Vysotsky’s archive also preserves a number of works in various genres, in particular, the unfinished children’s comic poem “...about Vitka Korablev and bosom friend Vanya Dykhovichny” (1970–1971), the story “Life without sleep (Dolphins and Crazies)” ( 1968), the script “Somehow It All Turned Out...” (1969-1970) and also the unfinished “Novel about Girls,” which he worked on 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 and songs, which has already been discussed in connection with the creative evolution of the poet, it is necessary to once again emphasize the problematic and thematic range of his works, the severity of their formulation of pressing social issues of the day and the problems of the century. In one of his last concert performances in 1980, Vysotsky said: “And the author’s song relies on only one thing - that you are worried, just like me, by some problems, human destinies, that are bothering you and me.” the same thoughts and in the same way some injustices, human grief tear your soul or scratch your nerves” (Living Life. P. 302).

Vysotsky's songs, especially of his mature period, are always distinguished by the depth and originality of their artistic solution to the “eternal” philosophical questions of existence. And here it is not without interest to present the judgment on this matter of three high-class professionals - a poet, a theater worker and a philosopher.

Thus, David Samoilov sees Vysotsky’s creative evolution in the direction of increasing significance and depth of the social and philosophical problems he artistically solves: “In serious conversations about the phenomena and events of life, he developed a position and drew themes for his songs. It was no longer “the people of the Moscow court” that fueled his inspiration, but serious views on the structure of the world.”

Mikhail Ulyanov emphasizes the same dynamics of internal growth: “...only he could put all of himself into a song at such a deadly limit - 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 last ones, there was not only feeling and passion, but an ardent thought, a thought that comprehended the world, man, their very essence.”

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

Speaking about Vysotsky’s song creativity as a unique artistic, philosophical and poetic system, about the ways of combining individual poems-songs into thematic groups, about the ways of cyclization, we should especially dwell on the poems of the war cycle and the originality of his solution to this topic. Speaking at the evening of February 21, 1980, the poet emphasized: “... I write about the war not in retrospect, but in association. If you listen to them, you will see that they can be sung today, that the people are from those times, the situations are from those times, and in general, the idea, the problem is ours, the present 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...” (Living Life. P. 304).

The fact that Vysotsky wrote about people in the most extreme situations, looking death in the face, often becoming senseless victims of war, and at the same time especially emphasizing that this is “our, current problem,” says a lot. Obviously, even then, especially at the beginning of 1980, when troops had just been sent into Afghanistan, he acutely felt and foresaw that the war would remain our national tragedy for a long time. In one of the key poems of the war cycle, “He Didn’t Return from the Battle” (1969), the tragic death of one of the countless privates of the Great War is interpreted as an everyday fact that takes on a symbolic meaning. The bitterness of loss, the blood connection between the living and the dead are contrasted here by a picture so serene against the backdrop of the human tragedy of eternal and beautiful nature:

Today spring has escaped, as if from captivity.

By mistake I called out to him:

“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 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 personification lines running through the refrain: “... who said that the Earth is dead?

No, she hid for a while...

Who believed that the Earth was burned?

No, she turned black with grief...

The exposed nerves of the Earth

They know unearthly suffering...

After all, the Earth is our soul,

You can’t trample your soul with boots.”

In Vysotsky's poetry, close-ups and general plans are closely interconnected. The cruel truth of the war, the brutal reality of what is depicted (“We use the fallen as cover... With our stomachs - through the mud, breathing in the stench of the swamps...”) are intended to confirm the high measure of the feat of each and every one in the poem “We Rotate the Earth” (1972). In the poems of the war cycle, the poet achieves special capacity and soulful lyricism in creating a poetic image. This is the symbol of the Eternal Flame, coming to life before our eyes and filling with a new object-tangible meaning in the poem “Mass Graves”, which was first heard in the movie “I Come From Childhood” (1966) and with which Vysotsky usually opened his performances and concerts - right up to the very last 1980

And in the Eternal Flame - you see a tank bursting into flames,

Burning Russian huts

Burning Smolensk and the burning Reichstag,

The burning heart of a soldier.

Need to download an essay? Click and save - "Speaking about the main themes and motives of Vysotsky's poems and songs. And the finished essay appeared in my bookmarks.

Vysotsky Vladimir Semyonovich (1938, Moscow - 1980), Russian poet, artist. In Vysotsky’s works, social protest against injustice was clearly felt; he was deeply concerned about the restriction of creative freedom in a totalitarian society. For a long time, his poems and songs could not reach the audience through the cordons of bans and censorship corrections. This explains the fact that during Vysotsky’s lifetime his works were not published. It was only in 1981 that his first poetry collection, “Nerve,” was released. However, Vysotsky’s work was widely known from tape recordings from concerts

Vysotsky is known primarily as a poet-bard. However, his activities in the field of art are not limited to poetry. Vysotsky worked in the theater, acted in films, for many films (“I come from childhood” (1966), “Vertical” (1967), “Master of the Taiga” (1968), “Intervention” (1968, restored in 1987), “ Dangerous Tours" (1969), "Ivan da Marya" (1974), "Once Alone" (1974)) wrote songs.

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

About the birth of a new one genre of "art 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” song, believing that the former is always based on his own, original poetic creativity, inseparable from a purely individual, author’s, “live” performance that reveals 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 my poems could be enhanced with music, melody, rhythm. So I also began to compose music for my poems.” As for the specifics of V. Vysotsky’s song creativity, then, according to the correct remark of R. Rozhdestvensky, he created “songs-roles”, organically getting used to the images of the characters - the heroes of his poems. Perhaps one of the most successful definitions of this specificity comes from the pen of the Taganka Theater actress Alla Demidova: “Every song of his is one-man show, where Vysotsky was both a playwright, a director, and a performer" And - we must certainly add: first of all - this is a poet m.

He was able to create bright, colorful artistic images, typical characters of his contemporaries, and rose to a deep psychological perception of human nature. The heroes of Vysotsky’s songs are people from various social strata. These include front-line soldiers, criminals, and ordinary people. The poet’s artistic images, through which the conversation was conducted with the listener, were so visible and expressive that he often received letters where people asked what regiment he served in and what prison he was in, although in real life the poet was never convicted, and during the war I was still a child.

Due to the fact that in the poet’s work ironic, humorous songs coexist with serious lyrical monologues, the genre palette of his works is quite wide. However, Vysotsky gravitates towards the ballad, a genre that successfully combines a lyrical beginning with a detailed epic plot. In the autobiographical “Ballad of Childhood” (1975), the poet recreates easily recognizable realities of the war and post-war era: the corridor system of Moscow communal apartments, air raid warning, the long-awaited victory and, finally, the metro construction as a symbol of social change. The society, wounded by numerous denunciations and repressions, needed not only material progressive changes, but also a change in the ideological climate. The victorious people no longer wanted and could not be prisoners in their own country. A single lyrical hero - a strong, strong-willed person with clear moral guidelines, for whom the world is divided into black and white, without halftones - is connected by a cycle of ballads written for the film "Robin Hood's Arrows" (1975). One feels that the author was close to this image of a noble robber, somewhat cruel, but also a generous hero. The main idea of ​​the cycle is the affirmation of universal human values, unchanged at all times. The specific historical principle in ballads is combined with the universal:

After the poet’s death, publications of his works began to appear one after another in periodicals, and then individual books: “Nerve” (two editions: 1981 and 1982), “Fasicky Horses” (1987), “Favorites” (1988), “ Four quarters of the way" (1988), "Poetry and prose" (1989), "Works in 2 volumes." (from 1990 to 1994 there were seven editions) and a number of others. In 1993, “Collected Works in 5 volumes” began to be published.

Vysotsky did not like it when his early songs were talked about as about thieves, courtyards; he preferred to associate them with the tradition of urban romance. His choice at an early stage of this particular form and genre seems not at all accidental, but completely natural and meaningful. Here are his words: “I started with songs that many for some reason called courtyard songs, street songs. It was such a tribute to urban romance, which was completely forgotten at that time. And people probably had a craving for such a simple, normal conversation in a song, a craving for not simplified, but rather simple human intonation. They were simple-minded, these first songs, and there was one, but fiery passion in them: man’s eternal desire for truth, love for his friends, woman, close people.” Of course, in these songs there are elements of stylization, especially noticeable in the recreation of street flavor, and in other cases - the melodies of urban or gypsy romance. But the main thing in them is the appeal to a living, unemasculated word, taken from life, from colloquial speech. An essential quality of Vysotsky’s style, already at an early stage, was immersion in the folk (everyday and folklore) element of speech, its creative processing, and fluency in it.

