to please. It was written at the turn of the 20th and 21st centuries. Still, the third millennium is coming, you need to cleanse yourself of filth, give advice, show the way to salvation. But the poet will say this only to the elect, who understand and feel what has poured out into lines, like a stream of consciousness or like a study of the human soul.

Analyzing a poem is interesting at any level. Three-line stanzas with the same number of syllables in the lines-11-11-10, that's the rhythm.

A bewitching intonation accompanies the philosophical masterpiece in each stanza, very reminiscent of the number of lines, completeness and aphorism of thought Japanese haiku, the number of syllables is only not 5-7-5. Interrogative sentence makes the world space of the poem universal, eternal and open.

And the last line sounds like a warning: “Everything acquires the gaze of water.” “The gaze of water” is the attention to what is given for purification, self-improvement and, in extreme cases, as a reminder of the biblical flood.

The poetic size is determined easily:

So-lO \ menn-y \ u-clad \ ku-po \ lu-sve \ ta

Where-snE \ ga- no \ where- ice \ sleep-chIn \ koi- O \ con

This is iambic pentameter with pyrrhic. Failure at the rhythmic-intonational level occurs at the words "snow, ice, everything." The author removes these words from the word "water", as if created for iambic. When analyzing the vocabulary, it becomes clear why.

The first line of the poem is written in such a way that it becomes clear to the amateur that he is free. He doesn't need to read any further. The line shocks with poetic hooliganism. A possible phrase "Straw half-light" is beautiful, romantic and other "ah, ah, ah", that is, ordinary. But the word "masonry" is a stylistic nonsense, "thatched half-light" - the author's invention - this is a metaphorical chain in which words, intertwined, acquire more and more new meaning. And this is the principle of constructing the entire poem: endless nuances in the meanings of words, crumbling images, the reader, as if through a looking glass, discovers something new for himself behind one image, and after it another, and then a third, just endless corridors, we pass, we rejoice open doors, and there is the next door or the depths of the bottomless well. This is who lives.

The phrase "straw masonry" exists in Russian, but it is associated with straw, that is, inanimate stems that a person stores not in wonderful haystacks, shocks, but in briquettes, blocks, twisted, pressed, twisted, in straw masonry bales.

The next word reinforces the negative impression, it is an antithesis in one word “half-light” This is a weak morning light in one sense and an ironic generalization of the 19th century about a non-secular society that has broken away from naturalness, has not achieved its mercantile goals, but still has the opportunity to return to its roots, soul. Will he just come back? Want? Here it is - the 21st century. In the half-light half-light we look and see no longer Sun rays, and solar masonry. Terrible Where is the exit? What is salvation? Answer given

Thatch masonry demi-light

With a frosty morning connects quietly

Snow.

Not laying k-d-k, but frost, silence. Snow.

What a sound recording: s-s-s-s-s-s-x-s!

Remember the story of the flood, look around, realize what is happening and admire the poet's talent, his gift of foresight. The author believes in the cleansing power of the elements of water, spring renewal. Water will cleanse and protect from sorrows, troubles, delusions, mistakes, temptations, wash the soul, mind, body .. On a frosty morning, water is “... snow that retains the gaze of water” “Ice with window filling” Behind each word is an endless chain of metaphors.

Gaze. Close attention. The intentness of water is tension, inseparability, concentration of the primordial element observing what is happening, mother nature, which peers into the world, man. The gaze of water is a criterion of purity, honesty, it is attention to you and your vision of the depths, it is you in everything and everywhere. This is your reflection, clear consciousness Everything is interconnected Snow-water-ice-window-birch sap-glass-ice-water-snow-water-ice-water and further in a circle. For 10 lines 10 words about water

In the second stanza we read “Ice with window filling” - even the metaphors are ambiguous, leading the reader to comparisons: 1) ice floes are like glass, 2) windows are reflected, 3) it is visible through the ice, as through a window. The image of the window is ambiguous - a window between worlds (real - unreal, material - spiritual, the world of eternity - the world of today)

Birch sap is also a portal between the worlds, the inner world, spiritual and outer, material.. Children's impressions small homeland and stains of birch sap on a glass of ice. A window within a window, the specularity is created in an off-plot way by a senselessly and brutally wounded birch. When there are stains on the glass of ice, there is no purity, it ceases to serve as a window, an exit to the world of salvation.

