Poetry 50 80 years. II

50s became for many poets "new" breath in their work after the bans and repressions of the 30-40s. One of the most bright poets 50s By this time, the poet had gone through his tragic path: he was arrested, served a six-year sentence and “kept silent” for a long time, despite its popularity first book "Columns".

In the 50s a number of changes occur in Zabolotsky’s poetry: spiritual openness, philosophy, and increased attention to the living human soul. It was during this period that the most popular works poet: “At the cinema”, “ Ugly girl", "About beauty human faces", "Portrait" and others. Zabolotsky's poems of this period are full of cultural and historical motifs (portrait of Struyskaya Rokotov from "Portrait"), reflections on the harmony of man and nature, on the feelings and problems of the individual. The author encourages admiration of the greatest creations:

Love painting, poets!
Only she is the only one given
Souls of changeable signs
Transfer to canvas.

Thinks about the eternal questions about the true human beauty, coming to the conclusion that real beauty is spiritual, “a fire flickering in a vessel.” In the poem “On the Beauty of Human Faces,” Zabolotsky reveals the paradoxical independence of a person’s external beauty from his internal beauty:

But I once knew a small hut,
She was unprepossessing, not rich,
But from the window she looks at me
The breath of a spring day flowed.
Truly the world is both great and wonderful!
There are faces - similarities to jubilant songs.
From these notes, like the sun, shining
A song of heavenly heights has been composed.

Poetry of the 60-80s. thematically very diverse. Still the same The names of the “sixties” Yevtushenko, Rozhdestvensky, Voznesensky are heard, but new “heroes” are also coming. Poetry in the last decades of the 20th century became more philosophical and less optimistic, and also significantly expanded its thematic range.

During this period, songwriters V. Vysotsky and B. Okudzhava continued to remain popular. The distinctive features of V. Vysotsky's lyrics are: socio-psychological orientation, protest against lack of freedom; Vysotsky’s poems are precise and strict, but behind this form lies the poet’s sincere reasoning about the reality that surrounds him. The poet in his works is guided by humanistic values, which he cannot exchange for tinsel and fame:

I don't like arenas and arenas,
They exchange a million for a ruble,
May there be big changes ahead
I'll never like it.

B. Okudzhava’s poems are famous for their philosophical understanding of everyday life. Okudzhava's works are dedicated to highest values, eternal questions of existence - life, death, love, fidelity. The main goal of the poet is to talk about nobility and dignity, to show human destiny as service to Good. That is why today you can hear Okudzhava’s “Song about the Arbat”, “Sentimental March”, “The Last Trolleybus”, “We Will Not Stand for the Price”.

From Kursk and Orel
The war has brought us
To the very enemy gates -
That's how things are, brother.
Someday we will remember this–
And I won’t believe it myself...
And now we need one victory,
One for all - we won’t stand behind the price.

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Goals:

Lesson type:

Lesson type: lecture with elements of analysis.

Methodical techniques:

Predicted result:

Equipment

During the classes

I. Organizational stage.

II. Motivation educational activities. Goal setting.

1. The teacher's word.

What do you know about the “thaw” period in Russian history?

Literature has always been a reflection of life. Let's observe what changes are taking place in the literature of the second half of the twentieth century.

In 1956, the first almanac “Poetry Day” was published. In its title is the name of the poetic holiday, which has become an annual event; on this day, poems were read throughout the country, poets appeared on improvised stages in squares and stadiums. The country lived with poetry. And poetry hastened to prove that prosaic, gray everyday life does not exist, that the everyday world is beautiful if you look into it with trust and love.

A poetic echo echoed across the country. Sincerity became the motto and call of that poetic moment. After the dark Stalinist decades, poetry reflected the renewal of historical order as a return to the laws of nature, transparent and clear.

2. Discussion of the topic and objectives of the lesson.

Literary associations and trends in poetry of the 1950-1980s.

In the 1950s, the development of Russian poetry was marked by creative revival. The work of the older generation of poets was devoted to understanding the “moral experience of the era” (O. Berggolts). In their poems N. Aseev, A. Akhmatova, B. Pasternak,

A. Tvardovsky, N. Zabolotsky, V. Lugovskoy, M. Svetlov and others in a philosophical vein reflected on the problems of both the recent past and the present. During these years, actively genres of civil, philosophical, meditative and love lyrics, various lyric-epic forms.

Frontline lyrics

TO Poets of the front-line generation turned to “eternal” themes in their work, who sought to express their own vision of war and man at war. One of the cross-cutting motifs of the poetry of front-line soldiers was theme of memory. For S. Gudzenko, B. Slutsky, S. Narovchatov, A. Mezhirov, Yu. Drunina and others. The Great Patriotic War forever remained the main measure of honor and conscience.

I'm still sad about the overcoat,

I see smoky dreams, -

No, they failed me

Return from the War.

<...>

And where should I go?

A friend was killed in the war.

And the silent heart

It began to beat inside me.

(Yu. Drunina, “I’m still sad about the overcoat...”)

Message. Works of Yulia Drunina (1924-1991)

Yulia Vladimirovna Drunina was born in 1924, and in 1989 a two-volume book of Yu. Drunina’s works was published, in which her autobiography was published. Sixty-one pages - and almost the whole life is a fate scorched by war. This war lasted for Yu. Drunina throughout her life and became the measure of all human values.

Yulia Drunina belongs to a generation whose youth was tested for maturity on the front roads of the Great Patriotic War. As a 17-year-old graduate of a Moscow school, she, like many of her peers, voluntarily went to the front in 1941 as a soldier in a medical platoon.

In the poems of Yulia Drunina, nostalgia for romance begins to sound louder and louder. civil war:

Eh, the hot days have flown away,

Don't come back again.

I remember how red it was in the former dust

Young blood.

In these words there is a childish thirst for achievement, which lived both in the young poetess and in many of her peers. The fate of Yulia Drunina can be called both happy and tragic. Tragic - because her early years were crossed out by the war, happy - because she managed to survive and even become famous poetess, whose poems truly “explode time” and show us, a generation completely far from the events of the Great Patriotic War, the hardships of the hard times of war. Yulia Drunina witnessed the war from its first days.

As a tenth-grader, she began her journey along the roads of the Great Patriotic War. The first step towards the front was taken in the hospital, where she worked, on the advice of her father, as a nurse; then she studied at the Khabarovsk School of Junior Aviation Specialists, where she received first prize for literary composition. And finally, with the rank of third sanitary inspector in 1943, she was sent to Belorussian Front. On the way to the station, the lines were repeated: “No, it’s not merit, but luck - for a girl to become a soldier in the war...”, which after some time resulted in a poem:

No, this is not merit, but luck -

Become a girl a soldier in the war,

If only my life had turned out differently,

How ashamed I would be on Victory Day!...

Drunina saw how young guys who were not yet twenty years old died. In one of her poems, she cites statistical data: “According to statistics, among front-line soldiers born in 1922, 1923 and 1924, three percent remained alive by the end of the war.”

Fate protected the poet. She suffered from a lung disease in the battle trenches. As a result of physical exhaustion, Drunina ended up in a rear evacuation hospital Gorky region. There, for the first time during the war, she again wanted to write poetry...

But difficulties did not stop her. Together with the division people's militia, who was immediately digging trenches, Julia went to the front. Later, the poetess would write: “I have been writing about everything that can be called the romance of war all my life - in poetry. But prosaic details do not fit into poetry. And I didn’t want to remember them before. Now I can remember everything almost calmly and even with some humor.”

The motive of leaving childhood for the horror of war will be heard in the later poems of the poetess, as if even decades later she had not returned from the “bloody fields.” Drunina was a nurse not somewhere in a rear hospital, but on the front line, in the thick of it. Many wounded soldiers were carried out from under fire on fragile girls’ shoulders. She was exposed mortal danger, and dragging a wounded person is hard work:

A quarter of the company has already been mowed down...

Stretched out in the snow,

The girl is crying from powerlessness,

Gasps: “I can’t!”

The guy got caught heavy,

There is no more strength to drag him...

(To that tired nurse

Eighteen equals years).

The naturalness, “uninventedness” of the poetess’s poems is manifested in the clear connection of Drunina’s works with real events and faces. This is the poem “Zinka” - perhaps the best in the work of Yulia Drunina, dedicated to Zinaida Samsonova, a front-line friend of the poetess, later a Hero Soviet Union, a girl about whom there were legends.

