One of B. Pasternak’s last poems, “The Only Days,” was written in 1959 and first published in the collection “Poems and Poems” (Moscow, 1961), and later included in the book of poems “When it clears up” (1956-1959).
After a number of years of silence, when the poet was forced to engage only in translations, poems appear in which “natural, spontaneous simplicity prevails... capacious, complex simplicity, Pushkin’s and human simplicity...”.
These poems contain surprisingly transparent language images, without losing expression and depth. Comparisons and personifications, as in Pasternak’s previous poems, play a leading role in creating expressiveness, and the dynamics of action are contained in the verb and metaphor.
The poet describes the days of the solstice (as the people call the solstice), lined up in a row in his memory. The days of many winters of life lived, and each of these “repeated without counting” days was “unique”, one of a kind. In this poem there are no complex associative moves, large philosophical reflections that form the basis of many of B. Pasternak’s poems. But underneath the external simplicity and concreteness of poetic images lies the emotional and semantic richness of the verse. Researchers note a characteristic feature of Pasternak’s poetry - the presence of the author’s “I” in every poem. The realities of the external world are not described for their own sake, they are a way of expressing personal feelings and thoughts. B. Pasternak himself wrote that art is a record of the displacement of reality produced by feeling. The surrounding reality is not the ultimate goal of creativity, but, personified, becoming the subject of action, reflects the movements of feelings (“Safety Certificate”).
In “The Only Days,” the poet sought to convey the very “look” of the days, the feelings that visited him then. For the author, these feelings are continuously connected with the impressions of the surrounding world, the state of people these days.
Winter is coming to the middle
The roads are wet, the roofs are leaking...
.......................................................
And loving, as in a dream,
They are reaching out to each other more quickly...
With the expressive simplicity of the lines, B. Pasternak achieves that poetic revelation is not perceived as alien, the reader’s feeling of detachment disappears: visual associations give rise to emotional associations. A figurative and emotional rapprochement with the poet’s personal experiences is also achieved by the lines:
Those days are the only ones when
It seems to us that the time has come.
Pronoun here us changes state I the previous stanza, and stringing subordinate clauses ( Those days when it seems to us that...), in which the word When introduces a shade of subjective modality and creates a conversational character.
We will not find a verbally expressed description of a personal emotional state in the poem (with the possible exception of the line It seems to us that time has come). Feelings are characterized abstractly and metaphorically, and even very specific paintings “acquire the meaning of beautiful poetic abstractions,” creating a feeling of anticipation of change, the seeming infinity of the day ( And the day lasts longer than a century).
Compositionally, the poem seems to fall into two parts. The first two stanzas are an introduction to the topic, and the third, fourth and fifth are the disclosure of the topic. The unity of the poem is created by the general emotional mood that permeates it and the structural connection of the parts: the second part is a poetic explanation of the first. Moreover, the entire poem is a revelation of the meaning of the title “The Only Days.” The word in the title days does not yet have any semantics for the reader other than general vocabulary. But in the text, this general dictionary meaning acquires a meaning that is based on the semantic basis of the entire poem.
Word the only ones, enhanced by inversion repetition ( Those are the only days) and contextual synonyms ( days of the solstice, each one was unique), in the second part of the poem receives a specific figurative expression, acquiring new semantic and emotional increments.
Contextual synonym unique relates not only to the word the only ones, but also with the word repeated. In lines And each was unique and repeated again without counting connected by semantic unity, anaphoric and sound repetition, an internal semantic interdependence of words arises unique – repeated, forming a semantic oxymoron.
Thus, in the first part of the poem, the poet prepares the reader for memories of “only days,” while simultaneously pointing out the repetition, the pattern of what is happening. And repeated again without counting, and kissing them series...
The third and fourth stanzas are a description of the “solstice days” themselves. The laconicism of syntactic constructions, characteristic of the entire poem, is especially emphasized here by the meaningful composition of the stanzas. Their lines resemble the spare but expressive strokes of painting. Noteworthy is the almost complete absence of epithets and comparisons, which are so rich in the early poems of B. Pasternak. Devoid of tropes, the third stanza only ends with a semantic oxymoron with simultaneous personification: And the sun warms itself on the ice floe, where is the actual oxymoron bask on the ice floe complicated by a noun Sun, entering into an unusual combination with a verb bask. Apparently, such linguistic imagery is caused by the picture of the sun reflected in a melted ice floe.