The picture of the world is presented in 6 lines: masonry is quiet, a sleepy rustle (although they were wounded), stains on the ice. This is the perception of the world by the lyrical hero, which coincides with the perception of the poet. In the 21st century, the world was like this in the first decade.

Imagery, endless deep meaning see in verse 3. “Ice floats in the water like wood” “Wood hints, noisy and mute” The image of a tree, insensible, sleepily rustling with juice, patiently carrying a cross. A political sounding stanza. It is bad to endure, and stupidly make noise, and be silent. It is necessary to return to the roots, not to swim in the water, but to be it.

Ether is an integral world of water (snow, ice, birch sap), air (frost, breath), earth (birch). The author suggests the way out in stanza 4.

“Breathe on the glass ... with a breath”, the snow will melt after a breath. Inhaling on the glass, and the image of the window is the image of parallelism, the connection between the worlds (involvement is emphasized by both verbs of the 2nd person and interrogative intonation), the lyrical hero drowns snow in himself, turns melted ice into water in himself, i.e. loses beauty and amorphous snow and wooden properties of ice. Only water gives wisdom, thoughts flow like water, water soothes, heals. If everything acquires the qualities of water, then the responsibility must be before everything. Unfortunately, the world is not perfect. Like all the verbs in this poem. The author could not get away from this imperfection. But, after analyzing the poem, you can start the path to the origins with yourself

Try to “breathe on the glass” to return from vanity to yourself, so that everything acquires the “gaze of water” ...