“The fate of the poets of my generation can be called both tragic and happy. Tragic because war broke into our adolescence, into our homes and into our still unprotected, so vulnerable souls, bringing death, suffering, and destruction. Happy because, having thrown us into the midst of a national tragedy, the war made even our most intimate poems civil. Blessed is he who visited this world in its fatal moments.”

Drunina never went to the editorial office, did not demand anything, but her poems were always among the most read and loved. In 1947, the first collection entitled “In a Soldier’s Overcoat” was published. It includes poems written during the years of front-line and post-war life.

The end of Yulia Vladimirovna’s life is full of tragedy. She could have died a thousand times in the war, but she died of her own free will, on September 21, 1991 in Moscow. Wounded by the war, she could not survive another tragedy of the country - the tragedy of the era of change. The collection “The Hour of Judgment” was published posthumously.

Yulia Drunina did not change her poetry, so perhaps this is the tragedy of the poetess’s fate. Yu. Drunina's poems are precise and laconic, lyrical and specific, they captivate me with their truth, uniqueness, their sincerity and artistic beauty - they contain all the Yulia Drunina she was in life.

Reading and analysis of poems.

Yulia Drunina. In memory of fellow soldier - Hero of the Soviet Union Zina Samsonova.

We lay down by the broken fir tree,

We are waiting for it to start getting brighter.

It's warmer for two under an overcoat

On chilled, rotten ground.

You know, Yulka,

I don't mind sadness

But today she doesn’t count.

At home, in the apple outback,

Mom, my mother lives.

You have friends, darling,

I only have one.

Spring is bubbling beyond the threshold.

It seems old: every bush

A restless daughter is waiting...

You know, Yulka, I am against sadness,

But today she doesn’t count.

We barely warmed up,

Suddenly - an order:

“Come forward!”

Again next to me in a damp overcoat

The blonde soldier is coming.

Every day it became worse.

They walked without rallies or banners.

Surrounded near Orsha

Our battered battalion.

Zinka led us on the attack,

We made our way through the black rye,

Along funnels and gullies,

Through mortal boundaries.

We didn't expect posthumous fame.

We wanted to live with glory.

...Why in bloody bandages

The blonde soldier is lying down?

Her body with her overcoat

I covered it, clenching my teeth,

The Belarusian winds sang

About the Ryazan wilderness gardens.

...You know, Zinka, I -

against sadness

But today she doesn’t count.

Somewhere, in the apple outback,

Mom, your mother lives.

I have friends, my love,

She had you alone.

The house smells of sourdough and smoke,

Spring is bubbling beyond the threshold.

And an old lady in a flowery dress

She lit a candle at the icon.

...I don't know how to write to her,

So that she doesn't wait for you.

· Text analysis:

What feelings does the poem evoke? (A storm of feelings: compassion, regret, and indignation. It’s quite difficult to describe them).

How does the author show fighters in moments of calm? (Girl friends who are interested in chatting about everything in the world. These are not heroes at all, but ordinary people, yesterday’s schoolgirls. It is no coincidence that the author chooses a form that is completely uncharacteristic for poems - a dialogue, during which the girls pour out their souls to each other, talk about themselves intimate. Probably, one could even say that there is a certain confessional motive).

What are the girls talking about? What details make up the image of your small homeland? With what feelings do you think the heroine speaks about home? ( Small Motherland lives in the soul of every soldier:

close people: mother, mother, friends, loved one;

native spaces: apple outback, spring on the doorstep, house, bushes;

smells of home, warmth and comfort: kvashnya, i.e. freshly baked bread, smoke, i.e. Russian stove. The feeling of something dear, infinitely close, all-encompassing love and tenderness, on the one hand. And on the other - sadness, homesickness).

Part I of the poem can be further divided. How? (Calm - conversation between friends - military everyday life. During the first part, even the rhythm changes several times: from melodious to hammered)

From your point of view, what does the selection of epithets in part I depend on? (From the rhythm set by the author:

calm - broken spruce; rotten, chilled earth;

conversation between friends - apple outback, restless daughter;

military everyday life - a damp overcoat, a blonde-haired soldier - what a terrible combination!)

The last stanza is the link between parts I and II.

What events were reflected in Part II? What feelings do they evoke? Support your answer with supporting words.

(Encirclement - attack - battle - death of Zinka. The environment - became more bitter every day - a feeling of the proximity of death, something inevitable, terrible, “a battered battalion” - a feeling of hopelessness; “they walked without rallies and banners” - without enthusiasm, with drooping head; attack: “we wanted to live” - the desire to survive; “bloody bandages”, “her body”, “she covered her, clenching her teeth” - the pain of loss. loved one. War is always a tragedy).

What epithets help us understand the bitterness of what is happening? (Tattered battalion, black rye, mortal borders, bloody bandages, posthumous fame. Which scary words!)

Find the most frequently occurring sound in stanza II. What does this technique give?

([p] – imitation of the roar of battle – the horror of what is happening)

Why does the “apple outback” change to “Ryazan remote orchards”? (Transition to Part III; as if even nature yearns for the death of a young, beautiful, talented girl).

How, from your point of view, does the mood change compared to Part I, although almost the same words are used? (If in Part I the sadness is even light, then in III it is akin to hopeless melancholy. There is a feeling of treachery and tragedy of life in wartime. The form also changes compared to Part I - a monologue addressed to the deceased friend and to herself).

What is the image of a mother? (A typical image of a mother praying for her child, asking for the intercession of higher powers. Perhaps the image of the homeland leading to victory. The mention of a lit candle is symbolic - a spark of hope).

Prove with a test that war takes away the most valuable things from people. (The heroine’s mental pain is emphasized by understatement - the use of ellipsis; an exclamatory-interrogative sentence. It’s scary when parents have to bury their children).

If you had the opportunity to ask the author questions, what would you ask her?

How might the fates of the friends have turned out if there had been no war?

Pop lyrics

In the 1950s, a generation of poets entered literature, whose youth fell on post-war period. Poems popular during the “thaw” by E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky were focused on the oratorical tradition. Their work was often journalistic character, in general, in their works young poets, on the one hand, expressed own attitude to the pressing issues of the time, and on the other hand, they spoke with a contemporary about the innermost.

breaking time screamed,

and time was me,

and I was him

and what is the importance,

who was who at first.

<.„>

What a Northerner I am, you fools!

Of course my bones were weak,

but on my face through the nodules

Mayakovsky erupted menacingly.

And, all golden from daring,

breathing the wide wheat field,

Yesenina's crazy head

rose above my head.

(E. Yevtushenko, “Estrada”, 1966)

It was these poets that contemporaries called "variety performers". The years of the “thaw” were marked by a real poetic boom: poems were read, written down, and memorized. Poets gathered sports, concert, and theater halls in Moscow,

Leningrad and other cities of the country. "Variety" later

were called "sixties".

· Message. Poetry of Robert Rozhdestvensky (1932-1994)

The voice of Robert Rozhdestvensky was heard immediately, as soon as the magazine
"October" published his youthful poem "My Love" in 1955. The young poet spoke clearly and simply about things that are close to many. I was captivated by the trusting, open intonation of this voice, the natural democracy and civic fullness of the lyrical statement, when the personal invariably sought to merge with the destinies of the time, country, and people.

Rozhdestvensky chose the most difficult path for a poet - lyrical journalism. In his poems, time openly declared itself as part of history. The blood ties of the present with the past and future are not just felt here, dissolving in the very atmosphere of the work, they are named, emphasized, and emphasis is placed on them. Lyrical hero completely merges with the personality of the author and at the same time constantly perceives himself as part of a common whole, consciously striving to express the main spiritual needs, experience, impulse into the future of his peers, comrades in fate. Sober knowledge, a sense of personal responsibility for everything good and bad that happens on native land, directs the poet. A mature faith fills him, faith in ordinary hard-working people living nearby, the true creators of history, which the poet often addresses on their behalf.

Characteristic property Rozhdestvensky’s poetry is a constantly pulsating modernity, the living relevance of the questions that he poses to himself and to us. These questions tend to concern so many people that they instantly resonate in a wide variety of circles.

Love lyrics occupy a large place in the work of Robert Rozhdestvensky. His hero is intact here, as in other manifestations of his character. All of Rozhdestvensky’s poems about love are filled with anxious heart movement. The path to his beloved is always a difficult path for a poet; this is, in essence, the search for the meaning of life, the one and only happiness, the path to oneself.

He doesn’t hide anything from his readers, he’s “one of his own.” Simple truths, affirmed by his poetry - goodness, conscience, love, patriotism, loyalty to civic duty, come to readers in a shell direct word, an open sermon that truly takes our consciousness back to the period of our own childhood, when we were all in in a certain sense more free, simple-minded and noble.