The fourth stanza is a semantic continuation of the enumerations of the third stanza. This is emphasized by the anaphoric verse that appears at the junction of the third and fourth stanzas. And: And the sun warms itself on the ice floe. And loving, as in a dream...
The lines themselves that make up the fourth stanza turn out to be parallel in pairs: the first-second – third-fourth lines are based on anaphoric And the first and fourth lines and the identity of the rhythmic structure.
In the fourth stanza, the nature of the enumeration is disrupted: the description of nature is suddenly replaced by a description of the manifestation of feelings: And lovers, as in a dream, are drawn to each other more quickly. The lyrical tone of the line seems to be dissonant with the phrase drag on faster, but the meaning of the word hurry up(“very quickly, hastily”) is not updated in them due to comparison like in a dream. This comparison gives a positive connotation to the word hurry up and at the same time, forming a semantic unity with the words loving, drag on faster, contributes to the emergence of a new meaning: “vaguely, unsteadily, instinctively.”
The last two lines of the fourth stanza are a return to the description of nature: And on the trees above the birds are sweating from the warmth. With the help of personification, the poet creates a metaphorical image here: Birdwings are sweating from the warmth– become wet from melted snow.
The third and fourth stanzas, filled with expressive images, reveal the poet’s inner state, convey his worldview, and infect the reader with his mood.
But the semantic quintessence of the entire poem is the last, fifth stanza. And half-asleep shooters are too lazy to toss and turn on the dial... From the volume of word meanings half asleep, lazy, tossing and turning a common semantic core stands out - stopped time. This meaning is further specified in the line And the day lasts longer than a century, which is built on the device of a semantic oxymoron. In general, the topic is temporary O This duration and extension runs through the entire poem. It sounds in the first part of the poem: It seems to us that time has come, and in the second – as a kind of semantic roll call:
And half-asleep shooters are lazy
Tossing and turning on the dial
And the day lasts longer than a century...
The theme of time is lexically expressed in the first two stanzas, forming a kind of contextual synonymous series: repeated, without counting, a whole... series formed little by little. The feeling of the infinity of the day is emphasized by the verbs of the present tense, imperfect form used in the description: fits, gets wet, warms up, stretches, sweats, lasts, never ends. In line And the day lasts longer than a century theme is temporary O th duration receives a natural, organic completion; here, as it were, the stopped time, comprehended by the poet as reality, “focuses.”
To understand the last line ( And the hug never ends), it is probably necessary to keep in mind “extralinguistic factors”. The poem was written by the poet at the end of his life, but it is all permeated with a bright feeling. Semantic content of the word hug suggests a positive theme: “a feeling of joy, life.” The peculiarity of B. Pasternak's poetry is that in his poems he strives to convey to the reader thoughts much more complex than those that arise from the sum of the meanings of words. It is possible that the poet associates much of the good, bright things that happened in life with the “solstice days”, when they live with a feeling of change, in anticipation of joy... And the word hug in the context of the poem receives new semantic increments. And the hug never ends– the joyful, bright feeling does not end, life does not end.
One of the organizing figures of the poem is anaphora. She interweaves and pulls together poetic lines into a single semantic whole. Semantic unity is also created by interstanza repetitions: I remember the days of the solstice... I remember them in full...
There are practically no words in the poem that require linguistic interpretation. There are no archaisms, phraseological units or colloquial vocabulary often used by the poet (except for the word solstice). The poetry and expressiveness of a poem are created not by an abundance of linguistic means, but by an unexpected combination of the simplest, well-known words.
“Only days” // Russian language at school. – 1989, No. 4. – p.63-65.
One of B. Pasternak’s last poems, “The Only Days,” was written in 1959 and first published in the collection “Poems and Poems” (Moscow, 1961), and later included in the book of poems “When it clears up” (1956-1959) 1 .