"Sometimes I think thateven if from Russian culturepick up Pushkin A.S., Lermontov M.Yu., Chernyshevsky N.G.,Belinsky V.G., Dobrolyubova N.A., Pisareva.D.I., Tolstoy L.N., Kuprina A.I., Bunina I.A., Nekrasova N.A. and many others, and leave only K.F. Ryleev, P.I. Pestel, M.P. Bestuzhev-Ryumin, S.I. Muravyov-Apostol, P.G. Kakhovsky, or even P.I. and his "Russian Truth", then this will be enough for us for centuries, so as not to lose the continuity of the highest morality, self-sacrifice, justice,mercyand kindness" "Bronze Age Russian literature" Legislation is also literature, and if we create it now without thinking about how descendants will read and understand it, then we ourselves are quite able and able to read past legislation, historical and boldly recognize it as a special type of literature that reflects reality in If we follow the logic that the 19th century was the Golden Age of Russian literature, then the 20th century, which is recognized, no longer reached it and can safely be called the Silver Age, and the present, 21st century, the "Bronze Age" of Russian It is enough to retell a brilliant work, or reshoot a film based on the same plot, or write in the credits "based on", or emasculate the main thing, focusing the reader's or caretaker's attention on minor trifles, on the background and background of the main thing. this, the work is over - it will no longer have the moral component that was incorporated into it by the author. Ladki: what to take from us, such foolish mockingbirds, since we are not Lermontov and not Saltykov-shchedrins. They also need to laugh humanely, wisely, and not vulgarize. There are different kinds of laughter, good and evil, sympathetic and empty. The charge of genius of the 19th century is inexhaustible, you just need to know how to use it. Let's try to do this a little with Pestel and his Russkaya Pravda. Pavel Ivanovich was born in 1793, in the family of a senator, a Siberian governor-general, a privy councilor, a participant in the Battle of Borodino, an active member of the Decembrist organizations, hanged along with four other participants in the uprising. Russian Pravda begins amazingly: "Russian Pravda is, therefore, the supreme All-Russian charter, which determines all changes that have to follow in the state, all objects and articles that are subject to destruction and overthrow, and, finally, the fundamental rules and initial foundations that should serve as an invariable guide in the construction new public order and the drafting of a new State Code "From a legal point of view, this is the provisional Constitution of the Russian state, from a political point of view, it is a manifesto for a just order of life in the Russian state. Further, the following is explained to the people: "And so Russian Truth is a command or instruction to the temporary supreme government for its actions, and at the same time and announcement to the people from which he will be freed and what he can expect again . It contains duties that are assigned to the temporary supreme government, and serves as a guarantee for Russia that the temporary supreme government will act solely for the good of the fatherland. The lack of such a letter plunged many states into the most terrible disasters and civil strife, because in them the government could always act according to its own arbitrariness, according to personal passions and private views, not having before him a clear and complete instruction by which he was obliged to be guided, and that meanwhile, the people never knew what they were doing for them, they never saw in a clear way what goal the actions of the government were striving for, and, agitated by various fears, and then by various passions, he often took restless actions and, finally, produced internecine strife. Russian Truth averts all this evil with its existence. and leads the state reorganization into a positive move and action by the fact that it determines everything and issues fundamental rules for all subjects. "It can be said that in addition to the subject of Russian truth, its main principles are already beginning to appear here. These include: openness, freedom, government control to the people, the planned development of the Russian state, the rejection of all evil by legal means - the publication of legal acts, laws... Reading Pestel's Russian Truth, I thought all the time what distinguishes it so much from the current Constitution of the Russian Federation, until I finally realized that it is in itself explains a lot, it explains the text of the law and its commentary, and its interpretation at the same time.That's what Russian law lacks, that's what you can't do without.The whole point is that the science of legal theory clearly divides both legal norms by type, and principles and methods , and the subject of legal regulation and the structure of the act, its type, but all this is not necessary if ... the act contains all this. writing legislation, nothing but the best. For example, in many acts, charters of Peter the Great, there are subparagraphs called briefly "Tolk". First, the text of the law is submitted, and then it is commented on by the same legislator. Pestel went even further. In his Russkaya Pravda is not just a comment, but a fairly detailed explanation of why and how this or that provision is needed by society. It's just fine - so consider legislative act as an act, first of all, a moral, and then a legal one. I understand that they will say that Russian Truth is more like a declaration of intent. But if these intentions are consistently put into practice by adopting laws, as it has been done now and for a long time, then I do not see anything bad or unfounded in such an act. We must never forget that laws are written for everyone, not for lawyers, and it should be clear to any person why such a rule, where it came from, what is its purpose, so that he voluntarily fulfills it. The "constitution" of the United States is called a "declaration" and nothing. They correct it, that's all, but they don't explain it either. All we have is the preamble of the current Constitution of the Russian Federation, but there is a set of fragmentary and very good assumptions and aspirations that it is desirable to achieve, but as soon as we open the text of the constitution itself, then there is a dry list of legal provisions on rights, statuses, duties, guarantees and more. For a jurist, this is manna from heaven, because he is in demand as an interpreter and not only of the constitution, but of the entire complex of laws and by-laws. Specialization is good, but not to the point of professional deformation. It is necessary to specialize in working with the entire array of laws and judicial and other practices, but it is also necessary to "write" legislation in such a way that it can be read and, most importantly, understood by everyone. If a citizen, a person does not understand the meaning of the legal norm by which he will have to live, then why such a norm. If a person does not understand what the law wants from him, and his legislator stands behind the law, then the person does not understand what the legislator wants from him. The Civil Code of the Russian Federation does not even contain the goals and objectives of the legal regulation of civil relations; it turns out that property relations, or rather the regulation of property relations (this is civil with a few exceptions), is carried out by the legislator for the sake of regulation itself. The question is, why regulate, for the sake of the legal order, but then why the legal order and the circle closed, and the rule of law became the cornerstone - it is for its own sake, it is easier to live, orderliness is the key to well-being. And all this despite the fact that few people understand the law. What can we say about a simple law enforcer, not burdened with legal knowledge, if lawyers are often unable to understand either the "letter" or the "spirit" of the law. Pestel understood, Peter the Great understood, and therefore, in one of the “military articles”, he forbade servicemen who were on leave in St. Petersburg to “sing in fucking voices” (so in the law, but the law is in an anthology on the history of Russian law), but did not forbid drinking alcohol. It is immediately clear to us what the legislator had in mind when he introduced such an epithet, to put it mildly. There should be more epithets and expressions in the law about what the legislator wants from the people and whether the people agree with what this "lawmaker" wants from him then it will be the most accurate measure of law-abiding behavior. Then it will be possible to refer to any article, which in miniature will contain the whole complex of definitions of the theory of law, from principles to applied rule. In other words, the law should be made understandable with the help of the Russian language, taking as a model the examples available in Russian history. It’s nice to imagine how the plaintiff, not satisfied with the text of the rule of law, will cite an interpretation of the law from the same article, refer to the fact that this interpretation (and this is the same law) says why such regulation, what should be as a result of the application of the rule about, for example, the application of "acquisitive prescription" or "escheat" or "eviction of a former member of the owner's family". Perhaps I am a naive dreamer, but I would like that, together with me, a professional jurist, the plaintiff read the law in the same way and just as I would understand it, guided neither by the custom of business transactions nor by the analogy of law or law - they are undoubtedly needed, as methods, but not only them, understandable only to a specialist, and then not to everyone - but the content of a highly moral act, in which all morality has become the letter and spirit of the law. "Property relations must be regulated in order to possibly fuller people could use property for self-improvement, to free up the time necessary for creativity, and not just to make a profit from property." Here are such rules, let them finally become a measure of development, the goal of progress, the goal of freeing a person from bonded labor, in the interests of self-disclosure - how many people have left and are leaving without revealing their abilities, their talents, because we are still deeply convinced that there are no mediocre people, but there are stupid public relations, including those mediocrely regulated, by a good means in general, by a legal law growing out of a moral law. It is unfortunate that after the "Bronze Age" the tin age will inevitably begin, then just iron, stone and wood, if you do not change morality, which may well be regulated by legal law and is also amenable to adjustment, like everything else in society. On the contrary, it is even easier to write laws of highly moral content, because in this case the pen seems to run along the lines by itself, not like when an immoral act is born under the guise of a moral act. Here is literature - whether it is literature in general or legal literature - all its types require a serious thoughtful attitude. Society suffers no less from a mediocre and immoral, empty little book for children than from the same legal code. Shakhverdov A.V.