It was this quality that gave him the opportunity already in the first half of the 60s, especially closer to the middle, to create such wonderful examples of his song creativity as “Silver Strings”, “On Bolshoy Karetny”, “Penal Battalions”, “Mass Graves” " Actually, the last two songs already seem to open the next big and important period in the poet’s creative evolution.

In the mid and second half of the 60s, the themes of Vysotsky’s poems and songs were noticeably expanded and the genres of Vysotsky’s poems and songs diversified. Following the songs of the military cycle, which included “Song about the Hospital”, “Everyone Gone to the Front”, “sports” appear (“Song about a sentimental boxer”, “Song about a short-distance skater who was forced to run a long distance”), “ cosmic" (“In the distant constellation Tau Ceti”), “climbing” (“Song about a friend”, “This is not a plain for you”, “Farewell to the mountains”), “farewell” (“About a wild boar”, “Fairy-tale song about evil spirits"), "sea" ("Ships stand still - and go on course...", "Sail. Song of Anxiety"), parody-satirical ("Song about the prophetic Oleg", "Lukomorye is no more. Anti-fairy 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 magnificent songs, created at the limit of emotion and expressiveness, “Save our souls”, “My Gypsy” (“Yellow lights in my dreams...”), “Bathhouse in White”, “Wolf Hunt”, “Song of the Earth”, “Sons Go to Battle”, “Man Overboard”. Regarding “Bathhouse...” and “Wolf Hunt”, in which, in the words of L. Abramova, one senses “going beyond limits” and, perhaps, breakthroughs into genius, it should be added that they were written in 1968, during the filming of the film “Master of the Taiga”, on the Yenisei, in the village of Vyezhy Log, and it was no coincidence that V. Zolotukhin called this period “Boldino autumn” by V. Vysotsky.

In the 70s, 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 soulful lyricism, it acquires the quality of in-depth philosophy, reflection on the main questions of existence.

In very different poems written at the very beginning of the decade (“I am no more - I left the Race...”, “The Pacer’s Run”, “On Fatal Dates and Figures”), one’s own fate and creativity, the fate of the great predecessors and contemporary poets are comprehended. And in the late 70s (“Paradise Apples”, 1978) and in the first half of 1980, including in the very last poems - “And there is ice below and above - I toil between...”, “My sadness, my melancholy” ( author's phonogram July 14, 1980), - the poet turns to thinking about the tragic destinies of the people and once again about himself, with good reason coming to the conclusion: “I have something to sing, appearing before the Almighty, / I have something to justify myself to him "

But, undoubtedly, the brightest rise in the last decade of Vysotsky’s creative activity occurred in 1972 - 1975. It was then that he wrote the tragic ballad songs “Finicky Horses”, “Tightrope”, “We Rotate the Earth”, “The One Who Didn’t Shoot”, satirical sketches “Police Protocol”, “Victim of Television”, “Comrade Scientists”, genre pictures “Dialogue at the TV”, “Bridesmaids”, autobiographical “Ballad of Childhood”, lyrical and philosophical “Song of Time”, “Ballad of Love”, “Domes”, “Two Fates”, etc.

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

As for love lyrics, Vysotsky owns magnificent examples of it, created at different stages of his creative path and in a variety of forms. Suffice it to name “The Crystal House” (1967), “Song of Two Beautiful Cars” (1968), “Here the paws of the fir trees are shaking in the air...” (1970), “I Love you now...” (1973), etc. .

Responding in his songs to today's events, the poet saw and comprehended them 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 in them from history, the momentary - from the eternal . Hence the spatio-temporal openness, breadth and scale of his poetic world.

“Even during his lifetime, Vysotsky was truly legendary and urgently needed, like air, by the crowds of people who flocked to listen to him... Vysotsky sang every time to the whole country: he knew that every word, every intonation was caught on the fly and instantly reproduced on tape tapes. At the moment of performance, Vysotsky sent the song into the vast world. This simplest circumstance radically changed both the song itself and the nature of the singing. The song took on the power of an alarm bell and the crushing power of an explosion. Okudzhava worries to the core. Vysotsky shakes the soul... Both of them have accompanied the spiritual life of our society for decades and helped us understand ourselves,” noted K. Rudnitsky.

Vysotsky wrote his first song “Tattoo” in 1961. In the first half of the 60s, he began performing his songs, accompanying himself on the guitar, in friendly companies, and somewhat later - at public evenings and concerts. Thanks to tape recordings, Vysotsky’s circle of listeners rapidly expanded, and in a short time he gained nationwide popularity. According to I. Brodsky, “he was an incredibly talented person, incredibly gifted, an absolutely wonderful poet-creator. His rhymes are absolutely phenomenal. On the one hand, his tragedy, on the other hand, his luck is that he chose the career of a bard, chan sonnier...” Material from the site

Vysotsky’s work is a significant and unusual event in the history of Russian literature. It was brought to life by both socio-spiritual and intraliterary factors. Vysotsky enriched poetry with elements of lively colloquial speech, colorful characters, sharp plots and novelistic storytelling. The widest popularity of his texts was accompanied by an unspoken ban on their publication (out of eight hundred poems, five or six poems were published). This determined the deep drama of Vysotsky’s fate as a writer, who considered poetic texts the dominant feature of his songwriting, and also tried his hand at prose (the story “Life Without Sleep,” the unfinished “Novel about Girls,” film scripts).

At all times, poetry has had a huge influence on public life. The work of poets contributed to spiritual emancipation, revealed human vices, and made us think about the life around us. One of these poets was Vladimir Vysotsky - the personification of the conscience of the people.
Vysotsky’s work is a biography of our time. In a huge number of poems written in different periods, the poet touched on very important milestones in history. Three main themes took a significant place in Vysotsky’s civil poetry: the Great Patriotic War,

The tragedy of the people during the period of Stalin’s personality cult, the stupidity and inertia of the Soviet bureaucracy.
Vysotsky’s poems about the Great Patriotic War sound with such piercing power, filled with such burning truth, that it seems as if the author himself had a hard time in the war. The poem “We Rotate the Earth” is amazing. The symbolic image of a soldier stops the movement of fascist hordes:
We turned the earth back from the border,
It happened first.
But our battalion commander spun her back,
Pushing off with your foot from the Urals.
It would seem that everything collapsed, disappeared, “the sun went backwards and almost set in the east.” But the “replacement companies on the march” stopped the rotation of the Earth and “spinned” the planet back until they reached Berlin. Of course, the exploits of our soldiers in this war were sung even before Vysotsky, but