After a number of years of silence, when the poet was forced to engage only in translations, poems appear in which “natural, spontaneous simplicity prevails. Capacious, complex simplicity, Pushkin’s and human simplicity.” 2.
I remember the days of the solstice,
And each one was unique
And it was repeated again without counting.
Those days are the only ones when
It seems to us that the time has come.
Winter is coming to the middle
The roads are wet, the roofs are leaking
And the sun warms itself on the ice floe.
They reach out to each other more quickly,
And in the trees above
Birdlings sweat from the heat.
Tossing and turning on the dial
And the day lasts longer than a century,
And the hug never ends.
These poems contain surprisingly transparent language images, without losing expression and depth. Comparisons and personifications, as in Pasternak’s previous poems, play a leading role in creating expressiveness, and the dynamics of action are contained in the verb and metaphor.
The poet describes the days of the solstice (as the people call the solstice), lined up in a row in his memory. The days of many winters of life lived, and each of these “repeated without counting” days was “unique”, one of a kind. In this poem there are no complex associative moves, large philosophical reflections that form the basis of many of B. Pasternak’s poems. But underneath the external simplicity and concreteness of poetic images lies the emotional and semantic richness of the verse. Researchers note a characteristic feature of Pasternak’s poetry - the presence of the author’s “I” in every poem. The realities of the external world are not described for their own sake, they are a way of expressing personal feelings and thoughts. B. Pasternak himself wrote that art is a record of the displacement of reality produced by feeling. The surrounding reality is not the ultimate goal of creativity, but, personified, becoming the subject of action, reflects the movements of feelings (“Safety Certificate”).
In “The Only Days,” the poet sought to convey the very “look” of the days, the feelings that visited him then. For the author, these feelings are continuously connected with the impressions of the surrounding world, the state of people these days.
Winter is coming to the middle
The roads are wet, the roofs are leaking.
And loving, as in a dream,
They reach out to each other more quickly.
With the expressive simplicity of the lines, B. Pasternak achieves that poetic revelation is not perceived as alien, the reader’s feeling of detachment disappears: visual associations give rise to emotional associations. A figurative and emotional rapprochement with the poet’s personal experiences is also achieved by the lines:
Those days are the only ones when
It seems to us that the time has come.
Pronoun here us changes state I the previous stanza, and stringing subordinate clauses ( Those days when it seems to us that...), in which the word When introduces a shade of subjective modality and creates a conversational character.
We will not find a verbally expressed description of a personal emotional state in the poem (with the possible exception of the line It seems to us that time has come). Feelings are characterized abstractly and metaphorically, and even very specific paintings “acquire the meaning of beautiful poetic abstractions,” creating a feeling of anticipation of change, the seeming infinity of the day ( And the day lasts longer than a century).
Compositionally, the poem seems to fall into two parts. The first two stanzas are an introduction to the topic, and the third, fourth and fifth are the disclosure of the topic. The unity of the poem is created by the general emotional mood that permeates it and the structural connection of the parts: the second part is a poetic explanation of the first. Moreover, the entire poem is a revelation of the meaning of the title “The Only Days.” The word in the title days does not yet have any semantics for the reader other than general vocabulary. But in the text, this general dictionary meaning acquires a meaning that is based on the semantic basis of the entire poem.
Word the only ones, enhanced by inversion repetition ( Those are the only days) and contextual synonyms ( days of the solstice, each one was unique), in the second part of the poem receives a specific figurative expression, acquiring new semantic and emotional increments.
Contextual synonym unique relates not only to the word the only ones, but also with the word repeated. In lines And each was unique and repeated again without counting connected by semantic unity, anaphoric and sound repetition, an internal semantic interdependence of words arises unique – repeated, forming a semantic oxymoron.
Thus, in the first part of the poem, the poet prepares the reader for memories of “only days,” while simultaneously pointing out the repetition, the pattern of what is happening. And repeated again without counting, and kissing them series.