Nikolay Zabolotsky

The first poet of the Bronze Age

Online magazine "Religare"

Interviewed by journalist Alexei Gladkov

It fell to Nikolai Zabolotsky to open a new era in Russian poetry. And the war and the prison term helped him in this - the philosopher, political scientist and sociologist of religion Alexander Shchipkov is sure.

One would like to call the small Tarusa near Moscow a city-museum. Marina Tsvetaeva, Konstantin Paustovsky, Bella Akhmadulina, Svyatoslav Richter lived and left their mark here ... It is difficult to pass by the monument to commander Mikhail Efremov with the inscription "He who did not betray the Motherland and the soldier" - a clear antipode of the infamous General Vlasov. Soon there will be a monument to another, perhaps the most mysterious cultural celebrity - Nikolai Zabolotsky. The author of the famous "Columns", at first an oberiut, then a traditionalist - Zabolotsky lived in Tarusa for the last two years of his life. And only today we are beginning to realize that this is not just a wonderful Russian poet, but also the discoverer of an entire era - the Russian Bronze Age.

Everyone celebrates the Year of Literature in their own way. Someone holds festivals and awards awards at public expense. And you erect a monument to Zabolotsky in Tarusa at your own expense ...

– It was not easy for me. Firstly, I had to go for the most budget option, otherwise there simply would not be enough money. Well, it was necessary to explain to the household why this hole in the family budget.

- Explained?

- Yes. The wife and children understood and agreed. But this is a family. But some representatives of the humanitarian community accused me of lacking, so to speak, ideological consistency in their approach to Russian culture.

– Is that how? Why did Nikolai Zabolotsky not please them?

– You see, they are sure that in culture everything should be built according to some plan. And our 20th century must correspond to the image of an imposing, decadent, chilly Russia. This is such a refined culture, culture under the hood.

- Mythologizing?

- Well, yes. And within the framework of this stable cultural myth, the image of the Silver Age is a kind of border between culture and “barbarism”. A historical precipice, after which, right up to Brodsky himself, nothing of value could and should not have grown on Russian soil. These are the dark decades of Russian culture, which should be deleted from the annals.