With what feeling he writes about this! The poet talks about the courage of Russian soldiers in the poem “They grabbed onto the heights...”:
They clung to the heights as if they were their own.
Mortar fire, heavy.
But again we climb, wheezing, on her
Behind the flash of a signal flare.
And shouts of “Hurray!” froze in your mouth
When we swallowed bullets
Seven times we occupied that height,
We left her seven times.
And this height, to which the fighters went on the attack, became for them the crossroads of all destinies and paths, the personification of the Motherland, which must be defended.
In Vysotsky’s works, war appears not as its ceremonial portrait, but as a harsh truth, ugly, cruel, but always true. In the poem “The One Who Shot...” the poet spoke about a soldier who refused to carry out an unjust sentence. In another work, Vysotsky addressed the fate of people from the penal battalion. These soldiers were little pitied at the front and even less looked after. With their bodies they covered the space in front of the enemy’s fortifications and paved the way for other units:
Penalties have one law, one end:
Stab, chop the fascist tramp
And if you don't catch lead in your chest,
You'll get a medal for bravery.
Until recently, writing about “penalties” was prohibited. But Vysotsky wrote. He wrote about them, and about rifle companies storming nameless heights, and about pilots dying in unequal battles, about battles with alpine riflemen in the mountains, about paratroopers and submariners. War is not only victories, but also blood and death. If there were dead, then there were widows and orphans left. The poet in his poems managed to convey the melancholy of wives, mothers, brides who saw off their men to war:
The willows are crying for you,
And without your smiles
The rowan trees turn pale and dry...
Vysotsky’s poems about the Great Patriotic War are a tribute to memory and respect to those who died for our future. But they died not only at the front. During the cruel and dark years of Stalin's personality cult, millions of honest people were shot and sent to prisons and camps. This fate did not escape the participants in the war. The “Great Leader” stated that we have no prisoners, but only traitors. And many former soldiers became “enemies of the people.” Vysotsky openly sympathized with the victims of repression. His poems on this forbidden topic at that time were especially noticeable amid the almost universal silence. In the poem “The Fellow Traveler,” the poet wrote about how they became “enemies of the people.” Two people met on the train and started talking:
My tongue, like a lace, has come untied,
I scolded someone, mourned.
And then they gave me a little business
According to an article of the criminal code.
Calm down - everything will change.
They gave me a deadline and didn’t let me come to my senses.
In “Wolf Hunt” and its sequel, “Hunting from Helicopters,” the author talked about the psychology of people who became guilty without guilt. They understood the horror and unnaturalness of what was happening, but could not rebel:
You lay down on your stomach and removed your fangs,
Even the one, even the one who dived under the flags,
I smelled wolf pits with my paw pads;
The one whom even a bullet could not catch up with -
He also stood up in fear and lay down - and weakened.
Among Vysotsky’s poems telling about the time of the cult of personality, the poem “Bathhouse in White” occupies a special place. It gives me chills! The plot is simple, but the poet was so able to convey the feelings and thoughts of an innocently convicted person that we feel like participants in the events. Despite the fact that people suddenly became “enemies of the people,” they continued to believe in Stalin:
And then at the quarry, in the swamp,
Having swallowed tears and raw food,
We injected profiles closer to the heart,
So that he can hear hearts beating.

But then there was too much faith and the forest was knocked down. And so, obviously, after Stalin’s death, the former prisoner with a warped fate increasingly thought that the leader’s profile on his chest was the mark of a criminal on an innocent person.

The poet’s poems about the cruel lessons of history are a poetic requiem to all those innocently convicted and serve as a warning against the danger of repeating “dark times.”
Vysotsky always responded to events taking place in the country. In the difficult years of stagnation, when everything new and progressive was suppressed, every honestly spoken word was persecuted, the poet could not come to terms with the surrounding reality, or withdraw into himself. In the poem “The Old House” he wrote with pain and bitterness.
Who will answer me - what kind of house is this?
Why in the darkness - like a plague barracks?
The light of the lamps went out, the air poured out...
Have you forgotten how to live?
The main character was looking for “the land where there is light,” but there is no hope for change for the better. The dream of some other life seems naive:
We have never heard of such houses,
We got used to living in the dark for a long time
From time immemorial we are in evil and whispers
Under the icons in black soot.
The poet repeatedly addressed the question of how difficult it is to preserve oneself, to remain honest amid the surrounding atmosphere of lies and hypocrisy. In “The Microphone Song” Vysotsky said bitter but very true words
Often we are replaced by others,
So that we do not interfere with lies
The poet would also be the author of many satirical poems. Vysotsky ridiculed bureaucrats, officials, sycophants, and ordinary people. He was a merciless judge of himself, his own weaknesses and mistakes. It was this that gave him the moral right to castigate bureaucrats and tribune phrase-mongers, respectable scoundrels and militant ordinary people with the power of satire. Thus, the poem “Save Our Souls” tells about the fate of sailors dying on a submarine. It reflects the state of our society during the period of Brezhnev’s “timelessness”:
Save our souls!
We are delirious from suffocation.
Save our souls!
Hurry to visit us!
Vysotsky loved his homeland with all his heart. He said: “Without Russia I am nothing!” He suffered for his people, was proud of them, experienced all their hardships, shouted in his poems so that he could be heard, in order to reach the hearts and minds of people. After all, the first collection of his poems, which, unfortunately, saw the light after the poet’s death, was called “Nerve.” The poet's truthful works were read voraciously and caused a wide public response. It was something of a feat. Now we are undergoing a process of renewal in our country, and how we miss Vysotsky. There is an opinion that he was good for his time. I think people like him are needed now just as they were then, people of high civic courage.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http:// www. allbest. ru/

Philosophical motives in the song lyrics of V. Vysotsky

Introduction

1. The place and role of Vysotsky’s poetic creativity in the development of literature at the end of the twentieth century

1.1 Lyrics as a type of literature. The concept of motive as a semantic unit of text

1.2 Factors shaping the concept of Vysotsky’s creativity

1.3 Features of Vysotsky’s lyrical works. The main motives of his work

2. Dominant philosophical motives in Vysotsky’s song lyrics

2.1 Motive of vitality

2.2 Death motive

2.3 Patriotic motives in the works of V. Vysotsky

2.4 Love motive

2.5 Fate motive

Conclusion

Bibliography

Application

Introduction

The final qualifying work is devoted to philosophical motives in the song lyrics of V.S. Vysotsky. Their analysis allows us to better understand the author’s worldview, which is embodied in his poetry, and bring the understanding of his work to a new level. Vysotsky is often considered only within the framework of a bard's song, which is not enough to understand his artistic world. The philosophical motifs that often appear in his works allow them to be perceived within the framework of meditative lyrics.

Vysotsky’s work must be studied in a broad literary context, first of all, in comparison with the poetry of the 1960-1970s, which went from a “loud” expression of open social emotions to understanding the existential problems of human existence.

The relevance of research The philosophical content of Vysotsky’s poetry is determined by the attention of philological science to the philosophical problems of literature of the second half of the twentieth century, as well as the interest of modern literary criticism in the evolution of V. Vysotsky’s creativity, associated with the departure from the canons of the “bardic” song and the movement towards meditative lyrics.

Novelty of the work is to consider Vysotsky’s lyrics not only within the framework of the author’s song, but also in a broader aspect - in an attempt to find out what place the poetic work of this author occupies in Russian literature as a whole. The novelty of the study is due to a comprehensive analysis of the philosophical motives of Vysotsky’s song lyrics.

Goals of work:

· show the significance of Vysotsky’s song creativity in Russian poetry and in the development of meditative lyrics.

Job objectives:

· find out the factors that shaped the poet’s worldview;

· reveal the main themes of his poetic work;

· consider philosophical motives in Vysotsky’s poetic texts;

· highlight the main techniques for embodying philosophical content in Vysotsky’s lyrics;

Theoretical and methodological basis of the research The works of L. Ya. Ginzburg “On Lyrics” and “On the Literary Hero” and B. M. Gasparov on literary leitmotifs, as well as the works of A. V. Kulagin, N. M. Rudnik, V.P. Skobelev, dedicated to the artistic world of Vysotsky.

The work uses methods of immanent text analysis, typological and comparative methods.

Research material collections of poems by V. Vysotsky “Nerve”, “I was not afraid of a word or a bullet...”, “There is no reason to stop”, “Ballads and songs”, “Catch the wind with all your sails”,

“Get ready - now it’s going to be sad...”

Work structure: The final qualifying work consists of an Introduction, 2 chapters, a methodological part, a Conclusion and a list of references, including 54 titles. The total volume of the study is 56 pages.

1. The place and role of Vysotsky’s poetic creativity in the development of literature at the end of the twentieth century

1.1. Lyrics as a type of literature. The concept of motive as a semantic unit of text

Before talking about philosophical motives in Vysotsky’s lyrics, it is necessary to reveal the content of the concepts “lyrics”, “philosophical lyrics” and “motive”. To do this, it is necessary to turn to literary studies. “Dictionary of Literary Terms” by S.P. Belokurov gives the following definition of the term:

Lyrics- “one of the three main types of literature (along with epic and drama), highlighting the subjective image of reality: individual states, thoughts, feelings, impressions of the author, caused by certain circumstances, impressions.”

Lyrical works occupy a special role in literature, because It is they who most deeply reveal the inner world of a person, which is one of the tasks of literature. By comparing himself with the lyrical hero, the reader comprehends his own inner world.

The concept of “lyrics” is most fully revealed in the book by L. Ginzburg

“On Lyrics”, where she notes the following paradox: despite all the subjectivity of lyricism, it is more directed towards the general than epic and drama, depicting mental life as universal. If you can see the character of the lyrical hero in the lyrics, then he will not be “private” and isolated.

Lyrics, according to Ginzburg, is the evaluative attitude of the lyrical subject to things and events. The classification of lyrical genres is based on emotional and evaluative attitudes. The original essence of lyrics is the revelation of the lofty, the beautiful, the glorification of ideals and life values. But, with the help of grotesque and accusatory satire, lyrics can also reveal anti-values.