The third and fourth stanzas are a description of the “solstice days” themselves. The laconicism of syntactic constructions, characteristic of the entire poem, is especially emphasized here by the meaningful composition of the stanzas. Their lines resemble the spare but expressive strokes of painting. Noteworthy is the almost complete absence of epithets and comparisons, which are so rich in the early poems of B. Pasternak. Devoid of tropes, the third stanza only ends with a semantic oxymoron with simultaneous personification: And the sun warms itself on the ice floe, where is the actual oxymoron bask on the ice floe complicated by a noun Sun, entering into an unusual combination with a verb bask. Apparently, such linguistic imagery is caused by the picture of the sun reflected in a melted ice floe.
The fourth stanza is a semantic continuation of the enumerations of the third stanza. This is emphasized by the anaphoric verse that appears at the junction of the third and fourth stanzas. And: And the sun warms itself on the ice floe. And loving, as in a dream.
The lines themselves that make up the fourth stanza turn out to be parallel in pairs: the first-second – third-fourth lines are based on anaphoric And the first and fourth lines and the identity of the rhythmic structure.
In the fourth stanza, the nature of the enumeration is disrupted: the description of nature is suddenly replaced by a description of the manifestation of feelings: And lovers, as in a dream, are drawn to each other more quickly. The lyrical tone of the line seems to be dissonant with the phrase drag on faster, but the meaning of the word hurry up(“very quickly, hastily”) is not updated in them due to comparison like in a dream. This comparison gives a positive connotation to the word hurry up and at the same time, forming a semantic unity with the words loving, drag on faster, contributes to the emergence of a new meaning: “vaguely, unsteadily, instinctively.”
The last two lines of the fourth stanza are a return to the description of nature: And on the trees above the birds are sweating from the warmth. With the help of personification, the poet creates a metaphorical image here: Birdwings are sweating from the warmth– become wet from melted snow.
The third and fourth stanzas, filled with expressive images, reveal the poet’s inner state, convey his worldview, and infect the reader with his mood.
But the semantic quintessence of the entire poem is the last, fifth stanza. And half-asleep shooters are too lazy to toss and turn on the dial. From the volume of word meanings half asleep, lazy, tossing and turning a common semantic core stands out - stopped time. This meaning is further specified in the line And the day lasts longer than a century, which is built on the device of a semantic oxymoron. In general, the topic is temporary O This duration and extension runs through the entire poem. It sounds in the first part of the poem: It seems to us that time has come, and in the second – as a kind of semantic roll call:
And half-asleep shooters are lazy
Tossing and turning on the dial
And the day lasts longer than a century.
The theme of time is lexically expressed in the first two stanzas, forming a kind of contextual synonymous series: repeated, without counting, whole. the series came together little by little. The feeling of the infinity of the day is emphasized by the verbs of the present tense, imperfect form used in the description: fits, gets wet, warms up, stretches, sweats, lasts, never ends. In line And the day lasts longer than a century theme is temporary O th duration receives a natural, organic completion; here, as it were, the stopped time, comprehended by the poet as reality, “focuses” 3.
To understand the last line ( And the hug never ends), it is probably necessary to keep in mind “extralinguistic factors”. The poem was written by the poet at the end of his life, but it is all permeated with a bright feeling. Semantic content of the word hug suggests a positive theme: “a feeling of joy, life.” The peculiarity of B. Pasternak's poetry is that in his poems he strives to convey to the reader thoughts much more complex than those that arise from the sum of the meanings of words. It is possible that much of the good, bright things that happened in life are associated by the poet with the “days of the solstice”, when they live with a feeling of change, in anticipation of joy. And the word hug in the context of the poem receives new semantic increments. And the hug never ends– the joyful, bright feeling does not end, life does not end.
One of the organizing figures of the poem is anaphora. She interweaves and pulls together poetic lines into a single semantic whole. Semantic unity is also created by interstanza repetitions: I remember the days of the solstice. I remember them off and on.
There are practically no words in the poem that require linguistic interpretation. There are no archaisms, phraseological units or colloquial vocabulary often used by the poet (except for the word solstice). The poetry and expressiveness of a poem are created not by an abundance of linguistic means, but by an unexpected combination of the simplest, well-known words.