– Akhmatova and Pasternak lived in this intertime. Both Voznesensky and Akhmadulina ...

- Of course, it will not work to cover up whole decades with such a stroke corrector. But it is possible to create optics, within which some of the phenomena will become indistinguishable, merge with the background. But others will remain distinct. And this optics is a myth about the Silver Age as the axial time of Russian culture of the 20th century. It is advisable to pretend that it never ended, even Joseph Brodsky belongs to it. And in general, there can be no “after” - only echoes, imitations. For this line literary continuity deliberately described as inertial and imitative.

– And what happens in the end?

- A certain cultural and historical "chauvinism" is being formed. From the point of view of which any continuation is survival, a trail, a glow by reflected light. Therefore, Akhmatova and Pasternak, as it were, extend silver Age. From this point of view, only that which inherits the era of poetic salons or imitates the great ones is valuable. Therefore, let's say, the monument to Marina Tsvetaeva fits into this format. Bella Akhmadulina also fits in due to obvious traces of Tsvetaeva's influence. But Zabolotsky is superfluous, a stranger. It turns out segregation, dissection of culture.

- Do you think that the monument to Zabolotsky will help overcome this dissection?

- By this I want to point out the need to overcome the gap in tradition. You can not adapt and adjust the tradition to the requirements of the moment. Erase something with an eraser, but leave something. Such experiments with literature are dangerous, they distort cultural history people.

- This is reminiscent of the practice of the Soviet era, don't you think?

- That's what she is. Only the sign changes, but the method of cultural "cleansing" remains in force.

– What does the cultural landscape of Tarusa look like today?

- Here lies the "stone" of Marina Tsvetaeva - a rather old cult is associated with her. There is a musical cult of Svyatoslav Richter, twice a year the "Richter Festivals" are held very, very good level. In their shadow are other Tarusians - Paustovsky, Akhmadulina, Borisov-Musatov, Ivan Tsvetaev, Efron, Vinogradov and many others. In the center of the city there is a monument to General Mikhail Efremov, and the inhabitants of Tarusa are well aware of his merit. But it is obvious that without Zabolotsky this series will be incomplete. I found out that in about twenty cities of Russia there is a street named after Anna Akhmatova. And only in one small town - Urzhum - there is a street named after Nikolai Zabolotsky. I do not want to somehow belittle Anna Andreevna, but I am against the belittling of Zabolotsky.

- How is Zabolotsky perceived today?

- They know him, and they know him well, but somehow one-sidedly. For example, as a person who translated "The Tale of Igor's Campaign". Translator, interpreter - it hangs in the air. They know him as an oberiut and an employee of the magazines "Hedgehog" and "Chizh". As a cheerful experimenter, an eccentric, talented and slightly unhappy person. They quote a poem about the girl Marusya, about the washerwoman and the alcoholic who lived in the house opposite. Occasionally they recall that he toiled in the Stalinist camps. And it's all. But this is number one in Russian poetry of the XX century.

- Are you exaggerating?

- Not. There are many talented people in the 20th century, but I'm not talking about this, but about his unique position in culture. Zabolotsky lived two lives: before and after the camp, before and after the war. And at this turning point, great changes took place in his poetry. It was filled with new, sub-religious meanings. Nevertheless, Zabolotsky, by inertia, continues to be considered a poet of the beginning of the 20th century. But he is also the first poet of the second half of the century, that is, the Bronze Age.

– Who was the creator of the term “Bronze Age”?

- Among the poets - Oleg Okhapkin. And in literary criticism, this concept goes back to the works of the famous researcher and archivist of Russian poetry Slava Lyon. This is a completely unique person who defended three doctoral dissertations - a geographer, philosopher, art critic and poet. He was born in 1937. And in the 1990s, Lyon methodically went to poetry conferences, brought with him Whatman sheets, on which he marked with felt-tip pens all the figures and milestones of the literary process. According to his classification, the Bronze Age began in 1953 with the death of Stalin and ended in 1991. Although the second boundary is not so obvious.