Rozhdestvensky sees the world in a large, generalized way: psychological shades, precise objective details of everyday life, landscape, although they are found in his work, but decisive role don't play. The concrete is barely outlined here; it is constantly ready to dissolve into the concept.

· Study. Analysis of Rozhdestvensky’s poem “On Earth is Ruthlessly Small.”

On Earth mercilessly small

Once upon a time there was a small man.

His service was small.

And a very small briefcase.

He received a small salary...

And one day - a beautiful morning -

knocked on his window

It seemed like a small war...

They gave him a small machine gun.

They gave him small boots.

They gave me a small helmet

and a small - in size - overcoat.

...And when he fell, it was ugly, wrong,

turning his mouth out in an attacking cry,

then there was not enough marble in the whole earth,

to knock a guy out in full force!

The poem “On Earth is Ruthlessly Small” by Robert Rozhdestvensky tells about the fate of a seemingly small man. Once upon a time there was a small, nondescript, gray man. Everything about him was small: a small position in a small office, a small salary, a small briefcase and a small apartment, probably not even an apartment, but a room in a workers’ dormitory or in a communal apartment. And this man would have been very small and unnoticeable for the rest of his life if war had not knocked on the door of his house...

To the little man in the army, everyone was given what he was used to having in pre-war life: everything familiar, familiar, small... He had a small machine gun, and his overcoat was small, and a flask with water was small, small tarpaulin boots... And the task was set before him as if it were small: to defend a section of the front measuring two meters by two... But when he fulfilled his sacred duty to the Motherland and the people... when he was killed and he fell into the mud, twisting his mouth in a terrible grimace of pain and death... then there was nothing in general There is enough marble in the world to put a monument on his grave of the size that he deserved...

Glorifying the military feat of a simple Russian soldier is the main and the only topic this courageous poem. This poem does not have a classical form. It does not contain exquisite, beautiful metaphors in the spirit of Blok or Gumilyov. But behind its formal simplicity hides the rough and cruel truth of life. The author showed us life as it is.

Quiet lyrics

The counterbalance to the “loud” poetry of the “sixties” in the second half of the 1960s was lyrics, named "quiet". Poets of this direction united by a community of moral and aesthetic values. If the poetry of the “sixties” was guided primarily by the traditions of Mayakovsky, then the “quiet lyrics” inherited the traditions of philosophical and landscape poetry F. Tyutcheva, A. Feta, S. Yesenina.

The “quiet lyricism” includes the work of poets N. Tryapkin, A. Peredreev, N. Rubtsov, V. Sokolov, S. Kunyaev and others.

In the darkening rays of the horizon

I looked at the surroundings

Where the soul of Ferapont saw

There is something divine in earthly beauty.

And one day it emerged from a dream,

From this praying soul,

Like grass, like water, like birch trees,

A marvelous wonder in the Russian wilderness!

And the heavenly and earthly Dionysius,

Having appeared from neighboring lands,

This wondrous wonder has been exalted

To a point never seen before...

The trees stood motionless

And the daisies turned white in the darkness,

And this village seemed to me

Something most sacred on earth.

(N. Rubtsov, “Ferapontovo”, 1970)

Yu. Kuznetsov, who entered literature in the 1960s, is also close to these poets. By its pathos the work of the “quiet lyricists” is close to the realistic direction of village prose. The civic pathos of the “sixties” poets and the subtle lyricism of the “quiet lyricists” were combined in the work of the Dagestan poet R. Gamzatov.

Since the 1950s, the literary process has been replenished with a genre original song, which has become extremely popular over time. Song creativity of B. Okudzhava, A. Galich, N. Matveeva, V. Vysotsky, Yu. Vizbor and others has become one of the forms of overcoming formal-substantive dogmatism, officialdom

official-patriotic poetry. The true peak in the development of the art song genre came in the 1960s and 1970s. The attention of songwriters was is focused on the life of an ordinary, “small”, “private” person, and in this life there is a place for both high tragedy and happiness.

Ah, I am a victim of trust,

Trouble to your parent!

I hear from behind the door:

“Bitten, come in!”

Entered: “My respect.”

I undressed slowly.

“Where is the bite site?”

I say: "Soul."

There are exes in the office

They tug at my soul:

"Tell me, bitten

Which one are you?”

I say: "Ordinary,

And he's not tall enough.

So pretty

I didn’t think it was a snake.”

(Yu. Vizbor, “Bitten”, 1982)

· Message. The work of Bulat Okudzhava. (1924-1997)

Bulat Okudzhava's songs appeared in the late 50s of the 20th century. If we talk about the roots of his work, they undoubtedly lie in the traditions of urban romance, in the songs of Alexander Vertinsky, in the culture of the Russian intelligentsia. But song lyrics Bulat Okudzhava is a completely original phenomenon, in tune with state of mind his contemporaries.

Okudzhava's poetry is inextricably linked with music. His poems seem to have been born with a melody: it lives inside the poem, belongs to it from the very beginning. Official criticism did not recognize Okudzhava; he did not fit into the framework of pompous Soviet culture.

But, probably, the fact that Okudzhava’s songs and his poems were known in almost every family speaks of true price his creativity. What is the reason for such phenomenal popularity?

Okudzhava creates in his poems his own original art world, asserts a certain moral position, and not only skillfully conveys everyday situations, interesting and funny human traits. Throughout its entire creative activity Okudzhava repeatedly addresses the topic of war.

All these poems by Okudzhava are not so much about the war as against it; they contain the pain of the poet himself, who has lost many friends and loved ones.

Bulat Okudzhava dedicated a very large part of his work to his beloved city of Moscow. It is interesting that the cycle of poems about Moscow took shape as if in opposition to such a significant poetic and musical phenomenon of the times of “developed socialism” as the ceremonial and bravura glorification of Soviet Moscow. His poems about his city are deeply personal, quiet, homely. They are organically intertwined with music and perfectly convey the spirit of cozy Moscow streets and alleys. Okudzhava feels inextricably linked with Moscow. This is the city of his childhood, youth, and he devotes his warmest, most tender words to him.

Okudzhava is one of the first after for long years Puritan hypocrisy again sang love, sang woman as a shrine, fell on his knees before her. Okudzhava opened people’s eyes to themselves, his songs and poems made them think about eternal values, about the essence of existence.

The world of Bulat Okudzhava’s songs is unusually diverse, it is colorful and semi-fairy-tale-like. The poet has not lost his childish view of the world around him, and at the same time he is a man wise by experience, past the war. In his work, both are surprisingly combined and intertwined.

The poet often refers to our history in his poems. In it, he is primarily attracted to people, and not historical facts. Most of his poems are devoted to the first half of the nineteenth century.

It can be assumed that Okudzhava feels a connection between his time (the thaw of the 50-60s) and the radical reign of Alexander I. He is attracted to the people of the nineteenth century, their high moral quests, the painful quests of social thought. It seems that Okudzhava writes about himself, about his friends, putting them in the place of historical heroes.

Okudzhava’s poetry carries a huge charge of kindness; it reminds us of mercy, love for our neighbor, for the Motherland, for our history, and helps us believe in a better and brighter beginning. His poems will always ring for us “a small orchestra of hope...

· Reading and analysis of the poem.

MIDNIGHT TROLLEYBUS

When I can’t overcome adversity,

when despair sets in,

I get on the blue trolleybus on the go,

in the last one,

in random.

Midnight trolleybus speeding down the street,

circle along the boulevards,

to pick up everyone who suffered in the night

crash,

crash.

Midnight trolleybus, open the door for me!

I know how in the chilly midnight

your passengers - your sailors -

come

for help.

I got away from trouble with them more than once,

I touched them with my shoulders.

How much kindness, imagine?

in silence

in silence.

A midnight trolleybus floats through Moscow,

Moscow, like a river, is dying out,

and the pain that pounded like a bird in my temple,

How, in your opinion, do the poetic, poetic and musical principles correlate in this work?
Can “Midnight Trolley” be called a lyrical ballad? Highlight in the text the details and signs of the emerging ballad plot and the leading lyrical beginning.

Conclusion.