The book also notes that poetry is not always achieved through high style. Colloquial and even rude words can be poetic if they are determined by the context.

One of the varieties of lyrics is philosophical lyrics. The concept of “philosophical poetry” is directly related to the concept of “philosophy” as a science that “studies a special form of social consciousness and knowledge of the world, develops a system of knowledge about the foundations and fundamental principles of human existence, about the most general essential characteristics of human relations to nature, society and the spiritual.” life."

Thus, philosophical lyrics- this is a type of lyricism that tries to comprehend the eternal questions of existence, life and death, good and evil, the structure of the universe, etc. through the subjective assessment of the lyrical hero. Philosophical lyrics are characterized by the principles of in-depth psychologism, as well as an appeal to allegory and the use of metaphors.

The reason why authors and readers turn to philosophical lyrics is often the desire of people to comprehend the world order. Philosophical lyrics help preserve the moral values ​​of the individual, acting as a mediator between reality and the spiritual needs of a person.

There are the following genres of philosophical lyrics: sonnets, rubai, ghazals, essays, elegiac poems, etc.

In my work I refer to categories such as “image” and “motive”. The poetic content in the lyrics is revealed through a system of motives and images. In this work, a motif is understood as a semantic unit of text that is capable of unfolding and internally transforming, revealing additional meanings of a work of art.

The concept of “motive” is revealed in the works of B.M. Gasparov: “any phenomenon, any semantic “spot” - an event, character trait, landscape element, any object, spoken word, paint, sound, etc. can act as a motive. ; the only thing that defines a motif is its reproduction in the text, so that unlike a traditional plot narrative, where it is more or less predetermined what can be considered discrete components ("characters" or "events"), there is no set "alphabet" " - it is formed directly in the deployment of the structure and through the structure. As a result, any fact loses its individuality and unity, because at any moment both may turn out to be illusory: the individual components of a given fact will be repeated in other combinations, and it will fall apart into a number of motives and at the same time become inseparable from other motives, initially introduced in connection with a seemingly completely different fact"

Gasparov believes that a motive is a transformation of a semantic component that does not remain equal to itself during the meaning-forming work of thought, under the influence of associative conjugations.

The works of B.M. Gasparov talk about motive analysis of the text. The essence of such an analysis is that its subject is a component of the message, transformed as a motive, the meaning of which is revealed only in conjunction with other motives that arise in a given context in the process of its comprehension. Thus, when interpreting a text in the course of its analytical comprehension, new meanings are revealed to the reader thanks to the deployment and restructuring of motifs that can create new configurations by merging them with each other.

Thus, this section of the chapter reveals theoretical concepts, the application of which will help to find the most accurate interpretations of the semantic whole of the lyrical text in further analysis of philosophical motives in Vysotsky’s poetic work.

1.2 Factors shaping the concept of Vysotsky’s creativity

Vysotsky's lyrics are replete with philosophical ideas. And in order to understand the philosophical meaning of his poems, it should be said about Vysotsky’s worldview. The worldview of any author is influenced mainly by two factors - the era in which the author lived and worked and his biography, that is, the imprints of any events that happened to the poet during his life. Fiction also plays an important role. Therefore, in this chapter we will consider what trends prevailed in the literature of that time, how they were reflected in Vysotsky’s work. Let us also turn to the author’s biography to trace exactly how certain events in Vysotsky’s life influenced his worldview.

The 1960s of the twentieth century are called a turning point in literature. This period is characterized by a shift in the aesthetic understanding of reality - informative and descriptive fiction was replaced by an analytical manner. The literature of the 60-80s develops according to the social and moral laws characteristic of that era and reflects the realities and ideals of that period. This contributes to the expansion and enrichment of genres and styles of Soviet literature. One of its features is the tendency to strengthen the philosophical principle, therefore, deepening into the inner world of man, his relationship with the world.

This is a time of heated debate about the state of modern poetry - about its trends and prospects for development, as well as about the clash of directions. Various terms emerged to define poetry: “quiet”, “loud”, “scientific”, “intellectual”, “experimental”. Each literary movement introduced something new and sought to deny other poetic phenomena.

A unique reflection of the era in question was the author's song, which was contrasted with the stage.

Author's song is a song genre where the authorship of the text and music, as well as the performance, belongs to one person, while the text is more significant, and the musical accompaniment serves as a rhythmic auxiliary component.

The art song began to emerge in the mid-twentieth century among students, so at first it was called “student” or “tourist”, depending on the topic. Initially, it was distinguished by its intimacy, that is, the songs were written for a narrow circle of people, and not for the general public, and were performed, as they say, “at the kitchen table.”

At the end of the 50s, the art song evolved from intimacy to crowded concerts, while the lyrics began to express deeper moods. As an example, we can cite Bulat Okudzhava, the founder of the art song, not as an amateur phenomenon, but as a serious cultural trend.

In the 60s, the art song reached its apogee, at which time it finally established itself as an independent movement in Russian art. “...With the advent of such bright individuals as V. Vysotsky and A. Galich, the independence of the movement as a whole, its opposition to official art became especially obvious, and the poetics were significantly enriched.”

This trend had both supporters and opponents, who did not consider it a serious phenomenon in literature. The following shortcomings were noted:

· unnecessary musical addition to the text, because the poetic word is valuable in itself;

· simplified syntax;

· weakened metaphoricality.

The years of the “thaw” left their mark on art, which, first of all, was reflected in literature by the emancipation of the artistic word. Such emancipation occurred in two directions that complement each other - in a word that carries truth, and in a word enriched with sound, meaning and image. Both of these directions can be traced in Vysotsky’s work.

Vysotsky’s work was undoubtedly influenced by his biography. He was born on January 25, 1938. And in 1941, when the future bard was still very young, the Great Patriotic War began, in which his father participated. Later, military themes will find their place in the poet’s work.

Vysotsky’s character began to form early. According to his father, the boy was distinguished by kindness from an early age, which remained the main trait of his character throughout his life. Since childhood, he respected his elders, was responsible and devoted in friendship, and could not stand injustice and indifference. He did not study smoothly, but well. He had an excellent memory - he could remember a poem in one reading.

Vysotsky’s craving for creativity appeared already in high school. The future poet was already distinguished in his youth by his broad outlook, read a lot of Russian and foreign literature, and was interested in history and science. During his school years he attended a drama club, and even then he discovered his acting abilities.

After graduating from school, Vysotsky, according to the conviction of his parents, entered the Moscow Institute of Civil Engineering, but quite soon realized that the profession of an engineer was not his calling. His love for creativity contributed to his admission to the Moscow Art Theater School in the acting department.

While studying at a theater university, according to the recollections of Vysotsky’s classmate T.V. Dodina, he was already interested in philosophy. While most students found this subject difficult, Vysotsky always received an “excellent” grade.

After graduating from a theater university, Vysotsky began his acting career at the Pushkin Theater, then at the Theater of Miniatures. But the theater in which he served for the rest of his life was the Taganka Theater. The actor also acted in films and was already working seriously on composing his songs. Work in the theater was also reflected in Vysotsky’s poetic work - in his role-playing songs he creates colorful, typical characters, whose vocabulary is stylistically colored and endowed with colloquial and, sometimes, slang expressions.

When filming films, Vysotsky did without stuntmen. His physical fitness and his varied interests helped him in this: boxing, horse riding, karate, fencing. Engagement in these sports also left a mark on the author’s poetry.

The literature that influenced Vysotsky’s creative worldview is very diverse: his lyrics contain allusions to the work of domestic and foreign classics, ancient and biblical themes, terms of scientific literature, fantastic and folklore images and motifs. The poet also used his knowledge of art, history, sports, and philosophy.

According to researchers, Vysotsky is closest to Yesenin’s traditions. Comparing these poets, you can notice that both have in their lyrics:

“... and “tavern motifs”, and that love-longing for the homeland that does not leave anywhere, neither abroad nor at home. Everyone has their own “black man” and their own “fading Rus'”, and tenderness for the word, and anguish, and the inner songfulness of the verse, and - at times - an incurable melancholy that cannot be filled with anything:

...Suddenly a green melancholy, a snake melancholy, Contrivedly, jumped on my neck..."