- 1953 and 1991? Why such borders?

– In 1991, the “autumn of stagnation” gave way to the iron age of commerce, and this was reflected in the literary process. Stalin's death is also understandable. A new era began. By this point, the remnants of the Silver Age no longer made the weather. The paradigm shift has been accelerated by military theme. “Get up, the country is huge!” There is no time for sparks of snow on the teeth of acmeism ... Although, by and large, the Silver Age ended immediately after the revolution. This is such a pre-revolutionary thing. Futurism, constructivism killed the aesthetics of the Silver Age. Decadence laces spread and burn in the fire of futuristic domain.

- A great change in everything?

- It happened that way. Futurism is a transitional state: no longer silver, but not yet bronze. More like burnout. Dynamic pause in the change of epochs.

- And Zabolotsky?

– He turned out to be a link between pre-war and post-war lyrics and became the ancestor of the poetic explosion of the 1960s-1970s, that is, he opened the gates to the Bronze Age for us. He melted himself - to use the "metal" metaphor - and this speaks of his great talent.

– What then is the role of the famous poets of the era of the Polytechnic University?

- I would still draw a line, not offensive, but important. There are poets of the Bronze Age, and there are those of the Polytechnic Museum. And not necessarily those who performed in it, because they could live in other cities and not appear in Moscow at all. But it's a label. This is publicistic poetry, for which there was a request from above. Not “stolen air”, but permission to breathe from now to now, something licensed.

- Did the Bronze Age need permits?

– The poets of the Bronze Age did not need the abolition of any prohibitions at all. They were guided by other motives. The author of the term poet Oleg Okhapkin wrote a poem in 1975 called "The Bronze Age". There we are talking about the poets who were touched by Christ. They felt God's breath again. They brought back to life the religious component that had been lost in decadence, rejected in futurism and vanished in Soviet literature. But after the war, this feeling was stirred up.

– What contributed to this?

- War and Victory. After all, this is a return to the theme of Christ and Calvary, and it does not matter whether Stalin did it or not Stalin. Even those who were lured by the authorities, but at the same time honest and talented, like Tvardovsky, of course, the war woke them up. It was inevitable. It came from below. It’s just that people under fire in the trenches became believers, people were plowed up. And they were ready for new meeting with God. And in the case of Zabolotsky, the war and the camp term came together. Both were his personal Calvary.

- Why is the era called the Bronze Age, and not another "ism"?

– Good question. This is not only a universal chronology, but also a symbol. Bronze is a hot metal similar to gold. And silver is a cold metal, white with black: “And the silver month is bright / It froze over the silver age.” Bronze, when melted, shimmers with all shades. And so Oleg Okhapkin voluntarily or involuntarily opposes new faith cold, chilling decadence. Let this faith be non-church, let it be sub-religious. Not important. But Okhapkin opens the royal doors - and Christ enters the heart. And then the wheat is separated from the chaff.

He plucked the superfluous from the Temple.

Traded talent to

The Almighty reigned in the hearts,

And in the merchants - the spirit of the womb.

And the poets went home.

Those who met God - in peace,

And the merchants scattered around the world

Gold to serve an idol.

Scattered on all roads.

We went to all the thresholds,

And on bronzed faces

Quietly the Bronze Age burned.

- Okhapkin portrays the internal emigration of Soviet bohemia this way?

Not all, but the best part of it. And he sees this emigration as a departure from the world. Sovietness is somewhat reminiscent of the atmosphere of the Roman Empire, Brodsky has many such parallels, in Letters to a Roman Friend, for example ... But poets go into service, not into a monastery. They form a community similar to the apostolic one. There are Russians, and Jews, and Tatars. Victor Shirali, in my opinion, is generally an Uzbek. Christ International. “There is neither Greek nor Jew,” everyone is equal. Poetry is their prayer.

Is it a religious community?

- Practically. They felt that way. There is an obvious duality here: here is the earthly - here is the heavenly, here is God - here is Mammon.

What about the Silver Age?

“It's occult, twisted religiosity. How did they speak? "Let's unite Christ with eros", "Let's abandon weather forecasters". All this is very far from God.