I want to end the conversation about Okudzhava’s work with the words of Yuri Karabchievsky: “The Midnight Trolleybus” no longer rushes, as usual, into the park, driven by a tired and angry driver, but - in Okudzhava’s world - Sails like a rescue ship flying a flag with a red cross, “so that everyone pick up those who have been wrecked in the night, wrecked”... You have to be a very integral and sincere person in order to be able to exist in such a world to the end, without ever breaking down. Because evil is here, right next door, and even closer, it licks the fragile walls of good Moscow from all sides, splashes over the edge and spreads out in muddy waves...

Universal reckless kindness - this is the pathos of Bulat Okudzhava.”

Lianozovskaya group

Since the 1960s, avant-garde experiments have resumed in Russian poetry. Experiments in the field of poetry united various poetic groups, most notably such as Lianozovskaya group- one of the first informal creative associations the second half of the 20th century, at the origins of which stood the artists E. L. and L. E. Kropivnitsky, poets G. Sapgir, I. Kholin and others. At the origins Lianozovskaya group stood the poet and artist E. L. Kropivnitsky, creative path which began in the 1910s. The group included poets V. Nekrasov, G. Sapgir, Y. Satunovsky, I. Kholin and artists N. Vechtomov, L. E. Kropivnitsky (son of E. L. Kropivnitsky), L. Masterkova, V. Nemukhin, O. Rabin . Poets and artists who were part of Lianozovskaya group, united the desire for the most complete self-expression and the creation of new poetics.

And boring.

Write short poems.

They contain less nonsense

And you can read them soon.

(E. L. Kropivnitsky, “Advice to Poets”, 1965)

Features of the development of poetry of the 50-80s. Literary associations and trends in poetry of the 1950-1980s.

Goals:

1) educational: formation moral principles students’ worldviews; creating conditions for involving students in active practical activities;

2) educational: acquaintance with literary associations and trends in poetry of the 1950-1980s; formation of an idea about the features of the development of poetry of the 50-80s;

3) developing: development of skills in analyzing a poetic work; development of mental and speech activity, the ability to analyze, compare, and logically correctly express thoughts.

Lesson type: lesson to improve knowledge, skills and abilities.

Lesson type: lecture with elements of analysis.

Methodical techniques: analysis literary text, conversation on issues.

Predicted result: know the social and historical situation of the “Thaw” period, the main literary associations and trends in poetry of the 1950-1980s; be able to analyze poetic text.

Equipment: notebooks, collection of poems, computer, multimedia, presentation.

During the classes

I. Organizational stage.

Lesson No.

Goals:

educational:

formation of moral foundations of students’ worldview;

creating conditions for involving students in active practical activities;

educational:

acquaintancewith literary associations and trends in poetry of the 1950s-1980s;

formation of an idea about the features of the development of poetry of the 50-80s;

developing:

development of skills in analyzing a poetic work;

development of mental and speech activity, the ability to analyze, compare, and logically correctly express thoughts.

Lesson type: lesson to improve knowledge, skills and abilities.

Lesson type: lecture with elements of analysis.

Methodical techniques: analysis of literary text, discussion on issues.

Predicted result:

knowthe social and historical situation of the “Thaw” period, the main literary associations and trends in poetry of the 1950-1980s;

be able toanalyze poetic text.

Equipment : notebooks, collection of poems, computer, multimedia, presentation.

During the classes

Organizational stage.

II. Motivation for learning activities. Goal setting.

The teacher's word.

What do you know about the “thaw” period in Russian history?

Literature has always been a reflection of life. Let's observe what changes are taking place in the literature of the second half of the twentieth century.

Discussion of the topic and objectives of the lesson.

Improving knowledge, skills and abilities.

Features of the development of poetry of the 50-80s

Alreadyin the second half of the 50s New trends emerged in poetry. Responding to the demands of the time, poets sought to reflect the state of spiritual renewal and uplift that society was experiencing. It was at this time that interest in the work of A. Tvardovsky, V. Lugovoy, N. Zabolotsky, N. Aseev, A. Prokofiev, Y. Smelyakov, N. Ushakov, K. Vanshenkin, S. Orlov, E. Vinokurov, E. Evtushenko, A. Voznesensky, R. Rozhdestvensky, V. Tsybin, R. Kazakova, B. Akhmadulina, N. Matveeva. "Variety of topics and current issues, drawn from life itself, appeal to the essential aspects of the spiritual world of modern man, the search for new artistic and visual means of poetry - everythingthis was typical for poets who performed at the turn of the 50s and 60s,” writes V.A. Zaitsev.

The main line of development of poetry - appeal to modernity. The poetic lines of the 50s are filled with close attention to today with its acute problems, contradictions and conflicts, with its everyday life and heroism.

In the 60s poets different generations thought about the growing menacing danger to all living things around us. These motifs are revealed in a grotesque, paradoxical, tragically expressive way in A. Voznesensky’s poems “The Grove”, “The Beaver’s Cry”, “Evening Song” - the idea that by destroying the nature around them, people destroy and kill the best in themselves themselves, putting the future on Earth in mortal danger.

In poems of the late 60s - early 70s natural anti-war, humanistic pathos. They recognized M. Lukonin’s poem “The Charred Border,” which was included in the book “Necessity.” These same motives sound excitedly and passionately in the cycles of K. Simonov - “Vietnam, Winter of the Seventies”, R. Rozhdestvensky - “In the Farthest West”, E. Yevtushenko - “Road Number One”.

Late 60s early 70s reflections on the tasks of poetry and the mission of the poet are heard in the poems of many poets. In their poems they reveal a person’s attitude to the Motherland, nature, Earth, people, and humanity. The feeling of completeness of vital connections with the world, comprehended in tireless creative work, is the main thing in their self-awareness.

In the soulful poetic thoughts and experiences of a contemporary of the 60s, the complex, dramatic paths of history are revealed, and the harsh memory of the Great Patriotic War resounds. The most important subject philosophical and poetic reflection and research for many authors has becomenature theme . Imbued with it late lyrics A. Akhmatova and S. Marshak, B. Pasternak and many other poets.

Literary associations and trends in poetry of the 1950-1980s.

A. Tvardovsky, N. Zabolotsky, V. Lugovskoy, M. Svetlov and others in a philosophical veinreflected on the problems of both the recent past and the present. During these years, activelygenres of civil, philosophical, meditative and love lyrics, various lyric-epic forms developed .

Frontline lyrics

TO Poets of the front-line generation turned to “eternal” themes in their work , who sought to express their own vision of war and man at war. One of the cross-cutting motifs of the poetry of front-line soldiers wastheme of memory . For S. Gudzenko, B. Slutsky, S. Narovchatov, A. Mezhirov, Yu. Drunina and others. The Great Patriotic War forever remained the main measure of honor and conscience.

I'm still sad about the overcoat,

I see smoky dreams, -

No, they failed me

Return from the War.

<...>

And where should I go?

A friend was killed in the war.

And the silent heart

It began to beat inside me.

(Yu. Drunina, “I’m still sad about the overcoat...”)

Message. Works of Yulia Drunina (1924-1991)

In the poems of Yulia Drunina, nostalgia for the romance of the civil war begins to sound louder and louder:

Eh, the hot days have flown away,

Don't come back again.

I remember how red it was in the former dust

Young blood.

In these words there is a childish thirst for achievement, which lived both in the young poetess and in many of her peers. The fate of Yulia Drunina can be called both happy and tragic. Tragic - because her young years were crossed out by the war, happy - because she managed to survive and even become a famous poetess, whose poems truly “explode time” and show us, a generation completely far from the events of the Great Patriotic War, the hardships of the hard times of war. Yulia Drunina witnessed the war from its first days.

As a tenth-grader, she began her journey along the roads of the Great Patriotic War. The first step towards the front was taken in the hospital, where she worked, on the advice of her father, as a nurse; then she studied at the Khabarovsk School of Junior Aviation Specialists, where she received first prize for literary composition. And finally, with the rank of third sanitary inspector in 1943, she was sent to the Belarusian Front. On the way to the station, the lines were repeated: “No, it’s not merit, but luck - for a girl to become a soldier in the war...”, which after some time resulted in a poem:

No, this is not merit, but luck -

Become a girl a soldier in the war,

If only my life had turned out differently,

How ashamed I would be on Victory Day!...

Fate protected the poet. She suffered from a lung disease in the battle trenches. As a result of physical exhaustion, Drunina ended up in a rear evacuation hospital in the Gorky region. There, for the first time during the war, she again wanted to write poetry...

But difficulties did not stop her. Together with the people's militia division, which was immediately digging trenches, Yulia went to the front. Later, the poetess would write: “I have been writing about everything that can be called the romance of war all my life - in poetry. But prosaic details do not fit into poetry. And I didn’t want to remember them before. Now I can remember everything almost calmly and even with some humor.”