2. Lyubimov N.M. Fireproof words. - M., 1988, p. 329.
3. Wed. Ch. Aitmatov’s use of this line for the title of the novel.
"The Only Days" Boris Pasternak
Over the course of many winters
I remember the days of the solstice,
And each one was unique
And it was repeated again without counting.And a whole series of them
It came together little by little -
Those days are the only ones when
It seems to us that the time has come.I remember them off and on:
Winter is coming to the middle
The roads are wet, the roofs are leaking
And the sun warms itself on the ice floe.And loving, as in a dream,
They reach out to each other more quickly,
And in the trees above
Birdlings sweat from the heat.And half-asleep shooters are lazy
Tossing and turning on the dial
And the day lasts longer than a century,
And the hug never ends.
Analysis of Pasternak's poem "The Only Days"
The poem “The Only Days” belongs to Pasternak’s late work. It was written in 1959, during a difficult time for the poet. Boris Leonidovich was in his seventieth year of life, and a painful disease was eating him up from the inside - lung cancer. In addition, Pasternak suffered large-scale persecution organized by the Soviet government and associated with receiving the Nobel Prize. The novel “Doctor Zhivago” was called literary weed and slander in the USSR press. Moreover, most of the people who opposed Boris Leonidovich never read his main prose work. “The Only Days” is a poem by a wise, gray-haired man who has seen a lot, both good and bad, realizing that death is near. The text is distinguished by its simplicity, capacious and natural at the same time. Between the lines, Pasternak conveys to the reader the feeling that physical death is not the end, but life can continue beyond the boundaries of earthly existence. From brevity, the absence of sophisticated philosophical maxims and complex means of artistic expression, a feeling of eternity is born, to which every person is involved.
The title of the analyzed poem seems like an oxymoron. The resolution of the contradiction is given in the first stanza. The adjective “only” lyrical hero characterizes only the days of the winter solstice. According to the natural course of life of nature, this day is repeated annually. Accordingly, already at the beginning of the text, Boris Leonidovich manages to overcome the opposition of uniqueness and repetition, plurality and uniqueness. It is interesting that the poet calls the day of the winter equinox the day of the solstice, referring to the ancient Russian term. In this regard, associations arise with a pagan holiday. Moreover, the meaning of movement (the turning of the sun) appears. The choice of word in this case is especially important. It helps to play up the combination of dynamic and static motifs. Please note - the lyrical hero describes the days when time seems to stand still. At the same time, their image is given through verbs of motion: “it’s flowing from the roofs,” “winter is coming to the middle.”
“The Only Days” is the pearl of Pasternak’s philosophical lyrics. The poem reflects the attitude towards life as an endless solstice, towards time as a component of eternity, within which everything is continuous and interconnected.
Boris Leonidovich Pasternak (1890–1960), poet, prose writer, translator, one of the most prominent representatives of Russian literature of the 20th century.
His subtle, deep and philosophical poems are very musical and figurative - and this is no coincidence. It all started with music. And painting. Mother of the future poet R.I. Kaufman was a talented pianist, a student of Anton Rubinstein. Father - L.O. Pasternak, a famous artist who illustrated the works of Leo Tolstoy, with whom he was close friends. Home concerts were often held in the Pasternak house with the participation of Alexander Scriabin, whom Boris adored and under whose influence he became interested in music, which he studied for several years. After six years of study, he had to abandon his career as a professional musician - Pasternak himself believed that he did not have an absolute ear for music, although the preludes and sonata he composed for piano were preserved. Then, from under his pen, poetic lines began to emerge, and not a dark script of notes. It was also music, but the music of words. His first poems were published in 1913...
Fate was favorable to him: he survived all the shocks of the twentieth century - due to a slight limp, he was exempted from military service and did not end up in the meat grinder of the First World War, survived the storm of 1917, survived the Patriotic War, although he extinguished incendiary bombs on Moscow roofs and went to the front with writing teams. He was not swept away by waves of repression - in the late twenties, late thirties, mid and late forties. He wrote and published, and when his original poems were not allowed to be published, he was engaged in translations, for which he also had a natural gift (his translations of “Faust”, “Mary Stuart”, “Othello” are considered the best). Finally, he became the winner of the Nobel Prize in Literature in 1958, the second Russian writer after I. A. Bunin to receive this prize.