But similarities can be traced not only between the authors Vysotsky - Yesenin. The hero of Yesenin's poem Khlopusha also has common features with Vysotsky, namely, breadth of nature and fierce temperament. Playing this role in the theater, Vysotsky seemed to remain himself.

In Vysotsky’s work one can find many parallels both with folklore tradition and with literature of a deeper direction: starting with buffoonery (comic songs, imagery, masks and roles in songs), and ending with Pushkin. As a comparative example, V. Ognev compares the poems by Vysotsky “For me the bride will weep honestly” and Pushkin “In the depths of the Siberian ores.” Both verses contain hope for freedom, but the difference, according to Ognev, is only that the sword, a symbol of noble honor, is replaced by a guitar, “the savior of liberty.”

In Vysotsky’s poems one can also notice parallelism with the motifs of Lermontov and Blok (more details in Chapter 1.3 of my work).

It is worth noting the similarity of Vysotsky’s thoughts with Dostoevsky: they are united by pity and a tolerant attitude towards the “fallen”. Both of them do not condemn them, but, on the contrary, try to look at the world through their eyes. There is something traditionally Russian about such kindness. But, unlike Dostoevsky, who believed that “there is suffering, but there are no people to blame,” Vysotsky thought differently. He had a principle: “If I know what I am, then I know what I should do.” He believed that a person should feel his involvement and responsibility, and responsibility also includes a feeling of guilt.

An interesting fact is that Vysotsky can be compared not only with Dostoevsky, but also with his character - Mitya Karamazov. In P. Gumerov’s book “Vladimir Vysotsky: the tragedy of the Russian soul” there is a quote from one of the heroes of Dostoevsky’s novel: “We are broad, Karamazov-like natures..., capable of containing all kinds of opposites and simultaneously contemplating both abysses, the abyss above us, the abyss of the highest ideals, and the abyss below us, the abyss of the lowest and most fetid fall...", and a commentary on it: "...This excessive breadth, throwing from one extreme to another, unfortunately, is inherent in the Russian soul, and this trait is its great tragedy. Such extremes were also very characteristic of Vladimir Semenovich.”

In N. Eidelman’s article “A little slower, horses, a little slower,” the author compares Vysotsky with Denis Davydov and Apollon Grigoriev. This comparison is formed by the commonality of the gypsy and hussar themes of the songs, as well as the echo of “desperation” that sounds in the subtext.

Vysotsky is also compared with Zoshchenko: both have very bright types of heroes, and the satire itself is caustic and accusatory.

Continuing the theme of parallelism between Vysotsky and other authors, it is worth mentioning Bulat Okudzhava. Vysotsky himself admitted that it was from Okudzhava that he adopted the method of reading poetry with a guitar. But, calling Okudzhava a spiritual father, Vysotsky refuses to imitate his literary predecessor in the semantic terms of the songs. V. Aksenov noted that Okudzhava’s creative feature is lyricism, Galich’s is a social portrait, and Vysotsky “wrote a portrait of the era.” Comparing Vysotsky with Okudzhava, one can also quote from an article by K. Rudnitsky

“He knew what he was risking”: “Okudzhava excites us to the depths of our souls, Vysotsky shakes our souls. In Okudzhava’s touching lyrics we recognize ourselves, our fate, our understanding of the world. Vysotsky's songs fulfill a different mission. He expressed - out loud, in a voice, in a cry - everything that was in everyone’s soul or mind, but - more often than not - what everyone felt, but could not yet realize, did not have time ... ".

To summarize this chapter, it is worth saying once again that Vysotsky’s creative concept was formed by biographical events, social factors of the era, as well as the experience of literary predecessors.

1.3 Features of Vysotsky's lyrical works. The main motives of his work

Reading Vysotsky, we constantly discover new plots, themes, characters, conflicts. His poems are about sports, on military themes, children's poems (for example, "Alice in Wonderland"), fairy-tale songs in which social types are guessed, as well as songs-variations on historical and mythological themes, where the wisdom of centuries helps to unravel contradictions of our time. In Vysotsky’s songs, all themes intersect and complement each other, they “have everything,” which is why his lyrics were called the encyclopedia of our lives in the 60-70s of the twentieth century.

Vysotsky’s work is a synthesis of acting talent and the gift of a thinker, therefore his poems are filled, on the one hand, with a variety of characters and types, the use of comic puns, as well as colloquial and colloquial vocabulary, and on the other hand, with humanism, the use of rhetorical questions and philosophical.

Vysotsky's poems are a fusion of the lyrical and satirical. Vysotsky himself admitted: “I prefer the Russian tradition, Gogol’s - laughter through tears. You want to laugh, but the cats are scratching at your soul.” This property of his poetry was also noted by V. Aksenov: “In his satire he followed directly after Zoshchenko, in his lyrics - after Yesenin.”

Almost everyone knows Vysotsky’s songs. But can we conclude from this that they are well known to us? Does it follow from this that nothing new can be found in them? In one of the books that I turned to when writing my work, “Vladimir Vysotsky. Poetry and Prose,” V. Novikov cites the following lines of the poem as an example:

And I was no different from the ignorant.

And if it was different - very little,

Budapest did not leave a splinter,

But Prague didn’t break my heart.

……………………………………. And although we were not mowed down by executions,

But we lived, not daring to raise our eyes, - We, too, are children of the terrible years of Russia, Timelessness poured vodka into us.

Spiritual maximalism and self-criticism on behalf of the entire generation, which the reader can find in these lines, are part of the tradition of Russian poetry. The above book notes that in this poem Vysotsky refers the reader to Blok (“Those born in the years of deaf ways do not remember their own”). These poems are united by the theme of the cowardice of the lyrical hero, who knows that the ideology of power is a “mirage”, but, not believing in this ideology, submits to it. In Blok, this theme is expressed with the help of an antithesis: enthusiasm is opposed to muteness. But in this case, in external enthusiasm there is a “fatal emptiness,” and muteness is the “roar of the alarm,” which symbolizes spiritual faith. Vysotsky’s lyrical hero also “did not believe in mirages,” but, fearing danger, “locking his soul with a bolt,” he decides not to go against the authorities.

...In the face of danger they are shamefully cowardly, And in front of power they are despicable slaves...

Comparing Vysotsky with Blok and Lermontov, it can be noted that Vysotsky’s classical motif for Russian literature is not presented in the canonical style: the combination of high and low is emphasized: in the same context there are words such as “Russia” and “timelessness” on the one hand and “vodka” " - with another.

There is an opinion that the key to Vysotsky’s poems is the presence in them

"prose", i.e. everyday life and unadorned everyday details, as well as narrative development. While his contemporaries tried to create on the theme of the spiritual in a sublime style, Vysotsky was demonstratively material.

Prose in Vysotsky's poetry is his innovation. It makes no sense to compare him with other contemporary poets, because through the work of Vysotsky, Russian poetry was fundamentally renewed. It is necessary to determine the significance of this poet in literature not by his individual poems, but by his very historical role, which he played in the development of poetry. In support of the above words, we can cite a figurative quote from V. Novikov: “The inoculation of prosaicism produced by Vysotsky influenced the blood circulation of all our poetry, it will have a long and fruitful effect on the search for new creative generations.”

It is curious that V.I. Novikov in his work notes the decline of the lyrical genre of the poem in the seventies: “... Our lyricists turned out to be similar to the very sprinter-skater depicted by Vysotsky, who quickly “cooked” at the stayer distance. Because self-expression alone is not enough for a poem - you need conflicts, characters, you need to know how other people live, be able to listen to them, understand them, and transform into them. In general, the lack of prose content in poetry resulted in a lack of truth.” But the truth spoke in Vysotsky’s voice.

The form of Vysotsky’s poems with its simplicity is contrasted with its meaningful depth. It is this form that helps create a trusting atmosphere between the author and the listener.

Another feature of Vysotsky’s work is his language. He parodies and brings Soviet slogans and clichés to the point of absurdity, and ironizes them (the song “Comrade Scientists”).