The motive of leaving childhood for the horror of war will be heard in the later poems of the poetess, as if even decades later she had not returned from the “bloody fields.” Drunina was a nurse not somewhere in a rear hospital, but on the front line, in the thick of it. Many wounded soldiers were carried out from under fire on fragile girls’ shoulders. She was in mortal danger, and dragging a wounded man on her was hard work:

A quarter of the company has already been mowed down...

Stretched out in the snow,

The girl is crying from powerlessness,

Gasps: “I can’t!”

The guy got caught heavy,

There is no more strength to drag him...

(To that tired nurse

Eighteen equals years).

The naturalness, “uninventedness” of the poetess’s poems is manifested in the clear connection of Drunina’s works with real events and persons. This is the poem “Zinka” - perhaps the best in the work of Yulia Drunina, dedicated to Zinaida Samsonova, a front-line friend of the poetess, later a Hero of the Soviet Union, a girl about whom there were legends.

Reading and analysis of poems.

Yulia Drunina. In memory of fellow soldier - Hero of the Soviet Union Zina Samsonova.

We lay down by the broken fir tree,

We are waiting for it to start getting brighter.

It's warmer for two under an overcoat

On chilled, rotten ground.

You know, Yulka,

I don't mind sadness

But today she doesn’t count.

At home, in the apple outback,

Mom, my mother lives.

You have friends, darling,

I only have one.

Spring is bubbling beyond the threshold.

It seems old: every bush

A restless daughter is waiting...

You know, Yulka, I am against sadness,

But today she doesn’t count.

We barely warmed up,

Suddenly - an order:

“Come forward!”

Again next to me in a damp overcoat

The blonde soldier is coming.

Every day it became worse.

They walked without rallies or banners.

Surrounded near Orsha

Our battered battalion.

Zinka led us on the attack,

We made our way through the black rye,

Along funnels and gullies,

Through mortal boundaries.

We didn't expect posthumous fame.

We wanted to live with glory.

…Why in bloody bandages

The blonde soldier is lying down?

Her body with her overcoat

I covered it, clenching my teeth,

The Belarusian winds sang

About the Ryazan wilderness gardens.

…You know, Zinka, I -

against sadness

But today she doesn’t count.

Somewhere, in the apple outback,

Mom, your mother lives.

I have friends, my love,

She had you alone.

The house smells of sourdough and smoke,

Spring is bubbling beyond the threshold.

And an old lady in a flowery dress

She lit a candle at the icon.

…I don't know how to write to her

So that she doesn't wait for you.

Text analysis:

What feelings does the poem evoke? (A storm of feelings: compassion, regret, and indignation. It’s quite difficult to describe them).

What are the girls talking about? What details make up the image of your small homeland? With what feelings do you think the heroine speaks about home? (A small homeland lives in the soul of every soldier:

close people: mother, mother, friends, loved one;

native spaces: apple outback, spring on the doorstep, house, bushes;

From your point of view, what does the selection of epithets in part I depend on? (From the rhythm set by the author:

calm - broken spruce; rotten, chilled earth;

conversation between friends - apple outback, restless daughter;

military everyday life - a damp overcoat, a blonde-haired soldier - what a terrible combination!)

The last stanza is the link between parts I and II.

What events were reflected in Part II? What feelings do they evoke? Support your answer with supporting words.

(Encirclement - attack - battle - death of Zinka. The environment - became more bitter every day - a feeling of the proximity of death, something inevitable, terrible, “a battered battalion” - a feeling of hopelessness; “they walked without rallies and banners” - without enthusiasm, with drooping head; attack: “we wanted to live” - the desire to survive; the death of Zinka: “bloody bandages”, “her body”, “she covered her, clenching her teeth” - the pain of losing a loved one. War is always a tragedy).

What epithets help us understand the bitterness of what is happening? (A battered battalion, black rye, mortal milestones, bloody bandages, posthumous glory. What terrible words!)

What colors is the war painted in the author’s memory? (Bloody bandages, black rye). Why?

Find the most frequently occurring sound in stanza II. What does this technique give?

([p] – imitation of the roar of battle – the horror of what is happening)

Why does the “apple outback” change to “Ryazan remote orchards”? (Transition to Part III; as if even nature yearns for the death of a young, beautiful, talented girl).

If you had the opportunity to ask the author questions, what would you ask her?

How might the fates of the friends have turned out if there had been no war?

Pop lyrics

In the 1950s, a generation of poets whose youth occurred in the post-war period also entered literature. Poems popular during the “thaw” by E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky werefocused on the oratorical tradition . Their work was oftenjournalistic character , in general, in their works young poets, on the one hand, expressedown attitude to the pressing issues of the time, and on the other hand, they spoke with a contemporary about the innermost .

breaking time screamed,

and time was me,

and I was him

and what is the importance,

who was who at first.

<.„>

What a Northerner I am, you fools!

Of course my bones were weak,

but on my face through the nodules

Mayakovsky erupted menacingly.

And, all golden from daring,

breathing the wide wheat field,

Yesenina's crazy head

rose above my head.

(E. Yevtushenko, “Estrada”, 1966)

It was these poets that contemporaries called"variety performers" . The years of the “thaw” were marked by a real poetic boom: poems were read, written down, and memorized. Poets gathered sports, concert, and theater halls in Moscow,

Leningrad and other cities of the country."Variety" later

were called "sixties".

Message. Poetry of Robert Rozhdestvensky (1932-1994)

Rozhdestvensky chose the most difficult path for a poet - lyrical journalism. In his poems, time openly declared itself as part of history. The blood ties of the present with the past and future are not just felt here, dissolving in the very atmosphere of the work, they are named, emphasized, and emphasis is placed on them. The lyrical hero completely merges with the personality of the author and at the same time constantly perceives himself as part of a common whole, consciously striving to express the main spiritual needs, experience, impulse into the future of his peers, comrades in fate. Sober knowledge, a sense of personal responsibility for everything good and bad that happens in his native land, guides the poet. A mature faith fills him, faith in ordinary hard-working people living nearby, the true creators of history, which the poet often addresses on their behalf.

A characteristic property of Rozhdestvensky’s poetry is its constantly pulsating modernity, the living relevance of the questions that he poses to himself and to us. These questions tend to concern so many people that they instantly resonate in a wide variety of circles.

He doesn’t hide anything from his readers, he’s “one of his own.” The simple truths affirmed by his poetry - goodness, conscience, love, patriotism, loyalty to civic duty - come to readers in the shell of a direct word, an open sermon, which really refers our consciousness to the period of our own childhood, when we were all, in a certain sense, more free , simple-minded and noble.

Rozhdestvensky sees the world in a large, generalized way: psychological shades, precise objective details of everyday life and landscape, although they are found in his work, do not play a decisive role. The concrete is barely outlined here; it is constantly ready to dissolve into the concept.

Study. Analysis of Rozhdestvensky’s poem “On Earth is Ruthlessly Small.”

On Earth mercilessly small

Once upon a time there was a small man.

His service was small.

And a very small briefcase.

He received a small salary...

And one day - a beautiful morning -

knocked on his window

It seemed like a small war...

They gave him a small machine gun.

They gave him small boots.

They gave me a small helmet

and a small - in size - overcoat.

...And when he fell, it was ugly, wrong,

turning his mouth out in an attacking cry,

then there was not enough marble in the whole earth,

to knock a guy out in full force!

The little man in the army was given everything that he was used to having in pre-war life: everything familiar, familiar, small... He had a small machine gun, and his overcoat was small, and a flask of water was small, small tarpaulin boots... And the task before him was it seemed to be a small one: to defend a section of the front measuring two meters by two... But when he fulfilled his sacred duty to the Motherland and the people... when he was killed and he fell into the mud, twisting his mouth in a terrible grimace of pain and death... then there was no there is enough marble in the whole world to erect a monument to his grave of the size he deserves...

Glorifying the military feat of a simple Russian soldier is the main and only theme of this courageous poem. This poem does not have a classical form. It does not contain exquisite, beautiful metaphors in the spirit of Blok or Gumilyov. But behind its formal simplicity hides the rough and cruel truth of life. The author showed us life as it is.

Quiet lyrics

The counterbalance to the “loud” poetry of the “sixties” in the second half of the 1960s waslyrics, named "quiet". Poets of this directionunited by a community of moral and aesthetic values . If the poetry of the “sixties” was guided primarily by the traditions of Mayakovsky, then the “quiet lyrics” inherited the traditions of philosophical and landscape poetry F. Tyutcheva, A. Feta, S. Yesenina.