Boris Pasternak was simply idolized by women - he was always gentle, caring and patient with them. Three times in my life I was in love and happy, despite some tragic moments in these three stories.
The main women in his life are Evgenia Lurie, Zinaida Neugauz and Olga Ivinskaya, the poet’s muse and last love.
Boris Pasternak met Olga Ivinskaya in 1946, at the editorial office of the New World magazine, where he brought the first book of his novel Doctor Zhivago. Olga was 34 years old, he was 56. She is a twice widow and mother of two children, he is married for the second time to Zinaida Neuhaus, the ex-wife of his friend Heinrich Neuhaus. Some admired her, others were less supportive, but everyone agreed on one thing - Olga Ivinskaya was unusually soft, feminine, exquisitely ironic. Short - about 160 cm, with golden hair, huge eyes and a gentle voice, she could not help but attract men. She also adored Pasternak’s poems, knew them by heart, and even as a girl attended poetry evenings with his participation. And yet it was not only about poetry. Pasternak also attracted her as a man. The novel developed rapidly.
The lovers tried to separate several times, but not even a week passed before Pasternak, accusing himself of weakness, again went to his beloved. The lovers could not hide their passionate relationship for long. Soon friends and colleagues learned about their romance.
Pasternak recalled that the image of Lara in the novel “Doctor Zhivago” was born thanks to Olga, her inner beauty, amazing kindness and strange mystery.
In the fall of 1949, Olga Ivinskaya was arrested. The reason was her connection with Pasternak, who was suspected of contacts with British intelligence. During interrogations, investigators were interested in one thing: what caused Ivinskaya’s connection with Pasternak. The investigation, during which she lost their child, ended, and she was sent to Darkness, to a camp. For four long years, Pasternak took care of her children and constantly helped them financially. Olga Ivinskaya was released from the camps in the spring of 1953. The romance resumed with the same force....
Until the end of his life, Boris Pasternak could not make a choice between his wife and Olga. He dedicated his best poems to her, and they had a close relationship until his death in 1960. Shortly before his death, he refused to allow Olga to meet and ordered her not to be allowed into the house, since he did not want quarrels between her and his wife. Ivinskaya was never able to say goodbye to him, she only came to the funeral...
Olga Ivinskaya outlived her lover by 35 years, having managed to write a book of memoirs in 1992, “Captive of Time. Years with Boris Pasternak." She died in 1995 at the age of 83. Once she wrote to him -
"Play the whole keyboard of pain,
And don’t let your conscience reproach you,
Because I don't know the role at all,
I play all the Juliets and Margaritas..."
And they both played their roles to the end - the great poet, captured in maturity by almost youthful love, and the woman who showed courage and loyalty to her idol.
Today are masterpieces of B. Pasternak’s late lyric poetry, dedicated to Olga Ivinskaya - “The Only Days”, “Winter Night”, “Date”, “Autumn”...
***
I want to reach everything
To the very essence.
At work, looking for a way,
In heartbreak.
To the essence of the past days,
Until their reason,
To the foundations, to the roots,
To the core.
Always catching the thread
Fates, events,
Live, think, feel, love,
Complete the opening.
Oh if only I could
Although partly
I would write eight lines
About the properties of passion.
About iniquities, about sins,
Running, chasing,
Accidents in a hurry,
Elbows, palms.
I would deduce her law,
Its beginning
And repeated her names
Initials.
I would plant poems like a garden.
With all the trembling of my veins
The linden trees would bloom in them in a row,
Single file, to the back of the head.
I would bring the breath of roses into poetry,
Breath of mint
Meadows, sedge, hayfields,
Thunderstorms rumble.
So Chopin once invested
Living miracle
Farms, parks, groves, graves
In your sketches.
Achieved triumph
Game and torment -
Bowstring taut
Tight bow.
ONLY DAYS
Over the course of many winters
I remember the days of the solstice,
And each one was unique
And it was repeated again without counting.
And a whole series of them
It came together little by little -
Those days are the only ones when
It seems to us that the time has come.