The use of colloquial vocabulary helps to more accurately reveal the character and social layer of the lyrical hero: marginalized characters in his poems do not speak in the sublime language of intellectuals (“don’t hesitate, dears” from the song “Comrade Scientists”). The linguistic portrait of the lyrical hero is revealed not only at the lexical, but at all linguistic levels

Morphological (“untie the towels s» , non-believers, fanatic ts"s" from the song

“Letter to the editor of a television program”; "the sergeant will raise - like a man ov» from the song “Police Protocol”, “there is an option that their ny leader..." from "Why the Aborigines Ate Cook"); phonetic (“sassy spies e nki” from “Instructions before traveling abroad”), phraseological (“I don’t say a word in their language, neither in arc nor in thuya” from “Instructions before traveling abroad”), syntactic (“you go into the house like everyone else equally to the tavern" from "What a quiet house...").

The use of dialogues, for example, in the song “Dialogue at the TV”, also emphasizes the connection with the prose tradition, because In poetic texts, the topic is traditionally revealed from one person.

It is noted that the phenomenon of Vysotsky in Russian culture is the ability to understand other people's views, as well as the ability to sharply push two polar positions together and thereby gain a new depth of social vision. This phenomenon lies in the presence of a “second, deeper bottom” of Vysotsky’s poems, in his irony.

Vysotsky is a singer of his time, even in “historical” or comic “fairy-tale” songs, issues that are relevant to his contemporaries, as well as eternal questions of philosophical themes, can be traced. Considering Vysotsky in the context of Russian literature of the seventies, one can note the polyphony of generations and social strata in his work. Vysotsky sought to penetrate the psychology of the marginalized and understand the social causes of crime: what pushes these people to negative actions. And the reason, it turns out

– loss of faith in justice and law.

One of the philosophical ideas in Vysotsky's lyrics is choosing your own path. The time of the “thaw” was accompanied by the collapse of previously indestructible dogmas and attitudes. People of that era began to understand that they do not have to think and feel the same, that each person must follow his own path, each person is individual. Here we can recall Vysotsky’s sports song “Morning Gymnastics”, in which one can guess another, not at all sporting meaning:

“...Beauty: among those running, there are no first and no lagging behind. Running in place is generally reconciling.”

There is irony in the word “beauty”. “There are no firsts and no laggards,” i.e. everyone does the same, everyone is equal, but this “generally reconciling” run is “in place,” i.e. leading nowhere.

The same idea of ​​uniqueness, inimitability and self-worth of the individual is formulated in Vysotsky’s song “Alien Track”:

… do as I do!

This means - don't follow me.

One of the philosophical themes that interested Vysotsky was the theme of death, which is revealed in his poetry in many ways: sometimes using a serious mood (the song “Monument”, “About fatal dates and numbers”), and sometimes it is presented in a humorous tone that is unusual for the reader (“ Merry deceased").

Vysotsky's broad outlook and curiosity were reflected in his work. In his lyrics, he even touched on “non-poetic” topics, one of which was the topic of science. For example, “Comrade Scientists”, “March of Physicists”. And also “sports” songs, in which, according to the author himself, there is another layer, deeper, for example, “Who is running after what.”

Vysotsky's songs are almost always dynamic. And this dynamics is achieved not only thanks to the rhythmic musical accompaniment, but also due to the text itself. One of the themes in Vysotsky’s work is the theme of the road and movement: running in a marathon, rushing to attack, climbing mountains, horse racing, traveling in a car, escaping from a camp, moving a ship, flying on an airplane, etc. This constant movement in Vysotsky’s lyrics is close to his spiritual world, his active nature. But, also, researchers note that the road is a metaphor for life. As an example, Vysotsky’s song “Who’s Running After What” is best suited, where the “runners” represent four different models of life attitudes: for some, the “tidbit” in life is important, for others, fame, for others an opportunity to prove something so as not to go to the “bench,” while someone lives “just like that, for nothing, for no one.”

The following motifs, highlighted by A. Kulagin, are associated with the theme of the road in Vysotsky’s work:

· a meeting that turns into a conflict (a meeting with aliens from “Everyone wants to warm up a little...”, a meeting with Crooked and Hard from the song “Two Fates”);

· the presence of a fellow traveler or partner along the way (“Fellow Traveler,” “Fighter Plane Song,” “Pacer’s Run”);

· the need to overcome obstacles (“Tyumen Oil”);

· change of route, turn (“Moscow - Odessa”);

· counting down the route (“Tightrope”);

· pursuit and pursuit (“Wolf Hunt”);

· return (“In the cold, in the cold...”, “Paradise Apples”).

In Vysotsky’s poetic work the following questions of philosophical content are raised, which are given as an example in the book by V. Novikov “Vladimir Vysotsky. Poetry and prose":

· Are the mongooses, who were declared pests for exterminating all snakes if they were humanized, mercenaries who were justly punished, or are they victims of a historical “twist of fate”? ("Song about Mongooses")

· How is life worth living? Should I sit in the last row or sneak into the first? (“Song about the front rows”)

· Is it true that a true poet must end his life tragically? (“Song about fatal dates and numbers”)

· What is the riddle, and can it be solved in the following lines: “I stand as if before an eternal riddle, before a great and fabulous world”? ("Domes")

· Is it logical that “pure truth” will triumph if it does the same thing as Lie? Or should the Truth remain the Truth, even if this leads it to eternal impotence? (“The Parable of Truth and Lies”).

Vysotsky often turned to mythology in his work. Sometimes his poems are based on archetypal subjects. T. Orlovskaya in the article

“Mythology in Vysotsky’s poetry” cites as an example the topos of the “Garden”, traditional in world literature, as an analogy of Eden, from Vysotsky’s song

"Paradise apples". Here, the ascent of the soul to heaven through overcoming the earthly is described outwardly traditionally. But the motif of personal freedom is woven into the mythological plot. This leads to the denial, firstly, of unfreedom as a real fact, and secondly, of freedom as a verbal declaration. Thus, Vysotsky shows the illusion of understanding freedom. Those. paradise here is shown not as Eden, but rather as a prison, liberation from which is liberation from a vicious circle formed by mythological consciousness. It turns out that paradise is an illusion of freedom, an attempt to escape responsibility to higher powers. The question arises, who is free then? Freedom is a spiritual activity, therefore the people associated with this activity - poets and philosophers - are truly free.

In addition to mythological images, Vysotsky’s songs contain religious motifs and church terminology, which reveal his spiritual quest. A striking example is the song “Domes”, in which the mythological birds Sirin, Gamayun and Alkonost combine the fabulous and religious motif of paradise. This song reveals the inner world of the lyrical hero - a contemporary of Vysotsky, whose homeland is compared to paradise. But paradise here is not the canonical image of the Garden of Eden, but “enchanted” Russia, where on the one hand it is a “great country”, and on the other it is a “sleepy power”.

Many of Vysotsky’s songs contain patriotic motifs and stylization of Russian epic songs. One of these songs that reveals love for the homeland is “Like Mother Volga...”. This also includes his “fairytale” songs, in which the characters - mermaids, goblins, brownies - are traditional images of Russian folklore.

In addition to love for the homeland, it is worth mentioning separately about love for people, which also sounds in Vysotsky’s lyrics. The poet himself admitted that the goal of art for him is humanism. In P. Gumerov’s book “Vladimir Vysotsky: the tragedy of the Russian soul” there is a statement that of all the talented Russian poets, Pushkin, Yesenin and Vysotsky deserved the greatest national gratitude and love. Why them? Because they were closest to the problems of the people.

Summarizing the chapter, I note once again that Vysotsky is a truth-seeking poet. He fought against illusions and tried to show our life as it is. In his poetic texts, he asks rhetorical questions of a philosophical nature that made him think, without trying to teach anyone. Vysotsky in his poetry uses various motifs that help reveal the philosophical subtext of his lyrics.

2. Dominant philosophical motives in Vysotsky’s song lyrics

2.1 The motive of vitality

The first philosophical motive that I would like to consider in the works of V. Vysotsky is the motive of vitality. One of the poems in which it is traced? "White Silence" In this work I saw two meanings - philosophical (about vitality) and creative.

If we consider the first layer of the poem, then its theme will be the manifestation of perseverance, courage and fortitude in difficult life conditions and that perseverance has its reward: a person’s character is strengthened through difficulties.

Analyzing the poem, already at the very beginning one can notice a certain generalization, which is expressed by the pronouns “all” and “everything”. Time is generalized “all years, and centuries, and epochs in a row”, i.e. always and “everything strives for warmth”

– everything is alive, such a generalization already emphasizes the timeless relevance and, therefore, the philosophical orientation. It is worth noting that the generalization of time occurs from smaller to larger - first year, then century, and then era - which gives special strength and significance.