The “quiet lyricism” includes the work of poets N. Tryapkin, A. Peredreev, N. Rubtsov, V. Sokolov, S. Kunyaev and others.

In the darkening rays of the horizon

I looked at the surroundings

Where the soul of Ferapont saw

There is something divine in earthly beauty.

And one day it emerged from a dream,

From this praying soul,

Like grass, like water, like birch trees,

A marvelous wonder in the Russian wilderness!

And the heavenly and earthly Dionysius,

Having appeared from neighboring lands,

This wondrous wonder has been exalted

To a point never seen before...

The trees stood motionless

And the daisies turned white in the darkness,

And this village seemed to me

Something most sacred on earth.

(N. Rubtsov, “Ferapontovo”, 1970)

Yu. Kuznetsov, who entered literature in the 1960s, is also close to these poets. By its pathosthe work of the “quiet lyricists” is close to the realistic direction of village prose. The civic pathos of the “sixties” poets and the subtle lyricism of the “quiet lyricists” were combined in the work of the Dagestan poet R. Gamzatov.

Since the 1950s, the literary process has been replenished with a genreoriginal song , which has become extremely popular over time. Song creativity of B. Okudzhava, A. Galich, N. Matveeva, V. Vysotsky, Yu. Vizbor and othershas become one of the forms of overcoming formal-substantive dogmatism, officialdom

official-patriotic poetry . The true peak in the development of the art song genre came in the 1960s and 1970s. The attention of songwriters wasis focused on the life of an ordinary, “small”, “private” person, and in this life there is a place for both high tragedy and happiness.

Ah, I am a victim of trust,

Trouble to your parent!

I hear from behind the door:

“Bitten, come in!”

Entered: “My respect.”

I undressed slowly.

“Where is the bite site?”

I say: "Soul."

There are exes in the office

They tug at my soul:

"Tell me, bitten

Which one are you?”

I say: "Ordinary,

And he's not tall enough.

So pretty

I didn’t think it was a snake.”

(Yu. Vizbor, “Bitten”, 1982)

Message. The work of Bulat Okudzhava. (1924-1997)

Bulat Okudzhava's songs appeared in the late 50s of the 20th century. If we talk about the roots of his work, they undoubtedly lie in the traditions of urban romance, in the songs of Alexander Vertinsky, in the culture of the Russian intelligentsia. But songBulat Okudzhava is a completely original phenomenon, in tune with the state of mind of his contemporaries.

Okudzhava's poetry is inextricably linked with music. His poems seem to have been born with a melody: it lives inside the poem, belongs to it from the very beginning. Officialdid not recognize Okudzhava; he did not fit into the framework of pompous Soviet culture.

But, probably, the fact that Okudzhava’s songs and his poems were known in almost every family speaks of the true value of his work. What is the reason for such phenomenal popularity?

Okudzhava creates his own original artistic world in his poems, asserts a certain moral position, and not only skillfully conveys everyday situations, interesting and funny human traits. Throughout his creative career, Okudzhava repeatedly turns to the topic.

All these poems by Okudzhava are not so much about the war as against it; they contain the pain of the poet himself, who has lost many friends and loved ones.

Okudzhava was one of the first, after many years of Puritan hypocrisy, to sing love again, sing of a woman as a shrine, and fell on his knees before her. Okudzhava opened people’s eyes to themselves, his songs and poems made them think about eternal values, about the essence of existence.

The world of Bulat Okudzhava’s songs is unusually diverse, it is colorful and semi-fairy-tale-like. The poet has not lost his childish view of the world around him, and at the same time he is a man, wise by experience, who has passed. In his work, both are surprisingly combined and intertwined.

The poet often refers to our history in his poems. In it, he is primarily attracted to people, and not historical facts. Most of his poems are devoted to the first half of the nineteenth century.

Okudzhava carries a huge charge of kindness, she reminds us of mercy, love for our neighbor, for the Motherland, for our history, helps us believe in a better and brighter beginning. His poems will always ring for us “a small orchestra of hope...

Reading and analysis of the poem.

MIDNIGHT TROLLEYBUS

When I can’t overcome adversity,

when despair sets in,

I get on the blue trolleybus on the go,

in the last one,

in random.

Midnight trolleybus speeding down the street,

circle along the boulevards,

to pick up everyone who suffered in the night

crash,

crash.

Midnight trolleybus, open the door for me!

I know how in the chilly midnight

your passengers - your sailors -

come

for help.

I got away from trouble with them more than once,

I touched them with my shoulders.

How much kindness, imagine?

in silence

in silence.

A midnight trolleybus floats through Moscow,

Moscow, like a river, is dying out,

and the pain that pounded like a bird in my temple,

subsides

subsides.

1957

How, in your opinion, do the poetic, poetic and musical principles correlate in this work?

Can “Midnight Trolley” be called a lyrical ballad? Highlight in the text the details and signs of the emerging ballad plot and the leading lyrical beginning.

Conclusion.

Universal reckless kindness - this is the pathos of Bulat Okudzhava.”

Traditions of modernist poetry

With the traditions of modernist poetry of N. Gumilyov, O. Mandelstam,

A. Akhmatova is associated with the work of poets of different generations, primarily A. Tarkovsky, D. Samoilov, S. Lipkin, B. Akhmadulina, A. Kushner, O. Chukhontsev, V. Krivulin, O. Sedakova.These poets are united by their inherent sense of historicism. , which manifests itself in the explicit or implicit dialogic quoting of classical works, in the understanding of memory as the basis of morality that saves man and culture from chaos. So, for example, in a poem by V. Krivulin a quote from “ Divine Comedy» Dante:

Earthly life having reached the middle,

memory stumbled. Flipped over and froze

forest immersed in blue.

From an overturned basket

berries flow with misty eyes,

hiding out of sight into the grass...

Blueberries are death! your reflection is dove-like

lost in the dew, intangible

your taste of dampness, your ghost in reality.

But the pulp of the core bleeds -

with which I live in crushed memory.

(V. Krivulin, “Blueberry”, 1977)

Message. Poetry of Bella Akhmadulina. (1937-2010)

Bella Akhmadulina’s role was special, more intimate, less public. Her circle of readers was narrower, but this made her worship even more fierce. Akhmadulina’s talent is intonation and accent. This is especially obvious in the author’s performance of poetry: first of all, it is not the words that are heard, but a certain musical and stylistic tone.

In Akhmadulina’s poems, it was not the pop volume of her voice that was valued, but intimacy and grace, which were especially easily mistaken for stylistic affectation: the poetess loved to give her voice languor and speak with an accent, as if inherited from the Pushkin era.

Already in Akhmadulina’s early poems her desire to reveal the wealth and beauty of the world was revealed, human soul, subtle poetic observation, impulse to action.

For Akhmadulina, friendship is more important than love. In her world, a man and a woman are connected primarily by simple friendly feelings as the most mysterious and powerful, as the highest and most selfless of all manifestations of the human spirit.

Researchers note that Akhmadulina “does not have love lyrics in the generally accepted meaning of the word. Most often, it conveys a feeling of love not for a specific person, but for people in general, for humanity, for nature.” The collection “Beautiful Features of My Friends” (1999) includes poetic portraits of Akhmadulina’s contemporaries (Boris Pasternak, Osip Mandelstam, Marina Tsvetaeva).

Bella Akhmadulina is not only a poet, but also a wonderful author of subtle and tender prose. In 2005, her book “Many Dogs and a Dog: Prose” was published different years" It includes stories, memoirs, essays, diaries and articles about literature. The reader is presented with famous poets and writers: A. Akhmatova, M. Tsvetaeva, B. Pasternak, A. Tvardovsky, P. Antokolsky, S. Dovlatov, B. Okudzhava, V. Vysotsky.

One of the “sixties”, a close friend of the poetess, L. Shilov, rightly said about her: “Bella Akhmadulina as a Russian poet in highest degree inherent in the feeling of someone else's pain as one's own, absolute intolerance for arbitrariness and violence, an instant, explosive reaction to any manifestation of vulgarity and meanness, reckless admiration for the heights of the human spirit... her poems are characterized... by an extraordinary gaze, a predilection for “lofty” words and turns of phrase, love for all living things and the ability to enjoy every new day.”

Analysis of Akhmadulina's poem.

Expressive reading of a poem.

On my street for what year

footsteps sound - my friends are leaving.

My friends are slowly leaving

I like that darkness outside the windows.