I remember them off and on:
Winter is coming to the middle
The roads are wet, the roofs are leaking
And the sun warms itself on the ice floe.
And loving, as in a dream,
They reach out to each other more quickly,
And in the trees above
Birdlings sweat from the heat.
And half-asleep shooters are lazy
Tossing and turning on the dial
And the day lasts longer than a century,
And the hug never ends.
Olga Ivinskaya. Early 30s. 
WINTER NIGHT
Chalk, chalk all over the earth
To all limits.
The candle was burning on the table,
The candle was burning.
Like a swarm of midges in summer
Flies into the flames
Flakes flew from the yard
To the window frame.
A snowstorm sculpted on the glass
Circles and arrows.
The candle was burning on the table,
The candle was burning.
To the illuminated ceiling
The shadows were falling
Crossing of arms, crossing of legs,
Crossing fates.
And two shoes fell
With a thud to the floor.
And wax with tears from the night light
It was dripping on my dress.
And everything was lost in the snowy darkness
Gray and white.
The candle was burning on the table,
The candle was burning.
There was a blow on the candle from the corner,
And the heat of temptation
Raised two wings like an angel
Crosswise.
It was snowy all month in February,
Every now and then
The candle was burning on the table,
The candle was burning.
DATE
The snow will cover the roads,
The roof slopes will collapse.
I'll go stretch my legs:
You are standing outside the door.
Alone, in an autumn coat,
Without a hat, without galoshes,
Are you struggling with anxiety?
And you chew wet snow.
Trees and fences
They go into the distance, into the darkness.
Alone in the snow
You're standing on the corner.
Water flows from the scarf
Along the cuff of the sleeve,
And drops of dewdrops
Sparkles in your hair.
And a strand of blond hair
Illuminated: face,
Kerchief, and figure,
And this is a coat.
The snow on the eyelashes is wet,
There's sadness in your eyes,
And your whole appearance is harmonious
From one piece.
As if with iron
Dipped in antimony
You were led by cutting
According to my heart.
And it stuck in him forever
The humility of these features
And that's why it doesn't matter
That the world is hard-hearted.
And that’s why it doubles
All this night in the snow,
And draw the boundaries
Between us I can't.
But who are we and where are we from?
When from all those years
There are rumors left
Are we not in the world?
I let my family leave,
All loved ones have long been in disarray,
And the everlasting loneliness
Everything is complete in the heart and nature.
And here I am here with you in the guardhouse.
The forest is deserted and deserted.
Like in the song, stitches and paths
Half overgrown.
Now we are alone with sadness
The log walls look out.
We did not promise to take barriers,
We will die openly.
We'll sit down at one and get up at three,
I'm with a book, you're with embroidery,
And at dawn we won’t notice,
How to stop kissing.
Even more magnificent and reckless
Make noise, fall off, leaves,
And a cup of yesterday's bitterness
Exceed today's melancholy.
Affection, attraction, charm!
Let's dissipate in the September noise!
Bury yourself in the autumn rustle!
Freeze or go crazy!
You also take off your dress,
Like a grove shedding its leaves,
When you fall into a hug
In a robe with a silk tassel.
You are the blessing of a disastrous step,
When life is sicker than illness,
And the root of beauty is courage,
And this draws us to each other.
FEBRUARY
Get some ink and cry!
Write about February sobbingly,
While the rumbling slush
In spring it burns black.
Get the cab. For six hryvnia,
Through the gospel, through the click of the wheels,
Travel to where it's raining
Even noisier than ink and tears.
Where, like charred pears,
Thousands of rooks from the trees
They will fall into puddles and collapse
Dry sadness to the bottom of my eyes.
Underneath the thawed patches turn black,
And the wind is torn with screams,
And the more random, the more true
Poems are composed out loud.
TENDERNESS
Blinding with brilliance,
It was evening at seven.
From the streets to the curtains
Darkness was approaching.
People are mannequins
Only passion with melancholy
Leads through the Universe
With a fumbling hand.
Heart under the palm
Trembling
Flight and pursuit
Trembling and flying.
Feeling free
Feel free to go light
It's like he's tearing the reins
Horse in a mouthpiece.