- But the romanticism of the golden age - let's say, Lermontov's, Byronic - is it still "golden"?

– You see, in fact, even the fight against God is in line with the biblical tradition. It is possible when God is near. And the Silver Age has an invented god, this is minus religiosity. God-seeking, God-building are exercises in mysticism without faith. Then comes the period of constructivism, where there will be no traces of religiosity at all. There will be an energy of destruction and renewal, behind which is emptiness. A "non-religious" period will pass - and it is in the person of Zabolotsky that a new era will begin, reminiscent of the one before last.

– The Bronze Age is a roll call with the Golden Age?

- Not just a roll call, but inheritance, albeit through a generation. In the poetry of Okhapkin, Brodsky, Rein, Krivulin, Lipkin, Lisnyanskaya, Chukhontsev, Sedakova, the voices of Pushkin, Tyutchev, Baratynsky are heard. There is a bit of gold in the bronze color.

- And Zabolotsky?

- Certainly. Zabolotsky after prison comes to sub-religiousness in creativity. In his poems, the subjection of the world to a higher law becomes tangible.

- He comes to this earlier than Okhapkin's contemporaries.

- Exactly. Therefore, Zabolotsky got the keys to the Bronze Age. He opened this age. He became the ancestor of a new sincerity and a new depth. This is such a liturgical feeling, "mixed" in the picture of the world. Like an inner light. The poet to whom he shines becomes a missionary. He feels: I have something to say seriously. Not to the public, which is sitting in the hall or reading a book, but on top of their heads. This is an imperceptible prophecy.

– Haven’t the polytech bands ever prophesied?

“They couldn't, because they were in the same situation as official poetry. It was just the second officialdom, alternative. And he also had his own format. Voznesensky plays futurism. Why? Because Mayakovsky is a symbol, and imitation of him gave carte blanche to experiment within certain limits. But in fact it was a step back, not forward.

– Is this the destiny of all Soviet literature?

There is no such literature. There is Russian literature of the Soviet period. “Soviet literature” is a myth that was beneficial at first to the Soviet government, and then to its opponents. He helped to separate the comfortable from the uncomfortable, the lambs from the goats. It is clear that the authors of the rank of Pasternak sought to record both sides in the holy calendar. The concept of “poet of the Silver Age” eventually began to play exactly the same role: from a term it turned into a sign of quality. More specifically, goodness. It has become synonymous with "poet of the first grade." At the same time, Tvardovsky, Samoilov, Slutsky or the most powerful Bagritsky were considered lower class poets, although Brodsky, for example, names the same Bagritsky among his teachers. To some extent, the coincidence of chronology and taste criteria helped out. But it didn't always work.

– Yes, to call Pasternak “Soviet” in the 1990s was out of the question.

- How can you! It was even more difficult with the underground poets who formed in the Soviet era.

- Today?

- Today, for the same selection purposes, the concept of the "Silver Age" is being expanded. And its border should be moved as far as possible along the historical scale, to Brodsky and even beyond Brodsky. But common sense suggests that this division is flawed - ideologically motivated and caste.

- Let's return to the monument to Nikolai Zabolotsky. When will he appear?

– Soon it will be ready in bronze. The work is very good in my opinion. The author of the monument is Alexander Dmitrievich Kazachok, who has already made two works for us in Tarusa: monuments to Ivan Tsvetaev and General Efremov. He portrayed Zabolotsky as he was immediately after the camp, about forty years old. And managed to convey it special condition- a combination of simplicity, openness, intelligence and gullibility. Zabolotsky almost smiles, but his eyes smile, not his lips. Amazing condition.

– Why is the role of monuments growing again today?

– Because the return of tradition begins. Because, as the great Konenkov said, "without sculpture, the people will turn into cattle." The history of culture must be returned and put everyone in their places. No need to throw anyone off the next ship of our time. For example, Rozhdestvensky and Voznesensky are also bright poets, and they also need to erect monuments.

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Poets of the Bronze Age of Russian poetry. The first of the "Bronze" poets. Bronze Age of Russian Culture

Ivan Fedorovich Zhdanov ( , with. Ust-Tulatinka ) - Russian .

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