My friends' affairs have been neglected,

there is no music or singing in their houses,

and only, as before, the Degas girls

blue ones trim their feathers.

Well, well, well, let fear not wake you up

you, defenseless, in the middle of this night.

To betrayal mysterious passion,

my friends, your eyes are clouded.

Oh loneliness, how cool your character is!

Shining with an iron compass,

how coldly you close the circle,

not heeding useless assurances.

So call me and reward me!

Your darling, caressed by you,

I will console myself by leaning against your chest,

I will wash myself with your blue cold.

Let me stand on tiptoe in your forest,

at the other end of a slow gesture

find foliage and bring it to your face,

and feel orphanhood as bliss.

Grant me the silence of your libraries,

your concerts have strict motives,

and - wise one - I will forget those

who died or are still alive.

And I will know wisdom and sorrow,

Objects will entrust their secret meaning to me.

Nature leaning on my shoulders

will announce his childhood secrets.

And then - out of tears, out of darkness,

from the poor ignorance of the past

my friends have beautiful features

will appear and dissolve again.

Questions:

The lyrical heroine sincerely wishes the best for the people she loves, although she sees that they have been clouded “by a mysterious passion for betrayal.” But there are no complaints, no condemnation. The heroine is not to blame for the fact that this is happening, she does not oppose the departure of her comrades, she is only trying to understand its reasons.

First there is an exclamation: “Oh, loneliness, how cool your character is!” But the world of loneliness also brings spiritual benefits (“the quiet of libraries,” the “strict motives” of concerts). In seclusion, the heroine comprehends the “secret meaning” of objects, the “children’s secrets” of nature... Having learned “wisdom and sadness”, lyrical heroine again - this time with more deep feeling- sees his friends’ “beautiful features”...

What poetic devices does the author use to reveal internal state heroines?

The work is written in the genre romantic elegy, conveying its high, solemnly sad tonality. Inversion (“the affairs of my friends have been neglected”), Slavicisms (“eyes”, “not listening”), and the exclamatory interjection “O” create an upbeat intonation.

Complex metaphors (an appeal to loneliness “I’ll wash myself with your blue cold”), figurative associative comparisons (loneliness - with a compass closing a circle, and oneself - with a “darling”, “caressed” loneliness), psychological and emotional-evaluative epithets (“defenseless ”, “useless”, etc.) allow you to feel an atmosphere of loneliness and at the same time mental anxiety for the fate of your friends.

Lianozovskaya group

Since the 1960s, avant-garde experiments have resumed in Russian poetry. Experiments in the field of poetry united various poetic groups, most notably such asLianozovskaya group - one of the first informal creative associations of the second half of the 20th century, at the origins of which were artists E. L. and L. E. Kropivnitsky, poets G. Sapgir, I. Kholin and others. At the originsLianozovskaya group stood the poet and artist E. L. Kropivnitsky, whose creative career began in the 1910s. The group included poets V. Nekrasov, G. Sapgir, Y. Satunovsky, I. Kholin and artists N. Vechtomov, L. E. Kropivnitsky (son of E. L. Kropivnitsky), L. Masterkova, V. Nemukhin, O. Rabin . Poets and artists who were part ofLianozovskaya group, united the desire for the most complete self-expression and the creation of new poetics.

And boring.

Write short poems.

They contain less nonsense

And you can read them soon.

(E. L. Kropivnitsky, “Advice to Poets”, 1965)

Literary Association"SMOG

Literary Association "SMOG" - "Courage. Thought. Image. Depth". It announced itself in 1964, its organizers were poets V. Aleinikov, L. Gubanov, Y. Kublanovsky. G. Sapgir, in his memoirs about L. Gubanov, writes: “A new literary movement was already visible, but did not have a name. It was necessary to come up with it urgently. I remember we sat with Alena Basilova, who later became Gubanov’s wife, and came up with a name for the new movement. Gubanov himself came up with: SMOG. The Youngest Society of Geniuses, Strength, Thought, Image, Depth, and there was also smog rising from the Garden Ring into our windows.”In the manifesto "SMOG" , read out in 1965 at the monument to V. Mayakovsky in Moscow, the basic principles of the worldview inherent in the participants of the association were formulated:

We can pour out our souls into the fat faces of “Soviet writers.” But why? What will they understand? Our soul is needed by the people, our great and extraordinary Russian people. And my soul hurts. It is difficult for a sick woman to fight within the walls of her body chamber. It's time to let her out. It's time, my friend, it's time! WE! There are few and many of us. But we are a new sprout of the future, rising on fertile soil.<...>Now we are desperately fighting against everyone: from the Komsomol to the inhabitants, from the security officers to the bourgeoisie, from mediocrity to ignorance - everyone is against us. But our people are for us, with us!..

Avant-gardists 1950-1980s were deprived of the opportunity to publish their works; it was their creativity that developed in underground conditions. Avant-garde poets of the second half of the 20th century are united by confidence in the absurdity and inhumanity of society, and by dystopian pathos. This worldview is determined by artistic media, used in avant-garde poetry. Poets abandon artistic verisimilitude and create a deformed image of the world of which man is a part.

Conceptualism

One of the first movements that emerged within the framework of unofficial art of the 1970s isconceptualism (from Latin conceptus - “thought”, “concept”) - an artistic movement of the second half of the 20th century, which declared itself as an opposition to official art), with which the work of poets Vs. Nekrasov, I. Kholin, D. Prigov, L. Rubinstein, prose writer V. Sorokin and artists I. Kabakov and E. Bulatov. In its origins, conceptualism goes back to the work of the avant-garde artists of the early 20th century - the futurists and oberiuts. Because theconceptual art is the art of ideas; a conceptual artist is interested in not the object he depicts, butwhat does the conceptualist want to designate through this object? , i.e. not so much is demonstrated piece of art, how much a certain artistic concept. From the reader, viewer, perceiving the works of conceptualists, more is expected active position unraveling the creator's plan.

Conceptual poet L. Rubinstein, in an effort to “overcome the inertia and gravity of a flat sheet,” created his own “card index genre.” This genre, in the words of the poet, allowed him to “translate the situation of samizdat, which by that time had hardened

and seemingly eternal, from the socio-cultural dimension to the purely aesthetic.” L. Rubinstein’s technique is that a separate remark or quotation is written on a library card, sometimes the card remains completely blank, or

Only punctuation marks are applied to it. When reading his texts, L. Rubinstein emphasizes not only words, but also pauses with intonation - this is how, in the words of V. Krivulin, a “silent hyperplot” arises. Based on this “hyper-plot” an image is created

a world destroyed and recreated from the rubble, in which it is “more honest for the poet to remain silent” than to speak. Thus, L. Rubinstein expresses a tragic-ironic attitude towards the world.

...Card 37. You can be horrified when you see yourself from the outside, but you can

and rejoice;

Card 38. You can avoid any meetings, glances, conversations

etc., but isn’t it better to go towards fate<...>

Card 41. You might be nearby and stop by for a drink.

tea and chat...

(L. Rubinstein, “Catalogue of Comedy Innovations”, 1976)

Included in literatureat the end of the 1970s and into the 1980s poets A. Eremenko, T. Kibirov, E. Bunimovich, V. Korkiya, M. Sukhotin started from the poetry of conceptualists. The favorite technique of these poets isquotation , reaching to the centon, with the help of which quotes from classical literature, stamps official ideology and popular culture. This, in turn, determines the mixing of various lexical and stylistic layers, the manifestation

high to low and vice versa.

And I was there, drinking mead beer,

depicting death, not agony.

into my outstretched hand.

The wind plays, the shutter beats,

and the mast bends and creaks.

And Stalin walks at night,

but the north is harmful to me.

(A. Eremenko, “Peredelkino”, 1980)

A special place in literary process The second half of the 20th century is occupied by the poetry of I. Brodsky, who was forced to emigrate from the country in 1972. The poet's talent clearly manifested itself in a variety of prose, lyrical and lyric-epic genres.

The uniqueness of I. Brodsky lies in the fact that his poetry absorbed the traditions of Russian and foreign poetry.

Conclusion. Features of Thaw poetry:

Informality, feeling of freedom;

Responsibility for transformations in the country;

The need for a moral restructuring of society;

Romanticism;

Journalistic pathos;

"Variety";

Hopes for quick liberation from vices, which were perceived as a distortion of a wonderful idea.

I V .Homework: prepare individual reports on the biography of N. Rubtsov; learn Rubtsov's poem.