Next comes the rhetorical question: “Why do these birds fly to the north, if birds are supposed to fly only to the south?” An antithesis is used here: north (cold) is opposed to south (warm). It is also clear from the question that the birds seem to be breaking some rule, doing something that they are “not supposed to do.” Moreover, they “violate” it not to their advantage, because “every living thing strives for warmth.” That is, these birds resist the elements.

The next part is a refrain as a kind of attempt to give an answer to the question posed. Birds try to resist the elements not in order to find “glory and greatness,” but in order to find inner “bird” happiness. It is worth noting that birds are a symbol of freedom.

Then a hidden comparison is given between birds and people, who, like the birds, set off on a journey to the North, i.e. to the cold. There are two rhetorical questions here: “Why couldn’t we live, why couldn’t we sleep?”

“What drove us on a high wave?”, which correlate with the previous question: “Why are these birds flying north?”

This is followed by the answer to the questions posed: the goal is to see the northern lights. Radiance is a symbol of harmony, the achievement of a set goal, something rare (“This rarely happens - radiance comes at a price”). But from the sentence “We haven’t had a chance to observe the radiance yet,” it is clear that the goal has not yet been achieved.

In the next stanza, the key words are “silence”, “emptiness”, “silence”, which are contrasted with “sound” (antithesis technique). But the “sound” will only be ahead, i.e. he, too, is the goal, the “reward for silence.” The title of the poem is revealed here.

“Silence” is a test of silence, the reward for which is further sound, and “white” - because it is northern, snowy, cold.

Analyzing the poem further, we again encounter an antithesis: the colors white are contrasted - like something cold, snowy (“white dreams”, all other shades of snow have been brought in,” “dark from such whiteness”) and black (“we will see the light from the black strip of earth "). It is worth noting that in this stanza (as in the whole poem) there is much more white than black, and also that the black color here does not carry anything negative, this is the color that the lyrical hero longs to see. Black is not the color of the “present”, but the color of purpose, hope, a “black strip of earth” should appear in the future. The contrast also occurs at the level of the verbs “we were blinded (past tense) - we saw clearly (future tense)”, while it is also necessary to pay attention to the category of tense.

In the next stanza, the comparison “a long life without lies” is like “snow without dirt”, i.e. something clean and bright. It is noteworthy that here (almost at the end of the poem) birds are also mentioned, but if at the beginning the reader does not know what kind of birds they are, then here we are already talking about crows. Birds are a symbol of freedom, will, and crows are a symbol of cowardice (it already has a negative connotation). Thus, there is a contrast here between birds as symbols.

The final stanza sums it up: whoever had faith (“who did not believe in bad prophecies”) and perseverance (“he did not lie down in the snow for a moment”) will find someone as a reward and will no longer be lonely.

In this poem one more layer can be revealed, the theme of which will be overcoming the obstacles associated with poetic creativity.

Looking at this poem from this angle, we can say the following: the first lines “All the years, and centuries, and eras in a row - //Everything strives for warmth from frosts and blizzards...” - can be understood as the desire of most authors for approval by the readership and censorship. Then the following lines of this stanza: “Why do these birds fly to the north, // If birds are supposed to fly only to the south?” - can be interpreted as an attempt to go against the general system. Applying these lines to the author’s biography, it can be noted that Vysotsky was not accepted and understood by everyone, but he did not try to please the readership; in his poetry he was honest and truthful, despite the attacks against him. Here, under the rhetorical question, there is a hidden meaning: “Why seek the truth if you can say what society wants to hear?” But the poet is not looking for “glory and greatness”; what is important to him is “snow without dirt”, i.e. on a piece of paper there should be only words that reflect the truth. The epithet “daring” carries a special meaning, emphasizing the idea that speaking the truth requires courage.

In this interpretation, it is worth mentioning separately about the color antithesis. It is no coincidence then that “black” is described with a positive connotation. I repeat that black is the color of the goal, this is what will be written on the paper. And the name “white silence” itself is a blank slate.

In this case, the words: “We have gone blind - it’s dark from such whiteness, - // But we will see from the black strip of the earth...” will be the key to understanding this meaning - after all, it’s dark from the “whiteness” of the paper, but from the “black stripe” of what is written, it will be revealed to us that something new.

To summarize, it can be noted that it is no coincidence that the motive of overcoming obstacles, the motive of perseverance intersects in one poem with a creative motive - this is a reflection of the biography of the poet himself. Vysotsky always sought to find the truth in his work, and despite the fact that not everyone liked it, he continued to follow his path, overcoming all obstacles.

2.2 Death motive

Often in Vysotsky’s poetic work there is a motif of death, which is revealed ambiguously. To trace the development of this motif in his poetry, it is necessary to turn to the analysis of such poems as “Fasicky Horses”, “Merry Mortuary”, “Monument”.

The poem “Finicky Horses” is one of the most clearly expressive of philosophical motives. Its theme is the feeling of approaching death and love for the life of the lyrical hero.

The poem uses symbolism: horses are a symbol of time, a cliff is the end of life. The lyrical hero, realizing that his last hour is just around the corner, clings to life with all his strength, turns to time with a request to stop, while realizing that he himself is speeding up the fateful hour. Having studied the life of the author himself, we can say that the poem reflects autobiographical features. Vysotsky himself often “drove the horses” of time with intense work, as well as increased emotional stress, approaching the “edge of a cliff.” This idea is reflected already in the first stanza of the poem. Already at the beginning of the poem, the epithet “disastrous” sets a gloomy tone, which is reinforced by the repetition of the verb “I am lost.”

But, if in the first stanza, the lyrical hero himself “whips the horses,” then already in the refrain, which expresses the main idea, he asks them not to rush. The words “I didn’t even have time to live, I didn’t have time to finish singing” emphasize not only physical death, but also the end of his creative path.

Further in the poem, the tragedy intensifies with the words “I will perish,” in which there is no longer a hint, but a statement. The metaphor “a hurricane will sweep me away from the palm of a feather” figuratively expresses the insignificance of human life, fragile as a feather, before death, powerful as a hurricane.

The poem uses religious terminology associated with the motif of death: God, angels, through which the lyrical hero expresses his sad idea of ​​the other world, because the angels seem to him with “evil voices”, and “the bell started to ring with sobs.”

In the last refrain, the lyrical hero not only asks to extend his life’s path, here the appeal is strengthened by a plea: “I beg you not to fly.”

From the first to the last lines of the poem you can trace the increase in tension. At first, the lyrical hero feels “with disastrous delight” his imminent death, but does not yet realize all the tragedy. The next stage is the awareness of the inevitability of death. And finally, the feeling of being already there, “visiting God.”

In this poem, Vysotsky managed to very figuratively and in full force to reveal the philosophical theme of the tragedy of the inevitability of fate.

The poem “Merry Pokoynitskaya” also contains the motif of death. But here death is shown differently. If “Finicky Horses” is more hysterical, tragic, here one feels the rejection of death and the desire for life, then here one feels humility before the inevitability of fate.

The poem “The Cheerful Pokoinitskaya” is written in a playful form with a humorous touch. But the meaning of the song includes a philosophical question. The theme of this poem is the awareness of the weakness of human nature, and also that human life is “nothing” compared to death, which no one can escape.

The name itself contains an oxymoron in which there is a desacralization of cultural traditions associated with the funeral rite. The reader, touching on the topic of death, is usually in a sad, elegiac mood, but here the epithet “cheerful” song is given. This technique already evokes conflicting feelings in the reader.

The poem is written in simple language - the author deliberately uses a lower style. This is also facilitated by the use of colloquial expressions, such as “you’re walking around drinking wine”, “a former boss and a secret robber”, “the forces of nature don’t care about speech”, etc. Thus, death is presented as something ordinary, everyday, natural.

The main technique that reveals the meaning of a poem is antithesis. The dead man is contrasted with living people. Through this technique, satire on human weaknesses is shown. The vice of hypocrisy is revealed

“The hired women cried through their teeth, // The deacon - and he didn’t hit the top note,

// Copper pipes were loudly out of tune...” Here, not only the deacon and the hired women performing their “work” are “false,” but also the inanimate object “copper pipes.”

The next stanza continues to explore the theme of insincerity:

“The former boss - and secret robber - // kissed his forehead and spat with disgust, // Everyone kissed him, - but the humble dead man // Never kissed anyone...” That is, the deceased does not have to observe, in a pharisaical manner, the external traditions that the living are forced to obey.