VI . Summarizing. Reflection.

What are your impressions of poetry from the 50s to the 90s? Are there any of your favorite poets of this era?

Artistic research of Soviet poetry of the 50s - 80s.

In the history of Russian literature, starting with “The Tale of Igor’s Campaign,” ancient epics, folk tales and songs, the works of outstanding poets constitute a huge and unique spiritual wealth.

Truly amazing variety of poetic genres, artistic styles, creative individuals: Lomonosov and Derzhavin, Pushkin and Lermontov, Tyutchev and Nekrasov, Baratynsky and Fet, Blok and Bryusov, Mayakovsky and Yesenin, Akhmatova and Pasternak, Aseev and Zabolotsky, Tikhonov and Tvardovsky.

How can we explain the undying value of genuine works of poetic art? The fact is that true poets never separated their feelings and experiences, thoughts and thoughts from everything that lived in their Motherland, from the anxieties, sorrows and hopes of their fatherland and people, from spiritual aspirations the best people of his time, from eternal questions, which have long worried humanity.

The multifaceted impact of poetry on the spiritual sphere human personality: through the poems of great poets there is an artistic comprehension of the world and time, national life and self-awareness, the discovery of the depths of the human spirit.

“I know the power of words, I know the alarm of words,” wrote Vladimir Mayakovsky about the effectiveness of the verse word, about its “mighty music”, about the great working poetry.

This secret of the power of verse, which gives birth to the poet’s soul, is captured in its own way in the lines of Alexander Blok: “The sound is approaching.
And, submissive to the aching sound, the soul becomes younger.”

Poems about love and nature, about life and death, about the eternal renewal of the world around us, written hundreds of years ago, continue to excite us today.

Eternal themes and motifs of art were never born outside of time and space; they invariably bore the imprint of specific historical conditions of life. This is what gives them uniqueness and strength emotional impact for subsequent generations. The eternal in poetry does not exist outside of time. The famous lines of Boris Pasternak speak about this:

Don't sleep, don't sleep artist,

Don't give in to sleep.

You are a hostage to eternity

Trapped by time.

Relying in his creative search on the great traditions of Russian and pestilent classics, soviet poetry The 50s - 80s were marked by inspired innovation, conditioned by the time itself, the era of building a society unprecedented in history, living participation in socialist creation, in the formation of a person of a new time.

We are faced with the task of not only tracing the entire poetic process in the history of poetry from the 50s to the 80s, but also comprehending that complex, dramatic time. Artistic research in the poetry of this time, the most promising lines of development of its genres and styles, were based on the entire socio-political, moral and aesthetic experience of the era, on the traditions of world and domestic, especially Soviet poetic classics.

Multinational Soviet poetry of the 50s - 80s - the result historical experience of the entire Soviet culture, creative interaction and mutual enrichment of many literatures of the peoples of the country.

Direct access to relevant and eternal themes poetry of that time, to the most significant problems of citizenship and historicism of artistic thinking, to the issues of the movement of poetic genres, traditions and innovations, artistic searches and discoveries will allow us to make generalizations and conclusions about the main paths of development and patterns of poetry at the stage of “developed socialism” and its impact per person.

Already at the beginning, and especially in the second half of the 50s, new trends emerged in poetry. Responding to the demands of the time, poets sought to reflect the state of spiritual renewal and uplift that society was experiencing.

It was at this time that interest in the work of A. Tvardovsky, V. Lugovoy, N. Zabolotsky, N. Aseev, A. Prokofiev, Y. Smelyakov, N. Ushakov, K. Vanshenkin, S. Orlov, E. Vinokurov, E. Evtushenko, A. Voznesensky, R. Rozhdestvensky, V. Tsybin, R. Kazakova, B. Akhmadulina, N. Matveeva and the circle of her lovers and admirers expanded. Poems and poems attracted readers and critics.

“The variety of topics and topical issues drawn from life itself, an appeal to the essential aspects of the spiritual world of modern man, the search for new artistic and visual means of verse - all this was characteristic of poets who spoke at the turn of the 50s and 60s,” writes V. .A. Zaitsev.

The poetic word was actively heard at evenings, on radio and television. Poetry Days have become a tradition.

However, the main thing in this interest in poetry was determined not by the whim of fashion, but by a high and demanding love for everything truly significant in art. This also determined the main lines of development of poetry.

The tasks posed by life, the people, and the decisions of the party to art, in particular to poetry, required turning to what constituted the vital basis of creativity - to modernity. It is no coincidence that this word itself literally did not leave the pages of newspapers and magazines in those years.

The poetic discovery of modernity has been the task of poets of all generations. Speaking about the present day, poets looked for its origins in the heroic past. Modernity is inseparable from history.

Among the poems about the heroic past special place were occupied by works whose authors themselves were contemporaries, witnesses and participants in great events.

“Let's remember our younger years!” - N. Aseev called. Reliving the fiery days of the revolution. In his poems, “The Time of Lenin”, so dear to his heart, came to life, “our October is an amazing holiday, a triumph of the people’s soul...”.

Through the decades, M. Svetlov saw “over the troubled Neva” a “chilled sentry” standing at a Red Guard post - a great and simple man from legend.

A. Prokofiev addressed his peers, the sailors of the first revolutionary years: “Get up, great time!..”, “All remain in the winged memory!” His heroes come to life in "young, immortal beauty."

The ability to deeply reveal the connection between modernity and the past, to express the enduring meaning of today's events is not given to every poet.

Poetry, expressed in the form of lyrical memories of revolutionary youth and at the same time all addressed to to the younger generation 50s, called to continue the work of their fathers.

The poetic lines of the 50s are filled with close attention to modernity, to the present day with its acute problems, contradictions and conflicts, with its everyday life and heroism.

“And keep up, straining yourself to the point of passion, with pain, with anxiety for the present day,” A. Tvardovsky urged.

Poems were born in direct connection with life, rising new. The poets went to grandiose construction projects, visited the virgin lands, traveled a lot around the country. In the poems of the 50s, in the words of M. Gorky, the “heroic poetry of labor” is revealed, pictures of the creative transformative activity of people arise, a reflection of their spiritual movements, thoughts, and experiences.

Robert Rozhdestvensky lived and worked at the North Pole-6 station for several months.

The Far East became the place of R. Kazakova’s “poetic birth”.

From his trips around the country, A. Voznesensky brought back his “Report from the opening of a hydroelectric power station” and “Poems from a Siberian notebook.”

B. Akhmadulina – sketch poems “From a Siberian notebook.”

A. Tvardovsky - “Poems about Siberia”

Y. Pankratov - “Kazakhstan notebook”.

Traveling around the country provided material for works not only about creative work Soviet people, but most importantly - about the spiritual wealth of the new person, the complexity and diversity of his inner world.

The book of poems by Yaroslav Smelyakov “Conversation about the main thing” is a direct appeal to modern times, to young people entering life. The running theme of the poems is the idea of the kinship of generations. The poet peers into the faces of Komsomol members traveling to a distant Angarsk construction site and in their appearance and spiritual qualities he sees the features of his peers of the 30s:

It’s not that there is no difference, but in the biggest way we are akin, and our main characteristics are the same for two generations.

Lively characters of youth: “a strong Siberian boy”, young Galya, with touching excitement getting ready for her first ball at the Komsomol club. All of them are brought together by the warmth of the author's view and attitude.

In the artistic development of current life problems The art of that time faced its own difficulties and costs. A. Tvardovsky accurately spoke about this, focusing on the problem of the quality of works:

“Our literature is going through a most beneficial period, when demands for ideological and artistic quality, high skill, and perfection of form are especially acutely placed on it.”

However, despite all the difficulties on the way to mastering new things in poetry best poets 50s, one can find a statement of moving modernity, the beauty of human feat, historical connection and continuity of generations. During these years, the most important social, moral, and aesthetic problems were posed in a deeply original and creative way. They revealed a complex, rich and diverse spiritual world person.

Since the early 60s it has been developing rapidly scientific and technological revolution, invading all spheres of life and giving rise to many new problems. There are disputes about scientific revolution and literature.

The discussions about “physicists” and “lyricists” that took place at the turn of the 50s and 60s convincingly showed that there is no reason to oppose science and poetry. The question of the place and purpose of literature, art, and their role in the formation of a person’s spiritual world became clearer during this discussion. “... Every day we become more and more convinced that the almost fantastic development of technology does not cause a weakening, but just the opposite - an increase in interest in art, including poetry,” wrote N. Rylenkov in the article “Live Flowers poetry."