The text reveals the issue of human dependence on natural and material circumstances, which is expressed in the words:

“But thunder struck - nothing can be done, // The forces of nature don’t care about speech,”

// Everyone ran under the slabs and roofs...”, and also: “It could be a separate one, or it could be a common one - // The housing issue doesn’t take the dead...”.

In the poem, along with colloquial vocabulary, church terminology is also used. The text contains the following words: coffin, deacon, deceased, God. Sublime and colloquial vocabulary coexists organically in the poem, creating the absurdity of combining the sacred and the everyday.

To summarize the meaning of the poem, we can say that the philosophical motive here is the uselessness of human everyday vanity. No matter how much a person rushes to do everything, no matter how much he achieves in life, before death everyone will be equal - “No matter how much you hurry, it is ahead of you // An adhesive label, like a mark on the forehead...”. Therefore, it is worth asking the question: how should one still live, pursue material values ​​and have a pharisaical attitude towards the spiritual world, or is it more important to pay attention to one’s spiritual development?

Another poem where Vysotsky addresses the motive of death

- “Monument”, which not only sounds the theme of humility before the inevitability of death, it contains an attempt to imagine oneself physically dead, but there is also a comforting hope for life in the memory of descendants. Thus, the theme of death and immortality is revealed in the poem.

“Monument” reveals the theme of the inevitability of physical death. But by dying physically, you can leave a mark on yourself, thanks to which a person remains alive in the hearts of his descendants.

This poem can be compared with the poem of the same name by A.S. Pushkin, which reveals the same theme. But, if in Pushkin the theme of death is presented in the future tense, then in Vysotsky, the motive of death is revealed in the present tense, thereby creating greater tension.

The poem begins, as it were, with a backstory about what the lyrical hero “was like during his lifetime.” The pronoun “I”, with which the entire poetic text begins, is in a strong position, therefore it immediately catches the eye in combination with the past tense verb “was”. An attempt to imagine one’s physical and mental state after passing away is reproduced in the first person - this is a feature of this text. A person can only observe death from the outside and make guesses about what is happening in the other world, but people do not tend to imagine their state, much less try to express it, finding themselves on the other side of life.

The text reveals the antithesis of life and death using the example of a person’s physical change: “during my life I was tall And slim...", then after death: " lame me and bent».

The comparison of the lyrical hero with the ancient hero Achilles is striking. Such a comparison, firstly, gives more significance to the qualities of the lyrical hero, such as courage and audacity, because The image of Achilles is a kind of symbol of courage, and comparisons with this hero must be earned. Secondly, the reference to the ancient plot with the “Achilles heel” indicates that even a demigod could not cheat physical death. Thus, the feeling of the inevitability of death intensifies.

Vocabulary plays a special role in this poem. The use of “metallic” epithets, such as “ granite meat", " iron frame ribs", "captured by a layer cement”, helps the imagination to recreate all the hopelessness: how “strong” death is at the physical level, and that after death, there is no hope for resurrection: “I can’t shake off the granite meat // And I can’t pull this Achilles’ heel out of the pedestal...”.

The composition of the poem is built at the intersection of stanzas telling about the past time, when the lyrical hero was alive, and the present, telling about death. In stanzas about the past, the lyrical hero “remembers” that he did not think about death:

I didn’t imagine this, I didn’t dream of it, And I thought that I wasn’t in danger of finding myself all dead dead.

The stanzas of “present” and “past” not only intersect, but are also opposed. Death gave the lyrical hero humility and obedience:

But I was forced into the usual framework - They drove me into a bet,

And the slanting uneven fathom - Straightened..."

Here “framework” is a symbol of humility (the expression “keep yourself within limits”). Another sign of humility is the “toothless smile,” which can be contrasted with the “grin” found in many of Vysotsky’s poetic texts. Consequently, now the lyrical hero cannot “snarl” and has become “safe” and obedient.

The sentence “And when I took it and died, // The death mask was quickly removed from me…” is noteworthy. It is worth saying that the mask is a symbol of play, unnaturalness. In this context, the sentence, in addition to its direct meaning, also has a figurative meaning: if during life each person has to put on one or another role mask, then death frees us from all “roles”.

In addition to the contrast between physical life and death, the text also contains a contrast between physical death and spiritual life. At the end of the poem there are the lines: “From the torn horns, nevertheless // I croaked, it seems: “Alive!”.” His “voice torn by despair... from magnetized tapes” is the “miraculous monument” of the lyrical hero. Those. the lyrical hero is alive because he is in the memory of his contemporaries and descendants, thanks to his creative contribution to the cultural life of the country.

Concluding the analysis of this poem, we can draw the main conclusion that when revealing the philosophical motive of death, it touches upon, firstly, the theme of contrasting life and death as a physical phenomenon, and, secondly, the idea of ​​​​the possibility of continuing life in the memory of other people when physical resurrection is impossible after death.

To summarize, it can be noted that Vysotsky’s motive for death is revealed from different angles. Having analyzed the three poems, we can conclude that poems with the same theme sound in different moods: “Finicky Horses” is hysterical, “Merry Pokoinitsa” is ironic, in “Monument” there is a motif of humility. The motive of death in Vysotsky’s lyrics is directly related to the religious motive of faith in God.

2.3 Patriotic motives

The theme of Russia, the Russian ambiguous character, the people's destiny is a cross-cutting theme in Vysotsky's work. Patriotic motives are revealed in the poems “Domes”, “Like on Mother Volga”.

Similar documents

Motif as a structural and semantic unit of the poetic world. The main motives of A.A.’s lyrics Akhmatova: review of creativity. The solution to the eternal problems of human existence in the lyrics of A.A. Akhmatova: motives of memory, life and death. Christian motives of the poetess's lyrics.

course work, added 09/26/2014


Nikolai Gumilyov as the founder of Acmeism, the place of his work in the lyrics of the Silver Age. Basic principles of Acmeism. Motives and images in lyrics. The poet's lyrical hero and his special energy. The picturesqueness of the poetic world, the peculiarities of rhythm and vocabulary.

test, added 11/29/2015


Specifics of artistic speech. The technique of contrasting antonymic pronominal pairs. Types of personal pronouns and their main functions. Antonymy of pairs of pronouns. The main features of the use of pairs of pronominal antonyms in the lyrics of V.S. Vysotsky.

course work, added 12/25/2016


The richness of the artistic content of Pushkin's lyrics is immense, incomprehensible, inexhaustible. Philosophical lyrics of Pushkin. The highest philosophical values ​​for a poet. For Pushkin, the sea is a symbol of freedom, the power of the elemental forces of nature, independent of human will.

report, added 01/05/2009


Vysotsky's songs about war. The image of a patriotic warrior. Memoirs of the father of the poet S. V. Vysotsky. In V. Vysotsky’s multifaceted creativity, poems about war occupy an important place. Moral maximalism is Visotsky’s attitude towards people, but, above all, towards himself.

article, added 09.20.2008


Author's song in the literary process of the second half of the 20th century. Stages of the formation of an author's song and the role of Vladimir Vysotsky's poetry in its formation. The lyrical hero of Vysotsky's poetry. Formation of a humanistic concept in works about war.

course work, added 09/17/2009


The creative development of A. Akhmatova in the world of poetry. Studying her work in the field of love lyrics. An overview of sources of inspiration for the poetess. Fidelity to the theme of love in Akhmatova’s work of the 20s and 30s. Analysis of the statements of literary critics about her lyrics.

abstract, added 02/05/2014


Boris Pasternak - adventurous lyrical techniques and metaphorical richness of verse. The theme of nature and man in the poet’s lyrics, leading images and motifs relevant for different periods of his work. The first collection of poems "Twin in the Clouds": themes and images.

thesis, added 04/24/2009


Examples of antithesis in Russian poetry. General semantic components in the meanings of antonym words. Description of the most common situations of opposition between love and creativity in the poet’s poems. Functions of synonyms, ways of their implementation in the lyrics of M.I. Tsvetaeva.

abstract, added 09.25.2016


Characteristics of the natural philosophical worldview system of F.I. Tyutcheva. The reasons for the discord between man and nature in the lyrics of F.I. Tyutchev, tragic conflicts of the spiritual existence of modern man. The use of biblical motifs in Tyutchev’s works.